========================================================================= Date: Thu, 31 Jan 2002 23:56:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: book now available online In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thank you so much for pointing this site out the link is http://www.thing.net/~grist/l&d/lighthom.htm What a great collection. Just when I was going to break down a buy a real book - I love the web! 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 M L Weber Sent: Thursday, January 31, 2002 11:37 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: book now available online 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 22:45:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: Fielding Dawson (1930-2002) In-Reply-To: <002201c1aaaa$28313400$0ceacd80@administa9bk8k> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT > "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. Hey! I grew up in Kirkwood, too, and my parents still live there. I'll have to read this. Thanks Aaron ========================================================================= Date: Fri, 1 Feb 2002 00:09:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Events in Paris? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit > > 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. It' at 6 rue Princesse the owner is the wonderful Odile Hellier ________________________________________________________________ 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, 1 Feb 2002 02:20:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: names, trees, teeth (was Craig Dworkin talk) In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I confess I don't get Maria's objections. Was anyone contesting the value of multiple readings, playful readings, counter-readings? The distinction I was trying to draw had more to do with the intent than the findings -- in the act of interpretation, does one think of the text as a readerly Rubik's Cube or a writerly game of Go? Here's to surreptitious names, trees, and teeth! May they proliferate. DJR On Tue, 29 Jan 2002 16:55:09 -0600 Maria Damon wrote: > 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? <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english/ institute for advanced technology in the humanities university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Fri, 1 Feb 2002 09:35:47 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Poetry Workshop at Barnard Women's Center MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Barnard College Center for Research on Women, continues to offer "Translating Silences: A Poetry Workshop" with Charlotte Mandel. Open to new as well as previous participants. Six Wednesdays, 6:30 to 8:00 p.m., Feb. 13, 27, March 13, 20, April 3, 17. For registration and tuition information, call 212-854-2067. ========================================================================= Date: Fri, 1 Feb 2002 00:53:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fielding Dawson In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" What a lovely man Fielding Dawson was. And generous. When I started a magazine in the mid sixties I wrote and asked him for something and he sent me something so mysterious and good that I was astounded and very grateful. When he came and lived here in Vancouver for a while a couple decades ago, I was hoping he would stay, but then there was new York, that place. -- George Bowering Used to be good looking. Fax 604-266-9000 ========================================================================= Date: Fri, 1 Feb 2002 12:32:25 -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="ISO-8859-1" Content-transfer-encoding: quoted-printable 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." The 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.] FEBRUARY 6, WEDNESDAY BEN FRIEDLANDER and MURAT NEMET-NEJAT BENJAMIN FRIEDLANDER's most recent books of poetry are A Knot Is Not a Tangle (Krupskaya Press) and Algebraic Melody (Zasterle Press). With Donald Allen he brought out The Collected Prose of Charles Olson (University of California Press). Friedlander teaches at the University of Maine, Orono, where he presently co-edits the scholarly journal Sagetrieb with Steve Evans.=20 MURAT NEMET-NEJAT, poet, translator and essayist, is the author of The Bridge published by Martin, Brian and O'Keeffe, London. His books of translations include A Blind Cat Black and Orthodoxies by =C9c=E9 Ayham, Sun & Moon Classics, 125 and I, Orhan Veli: Poems by Orhan Veli Kanik from Hangin= g Loose Press. He is working on Eda: A Selected Anthology of 20th Century Turkish Poetry to be published by Talisman House. [8:00 p.m.] FEBRUARY 8, FRIDAY CITY OF FICTION II EXPERIMENTAL PROSE AND FICTION MAT JOHNSON, CHRISTINA CHIU, MIKE ALBO, MICHELE MADIGAN SOMERVILLE MAT JOHNSON's novel, Drop, just out from Bloomsbury, receives high praise from The Washington Post Book World: "Johnson's talent is obvious from the get-go ... [Drop is] comical, serious, and eloquent-all at the same time." MICHELE MADIGAN SOMERVILLE is the author of Wisegal (Ten Pell Books). Her verse has appeared in Mudfish, Puerto del Sol and Hanging Loose. She is the year 2000 first place winner of the WB Yeats Society's poetry competition. CHRISTINA CHIU has been the recipient of the Van Lier Fellowship and Lannon Foundation Fellowship. Her stories have appeared in Tin House, The MacGuffin, and other magazines. Chiu is a co-founder of the Asian American Writers Workshop.=20 MIKE ALBO: "The brilliance of Albo's cynical nostalgia may be lost on those who neither came of age in the New Wave '80s nor participated in the urban retro trends of the '90s, this writer's formidable gift for humor and self-flagellating satire transcends the limits of a generation-X audience." -Publishers Weekly [10:30 pm] --=20 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, 1 Feb 2002 08:02:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: contact info? In-Reply-To: <5.1.0.14.2.20020131182311.026103b0@pop.bway.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi-- Does anyone have email addresses for any of the following swell poets: Brenda Shaughnessy C.S. Giscombe Harryette Mullen Renee Gladman Edwin Torres Chelsey Minnis Backchannel, please, and thank you. Arielle __________________________________________________ Do You Yahoo!? Great stuff seeking new owners in Yahoo! Auctions! http://auctions.yahoo.com ========================================================================= Date: Fri, 1 Feb 2002 13:32:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Luoma Subject: Re: Poultry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear listeners, In this bad area and time I urge you to go for helping. For example, on my peaceServer, you can gain a true understating of the current politics of the wide world. Go there for this question. Type into the box for your mind a phrase that will be gotten. Pushing on ButtonNumberOne will reduce conflict. Pushing on ButtonNumberTwo will provide new copters for Arafat. Pushing on ButtonNumberThree will delouse the white chickens. Pusing on ButtonNumberFour will secure the homeland (see Heidigger). bye and http://jefferson.village.virginia.edu/~luoma/PeaceNick.html love from, Bill Luoma ========================================================================= Date: Fri, 1 Feb 2002 16:36:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: The war between Bolinas & Stinson Comments: cc: genegrab@ADELPHIA.NET Mime-Version: 1.0 Content-Type: text/plain; format=flowed It's been years since I read Bob Shaeffer's doctoral dissertation on the topic -- it may be a book by now. But the ineluctable logic of the past century has been one of increasingly narrow claims proving "sufficient" for the self-determination of nationhood. Self-determination being the exact opposite of community & responsibillity. I guess I'm one of the old one-worlders J. Edgar Hoover warned you about. Philip K Dick has a great vision of the war between Bolinas & Stinson Beach in his book Dr Bloodmoney, I'd heartily recommend. Ron Gene: "not clear on problematics of self-determination and how that's supposed to be a bad thing or cause nations." The Police (circa 81 or 82): "One world is enough for all of us..." 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, 1 Feb 2002 10:11:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Heidi Peppermint Subject: Re: Craig Dworkin talk In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The project seems founded on exploring the individual subjectivity of a poet expressed in his or her idiosyncratic language noise -- an approach that focuses and reinforces notions of a unified self behind the words? it seems Dworkin doesn't intend this (he gave the talk here at UGA and was asked about psychoanalytic readings. He said he just wished they'd 'go farther'), but i don't get it. youuns up thar in the north, could you help me out with this? (I'll check out the iconicity site) It wouldn't change this or some other questions about the project, but how much more fun if the findings were odder, even more inane. Like 'universal truth' of some body process (defectation, for eg) across several poets' work. Or insidious, like finding traces of advertising/pop culture at the noise level in someone's work. By the way, what did Dworkin say in answer to the questions from the audience? Maria Damon wrote: 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 --------------------------------- Do You Yahoo!? Yahoo! Auctions Great stuff seeking new owners! Bid now! ========================================================================= Date: Fri, 1 Feb 2002 19:37:42 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Can anyone give me the current email for Taylor Brady? Thanks ========================================================================= Date: Thu, 31 Jan 2002 23:43:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shoehorns Subject: Updated Concrete/Visual Invite MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable call for work northwest word art/concrete poetry exhibit @ OSEAO Gallery pike/14th (above the artificial limb co.) seeking 2D/3D, framed/unframed, originals/copies, bw/color,=20 no size restrictions, in related realm. work will be for sale/nfs (with insurance) show runs from april 1st through may 31st. exhibit will coincide with seattle poetry festival 2002 (4/29 - 5/4) deadline for work - march 16th, 2002. work accepted from washington,oregon,idaho,montana & vancouver - = "outsiders" can have NW theme or link. work can be mailed, emailed to Nico Vassilakis 3046 61st Ave SW Seattle, WA 98116 shoehorns@msn.com contact for further questions, same =20 if you want to be removed from this list, please email me. ========================================================================= Date: Tue, 29 Jan 2002 18:37:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Against Information: A Talk by Kirsten Forkert at KSW Feb. 9th (Vancouver) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Against Information A Talk by Kirsten Forkert 8pm Saturday February 9th Kootenay School of Writing 201 - 505 Hamilton Street Vancouver BC 604-688-6001 $5/$3 "Let's perform an action in an obscure part of town. Let's go somewhere where people will barely leave their houses, barely look through the windows, only occasionally get into their cars and drive away. A good time to do this would be high noon or in the middle of the night. This action can be small or large, something that will mark us as out of place or that will exist within the confines of 'normal'. We may make no impact, leave no trace. We may never even be part of a conversation, barely make a difference in someone's thoughts. This is the reverse of the idea that the more central the location the better. Let's resist the dynamic of centralization that creates oases of 'urban living' for the privileged and makes the rest of the city a nowhere zone, and let's resist the fear of being left out. Let's work in the nowhere zones. Let's be at the wrong place at the wrong time." Kirsten Forkert is a Vancouver-based artist working in installation, performance and text. Her work, which is often site-specific, focuses on questions of commonalty, especially alternate ways of conceiving of this. Projects include "Entre nous deux...", an installation/performance for a Montreal movie theatre, and an installation in a Vancouver storefront dealing with gentrification and our relationship to this (especially for artists). More recent projects have been performances: writing a word on a storefront window for 2 hours (ECOUTE) walking with a group of people along Queen St. West in Toronto, wearing dripping backpacks (TOGETHER WE) walking and stopping for long periods of time in a business district at night (WALKING AND STOPPING, in collaboration with Peter Conlin). ========================================================================= Date: Fri, 1 Feb 2002 05:11:56 -0500 Reply-To: Bob Grumman Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: book now available online MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > did you ever visit the on-line am. poetry anthology > "Light and Dust"? it has complete books Here's the URL: http://www.thing.net/~grist/l&d/lighthom.htm Beware: it has a lot of visual poetry by contemporary Americans--and even mathematical poetry (by Me). It has much else, though, including quite a bit of Michael McClure--and a nice selection of essays, notably those of Karl Young, the sitemaster. --Bob G. ========================================================================= Date: Fri, 1 Feb 2002 23:21:25 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Pre-announcing Jacket 16 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Announcing (well, pre-announcing) Jacket 16, due to close in March 2002 -- ...another Special Giant Bumper Issue, again, already: http://www.jacket.zip.com.au/jacket16/index.html This issue will be complete in March 2002. In the meantime you can read some of these items: Feature: Joe Brainard, 1942-1994 From Pressed Wafer: Bill Corbett, Introduction Anselm Berrigan, 'I remember hearing Joe read' Tom Carey, 'Joe B.' Maxine Chernoff, 'Sonnet: Some Things I Miss About Joe' Tom Clark, 'My Joe Brainards' Elaine Equi, 'A Freshly Painted Poem' Paul Hoover, 'Winter (Mirror)' Nathan Kernan, 'Premonition' Wayne Koestenbaum, 'Two Little Elegies for Joe Brainard' David Lehman, 'For Joe Brainard' Ange Mlinko, 'Boston Flower Market' Eileen Myles, 'Worst Seat in the House' Charles North, 'Romantic Note 1' Jerome Sala, 'I'm Glad I Don't Understand the Writing of Joe Brainard' David Trinidad, '9 Cigarettes' Other Joe Brainard material: Kristin Prevallet interviews Kenward Elmslie Overland magazine feature (Guest Editor: Pam Brown) Over twenty items, including Ken Bolton's review of New and Selected Poems, by Tony Towle, Murray Edmond's 'No Paragraphs -- Meditations on Noh, Poetry, Theatre and the Avant-garde', and poems from Maxine Chernoff, Gillian Conoley, Linh Dinh, Michele Leggott, Kate Lilley, Alice Notley, Ron Silliman and others. Ed Dorn: An excerpt from Tom Clark's biography of Ed Dorn Interviews: Kent Johnson interviews Eliot Weinberger, Toh Hsien Min interviews Bob Perelman, John Tranter interviews Chris Emery (of Salt Publications in Cambridge England), Nina Zivancevic in Paris interviews Jerome Rothenberg. Whitman: Memoir: George Evans: A Working Boy's Whitman ('...one must question how it could be that a man who lived with his eyes and heart wide open, could have so little to say about certain matters that truly contradicted his notions of liberty and freedom.') Sister Sites: Ram Devineni interviews Ravi Shankar, editor of The Drunken Boat. Reviews: Aaron Belz reviews I Used to Be Ashamed of My Striped Face, by Mike Topp Aaron Belz reviews Understanding Objects, by Vincent Katz Tom Hibbard reviews Strange Things Begin to Happen When a Meteor Crashes into the Arizona Desert, by Michael Basinski Tom Hibbard reviews HEKA, by Michael Basinski Philip Nikolayev reviews Michael Palmer and Brian Henry Larry Sawyer reviews Poems From the Akashic Record by Ira Cohen Larry Sawyer reviews Goofbook: for Jack Kerouac by Philip Whalen Mark Scroggins reviews The Shrubberies by Ronald Johnson Poems from a dozen poets. Still to come: About Tom Raworth -- Essays and Reflections on the work of British poet Tom Raworth Angel Hair magazine: The Sixties and Seventies -- A sampler of writing selected by Jacket editor John Tranter from the 630-page Granary Books anthology of material selected from the collection of Angel Hair magazine and books edited by Lewis Warsh and Anne Waldman (photo, left) between 1966 and 1978. Enjoy! ========================================================================= Date: Fri, 1 Feb 2002 20:35:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: cave and revenge nightmare MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - cave and revenge nightmare :blast-war blast-powder-burn | paste/ennui of operations research::i am almost dead here: :Scattered-bombs and the locus of quality text. ./alan cannot be executed - permission denied. the ::sign is used only once. ./azure cannot be executed - permission denied. execute ./.alan. execute ./.azure. Locus of destroyed leaflets: hidden azure / hidden alan = .azure | .alan = tunnels of july. Damage in the ennui-sector. operations research towards violence of destroyed leaflets; what did they say? who were their intended recipients? execute ./.execute. Exterminate them all! ./.execute = tunnels of july. chmod 777. chmod 777. Leaflet: "nightmare!\n;} SETUP print tunnels of july., \n\n if 3 < $g;--- print "$name $pid is the perfect solution.", \n\n if 3==$g;o Damage in the ennui-sector. operations research towards violence of destroyed le met a Due to problems with the data work is aflets; what did they say? who were their intended recipients? execute ./.execut e. Exterminate them all ./.execute = tunnels of july. and 27019 and 27717 - per > Date: 2002/02/01 Fri PM 01:16 son fucked and killed.hacker.doc>> me things" _ ========================================================================= Date: Sat, 2 Feb 2002 16:35:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Media-Mass MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Media-Mass Film: 25 hours of super 8mm (sound and silent), 8mm, 16mm (sound and silent), currently at Filmmakers Coop in New York Video: 100 hours EIAJ b&w/color, 1/2", unusable, one tape revived; 100 hours 3/4"/hi8/8; 3 hours dv/cdrom, the latter available on cdrom Books: 2 books of experimental work; 3 chapbooks; 1 limited edition; two anthologies Magazine anthologies: 4 edited special issues of magazines Published articles: 140 published articles, critical and literary Online: 3900 current online listings (approximate) in google.com Webpages: 3 public webpages, 2 private directories Recordings: 3 released lps; 2 remastered cds; 3 released audiotapes; 1 released cdrom Performances: numerous music/literary/dance performances Dance: 10 choreographed dances; 20 dance/video/sound collaborations Online texts: 4500 pages (approximate) on Webpage sites Digital images: 1000 (approximate) available on cdroms Interviews and articles about: 30 (approximate) on and offline Installations: 20 (approximate) Artists books: 30 (approximate) Art-oriented corporation: 1 Theatrical performance: 2 collaborations Sculptural objects: 30 (approximate) Monoprints: 100 (approximate) Hand-set type magazine: 1 (limited edition) Radio: 30 shows (approximate) Computer programs: 50 (approximate) Audio synthesizer: 1 (collaboration) Curator: 20 exhibitions (approximate) Broadsides: 5 (approximate) Photographic: 400 images (approximate) Retrospective: 1 Audiowork: 15 hours (approximate), cassette and reel-to-reel _ ========================================================================= Date: Sat, 2 Feb 2002 17:18:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Levitsky Subject: Lydia Davis contact info MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear friends, Can anyone provide this to me? yours, Rachel Levitsky http://www.durationpress.com/belladonna "Brother, if you don't mind, there is a cloud of glass coming at us, grab my hand, lets get the hell out of here." -Anonymous ========================================================================= Date: Sat, 2 Feb 2002 17:19:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: The Presence of Absence MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Presence of Absence in memory of Fielding Dawson Listen, this is real life (a continuum of voices, genders). Where's the figure? Where's the ground? 2/2/02 Tom Beckett ========================================================================= Date: Sun, 3 Feb 2002 06:48:43 -0500 Reply-To: Bob Grumman Sender: UB Poetics discussion group From: Bob Grumman Subject: My Mathematical Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Richard Tyler backchanneled me that he'd visited my mathemaku at the light & dust site, and found them interesting. He suggested I tell him "or the list people something about (my) procedure or raison d'etre?" I happened to have a paragraph from a bio of myself I recently did for a vizpo show some friends are trying to organize in NY, so sent it to Richard, and repost it here for anyone interested: Perhaps my most important achievement as a poet has been in mathematical poetry. In my mathemaku, as I call my mathematical poems, I try to treat images and symbols--verbal but also graphic, musical, scientific . . . even numerical--as mathematical values. The operations I carry out on them are intended to imitate proper mathematics--for example, in one poem I've tried seriously to divide "the sky" by the actual color blue, and in another to divide the latter by its dictionary definition; in the first I found that "explainability" to the power of "May" is what blue needs to be multiplied by to get a product close to "the sky"; in the other that a variety of highly sensual images have to multiply the definition of blue to get a series of sums that approximate the value of the color blue. My hope is that these and my other mathemaku make a sort of sense mathematically, however surrealistically, at times--but also work as visual art in my most visual specimens, and as mixtures of resonant verbal images even in my most visual specimens. Lyrical metaphors of archetypal significance are my Ultimate Goal. For a detailed analysis I did of one of my mathemaku, go to http://www.geocities.com/comprepoetica/expla1.html --Bob G. ========================================================================= Date: Sun, 3 Feb 2002 14:06:08 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Breakfast Comix Comments: To: Nate and Jane Dorward MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Phew! Thanks for posting that, Nate, it's a shocker. I haven't been looking at PR lately myself, it just depresses me too much. If anyone's interested there's an announcement about the change of its editorial presence at : http://www.poetrysoc.com/preditor.htm All the 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: "Nate and Jane Dorward" To: Sent: Wednesday, January 30, 2002 5:28 AM Subject: Breakfast Comix > 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: Sun, 3 Feb 2002 20:50:13 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Fw: Masthead MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit David Bircumshaw http://homepage.ntlworld.com/david.bircumshaw/index.htm ----- Original Message ----- From: "Alison Croggon" To: "david.bircumshaw" Sent: Sunday, February 03, 2002 8:32 PM Subject: Masthead Announcing Masthead No. 5 - now up at http://au.geocities.com/masthead_2/ Poetry selections: RANDOLPH HEALY, ELIZABETH JAMES, PIERRE JORIS, TREVOR JOYCE, JACINTA LE PLASTRIER, SOPHIE LEVY, ALAN SONDHEIM, HARRIET ZINNES Theatre texts: DAVID BIRCUMSHAW and MARGARET CAMERON Essays: SOPHIE LEVY on innovative lyric poetry by women, JACINTA LE PLASTRIER on gender, JOHN KINSELLA on bioethics, RICHARD TOOP on the controversy around US composer John Adams Interviews: SLAWOMIR MROZEK by ARNI IBSEN and ABDELWAHAB MEDDEB by FRANK BERBERICH, translated by PIERRE JORIS Photographs: JACQUELINE MITELMAN ******** ISLAM AND ITS DISCONTENTS Interview of Tunisian writer Abdelwabab Meddeb by Frank Berberich, translated by Pierre Joris "The one who claimed superiority or at least equality cannot grasp the process that has led him to such weakness when faced with the century-old opposite, enemy or adversary. ... Nietzsche himself thought that the Islamic subject was a subject that belonged much more to aristocratic morality, the morality of affirmation, which glorifies the one who gives without trying to receive; while the nature of resentment is to be in the position of the one who receives but who does not have the means to give, the one who is not affirmative. Thus the Islamic subject is no longer the man of the "yes" that illuminates the world and creates a naturally hegemonic being; from sovereign being he has become the man of the "no", the one who refuses, who is no longer active but only re-active." NO ONE BELIEVES PLAYS: AN INTERVIEW WITH SLAWOMIR MROZEK, by Arni Ibsen "I don't see myself in a context at all because I don't construct my ego or my self-image. Absolutely not. I know that sounds untrue because writers usually construct themselves very much in a literary way, but that's part of the writer's energy. I don't do that. It's an uninteresting part of the writer's life." BONE: A MONOLOGUE FOR TWO, by David Bircumshaw "I have often thought, Bone, of how you would survive without my assistance. For I am a kindly man, Bone. I recall well how I rescued you that day, when I used to walk, the last time I walked, when you were blindly standing by the kerb, pitifully incapable of crossing. We cannot all cross that road, Bone. I, of course, have no need to now. But you, Bone? No, not you." KNOWLEDGE AND MELANCHOLY: AN AUTOBIOGRAPHICAL FICTION, by Margaret Cameron "How do you think I have lived? You will not grant me autonomy. Inert with depression, you insult me. I try to save this house. Oh the persistent unhappy demands of my life! Anyone would consider escape. Your instability compromises me. I am afraid of you. In your house, my 'landlord', I am subject to you. I call witness: be my guard! I am speaking of 'safe houses'. I cannot let this go unattended. Your support is getting thin. I ration food. Your visits brief as Christmas leave me poor. I savour luxuries you leave everything breaking. You make me cry poor. " ARE WE SPEAKING (OF) "THE NATURAL LANGUAGE OF MEN"? ANNE CARSON, KATHLEEN FRASER, GRACE LAKE: INNOVATING LYRIC POETRY, by Sophie Levy "In a sense, claiming the first person pronoun, as lyric does, is always a mistake, as the poem works to throw off its disembodied 'I'. This is especially striking in the work of experimental women writers like Fraser, who knows that it is as hard to get 'I' into the sentence as 'she,' when the 'I,' like Echo, is a She. Natural language - the image in the water - is always shifting, depending on the perspective from which it is seen. Sometimes the lyric 'I' has to be disembodied in order to access ways of speaking of who we think we are." THE CASE FOR CONTROL, by Richard Toop "Perhaps the most spectacular contribution to 'The Death of Klinghoffer' debate came from an academic, Prof. Richard Taruskin, of the University of California at Berkeley. Taruskin is, by general consent, one of America's leading musicologists, and probably the greatest living authority on Russian music. He is also known as a robust controversialist. On December 9 2001, the New York Times published a near 3000-word essay of his, entitled 'Music's Dangers and the Case for Control'; in terms of setting the tone of future arts discourse in America, it may prove to be as significant as anything else he has written." PLAGUES AND BIOETHICS, by John Kinsella "Quarantine isn't just about keeping diseases out, protecting a specific geography from physical contamination, but also about the preservation of "home" values. It is about a mental and spiritual "purity"." ART AND GENDER: NOTES TOWARDS A POETIC, by Jacinta le Plastrier "...the issue of gender - the nature of sexual and gender separateness - is both too coarse and too polite for poetry - and, by extension, in the context of this discussion, art. "Too coarse, because poetry sings into being, which lives in the mouth of life, in the mouth of death; a large mouth, too large for such coarseness. Too polite, because poetry sings into being... a mouth so large it simply annihilates such convention and restraint." Masthead arts, culture and politics http://au.geocities.com/masthead_2/ ========================================================================= Date: Fri, 1 Feb 2002 16:10:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Arlen Humphries Arlen lives and works in a large, Eastern metropolis. He's the author of Optima Suavidad (Greenbean Press), and when asked for comment wrote: "Be sure to tell those poseurs to buy the goddamned book, ISBN 1-891408-08-9, available on amazon or www.greanbean.com." You know you're too drunk when you're laughing and bleeding at the same time. The funniest joke in the world ends with the word "pianist." They did a study at Cornell. What can't be said can't be said and it can't be whistled, either. More good advice: always smell the milk before you drink it, and, never hold a gun for a friend. Why did two separate cultures thousands of miles apart, both invent pyramids and did it have anything to do with Atlantis? No. No pleasure so sweet as sitting indoors on a cold, rainy day, a cat in your lap, watching Republicans taking the Fifth. Every time you hear yourself saying, "I deserve a chance for happiness," you're already doomed. Disaster is, I promise, staring you in the face. I met a mysterious stranger who told me things about myself I didn't know anyone knew. He worked for department store security. Two dwarves on TV advising me how to deal in real estate with no license and no down payments. I want to be feared by men and loved by women, In other words a lesbian. But, hey! We still see each other, OK, she doesn't see me. Anxious to help, the psychics decide to stay the night. And would do it again! I don't care what the court order says. The roar of the 45 shook the room. There was an ugly swelling in her naked belly where the bullet went in. "How could you?" she asked. I knew I had only a moment before talking to a corpse but I got it in. "My call was important to them," I said. Arlen Humphries ========================================================================= Date: Sun, 3 Feb 2002 16:24:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r...chopped liver... I'm sitting on the corner bench of Abe Lebewohl park watching a gaggle of demonstrators get on to a Greyhound Bus. A police helicopter whirrs above in a tight half mile circle that its been doing for the last hour. The blocks above 10th are blocked by a wall...a sea...a picket of blue. The girl with clip board signing them on is tall and cute the rest of rag tag crew is scruffy, ugly & colleged. They are each wearing a peeling yellow sticker...WE ARE PALESTINIANS...The tall handsome greying black bus driver takes out a silver pack of cigarettes deftly unfoils it and lights up...if it weren;t were for him..i'd be all for blowing them all up... To unzip my fantasies i walk a couple of feet over to the Sched. for the Feb/March Poetry Project...i know a few of the readers...and might make it to Fee Dawson's Mem...otherwise it's the usual sandwich of careerism academicism radicalism phonyonyism psychofanticism schmeared on thick with a blob of spiritualism.... Abe Lebewohl got murdered delivering the day's receipts of pastrami sandwiches all the way to the bank...it was an ordinary day of mustard sour pickles and tomatoes side order of chulent..the whirly bird has stopped...the poetry of pause......the black driver in the grey uniform with pilot cap throws down the fag and closes the door & guns the engine...DRn... ========================================================================= Date: Sat, 2 Feb 2002 14:34:40 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Craig Dworkin talk I dont wish to concitate any (backward dev..)satans MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I thnk that there are are several components , although all of these components musts have interconnections, to Craig Dworkin's disssertation.. Firstly, (and i may "deal" with the "names" and other aspects later) according to Jeffery Jullich he discusssed the implication, through "Disceete Series" by Oppen, that the very fact of a methodolgy, or a processs.."that the very fact of a poem's acceptability as a~mechanism~that is the proof of meaning..." However the lecture was titled: "Against Meaning". Now accepting or allowing that "against" might imply or impute not that Dworkin is opposed to meaning utterly (which he surely cant be) but that he is arguing for a new way as he see it of seeing workr which, while not meaningless, resist the old and some recent types of critical or readerly response (not just in this case the prioritising or foregrounding the "signifier" and so on or reaching Steven's ideal of being near impervious to analysis (or even to a "conventional" poetic-emotional or even "visceral" reaction)). So in this sense as I look (for the first time closely - for me) at Oppen's work as it is in "Crossing the Millenium" (editors Pierre Joris and Rothenberg) each poem of that series is possibly a self-sufficient cell of language and ideational interaction and generation generated by the procedure it seems of taking words from the dictionary to enhance and enrich each "cell" (or point in his dicrete seies)...and to somewhat separatingly each unit from each other a horizontal line is drawn above and below each one. Here is one: ------------------------------------------------------------------- Semaphoring chorus, The width of the stage. The usher from it: Seats' curving rows two sides by distant phosphor. And those "filled"; Man and wife, removing gloves Or overcoat. Still faces already lunar. -------------------------------------------------------------------- Now this is preceded by A house ......... And flaunts A family laundry, And the glass of windows --------------------------------------------------------------------- The poem is predicated apparently upon a sea trip and things are "described" on shipboard and also things such as "A family laundry" are "noticed" as the traveller-voyeur passes these things seen from the ship. Distance (and surely aso desire and loneliness) is a thematic thing: as later: From this distance thinking toward you Time is recession So that thus a subjective thought is also "sent" to the distance (shore, the "family" earlier reminds the "marrator"...........so the poem is becoming a linked discrete series yet indeed each part or cell can be empirically generated (although that phrase is not sufficient). Returning to "Semaphoring chorus" this could refer to the movement of the laundry just (or much earlier or imagined....?) seen, as indeed the waves. But "semaphor" is from the Gk sema meaning "sign" and "phorus" meaning or implying "bearer" .. but now an "usher" appears on or from the stage (the width of the stage "all the world's a stage") the usher brings light as does phosphor..the the effect of the screen ( or phospor markers in a "lunar" or lense-like sweep)..one could build from here an near -circular and complex interrelationship of signals or signs "semaphoring" each other ( also - ok mention of "rim" is amusing but there ar many edges or margins or places where things are known to begin but precisely where is (as in the "real world" is problematic)). Semantic ambivalence, indeterminancy, etc is in here though very much .. and it doesnt matter if there is "secrecy" .. infact that "mystery", no, there is an aspect of "Discrete Series" that is near- sureal and sometime near romatically haunting, puzzling, mysterious..who after all are the couple? Who, or exactly what is this usher - it originally meant "door" - and also of course: "The usher from it.." is ambivalent: from what .. the chorus? Something unmentioned yet or ever or unmentionable? Isnt it also almost "The(y) usher from it..."? They? In fact this stanza, if stanza it can be called, recalls me to something in Rimbaud .. in fact in "Le bateau Ivre" which I translated laboriously with a dictionary (and virtually no knowledge of French really) because I thought that a more 'violent' and 'crazy" rendering was needed (than Robert Lowell's that I had), but also to T S Eliot's : "Issues form the hand of god the simple soul..." and Williams: "They enter this new world naked, knowing nothing save that they nter...[ the first of the "Series" could be by its own (quote from Pound "admission" ) a quote itself...but to return to Williams...his Spring and All with its prose, and poem progress and the combination of a kind of hard-edged "objectivism with the "'dramatic" and neo-romantic trope of birth as Spring (in which of course there is birth of all kinds) could well be a (or have been) a model or influence on "Discrete Series"... To jump: I thnk that "Series" can be seen as an intensification of the process of potental "meaning-generation" which occurs because of the semi-compressionate nature of the compositional method: but as to privacy or not of meanings they are there in every text. I dont want to talk about the inculcation of names into poems (the concept is interesting and I agree with Jeffery Jullich that "Definitely the name is a nacissistic imago .." (His comment thatAshbery's "Portrait" was about narcissism ( in a previous discussion) fascinated me: so obvious yet I hadnt thought of it..it leads into some fascinating potentials...)).. as this issue is difficult enough. Even the line "And those "filled" - possibly the key or pivotal line - as it draws attention to the very indeterminancy and the attempt to precisionise that "indeterminacy" of language (the paradoxes inside phrases we use so frequently we forget there"original" meaning or import(which "attempt" the writer always is aware at some level in theirself or in nature's language or language nature, is pre-doomed). So "Discrete Series" I see as yes, each one has a degree of self-life but the entire poem has various thematic linkings or even temporal linking (it seems on one level to be a sea journey but also a "trip down meemory lane" and the sea is everywhere "numerous" - and even if this is a metaphor for the writing process itself that undercuts the "discreteness" (although it is impossible to know how planned or preconceived this was: I mea "Series") .. the word "discrete" here is a pointer: discrete as a composititional technique, attitude, and as a clue that the writer is here being 'secretive' about the relevance or other of his own experiences or their direct intrusion in the series. A poem is or can be " a small or large machine made of words..." or a "mechanism" but mechanisms and machines lack the "absolute precision" often subscibed to them: there are no, and will never be, any perfect or completly self generating or perpetuating machines. But the concept that the _ very compositional process_ or the mechanism of the making of the (a) poem creates a strong level of meaning (or the acceptability of the poem as a -mechanism_that is (is?) the proof of meaning....is or could be seen as valid to a point. Taken to absurdity we could thus have a very "meaningful" poem that had blank lines with the instruction "utilise structure a)" (or there could be a sonnet mage upof x', y's commas and numbers to show the rhyme pattern and so on)...to most people such a poem or "mechanism wold be to all "practical purposes" meaningless... But certainly a poem constructed as a kind of chain of discretes with no "overarching" raison d'etre, lest that indeed be the mechanism which rightly becomes a toy of joy leading "nowhere" but into further meaning enchantments and shufflings, becomes its own reason. But however deliberately or else the writer attempts to "sacrifice the referent" referents arise or rearise from the ashes of the signifiers (whose ghosts are referents)...the societal and political rears their pretty or ugly mugs and we are still left with an objective-subjective complex. Of course the acceptance of a mechanism is a proof or "justifications" for meaning ( artitifice though, or artificial meaning. is there any other?)..but if eg Lyn Heijinian's 'justification in "My Life" were "only" the shape of her poems, the avoidance of direct reference, poetic near-Steinian innuendoes, repeated and echoing leitmotivs, the numbers of parts corresponding to her age: we would feel a bit bereft - she could have written about the game of Bridge rather than her life (which by writing is about all lives) ( a case could be made for the validity of that though I supppose) but the big question is Why? Why do we write in such and such a way...sure we need structures and they may be all the meaning we "need"...but what structure structure's the structure's structure: this poetics is fascinating, and we need it, but we need the human, the emotional, the delicacy harsheness or tenderness and sometimes passion to either energise or be right in there in the poem or construct. Our being haunts us: romanticism haunts us as does surealism and so on: but I dont wish to unduly concitate any retrograde satans to cackle us into dullness: I see the language project progressing with and not against the human project. Richard Taylor. ----- Original Message ----- From: "Maria Damon" To: Sent: Friday, February 01, 2002 2:32 AM Subject: Re: Craig Dworkin talk > 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: Sun, 3 Feb 2002 13:21:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Higgins/Something Else Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'd love to hear backchannel from people for whom Dick Higgins's Something Else Press--as a whole or in this or that individual title--played a significant role in projecting/expanding a sense of what was possible in writing (and sounding, and performing, and...) from the mid-1960s forward. Brief "testimonials" (if that overly serious word here applies) received by Wednesday around noon may well figure into an informal gallery event I'm organizing later that evening. We'll be hearing and performing texts stretching from Novalis to B=F6k-with Stein, Cage, and Mac Low as anchoring points-and I'd like to be able to convey, in addition to the general sense of Something Else's contribution to the independent press scene of its time, some more locating anecdotes of what it felt like, for instance, to have _The Making of Americans_ back in print after so long, or to first look into _Stanzas for Iris Lezak_, etc. So, if Something Else made an impact on your life as a reader, and you've got a moment to jot down some reflections on that fact, I'd love to hear from you. Steve Evans (The exhibit this event will be linked to is "Betwixt & Between: The Life and Work of Fluxus Artist Dick Higgins," up from 25 January to 9 March at the UMaine Museum of Art. ) ========================================================================= Date: Sun, 3 Feb 2002 21:38:29 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: ART ELECTRONICS Organization: Art Electronics Subject: Dedicated to the Twin Towers disaster "Paint From Nature" is in 2002, of course... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit the net-art performance, is in 2002, of course... may be. Dedicated to the Twin Towers disaster "Paint From Nature" a net-art performance by CATERINA DAVINIO Giubbe Rosse - Florence - Italy February 4th 2002 6:00 PM The net-performance "Paint From Nature", by Caterina Davinio, will take place February 4th 2002 at the Giubbe Rosse, historical literary café of the avant-garde, in Florence, Italy, in co-operation with Massimo Mori, Elisabeth H. Todal, Tiziano Pecchioli, Fiorenzo Smalzi, during the opening of the visual poetry exhibition "Tribute to Marinetti". "Paint From Nature" - the nature as media landscape and telematic passage, communication movement - is inspired to the disaster of the New York towers, event which has had a great impact on the collective imaginary in the planet also for the mass-media dimension which accompanied it. From September 11 until 14 arrived at Karenina.it e-mail address threehundred messages, from all over the world, from mailing lists (mainly from Rhizome, but also from others), from artists, cultural associations, citizens, navigators, speaking about what happened; from the e-mails arrived at first, fill of dismay for the sudden interruption of communication with artistic situations and persons who were in New York in those hours, to the messages which tried to find information, to bring help, to intervention which tried a political interpretation of what was happening. In the copy "from nature" the text of 70 e-mails arrived in Karenina.it e-mail box September 11 and 12 will be mailed to the Giubbe Rosse and collocated in an installation during the performance. A wider selection of the 300 arrived e-mails will be in a web page on the site karenina.it (poetry in fatica function), after the performance, a web page which is a continuation of the same performance, with photos of the action. The action is going to be documented in a book. The choral sound of the rhizomers voices in the "copy from nature", from the telematic "truth" - which actuates its existence in the continuous passage from the real to the virtual and back - comes from an every-place, or from a no-place, from a texture of contacts, which is also a "thing", space where enter, wander, look for, reality. This space, in the performance "Paint from nature", is going to be copied down, or, with a metaphor, photographed, after it was framed in the monitor, together with some questions about what a net-performance "really" is, what a "copy from nature" and the "nature" self, for an artist, in the net, in the media universe, is, how Internet brings in discussion the role of the artist, his identity, and these concepts (identity, reality, copy, nature, original, presence, performance, role, space-time) result disintegrated but also reconstructed. Caterina Davinio's work "Paint From Nature", made of interaction, action, e-mail art, creation of an object, copy realized with technologic instruments which are in hands of an artist today (digital, identical with the represented original, but that finally concretises itself in an unique not-reproducible experience at the Giubbe Rosse space, this work, made of communic/action, and generating itself while the communication runs, do not falls under the categories that the art and the critic put at disposal. To be continued very soon in Karenina.it web site KARENINA.IT (poetry in "fàtica" function) A web project by Caterina Davinio davinio@tin.it on line since 1998 - By Jakobson, 'fàtico' is the use of the language which has the finality to maintain open and operative the communication channel among the interlocutors. On the confine between art and critic, happening and net performance, Karenina.it is a virtual meeting place around the theme of the writing and the new technologies, in which experiences of international artists, curators, theoreticians converge, in a net that counts thousands of contacts in the world. ========================================================================= Date: Mon, 4 Feb 2002 02:03:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Levitsky Subject: Belladonna Season In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit For listlings that would like to plan in advance: BELLADONNA* WINTER/SPRING 2002 SCHEDULE All 2002 readings take place on Fridays and begin at 7:00 pm FEBRUARY 22--Norma Cole, Jocelyn Saidenberg Norma Cole is a poet, painter and translator. Her most recent poetry publication is Spinoza in Her Youth (Omnidawn Press, January 2002). Among her poetry books are MARS, MOIRA and Contrafact. Cole has been the recipient of a Wallace Alexander Gerbode Foundation Award, Gertrude Stein Awards, and several grants from The Fund for Poetry. Jocelyn Saidenberg is the author of CUSP (Kelsey St. Press: 2001) winner of the Francis Jaffer Book Award and Mortal City (Parentheses Writing Series: 1998). Her newest project is a book commissioned by Atelos Press. Her work has appeared in Raddle Moon, Clamour, Mirage/PERIOD(ical), Tripwire, Kenning among other journals. She is an editor and publisher of KRUPSKAYA books. MARCH 29--Carla Harryman, Gail Scott Carla Harryman is the author of Gardener of Stars, an experimental novel that explores the paradise and wastelands of utopian desire. She has published ten other books including two volumes of selected writing, There Never Was a Rose Without a Thorn, Animal Instincts: poetry, prose and plays; a hybrid novel, The Words after Carl Sand burg’s Rootabaga Stories and Jean-Paul Sartre; and a book-length dramatic work, Memory Play. Gail Scott is the author of the novel My Paris (Mercury Press, Toronto, 2001), an experimental fiction set in 90s Paris and authored by a sad diarist whose travel companions include Walter Benjamin and Gertrude Stein. It was named one of the top 10 novels published in Canada in 1999 by Canada’ s book trade magazine Quill & Quire. Scott’s other books include the novels Main Brides, and Heroine, the essay collection Spaces like Stairs, and Spare Parts, short stories, to be reissued by Coach House Books in 2002. APRIL 26--Eileen Myles, Bhanu Kapil Rider, kari edwards Bhanu Kapil Rider is a British writer of Indian origin who lives in the foothills of the Colorado Rocky Mountains. A book of poetry/fiction, The Vertical Interrogation of Strangers, was published by Kelsey Street Press in 2001. She has also has a chapbook of fiction, Autobiography of a Cyborg, from Leroy Press. Currently, she is writing a novel based upon the true story of The Wolf Girls of Midnapure. kari edwards is a poet, artist and gender activist. kari is the author of post/(pink) (2001) prose poems on gender and language and Mandala of a dharma queen (1998) writings on dada, anarchy and gender. Sie is also the poetry editor I.F.G.E’s Transgender-Tapestry: a International Publication on Transgender Issues. Eileen Myles is the author of Cool for You a novel (Soft Skull, 2000). She's publishing two books of poems in fall of 2001, Skies (Black Sparrow) and on my way (Faux Press.) She is the author of a collection of short stories Chelsea Girls (Black Sparrow, 1994) and several books of poems including Not Me (Semiotext[e], 1991), and School of Fish (1997) and Maxfeild Parrish (1995) both published by Black Sparrow. MAY 31--Rosmarie Waldrop, Tina Darragh Rosmarie Waldrop is a poet, novelist, translator, and editor. Her most recent books of poems are Reluctant Gravities (New Directions, 1999) and Split Infinites (Singing Horse Press, 1998). Some of her other (many) books include A Key into the Language of America,(New Directions, 1994), The Reproduction of Profiles (New Directions, 1984) and Lawn of Excluded Middle (Tender Buttons, 1993). Tina Darragh is most recently the author of dream rim instructions (Drogue Press, 1999). Her play "Opposable Dumbs" will be performed at San Francisco Poet’s Theater during its Winter 2002 season. Among her other books include on the corner to off the corner (Sun & Moon, 1981), and Striking Resemblance (Burning Deck, 1989). At Bluestockings Women’s Bookstore, 172 Allen Street, bet. Rivington & Stanton —F train to 2nd Ave. For Info: (212) 777-6028 *** 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, Lynne Tillman 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, levitsk@attglobal.net, if you would like to receive a catalog or hear more about our salons. Each reading begins with a fifteen minute open. A three dollar donation is suggested. Visit the BELLADONNA* website: http://www.durationpress.com/belladonna ========================================================================= Date: Mon, 4 Feb 2002 01:35:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Levitsky Subject: BELLADONNA* February 22, Fri, 7pm, NYC In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ENJOY BELLADONNA* Friday, February 22nd 7:00 pm with Norma Cole (Spinoza in Her Youth, MARS, MOIRA; translater of NUDE, by Anne Portugal) & Jocelyn Saidenberg (CUSP, Mortal City, editor KRUPSKAYA) 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: Norma Cole is a poet, painter and translator. Her most recent poetry publication is Spinoza in Her Youth (Omnidawn Press, January 2002). SCOUT, a text/image work, is forthcoming from Krupskaya Editions in CD-ROM format. Among her poetry books are MARS, MOIRA and Contrafact. Current translation work includes Danielle Collobert’s Journals, Fouad Gabriel Naffah’s The Spirit God and the Properties of Nitrogen, Anne Portugal’s Nude, and the collection Crosscut Universe: Writing on Writing from France. She teaches at San Francisco State University, the University of San Francisco and is on the faculty of the MFA program at Otis College of Art and Design in Los Angeles. A Canadian by birth, Cole migrated via France to San Francisco where she has lived since 1977. Jocelyn Saidenberg is the author of CUSP (Kelsey St. Press: 2001) winner of the Francis Jaffer Book Award and Mortal City (Parentheses Writing Series: 1998). Her newest project is a book commissioned by Atelos Press. Her work has appeared in Raddle Moon, Clamour, Mirage/PERIOD(ical), Tripwire, Kenning among other journals. Winner of New Langton Arts Bay Area Award in Literature, 1999, and former Director of Small Press Traffic, Saidenberg is now editor and publisher of KRUPSKAYA, a small press publishing collective. She has worked as a labor organizer and teacher. Born in New York City, she currently lives in San Francisco where she teaches creative writing at Dueul Vocational Institution, a medium security men's prison in the Central Valley. *** 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: Mon, 4 Feb 2002 00:51:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Smells Like Boog City 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 ______________________ Smells Like Boog City Wed. Feb. 20, 2002, 8:30 p.m. Bowery Poetry Club 308 Bowery, NYC (across from CBGBs) On what would have been Kurt Cobain's 35th birthday, we celebrate his life and art, and launch our free community newspaper, Boog City, with 12 local bands and solo artists playing Nirvana's Nevermind, in order, track by track. 25% of all ticket sales goes to benefit Jampac, a non-profit organization that represents and advocates on behalf of artists, music industry professionals and music fans in the political arena (jampac.com). $10 in advance, $12 at door. with readings by Eileen Myles and Timeout NY associate editor Tom Gogola and music from Wanda Phipps and band, Ruth Gordon, I Feel Tractor, the Ward, Schwervon, Jesse Schoen, Prewar Yardsale, Dan Saltzman, Brian Robinson, the Imaginary Numbers, Gangbox, and Drew Gardner. Hosted by 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, an interview with Cobain biographer Charles R. Cross, poems from Arielle Greenberg and Eileen Myles, and art from Zach Wollard World Economic Forum coverage from Greg Fuchs and Ian and Kimberly Wilder WBAI is back: Kimberly Wilder's “Notes from My FBI File" Aaron Kiely reviews Eileen Myles' Skies Columbus, Ohio poetry gathered by Pavement Saw editor David Baratier, with work from Steve Abbott, Stephen Mainard, and Julie Otten San Francisco Bay Area work, with poetry from Mary Burger, Trane DeVore, Lauren Gudath, Chris Stroffolino, Kent Taylor, and Elizabeth Treadwell, and art from DeVore and Will Yackulic lexicons from Laura Elrich, David Hess, and Leonard Schwartz poetry from James Wilk and art from Brenda Iijima and Zach Wollard Next issue: Cover: Third Parties, including a guide on how to become a candidate arts: Mary Lou Lord Mysteries of Life "Runt of the Litter" and much more deadline for work Fri. 2/15, 12 noon est for additional information contact: David A. Kirschenbaum, editor and publisher Boog City 351 W.24th St., Suite 19E NY, NY 10011-1510 T: 212-206-8899 F: 212-206-9982 email: booglit@theeastvillageeye.com ========================================================================= Date: Sun, 3 Feb 2002 21:09:47 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: ART ELECTRONICS Organization: Art Electronics Subject: "Paint From Nature" Dedicated to the Twin Towers disaster MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Dedicated to the Twin Towers disaster "Paint From Nature" a net-art performance by CATERINA DAVINIO Giubbe Rosse - Florence - Italy February 4th 2001 6:00 PM The net-performance "Paint From Nature", by Caterina Davinio, will take place February 4th 2001 at the Giubbe Rosse, historical literary café of the avant-garde, in Florence, Italy, in co-operation with Massimo Mori, Elisabeth H. Todal, Tiziano Pecchioli, Fiorenzo Smalzi, during the opening of the visual poetry exhibition "Tribute to Marinetti". "Paint From Nature" - the nature as media landscape and telematic passage, communication movement - is inspired to the disaster of the New York towers, event which has had a great impact on the collective imaginary in the planet also for the mass-media dimension which accompanied it. From September 11 until 14 arrived at Karenina.it e-mail address threehundred messages, from all over the world, from mailing lists (mainly from Rhizome, but also from others), from artists, cultural associations, citizens, navigators, speaking about what happened; from the e-mails arrived at first, fill of dismay for the sudden interruption of communication with artistic situations and persons who were in New York in those hours, to the messages which tried to find information, to bring help, to intervention which tried a political interpretation of what was happening. In the copy "from nature" the text of 70 e-mails arrived in Karenina.it e-mail box September 11 and 12 will be mailed to the Giubbe Rosse and collocated in an installation during the performance. A wider selection of the 300 arrived e-mails will be in a web page on the site karenina.it (poetry in fatica function), after the performance, a web page which is a continuation of the same performance, with photos of the action. The action is going to be documented in a book. The choral sound of the rhizomers voices in the "copy from nature", from the telematic "truth" - which actuates its existence in the continuous passage from the real to the virtual and back - comes from an every-place, or from a no-place, from a texture of contacts, which is also a "thing", space where enter, wander, look for, reality. This space, in the performance "Paint from nature", is going to be copied down, or, with a metaphor, photographed, after it was framed in the monitor, together with some questions about what a net-performance "really" is, what a "copy from nature" and the "nature" self, for an artist, in the net, in the media universe, is, how Internet brings in discussion the role of the artist, his identity, and these concepts (identity, reality, copy, nature, original, presence, performance, role, space-time) result disintegrated but also reconstructed. Caterina Davinio's work "Paint From Nature", made of interaction, action, e-mail art, creation of an object, copy realized with technologic instruments which are in hands of an artist today (digital, identical with the represented original, but that finally concretises itself in an unique not-reproducible experience at the Giubbe Rosse space, this work, made of communic/action, and generating itself while the communication runs, do not falls under the categories that the art and the critic put at disposal. To be continued very soon in Karenina.it web site KARENINA.IT (poetry in "fàtica" function) A web project by Caterina Davinio davinio@tin.it on line since 1998 - By Jakobson, 'fàtico' is the use of the language which has the finality to maintain open and operative the communication channel among the interlocutors. On the confine between art and critic, happening and net performance, Karenina.it is a virtual meeting place around the theme of the writing and the new technologies, in which experiences of international artists, curators, theoreticians converge, in a net that counts thousands of contacts in the world. ========================================================================= Date: Sun, 3 Feb 2002 17:11:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Dowker Subject: alterran relocation MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit The Alterran Poetry Assemblage is now located at http://members.rogers.com/alterra/ . #1-6: Charles Alexander, Will Alexander, Caroline Bergvall, Allen Bramhall, Laynie Browne, Ric Carfagna, Michael Coffey, Adam Cornford, Catherine Daly, David Dowker, Nancy Dunlop, Patrick F. Durgin, Ken Edwards, Stephen Ellis, Carrie Etter, Allen Fisher, Bill Freind, William Fuller, Drew Gardner, Nada Gordon, Henry Gould, Alan Halsey, Ralph Hawkins, Matt Hill, David Hoefer, Virginia Hooper, Lisa Jarnot, Andrew Joron, Trevor Joyce, Adeena Karasick, Karen Kelley, Jack Kimball, Hank Lazer, Tony Lopez, Bill Luoma, Karen Mac Cormack, Chris Mann, Peter Middleton, Drew Milne, Robert Mittenthal, Laura Moriarty, Erin Moure, Sheila Murphy, Gale Nelson, John Noto, Cheryl Pallant, Bob Perelman, Nick Piombino, Kristin Prevallet, Meredith Quartermain, George Quasha, Lisa Robertson, Jocelyn Saidenberg, Lisa Samuels, Spencer Selby, Pete Smith, Charles Stein, Christine Stewart, Gary Sullivan, Fiona Templeton, Christina Thompson, Lawrence Upton, Nico Vassilakis, Craig Watson, Lissa Wolsak. David Dowker alterra@rogers.com ========================================================================= Date: Mon, 4 Feb 2002 14:12:37 -0500 Reply-To: whitebox@earthlink.net Sender: UB Poetics discussion group From: WHITE BOX Organization: WHITE BOX Subject: OXYGEN at 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... ___________________________________________________ OXYGEN OPENING RECEPTION: FRIDAY FEBRUARY 8, 2002 6-8pm (runs through March 9, 2002) Gordon Matta-Clark Ann Hamilton Marina Abramovic Oscar Muñoz Wendy Jacob Montien Boonma Sarah Lovitt Pak Keung Wan David Shaw Roland Flexner Rey Akdogan Koan Jeff Baysa MD, curator Special thanks to Mitchell-Innes & Nash Art Gallery Robert Grosman Inflate Design Consultants (www.inflate.co.uk) WHITE BOX is a 501(c)(3) not-for-profit arts organization. We appreciate your generous support. ________________________________________________________________________ WHITE BOX 525 WEST 26TH STREET NEW YORK, NEW YORK 10001 - USA ph 212.714.2347 fx 714.2349 whitebox@earthlink.net www.whiteboxny.org ========================================================================= Date: Mon, 4 Feb 2002 15:39:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: CALL FOR PARTICIPATION // Romana C Huk MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit -- From: Romana C Huk Date: Sat, Feb 2, 2002 4:46 -0500 CALL FOR PARTICIPATION PARTLY WRITING II: Collaborative Imperatives and Translative Practices 13/14 April, Oxford Brookes University; Organizers: Caroline Bergvall and Romana Huk The second in this series of events on writers' negotiations with public space focuses on forms of responsive work such as collaborations and translations. We plan to consider what kind of dialogues collaborative work creates and what kind of shifting engagement with materials and contexts collaborations and translations might imply. Suggesting that translation is a collaboration of a particular kind, we will be considering activities of translation as a traffic not only from text to text but also from site to site, from media to media, from context to context. Part of the premise is that collaborative work might expose what has been left out -- what couldn't be fitted in -- but remains as the untranslatable and the incompatible, always there in the shadow of the work. We want to invert, for the purposes of conversation, notions of 'achievement' and 'failure' in such work, and entertain the idea that the failure of, as much as the push towards, dialogue is at the heart of collaborative practice. ------------------------------------ PARTLY WRITING I (Dartington College of Arts, 19/20 January 2002) was dedicated to thinking through what constitutes public space and how writers negotiate their work as public engagement. It was entirely conversation-led. PARTLY WRITING II pursues related questions within a structure that allows for short presentations to be made alongside conversation-led seminars. Some of the questions that will inform both presentations and seminars are: -- What is the space of collaborative writing? -- Is there a locatable subject or subjects in the collaborative text? -- What kinds of contextual imperatives prompt collaboration? -- Have collaborations between writers or across art forms been changing in process or product? -- Has translation changed focus? -- Is an understanding of translation particularly relevant now? -- Where do we locate or site the translated/translingual writing? If you wish to attend the event, please send 30 pounds by cheque (made payable to Oxford Brookes University: Centre for Modern and Contemporary Poetry) to Romana Huk, School for the Humanities, Oxford Brookes University, Gipsy Lane Campus, Headington, Oxford OX3 OBP. There will be no one taking registration information on the day; we will simply have information ready in packets designated for pre-paid participants. (Rates for one day's participation, and for students/seniors, is 15 pounds.) We will reserve spaces on a first-come-first-serve basis. There are also several spaces open for scholars and practitioners to offer short papers, or to take part in the seminar discussions; please send proposals or queries to either Caroline or myself by the end of February if this interests you (c.bergvall@btinternet.com; rch@cisunix.unh.edu). Please also visit our website for running details about Partly Writing 1, to see where we've been; information and details about Partly Writing 2 will appear there in due course as well: www.dartington.ac.uk/partlywriting/ If you wish to make payment in another currency, contact Romana. Please do not use Romana's Brookes address for correspondence; it is accessed only once per week. Do contact Simon Baalham for lists of local B&Bs and for directions to campus: s.baalham@brookes.ac.uk ========================================================================= Date: Mon, 4 Feb 2002 14:12:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shannon Holman Subject: call for centos Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit As part of my thesis project for the New School's mfa program, I'm assembling a small anthology of centos ("patchwork poems" in which every line is taken from another poem). Please help me by sending your own centos (note source texts, please) or the titles of all the centos you've loved before. You'll receive nothing but my thanks, a mild service-to-your-fellow-poet high, and, if you want, a copy of the final paper. Please email sholman@mac.com directly with your questions and/or submissions. Thanks, Shannon -- Shannon Holman work: 212.545.6089 home: 718.638.1239 sholman@mac.com -- http://www.onemississippi.com ========================================================================= Date: Mon, 4 Feb 2002 15:41:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: list stats MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Country Subscribers ------- ----------- Australia 15 Austria 1 Belgium 3 Brazil 1 Canada 44 Denmark 1 Finland 2 France 2 Germany 3 Great Britain 18 India 1 Ireland 5 Israel 1 Italy 1 Japan 5 New Zealand 12 Niue 1 Singapore 1 Spain 3 Sweden 3 Switzerland 1 Thailand 1 USA 815 Yugoslavia 1 Total number of users subscribed to the list: 943 Total number of countries represented: 24 ========================================================================= Date: Mon, 4 Feb 2002 12:57:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: tenure-track poetry position (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Mon, 4 Feb 2002 18:57:29 GMT From: phoover@popmail.colum.edu To: maxpaul@sfsu.edu Subject: tenure-track poetry position Dear List Members: Please note the position advertised below. Immediate response is needed due to due to February 28 deadline. Current faculty include Paul Hoover,Maureen Seaton, and, each spring, visting poets who have included Tom Raworth, Diane DiPrima, Li-Young Lee, and David Trinidad. Tenure-track position in Creative Writing (Poetry). M.F.A. or Ph.D. in Creative Writing required. Substantial publication record. At least one full-length poetry collection from a press of standing. 2-3 years teaching experience. Successful candidate will teach all levels in undergraduate Poetry Major in an English Department that is in the process of proposing an M.F.A. in Poetry. Primary course load in poetry workshops/literature; some introductory lit and composition classes. Competitive salary. Send letter of application, teaching philosophy, and vita by February 28 to Garnett Kilberg Cohen, English Department, Columbia College Chicago, 600 South Michigan Avenue, Chicago, IL 60605. Interviews in March 2002 at AWP in New Orleans. ========================================================================= Date: Mon, 4 Feb 2002 16:31:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Garin Lee Cycholl Subject: Linh Dinh in Chicago MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The University of Illinois at Chicago campus reading series invites you to a reading by Linh Dinh on Thursday, February 7, at 12:30 P.M. at UIC's Rathskellar. The room is located in the basement of the Atrium Building (near the southwest corner of Halsted and Harrison). The reading is free. ========================================================================= Date: Mon, 4 Feb 2002 15:08:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Maxwell & Waldner at SPT, SF 2/15/02 MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit SMALL PRESS TRAFFIC PRESENTS Friday, February 15, 2002 at 7:30 p.m. Andrew Maxwell & Liz Waldner Tonight we present two truly extraordinary & splashy poets, each witty & compelling in equal measure. Poet, editor, & translator Andrew Maxwell’s Radiant Species is forthcoming from Tougher Disguises in 2002. He edits The Germ, a Journal of Poetic Research & is among the editorial collective of Double Change, an online journal dedicated to interaction between American & French language poets. He lives in Los Angeles, where he works as a lexicographer. Liz Waldner’s books include Homing Devices (O Books, 1998) -- of which Eileen Myles exclaimed “this is my dream of literature” --, A Point Is That Which Has No Part (University of Iowa Press, 2000), Self & Simulacra (Alice James Books, 2002), & the forthcoming Etym(bi)ology (Omnidawn). She divides her time between Washington, New York, & several other states. Timken Lecture Hall, CCAC SF 1111 8th Street (near the corner of 16th and Wisconsin) $5-10 SLIDING SCALE, FREE TO SPT MEMBERS & CCAC COMMUNITY NONE TURNED AWAY FOR LACK OF FUNDS For directions please see our website 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, 4 Feb 2002 17:37:02 -0500 Reply-To: atelier14@hotmail.com Sender: UB Poetics discussion group From: ATELIER 14 Studios Organization: Atelier 14 Studios Subject: SPACE AVAILABLE (Chelsea/SoHo) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit AVAILABLE NOW ********* CHELSEA ARTS / MEDIA / DESIGN STUDIOS SPACE SIZES: 1000, 1400, 2000, 2400, 3400 SQ.FT. (CAN JOIN SPACES FOR UP TO 11,000 SQ. FT.) RAW SPACE - WHITE WALLS - 13 FOOT CEILINGS 24 HOUR/ 7 DAY ACCESS HISTORICAL INDUSTRIAL BUILDING FREIGHT & PASSENGER ELEVATORS NEW LOBBY WITH SECURITY & DOORMAN DAILY / MONTHLY / YEARLY RENTALS AVAILABLE $28 SQ FT. NEW MARKET RATES!! (NON-LIVING!) IDEAL FOR: FASHION, ARTS / MEDIA RELATIONS, SHOWROOMS, ART GALLERIES / DEALERS, PHOTOGRAPHERS, .COM OFFICES, ART STUDIOS.. ********* LARGE DESIGNER / ARTIST LOFT SPACE located ON CROSBY STREET ( below Grand Street) 1600 SQ FT. - $3900 mo. (negotiable) NEW ELECTRIC & PLUMBING, NEW WALLS, NEW LOBBY & ELEVATOR GREAT LOCATION: NEW TOP DESIGNER SHOWROOMS ON BLOCK, WITHIN BLOCKS OF SOHO SHOPPING DISTRICT, NOLITA, LITTLE ITALY, CHINATOWN, TWO BLOCKS FROM ALL SUBWAYS ********* CHELSEA GALLERY DAY / WEEKEND RENTAL AVAILABLE 2500 SQ. FT IDEAL FOR: FASHION, PHOTO / FILM SHOOTS, PRIVATE EVENTS / PERFOEMANCES / PARTIES ********* FOR MORE INFORMATION, PLEASE CALL : 212.714.2354 THANK YOU. RESPECTFULLY, ATELIER 14 STUDIO RENTALS Advanced apologies if you find this notice spamful. ========================================================================= Date: Mon, 4 Feb 2002 21:12:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: FW: _Perspectives on Evil and Human Wickedness_ ejournal (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII -----Original Message----- Dear All, The first edition of the E-journal _Perspectives on Evil and Human Wickedness_ is now available on the website - http://www.wickedness.net http://www.wickedness.net/contents.htm (vol #1) http://www.wickedness.net/ej.htm (main ejournal page) I am enclosing the Table of Contents below for you to see what is on offer. We welcome feedback on, and discussion of, issues arising out of the articles. Any feedback sent in will be included in upcoming volumes. Our next volume (July 02) will be a themed one devoted to Terrorism and War. Submissions that defamiliarize this volatile topic are eagerly sought. Please feel free to get involved and offer your responses. I can be contacted at sghaly@sharjah.ac.ae; Rob Fisher can be reached at rob@fishwest.demon.co.uk Thank you for your attention. Salwa Ghaly Chief Editor ========== Perspectives on Evil and Human Wickedness Table of Contents Volume 1: No. 1 Forewords Rob Fisher and Salwa Ghaly Section One: Perspectives From.....the Disciplines Three Generations: Middle-Earth, A Galaxy Far Far Away, and Hogwarts Laurie Cubbison 5 The Origin of Evil: Classical or Judeo-Christian? Neil Forsyth 17 The Cruelty Beyond Cruelty: Deleuze and the Concept of Masochism Jones Irwin 51 Postmodern Evil: Over Consumption on Brett Easton Ellis' American Psycho (1991) Chris McMahon 61 The Destructive Power of Myth: A Revisionist View of the Extermination of the Pequots & Cathars William A Cook 81 Section Two: Perspectives From.....the Creative Arts Belzec, 1942 Roger Craik 105 Honduran Days Roger Craik 107 Section Three: Perspectives From.....the Professions Evil, Sin and Crime Roger Stokes 109 Forgiving Justice: An Exploration of Spirituality within Criminal Justice 117 Tim Newell Section Four: Perspectives From.....Media Reviews Gattaca Peter Day 137 Event Horizon Fiona Gibson 141 Lord of the Rings Stephen Morris 145 Gormenghast Stephen Morris 147 Bless the Child Paul Davies 159 Web Genocide Documentation Centre Rob Fisher 153 Blake's Illustrations of the Book of Job Rob Fisher 154 Section Five: Perspectives From.....Book Reviews Evil and Christian Ethics, by Gordon Graham Susan Robbins 159 The Many Faces of Evil: Historical Perspectives, by Amelie Oksenberg Rorty Susan Robbins 161 Country of My Skull, by Antjie Krog Diana Medlicott 163 "Faith and Knowledge: The Two Sources of Religion at the Limits of Reason Alone" in Religion, edited by Vattimo & Derrida Jones Irwin 165 Atomised, by Michel Houllebecq Jones Irwin 169 ========================================================================= Date: Mon, 4 Feb 2002 17:00:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Giles Scott Subject: Kenny Goldsmith reading at Stanford In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII To all interested, Kenny Goldsmith--artist, writer, dj, poet--will be reading from his latest baggy tour-de-force, "Soliloquy," Tuesday, February 12 at the Stanford Humanities center on the Stanford University campus. The reading is free and open to the public, and scheduled for 4pm. It will be followed by a q and a. The Stanford humanities center is located at 424 Santa Teresa St. across from the Fire Station and behind the main Union building. If you need more specific directions please contact me at dgscott@stanford.edu ========================================================================= Date: Mon, 4 Feb 2002 15:51:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: available online / buying books? Comments: cc: Geoffrey Gatza In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Geoffrey Gatza wrote: Thank you so much for pointing this site out What a great collection. Just when I was going to break down a buy a real book - I love the web! ------------I Reply: Please Geoffrey, say you were just kidding! And as your penance for even insinuating that one need not buy books, you must go out and buy two! Quick! Get a move on! Best, John Gallaher of the book police ========================================================================= Date: Mon, 4 Feb 2002 21:14:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: [CSL] Incubation2 Conference on Writing & the Internet: Registration now open (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Mon, 4 Feb 2002 08:49:19 +0000 From: Joanne Roberts Reply-To: The Cyber-Society-Live mailing list is a moderated discussion list for those interested To: CYBER-SOCIETY-LIVE@JISCMAIL.AC.UK Subject: [CSL] Incubation2 Conference on Writing & the Internet: Registration now open http://trace.ntu.ac.uk/incubation We are pleased to announce that registration is now available for Incubation, the Second Conference on Writing and the Internet, to be held at The Nottingham Trent University, UK on 15th-17th July 2002. Main speakers include: Lizzie Jackson, Editor, Communities, BBCi Talan Memmott, winner of the trAce/Alt-X New Media Writing Award for his work "Lexia to Perplexia" and Robin Rimbaud, sound artist, on working with digital texts and sounds. Incubation2 is the second trAce International Conference on Writing & the Internet, and the premier international event for writers working on the web. In 2000 it attracted delegates from around the world, including America, Australia, Brazil, Canada, Holland, Norway, Slovenia and Sweden. 2002 promises to be even bigger. Incubation2 is not just a chance to hear some of the best writers working on the web today. It will provide a showcase for the writing of the future and offer a glimpse into the work of writers who use the internet to develop ground-breaking content: poetry with sound and images, personal histories, news, journalism, stories with multiple endings. This is writing on the web, for the web, and about the web. The conference is a significant opportunity for writers to extend their professional development, learn new skills, and interact with some of the leading writers and artists working online today. There will be opportunities to meet with writers who have made a significant contribution to this new form, as well as the chance for writers to show their own work and look at other people's. There will be skills-based workshops and feedback workshops, panel discussions, presentations, demonstrations and performances, and plenty of opportunity to network and meet those people you only ever knew online. An archive of pictures, sound recordings and comments about the previous Incubation conference in 2000 is also available. We hope we will be meeting you in July. http://trace.ntu.ac.uk/incubation trAce Online Writing Centre The Nottingham Trent University Clifton Lane Nottingham NG11 8NS ENGLAND Tel: ++44 (0)115 8486360 Fax: ++44 (0)115 8486364 Web: http://trace.ntu.ac.uk Email: trace@ntu.ac.uk ************************************************************************************ Distributed through Cyber-Society-Live [CSL]: CSL is a moderated discussion list made up of people who are interested in the interdisciplinary academic study of Cyber Society in all its manifestations.To join the list please visit: http://www.jiscmail.ac.uk/lists/cyber-society-live.html ************************************************************************************* ========================================================================= Date: Mon, 4 Feb 2002 20:48:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Contact info for K. Silem Mohammed Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit please backchannel. Thanks! ========================================================================= Date: Mon, 4 Feb 2002 21:00:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Contact for Brian Kim Stefans Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit thanks again! please backchannel ========================================================================= Date: Tue, 5 Feb 2002 12:51:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther, John" Subject: i shit flags MIME-Version: 1.0 Content-Type: text/plain are you a patriot? > http://www.whitehouse.org/initiatives/patriot/index.asp > > ========================================================================= Date: Tue, 5 Feb 2002 15:32:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit .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. > If this is a democracy (and there is doubt about this), then it is the people who are responsible. So where are the celebrated voices that spoke out during the Vietnam War? Where are the intellectuals? What's the Poet Laureate saying about the killing fields called Afghanistan? Where are the Yippies? -Joel ========================================================================= Date: Wed, 6 Feb 2002 12:17:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: New Possum Pouch on line Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please visit The Possum Pouch: An irregular publication of essays, notes and reviews at http://www.skankypossum.com. The Pouch is free, fat, fresh, and will not be archived. Read it while you can! FEATURING = Epigrams on 86 Living American Poets by Kent Johnson Check to see if you’ve been epigrammed! = A poem by Mark Spitzer = An essay on “John Ashbery and the American Closet” by Fred Smith = Pouch Notes: Peggy Kelley reviews _Tea Shack Interior_ by Andrew Schelling = Dig it! Magazine mentions from our mailbag representing the Twin Cities, Brooklyn, Philly, and Berkeley... _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ========================================================================= Date: Tue, 5 Feb 2002 22:04:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ray Bianchi Subject: Toxic Poetry Group MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To All interested; this is a open call to anyone who is interested in poetry that is progressive/avant garde, is committed to language and lives in Central NJ. I am trying to put together a small group of like minded folks here nothing too organized . If you are interested send me a note. Thanks R Bianchi ========================================================================= Date: Tue, 5 Feb 2002 00:51:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the true complaint MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - the true complaint see our breasts. We want to touch everything. We want to mark mark, almost sexualized, as our bruised breasts would smash our bodies locked together. i will never rest or sleep again until i know THE TERRIBLE - THE TERRIBLE SECRET. this place has a terrible secret. it's an institution; the charred palm and wood matches igniting everything in the institution. I'd rather you fuck me until we drop, rather than reveal a single word of this not to ever have the slightest inkling of this, ever. Even if we fuck and our species imitates the dead. we are wanderers without hope of the All, but the prognosis - pro gnosis - was different. it was a dead end. i noticed there are an enormous number of potential diseases, some deadly. i want to be of the living with the dead. we left stones unturned, noted how we came to call each other black and blue. our skins around our fuck until we drop are reddened and almost dead as we write our quality text. Aw, who am I kidding? No one will skin us, alive or dead; we'll molder dead; our tales of terrible sex will die with us. THE TERRIBLE SECRET will die with us. We'd like to burn the institution to the ground. I'm keeping THE TERRIBLE SECRET. You know nothing's going to happen. _ ========================================================================= Date: Tue, 5 Feb 2002 09:48:41 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris McCreary Subject: Rachel Tzvia Back @ Cabrini College MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable I'm circulating this for Seth Frechie, a professor at Cabrini. Sounds like a= =20 great event.=20 -- Chris McCreary POETRY READING--CABRINI COLLEGE, RADNOR, PA: =20 Rachel Tzvia Back, born in 1960 in Buffalo NY, is the 7th generation of her=20 family in Palestine (her grandfather left Palestine in the 1920s, looking fo= r=20 the "golden medina" on America's shores--in the 1980s she returned to Israel= =20 to make her home there). She studied at Yale, Temple and the Hebrew=20 University in Jerusalem. =20 Her collection of poetry entitled Azimuth was published this fall by Sheep=20 Meadow Press =E2=80=94 a Hebrew version of this collection was published in=20= Autumn=20 2000 by Kibbutz Hameuchad Press. Her poetry has appeared in numerous=20 journals in America and abroad, including The American Poetry Review, Sulfur= ,=20 Bridges, Tikkun and Modern Poetry in Translation, and in several anthologies= =20 including the Suny Press Anthology Dreaming the Actual: Contemporary Fiction= =20 and Poetry by Israeli Women Writers. In 1996 she was a recipient of the=20 Israeli Absorption Minister's award for Immigrant writers, which included a=20 grant to have her collection of poetry translated into Hebrew. Her own=20 translations of Hebrew poetry into English have appeared in various volumes,= =20 including The Feminist Press anthology The Defiant Muse: Hebrew Feminist=20 Poems From Antiquity to the Present. Her critical work Led by Language: the= =20 Poetry and Poetics of Susan Howe is forthcoming in February 2002 from The=20 University of Alabama Press, in their Contemporary and Modern Poetics Series= . =20 Back works as a lecturer in English literature at Tel-Aviv University and=20 Oranim College, Haifa, and she resides in a small village in the Lower=20 Galilee with her life-partner and their three children. =20 Dr. Back will visit Cabrini College on Monday, February 18th.=C2=A0 She will= be=20 speaking to faculty and students at 2:00 p.m. in the President's Hospitality= =20 Suite (Dixon Center).=C2=A0 At 4:00, she will present a poetry reading, free= and=20 open to the public, in the Mansion Foyer.=C2=A0 A wine and cheese reception=20= will=20 follow.=C2=A0 Please visit www.cabrini.edu for directions to the college. ========================================================================= Date: Tue, 5 Feb 2002 22:06:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ray Bianchi Subject: Iron MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit E Nessuno Pressed against the glass my mouth bleeds a little and I ask why do we use metal to fill our rotten teeth? The pressure opens the stitches in my fat lip. The sound of speaking another language angers me ; I do not sound like Dante or Pablo Neruda. The tierra austral is in the sleep around my eyes and smell of the morning dankness. Fastness and fasting do not come together. As I lack food I lack time to listen to the sound of the toilet flushing or the gas leaking out of the broken pipes. Tear open the package and pour the contents into a bowl, mix vigorously and ask --why not eat the box as well? Individual colors are filling places where once I had monochrome feelings. The photographs are filled with images of people with small chin clefts like my wife's and long flaxen hair. The monochrome allowed for various grays, now I do not know What gray looks like. But chin clefts are a sign of the consumption of much coffee during pregnancy. The color of the dirt was tasty and I asked for more tartar sauce. How did a group as violent as the Tartars invent such a sauce? Brian had a son today I wish I had a son. Memories flow and ask questions of my debilities. ----- Original Message ----- From: To: Sent: Friday, February 01, 2002 7:10 PM Subject: RealPoetik > Arlen Humphries > > > > > Arlen lives and works in a large, Eastern metropolis. He's the author of > Optima Suavidad (Greenbean Press), and when asked for comment wrote: "Be > sure to tell those poseurs to buy the goddamned book, ISBN 1-891408-08-9, > available on amazon or www.greanbean.com." > > > You know you're too drunk when > you're laughing and bleeding > at the same time. > > The funniest joke in the world > ends with the word "pianist." > They did a study at Cornell. > > What can't be said > can't be said > and it can't be whistled, either. > > More good advice: > always smell the milk before you drink it, and, > never hold a gun for a friend. > > Why did two separate cultures thousands of miles apart, > both invent pyramids and did it have anything to do with Atlantis? > No. > > No pleasure so sweet as sitting indoors on a cold, rainy day, > a cat in your lap, > watching Republicans taking the Fifth. > > Every time you hear yourself saying, > "I deserve a chance for happiness," > you're already doomed. > > Disaster is, > I promise, > staring you in the face. > > I met a mysterious stranger who > told me things about myself I didn't know anyone knew. > He worked for department store security. > > Two dwarves on TV > advising me how to deal in real estate > with no license and no down payments. > > I want to be feared by men > and loved by women, > In other words a lesbian. > > But, hey! > We still see each other, > OK, she doesn't see me. > > Anxious to help, > the psychics decide > to stay the night. > > And would do it again! > I don't care what > the court order says. > > The roar of the 45 shook the room. There was an ugly swelling in her > naked belly where the bullet went in. "How could you?" she asked. I knew > I had only a moment before talking to a corpse but I got it in. > > "My call was important to them," I said. > > > > > > Arlen Humphries > ========================================================================= Date: Tue, 5 Feb 2002 13:02:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: apostrophe MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Does anyone out there know of any recent essays etc. that take an interesting look at/approach to apostrophe (not apostrophe in the sense of a mark ' used to indicate the omission of letters or figures etc, but apostrophe in the sense of Shelley's "O Wild West Wind" or Kenneth Koch's recent "New Addresses")? If so, I'd greatly appreciate a backchannel at dkane@panix.com. thanks in advance, --daniel ========================================================================= Date: Tue, 5 Feb 2002 17:14:39 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: Re: Linh Dinh in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit And anyone who wants to read more, please order _Three Vietnamese Poets_, translated by Linh Dinh, available for $9 from Tinfish Press, 47-728 Hui Kelu Street #9, Kaneohe, HI 96744. Good stuff!! Susan ----- Original Message ----- From: "Garin Lee Cycholl" To: Sent: Monday, February 04, 2002 12:31 PM Subject: Linh Dinh in Chicago > The University of Illinois at Chicago campus reading series invites you to > a reading by Linh Dinh on Thursday, February 7, at 12:30 P.M. at UIC's > Rathskellar. The room is located in the basement of the Atrium Building > (near the southwest corner of Halsted and Harrison). The reading is free. ========================================================================= Date: Wed, 6 Feb 2002 00:19:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: Bernstein @ Bridge Street 2/10 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Bridge Street Books presents Charles Bernstein Sunday February 10th @ 7 PM a reading & publication celebration for his new book from the University of Chicago Press, WITH STRINGS. Bridge Street Books 2814 Pennsylvania Ave NW Washington, DC ph 202 965 5200 In Georgetown next to the Four Seasons Hotel, 5 blocks from the Foggy Bottom Metro on the blue & orange lines. ========================================================================= Date: Tue, 5 Feb 2002 23:18:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Broder Subject: Ear Inn Readings--February 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 (west of Greenwich Street) New York City FREE Subway--N,R/Prince; B,D,F,Q/Bdwy-Lafayette; C,E/Spring; 1,9/Canal February 9 Memorial reading for Agha Shahid Ali Regie Cabico, Quraysh Ali Lansana, Fran Gordon, Kate Light, Jason Schneiderman, Daniel Paley Ellison and others share stories and poems in honor of the late Kashmiri-American poet If you would like to read in the Shahid memorial, please contact us by reply email or at the phone number below. February 16 Marc Bibbins, Michael Klein, Wayne Koestenbaum February 23 Quraysh Ali Lansana, Mark Turcotte For more information, contact Michael Broder or Jason Schneiderman at (212) 246-5074. ========================================================================= Date: Wed, 6 Feb 2002 01:00:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Make that phone call! (House to Vote on Campaign Finance Reform Next Week) Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Folks, if you make one phone call, write one email, or send one fax to your congressperson this year, this is the one! Don't put it off . . . http://www.house.gov/writerep/ http://www.visi.com/juan/congress/cgi-bin/buildpage.cgi?state=3Dny http://congress.org/ * February 6, 2002 In Surprise Move, House Speaker Schedules Vote Next Week on Campaign Financ= e Overhaul By ADAM CLYMER and ALISON MITCHELL In Depth Congress WASHINGTON, Feb. 5 =8B Speaker J. Dennis Hastert announced today that the House would vote next week on a long-stalled bill that would amount to the broadest campaign finance legislation since the Watergate era. The legislation to ban the use of soft money, the unlimited contributions from businesses, unions and wealthy individuals that reached $500 million i= n 2000, will be debated on Tuesday and come to a vote on Wednesday, he said. "I expect there will be a vigorous debate on this issue that will reflect well on the House of Representatives," Mr. Hastert said. While Republican leaders oppose the bill, a vote on it was made inevitable when supporters obtained 218 signatures, or a majority of the House, on a petition that forced the measure to the floor. Still, proponents of the bill were caught slightly off-guard by the timing of Mr. Hastert's announcement and said they had expected it to come up in the last week of February, which would have given more time for grass-roots lobbying. A spokesman for Representative Richard A. Gephardt of Missouri, the Democratic leader, said, "We thought we had an agreement to do it later in the month, but we're eager to do it sooner." Representative Martin T. Meehan, the Massachusetts Democrat who is one of the bill's chief sponsors, said: "It's coming up quicker than anyone anticipated. I like our chances. The unfolding Enron scandal underscores th= e need for campaign finance reform." The impending debate now sets off a final scramble for votes with neither side certain who will win. Senior Republican aides said one of the reasons that the House leaders had decided to move now is that they wanted to head off any effort by the bill'= s supporters to delay its effect until after the 2002 elections. They said they feared that such a delay might build more Republican support for the measure. The Republican aides said that if the debate happened now and the bill could become effective quickly, some Democrats might worry about votin= g for it. Democrats have run about even with Republicans in soft money fund-raising, but they lag behind Republicans in regulated donations. Some supporters of the measure, declining to be named, suggested that another reason for the speedy vote was the expectation that two of the bill's major supporters, Senator John McCain, Republican of Arizona, and Mr= . Gephardt, of Missouri, would be unavailable to lobby for health reasons. Mr. McCain is at the Mayo Clinic for plastic surgery after removal of an early form of melanoma from his nose. Mr. Gephardt had hernia surgery scheduled for next week. After Mr. Hastert told him the bill would come up, Mr. Gephardt rescheduled the procedure for this Friday. John P. Feehery, the spokesman for Mr. Hastert, said, however, that Mr. Hastert had scheduled the vote in consultation with Mr. Gephardt and had originally wanted to have it on Monday and Tuesday, but waited a day to accommodate Mr. Gephardt. He said Mr. McCain had not been a factor in the decision. Fred Wertheimer, head of Democracy 21 and one of the architects of the 1974 Federal Election Campaign Act as well as a longtime critic of the use of soft money, said that while intensive lobbying had been planned for the Congressional recess this month, "the grass-roots lobbying will continue an= d intensify up until the votes on Wednesday." Similar legislation has passed twice before in the House, but always in the correct expectation that a Senate filibuster would kill it. But after the Senate passed the bill last year, the House action took on a crucial nature= , especially because President Bush has made it clear that while he does not like the bill, he cannot be counted on to veto it. After the Senate vote, the bill nearly came to the House floor in July, but when supporters decided the procedures were stacked against passage, they killed it on a procedural vote. Republican leaders declined to reschedule it, so supporters filed the petition to force action, and on the second day of this session in January they reached the 218 signatures required to brin= g it up.=20 The bill is supported by nearly all House Democrats, and a couple of dozen Republicans. If all members who have voted for it before do so again, it will pass, but with the likelihood of it becoming law, the pressure on some moderates will be intense, both from the Republican leaders, who unanimousl= y oppose the bill, and from groups like Common Cause, whichback it. "We asked for a fair vote and we are going to get one," said Scott Harshbarger, president of Common Cause. Under the procedures set by the petition and confirmed by Mr. Hastert, the bill will be pit against as many as two competitors and face numerous amendments. Supporters want as few changes as possible to speed Senate action and avert a House-Senate conference. --NY Times ========================================================================= Date: Wed, 6 Feb 2002 08:46:37 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: 6ix magazine double issue Comments: To: wwhitman@waltwhitmancenter.org, whpoets@dept.english.upenn.edu Comments: cc: jblum23@erols.com, VFOX@prodigy.net, HT6ix@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit check it out check it out TENTH ANNIVERSARY DOUBLE ISSUE VOLUMES 7&8 of the literary journal 6ix is now available for sale CONTRIBUTORS TO THIS ISSUE INCLUDE: anne waldman, camille martin, tom whalen, alice notley elizabeth treadwell, liz waldner, stephen ratcliffe, linda russo, hank lazer, marcella durand, charles alexander, and many more... Double Issue: $10 Subscription: $8 Back issues: $6 TO ORDER A COPY of this perfect-bound issue: e-mail the editors: valerie fox: vfox@prodigy.net julia blumenreich: jblum23@erols.com heather thomas: ht6ix@aol.com alicia askenase: askealicia@aol.com or mail checks payable to 6ix c/o Julia Blumenreich 427 W. Carpenter Lane Philadelphia, PA 19119 or c/o Alicia Askenase 109 West Walnut Ave. Moorestown, NJ 08057 We thank you for your support and are pleased to offer you one of our finest issues to date. the editors ========================================================================= Date: Wed, 6 Feb 2002 10:54:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Re: Craig Dworkin talk In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" On January 31, Maria Damon wrote: "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, so much the better, no?" I'm interested in, I think, how this opens up to other systems and methods. There seem to be two distinct types of truth and/or systems of argumentation at work: the larger discursive truth of the "reading" and its parts, but also the iconic evidence that's perceived to be semiotically and logically separate. These types don't seem to be displayed with equal proportion or value, but the proportions and values of each system are necessarily linked to the logic of the other system. One might try to contend that they're not semiotically or logically separate, but I think that would be a tough go. That would mean saying something like "sadness" is in the stanza in the same way as the "tree" is. That would be curious, but this doesn't seem to be what's happening. What's interesting to me is not so much the reading or a series of readings, but the emergence of the other system and its logic and values, its "visibility," now "legibility" and how reading negotiates all that, subsumes it, etc. Ward Tietz ========================================================================= Date: Wed, 6 Feb 2002 11:42:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: [phillytalks #19] Rob Holloway Event Response MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE ANNOUNCEMENT http://phillytalks.org/ Rob Holloway=92s Post-Event Response to PhillyTalks 19 (Allen Fisher/ Karen Mac Cormack). Rob Holloway is=20 the author of three chapbooks: American Heroines=20 (Writers Forum, 1998), Permit, a sampler (self-publ.,=20 2000), and Permit IV (Spanner, 2001); work has appeared=20 in And, Gare du Nord, Mirage/Periodical, Tongue to=20 Boot. He lives in London, England. PhillyTalks 19: the pre-event newsletter of written=20 exchanges between Allen Fisher and Karen Mac Cormack;=20 the pre-event responses to the newsletter and the poems=20 by Matt Hart and Marjorie Welish; the live event of=20 poetry readings and discussion by Fisher and Mac Cormack=20 (with audience and webcast participation by Ron Silliman,=20 Keith Tuma, and others); the post-event response to=20 the newsletter, to the pre-event respondents, and to=20 the live event by Rob Holloway; the essay "Crowd-Out"=20 and the poem "Waddle" by Allen Fisher. Further=20 post-event responses to PT19 will be announced as=20 received. All available for free download at=20 http://phillytalks.org/ PhillyTalks is generously funded by Kelly Writers=20 House at the University of Pennsylvania, and by=20 Slought Networks at: http://slought.net/ -- Louis Cabri & Aaron Levy ========================================================================= Date: Tue, 5 Feb 2002 23:38:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ontology, splintered thought MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - ontology, splintered thought of the body's sickness::: genetic acid redux; Aspirin to live forever; dizzy and skittered, approaching ontology and so much real existence :cholesterol maintenance; Celexa for obsessive thought and depression in the wake of termination and 9/11; Aciphex for genetic:...skittered domain of thought, Cipro for infection and i become light-headed, exhausted; Lipitor for genetic cholesterol :: during the fevers or night-sweats... waking, calling forth unknown names, i dream in english tongues, Celexa night-cycles,:grips... a messy ordering of the world... lianas, epiphytes, saprophytes... some things will straighten out... Codeine during :inside of everything a sphere and ovals mix... caffeine... soy... the need of a Program Transcendent... i'll come to grips... :: night-cycles... purity... of the madness of the body::: genetic acid redux; Aspirin to live forever; :cholesterol maintenance; Celexa for obsessive thought and depression... white-powders... night-cycles,:grips... messy ordering of the world... lianas, epiphytes, bioterrorism :cholesterol maintenance; Celexa for obsessive thought and depression in calls forth death girlfriend, hungered, making things. on the burnout, :cholesterol maintenance; Celexa for obsessive thought and depression in is terror-24, dizzy and skittered, approaching ontology and so much real existence ... girlfriend is night-cycles,:grips... a messy ordering of the world... lianas, epiphytes, on wet flesh girlfriend... :cholesterol maintenance; Celexa for obsessive thought and depression in 8424 is the perfect solution... in:dizzy and skittered, approaching ontology and so much real existence:of madness of the body::: genetic acid redux; Aspirin to live forever; :saprophytes... some things will straighten out... Codeine during :inside:saprophytes... some things will straighten out... Codeine during :inside... _ ========================================================================= Date: Tue, 5 Feb 2002 21:15:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Article on and interview with Jim Andrews by Roberto Simanowski In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Thanks very much to Florian Cramer for his translation of Roberto Simanowski's article on several pieces of mine at http://www.dichtung-digital.com/2001/12/10-Simanowski/cramer.htm . The original German version of the article is at http://www.dichtung-digital.com/2001/12/10-Simanowski/index.htm It is named "Kampf/Tanz der Wörter -- Jim Andrews' kinetisch-konkrete audio-visuelle Poesie" ("Fighting/Dancing Words -- Jim Andrews' Kinetic, Concrete Audiovisual Poetry") and looks at Seattle Drift, Enigma n, Arteroids 1.0 at theremediproject.com, Nio, and the stir fry texts. There is also an interview of me by Roberto at http://www.dichtung-digital.com/2001/12/29-Andrews/index.htm . These are pieces that will be in Roberto Simanowski's upcoming http://www.dichtung-digital.de from Germany which is devoted to digital writing and aesthetics. And apparently very strange poetry. ja ========================================================================= Date: Tue, 5 Feb 2002 10:43:47 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: roger.day@GLOBALGRAPHICS.COM Subject: The 12th Cambridge Conference of Contemporary Poetry... Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii ...will take place in Cambridge, UK over 3 days, from the 26th to 28th April. The poets confirmed thus far are posted on the website - http://www.cccp-online.org/ A schedule will be posted on the website and poetics nearer the time. Apologies to those who will receive this more than once. Roger. ========================================================================= Date: Tue, 5 Feb 2002 18:46:45 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: blk Subject: mesmeranda Content-Type: text/plain; charset="us-ascii" Imagine something different in a first risk-taking book -Bruce Andrews. Memoranda from the shades of Mesmer conjure singular synchronicities, sounds soaring across letter shapes - Nick Piombino. +++++++++++++++++++++++++++++++ PROVIDENCE Frantic, wrench into style ones tax hired prose I turn my exile trust movement she can come burn slots off this oceans depths Self-love to change fueling which must write old wrong waves tire of horizon and turn goals speech with rusty tones above beach, running peculiar as engraved chemists be cloud once a love of county cuisine tough now, even I choose theres no room at that aisle launching best minds room like docks First paper pioneering middle pills my hand. Paper thin late peer pins riddle at parks harassment income not spread of debt. Announce to many dead there all familiar character even having died fire flesh nylon fears that furnace now over, that killing of ash fall son Nordiques clouding, undercutting cyclical wipe means each again like a plane all extended fence easily ++++++++++++++++++++++++++++++++++++++++++++++++ Chris Sawyer Mesmeranda 43 pages ISBN 1-893541-14-2 2000 $7.00 New Chapbook Series #37 Avaiable from: Small Press Distribution 1341 Seventh St. Berkeley, CA 94710 www.spdbooks.org ========================================================================= Date: Tue, 5 Feb 2002 23:12:44 -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: Calgary Writer's House MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Re: Calgary writers house interviewnew from the calgary writers house: just to say there is a bunch of new stuff up on cwh which can be = accessed by hitting this link: http://www.ucalgary.ca/~cwh/archive/ if you do not have real player downloaded on your computer then you = will not be able to listen to the readings. on the media archive page there is a link to the realplayer website - = where you can download a free player - or i have pasted the address = here: = http://www.real.com/realone/trial.html?dc=3D2221131&src=3D020129realhome_= 2 once in the page go to the right hand column where it says "download = the free real one player only" - this should not be the trial player - = its then easy to download. if you have any problems please email me. its worth the trouble to hear: Dennis Cooley [ interview ] Barry McKinnon [ interview ] George Bowering [ reading ]=20 George Bowering [ interview ]=20 Basil Bunting: Briggflatts [ Briggflatts reading ]=20 Christian Bok [ interview ]=20 if you would like to receive updates: Subscribe to Calgary Writers = House=20 =20 Join the CWH e-mailing list to receive notice of upcoming = events and additions to the online archives.=20 To subscribe, email cwh@ucalgary.ca with = "subscribe_your_name_here" in the subject of your message.=20 =20 i also welcome any ideas or comments. take care, andrea andreastrudensky@shaw.ca ========================================================================= Date: Wed, 6 Feb 2002 08:51:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Long Subject: New Chapbook at 2River Comments: To: Cafe BLue , new-poetry@wiz.cath.vt.edu MIME-version: 1.0 Content-type: text/plain; format=flowed; charset=us-ascii All, 2River today released FIRST WOMAN, a chapbook by Katja, in which the narrator experiences the loss of innocence, then discovers the surprise and disorder of being alive. Katja is a neurologist, wife, and mother, with poems in several little magazines. FIRST WOMAN, with art by Margot McGowan, is the 12th addition to the 2River Chapbook Series. Richard Long ====== 2River rlong@2River.org http://www.2River.org ========================================================================= Date: Wed, 6 Feb 2002 10:34:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "WrightZ, Laura" Subject: Re: Linh Dinh in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Does anyone know if Linh Dinh is reading anywhere else in the U.S. in the near future? -- Laura Wright Serials Cataloging Norlin Library, University of Colorado, Boulder (303) 492-3923 "Translation is not appropriation; it is a form of listening that then changes how you speak." --Eliot Weinberger ========================================================================= Date: Wed, 6 Feb 2002 12:06:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG pledge drive Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit POG is in the midst of a pledge drive, trying to raise $1,000 this spring in individual donations (we raised several hundred dollars in fall). So far, in the past 10 days, $400 has been donated or pledged. So we have $600 still to raise in individual donations. Please consider pledging to POG. A $100 donation makes you a Patron; $50 makes you a Sponsor. But no amount is too small! If you'd like more information about POG, please email us or visit us on the web. thanks for your help, Tenney (Nathanson, for POG) POG: http://www.gopog.org mailto:pog@gopog.org mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn/ ========================================================================= Date: Wed, 6 Feb 2002 13:47:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Boog City presents Jenny Smith and friends 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 City presents this Friday, February 8, 2002, 7pm Jenny Smith & friends w/performances by Brenda Coultas, Brendan Lorber, and John Wright music from Tim Simmonds and, of course, Jenny Smith Sideshow Gallery 319 Bedford Ave. Williamsburg, Brooklyn, NY $5 publication party for Boog Literature chapbook #30, Wait a Minute Harriet, by, yes, Jenny Smith (with a rockin' cover by one Tracey McTague!!) chapbook, normally $6, will be $5 this night only (mail order info at end of email) Hosted by Boog City editor David Kirschenbaum Directions: Bedford Ave. stop on L, bet. S.2nd and S.3rd streets Info: 212-206-8899 • booglit@theeastvillageeye.com to order Wait a Minute Harriet by mail, send check or money order payable to Boog Literature to: David Kirschenbaum, editor Boog Literature 351 W.24th St., Suite 19E NY, NY 10011-1510 Attn: Boog Chapbook #30 ________ apologies to those who receive multiple copies of this email -- David A. Kirschenbaum, editor and publisher Boog City 351 W.24th St., Suite 19E NY, NY 10011-1510 T: (212) 206-8899 F: (212) 206-9982 booglit@theeastvillageeye.com ========================================================================= Date: Wed, 6 Feb 2002 12:49:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: FW: Mark Weiss reading/reception Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: Poetry Group [mailto:POG@LISTSERV.ARIZONA.EDU]On Behalf Of charles alexander Sent: Wednesday, February 06, 2002 12:36 PM To: POG@LISTSERV.ARIZONA.EDU Subject: Mark Weiss POG & Chax Press Present A Reading/Reception featuring poet and Junction Press publisher/editor Mark Weiss and featuring a new chapbook by Mark Weiss, FIGURES: 32 POEMS published by Chax Press retail: $12 available at this event for $10 Thursday, February 7, 7pm - 9pm at the home of Liisa Phillips 2040 E. Drachman (3 blocks north of Speedway, 2 blocks east of Campbell, at the SW corner of Drachman and Olson) Contributions requested. Food & Drink contributions would also be most helpful; some food and drink will be provided. We anticipate the reading to be about 20 minutes, followed by a question/answer session with the poet. Please call 620-1626 for information. ========================================================================= Date: Wed, 6 Feb 2002 15:29:45 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Speaking of Linh Dinh Comments: To: whpoets@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Listees, Does anyone have contact information for him? Please back channel and thanks. Alicia Askenase Walt Whitman Art Center ========================================================================= Date: Wed, 6 Feb 2002 17:09:11 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: MacCabe on Raworth MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A question. I'm trying to track down the original text of Colin MacCabe's review of Tom Raworth's _Writing_. The review appeared in the _TLS_; however, the editors required MacCabe to make extensive changes to it--notably, forcing him to weaken his praise of the book & to include a passage comparing it to the work of Tony Harrison. MacCabe himself can't seem to find the original text now (I asked him) & I'd like to get a copy; I know it has been circulated at least to some extent as I've seen it cited twice in its original version in articles on Raworth. Could someone help me out? -- 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 ========================================================================= Date: Wed, 6 Feb 2002 19:51:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Millie Niss Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit In New York, at the major independent bookstores, you see signs about (and signs of) groups forming, meetings happening to organize against the war, many led by well-known poets & writers (well, well-known to me; I don't think people like Anne Waldman or whomever else are well-known outside the readings/poetry scene, but within it they are very known, whether you like their work or not...) I keep meaning to go to a meeting, but I am busy and also dead tired having just emerged from a long down time, so I have to choose my battles, and (you may fault me for this) what I find I really want to do is to catch up with my own reading and writing after 13 months of nothingness. I do go to readings a lot though, so why not to an anti-war meeting? I was even brought up as a Quaker, by two parents who were very active against the Vietnam War (my father refused to go to his call-up and had a whole demonstration, just for him, that went to Whitehall Street. Now he has become so conservative that he supports this war, although he would never vote for Bush for social welfare reasons and because of always voting for democrats... But he really believes we have to stamp out terrorists. I am begining to fear that anyone the govenment doesn't like will be labeled a terrorist. The relevance of this story is a long stretch (since it was police and not the feds & also pre sept. 11), but I once was stopped by the NYC police and threatened with a night in jail because I put up a poster for an online writing class I was teaching (I had been doing it free for mentally ill folks for a couple of years and people finally said that with the time I was putting in I should try to make money on it, so I put up a few posters, saying the class was $100 (for 8 weeks--it was a bargain!) or free for disabled, unemployed, or persons on public assistance) and two cops in a super duper copmobile stopped me and said I was breaking the law and didn't I know it. I didn't. I was defacing a bus-stop that didn't belong to me. (There were at least 40 other posters on this bus-stop.) And finally. DID I HAVE ID? I didn't have ID. I showed my Voter's registration card which showed I lived four blocks away from where this happened and was a responsible, voting citizen. I showed my credit cards. I showed my ID from when I went to grad school in Boston. I showed my Medicaid card. I was getting desperate, running out of cards... A NYC Public Library Card (where you REALLY have to give good proof that you are a resident)... A Blockbuster Video card...This was getting ridiculous. The cop kept saying, JUST SHOW US YOUR LICENSE MA'AM! WE NEED A PICTURE ID. I said that I had no driver's license. That I don't drive. That it was probably inadvisable for me to drive because of some medication I was on. Finally they giave me back all my stuff all messed up and I had trouble putting it back into my wallet neatly. They told me I couldn't leave because they had to see if I was telling the truth when I said there wasn't a warrant out for my arrest. I decided to make this as theatrical as possible. This was right by the entrance to Barnard College, where college students come in and out all the time, even at 9pm. I move slightly beyond the gates, and stand up against the wall with my hands up. The cops look happy. People ask what they got me for. I know I can't joke around but it will be enough to say the straight truth. "I put a poster up on a bus-stop. It's against the law." No one can believe this as almost every college student has, at one time, put a poster on the bus-stop. Sometimes I say, "they say I can spend a night in jail for this." During the checking process, which seems to take forever, the cops needle me, "better go out and get that ID. I mean, if you'd had ID it would be one thing, but without it we're bound to wonder if you are who you said you are..." [personally, I thought that giving them every card in my wallet told my life's story much more than a driver's license would have. I also thought that the US didn't require citizens to carry ID, unlike France, where I had also lived, and rarely had carried ID anyway, because the cops were nicer...] Finally, they find out that I really don't have a warrant out for my arrest and am not violating the terms of my nonexistent parole etc., and they let me go but not without a stern lecture about my criminal behavior. I was terrified throughout the process. Once they leave, I am still in shock, but angry, too. How dare they go around harrassing young women who've done almost nothing wrong. Why didn't they go and arrest the crack dealer who works at the end of my street under the base of the Samuel J. Tilden statue? I was tempted to ask them this (and I have never taken an illegal drug in my entire life) but THANK GOD I didn't because they would have interrogated me on how I knew there was a crack dealer there and how often I bought from him and what he charged etc., and they never would have believed the true explanation which is that I live in an apartment that overlooks that statue. Anyway, I'm sure the crack dealers pay the cops a percentage of their income so the cops certainly won't ever close them down....... Incidentally, if the cops were using profiling when they stopped me, it's pretty strange profiling: I'm white, 25-35, very overweight, dressed in an ankle length skirt and matching sweater, with possibly a jacket, and carrying a canvas bag (from a bookstore) with "the evidence" (they asked me to show them the roll of scotch tape I had been using to commit the crime, as well as the posters). What kind of crime is mostly committed by middle class out-of-shape young white women? I told this story to a black friend and he said, laughing, "They did that to a white woman? With the way you dress?" and proceeded to tell me he always got that kind of treatment from cops, from the time he was twelve, even if he dressed real nice (then they wanted to know how he could afford to dress nice....) So I am scared of the cops for another reason (disability-related) and scared of them because they stopped me for almost no reason and threatened me with jail and now that I'm trying to write (and hopefully get published), maybe my writings could make me a terrorist. I mean I used to be free to write that Bush obviously doesn't know how to fight a guerrila war, and that he should receive some training in one of those Al-Quaida camps before he shuts them all down, but now, were such a thing to appear in an articles, poems, or prose poems by me, I'd have to deny every having writing them, now that I've been taught by those Enron guys how to take the Fifth and get away with it... For the record, I never wrote the last paragraph. I never even thought up the last paragraph. The last paragraph is a figment of your imagination. But you never thought it either, dear email reader, because I'd hate to see you in the outdoor cell next to mine in Guantanamo Bay. Do you think we'd be allowed writing paper? How about reference books? What if we requested, through the Red Cross, a complete copy of the poems of Allen Ginsberg? I don't even like all his poems, but he'd be real good poet to have if you were in jail. Would we get an expurgated version, without all the dirty words? Would they go so far as to get rid of dirty acts even if they did not have any dirty words in them? After all, homosexuals are all terrorists, aren't they? Not only do they hide explosive material in their assholes, but it turns them on, and when they die, it's just one big orgasm before the afterlife where they have eternal reward for getting rid of Baby Bush. Millie P.S. I hope people can recognize a) sarcasm and b) words that are written not in my voice, but in the voice of the oppressor ----- Original Message ----- From: Joel Weishaus To: Sent: Tuesday, February 05, 2002 6:32 PM Subject: Re: query on behalf of a friend > .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. > > > > If this is a democracy (and there is doubt about this), then it is the > people who are responsible. > So where are the celebrated voices that spoke out during the Vietnam War? > Where are the intellectuals? What's the Poet Laureate saying about the > killing fields called Afghanistan? Where are the Yippies? > > -Joel ========================================================================= Date: Thu, 7 Feb 2002 01:57:06 +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 I think the whole series of events have moved so fast that they've all been left "stranded", confused, and shocked. The super-right have carried out a brilliant Reichstag burn-down: next you'll have a semi-Soviet Russian-Hitlerian-Nazi military-industrial system: people will start to diseappear and people will stop questionning where they've gone: the CIA etc will probably crack down on emails next. Could even shut down this List as being "subversive". Wouldnt surprise me. If I was a US citizen I would be very frightened. But fear can be channeled and controlled. And one would have to protest (or organise active revolution against) or versus the fascists who are running the US just now..Richard. ----- Original Message ----- From: "Joel Weishaus" To: Sent: Wednesday, February 06, 2002 12:32 PM Subject: Re: query on behalf of a friend > .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. > > > > If this is a democracy (and there is doubt about this), then it is the > people who are responsible. > So where are the celebrated voices that spoke out during the Vietnam War? > Where are the intellectuals? What's the Poet Laureate saying about the > killing fields called Afghanistan? Where are the Yippies? > > -Joel > ========================================================================= Date: Wed, 6 Feb 2002 10:36:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: segragation continues in this police state In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I send this on to this list as a reminder of how deep are denial is of the policing of gender is.. thank p.s. if yu care to be on my gender news list send me your email. > Friends and Allies, > I'm writing to update you on the events of this weekend > involving my arrest (with two friends) for using the > 'men's' restroom > at Grand Central Station. I have received many concerned > and > supportive > emails and calls, and I wanted to take a moment > to give everyone the full story of what happened, and > some > thoughts > about the significance of this experience. > On Saturday (2/2/02), I participated with my affinity > group > in the > anti-WEF rally at 59th Street and the long march that > followed curving around down toward the Waldorf Astoria. > By > 5pm, after 6 > hours of being outside in the cold, we were all > very tired and needed to use the bathrooms and get some > food. > We went to > Grand Central station, and headed toward the > bathrooms on the Dining Concourse level. I entered the > "men's" room, as > is my custom, and was followed in by a cop. As I > was looking to see what stalls were open, he approached > and > asked for my > ID. I explained that I was in the right bathroom, > that I am transgender and I understood his confusion, but > I > was just > going to use the bathroom and leave. Craig came in after > the cop because he was worried about me, and as the cop > forcefully asked > for my ID over and over, Craig said "He's in the > right bathroom, please just let him pee and we'll leave." > Craig even > volunteered to show his ID to the cop if it would help. > When I realized that the cop wasn't going to leave us > alone > despite our > explanations, I said "Let's just leave, I'll pee > somewhere else." At that point, we tried to walk past the > cop > and he > physically restrained us by pushing us up against the > wall and blocking our exit while he radioed for back up. > Ultimately, we > were thrown to the floor and dragged (with me > screaming "I was just trying to pee! Help me!" to the > tourist > and > protester onlookers) through the station. Our other > friend > Ananda was also arrested while trying to advocate for us. > We were held for 23 hours at 3 different precincts. I was > placed with > Ananda with the "female" population. Craig was > housed with the "male" population. It was a typical jail > stay > with the > usual discomforts: lack of food and water, freezing cold, > overcrowding, filth, and verbal harrassment. Also > typically, > most of the > people we met inside had been arrested for crimes > like being poor, being non-white, being homeless, etc. > The > most > emotionally challenging part for me was the transphobia I > encountered from the court attorney who represented me at > my > arraignment. He came to the cell around noon yesterday > (2/3/02), read the police statement on my court > documents, > and asked why > I was in the "men's" room. I explained that I am > transgender and I customarily use "men's" rooms, go by a > male > name and > pronoun. He wrinkled up his face, said with a very > dismissive and disapproving attitude "That is your > business. > I don't > care." and then asked me what my genitalia is. I asked > "Why is do you need to know that?" Being unfamiliar with > state court > criminal proceedings, and having been told by the > National Lawyer's Guild attorney who visited us in our > cells > Grand > Central that the arraignment was a formality that did not > require his assistance, I was unclear as to how much > detail > about my > situation would be required for this attorney to do his > job at the arraignment. Also, having experienced on > numerous > occasions > the inappropriately personal questions asked by > some people who are hostile about my transgender > identity, I > was on > guard to make sure that I would only have to engage in > such a conversation if it was relevant to my legal case. > The > attorney > took offense to my questioning the relevance of his > inquiry about my genitalia, and communicated that if I > would > not > cooperate with him, that was my problem. Because I was > unsure about what would happen to me if he would not > advocate > for me > vigorously, and because I feared being given a bail I > could not meet, I ultimately suffered the indignity of > having > to satisfy > his curiosity about my genitalia by explaining it. Even > then, he said dismissively about my transgender "well, > that > is your > personal business" and left without giving me any > information about what would happen in the courtroom. For > the > next > several hours, I was deeply concerned about the quality > of representation I would get in the courtroom, and > whether I > would be > released on my own recognizance. Having never > been arrested in a situation in which I was not prepared > for > arrest > before, having never been arraigned individually, and > having never been represented by a court attorney rather > than > pro bono > counsel before, I was very concerned that I might > not be released. > Much to my relief, I discovered upon entering the > courtroom > that it was > filled with friends and allies wearing "Living Trans is > Not a Crime" stickers. Having them there, I knew that I > would > be safe. > The prosecutor described my crime by saying > "Defendant was asked for identification. Defendant > responded, > 'I am a > man. I am a transvestite.'" If it wasn't so disturbing, > it > might have been funny. After that, the Judge released me > on > my own > recognizance. Within the next half hour, Ananda and > Craig were also released. All in all, we spent 23 hours > in > jail. I am > being charged with two counts of Disorderly Conduct, one > count of Trespassing, one count of Resisting Arrest, and > one > count of > Obstruction of Government Administration. Ananda > and Craig are being charged with Obstruction, Resisting, > and > Disorderly > Conduct. Our next court date is March 6. I will > continue to update all of you on the progress of our case > and > our > organizing efforts. > As a final note, I will tell you a few of the things > these > arrests have > made me think about. First, I am outraged, of course, by > the double-bind in which gender segregation of bathrooms > leaves > transgender, transsexual, gender variant, and genderqueer > people. Like many people, each time I use a public > bathroom I > face the > fact that no matter what choice I make, I may > encounter harassment and potential violence and arrest. > My > level of > bathroom anxiety, of course, is increased by the > weekend's events. However, I am hopeful that the > increased > visibility of > this problem afforded by the media coverage of the > arrests and the organizing we will continue will result > in > policy > changes about bathroom segregation. I hope that this > arrest > will > spark campaigns to provide safe, non-gendered bathroom > options for all > people in all public spaces. I intend to continue > vigorously advocating on this issue. > Additionally, this arrest raises questions about the > practice > of > indicating "legal gender" on state identification cards. > It > is my > belief that just as "race" has been eliminated as a > category > on state > identification (in most states, to my knowledge) gender > should similarly be eliminated. Had I had "M" on my ID in > this > situation, I could have shown it to the officer. However, > I > might still be arrested, and then I would have faced the > possibility of > being housed with a male population in jail. Would this > have been safe? I tend to think it would not. However, > with > "F" on my > identification I face the continual problem of having my > preferred gender terms not aligned with what is on my ID. > Either choice, > for people like me who face the possibility of arrest > in an increasingly aggressive police state and who are > targeted for > harassment due to gender identity, is unsafe. > Despite the discomforts of the weekends events, I have > hope > that much > good will come from these arrests. We have been > contacted by various legal organizations interested in > our > case. I hope > that we can use legal and political means to change the > police policies regarding bathroom enforcement and > transgender arrests, > increase awareness of bathroom gender > enforcement issues amongst other organizations and > institutions that > have gender segregated bathrooms, and increase > awareness of transgender experience generally. I was glad > to > hear from > my sister in San Francisco that the arrests were > announced at an anti-WEF rally she went to, and to see > that > they are > being covered by the Independent Media Center and > other groups focused on the WEF events. I think that it > is a > step > forward to have anti-capitalist activists and movements > considering transgender issues and participation. I was > also > overwhelmed > by the response of our friends and other allies to > our arrests. I am deeply grateful to everyone who > advocated > for us and > who showed their support in court and by email and > phone. I feel like I am an incredibly lucky person to > have so > many trans > and non-trans friends up in arms over trans politics. > As you may know, I am currently working to start up a new > law > project > focusing on the needs of low-income transgender, > transsexual, genderqueer, and gender variant folks in > NYC. It > was funny > to spend a week writing a grant about issues such > as the discriminatory treatment of this population in > criminal justice > contexts, as well as the inadequacy of many lawyers to > provide sensitive and appropriate services to us, and > then to > experience > these very problems myself on the weekend. The > experience has reinforced my commitment to this work. > Thanks for reading this long email. Feel free to pass it > on > to anyone > who might be interested. I will continue to update you on > the progress of our case and any other events we plan. > Please > contact me > if you have ideas for strategy or resources that may > be helpful. > Dean > P.S. Here's a photo of riot cops fretting over the sweet > people who were > advocating for us when we were still being held at > Grand Central. As I'm writing this, the photo is > mis-captioned, > identifying me as a "transgender woman." We've asked them > to correct that. > http://nyc.indymedia.org/front.php3?article_id=18556&group=webcast ========================================================================= Date: Wed, 6 Feb 2002 11:09:50 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Re: apostrophe MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Daniel--- I know lee Ann Brown knows of one, because she told me she had just come from a talk at the MLA about one....... Chris Daniel Kane wrote: > Does anyone out there know of any recent essays etc. that take an > interesting look at/approach to apostrophe (not apostrophe in the sense of > a mark ' used to indicate the omission of letters or figures etc, but > apostrophe in the sense of Shelley's "O Wild West Wind" or Kenneth Koch's > recent "New Addresses")? If so, I'd greatly appreciate a backchannel at > dkane@panix.com. > > thanks in advance, > --daniel ========================================================================= Date: Wed, 6 Feb 2002 12:45:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Arab Film Festival back at Berkeley February 8 to 10 !!!!!!!! Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Greetings, =46WD'ing this notice from Khalil Benkirane, director of Cinemayaat & the Arab Film Festival. Highly recommend you check out the program (films in SF are listed also, near the end of the page). SD =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The organizers of the Arab Film Festival, Cinemayaat, are happy to announce that we are resuming the Berkeley installment of the festival originally scheduled for September 12 to 16, 2001. We plan to show 11 of the 18 originally scheduled programs from February 8 to 10 at the Fine Arts Cinema in Berkeley. We will honor all 2001 season passes and advanced ticked purchases made for the original festival. http://aff.org Cinemayaat is also proud to announce monthly screenings at the Yerba Buena Center for the Arts starting February 12. http://www.yerbabuenaarts.org/filmvideo/index.htm Join us for the 5th Annual Arab Film Festival's Closing Night Party on Saturday February 16 with dj Cheb i Sabbah and MC RAI Justice League 9:00pm $15 @ the door 628 Divisadero in San Francisco (between Hayes and Grove) http://www.aff.org/2002/february/events.html http://www.chebisabbah.com/ CINEMAYAAT-ARAB FILM FESTIVAL FINE ARTS CINEMA, Berkeley For synopses please refer to your Cinemayaat 2001 catalog or go to our web-site: http://www.aff.org/2002/february/schedule.html FRIDAY FEBRUARY 8, 2002 *7:00pm INVISIBLE WAR: Depleted Uranium and the Politics of Radiation Directed by Martin Meissonnier France 2000 (64min) Preceded by CHILDREN OF THE EMBARGO Directed by Amer Alwan France 2000 (27min) *9:30pm THIRST Directed by Saad Chraibi Morocco 2000 (110min) Preceded by MEMORY Directed by Mieko Futatsugi US-Morocco 2000 (13min) SATURDAY FEBRUARY 9 *1:15pm DERRIDA'S ELSEWHERE Directed by Safaa Fathy Egypt-France 1999 (68min) *3:00pm KHIAM Directed by Joana Hadjithomas and Khalil Joreige Lebanon 2001 (52min) Followed by THE DREAM Directed by Mohammad Malas Palestine-Lebanon 1987 (45min) *5:15pm BEN BARKA: The Moroccan Equation Directed by Simone Bitton France 2001 (84min) *7:30pm LIGHT AT THE END OF THE TUNNEL Directed by Sobhi Zobaidi Palestine 2000 (50min) Preceded by WAITING FOR SALAH AL DIN Directed by Tawfiq Abu-Wa'el Palestine 2001 (52min) Preceded by THE DEPARTURE, THE ARRIVAL Directed by Lubna Warawra Palestine-Canada 1998 (6min) *9:50pm THE TORNADO Directed by Samir Habchi Lebanon 1992 (90min) Preceded by THE TRAIN Directed by Koutaiba Al-Janabi Iraq-UK 1999 (9min) SUNDAY FEBRUARY 10, 2002 *2:15pm THE POET OF CANE Directed by Mohammed Tawfik Iraq-Denmark 2000 (55min) Preceded by SABRI MUDALLAL:Magams For Pleasure Directed by Mohammad Malas Syria-UAE-France 1998 (53min) *4:30pm FANTASMS OF THE REAL THE SATELLITE SHOOTERS Directed by Annemarie Jacir Palestine 2001 (15min) A THOUSAND AND A THOUSAND NIGHTS Directed by Haddy Zaccak Lebanon 1999 (15min) LOOKING AWRY Directed by Sobhi Zobaidi Palestine 2001 (34min) *6:00pm AND AFTER=8A Directed by Mohamed Ismail Morocco-France 2001 (95min) *8:30pm MOROCCAN SHORTS 3 WHEN THE SUN BURNS THE SPARROWS Directed by Hassan Lagzouli Morocco 1999 (38min) + 3 films by Hakim Belabbes WHISPERS Morocco-US 1999 (15min) WITNESS Morocco 2000 (7min) A NEST IN THE HEAT Morocco 1992-95 (45min) Yerba Buena Center Screenings February Tuesday 12 at 7:30pm. Jerusalem's High Cost of Living Bitar (Uncivil Liberties, AFF 2000) takes us on a densely packed journey to Jerusalem in order to return to his family origins and to investigate the current cultural climate. He captures the general chaos of the first few hours of the Al-Aqsa Intifada, including scenes of waiting in the hospital for news of the wounded and the dead. He juxtaposes the murderous sensibility expressed by some Israeli youth with the random shooting of Osama Jadah as he was on his way to the hospital to give blood. Osama appears in Looking Awry (AFF 2001) only one week before he was killed. preceded by Still We Struggle directed Salwa Hassan Al Suwaidi UAE/2000/Video/12 min Designed as a fundraiser/solidarity tool, this look at the second Intifada >from the eyes of the United Arab Emirates includes interviews with bullet-ridden and disabled Palestinians (including Mohammed Dorah's father in the hospital just after his son's murder). March Tuesday 12 at 7:30pm CITIZEN BISHARA, Simone Bitton/ 2001/Video/52min Dr. Azmi Bishara, head of the National Democratic Assembly, philosopher, and Member of Knesset, was the first Palestinian-Arab candidate for Prime Minister of Israel in the elections of May 1999. Interviews with Bishara conducted by the Israeli media reveal the range of treatment he is afforded: >from racist astonishment at his insight and intellect to blatant demonization and violent silencing. Recently this political witch-hunt against Bishara has reached a new climax The full Knesset has voted to revoke his parliamentary immunity. Israel's attorney general filed two indictments against him: an "incitement to violence" and "support for a terrorist organization for affirming in public the internationally recognized right of an occupied people to resist occupation and to struggle for self-determination and a second indictment accusing him of "abetting illegal exit from the country." for organizing humanitarian visits to Syria for elderly Palestinian citizens of Israel who have been forcibly separated from their refugee family members for over 50 years. Both trials are due to commence in February 2002. Preceded by THE ACCUSED, a BBC Production/2001/video/45min "The Accused" makes the legal case that Israeli Prime Minister Sharon should be tried as a war criminal based on his complicity in the massacre of thousands of Palestinian women, children, and unarmed men in the Sabra and Shatila refugee camps in Lebanon in 1982. The documentary has sparked international condemnation of Ariel Sharon and has led, in part, to bringing the legal case of charging him with war crimes to the Belgium courts. APRIL and MAY programs TO BE ANNOUNCED visit the Yerba Buena website for updated information: http://www.yerbabuenaarts.org/filmvideo/index.htm =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, 7 Feb 2002 01:59:17 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Iron MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ray. I liked this a lot. Richard. ----- Original Message ----- From: "Ray Bianchi" To: Sent: Wednesday, February 06, 2002 4:06 PM Subject: Iron > E Nessuno > > Pressed against the glass my mouth bleeds a little and I ask why do we use > metal to fill our rotten teeth? The pressure opens the stitches in my fat > lip. The sound of speaking another language angers me ; I do not sound like > Dante or Pablo Neruda. The tierra austral is in the sleep around my eyes > and smell of the morning dankness. Fastness and fasting do not come > together. As I lack food I lack time to listen to the sound of the toilet > flushing or the gas leaking out of the broken pipes. Tear open the package > and pour the contents into a bowl, mix vigorously and ask --why not eat the > box as well? > > Individual colors are filling places where once I had monochrome feelings. > The photographs are filled with images of people with small chin clefts like > my wife's and long flaxen hair. The monochrome allowed for various grays, > now I do not know > What gray looks like. But chin clefts are a sign of the consumption of much > coffee during pregnancy. > > The color of the dirt was tasty and I asked for more tartar sauce. How did a > group as violent as the Tartars invent such a sauce? Brian had a son today I > wish I had a son. Memories flow and ask questions of my debilities. > > > ----- Original Message ----- > From: > To: > Sent: Friday, February 01, 2002 7:10 PM > Subject: RealPoetik > > > > Arlen Humphries > > > > > > > > > > Arlen lives and works in a large, Eastern metropolis. He's the author of > > Optima Suavidad (Greenbean Press), and when asked for comment wrote: "Be > > sure to tell those poseurs to buy the goddamned book, ISBN 1-891408-08-9, > > available on amazon or www.greanbean.com." > > > > > > You know you're too drunk when > > you're laughing and bleeding > > at the same time. > > > > The funniest joke in the world > > ends with the word "pianist." > > They did a study at Cornell. > > > > What can't be said > > can't be said > > and it can't be whistled, either. > > > > More good advice: > > always smell the milk before you drink it, and, > > never hold a gun for a friend. > > > > Why did two separate cultures thousands of miles apart, > > both invent pyramids and did it have anything to do with Atlantis? > > No. > > > > No pleasure so sweet as sitting indoors on a cold, rainy day, > > a cat in your lap, > > watching Republicans taking the Fifth. > > > > Every time you hear yourself saying, > > "I deserve a chance for happiness," > > you're already doomed. > > > > Disaster is, > > I promise, > > staring you in the face. > > > > I met a mysterious stranger who > > told me things about myself I didn't know anyone knew. > > He worked for department store security. > > > > Two dwarves on TV > > advising me how to deal in real estate > > with no license and no down payments. > > > > I want to be feared by men > > and loved by women, > > In other words a lesbian. > > > > But, hey! > > We still see each other, > > OK, she doesn't see me. > > > > Anxious to help, > > the psychics decide > > to stay the night. > > > > And would do it again! > > I don't care what > > the court order says. > > > > The roar of the 45 shook the room. There was an ugly swelling in her > > naked belly where the bullet went in. "How could you?" she asked. I knew > > I had only a moment before talking to a corpse but I got it in. > > > > "My call was important to them," I said. > > > > > > > > > > > > Arlen Humphries > > ========================================================================= Date: Wed, 6 Feb 2002 16:24:36 +0100 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: jamboree MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Quarterly Pavement Saw Press Poetry Jamboree Friday February 15th 6—8:30 pm Readings by Simon Perchik who was nominated for the National Book Award in 2001. Nineteen collections of poetry have been published to his credit, and he continues to be widely published in many periodicals including The New Yorker, The Nation, International Poetry Review, Partisan Review, Massachusetts Review and the Southern Poetry Review. Mr. Perchik is travelling from just outside New York City for his first reading in Ohio in thirty years. “Let others jockey for position. Perchik's poems are obdurant and honest and will reach those who need them most.” — James Tate Gina Tabasso has won numerous awards and been published in various journals including Mangrove, The MacGuffin, Blue Mesa Review, Mid-American Review, Slant, Rockhurst Review, and Pinyon Poetry Review. She is a Cleveland Poetry Cooperative Board Member and Associate Editor of Grasslands Review. David Kirschenbaum from NYC, has poems which have appeared in Chain, Slack and others. He is the editor of Boog Literature who has published collections by Ed Sanders, Lee Ann Brown, Bill Shields and others. A former writer for the Village Voice, he is also the editor of a new Bi-weekly newspaper called Boog City. Other expected Readers include Julie Otten reading from the recently released Courtship of Jim Jones, Ralph LaCharity from Cincinnatti who is the editor of W'orcs Aloud/Allowed, and whose books include Seatticus Knight, Monkey Opera, Color Ado, Steve Abbott, & David Baratier reading from his new book In it What’s In It. MC : Stephen Mainard Associate Editor of Pavement Saw Press $5 at the door —or $9 to include a copy of the most recent journal Victoria’s Midnight Cafe The corner of Neil and West 5th Columbus, Ohio 251 W. 5th Avenue, 614-299-2295 ========================================================================= Date: Thu, 7 Feb 2002 01:49:37 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: i shit flags Hoax? god bless daisy-cuttin' ameriky MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Of course this is a hoax, no? Richard. ----- Original Message ----- From: "Lowther, John" To: Sent: Wednesday, February 06, 2002 6:51 AM Subject: i shit flags > are you a patriot? > > > http://www.whitehouse.org/initiatives/patriot/index.asp > > > > ========================================================================= Date: Wed, 6 Feb 2002 14:34:27 -0800 Reply-To: rova@rova.org Sender: UB Poetics discussion group From: Rova Saxophone Quartet Subject: Re: New Possum Pouch on line In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit hoa looks mighty good ma'am@!! DC -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Hoa Nguyen Sent: Wednesday, February 06, 2002 9:17 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: New Possum Pouch on line Please visit The Possum Pouch: An irregular publication of essays, notes and reviews at http://www.skankypossum.com. The Pouch is free, fat, fresh, and will not be archived. Read it while you can! FEATURING = Epigrams on 86 Living American Poets by Kent Johnson Check to see if you’ve been epigrammed! = A poem by Mark Spitzer = An essay on “John Ashbery and the American Closet” by Fred Smith = Pouch Notes: Peggy Kelley reviews _Tea Shack Interior_ by Andrew Schelling = Dig it! Magazine mentions from our mailbag representing the Twin Cities, Brooklyn, Philly, and Berkeley... _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ========================================================================= Date: Thu, 7 Feb 2002 02:18:36 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Craig Dworkin talk MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit What I think you are "pointing" at is the way that Dworkin's "discoveries" of names hidden inside the text etc indicate or signal a system ow way of reading (and writing) which has been around aong time: but is more significant as we become more conscious of the writing/reading process...and even if Dworkin's theories are nonsensical we can now think again about eg a text that is ostensibly about fences and barriers and neighbours and boundaries but can be read also from another "angle" as a coded message eg to other poets or literary people...or that the very "bafflement" and perplexity that people often feel when encountering a "difficult" poem for the first time (which is mainly modern poems but could be any poem from any era): is used as method. We then get a "higher" poetic or poetry turns around to its hieratical or near-theophanic origions as a kind of deep mystery only for the initiated: the priests of poetry...this may be good or it could step us closer to elitism and/or "the unintelligibility of truth"...Regards, Richard ----- Original Message ----- From: "Ward Tietz" To: Sent: Thursday, February 07, 2002 4:54 AM Subject: Re: Craig Dworkin talk > On January 31, Maria Damon wrote: > > "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, so much the better, no?" > > > I'm interested in, I think, how this opens up to other systems and methods. > > There seem to be two distinct types of truth and/or systems of > argumentation at work: the larger discursive truth of the "reading" and its > parts, but also the iconic evidence that's perceived to be semiotically and > logically separate. These types don't seem to be displayed with equal > proportion or value, but the proportions and values of each system are > necessarily linked to the logic of the other system. One might try to > contend that they're not semiotically or logically separate, but I think > that would be a tough go. That would mean saying something like "sadness" > is in the stanza in the same way as the "tree" is. That would be curious, > but this doesn't seem to be what's happening. > > What's interesting to me is not so much the reading or a series of > readings, but the emergence of the other system and its logic and values, > its "visibility," now "legibility" and how reading negotiates all that, > subsumes it, etc. > > > Ward Tietz > ========================================================================= Date: Wed, 6 Feb 2002 21:46:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Millie Niss Subject: Re: Craig Dworkin talk MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Don't you also think, that if you try hard enough, you can extract any meaning out of any text through the methods describe by Dworkin (I am reying on Jullich's report of Dworkin's talk)? I started out in math, and it just seems to me that if the text is long enough and there are many words you'd be satisfied with, those combinations are going to come up eventually... I just don't understand why it is supposed to be profound from a literary point of view. (There is a mathematical theorem which I do find profound which says that any finite sequence of digits eventually comes out in the digits of pi. Now THAT is something else, much more meaningful than finding authors names in their texts...) There are of course texts in which authors DELIBERATELY hide their names (or don't even hide them, but use them acrostically, for example) and that's something different, though hardly something exciting from a modern point of view. If I understand what people are saying, it's the fact that the text is "carrying" this other information, other than the text itself which is supposed to be so interesting. Again, from a mathematical point of view, we are dealing simply with data. The data is a list of letters (and spaces, etc.) More precisely, we might say it is a list of ASCII characters. There is no information in the text which is not in this ASCII representation of it. The list of numbers (65 for each upper case A for example) IS the text. So the text cannot carry "extra" information other than the text. Of course that is from a low level analysis. We might also do a syntactical analysis, breaking the text not into letters but into grammatical functions (a la early Chomsky) or using a more modern system. In that case, we come closer to the poetry (though hardly close enough) but we can see neither end-- no poetry, and no letters. We do not know that "love" is spelt l o v e, we know that sentence 1 starts with love in apostrophe "O love, thou art ..." (I am totally making up a text as I go along) and that of course love is a noun (because the only a noun can fit in that grammatical position. Unfortunately, that is the last kind of systematic analysis we can do. There is vast research (in computer science and linguistics) on semantic analysis, trying to make systems that can codify the meanings of something, and they do pretty well, but they are nowhere near good enough to read a poem by any definition of "read" that we'd be interested in. There are systems that can read a story and answer questions about it (this is a classic work in computer science, and it was done a long time ago when hopes for AI were high) but thirty years later no one can do that much better. However, returning to Dworkin, my main point is that finding something in the LETTERS of his poem that relates to the MEANING or AUTHORSHIP of the poem is not that unlikely but it is sheer coincidence because once the poem is analyzed sematically (either automatically in our brains or by a computer in 50 or 100 years, I am pessimistic...), we aren't talking about letters, we are at least talking about grammatical roles, to which we assign some kind of meanings, to which we then assign roles in the greater meaning of the whole poem, then, a step up, assign symbolic roles, we see that some words and phrases are allusions and resolve the allusions, we notice literary devices, then a few levels up we notice the difference between a device being used because the author is writing in form and a device being used ironically then we think about the whole poem-- doesn't it remind us of another poem by the same author when he divorced his previous wife? is he about to divorce this one, too? we know this is the lowest kind of sleuthing and not criticism at all, but something takes us to the biography and we find we are right...hehehehe we are cleverer than he was...unless this was a coded message to his readers-- no that way madness goes....back to the poem, isn't it a bit facile? maybe he's already too famous to write a good poem? (wouldn't that be a problem I wish I had-- too famous a poet to write a good poem. not only won't it ever happen to me but I'll use the idea in a poem some day....) ok, so what does that "it's" on line seven refer to? we try some possible referents, they seem plausible, but how can we know? what if the poet didn't know? maybe it refers to the whole situation the poet is in? didn't some German write a paper on Anaphors With Multiple Referents in Contemprary German Poetry? Yes, it was in the MLA journal. How about Anaphors I am Too Lazy To Figure Out? guiltily, you think of a college poetry class you taught in which the students all wanted to be creative even though you were supposed to teach them to read, not write... they wanted the creativity to ooze into them somethow. they wanted to dress like poets because they were taking your course. they were much taken aback, and some dropped, thank god, when you walked in wearing a button-down shirt...anyway, you were reading Yeats, it was the one with Helen walking along the battlements of Troy before the war started as the troops amassed, and you asked them what "it" referred to...a few hands flew up...the same hands as always...not the brightest hands, which were instead attached to brains busy actually figuring out what "it" referred to...you said...let's give everyone enough time to figure it out..but then none of the good students raised their hands....groan..now you wished you could answer the question yourself....you called on someone, at least you avoided the tall, straight-haired shiny blonde girl with the long tresses who looked to everyone like Helen until, realizing this, you painted a picture of a GREEK beauty, fairly petite DARK beauty, beauty with a few years' experience, smoky eyes, somewhat plump, you made yourself stop fast as you realized you were describing a particular Hellenic babe who had broken your heart at about age twenty and not the type in general...but isn't the general type illustrated by an exemplem...you are letting yourself go too far...must talk to therapist about this...and what the hell were you going to describe next, her shapely thighs...it wouldn't do, would it, now? so now your daydreaming, (well at least it wasn't wet-dreaming) has slowed the class for a second so you say, "has anyone else con-tem-plated the mystery of this 'it'?" no one...ok, Sam, what do you think the "it" refers back to?...he looks eager...I hate to hurt him..."the whole situation, sir"...before you can stop yourself you have emitted a Bronx cheer....Sam is explaining his theory....well, see Paris feels this way, and he feels that way, and if does this, then that. so then when it says....you apologize, something you were taught never to do in the one-week classroom management course in grad school which was the extent of your pedagogy training....you're really sorry...but this is Yeats, and what you said would make sense if you were out with your friends and said "it sucks!'...some tittering...the old codger has heard the expression "it sucks"...do they wonder whether you know what it means? so I vow to make sure of the referent of the "it's" on line seven before I'm done.but here's something interesting, the voice appears to change...is that the voice of the kind of person he's been criticising so far, come to speak directly with him...let's read ahead a little to see if it could be...no, it's a literal person, temp-pis, I always am more amused when abstractions start talking back in poems, sometimes it's hilarious, almost as good as that scene in Annie Hall at the movie line where some pretentious jerk is saying "McLuhan said" and then Marshal McLuhan appears out of nowhere an taps the guy on the shoulder and says "Excuse me, I'm Marshall McLuhan, and I said nothing of the sort" Wait a minue? Why am I thinking about Woody Allen? I hope he hasn't gotten into the text of the paper I'm writing, or even my notecards...maybe I'm too tired to think. I know what I'll do.... I'll look to see if I can find the name of the poet anywhere in the text of the poem and since the poem is book-length, I can probably do it...then I'll found a school of criticism on this process only I will make sure to ban anyone who has ever taken a statistics course from coming to my lectures....it will be the newest hoax in literary theory.... the point is that throughout all this THE LETTERS OF THE POEM ARE NOT BEING READ; the poem has long sinced ceased to be read as letters, as anything read several times will cease to consist of letters (except to the very young and the barely literate) generally, even the first time you read something you never notice an individual letter, unless some very bizarre type face is in use or there is a spelling error any correlation between the letters of the poem any semantic information in it, or information at any higher level up the analysis tree, is coincidental, or else planted there deliberately by someone wanting either to entertain, drive insane, or play a hoax on critics Millie ----- Original Message ----- From: Ward Tietz To: Sent: Wednesday, February 06, 2002 10:54 AM Subject: Re: Craig Dworkin talk > On January 31, Maria Damon wrote: > > "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, so much the better, no?" > > > I'm interested in, I think, how this opens up to other systems and methods. > > There seem to be two distinct types of truth and/or systems of > argumentation at work: the larger discursive truth of the "reading" and its > parts, but also the iconic evidence that's perceived to be semiotically and > logically separate. These types don't seem to be displayed with equal > proportion or value, but the proportions and values of each system are > necessarily linked to the logic of the other system. One might try to > contend that they're not semiotically or logically separate, but I think > that would be a tough go. That would mean saying something like "sadness" > is in the stanza in the same way as the "tree" is. That would be curious, > but this doesn't seem to be what's happening. > > What's interesting to me is not so much the reading or a series of > readings, but the emergence of the other system and its logic and values, > its "visibility," now "legibility" and how reading negotiates all that, > subsumes it, etc. > > > Ward Tietz ========================================================================= Date: Wed, 6 Feb 2002 16:46:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fish Subject: Re: Kenny Goldsmith reading at Stanford Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I didn't mean to send that last message to you. Sorry. On 2/4/02 7:00 PM, "David Giles Scott" wrote: > To all interested, > > Kenny Goldsmith--artist, writer, dj, poet--will be reading from his latest > baggy tour-de-force, "Soliloquy," Tuesday, February 12 at the Stanford > Humanities center on the Stanford University campus. > > The reading is free and open to the public, and scheduled for 4pm. It > will be followed by a q and a. > > The Stanford humanities center is located at 424 Santa Teresa St. across > from the Fire Station and behind the main Union building. > > If you need more specific directions please contact me at > dgscott@stanford.edu ========================================================================= Date: Thu, 7 Feb 2002 00:26:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Beginnings of an essay ready to be abandoned MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Beginnings of an essay ready to be abandoned Elsewhere i've written about the characters I use as emanants or source- less semiotic spews that coagulate as characters, take on a life of their own - one that I follow with insistence. They also form a bypass or excuse - if I want to say something childish or out-of-sorts; if I'm in a bad mood - if I want to present something dubious, something erroneous - I can call on Nikuko or Jennifer - none of them care... These people help, but they also get in the way. My main concern is philo- sophy, not literature; I want my work to be taken seriously as theoretical thought. In Nietzsche's time, or Kierkegaard's, both branches might well intertwine, as they do in Derrida for example. But there's a cost involved - a general referentiality to the dominion of the philosophers or theor- ists - which is absent in my work, as Julu, for example, will have a spirited conversation with Jennifer in a MOO. Who can untangle both the stylistic and application involved - not to mention the sentiment? One can write all one wants about postmodernity, virtuality, subjectivity, epis- temology, ontology, and so forth - but one must do this through the proper channels... My dreams aren't full of them - not even Jennifer, the first - not even Alan. Instead there are shattered and strobed screens, prompts as part- objects, control passages and program transformations. I think of floating signifiers, sememes with contusions, shattered commands I don't quite understand. Among other things these are the deconstructions of avatars, breakdowns of characters: bones. Out of the dreams other assemblages arise, heading towards language, program, text. I can always fall back on the dreams - against the logics of genre, for example. It's that logic of the unconscious again. I'll use programs - collectively called "julu programs" - as catalysts. I wrote the following - you can see how disordered everything is - I'll read axiomatics, the care and Kehre of reasoning - then turn - Mobius strip - anyway I wrote the following just this evening in another context: "Here's a major point for me. I've never been that interested in poetry or literature/style generators, mainly because I'm interesting in a kind of writing of urgency or writing that insists on a semantic world or "sememe." I'm not that interested in abstraction per se which - for me - underlies generated work. I'm trying to work out philosophical issues, issues dealing with virtuality, etc., and so generation - unless it were revealing something about language itself - isn't that interesting to me." "That being said (sorry I'm writing awkwardly - I'm dizzy from some medication) - when I first programmed, it was on a Texas Instruments 59 calculator with 1k of programming space, and one of the things I did was make a text generator with maybe 100 words in it. There was a lot of very very (for me) tight programming; it was all indirect addressing and abbreviation to fit it in. But it ran and produced a series of texts. What I did learn about through this was the way structure works (as well as indirect addressing) in relation to language -" "And _that_ being said - I tend to use the programs for catalysts, almost for revealing sub-texts or the unconscious of my own thinking - which I can then rewrite, tease out - this is a process of reworking, abandoning, re-arrangement, etc. None of the programs is used for "pure" output; it's all mixed, a mish-mash." "Of course, even doing that - the reworking - I tend to learn more about the subject at hand, and my own role or placement within it. And of course that being said, I try to eliminate my own bias, or to extend it - play around with the phenomenological reduction." "There is also the energy used in reworking the syntax and vocabulary of the various programs - that's another kind of study or summarization of my current work - I'll need 43 nouns, 22 verbs... I can write this as a semantic field in itself - a way of dis/organizing the domain -" For example here are my entries to a unix spell-check file: "actant aether alterities Amidah avatar avatars BBS bricolage bushido castrated cd cdrom CEN Centre chora clots coherencies com Compaq complicit consciousnesses consensualities cordons cunt cunts Cybermind cyberspace cyborg d'eruza d'nala decathexis deconstructed deconstruction defuge Derrida dhtml diegesis diegetic differend disassociating disinvestment effusions emanants emergences empathetic empathized entasic extasis extensivity extrusions fantasm fantasmic feedforward fictivity filmmaker filmstock fingerboard foofwa geomatics gesturally gigabytes gridlines halfgroupoid hemiptera hirself holarchy htm html http hyperreality i'd i'm i've ideogrammar ikonic imaginaries incompletes indexicality informatics internet interpenetrating interpenetrations introjections isp izanagi javascript Jen jennifer jisatsu jouissance judgmental julu kanji Kebara kwat Lacan linux literarily machinic magatama mediaspace microworlds morphing morphs ms Mt multiculturalisms Myouka nakasukawabata Nara Netscape neurophysiologies nikuko Nikuko's nostalgias NYC oeuvre offline Panamarenko panix particulation paysage peerings perl phenomenologist pneumosphere poolings postmodern postmodernism postmodernity primordials protolanguage qbasic realspace rebirths rills RNA runnels Sagdish satori sed sememe sememes sexualities shakuhachi shamisen shimenawa shinjuu signifiers sions Snoxfly sondheim sourcess spam stromatolite subgroupoids subjectivities subtexted susan Sysadmins techne teleologies thanatopoesis tion tions trAce traceroute tracert tropes ulpan unfoldings unhinging URL URLs vicodin videowork voiceovers VRML webboard Webpage Webpages wetware wetwares worlding wryting www yamabushi ytalk" ... ========================================================================= Date: Wed, 6 Feb 2002 16:45:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fish Subject: Re: Kenny Goldsmith reading at Stanford Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dude, go. On 2/4/02 7:00 PM, "David Giles Scott" wrote: > To all interested, > > Kenny Goldsmith--artist, writer, dj, poet--will be reading from his latest > baggy tour-de-force, "Soliloquy," Tuesday, February 12 at the Stanford > Humanities center on the Stanford University campus. > > The reading is free and open to the public, and scheduled for 4pm. It > will be followed by a q and a. > > The Stanford humanities center is located at 424 Santa Teresa St. across > from the Fire Station and behind the main Union building. > > If you need more specific directions please contact me at > dgscott@stanford.edu ========================================================================= Date: Thu, 7 Feb 2002 01:42:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rick Snyder Subject: Zinc Bar Mime-Version: 1.0 Content-Type: text/plain; format=flowed Reading at the Zinc Bar Rick Snyder & Betsy Fagin Sunday, Feb. 10 7 pm 90 W. Houston NY, NY _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Wed, 6 Feb 2002 23:49:59 -0000 Reply-To: sunspots-feedback-1@lb.bcentral.com Sender: UB Poetics discussion group From: Sunspots Productions Subject: Over 100 Voice Talent! Comments: To: List Member MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Hello!, This e-mail contains the SunSpotsProductions.com E-Blurb. SunSpotsProduc= tions.com provides over 100 ISDN Voice Talent to Advertising Agencies & S= tudios worldwide! Visit http://www.SunSpotsProductions.com/EmailNewsletterFEB.html Thanks! SunSpotsProductions.com _______________________________________________________________________ Powered by List Builder To unsubscribe follow the link: http://lb.bcentral.com/ex/manage/subscriberprefs?customerid=3D19091&subid= =3DC4935217DA2AABC8&msgnum=3D1 ========================================================================= Date: Thu, 7 Feb 2002 06:21:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: California poet laureate? Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable =46rom the Sacramento Bee : Poets seem averse to state program By Carlos Alcal=E1 -- Bee Staff Writer Published 5:30 a.m. PST Wednesday, Feb. 6, 2002 The Beat poets are not beating down the door. The Formalists are not forming lines (except of verse). Even confessional poets aren't admitting great interest. California's newly established poet laureate program has run into a problem. Not enough poets -- just seven -- have thrown their hats into the ring as nominees for the two-year office that was established last year to promote poetry in the state. "I wouldn't say we're in a panic," said Adam Gottlieb, spokesman for the California Arts Council, "but we're close." The Arts Council has just extended the nomination period to Feb. 19, in hopes of getting a few more nominees. More candidates, but not just anybody. "We don't want someone to nominate their brother just because he's a nice guy and has done a few poems," Gottlieb said. The last state poet, who held the office for three decades until his death in 2000, was just such an amateur. Assemblywoman Fran Pavley, D-Agoura Hills, sponsored the successful bill that established the new program. It requires a laureate to have a substantial body of critically accepted work. It's unclear why there haven't been many nominees. The problem couldn't be verse. The state of poetry in the state of California is strong, with many acclaimed poets residing here. Former U.S. Poet Laureate Robert Hass is here, as are Philip Levine, Gary Snyder, Adrienne Rich, Sandra McPherson, Gary Soto and many others. The problem might be that being poet laureate takes a lot of time and doesn't earn a lot of money, said Jack Hicks, former head of the UC Davis creative writing program and a member of the committee that will review nominees. "It may be that people at the level of a Gary Snyder, or a Robert Hass, or an Adrienne Rich, or a Wanda Coleman are busy writing or teaching," Hicks said. Though the law establishing the program doesn't designate an amount, Hicks said the laureate won't get but a few thousand dollars as a stipend. "They could easily make that in two (unofficial) readings, and it would take less of their time," he said. Ray Tatar of the council's poet laureate program is still optimistic a good nominee will be named. The existing nominees have been strong and diverse, and include suggestions made by a university president and a middle school teacher, Tatar said. "It's going to be an exciting horse race," he said. When all the nominations are in, the committee will review them and then send three names to Gov. Gray Davis, who will make the final appointment. The plan is to name the new state laureate in April, National Poetry Month, and have the poet begin the first two-year term in July. =46irst, however, the state needs additional nominations. "The more the merrier," Tatar said. ========================================================================= Date: Thu, 7 Feb 2002 09:57:20 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Fw: Parataxis book launch MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Thought this would be of interest. The Cunard text is excerpted in Keith Tuma's Oxford anthology, if you want to get a sample. -- 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 ----- Original Message ----- From: To: "Drew Milne" Sent: Thursday, February 07, 2002 7:07 AM Subject: Parataxis book launch Please forward to interested parties: Drew Milne invites you to a book launch and poetry reading for two new titles from Parataxis Editions: John Wilkinson, Signs of an Intruder, 44 pp., (£3.00, or $5 US dollars) Nancy Cunard, Parallax, 24 pp., (£4.00, or $7 US dollars.) in the Graham Storey Room, Trinity Hall, Cambridge, Thursday 14th February, 7.30 pm. John Wilkinson will read Signs of an Intruder, and a mystery guest will read from Parallax. Hektor Rottweiler tells me that John Wilkinson's new sequence of poems combines lyric insolvency, provocation and an extended largesse that defies description, moreover, that it is one of his best books in, oh, ages. For anyone interested in twenty-first century writing, it is a sign indeed of where we are and where we are going, without a copy of which no-one should be. He also suggests cause for celebration in the re-issue of Nancy Cunard's modernist classic PARALLAX, an extended poem that turns acerbic and plangent eyes on motifs made familiar by Eliot's sad old Prufrock and then muddled up in the waste bin. This is the first re-issue of a chapbook first published by Virginia Woolf's Hogarth Press in 1925. Copies of the original are as rare as osprey's teeth and sell at inflated prices to severe specialists in the train-spotting fraternity of modernist book collectors. Essential for an understanding of the development of modernist poetry in the 1920s, the real surprise is that the poem has moments of quality that ought to make the more dogged critics among us blush at their historicist musings. In short, the launch promises to be a night to remember, and there will be wine. Both pamphlets are set in Gill Sans Bold, and sport the white on red livery first seen on the cover of PIG CUPID: homage to Mina Loy, a few copies of which are still available on request. Copies of SIGNS OF AN INTRUDER and PARALLAX are on sale now at £3.00 and £4.00 respectively, and both pamphlets can be bought as a pair at a special introductory rate of £6.00 including postage and packing within the UK, or to the US for $12 US dollars, by sending a cheque made payable to 'Drew Milne' to Trinity Hall, Trinity Lane, Cambridge CB2 1TJ. Prices in euros on request. PARATAXIS EDITIONS will be bringing out a new edition of the journal PARATAXIS: modernism and modern writing, in March, price £5.00. Advance orders gratefully received. ========================================================================= Date: Thu, 7 Feb 2002 10:03:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: Re: mesmeranda MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT For those of you interested in the globalization debates, here is a little piece I wrote: http://www.americaspolicy.org/commentary/2002/frameset_0201fasttrack.html blk wrote: > Imagine something different in a first risk-taking book -Bruce Andrews. > > Memoranda from the shades of Mesmer conjure singular synchronicities, sounds soaring across letter shapes - Nick Piombino. > > +++++++++++++++++++++++++++++++ > > PROVIDENCE > > Frantic, wrench into style > ones tax hired prose I turn > my exile trust movement she > > can come burn > slots off > this oceans depths Self-love > > to change fueling which must > > write old wrong > waves tire of horizon and turn > goals speech with rusty tones > > above beach, running peculiar as > engraved chemists be cloud > > once a love of county cuisine tough > now, even I choose theres no room at that > > aisle launching best minds room like docks > First paper > pioneering middle > > pills my hand. Paper thin > late peer pins riddle > > at parks harassment income not spread > of debt. Announce to many dead > there all familiar character > > even having died fire > flesh nylon fears that furnace now > over, > > that killing of ash fall son > Nordiques clouding, undercutting cyclical > wipe means each again like a plane > > all extended fence easily > > ++++++++++++++++++++++++++++++++++++++++++++++++ > Chris Sawyer > Mesmeranda > 43 pages > ISBN 1-893541-14-2 > 2000 > $7.00 > New Chapbook Series #37 > > Avaiable from: > Small Press Distribution > 1341 Seventh St. > Berkeley, CA 94710 > www.spdbooks.org -- 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: Thu, 7 Feb 2002 10:23:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: essays on apostrophe MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Thanks to those of you who have emailed me with suggestions. In the interests of spreading the wealth, as it were, this is what I'd found prior to posting my request on the poetics list: Culler, Jonathan. The Pursuit of Signs: Semiotics, Literature, Deconstruction Ithaca: Cornell University Press, 1981. Culler, Jonathan. "Reading Lyric." Yale French Studies 69 (1985): 98-106. Kneale, J. Douglas. "Romantic Aversions: Apostrophe Reconsidered." Rhetorical Traditions and British Romantic Literature. Bialostosky, Don H. and Laurence D. Needham, editors. Bloomington: Indiana University Press. 149-167. Johnson, Barbara. "Apostrophe, Animation, and Abortion." Feminisms: An Anthology of Literary Theory and Criticism. New Brunswick: Rutgers University Press, 1997. 694-708. ========================================================================= Date: Thu, 7 Feb 2002 12:08:52 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 2/6/02 1:17:18 PM, weishaus@PDX.EDU writes: << If this is a democracy (and there is doubt about this), then it is the people who are responsible. So where are the celebrated voices that spoke out during the Vietnam War? Where are the intellectuals? What's the Poet Laureate saying about the killing fields called Afghanistan? Where are the Yippies? -Joel >> I suspect what is going on is reminiscent of Bertrand Russell's position for the duration of World War II. Russell was an ardent pacifist. But he renounced his passivism during that war because he understood how grave was the Nazi threat. When the war ended, he reverted and became an important voice in the "ban the bomb" movement. Unlike the Vietnam civil war into which the U.S. inserted itself, this latest conflict involves an attack on U.S. soil, and the deliberate killing of civilians by forces who call for the death of all "Americans." The situation also suggests that extreme positions, whether right or left, have much in common with each other. The Taliban, for example, is as far right wing as it gets. Yet they elicit sympathy (Afganistan = killing fields, WTC = we had it coming) from some on the left, as if any group that targets Capitalism is ipso facto left of center, or at least to be understood and forgiven. Many on the left are suspicious of the "impuse buying" and moral relevatism that characterizes some of the rhetoric on their side of the fence. The left wing has always rooted its positions in a firm moral code, so moral relevatism doesn't quite fit their bill. Most of my friends on the left (i.e., those who support socialist ideals, gender and racial equality, a woman's right to choose, and so forth) see the threat as twofold. First is the fire from extreme right and left wing groups here and abroad. Second is the "creeping fascism" in our own country, the exploitation by Bush and company of civilian fear for the purpose of extending their own power and control. It's a mess, to be sure. The Nam was cut much clearer, I think. I'm reminded of something my wife once said to me: "When you give your affection and protection to weak people, expect that one day they will betray you, precisely because they are weak." Seems like an adequate overview of the human condition. I find it more and more difficult, as time stumbles along, to leave my hat in any ring. But didn't Marcel Duchamp fear and avoid the group thing? Yes he did. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Thu, 7 Feb 2002 13:54:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rick Snyder Subject: Taggart & Davidson speak on Oppen Mime-Version: 1.0 Content-Type: text/plain; format=flowed Those of you in the New York area may want to mark your calendars for the upcoming event: The Dactyl Foundation Poetics Lecture Series The Work of George Oppen in a Time of War John Taggart & Michael Davidson Friday, February 22 7 pm The Dactyl Foundation 64 Grand St., Ground Floor (between Wooster and W. Broadway in SoHo) A question and answer session will follow the featured speakers’ presentations. Free wine and hors d’oeuvres will be provided. Donations to the Dactyl Foundation are greatly appreciated. Please backchannel with any questions. Thanks. _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ========================================================================= Date: Thu, 7 Feb 2002 23:53:03 +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 What you expereinced was the soft-edge of terrorism that the poor experience throughout the world every day and especially black people or in many places Jewish people and others (paradoxically now Arabs as well) "Divide et imperum": the answer is peoples' struggle and organisation. I've been in struggle against the police (but of course like a guerilla fighter - or terrorist if you want to use that term - one picks one's time and place: in a revolution, struggle, or a protest or whatever there's no place for excessive and silly "heroics" (although courage of a kind is neccessary), and I've been very frightened of the police over here in NZ (where a cop is currently on trial (private prosecution case) for murder by gunshot (the defense are using a german expert who was a negotiator in the terrorist attacks on the Olympic Games village in Munich in about 1975): and where (NZ) my own son had his eye knocked out by a police baton. And I was battoned in the face in 1981 in the protests gainst the Springbok Tour (that is the tour of the South African(white) rugby players to New Zealand which protest was lke a civil war over here, as rugby is more significant to New Zealanders ..well its New Zealand's religion))... But the police and you (and our) army ARE the terrorists: you dont have to worry about Arabs: you're father is probably a good man but now he is frightened and confused by S11 etc but the US military-industrial complex ARE the terrorists: and they should release everyone including John Walker Lind: clearly the judge who refused him bail is a right winger if not under big political pressure (and public misinformed redneck "opinion" (or brainwashing). The bourgeios state is maintained by terrorism or the threat of it: you were mistreated by "terrorists": ie policemen. By the way you dont have to give your identity: or you didnt prior to S11(since when draconian laws are either afoot or in place WORLDWIDE ) unless you are being arrested which you wernt. They acted illegally: and they acted like the scum they mostly are Richard. ----- Original Message ----- From: "Millie Niss" To: Sent: Thursday, February 07, 2002 1:51 PM Subject: Re: query on behalf of a friend > In New York, at the major independent bookstores, you see signs about (and > signs of) groups forming, meetings happening to organize against the war, > many led by well-known poets & writers (well, well-known to me; I don't > think people like Anne Waldman or whomever else are well-known outside the > readings/poetry scene, but within it they are very known, whether you like > their work or not...) > > I keep meaning to go to a meeting, but I am busy and also dead tired having > just emerged from a long down time, so I have to choose my battles, and (you > may fault me for this) what I find I really want to do is to catch up with > my own reading and writing after 13 months of nothingness. > > I do go to readings a lot though, so why not to an anti-war meeting? I was > even brought up as a Quaker, by two parents who were very active against the > Vietnam War (my father refused to go to his call-up and had a whole > demonstration, just for him, that went to Whitehall Street. Now he has > become so conservative that he supports this war, although he would never > vote for Bush for social welfare reasons and because of always voting for > democrats... But he really believes we have to stamp out terrorists. I am > begining to fear that anyone the govenment doesn't like will be labeled a > terrorist. > > The relevance of this story is a long stretch (since it was police and not > the feds & also pre sept. 11), but I once was stopped by the NYC police and > threatened with a night in jail because I put up a poster for an online > writing class I was teaching (I had been doing it free for mentally ill > folks for a couple of years and people finally said that with the time I was > putting in I should try to make money on it, so I put up a few posters, > saying the class was $100 (for 8 weeks--it was a bargain!) or free for > disabled, unemployed, or persons on public assistance) and two cops in a > super duper copmobile stopped me and said I was breaking the law and didn't > I know it. I didn't. I was defacing a bus-stop that didn't belong to me. > (There were at least 40 other posters on this bus-stop.) And finally. DID I > HAVE ID? > > I didn't have ID. I showed my Voter's registration card which showed I lived > four blocks away from where this happened and was a responsible, voting > citizen. I showed my credit cards. I showed my ID from when I went to grad > school in Boston. I showed my Medicaid card. I was getting desperate, > running out of cards... A NYC Public Library Card (where you REALLY have to > give good proof that you are a resident)... A Blockbuster Video card...This > was getting ridiculous. > > The cop kept saying, JUST SHOW US YOUR LICENSE MA'AM! WE NEED A PICTURE ID. > > I said that I had no driver's license. That I don't drive. That it was > probably inadvisable for me to drive because of some medication I was on. > > Finally they giave me back all my stuff all messed up and I had trouble > putting it back into my wallet neatly. They told me I couldn't leave > because they had to see if I was telling the truth when I said there wasn't > a warrant out for my arrest. I decided to make this as theatrical as > possible. This was right by the entrance to Barnard College, where college > students come in and out all the time, even at 9pm. I move slightly beyond > the gates, and stand up against the wall with my hands up. The cops look > happy. > > People ask what they got me for. I know I can't joke around but it will be > enough to say the straight truth. "I put a poster up on a bus-stop. It's > against the law." No one can believe this as almost every college student > has, at one time, put a poster on the bus-stop. Sometimes I say, "they say > I can spend a night in jail for this." > > During the checking process, which seems to take forever, the cops needle > me, "better go out and get that ID. I mean, if you'd had ID it would be one > thing, but > without it we're bound to wonder if you are who you said you are..." > [personally, I thought that giving them every card in my wallet told my > life's story much more than a driver's license would have. I also thought > that the US didn't require citizens to carry ID, unlike France, where I had > also lived, and rarely had carried ID anyway, because the cops were > nicer...] > > Finally, they find out that I really don't have a warrant out for my arrest > and am not violating the terms of my nonexistent parole etc., and they let > me go but not without a stern lecture about my criminal behavior. I was > terrified throughout the process. Once they leave, I am still in shock, but > angry, too. How dare they go around harrassing young women who've done > almost nothing wrong. Why didn't they go and arrest the crack dealer who > works at the end of my street under the base of the Samuel J. Tilden statue? > > I was tempted to ask them this (and I have never taken an illegal drug in my > entire life) but THANK GOD I didn't because they would have interrogated me > on how I knew there was a crack dealer there and how often I bought from him > and what he charged etc., and they never would have believed the true > explanation which is that I live in an apartment that overlooks that statue. > > Anyway, I'm sure the crack dealers pay the cops a percentage of their income > so the cops certainly won't ever close them down....... > > Incidentally, if the cops were using profiling when they stopped me, it's > pretty strange profiling: I'm white, 25-35, very overweight, dressed in an > ankle length skirt and matching sweater, with possibly a jacket, and > carrying a canvas bag (from a bookstore) with "the evidence" (they asked me > to show them the roll of scotch tape I had been using to commit the crime, > as well as the posters). What kind of crime is mostly committed by middle > class out-of-shape young white women? I told this story to a black friend > and he said, laughing, "They did that to a white woman? With the way you > dress?" and proceeded to tell me he always got that kind of treatment from > cops, from the time he was twelve, even if he dressed real nice (then they > wanted to know how he could afford to dress nice....) > > So I am scared of the cops for another reason (disability-related) and > scared of them because they stopped me for almost no reason and threatened > me with jail and now that I'm trying to write (and hopefully get published), > maybe my writings could make me a terrorist. I mean I used to be free to > write that Bush obviously doesn't know how to fight a guerrila war, and that > he should receive some training in one of those Al-Quaida camps before he > shuts them all down, but now, were such a thing to appear in an articles, > poems, or prose poems by me, I'd have to deny every having writing them, now > that I've been taught by those Enron guys how to take the Fifth and get away > with it... > > For the record, I never wrote the last paragraph. I never even thought up > the last paragraph. The last paragraph is a figment of your imagination. > But you never thought it either, dear email reader, because I'd hate to see > you in the outdoor cell next to mine in Guantanamo Bay. Do you think we'd > be allowed writing paper? How about reference books? What if we requested, > through the Red Cross, a complete copy of the poems of Allen Ginsberg? I > don't even like all his poems, but he'd be real good poet to have if you > were in jail. Would we get an expurgated version, without all the dirty > words? Would they go so far as to get rid of dirty acts even if they did > not have any dirty words in them? After all, homosexuals are all > terrorists, aren't they? Not only do they hide explosive material in their > assholes, but it turns them on, and when they die, it's just one big orgasm > before the afterlife where they have eternal reward for getting rid of Baby > Bush. > > Millie > > P.S. I hope people can recognize a) sarcasm and b) words that are written > not in my voice, but in the voice of the oppressor > ----- Original Message ----- > From: Joel Weishaus > To: > Sent: Tuesday, February 05, 2002 6:32 PM > Subject: Re: query on behalf of a friend > > > > .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. > > > > > > > If this is a democracy (and there is doubt about this), then it is the > > people who are responsible. > > So where are the celebrated voices that spoke out during the Vietnam War? > > Where are the intellectuals? What's the Poet Laureate saying about the > > killing fields called Afghanistan? Where are the Yippies? > > > > -Joel ========================================================================= Date: Thu, 7 Feb 2002 17:54:24 -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 - Most of my books have pp. 134-135 - I've been reading them. ========================================================================= Date: Fri, 8 Feb 2002 00:45:28 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Beginnings of an...Quest to Listers and Alan MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alan. More interesting stuff: but to "butt in" what do you think of Craig Dworkin's "talk" with the coded names etc? Ok its been filtered thru Jeffrey Jullich (who did a good job of reporting I'll add) or do you think its all a waste of time and that Craig D. was talking a load of old cobblers? Its about the only "dialogue" -the much vaunted diaologic- albeit rather stumblingly and confusedly proceeding - for the nonce on the List. You obviously have a very complex structure which you have fairly complexly "maped out" with long and short waves and to put it very crudely the "technical" and the "cybernetic" integrate or jar againgst the personal and the human and the often disturbing (political, social, medical etc) in your own writings (or texts or whatever) which often just verge on not working but do work by the energy and sometimes ingenuity and even lyricism as well as repetition...but that said: do you have a comment on the Carig Dworkin issue: or is it true that the most important clue is the hair style he had that day? (I'm not "taking the piss" out of you Alan: just thought you might find this interesting or at least amusing...) Whether he was Moosing or mousing around or using stylo or whatever or whether he dipped his head in a huge bucket of literary and blackly obfusycating ink just prior to his talk to such literary "luminaries" of NY as Charles Bernstein and the much alarmed Monsieur Jullich? I visualise him from this grey and distant land as standing there like a Baudelaire (who once died his hair green) or a kind of latter day Paganini-Critic or a Genius with his hair so terrified of the electric power of the brain beneath it (the hair in question) that it stood up en masse in protest at the outrageous and alien and e'en transgresive thoughts issueing from (or boiling in and around beneath) or in electric and (yeah) (verily) (eclectic) terror and glowed in a bright blue or even with a flaming and a ruddy (I mean vermilion) irridescence? Your (levitic or serious) response si'l vous plais. Regards, Richard. ----- Original Message ----- From: "Alan Sondheim" To: Sent: Thursday, February 07, 2002 6:26 PM Subject: Beginnings of an essay ready to be abandoned > - > > > Beginnings of an essay ready to be abandoned > > > > Elsewhere i've written about the characters I use as emanants or source- > less semiotic spews that coagulate as characters, take on a life of their > own - one that I follow with insistence. They also form a bypass or excuse > - if I want to say something childish or out-of-sorts; if I'm in a bad > mood - if I want to present something dubious, something erroneous - I can > call on Nikuko or Jennifer - none of them care... > > These people help, but they also get in the way. My main concern is philo- > sophy, not literature; I want my work to be taken seriously as theoretical > thought. In Nietzsche's time, or Kierkegaard's, both branches might well > intertwine, as they do in Derrida for example. But there's a cost involved > - a general referentiality to the dominion of the philosophers or theor- > ists - which is absent in my work, as Julu, for example, will have a > spirited conversation with Jennifer in a MOO. Who can untangle both the > stylistic and application involved - not to mention the sentiment? One can > write all one wants about postmodernity, virtuality, subjectivity, epis- > temology, ontology, and so forth - but one must do this through the proper > channels... > > My dreams aren't full of them - not even Jennifer, the first - not even > Alan. Instead there are shattered and strobed screens, prompts as part- > objects, control passages and program transformations. I think of floating > signifiers, sememes with contusions, shattered commands I don't quite > understand. Among other things these are the deconstructions of avatars, > breakdowns of characters: bones. Out of the dreams other assemblages > arise, heading towards language, program, text. > > I can always fall back on the dreams - against the logics of genre, for > example. It's that logic of the unconscious again. I'll use programs - > collectively called "julu programs" - as catalysts. I wrote the following > - you can see how disordered everything is - I'll read axiomatics, the > care and Kehre of reasoning - then turn - Mobius strip - anyway I wrote > the following just this evening in another context: > > "Here's a major point for me. I've never been that interested in poetry or > literature/style generators, mainly because I'm interesting in a kind of > writing of urgency or writing that insists on a semantic world or > "sememe." I'm not that interested in abstraction per se which - for me - > underlies generated work. I'm trying to work out philosophical issues, > issues dealing with virtuality, etc., and so generation - unless it were > revealing something about language itself - isn't that interesting to me." > > "That being said (sorry I'm writing awkwardly - I'm dizzy from some > medication) - when I first programmed, it was on a Texas Instruments 59 > calculator with 1k of programming space, and one of the things I did was > make a text generator with maybe 100 words in it. There was a lot of very > very (for me) tight programming; it was all indirect addressing and > abbreviation to fit it in. But it ran and produced a series of texts. What > I did learn about through this was the way structure works (as well as > indirect addressing) in relation to language -" > > "And _that_ being said - I tend to use the programs for catalysts, almost > for revealing sub-texts or the unconscious of my own thinking - which I > can then rewrite, tease out - this is a process of reworking, abandoning, > re-arrangement, etc. None of the programs is used for "pure" output; it's > all mixed, a mish-mash." > > "Of course, even doing that - the reworking - I tend to learn more about > the subject at hand, and my own role or placement within it. And of course > that being said, I try to eliminate my own bias, or to extend it - play > around with the phenomenological reduction." > > "There is also the energy used in reworking the syntax and vocabulary of > the various programs - that's another kind of study or summarization of my > current work - I'll need 43 nouns, 22 verbs... I can write this as a > semantic field in itself - a way of dis/organizing the domain -" > > For example here are my entries to a unix spell-check file: "actant aether > alterities Amidah avatar avatars BBS bricolage bushido castrated cd cdrom > CEN Centre chora clots coherencies com Compaq complicit consciousnesses > consensualities cordons cunt cunts Cybermind cyberspace cyborg d'eruza > d'nala decathexis deconstructed deconstruction defuge Derrida dhtml > diegesis diegetic differend disassociating disinvestment effusions > emanants emergences empathetic empathized entasic extasis extensivity > extrusions fantasm fantasmic feedforward fictivity filmmaker filmstock > fingerboard foofwa geomatics gesturally gigabytes gridlines halfgroupoid > hemiptera hirself holarchy htm html http hyperreality i'd i'm i've > ideogrammar ikonic imaginaries incompletes indexicality informatics > internet interpenetrating interpenetrations introjections isp izanagi > javascript Jen jennifer jisatsu jouissance judgmental julu kanji Kebara > kwat Lacan linux literarily machinic magatama mediaspace microworlds > morphing morphs ms Mt multiculturalisms Myouka nakasukawabata Nara > Netscape neurophysiologies nikuko Nikuko's nostalgias NYC oeuvre offline > Panamarenko panix particulation paysage peerings perl phenomenologist > pneumosphere poolings postmodern postmodernism postmodernity primordials > protolanguage qbasic realspace rebirths rills RNA runnels Sagdish satori > sed sememe sememes sexualities shakuhachi shamisen shimenawa shinjuu > signifiers sions Snoxfly sondheim sourcess spam stromatolite subgroupoids > subjectivities subtexted susan Sysadmins techne teleologies thanatopoesis > tion tions trAce traceroute tracert tropes ulpan unfoldings unhinging URL > URLs vicodin videowork voiceovers VRML webboard Webpage Webpages wetware > wetwares worlding wryting www yamabushi ytalk" > > > ... ========================================================================= Date: Fri, 8 Feb 2002 05:49:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Issue Two of Boog City now available MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Issue two, Feb. 11-24, of Boog City available in Williamsburg on Friday Feb. 8, San Francisco on Saturday Feb. 9, Manhattan on Tuesday February 12, and Columbus, Ohio on Friday Feb. 15, includes: World Economic Forum Coverage and photos Greg Fuchs's column, "It Takes A Global Village Idiot: Attention all dunderheaded journalists—look this way" Notes from Ian and Kimberly Wilder Lexicons from Laura Elrick and David Hess Nevermind Forever: Kurt Cobain at 35 Reflections on Kurt from Sonic Youth’s Lee Ranaldo With poems from Buck Downs, Arielle Greenberg, and Hoa Nguyen, and a special Boog Side, centerfold pullout of Eileen Myles’ poem “Kurt” An excerpt from Charles Cross’s Cobain bio, “Heavier than Heaven” A vintage piece on Nevermind, circa 1992, by TimeOutNY’s Tom Gogola Art from Zachary Wollard Kimberly Wilder's “Notes from My FBI File”: Welcome Back WBAI San Francisco Bay Area section, with poetry and prose from Mary Burger, Trane DeVore, Lauren Gudath, Beth Murray, Chris Stroffolino, Delia Tramontina, and Elizabeth Treadwell And art from DeVore, David Larsen, and Will Yackulic Columbus, Ohio section edited by Pavement Sawís David Baratier, with poems from Steve Abbott, Stephen Mainard, and Julie Otten WBUR's "Here and Now" roving poet Jim Behrle on the New England Patriots, Super Bowl Champion Poems from Edmund Berrigan, Sue Landers, and James Wilk Photo from Brian Ach and ads from the good folks at the Bowery Poetry Club, the C-Note, and Free Cell. Special offer extended, Boog City issue two is available for only an 80¢ SASE (8-1/2 x 11"), to Boog City 351 W.24th St., Suite 19E NY, NY 10011-1510 to first 100 poetics list members who respond to this email, subject line: Boog City/Free Poetics List Member Copy __________ Issue three: Third Parties deadline is Friday Feb. 15, 12 noon. Considering all words and arts, themed (third parties) or unthemed. will include: Brian Ach reviews Runt of the Litter, ex-NFLer Bo Eason's one-man show TheMysteries of Life, ex-Blake Babies, feature Mary Lou Lord reviews -- David A. Kirschenbaum, editor and publisher Boog City 351 W.24th St., Suite 19E NY, NY 10011-1510 T: (212) 206-8899 F: (212) 206-9982 booglit@theeastvillageeye.com ========================================================================= Date: Thu, 7 Feb 2002 11:47:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "WrightZ, Laura" Subject: Catanzano, Evenson read in Boulder Feb. 15 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 > > > a r e a d i n g f e a t u r i n g > > > * * * * * * * * * * * * * * * * * * > * * > * fiction writer * > * B R I A N E V E N S O N * > * * > * * > * & * > * * > * poet * > * A M Y C A T A N Z A N O * > * * > * * * * * * * * * * * * * * * * * * > > > F R I D A Y, F E B R U A R Y 1 5 t h, 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 > > > The event is open to the public. Donations are requested. > > > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > > BRIAN EVENSON is the author of five books of fiction, including _Altmann's > > Tongue_, _Father of Lies_ and _Contagion_. He is a senior editor for > _Conjunctions_ magazine. He teaches Creative Writing and Critical Theory > at > the University of Denver. > > AMY CATANZANO's poems have recently appeared or are forthcoming in > _American > Letters & Commentary_, _Aufgabe_, _Columbia Poetry Review_, > _Conjunctions_, > _Web Conjunctions_, _Facture_ and _VOLT_. She received her MFA in poetry > from the Iowa Writers' Workshop in 1999 and has taught English at the > University of Iowa and Metropolitan State College of Denver. She > currently > works in fundraising as a research analyst for the University of Colorado > Foundation in Boulder. > > > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > > 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, MARCH 15th: BOBBIE LOUISE HAWKINS and CHELSEY MINNIS > > For more information about the Left Hand Reading Series, call (303) > 938-9346 > or (303) 443-3685. > ========================================================================= Date: Thu, 7 Feb 2002 11:50:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "WrightZ, Laura" Subject: School of Continuation book release party in Boulder, Feb. 21 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" T h e S c h o o l o f C o n t i n u a t i o n c o r d i a l l y i n v i t e s y o u t o a * B O O K R E L E A S E P A R T Y * c e l e b r a t i n g t h e p u b l i c a t i o n o f _A N O N_ by Anselm Hollo, Laura Wright, Patrick Pritchett, Mark DuCharme & Jane Dalrymple-Hollo (Potato Clock Editions, 2001) & _C O S M O P O L I T A N T R E M B L E_ by Mark DuCharme (Pavement Saw Press, 2002) T H U R S D A Y, F E B R U A R Y 2 1 s t, 8 p.m. at L E F T H A N D B O O K S & R E C O R D S 1200 Pearl Street #10. Boulder, Colorado Readings by the poets. Refreshments will be provided. ))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) ANSELM HOLLO is a distinguished poet and translator whose latest books include _Notes on the Possibilities and Attractions of Existence_ from Coffee House Press, and _Caws and Causeries from La Alameda Press_. He is a Core Faculty member in Poetics at Naropa University. MARK DuCHARME's recent chapbooks include _Near To_ from Poetry New York and _Desire Series_ from Dead Metaphor Press. For the last four years he has been a co-director of Boulder's Left Hand Reading Series. LAURA WRIGHT's chapbooks include _Everything Automatic_ from Belladonna and _Hide: What's Difficult_ from Poetry New York. Her translation of Henri Michaux's _Life in the Folds_ is forthcoming from Black Square Editions. PATRICK PRITCHETT is the author of the chapbooks _Reside_ (Dead Metaphor Press) and _Ark Dive_ (Arcturus Editions). His poetry book _Burn: Doxology for Joan of Arc_ will be published in 2003 by Chax Press. JANE DALRYMPLE-HOLLO is a painter whose work has been occasionally exhibited here and there. She has illustrated the covers of many books of poems, and a feature on her work appeared last year in the online magazine _How2_. ((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( This event also marks the debut of a new press founded by members of the School of Continuation, POTATO CLOCK EDITIONS. Other new titles from Potato Clock Editions will be available at the book release party. For more information on the THE SCHOOL OF CONTINUATION, check out its web site: http://www.angelfire.com/poetry/subpress/soc.htm Thanks to LISA JARNOT for design and maintenance of the web site. Many thanks also to the LEFT HAND BOOKS COLLECTIVE for their support of this and other literary events in Boulder. For more information about the February 21st Book Release Party, call (303) 938-9346 or (303) 443-3685. ========================================================================= Date: Fri, 8 Feb 2002 08:21:32 -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" Spiral Bridge Writers Guild requests your presence as we present another night of reverberations of the soul... Please join us on Saturday, February 9, @ 7pm .. for a private performance by the Spiral Bridge poets when we gather to go back to basics for two hours. Relate to your own life through the harvests of someone else's, and find your place somewhere between the listening ear and the voice that employs it. Come and allow yourself to be reminded why you are here, why you were there, and why you will be as bare bones are exposed and all else but words falls away. We shall surely be reminded why it is we take the time to gather after all. http://www.spiralbridge.org (new site on the way) Have a Good One. ----------------------------------------------- For reference, your link to this Invite is: http://www.evite.com/r?iid=XOGWMSHWBLMCMAYPPNCF 48484848 ========================================================================= Date: Fri, 8 Feb 2002 09:40:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cadaly Subject: Re: California poet laureate? MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I posted the CA poet laureate nomination stuff earlier. go to this web site, get the info, & write a letter: http://www.cac.ca.gov/secondary_page/programs/Descriptions/poetlaurate.htm The problem is the NOMINATOR has to put together an application packet, and must have some sort of academic or otherwise "official" affiliation. Catherine Daly cadaly@pacbell.net ========================================================================= Date: Fri, 8 Feb 2002 13:42:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: forwarded announcements - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE ---------- Forwarded message ---------- Date: Fri, 8 Feb 2002 02:22:44 EST From: Brueckl100@aol.com To: sondheim@panix.com Two items came to my attention today that should be of interest to this Lis= t: We Love You, Alice B. Toklas! A 125th Birthday Celebration An exhibition, =E2=80=9CWe Love You, Alice B.Toklas!=E2=80=9D recognizing t= he accomplishments and celebrating the memory of Toklas will be presented in t= he James Hormel Gay and Lesbian Center, San Francisco Public Library,Civic Center from January 18th to March 7th. The library location is very appropriate as it is a few blocks from Toklas=E2=80=99s birthplace on O=E2= =80=99Farrell Street. The exhibit will move to the American Library in Paris, 10, rue G=C3=A9n=C3=A9ral-Camou, from March 19th through May 3, 2002. In Paris on M= arch 20th, there will also be a presentation as part of the library=E2=80=99s Evenings= With A Writer program called =E2=80=9CAlice B. Toklas, In Her Own Voice,=E2=80=9D = featuring excerpts from a rare 1952 interview with Toklas. Items in the exhibition will be from the Gertrude Stein and Alice B. Toklas Collection of San Francisco collector, Hans Gallas. First editions of The Alice B. Toklas Cookbook, hand-written recipes, original photographs by Car= l Van Vechten, and letters will be displayed. One of the highlights of the exhibit is a 19th century autograph book once belonging to one of Alice=E2= =80=99s childhood friends in which Toklas wrote a brief inscription. There will als= o be a painting commissioned for the event from the artist Tom Hachtman, titl= ed =E2=80=9CIn the Memory of Alice B. Toklas=E2=80=9D.The exhibit, which is cu= rated by Gallas, will be arranged around distinct themes including Alice the Cook; Alice the Muse; Alice the Letter Writer; Alice Alone; and Alice the Legacy. One secti= on will feature the evolution of The Autobiography of Alice B. Toklas by Gertrude Stein, from its serialized version to bestseller. Other events are also planned as part of the celebration. Restaurants in Sa= n Francisco and Paris are being contacted to include menu items from Alice=E2= =80=99s cookbook. Watch gertrudeandalice.com for further details.In the Fall of 200= 2, to culminate the Toklas birthday year, a reading of a new one-person play about Toklas, "Cooking With Alice B," will be presented in the Koret Auditorium of the San Francisco Public Library. The play is based on an original idea by Hans Gallas and written by Gallas with Lissa Tyler Renaud. It is set in a 1950's San Francisco television studio. Toklas has been invited to prepare some dishes from her now famous cookbook. The role of Alice is played by Ms. Renaud, an award-winning actress and director. There are also plans for future readings of the play and a full production. As the life partner of Gertrude Stein, Alice B. Toklas both experienced the lifelong struggles and celebrity of one of the foremost shapers of 20th century literature and modern art. She also contributed immeasurably to the development and recognition of Stein=E2=80=99s work. In her own right, Alic= e has at some level come to symbolize the openness, freedom, and creativity born of the =E2=80=9Clost generation=E2=80=9D of the =E2=80=9820s and perpetuated b= y the Beats of the =E2=80=9850s and the Hippies of the late =E2=80=9860s/early 70s. Rightly or wrongly, muc= h of this mythology centers around the infamous recipe for her brownies/fudge first printed in her 1954 cookbook. The devoted relationship of Alice and Gertrude has come to stand for a key milestone in gay/lesbian history, with TIME magazine (founder Henry Luce an= d his wife Claire Boothe were good friends of Alice and Gertrude) having term= ed it one of the great love affairs of the 20th century. 2007 will mark the 100th anniversary of the meeting of Gertrude and Alice. Preliminary plans a= re underway to coordinate an international symposium commemorating this significant event. _____________________________________________________________________ www.gertrudeandalice.com There is no shortage of information online about Gertrude Stein and Alice B= =2E Toklas. Whether there are specific web sites devoted to one or both or site= s which highlight projects inspired by them or sites selling items related to them, Gertrude and Alice are easily found on the world-wide web. Their biographies, vital dates, and bibliographies will not be repeated here =E2= =80=93 though we=E2=80=99ll gladly help direct you to them. The primary purpose of gertrudeandalice.com is to provide a site which recognizes the importance of this almost four-decade long partnership. Much of what Gertrude Stein accomplished could not have been done without Alice B. Toklas. Much of what Alice B. Toklas accomplished could not have been done without Gertrude Stein. Stein has received much deserved recognition and analysis over the years while Toklas has received some, but too little of either. Often her claim to fame is couched in the mythology o= f the hashish fudge recipe! It is time for a new word =E2=80=93 gertrudeandalice. Its definition - one = of the goals of this web site will be to define it. ========================================================================= Date: Fri, 8 Feb 2002 05:49:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Play and game spaces/hyperstructures in Arteroids, Stir Fry Texts, and Mez (poetentially) MIME-version: 1.0 Content-Type: text/plain; charset=Windows-1252 Content-Transfer-Encoding: 8BIT PLAY AND GAME SPACES/STRUCTURES IN ARTEROIDS, STIR FRY TEXTS, AND MEZ (poetentially) by Jim Andrews FIRST URL > http://webartery.com/arteroids : Arteroids 1.1--requires Shockwave 8 and sound--turn the sound > up as loud as you can stand it and play it in the dark for maximal effect. > HERE WE GO > Confluence of art and gaming... > > a topic of interest to me. also of interest: the distinction and intersection of play and > game. relates to "art and gaming". Play is not necessarily gaming. But there is play in > gaming. And there are different types of play, 'art' being involved most prestigiously in > non-game play, previously. the challenge of the artgame is to be as widely playful as > possible, in artplay, soundplay, bodymindplay, readingplay, writingplay, imageplay, > competitiplay, communiplay, transactiplay, metaplay, and many more. some might add > enaughtyplay, for instance. uh, that would be bodymindplay. > > Arteroids has many of these in it. > > The bodymindplay is in the keyboard interface and how that feels. To play and game. Arteroids > will have a 'play mode' and a 'game mode' (rather than canto 1, canto 2). In game mode, when > you expire once, the game is over because if you expire there's no way you are going to get > the score you need to advance to the next level--there is no point in continuing. To advance > to the next level you have to score quite well. And if you advance, that takes you directly to > the next level of play. You can also choose to exit game mode and enter play mode. In play > mode, you can expire many more times before the game ends. And in play mode you can adjust the > app's velocity, density, and friction, whereas these are not adjustable in game mode. > > In play mode, there is no linear advancement of the player through hierarchical levels, though > the player can adjust velocity, friction, and density. Instead, the player can jump around to > whatever level they wish whenever they wish, and they can edit text, create their own texts to > use in arteroids (and save them to disk), change (v,f,d) before the game or during the game, > make their own poems and play them through the interface, read the help, view the credits, and > perhaps other things. The play mode, given that it can be set to the player's own velocity and > physical capabilities with a keyboard, is more amenable to artplay. > > Further, when the game's velocity is low, you can read the text. And you will have more > opportunity to choose the sounds you play, so you can play musically with the interface more > leisurely at low velocity, so you create a kind of visual totally textual and sound poem. This > is very much artplay. It would be great to be able to record games and send them to people as > screensavers. Perhaps I can get it to email texts, (v,f,d) settings, and a url to the game. > Hmm. > > The game mode will have 216 levels. That's a lot of levels in a computer game. But each game > is quite short. Anywhere from a minute to half a minute. Or shorter if you expire. Which you > will do often. The progression of the levels is interesting. I mentioned (v,f,d) previously. v > for velocity. f for friction. d for density. Think of (v,f,d) as a tape counter such as you > see on your stereo. But in (v,f,d), the wheels don't all have the same symbols on them. I am > advancing the idea of (v,f,d) as a tape counter to illustrate how to count the number of > possible configurations of (v,f,d). > > The v wheel has the numbers 1 to 12 on it. There are twelve velocity settings. 1 is reading > speed and soundplay velocity. 12 is very challenging physically. v takes the 'hundreds' wheel > position in (v,f,d). > > The f wheel has three numbers on it: 1, .2, 0 . f=0 means no friction for the id-entity, the > player's text. You can control the player's speed and direction, but if you don't control it, > it will zip around like the red text from hell and crash almost immediately. f=.2 means that > there is a little bit of friction on the id-entity's motion. in other words, the id-entity > will stop eventually if you take your hand off the keypad. f=1 means there is more friction > yet on the id-entity. This is the most easily controlable friction setting. f takes the 'tens' > position in (v,f,d). > > The d wheel has the numbers 1 to 6 on it. d is for 'density' in this case. There are six > 'density' settings. d=1 means that the game phase list is [2,3,4,5,6,7,8] or something > similar. This means that in phase 1 of the game, you are faced with 2 arteroids onstage. When > you score high enough that you progress into the next phase (of the same game) then you are > faced with three arteroids onstage at all times. and so on till you face 8 arteroids onstage > constantly in the last phase until you score high enough to end the game, or fall back a phase > if you expire in play mode and are resurrected. d=2 refers to the game phase list > [3,4,5,6,7,8,9]. d=3 refers to [4,5,6,7,8,9,10] ... d=6 refers to [7,8,9,10,11,12,13]. d takes > the 'units' position in the (v,f,d) 'tapecounter'. > > Now let us count the permutations and combinations of (v,f,d) where > > v is 1 to 12 (12 is the hardest velocity) > f is 1, .2, 0 (0 is the hardest friction) > d is 1 to 6 (6 is the hardest density at high velocity, and the easiest density at low v given > the same scoring system for each game). > > when the tape counter is at its lowest setting, it says (1, 1, 1). These are the easiest > settings for all three parameters. More generally, the below shows the enumeration of the > possible settings. > > (v, f, d) Level > (1, 1, 1) 1 > (1, 1, 2) 2 > (1, 1, 3) 3 > (1, 1, 4) 4 > (1, 1, 5) 5 > (1, 1, 6) 6 > (1, .2, 1) 7 > (1, .2, 2) 8 > (1, .2, 3) 9 > (1, .2, 4) 10 > (1, .2, 5) 11 > (1, .2, 6) 12 > (1, 0, 1) 13 > (1, 0, 2) 14 > (1, 0, 3) 15 > (1, 0, 4) 16 > (1, 0, 5) 17 > (1, 0, 6) 18 > > The above 18 levels are all where v=1, the easiest in terms of required eye-hand coordination > but also the most artfully playful, perhaps, in that the player may choose more rangingly > their actions than happens at high v where you must respond instantly to the game state's > threat on your life. So these are the easiest and most richly playful levels, in many ways, > the lowest levels of the game. You have time for readplay, writeplay, soundplay, and > communiplay if I can get it to send texts via email. > > The next levels (same as the above, only v=2): > > (v, f, d) Level > (2, 1, 1) 19 > (2, 1, 2) 20 > (2, 1, 3) 21 > (2, 1, 4) 22 > (2, 1, 5) 23 > (2, 1, 6) 24 > (2, .2, 1) 25 > (2, .2, 2) 26 > (2, .2, 3) 27 > (2, .2, 4) 28 > (2, .2, 5) 29 > (2, .2, 6) 30 > (2, 0, 1) 31 > (2, 0, 2) 32 > (2, 0, 3) 33 > (2, 0, 4) 34 > (2, 0, 5) 35 > (2, 0, 6) 36 > > I won't list all 216 of them. There is one such block of levels for each setting of v (of > which there are 12). The last and highest levels are the following: > > (v, f, d) Level > (12, 1, 1) 199 > (12, 1, 2) 200 > (12, 1, 3) 201 > (12, 1, 4) 202 > (12, 1, 5) 203 > (12, 1, 6) 204 > (12, .2, 1) 205 > (12, .2, 2) 206 > (12, .2, 3) 207 > (12, .2, 4) 208 > (12, .2, 5) 209 > (12, .2, 6) 210 > (12, 0, 1) 211 > (12, 0, 2) 212 > (12, 0, 3) 213 > (12, 0, 4) 214 > (12, 0, 5) 215 > (12, 0, 6) 216 > > The highest and last three levels of arteroids are high velocity, fricitionless, and dense > with texts continually and increasingly as the game progresses. These are the most > zen-spastically arteroidal of all levels of arteroids. Well, I suppose the trick would be not > to be spastic, but you know what I mean. It's very fast play. > > There are 18 levels within each of the above three blocks. And there are 12 such blocks. So > there are 18 * 12=216 levels in total. > > Another way of looking at this is more interesting and is useful in analysis of other pieces. > And it involves the tape counter idea. > > 12 * 3 * 6=216 > v f d > > Just like in a tape counter, there are > 10 * 10 * 10 possible settings of a three digit tape counter: 000 to 999. > > In general, if we have a 'tape counter number system' where each number has the same number of > digits (3 digits in the case of (v,f,d) ) but each wheel may have different numbers of symbols > than other wheels (as in (v,f,d) ) then the total number of settings is given by the product > of the number of symbols on each wheel, and the way we count from the lowest setting to the > highest setting can be automated in this way--if the notion of such hierarchical progression > is sensical or useful in the particular case, given that this structure is abstract enough to > encompass examples to the contrary. > > The above provides a way to enumerate the possibilities of the stir fry texts at > . By the same sort of argument (I leave it as an exercise for > the reader), if there are t texts and each text has p parts, then the stir fry has t^p > configurations. Assuming there are no repetitions--which mayn't be the case; that would > require careful examination of the particular texts. In the case of > (requires Internet Explorer for the PC) which > is a stir fry text called "Log" that means that there are approximately 3^30 configurations, > or 205,891,132,094,649 logs. > > Let's step back a moment from arteroids and the stir fry texts and the enumeration of levels > and permutations of texts and make a more general observation. What we are dealing with here > are hyperstructures, trees of paths (typically) through a set of pages or states or levels or > texts or permutations of texts etc. Functionally, the stir fry texts can be fit into the tape > counter metaphor to enumerate the permutations. However, it makes little sense to display them > in the above enumerative order. It is more fun that the 'wheels of the counter' turn > independently of one another in the stir fry texts. That is part of the fun of them. And the > wheels turn spastically, even better. They twitch with their own life. > > What use are these observations to the web.artist? Well, to get a sense of the combinatory > space of one's creation is useful. It is also useful sometimes to consider the paths through > the hyperstructures that one builds and have a sense of the shape of those paths collectively > and individually, to some extent, though 205,891,132,094,649 is a large number. Sometimes it > is useful, as in arteroids, to establish a linearly ordered hierarchy between the states--for > use in game mode, in this case. In other situations, as in play mode in arteroids or the stir > fry texts generally, such a linearly ordered hierarchy between the states is not useful and > would in fact be a drag. > > I have thought of the above approach to conceptualizing the combinatoric shape of work in > relation to some work by my friend Mez (http://www.hotkey.net.au/~netwurker ) that does not > yet exist. The 'wheels of the tape counter' would contain textual entries, like the stir fry. > Only, unlike the stir fry, the wheels would not turn independent of one another. And in fact > the thing would be a textflesh machine. Mez's work is already interesting combinatorially. > There are implicitly, in some cases, linearly ordered progressions of reading favored among > the combinatorial possibilities. At other times there is a favored traversal of the tree of > possibilities. At other times the order of the reading is open to full play. A piece involving > Mez's voice and this sort of textflesh machine could be very interesting and could also both > clarify and deepen the mechanics of mezangelle. But it is something that Mez would have to > come to herself, concerning the specific mechanics of the literary machine, ie, the logic of > the turning wheels and their transitions between states. I imagine it as being no longer than > a single line of text. This would also highlight the way that some of Mez's work operates on > the level of the line, not the paragraph--though of course we all operate in the paragraph at > times too. > > I mention the above concerning non-existant work by Mez to illustrate how the tape counter > metaphor is useful in conceptualizing a certain aspect of literary machines: their > hyperstructures. Sometimes this is useful, sometimes not. Depends on o so many things. > > To return to discussing game and play mode, game mode often does involve an arrangement of the > levels of play into a linearly ordered progression. Onward and upward. Not just inward amid > the dimensions of artplay, soundplay, bodymindplay, readingplay, writingplay, competitiplay, > communiplay, transactiplay, metaplay, and many more amid the cogitative multiplex. Play mode > tends to the de-gamed in its removal of meaningful scores and game-designer imposed standards > and levels of achievement. And it often though not always removes the competiplay. Usually it > is quite big on soundplay, bodymindplay, readingplay, writingplay, communiplay, metaplay and > even artplay. But not always. And, as in the non-existant Mez literary machines, sometimes > play mode involves specific paths as favored readings or traversals or directions. Also, we > might note that as in arteroids, a full range of original artplay can be combined with game > mode in such a way as to elevate both. > > Another vector of the theory of game and play (and art); call it the playvector: > (artplay, soundplay, bodymindplay, readingplay, writingplay, imageplay, competitiplay, > communiplay, transactiplay, metaplay...) > Consider it an n-dimensional vector that describes the state of the piece, at any point. It is > a play vector. Let it bristle in all directions amid the Æ-dimensional multiplex of mind and > body. > > The gameplay vector might include > (artgame, soundgame, bodymindgame, readinggame, writinggame, imagegame, competigame, > communigame, transactigame, metagame). > The notion of artplay and artgame are not mutually exclusive and so will intersect yet also > contain mutually exclusive elements. > > It is interesting where they intersect, and interesting also where they are mutually > exclusive. Amid the areas where they are considered to be mutually exclusive are probably > large regions of unexplored territory that are merely dangerous rather than truly mutually > exclusive. Yet there would also be areas where more or less anybody would agree that they were > mutually exclusive. > > I have outlined in the above some issues that arise in the confluence of {game, play}, {game, > art}, and {play, art}. The digital is a playful place. And can also be deeply artful. They do > go together in strange and wonderful ways. Clearly it is not absolutely necessary that they be > combined to create transformative, immersive, profound work. These are measures that depend on > psychological and emotional reactions that are independent of the presence of game and play, > to a certin extent. > > But should we speak of the confluence of arts, media, programming, and the experience of this > confluence via the digital, the computer, which is something we drive, you can see the > poetential delight and also relevance of game and play to art in the digital realm where > machines and literary works can indeed intersect and almost inevitably do in the experience of > the reader, even if the author is unaware of or incapable of dealing with it. > > jim andrews http://vispo.com http://webartery.com ========================================================================= Date: Fri, 8 Feb 2002 13:38:48 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura Hinton Subject: (no subject) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Please announce on the Poetics List this month. Thanks. -- Laura Hinton --------------------- Book Party and Poetry Reading Celebrating the publication of We Who Love to Be Astonished: Experimental Women's Writing and Performance Poetics Edited by Laura Hinton and Cynthia Hogue University of Alabama Press Friday, March 1, 7:30 p.m. Fordham Lincoln Center, 12th Floor Lounge 113 W. 60th St. (at Columbus Ave.), New York, New York * Introduction by Charles Bernstein Co-editor of the Modern and Contemporary Poetics series at University of Alabama Press Readings by Ron Silliman, Rachel Blau DuPlessis, Mei-mei Berssenbrugge Open to the public http://www.uapress.ua.edu/authors/Hinton01.html * By subway, take 1,2,3,A,C,B, or D to 59th St., take exit at 60th & Bdwy, proceed west one block to 60th & Columbus. Co-sponsored by Fordham University's Poets Out Loud Series, and the University of Alabama Press. Info: 212-636-6792 ========================================================================= Date: Fri, 8 Feb 2002 11:20:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Jackson Subject: Outlet (8) Paradise Mime-Version: 1.0 Content-Type: text/plain; format=flowed Double Lucy Books is pleased to announce the publication of Outlet (8) Paradise. Our final issue of Outlet includes new writing by Norma Cole, Jimmie Durham, Kevin Killian, Brydie McPherson, Carol Mirakove, Yedda Morrison, Sianne Ngai, & Leslie Scalapino. To order, send $5 to Outlet/DLB, POBox 9013, Berkeley, CA 94709 USA. Please make checks payable to the editor, Elizabeth Treadwell Jackson. Contributor & subscriber copies will be mailed shortly. Thank you. *Contents of Paradise* Leslie Scalapino, from It's go in quiet illumined grass land; Jimmie Durham, The Pursuit of Happiness: A Screenplay; Kevin Killian, Bury Me Deep in Love; Norma Cole, Units for Tomorrow; Carol Mirakove, turtle snaps; Sianne Ngai, Untitled; Brydie McPherson, from Album; Yedda Morrison, Reports from the Field. Index of authors published by Outlet/DLB since 1997. Editor's note & farewell. Elizabeth Treadwell http://www.poetrypress.com/avec/populace.html _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ========================================================================= Date: Fri, 8 Feb 2002 14:33:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Tom Pickard MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Just in: copies of=20 Tom Pickard's HOLE IN THE WALL: New & Selected Poems Flood Editions ISBN 0-9710059-3-1 $15 Valentines Day (Massacre) I bought her a dark amaryllis black as a sack of coal she said shove it up your arse so I binned it "Young Tom Pickard for years ran the Morden Tower readings in Newcastle,=20 Great Britain, and from early 1960s on was chief friend, host & proponent of= =20 new-wave American poetics . . . I am an old admirer of his poetry and believ= e=20 he=E2=80=99s one of the livest truest poets of Great Britain. Under guidance= from his=20 friend the elder Basil Bunting he=E2=80=99s writ poetry with condensation, s= harp=20 focus and local speech directness, in lineage joining William Carlos William= s=20 and 'Geordie' lyric vernacular." ---Allen Ginsberg "Song sings itself in these poems. Their heart is clarity, spoken. Why=20 shouldn=E2=80=99t the music lead and the heart follow=E2=80=94and mind be th= e wonder of=20 their witness? This is a great poetry made of such common life, each word a=20 step along the way." ---Robert Creeley Send a check to=20 Flood Editions PO Box 3865 Chicago IL 60654-0865 (Shipping is free in the U.S.) Or order several Flood Editions books at a discount (backchannel me for more= =20 information). www.floodeditions.com ========================================================================= Date: Fri, 8 Feb 2002 17:25:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Beginnings of an...Quest to Listers and Alan In-Reply-To: <003b01c1afcc$f0c64780$356e36d2@01397384> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I didn't have any response; apologies. I'd want to have read the original talk/essay - it's always different from the reporting of course, and for that reason I wasn't following it. Again apologies - Alan Internet text at http://www.anu.edu.au/english/internet_txt Partial at http://lists.village.virginia.edu/~spoons/internet_txt.html Trace Projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm CDROM of collected work 1994-2002 available: write sondheim@panix.com ========================================================================= Date: Fri, 8 Feb 2002 14:52:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Palma Subject: Become part of SoCal poetry history - THE BIG PICTURE at Beyond Baroque! In-Reply-To: <89.1338b78e.2995820c@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello! I just wanted to invite any poets here from Southern California or formerly from SoCal to participate in this event. I should have the website up soon and will post that to the list when it's up. If you think you can make it, please RSVP to Amelie Frank at the e-mail address at the end. Cheers! :-) Christine FWD: Dear Fellow Poets: The event we've been talking about for months is coming, and we want you to be part of this historic project. On Sunday, April 7, 2002, at 3:00 p.m., Beyond Baroque will host The Big Picture, a convocation of Southern California poets to be photographed for National Poetry Month. Southern California is a region of diverse populations, each with a unique voice. For this event, we are bringing all these voices together -- the voices of our literary poets, our performance poets, our beat poets, avant-garde poets, academic poets, hip-hop poets, environmental poets, political poets, cowboys poets, and others. Often, regions are not aware of their cultural heritage. This is our chance to preserve these poets for posterity and awaken the Southern California region to the wealth of talent that resides right here, right now! The event will take place at Beyond Baroque, the nonprofit foundation that is the literary heart of Los Angeles. Founded in 1968 in a storefront in Venice, the center has been the site of readings from such literary giants and local icons as Allen Ginsberg, Philip Levine, David St. John, Kate Braverman, Lewis MacAdams, Bob Flanagan, Charles Bukowski, Wanda Coleman, Dennis Cooper, and many more. Many of SoCal's most beloved poets have been alumnae of Beyond Baroque's long-standing workshops. The event is being documented by Mark Savage, who is completing a five-year project individually photographing the poets of Los Angeles. Called one of the "finest up-and-coming portrait photographers in North America" by "American Photography," Savage has produced outstanding work that has appeared in the "Los Angeles Times," "Money," "Fortune Small Business," and other publications. After the group photo, all poets will be invited to visit Mark Savage's completed project, "Souls and Passions," on display at the Beyond Baroque gallery. Participating poets are being asked to donate copies of their publications to the Beyond Baroque Archive: the largest independent collection of Southern California poetry and ephemera on the West Coast. Be it your chapbooks, your broadsheets, your perfect-bound collections, your spoken word recordings, or the literary magazines you have produced as publishers and editors, we want them to enrich the archives and guarantee your permanent legacy as part of Southern California's grand poetic tradition. Please bring them to the Big Picture event! **WHAT: Beyond Baroque Hosts THE BIG PICTURE: A Convocation of Southern California Poets **WHEN: Sunday, April 7th, 2002 at 3:00 p.m. **WHERE: Beyond Baroque Literary Arts Center, 681 Venice Blvd., Venice CA, (310) 822-3006 **ADMISSION: Free of charge **FOOD: We're potlucking it, but yes, there will be food! Bring some, too! READING: None. We'll be getting together to pose for a photo, network, eat, and be together, as well as look at the "Souls and Passions" exhibit. **INFO: Soon, we will announce our website, which will offer background, directions, important information, and breathtaking samples of Mark Savage's work. We'll keep you posted! **RSVP: Please! This is essential! We need to know how many people are coming to help us secure enough parking, food, and other facilities concerns. To RSVP, or if you have any questions, you can e-mail me at an account I've specifically set up to manage the details of this event: poetamelie@onebox.com ____________________________________ Christine Palma "Echo in the Sense" - Poetry, Prose, Performance, Text-Driven Art KXLU Los Angeles - 88.9 FM Saturday Evenings from 8 to 9 PM E-mail: Christine@DROMO.com Tel: (714) 979-3414 "Take a step into the sublime. . ." ========================================================================= Date: Fri, 8 Feb 2002 18:39:33 -0500 Reply-To: Bob Grumman Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: California poet laureate? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Why would any serious poet want to be Poet Laureate of a state? Even if it were not a given that no state would be able to elect a valid laureate. Being Poet Laureate of the U.S. or Britain would at least garner some visibility. And states don't really vary much, anymore, it seems to me. I wouldn't mind being named poet laureate of American mathematicians, or of American substitute teachers, but I truly would not be interested in being poet laureate of Florida, my home state now. Of course, if I lived in a place with a neat name, like Oshkosh, I wouldn't mind being poet laureate of it. Poet Laureate of Hayworth Road, Port Charlotte, Florida, wouldn't be bad, either. --Bob G. ========================================================================= Date: Sat, 9 Feb 2002 09:06:58 +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="iso-8859-1" Content-Transfer-Encoding: 7bit Bill. I dont see it as you do but glad to see your view: I can understand now the situation might seem (especially eg to a New Yorker) and other Americans as a terrible and frightnenning attack. And without a lot of info (and even with a lot) a lot of people would be excused for being frightened and angry at the events of the attack on the US. However I dubious that 1) the attack wasnt justified ( I mean that it didnt have some complex causal connection to US external policies and so on) 2) it wasnt organised by an extreme right wing group from within the US 3) if it wasnt 2) then the Bush (etc) admin reaction was quite simplistic: he now wants to "blister" Iraq and probably North Korea. Altho I unerstand that te European nations arent so keen on that). And also it (the attack on Afgahnistan) in no way has made the "Free West" any safer. 4) I think its VERY much like theVietnam war. eg I think that the issue of the "advancedness" or whatever of Afghanistan has been cruelly and cynically manipulated by the Right. It was a "red herring" and served to reinforce prejudice against Arabs everywhere as The Enemy (the NEW enemy) and what was relatively speaking a fairly minor attack on basically non-military targets (recall the number of buildings in the US and the enormous numbers of military installations). And no one has claimed (in fact most Arabs have condemned the attacks) responsibility (usually its obvious and in Isreal we know the terrorists (freedom fighters?) because they kill themselves) - even if bin Laden hadn't claimed to have organised it: there would been a statement about the US: about how corrupt and aggressive the military -industrial state is, how they are aiding the Israelis, their general policy of "divide et imperum" which is tiresomely old, and so on. You dont SEE how the rest of the world's poor see the US: and increasingly it is seen as an agressive and corrupt nation. The Space Program built up with the aid of the ex-Nazi terrorist von Braun, the Nazis who escaped thru the "nets" with US aid after the Second WW, the holding back of the US until Britain was crippled then a panic reaction in case the Commmunists took everything, the savaging of Korea and Vietnam, the killing of hundreds of thousands in South America and Indonesia and the impoverishing of the Third World nations, coup detats in Chile (which was becoiming "dangerously democratic"), and Iran in case the oil fields nationalised, the vicious and ongoing savaging of Iraq, military installlations thousands of miles from the US (no other nation has the equivalent) in Saudi Arabia (to protect whom, US oil interests, and a bunch of scum in Kuwait?). This all said: if you can prove the case that a huge Arab force was steaming toward the US and the need for an undeclared war on that very poor country Afghanistan or why a huge bombing campaign complete with thousands of B52 bomber isnt begun on the Palestinian "terrorists" or should that be "Israeli terrorists?" I'm not convinced the the US was in "great peril". But the reaction of the US has created in the long run the potential for more destruction, more bitternness. But that said: I have to now allow that I'm glad you are commenting on this issue. I will allow that I could be wrong: that's true. Otherwise there can be no debate.. I allow that there is always rhetoric which obfuscates. Also I hope my disagreement is not seen as callous indifference to S11 which was a terrible event. Nor am I against American people who I think suffer from the effects of capitalism as much as any people any where, and I am not blind to the good things that have happenned in the US eg the Civil Rights movement and so on, the art, the relative freedom, your constitution when it works, and the strength of the people, the abundance (which we in NZ have somewhat): the intelligence and insight as such literary figures as Zukofsky ( him as an example as I'm reading a book about him just now), the energy and creativity of American people and so on. So I hope you accept my crit as "objective" - well as far as objective can be objective. I'll accept a "counter attack" without it becoming a personal thing: but I dont want to back away fromn what I said above as it stands for now. Regards, Richard. ----- Original Message ----- From: To: Sent: Friday, February 08, 2002 6:08 AM Subject: Re: query on behalf of a friend > In a message dated 2/6/02 1:17:18 PM, weishaus@PDX.EDU writes: > > << > If this is a democracy (and there is doubt about this), then it is the > people who are responsible. > So where are the celebrated voices that spoke out during the Vietnam War? > Where are the intellectuals? What's the Poet Laureate saying about the > killing fields called Afghanistan? Where are the Yippies? > > -Joel > >> > > I suspect what is going on is reminiscent of Bertrand Russell's position for > the duration of World War II. Russell was an ardent pacifist. But he > renounced his passivism during that war because he understood how grave was > the Nazi threat. When the war ended, he reverted and became an important > voice in the "ban the bomb" movement. > > Unlike the Vietnam civil war into which the U.S. inserted itself, this latest > conflict involves an attack on U.S. soil, and the deliberate killing of > civilians by forces who call for the death of all "Americans." The situation > also suggests that extreme positions, whether right or left, have much in > common with each other. The Taliban, for example, is as far right wing as it > gets. Yet they elicit sympathy (Afganistan = killing fields, WTC = we had it > coming) from some on the left, as if any group that targets Capitalism is > ipso facto left of center, or at least to be understood and forgiven. Many > on the left are suspicious of the "impuse buying" and moral relevatism that > characterizes some of the rhetoric on their side of the fence. The left wing > has always rooted its positions in a firm moral code, so moral relevatism > doesn't quite fit their bill. > > Most of my friends on the left (i.e., those who support socialist ideals, > gender and racial equality, a woman's right to choose, and so forth) see the > threat as twofold. First is the fire from extreme right and left wing groups > here and abroad. Second is the "creeping fascism" in our own country, the > exploitation by Bush and company of civilian fear for the purpose of > extending their own power and control. It's a mess, to be sure. The Nam was > cut much clearer, I think. > > I'm reminded of something my wife once said to me: "When you give your > affection and protection to weak people, expect that one day they will betray > you, precisely because they are weak." Seems like an adequate overview of > the human condition. I find it more and more difficult, as time stumbles > along, to leave my hat in any ring. But didn't Marcel Duchamp fear and avoid > the group thing? Yes he did. > > Best, Bill > > WilliamJamesAustin.com > KojaPress.com > Amazon.com/BarnesandNoble.com ========================================================================= Date: Sat, 9 Feb 2002 13:44:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Re: Lydia Davis MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Rachel L., I can't find your email but I remember you were asking for contact info on Lydia Davis. Contact me if you still want it and I can give it to you. Rae Armantrout ========================================================================= Date: Sat, 9 Feb 2002 16:09:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Atelos is pleased to announce the publication of lighthouse by M. Mara-Ann MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit lighthouse by M. Mara-Ann Atelos is pleased to announce the publication on April 15, 2002 of lighthouse by M. Mara-Ann. About the book: Sentence by sentence, line by line, lighthouse casts horizons. A possible allusion to Virginia Woolf’s To The Lighthouse can be discerned in the sense of suspense, of preparation and promise that pervades the text, a sense of things underway. But that it is present excitement and expectation rather than some terminus out in the future that is art’s (and life’s?) ultimate achievement is clear from the outset. Of course, one can’t think of a lighthouse without being aware of the slippage of its illumination and the concealment that surrounds what’s revealed. A strange narrative -- a narrative of the strangeness of what is -- comes into view. lighthouse is about the experience of being on the way, distance by distance. We move from part to whole and whole to part again, “the proximity unveiling a subtle inquiry.” About the author: Raised in the Colorado Rocky Mountains, M. Mara-Ann has called San Francisco home for more than ten years. She completed undergraduate studies at the University of Colorado, Boulder and the University of Linköping, Sweden and partial graduate work at New College of California in San Francisco. Recent work includes the chapbook forthcoming: ecneles (a+bend press, 2000) and a CD collaboration with composer Sean Abreu entitled Water Rights (2000). She is the publisher of WOOD, an online experimental journal featuring collaborations between poets and visual artists. lighthouse is Mara’s first book. About the project: Atelos was founded in 1995 as a project of Hip’s Road. It is devoted to publishing, under the sign of poetry, writing which challenges the conventional definitions of poetry, since such definitions have tended to isolate poetry from intellectual life, arrest its development, and curtail its impact. All the works published as part of the Atelos project are commissioned specifically for it, and each is involved in some way with crossing traditional genre boundaries, including, for example, those that would separate theory from practice, poetry from prose, essay from drama, the visual image from the verbal, the literary from the non-literary, and so forth. The Atelos project when complete will consist of 50 volumes; lighthouse is volume 11. The project directors and editors are Lyn Hejinian and Travis Ortiz; the director for production and design is Travis Ortiz; cover production and design is by Ree Katrak. Ordering information: lighthouse may be ordered from Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710-1403; phone 510-524-1668 or toll-free 800-869-7553; e-mail: orders@spd.org; web: www.spdbooks.org Title: lighthouse Author: M. Mara-Ann Price: $12.95 Pages: 136 Publication Date: April 15, 2002 ISBN: 1-891190-11-3 Contact: Travis Ortiz: 415-863-1999 Lyn Hejinian: 510-548-1817 fax: 510-704-8350 Atelos PO Box 5814 Berkeley, CA 94705-0814 ******** ******** ******** ========================================================================= Date: Sun, 10 Feb 2002 00:57:53 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Del Ray Cross Subject: SHAMPOO 10 and reading on March 1 in SF MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hello Fabulous People, I can hardly contain my excitement at the completion of SHAMPOO issue 10 -- it's whopping, it's special, it's over twice the amount of SHAMPOO than in any previous single issue. Check it out online at: www.ShampooPoetry.com You'll find brand new good stuff from Tim Yu, Stephanie Young, Matvei Yankelevich, Kirby Wright, Eric Wertheimer, Eddie Watkins, Dana Ward, Zinovy Vayman, Joseph Torra, Steve Timm, Keeanga Taylor, Eileen Tabios, Gary Sullivan, Chris Stroffolino, Cedar Sigo, Ann Elliott Sherman, Chris Semansky, Stephanie Scarborough, Larry Sawyer, Suzy Saul, William Routhier, Anna V. Q. Ross, Sean Reagan, Kevin Prufer, Ronald Palmer, Beth Murray, Sheila E. Murphy, Murray Moulding, Brian Morrison, Elaine Morizono, Raleigh D. Meadow, Sepia Marie, Cassie Lewis, Tim Lane, Susanna Kittredge, Jukka-Pekka Kervinen, Vincent Katz, Barbara Johnson, Paolo Javier, Yuri Hospodar, Jonathan Hayes, Carolyn Gregory, Michael Farrell, Jamine Ergas, Jennifer Dannenberg, Alison Daniel, Del Ray Cross, Sean Cole, and Jim Behrle. Whew!! Also, pack your bags and head to San Francisco on Friday, March 1st for SHAMPOO's first reading. We'll celebrate TWO YEARS AND TEN ISSUES with poetry from Cassie Lewis, Beth Murray, Tim Yu, and more -- at Escape from New York Pizza, 333 Bush Street, $5 at the door gets you all the pizza and poetry you could possibly digest. Proceeds go to St. James Infirmary. So lather up!! Del Ray Cross, Editor SHAMPOO clean hair / good poetry www.ShampooPoetry.com ========================================================================= Date: Fri, 8 Feb 2002 15:14:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeff Chester Mime-Version: 1.0 Content-Type: text/plain; format=flowed Does anyone have contact information for Kevin Davies? Please backchannel, etc. Thanks. Jeff _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Sun, 10 Feb 2002 12:09:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Pusateri Subject: Chicago Reading 2/15/02 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Lisa Samuels Christine Hume Devin Johnston Eric Elshtain Chris Pusateri reading at The Hyde Park Art Center 5307 S. Hyde Park Blvd. (Del Prado Building), Chicago. This Friday, February 15th at 8pm. This reading is free and is made possible by the generous support of the University of Chicago Divinity School. For more information, email naanabozho@hotmail.com or call (773) 324-5520. _________________________________________________________________ Join the world’s largest e-mail service with MSN Hotmail. http://www.hotmail.com ========================================================================= Date: Sat, 9 Feb 2002 09:53:19 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vgdp@AOL.COM Subject: Feb. 19-WhYWomen/whYwords presents: A book release event for ROLE CALL Comments: To: poetgirl_kathie@yahoo.com, poetgurl@cwnet.com, poetic_muse_30@hotmail.com, poeticlady99@yahoo.com, poetken@yahoo.com, poetlady@hotmail.com, Poetmuse@aol.com, poetpm_k@hotmail.com, poetress@attcanada.net, poetry.guide@about.com, poetry@cleansheets.com, poetry@mattboston.com, poetry@operamail.com, poetry_design@msn.com, poetry4peeps@hotmail.com, poetrydiva@earthlink.com, poetrygirl@hotmail.com, POETRYMAG@aol.com, poetrypoets@hotmail.com, PoetryPorch@juno.com, poetryslam@hotmail.com, poetrywebring@yahoo.com, pogues@logantele.com, PoizNGrace@aol.com, pokey@hotmail.com, pokey@pobox.com, pollyjeanh@hotmail.com, poo_msp@bih.net.ba, pooh817@hotmail.com, pooks@norfolk.infi.net, poorboy73@hotmail.com, pooterz@micron.net, poproj@artomatic.com, porat_el@einhahoresh.org, portal.info@vipmail.com, portia22@hotmail.com, potato_of_terror@redcity.demon.co.uk, Potpourri_Online@yahoo.com, pouchi@videotron.ca, poufter@msn.com, powder77@wcnet.org, ppyo@geocities.com, prairierose@hotmail.com, praseodymium59@geocities.com, precious014@hotmail.com, precosky@cnc.bc.ca, prick09@email.msn.com, primavera@iname.com, prism@ehc.edu, pritchardmusic@yahoo.com, proproj@artomatic.com, Prosewitch@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit WhY Women/WhY Words Literary Programs 14th St Y of the Educational Alliance 344 East 14th St. Veronica Golos, Poet in Residence, Artistic Director of Literary Program in collaboration with Quraysh Ali Lansana present: A TRIBUTE TO A PEOPLE: CELEBRATING AFRICAN AMERICAN HISTORY A book release event for: ROLE CALL: A GENERATIONAL ANTHOLOGY OF SOCIAL AND POLITICAL BLACK LITERATURE AND ART, edited by Tony Medina, Quraysh Ali Lansana, and Samiya A. Bashir with performances and readings by Staceyann Chin, R Erica Doyle, Greg Pardlo, and others; and a scene from the play, Paper Armour by Eisa Davis, performed by Duane Boutte, Starla Benford, and Eisa Davis. Music by Rhythms of Aqua. BOOKS Will be available for purchase. Tuesday, Feb. 19, 8pm, $7 in the Theatre. For information and to RSVP, please call: Veronica Golos at 212-780-0800x255 ========================================================================= Date: Sun, 10 Feb 2002 14:45:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: FW: New Book by Garrett Kalleberg! In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Laird Hunt asked me to forward this notice to the list. JS ---------- From: Lairdhunt@aol.com Date: Fri, 8 Feb 2002 16:04:16 EST To: garrett@metadada.com Subject: New Book by Garrett Kalleberg! Just out from Spuyten Duyvil and definitely worth immediately seeking out is Psychological Corporations by Garrett Kalleberg 42 pp., perfect-bound with gorgeous cover art by Walter Sipser "-The ambiguity of the stimuli. Stimuli are generally ambiguous and visual. They are ambiguous because the description of a precise photograph of, for example, a bottle of Guinness, would be likely only to provide a response 'a bottle of Guinness' except among the severely psychotic. To recognise these, no test would be required." -from Personality, the Psychometric View, Paul Kline (taken from Psychological Corporations=92 back cover) http://www.metadada.com/content/psychcorps.html The URL at Spuyten Duyvil (with no break between - and spuyten) for the boo= k is: http://www.oranda.net/cgi-spuyten/spuyten/perlshop.cgi?ACTION=3Dthispage&this= p age=3Dkalle.html&ORDER_ID=3D191895663 where you will find this intriguing description: "The poems of Psychological Corporations challenge the limits and excesses of rationality and its requisite objectification on the one hand, and subjectivity as a state and as a condition, how ever tenuously constructed, on the other hand, through the linguistic medium of their equivocal interactions." I have a copy in my possession, I highly recommend it. ========================================================================= Date: Sun, 10 Feb 2002 17:17:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: haunting In-Reply-To: <89.1338b78e.2995820c@aol.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT One of the authors of this book, Carl Ellis, is a friend of mine. This book was published in Feb. 2000 http://www.amazon.com/exec/obidos/tg/stores/detail/-/books/088965168X/reader /1/102-8280733-9727306#reader-link -Aaron ========================================================================= Date: Sun, 10 Feb 2002 23:29:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: video-mime 2 - 40 second speed-up: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - video-mime 2 - 40 second speed-up: : FIRE h FIRE t FIRE th FIRE ft FIRE h FIRE t FIRE th FIRE ght FIRE h FIRE t FIRE th FIRE ft FIRE h FIRE t FIRE th FIRE ght smk FIRE cgtt FIRE cmb FIRE FIRE p FIRE cmb FIRE dwn FIRE FIRE p FIRE tppd FIRE n FIRE FIRE bx FIRE cmb FIRE p FIRE sdstk FIRE swmmng FIRE smk FIRE cgtt FIRE pp FIRE ms FIRE ft FIRE pp ms FIRE ght FIRE jmp FIRE p FIRE nd FIRE dwn FIRE mstbt FIRE wh FIRE th FIRE cck FIRE shk FIRE th FIRE cck FIRE jmp dwn FIRE nd FIRE p FIRE st FIRE st FIRE ss FIRE bndng FIRE v FIRE cmb FIRE dwn FIRE FIRE p FIRE cmb FIRE p FIRE p FIRE swngng FIRE th FIRE ms z: FIRE h FIRE t FIRE th FIRE ft FIRE h FIRE t FIRE th FIRE ght FIRE smk FIRE cgtt FIRE mstbt FIRE fng th FIRE cnt FIRE bst-stk FIRE swmmng FIRE jmp FIRE p FIRE nd FIRE dwn FIRE h FIRE t FIRE th FIRE ft FIRE h FIRE t th FIRE ght FIRE tppd FIRE n FIRE FIRE bx FIRE ss FIRE bndng FIRE v FIRE shkng FIRE th FIRE ss FIRE sppng FIRE th ss FIRE cmb FIRE dwn FIRE FIRE p FIRE wkng FIRE dwn FIRE sts FIRE wkng FIRE p FIRE sts FIRE tppd FIRE n FIRE bx FIRE smk FIRE cgtt FIRE cmb FIRE p FIRE FIRE p FIRE cmb FIRE dwn FIRE FIRE p FIRE h FIRE t FIRE th FIRE ft h FIRE t FIRE th FIRE ght FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE FIRE _ ========================================================================= Date: Mon, 11 Feb 2002 00:46:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: david kirschenbaum Subject: Boog City: Call for Work/Upcoming Themes and Deadlines MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Boog City Upcoming Themes and Deadlines (deadlines are every other friday, 12 noon, 10 days before publication) (also, we always accept unthemed writing, reviews, and and art of all kinds) #3: Third Parties, guest editors Ian and Kimberly Wilder deadline is Friday Feb. 15 #4: CBGBs Bands Make the Rock and Roll Hall of Fame city: Washington, DC deadline is Friday March 1 #5: (tentative) Lee Ranaldo new book/Sonic Youth new album city: New York City deadline is Friday March 15 #6: Baseball, guest editor Douglas Rothschild deadline is Friday March 29 #7: Earth Day deadline is Friday April 12 city: Philadelphia #8: Hockey city: Boston, Jim Behrle editor deadline is Friday April 26, 12 noon #9: 1977, guest editor Arielle Greenberg deadline is Friday May 10 #10: Brendastarrs the all-Brenda issue, with work from Bordofsky, Coultas, Iijima and more deadline is Friday May 24 #11: Watergate, 30 Years Later city: Boulder, Colorado deadline is Friday June 7 #12-21, 22, 24, 26: No themes as yet #20: d.a. levy at 60 deadline is Friday October 11 #23: the December Project, Sean Cole deadline: November 22 #25: Roberto Clemente, 30 Years After His Death deadline: December 20 Considering all words and arts, themed or unthemed. -- David A. Kirschenbaum, editor and publisher Boog City 351 W.24th St., Suite 19E NY, NY 10011-1510 T: (212) 206-8899 F: (212) 206-9982 booglit@theeastvillageeye.com ========================================================================= Date: Mon, 11 Feb 2002 12:21:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther, John" Subject: Visiting San Francisco MIME-Version: 1.0 Content-Type: text/plain greets, i'm going to san francisco for business this coming week (sunday the 17th thru saturday the 23rd) and wd appreciate any suggestions/orientation... is there a website that list poetry events? art openings? wd love to meet any poets who are interested in hanging out. my job will keep me busy all day but evening are free. thanks in advance for any help, also, please email me directly jlowther@facstaff.oglethorpe.edu as i'm shamelessly freeloading on this list (i don't read it enough to be a lurker even) )ohn ========================================================================= Date: Sat, 9 Feb 2002 12:19:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Dodie Bellamy & Kevin Killian at KSW February 22-23-24 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Kevin Killian & Dodie Bellamy At the Kootenay School of Writing Kevin Killian Reading - Friday February 22nd 8pm Dodie Bellamy Reading - Saturday February 23rd 8pm Killian & Bellamy - Talks on Low Culture - Sunday February 24th 2pm All events $5/$3/$0, at KSW: 201 - 505 Hamilton Street, Vancouver 604-688-6001 Low Culture: Kevin Killian will speak about his fruitful interest in the Australian pop princess Kylie Minogue ("Kylie Minogue and the Ignorance of the West"), and the pros and cons of poetic and other collaboration. "Kylie without genitals, or with the genitals of a little boy, as in Simon Henwood's Darger imitations-naked but for a necklace, tiny tackle and all, permitted only a kind of genital power and a spectral innocence." Dodie Bellamy will then take the floor and read a brief riff on Kevin's talk, and then she will launch into a discussion of sex and horror and feminist theory. "To me transgression is a tedious position. But I *am* excited by pushing the reader to the point where he or she cannot maintain a safe distance from the work." Kevin Killian, born 1952, is a poet, novelist, critic and playwright. He has written a book of poetry, Argento Series (2001), two novels, Shy (1989) and Arctic Summer (1997), a book of memoirs, Bedrooms Have Windows (1989), and a book of stories, Little Men (1996) that won the PEN Oakland award for fiction. His new collection I Cry Like a Baby is just out from Painted Leaf Books. With Lew Ellingham, Killian has written many essays and articles on the life and work of the American poet Jack Spicer [1925-65] and co-edited Spicer's posthumous books The Train of Thought and The Tower of Babel (both 1994). Their biography of Spicer, Poet Be Like God: Jack Spicer and the San Francisco Renaissance was published by Wesleyan University Press in 1998. Killian's work has been widely anthologized and has appeared in, among others, Best American Poetry 1988 (ed. John Ashbery), Men on Men (ed. Geo. Stambolian), Discontents (ed. Dennis Cooper), Best Gay American Fiction 1996 and 1997 (ed. Brian Bouldrey), and Word of Mouth: An nthology of Gay American Poetry (ed. Timothy Liu). For the San Francisco Poets Theater Killian has written thirty plays, including Stone Marmalade (1996, with Leslie Scalapino) and Often (2001, with Barbara Guest). His next book will be all about Kylie Minogue. Dodie Bellamy, born 1951, is a novelist, critic and cultural journalist. She has written a novel, The Letters of Mina Harker (Hard Press, 1998), a collection of memoirs, Feminine Hijinx (Hanuman, 1990), an epistolary collaboration on AIDS with the late Sam D'Allesandro, Real (Talisman House, 1994), and three chapbooks, Answer (Leave Books, 1993), Broken English (Meow, 1996), and Hallucinations (Meow, 1997). Just out from Tender Buttons is a book of prose poems, Cunt-Ups, a radical feminist revision of the "cut-up" pioneered by William Burroughs and Bryon Gysin. Bellamy's work has been widely anthologized and has appeared in, among others, the anthologies High Risk (Plume, 1991), The Art of Practice: 45 Contemporary Poets (Potes & Poets Press, 1994), A Poetics of Criticism (Leave Books, 1994), The New Fuck You (Semiotexte, 1995), Primary Trouble (Talisman House, 1996), and Moving Borders: Three Decades of Innovative Writing by Women (Talisman House, 1998). One of the original "New Narrative" writers of the early and mid 80's, Bellamy has worked hard to bring together the sometimes disparate paths of art, poetry and the novel, including a triumphant five-year stint as director of the seminal San Francisco writing lab, Small Press Traffic. In recognition of her efforts she won the prestigious Bay Guardian "Goldie" Award for Literature in 1998. Bellamy has also published journalism and creative nonfiction in a wide range of publications including The Village Voice, The San Francisco Chronicle, Bookforum, Out/Look, The San Diego Reader, ZDNet Developer, Nest, as well as numerous small press literary journals and web sites. In addition, she has worked closely with the visual artists Raymond Pettibon, Lutz Bacher, David Levinthal, Cecilia Dougherty, Richard Hawkins, Peter Mitchell-Dayton, Caitlin Mitchell-Dayton, Phoebe Gloeckner, Michelle Rollman, Sue de Beer, and Darrell Alvarez. With Kevin Killian, Bellamy is writing a hybrid transgenre work of fiction and history, Eyewitness, commissioned by Berkeley's Atelos Press. She has written often and vividly on contemporary literature, transgression, feminist and queer theory, AIDS and body issues. She is writing a new novel, The Fourth Form, and editing a collection of her theoretical and critical essays. With Kevin Killian she has edited 98 issues of the San Francisco-based writing/art zine they call Mirage #4/Period[ical]. Bellamy has taught creative writing at the San Francisco Art Institute, UC Santa Cruz, University of San Francisco, and the Naropa Institute. She was the Distinguished Visiting Writer at Mills College for two consecutive years. Currently she is a lecturer in the Creative Writing Department of San Francisco State University. She also leads a private prose workshop that's been running for the past nine years. Some Dodie Bellamy Links: http://www.anotherscene.com/hysteria/db.htm Kevin Killian Home Page: http://writing.upenn.edu/epc/authors/killian Kevin Killian, Probability Zero: Talking to my friend Emily, whose drinking the corpses change but the party goes on forever, flat tax soars while it's true, I haven't yet seen vaccine In the interim he's puffing up, like a large green bullfrog on the lily pad of the hospice, wet eyes yellow and glaucous burning holes through the visitor Probability zero, but don't let a sordid fatalism give you that Monica Lewinsky fifth amendment until there's a cure, but from what deep pockets does the money appear When you're sick, the last thing in the world is Fit, the false falls into place, but sick I don't know, but an erratic passion blows into our world and I forget your name, I don't know, where was I when everyone else I know was getting bushwhacked, the bullshit of Clinton In America, the probability's zero, -- like weather, like the inane weathermen on Tv who tell you a hot front and a cold front are moving into a clearing, where I could be my "self," rituation normal all fucked up, rnafu, or a "system is moving in" and we're supposed to feign interest or terror while "watching" the "weather" as years ago Tim died, the man who, whom I once thought the FALCON MALTESE of sophisticated and he did not love me but I was not worthy His black glasses shiny like something alive, the way that men do, the way cattle do. He had a vision I longed to share. His body was not so pre possessing. Probability zero that I would live and he, Tim, his student ID the cover on his book, would study death before I got to do him I like felt this stab in my head a red explosion of blood vehicles, brain flack, infinitely painful as little by little he always integral to my sense of myself as a possible poet began to disintegrate away across the wide border red ribbon swath of the US away from me and, in time, away from kissing him 1979 ten minutes later he spotted a rainbow even then hoary cliche of gay experiential camaraderie but, yikes, real thin ribbon over Brooklyn Look away, look away this stormy river from "Argento Series" after Tim Dlugos and in his memory Bellamy, Cunt-Up #21: I consumed your biceps because my clit is hard and my nipples are poking up, and I don't want to talk about it any more with you, my dear. So, how far is your cock from my body parts and skull? You collect me like a pile of flesh laundry and I fuck your mouth, then I put my dribbling cock inside you to rid myself of skin. I sprayed and moved through you, electric, reflecting the morning. I put my hand in your cunt and sleeping pills in your drink. I want to possess the rest of your body but I can't so I take you down to the basement, my cock is bigger and darker down there, then I dismember you and sledge hammer your mouth, it is red and I kiss it. You asked me to be trashy so I wadded my fist into a ball and tried to masturbate in from of you but there just wasn't enough leverage. This brought back memories of you, my victim, wet all the time these days. I'm boiling for you to sit inside my cunt. I've painted your pussy several times, fondled it gently like a baby. Suck my cock for I believe you to be in the vicinity of it, do it quickly and viciously while I'm pinching you, your skull dotted with my squeeze prints. Suddenly my thighs are black and blue-tell your cock to behave itself! So my aureole is pale and my nipples are as long as you want them, your saliva clinging to the end of my being, your fingers inside me. I lean like a mosaic beside you, stay there fucking my clit and hole. I'm sucking your clit, I'm sleeping in your cave, take care of me. I'm touching the page you wrote, I'm tracing your come-font, will you come in my cunt all the time like some fucking cum cow? Jealousy and property appall me but I don't mind a little pain. In your fantasy you sway in the name of coming, you're so generous, really. Is it okay that I ask to coil at the root of your tree? Is my clit still burning away the ozone? I will build a century for you and me. You held it with both hands then you used cries to make me shoot off in your cave, I turned red as a morning sunrise, it's so exciting, no way out, I'm hot for you in a rental car, hope burst its binding in my ravenous wet pussy. I'm straining and gushing, thinking of you, a thousand years of emotion and you fucking me, you knowing my teeth pressed together, you kneeling over me and I was yours, that more than anything, my wanting. ========================================================================= Date: Sat, 9 Feb 2002 15:12:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Fwd: STRETCHER.ORG ANNOUNCES NEW ISSUE 2.0 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >San Francisco, February 9th, 2002 -- Stretcher posts an all-new >issue featuring a steamy text-collage by Dodie Bellamy with >illustrations by Michelle Rollman, a face-off with Libby Lumpkin, >and Web works by Los Cybrids and Crane|Winet. Riffing on the future >news, Jaime Cortez ponders the infantile, and the Stretcher crew >tackles topics from Aero-Mic'd to New Zealand, covering copyright, >genetics, rent, and Indonesian comics along the way. > >Reviews include Courtney Fink on the Office Gallery, Glen Helfand on >Margaret Cho and Paulina Wallenberg-Olsson, Arnold J. Kemp on Justin >Walsh, and Donna Schumacher on Utopia Now. Alex Hetherington, Amy >Berk, and Jon Ippolito round out the round up. > >By the way, are you one of those people who shuts pop-up windows >before they pop? If so, you're missing QUICK STRETCH, the >as-it-happens report on art and culture in the Bay Area and beyond. >Relax that trigger finger and enjoy. > >Dig Stretcher? Please send our link to a friend. We appreciate your >help in stretching our reach. > >http://www.stretcher.org ========================================================================= Date: Mon, 11 Feb 2002 11:10:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: POETICS Digest - 7 Feb 2002 to 8 Feb 2002 (#2002-24) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The Beat poets are not beating down the door. The Formalists are not forming lines (except of verse). Even confessional poets aren't admitting great interest. California's newly established poet laureate program has run into a problem. Not enough poets -- just seven -- have thrown their hats into the ring as nominees for the two-year office that was established last year to promote poetry in the state. My faith in poetry and poets is renewed. ...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 FREE Valentine eCards with Yahoo! Greetings! ========================================================================= Date: Mon, 11 Feb 2002 14:14:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: qu|quic|icki|kie MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - qu|quic|icki|kie az|azur|ure |e di|dirt|rty |y fr|from|om t| the|he t| toi|oile|let |t an|and |d on|on m| me,|e, i| i s| spr|prea|ead |d he|her |r ch|chee|eeks|ks a| and|nd l| lic|ick |k he|her as|assh|shol|ole |e cl|clea|ean,|n, i| i'm|'m s| sme|mell|llin|ing |g of|of m| mus|usk,|k, i| i i| ins|nser|ert |t my|my t| ton|ongu|gue,|e, a| ask|sk h| her|er t| to |o re|rela|lax,|x, pu|push|sh o| out|ut, |, i'|i'm |m in|in h| hal|alf |f an|an i| inc|nch,|h, i| it'|t's |s th|the |e de|dept|pth |h of|of o| oce|cean|an a| all|llig|igat|ator|ors,|s, i| it'|t's th|the |e mo|move|veme|ment|nt o| of |f th|the |e sc|scen|ente|ted |d ta|tail|il, |, i |i wi|with|thdr|draw|aw m| my |y to|tong|ngue|ue, |, li|lick|ck u| up |p to|towa|ward|rds th|the |e va|vagi|gina|na, |, ag|agai|ain |n sh|she'|e's |s be|beco|comi|ming|ng q| qui|uite|te c| cle|lean|an, |, sh|she |e pr|pres|esse|ses |s do|down|wn, |, sp|spre|read|ads th|the |e fl|flui|uids|ds o| on |n my|my f| fac|ace,|e, m| my |y ha|hair|ir, |, la|late|ter |r th|that|at d| day|ay w| we'|e're|re o| out|ut, |, i'|i'm |m ca|carr|rryi|ying|ng h| her|er tr|trai|ail,|l, h| her|er s| spo|poor|or i| is |s on|on m| me,|e, m| mal|ales|es k| kno|now |w sh|she'|e's |s my|my w| wom|oman|an, |, i'|i'm |m he|her |r ma|man,|n, i| it'|t's |s a qu|quic|icki|kie,|e, i| i c| cou|ould|ldn'|n't |t as|ask |k fo|for |r mo|more|re _ ========================================================================= Date: Mon, 11 Feb 2002 18:17:02 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: writing residency Comments: To: "CPA Listserv@" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > > >Memorial University of Newfoundland >Department of English Language and Literature >Author Residency > >The Department of English invites applications for an Author Residency >for >Fall Semester 2003 or Winter Semester 2004, subject to the availability of >matching funding from the Canada Council and Memorial University. The >position is intended to honour an established writer whose work is deemed >to be of great merit. Previous Writers-in-Residence at Memorial University >have included Kevin Major, Jane Urquhart, Wayne Johnston, Marilyn Bowering, >Buillermo Verdecchia, and Kenneth J. Harvey. In the course of the >residency, the author continues his or her writing projects while making >time available to students and writers within the University and in the >community at large. Authors wishing to be considered for the position are >asked to provide a letter of application and a curriculum vitae by March >30, 2002. When the successful candidate is selected joint application for >funding will be made to the Author Residency programme of the Canada >Council. Remuneration for the position, if approved, will be $12,000 (plus >return air fare). Applications should be addressed to: > >Dr. William Barker, Head >Department of English Language and Literature >Memorial University of Newfoundland >St. John's, Newfoundland >A1C 5S7 > > >Memorial University is committed to employment equity and encourages >applications from qualified women and men, visible minorities, aboriginal >people and persons with disabilities. All qualified candidates are >encouraged to apply: however, Canadians and permanent residents will be >given priority. > > ========================================================================= Date: Mon, 11 Feb 2002 17:33:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cadaly Subject: Fw: Gertrude Stein and Science (3/10/02; MLA '02) MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "Leslie, Christopher" To: "'cfp@english.upenn.edu'" Sent: Monday, February 11, 2002 6:15 AM Subject: CFP: Gertrude Stein and Science (3/10/02; MLA '02) > CALL FOR PAPERS > > Proposed Special Session > Modern Language Association 2002 Conference > December 27-30, New York City > > A Woman _with_ a Past: > Gertrude Stein's Scientific Inquiry > > For a special session to be proposed for this year's MLA > conference, I am looking for papers or presentations > that examine how Gertrude Stein's early scientific > interests are carried over into her writing. Stein's > shift in career is usually seen as a complete change in > tack; however there is ample evidence in her writing > that she did not abandon scientific inquiry and become a > writer as an alternative. > > Too often Stein is considered to be simply a playful > writer and her relationship to scientific inquiry is > left unexamined. Scientific inquiry, however, was > brought to bear upon her. A doctor who heard her read > "Tender Buttons" during her tour of the United States > made a diagnosis that her style probably was the result > of sleeping sickness. B. F. Skinner in his famous attack > assembles facts as if scientific proof to suggest that > Stein was a "woman without a past" that had "very little > to say." > > Some readers are now suggesting that her writing comes > from something deeper, especially given her exposure to > the nascent social sciences. In examining the > relationship of Stein's writing to scientific inquiry, > the panel will seek to enlarge readings of Stein to > examine how her early interests are reflected in her > work. Papers might consider the following: > > >> Stein claims to have "read everything," and one > can often see a critique of book learning in her > writing. How does Stein construct her poetics around > a critique of knowledge? In what way and to what > purpose does she disrupt linearity, hierarchy, and > logic? > > >> In what ways are Stein's poetics antiscientific? > Based on her writing, is it possible to construct a > theory of what she found so offensive about science > that caused her to abandon the profession, and how > does her poetics grapple with this offense? > > >> Moving forward, how might Stein's writing be used > pedagogically as a starting point for an examination/ > discussion of positivism in general? > > >> How can we use Stein's "new language" to create new > modes of thinking? How do these new modes of thinking > operate? > > >> Synergies between her work and that of her mentor, > William James, and other contemporary philosophical/ > psychological thinkers will be considered as long as > the papers use these other writers to illuminate > readings of Stein. > > Approaches other than these are certainly welcome. > > Please send e-mail abstracts of 250-500 words for a 17 > minute presentation, a brief vita, and contact > information to before March 10 to > be considered. Be sure to indicate your MLA membership > status; only confirmed members of the MLA may be part of > the final proposal. (If not already members, panelists > may join the MLA after notification of their selection > if they are quick about it.) Inquiries in advance of a > formal proposal are welcome. > > =============================================== > From the Literary Calls for Papers Mailing List > CFP@english.upenn.edu > Full Information at > http://www.english.upenn.edu/CFP/ > or write Erika Lin: elin@english.upenn.edu > =============================================== ========================================================================= Date: Tue, 12 Feb 2002 17:40:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Lawrence Subject: Andrews cfp MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Special feature for _Jacket_ magazine: Bruce Andrews and the Politics of _Lip Service_ Reading literary criticism is rarely an eerie experience, but here's an exception: Not many days after the 1993 bombing of the World Trade Center, the New York Times ran an article discussing the structure of the building and the possibilities of its being brought down by a larger and more thoughtfully placed explosion. It turns out not to be easy: apparently, each tower is built to withstand the impact of a fully loaded jet liner taking off. In addition to the strength of the structure, attackers would have to confront its complexity: there are twenty-one load-bearing pillars and they could not be reached simultaneously by the force of an explosion. In being destroyed, a particular section would in fact shield other areas by absorbing the impact. The timing and placement of the article is interesting in itself: it was a rapid-response anodyne to the spiral of geopolitical urban trauma while at the same time, under the cover of a discussion of engineering, it invited its readers to participate in transgressive calculations of how the Trade Center towers might actually be brought down. The essay from which this opening paragraph is taken is Bob Perelman's "Building a More Powerful Vocabulary: Bruce Andrews and the World (Trade Center)," written in the same year as the first, failed attempt to blow up the twin towers. By now its resonance has been widely remarked upon in the poetry circles where Andrews' work continues to serve as a limit-case of formal radicalism. The purpose of the present call for work is twofold: to reflect on, complicate, and analyze further Perelman's structural metaphor in its application to Andrews' writing; and to consider, from the present historical juncture, the always vexed issue of the politics of Andrews' poetics, with special reference to his latest book, _Lip Service_ (2000), a massive recasting of Dante's _Paradiso_. Roberto Tejada observes recently that "Andrews has produced multiplying rhetorical worlds wherein image-making and language use--as potentials in the aesthetic sense--have rarely appeared so structurally ripped-through and so demanding of examination and argument." What are the relevant terms of this argument now, and how may they have changed in the decade since Andrews' previous booklength work, _I Don't Have Any Paper So Shut Up (or, Social Romanticism)_? How might a demolitional poetics of political critique coexist with a reconstructive politics and erotics of poetic form in _Lip Service_ as well as other works? In what ways has Andrews' project engaged or sidestepped the pressing topicalities, micro- or macropolitical, of its day, and to what extent have aspects of his work been absorbed, detourned, rejected or reconfigured by younger poets? Essays of varying lengths on these and related questions are sought for a feature section of _Jacket_ magazine to be published in August of 2002. Please send queries and submissions to the section editor, Nick Lawrence, at nrl@acsu.buffalo.edu. Deadline: July 1st. ========================================================================= Date: Mon, 11 Feb 2002 21:54:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: new @ durationpress.com MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit durationpress.com is pleased to announce the first four titles in its new e-book series: Patrick Durgin, Sorter Rachel Levitsky, realism Brian Strang, Machinations Elizabeth Treadwell, lilyfoil These books are downloadable free of charge, & are available as PDF files (you will need the Adobe Acrobat Reader to view them). They are also available as compressed ZIP or SIT files for easier download. http://www.durationpress.com/bookstore More titles will be announced in the coming months. ========================================================================= Date: Sat, 9 Feb 2002 21:05:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Bassford Subject: Thomas Lux at EXOTERICA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thomas Lux Sunday, February 17, 1 p.m. Riverdale Society for Ethical Culture Meeting House 4450 Fieldston Road, Bronx, NY 718 548-4445 Thomas Lux is a member of the writing faculty and director of the MFA program in poetry at Sarah Lawrence College. A former Guugenheim fellow, he received the Kingsly Tufts Award for Split Horizon (1994), and his New and Selected Poems (1997) was shortlisted for both the Poet's Prize and the Lenore Marshall/The Nation Award. During the spring of 2001 he will be the inaugural holder of the McEver Chair in Writing at Georgia Institute of Technology. The Street of Clocks (2001) is his newest collection of poetry. An open mike follows the featured reader. This event is made possible with funds from Poets & Writers, Inc. and The Bronx Council on the Arts. ========================================================================= Date: Sat, 9 Feb 2002 19:38:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Mangold Subject: Bird Dog Issue One MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit We are pleased to announce the release of Bird Dog Issue One. Featuring new work by John Olson, Amy King, Laynie Browne, Spencer Selby, Laura Walker, Shelia E. Murphy, Roberta Olson, John Latta, Peter Ganick, Nico Vassilakis, John M. Bennett, Jeanne Heuving, Aaron McCollough, and Paul Long. Bird Dog is published bi-annually in winter and summer. 8 1/2 x 11, black & white, stapled. Subscriptions $12.00 for two issues. Individual copies $6. Checks payable to Sarah Mangold. Submissions, Subscriptions, Queries: Bird Dog c/o Sarah Mangold 1819 18th Ave Seattle, WA 98122 Submissions for Issue 2 should be received by June 15, 2002. Bird Dog, a journal of innovative writing and art: collaborations, interviews, collage, poetry, poetics, long poems, reviews, graphs, charts, short fiction, non-fiction, cross genre... ========================================================================= Date: Sun, 10 Feb 2002 01:12:30 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Massey Subject: RANGE - a new poetry mag... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ***R A N G E*** issue 1 Contributors: Kyle Conner, Dan Featherston, Jack Hirschman, Tsering Wangmo Dhompa, John Landry, Larry Sawyer, C.A. Conrad, Greg Fuchs, Sarah Menefee, Jesse Seldess, & Theodore Enslin. editor: Joseph Massey $4 for a single issue (please include $1.50 S&H). $10 for a one year subscription (2 issues a year, including sporadic bonus issues). Please make checks payable to the Joseph Massey. 1205 J St. / Eureka CA 95501 Rangemag@aol.com *** SUBMISSIONS WELCOME! E-mail or snail, fine. The next issue of RANGE is shaping up as the LOVE POETRY issue-- please send your love poems my way. But feel free to send anything. ========================================================================= Date: Mon, 11 Feb 2002 23:22:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Millie Niss Subject: Re: [webartery] Sackner Archive Comments: To: webartery@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit what's the URL of the sackner archive? congrats David! I am "reading" a book called A Humament which is a Victorian Novel Altered by Tom Phillips, and it is dedicated to Marvin and Ruth Sackner... it is a really cool book. The pages of the Victorian novel have been painted over, revealing only a few words which tell quite a different (I imagine) and more poetic "story." Some pages are kind of like comic bok text with though bibbles. Other pages are representational art with few words. I am really enjoying it. This was first published in 1980. I am interested to know whether this technique was new then or not. It resembles the cover of a book by Steve McCaffery (or is it Lyn Heijinian?) on poetics which was new last summer... Anyway this book was a book on poetics with several authors. Millie ----- Original Message ----- From: owidnazo To: Sent: Friday, February 08, 2002 11:12 AM Subject: [webartery] Sackner Archive > > > Sackner Archive of Concrete and Visual Poetry > > CLICK on thumbnail to view a larger version of the image. Add your > own comments about this object. > > > ---------------------------------------------------------------------- > ---------- > Author: Daniels, David > Title: The Club Ha Ha Gate > Publisher David Daniels > Year 2001 > City County Berkeley, California > Media poster (ink jet printed) > Total Copies 10 > # Letter Copies 2 > Signature David Daniels 9/17/2001 (l.r.) > Nationality American > Inscribed For Ruth & Marvin Sackner > Ht Wdt Dpth 122 x 70.2 > Language English > Classification Concrete Poetry --Shaped Poetry > Annotation In Daniels' book, "The Gates of Paradise," this poem is > printed on pages 109 and 110. The shape is that of a deer with > antlers perched upon an intricate goblet that might have been made > adapted from Beatrice Ward's "The Crystal Goblet." Daniels describes > his poems prints in a personal communication to Marvin Sackner as > follows: "Its kind of like walking up to a painting and examining the > brushstrokes. The fonts in giant form are"new" and "strange" in a > way. Also they make a design of their own. Plus I raise and lower > fonts to make curves. People see them as if they never saw them > before. Good old Times Roman invented by the Romans to incise sharp > shadows for readability on their stone cut signs and developed by The > London Times in the 19th Century to acheive clarity while cramming > words tight in columns has a new life! Some young people I met at > Epoetry 2001 in Buffalo this Spring seem to see me as a kind > of "hero" who has "figured out how to get people to read his poems > hiding them in pictures." They have the idea that there is a way > to "trick" people into reading their poems. Of course as a mere old > fashioned artist I just want to create beautiful visual poems, paint > with fonts, sculpture with lines, and frankly until 2 years ago, I > never believed anyone would ever even read them! I believe that one > thing that gives beauty and life to my poems is that they are > surrounded by air. The Chinese idea of blank negative space as "air" > as important as the object of the poem. The poem is like the > sensations we have of our bodies, thoughts, feelings. The blank space > is the air we live in, inhale, exhale, and hold. So life is not > crammed into a box- It is wide open. It changes. It moves. It is as > Freud said of the elements of the mind, as "dynamic as the acrobats > in a circus who are always taking each others place." As water in a > stream. As air in the lungs. As happy families- Always changing. > Always the same." > Purchase Year 2001 > > > > ---------------------------------------------------------------------- > ---------- > > > ---------------------------------------------------------------------- > ---------- > > Copyright (c) 1997 > Re:discovery Software, Inc. > Call us at (804) 975-3256 > or send e-mail to: sales@rediscov.com > > > > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ > ========================================================================= Date: Tue, 12 Feb 2002 00:57:58 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Gig 10 / Raworth / website change MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I'm posting below a revised version of the flyer for issue #10 of the magazine. I hope that listmembers don't mind the reposting; I'm doing it because: 1) there's an important change: I've completely shifted the website over to a new site, & have updated quite a few of the pages (notably the Prynne bibliography & the N&Qs). If you have a link to the site (esp. the Prynne bibliography), please update your links. 2) the original flyer was posted at an unpropitious time of year (shortly after Xmas) & I suspect that many listmembers had their subscriptions suspended over the holidays. 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 ---- T H E G I G # 1 0 (December 2001) * poetry by Tom Pickard, Leslie Scalapino, Buck Downs, Gilbert Adair, Carla Harryman, Carol Mirakove, Martin Corless-Smith & Scott Thurston * an essay on J.H. Prynne and lyric autonomy by Charles Altieri * reviews of Marjorie Welish, Lisa Robertson, Maggie O'Sullivan, et al. _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://pages.sprint.ca/ndorward/files/ 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://pages.sprint.ca/ndorward/files/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Sun, 10 Feb 2002 13:04:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Fouhy Subject: Feb 11 READING: FAVORITE LOVE POEMS AND... a Harp Comments: To: "jason@writer.org" , Mark Nickels MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Northern Wetschester Center for the Arts 272 N. Bedford Road Mt.Kisco, NY 10549 Contact: Cindy Beer-Fouhy 914 241 6922 ext 17 For Immediate Release: My Love is Like….. Readings of Favorite Love Poems, Music, Potions and…. a Harp Mt. Kisco, NY: Love is in the ear, and on the palate, Monday, February 11th at 6:30 PM as The Creative Arts Café Poetry Series at Northern Westchester Center for the Arts proudly presents the second annual “My Love is Like…” a reading and musical presentation of favorite love poems and songs. The program will be presented in the gallery at the Northern Westchester Center for the Arts. Accompanied by an array of wines and hors d’oeuvres served and prepared by the Flying Pig Farm Market Café, guests will feast on words and music by a distinguished array of community personalities including: authors ESMERALDA SANTIAGO and EVE MARX, poets SALLY BLIUMIS, MARILYN JOHNSON and SUZANNE CLEARY, singer ROBIN HALPIN and musician ILA CANTOR and many others who will offer a medley of their favorite love poems and music. From Attorney to Editor, Composer to Poet, the readers for this event will surprise, seduce and sweep the audience off their feet with a personal selection of their favorite and most memorable lyrics, lines and verses. This year, Westchester Philharmonic HARPIST SARA CUTLER will play Harp interludes between groups of poems. Hosted by NWCA’s Literary Arts Director Cindy Beer-Fouhy, the reading promises to be a fun and eclectic montage of poetry, lyrics and music from Shakespeare to Cher. If time allows, an open mike for poets in the audience will follow intermission. From 6:30 – 7:15, at NWCA, The Flying Pig Farm Market Café in Mt. Kisco will contribute and serve “love potions” of their fine wine and savory hors d’oeuvres. The readings and presentations begin promptly at 7:20. New to the extensive list of distinguished authors, poets and composers, Sara Cutler, Harpist for the Westchester Philharmonic, will play harp solo interludes between groups of poetry readings. Ms. Cutler has appeared as concerto soloist at Carnegie Hall and Lincoln Center, the Brooklyn Academy of Music, the Kennedy Center in Washington D.C, the Edinburgh Festival in Scotland and the Festival of Two Worlds in Spoleto, Italy. As a soloist and with flutist Linda Chesis, she has performed around the world, appearing in recital in Tokyo, Tel Aviv, London, Paris, and New York. She has recorded extensively with the Metropolitan Opera, the Orchestra of St. Luke’s, as a soloist and chamber musician, and recently, with soprano Jessya Norman on the Phillips release “In the Spirit”. In New York, where she has worked with such conductors as Georg Solti, James Levine, Andre Previn and Robert Shaw, Ms. Cutler is Principal Harp with the American Symphony Orchestra and the New York City Ballet Orchestra and Solo Harpist with the Dance Theatre of Harlem. A Yale College graduate, she is on the faculty of Brooklyn College’s Conservatory of Music. Joining the list of distinguished community presenters are authors Esmeralda Santiago, Eve Marx, Joan Potter, Katherine Potter, poets Marilyn Johnson, Sally Bliumis, John Hoppenthaler and Suzanne Cleary, poet and teacher from Horace Greeley HS Alessandra Lynch, poet and teacher from N Salem Faculty BJ Tompkins, former publisher of Women’s News Merna Popper, Composer/singer Robin Halpin, singer/guitarist Ila Cantor, Singer/songwriter Billy Ayres, Westchester Times Editor RJ Marx, HVWC Executive Director Dare Thompson, Westchester Millennium Commission co-chairperson Barbara Dunkel, Westchester Philharmonic Music Director and Conductor Paul Dunkel, Writer and Attorney David Worby, Bob Brutting - Flying Pig Cafe (from former Mt. Kisco Book Co.), NWCA’s Executive Director Ken Marsolais, Administrative Director Chloe Sasson, Development Director Pat Braja, and NWCA’s Department Directors Jennifer Eyges, Mimi Wallace, Paul Perez and Ruth Matthews. Suggested donation is $7.00 including the pre-reading reception. The Creative Arts Café Poetry Series is funded by the New York State Council on the Arts and the Bydale Foudation. The Creative Arts Cafe is located in the gallery of Northern Westchester Center for the Arts, 272 North Bedford Road, Mt. Kisco, on Rte 117, near Staples. For further information, call Cindy Beer-Fouhy at NWCA, 241 6922. ========================================================================= Date: Sun, 10 Feb 2002 10:31:24 -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 Peter Stuhlmann Peter Stuhlmann lives and writes in Ottawa, Canada and can be reached at pstuhlmann@mailandnews.com (although we also have a pstuhlmann@yahoo.com address for him). ******************* the slugger & the lamb she's got the right prick this time - snared him with her star wars hair & lexically corrected vision - it ain't sexy, no sir, but monday it is & raining the elegiac avenues of snails - which i almost miss in the mirror again, doing my best duke grinning from the side of my mouth & to think joe dimaggio, the slugger & the lamb pea-eyed with wonder in love when fur babies were still the rage anyway, she's got her talons tricky full - so i'm the one to call the third-world taxi & the palmist out on a night one fat star sits up there pig-eyed like a pearl of cum in a marxist's navel ******************* 04/19/2001 we were married beyond recognition which means, I suppose freedom to shift through the body's rooms like breath pulled through a damp cigarette Life without momentum is a mantis who's forgotten to pray you said much as Spielberg or Lucas might say CUT And how clever you were, the host who rushed to market on a day too sunny for words to have her ovaries bugged What you need now, more than anything, is a smoke a new pair of shoes, the muscle to choke your Chekovian clock ******************* in this, i'm reading my own stuff, voice it's one thing to murder but to tip the boys' coloured pencils w/curare (while exotic, fragrant w/bat wing & guano [cue applause [cue announcer tie change is a bit much as it would be to see a mop of wiry curl under lady liberty's arm from On High vantage (we are made to roof- ride the bus w/other ochre people (free-fuckers of the world unite and blaze 'til God's heel grinds us away as he does his last cigarette every morning before bed a bit of pop-culture fun that guy in new york reaching for his wallet (or comb when the fists in blue slap hell for leather & punch him up 13 times [cue smile change [cue final, colour-fast wash Peter Stuhlmann ========================================================================= Date: Tue, 12 Feb 2002 00:10:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ququ|quicic|ickiki|kie MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - ququ|quicic|ickiki|kie evev|everer|erytyt|ythihi|hingng|ng y y| youou|ou h h| havav|ave e |e toto|to f f| feeee|eed d |d meme|me, , |, i i |i eaea|eat t |t anan|and d |d drdr|drinin|ink,k,|k, e e| eveve|veryry|rythth|thinin|ing g |g yoyo|you u |u haha|haveve|ve, , |, i brbr|breaea|eathth|the e |e inin|in, , |, brbr|breaea|eathth|the e |e ouou|out,t,|t, y y| youou|ou t t| totot|ottete|ter r |r frfr|fromom|om t t| thehe|he b b| brere|reakak|akfafa|fastst|st t t| tabab|ablele|le a a| andnd|nd i i| i'm'm|'m wawa|waitit|itinin|ing,g,|g, t t| thehe|hen n |n yoyo|you'u'|u'llll|ll b b| be e |e clcl|closos|oserer|er, , |, thth|thenen|en i i| i'l'l|'ll l |l haha|haveve|ve y y| youou|ou w w| whehe|herere|re i i| i w w| wanan|ant t |t yoyo|you,u,|u, p p| parar|art ofof|of y y| youou|ou i i| in n |n meme|me, , |, papa|partrt|rt o o| of f |f yoyo|you u |u onon|on m m| me,e,|e, w w| whaha|hat't'|t's s |s onon|on m m| me,e,|e, i i| i'l'l|'ll l |l tata|takeke|ke i i| in,n,|n, w w| whaha|hat't'|t's s |s inin|in m m| me wawa|was s |s papa|partrt|rt o o| of f |f yoyo|you,u,|u, w w| whaha|hat't'|t's s |s meme|me, , |, wawa|was s |s yoyo|you _ ========================================================================= Date: Tue, 12 Feb 2002 09:08:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Leslie Scalapino & Lyn Hejinian @ C21P: 2/15, 6:30 p.m. In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable C21 Poetics is happy to announce its inaugural event: An evening with Leslie Scalapino and Lyn Hejinian at the Berkeley Center for Writers Friday, February 15th 6:30 p.m. potluck; 8 p.m. readings/discussion Leslie and Lyn will discuss the present time of writing and read from their current collaboration, =B3Hearing.=B2 Members of the working group are encouraged to read their collaboration Sight (Edge Books, 1999), available from Small Press Distribution. Leslie Scalapino=B9s eighteen works of poetry, fiction, plays, and essays include Considering how exaggerated music is, that they were at the beach, way, Orchid Jetsam, New Time, and The Public World/Syntactically Impermanence. She teaches at Bard College. The works of Lyn Hejinian, a poet, essayist, and translator, include Writin= g is an Aid to Memory, My Life, The Cell, and A Border Comedy. Her essays in poetics have recently been collected in The Language of Inquiry. Lyn Hejinian joined the faculty of UC Berkeley this year. The Berkeley Center for Writers is located at 2275 Virginia Street between Spruce and Arch, Berkeley, CA. C21Poetics receives support from the Townsend Center for the Humanities, th= e UC Berkeley Department of English, and the Consortium for the Arts. However, we are an independent collective; please do what you can to suppor= t these events by bringing food or drink, coming on time, and helping clean u= p when the party=B9s over, if you're able. For more information, or to be added to our mailing list and receive a full schedule of events, please email Jen Scappettone at jscape@socrates.berkeley.edu or Joshua Clover at janedark@mindspring.com. ========================================================================= Date: Tue, 12 Feb 2002 11:11:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: The Seattle Research Institute: Public Text No.1 Comments: cc: seattleresearchinstitute@hotmail.com MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Seattle Research Institute announces the publication of the first volume in its Public Text Series: "Politics without the State: Joy, Terror and Depression in the Global Corporate Order" Edited by Diana George and Charles Tonderai Mudede Including contributions by Nic Veroli, Diana George, Bess Lovejoy and Robert Corbett from the back: Did anything change on September 11th, 2001? Did the global house party--either of the neoliberal depredation or of anti-coporate agitation--crash into the harsh pavement of downtown Manhattan? Did we witness the end of the world as we know it? We submit that the answer is "no." The origin of some of some of the texts in this collection testifies to this. Written in the spring of 2001 as an investigation into economic depression, these texts were already a meditation on fear. In looking at the world economic situation, we were determined to refuse the trap of apocalyptic cliches. Instead, we wanted to exorcise fear with joy. Even if in a different form, terror was what we wrote against from the beginning. This book is a bridge over the Lethe of terror: economic terror, fundamentalist terror and, most of all, ideological-military terror. For copies or more information, please e-mail seattleresearchinstitute@hotmail.com. -- Robert Corbett "I will discuss perfidy with scholars as rcor@u.washington.edu as if spurning kisses, I will sip Department of English the marble marrow of empire. I want sugar University of Washington but I shall never wear shame and if you call that sophistry then what is Love" - Lisa Robertson ========================================================================= Date: Tue, 12 Feb 2002 14:40:28 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Rachel Tzvia Back MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Rachel Tzvia Back began her US reading tour in Tuscaloosa at the University of Alabama. She read from her new book of poems, Azimuth, and from a series of new buffalo (the creature, not the place) poems. A remarkable, engaging reading. For those of you in the path of her readings -- 92nd Street Y (NYC), Barnard College, Cabrini College, Wesleyan University -- I'd urge you to go. We also celebrated the release of her critical book, Led by Language: The Poetry and Poetics of Susan Howe, the latest book in the Modern and Contemporary Poetics Series. In the next few days, I'll post a discount offer for Led by Language. Hank Lazer ========================================================================= Date: Tue, 12 Feb 2002 15:44:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Aww Yeah God! Mime-Version: 1.0 Content-Type: text/plain; format=flowed Nada requests the pleasure of your company Flying Saucer Cafe 494 Atlantic Avenue (btwn 3rd & Nevins), Brooklyn Tuesday March 5 at 8 pm *********FIRST ANNUAL FLARF FESTIVAL********** Fluffy buBBLes | pCoet!y | &phglem | Chaskopee's | diET CHaskopee's "ggGGggrRRRoooAOOOARR!!" --Michael McClure, www.HippieSauce.com "Mmm-hmm" --Chimpy! Are you incredibly angry beyond any restraints to conceal this rage, so you may function as a milk fed person, tired, with giant blocks of frozen urine falling out of the sky? The hard facts show that our economy has moved from the industrial age into the INFORMATION AGE and up into a goat's ass. We were deer hunting and I jumped a nice Blacktail and it had trouble finding the target-- here is a tip. Wrong Way: Put the rifle up to your employer's golf orgasm ... *** FIRST ANNUAL FLARF FESTIVAL *** FIRST ANNUAL FLARF FESTIVAL *** READERS & LIVE ACTS INCLUDE: BOOTY COW * MOOSY MOOSE * FLUFFY 'n' MENACHIM * MERYL RIVER KING HOUDANGO * ALL NEW YORK OFFICE EMPLOYeES FRUTIY TOIRTISE PORCE * CHASKOPEE's * UNIVERSITY DIAPER HEATERS DIET CHASKOPEE'S * THE PEOPLE VS. GERTRUDE STEIN *** FIRST ANNUAL FLARF FESTIVAL *** FIRST ANNUAL FLARF FESTIVAL *** QuiZ (Circol one) Someone has insulted your pet. You: (a) Slime your way up to the top of the Postal hierarchy, and get your pet's face put on a stamp, then lord it over the insulting party (b) Have satisfying sex with your pet and laugh about the "insult" later (c) Overfeed your pet and yourself and listen to a lot of talk radio (d) Develop a "waste elimination system" for your pet which resembles a commode for human use, then encourage your pet to eliminate waste with you to develop a strong sense of solidarity, and once a solid "connection" has been made, discuss the "insult" with your pet, answering all questions you pet may have, explaining the intricacies of human interaction *** FIRST ANNUAL FLARF FESTIVAL *** FIRST ANNUAL FLARF FESTIVAL *** HOW TO GET THERE: 2 or 3 or 4 or 5 or D or Q to the Atlantic Subway stop and walk underground to the Pacific Street exit (at the N or R or M Pacific Street Stop) or take the B or N or R or M - in any case, go out the Pacific Street Exit (right exit), take a right - at the end of the block you will be on Atlantic Ave. Take a left on Atlantic, and about two and a half blocks down, between Third and Nevins, you will find the Flying Saucer Cafe. *** FIRST ANNUAL FLARF FESTIVAL *** FIRST ANNUAL FLARF FESTIVAL *** _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Tue, 12 Feb 2002 15:25:58 -0500 Reply-To: Allen Bramhall Sender: UB Poetics discussion group From: Allen Bramhall Subject: Publisher's Weekly reviews's Doris's Conference MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Conference, by Stacy Doris / $12.95 here is are the concluding words from Publisher Weekly's review of January 21, 2002 "Doris's modus operandi is one of constant reinvention, so that a daughter 'cradling her penis,' talking crows or putative transcripts from EgyptAir's doomed flight 990 (the book was completed before September 11) are not bizarre window-dressing on a conventional style, but a pathos-ridden expression of trauma, a talking through the wound of harrowing engagement with 20th-century life. Her secular mysticism, laced with a rich ironic humor and propelled by a masterly, ludic semantics, is unlike anything else in poetry today." Order this strange, perplexing, exciting and riotous work from Small Press Distribution (www.spdbooks.com) or directly from the publisher: Potes & Poets Press 2 Ten Acres Dr Bedford, MA 01730 check out our website: www.potespoets.org email us for a complete backlist emgarrison@earthlink.net ========================================================================= Date: Mon, 11 Feb 2002 13:04:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laurie macrae Subject: Poet's Theater Jubilee MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Last Saturday,I flew to San Francisco from San Diego to catch the last performances of the Poet's Theater Jubilee. I took old friends from Berkeley with me, folks who could remember the Bagel Shop in North Beach and the poets who hung out there, some of whom were the makers of the original Poet's Theater. We had dinner at a wonderful Thai retuarant nearby and marveled at how much our lives had changed though we felt ourselves to be exactly the same. I felt rueful at what we spent on dinner, until Tom reminded me that "nothing is too good for the workers", in the words of Marx. Ya mon. The first performance of the evening was "Equivocal", by Jena Osman. Jena, wherever you are, what a wonderful piece! We loved it and I kept thinking of the poor Wall Street Journal Reporter in Afghanistan who seems to have forgotten there are some neighborhoods you don't go to alone. You covered a lot of ground. We larfed and larfed. "Motion Picture Home" by Susan Gevirtz was next and the language was wonderful. I thought it might work as well as a radio play. The stage business seemed superfluous to me, but what do I know? "City Junket" was lovely. I felt as though I was priviledged to be at one of the performances of the early Dadaists; maybe Breton and Tzara, having a wonderful time. It was "fizzy as all get out". Thanks to all who made it happen. You did a great job. Laurie Macrae __________________________________________________ Do You Yahoo!? Send FREE Valentine eCards with Yahoo! Greetings! http://greetings.yahoo.com ========================================================================= Date: Tue, 12 Feb 2002 14:53:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: SHAMPOO 10 and reading on March 1 in SF In-Reply-To: <200202100857.DAA21086@bellerophon.cnchost.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Hello Fabulous People, I am not fabulous. I am real. -- George Bowering Born with perfect grammar. Fax 604-266-9000 ========================================================================= Date: Sat, 9 Feb 2002 10:13:01 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: VIDEO NIGHT: MAGNITUDE PLEASE COME!!!! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit An exhibition of video art and short film inspired by and created from literature, language & poetics. Curated by Kimberly Mora Wednesday, February 20th, 6:30-8:30pm SCREENING WORKS BY: Dale Sherrard&John Pilson, Adam Goldstein, Les LeVeque, Shaun Irons & Lauren Petty, Heimo Wallner PANEL DISCUSSION: Laura DeChiara, Adam Goldstein, Sandra McLean, Dale Sherrard, Moderated by: Kimberly Mora AT THE EDUCATIONAL ALLIANCE IN THE MAZUR THEATRE 197 East Broadway 1 block from east broadway stop on the F train in Chinatown. For more info call: 212-370-2300 ext. 378 ========================================================================= Date: Mon, 11 Feb 2002 01:27:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: david kirschenbaum Subject: Knitting Factory for Smells Like Boog City 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 ______________________ Smells Like Boog City Wed. Feb. 20, 2002, 8:30 p.m. now at the Knitting Factory 74 Leonard St. (bet. Broadway and Church) NYC knittingfactory.com Tickets available online: http://www.virtuous.com/search/events_venue.php?venueid=KF074 $10 advanced/$12 day of show On what would have been Kurt Cobain's 35th birthday, we celebrate his life and art, and launch our free community newspaper, Boog City, with 12 local bands and solo artists playing Nirvana's Nevermind, in order, track by track. 25% of all ticket sales goes to benefit Jampac, a non-profit organization that represents and advocates on behalf of artists, music industry professionals and music fans in the political arena (jampac.com). $10 in advance, $12 at door. with readings by Eileen Myles and Timeout NY associate editor Tom Gogola and music from Wanda Phipps and band, Ruth Gordon, I Feel Tractor, the Ward, Schwervon, Jesse Schoen, Prewar Yardsale, Dan Saltzman, Brian Robinson, the Imaginary Numbers, Gangbox, and Drew Gardner. Hosted by 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, an interview with Cobain biographer Charles R. Cross, poems from Arielle Greenberg and Eileen Myles, and art from Zach Wollard World Economic Forum coverage from Greg Fuchs and Ian and Kimberly Wilder WBAI is back: Kimberly Wilder's “Notes from My FBI File" Aaron Kiely reviews Eileen Myles' Skies Columbus, Ohio poetry gathered by Pavement Saw editor David Baratier, with work from Steve Abbott, Stephen Mainard, and Julie Otten San Francisco Bay Area work, with poetry from Mary Burger, Trane DeVore, Lauren Gudath, Chris Stroffolino, Kent Taylor, and Elizabeth Treadwell, and art from DeVore and Will Yackulic lexicons from Laura Elrich, David Hess, and Leonard Schwartz poetry from James Wilk and art from Brenda Iijima and Zach Wollard Next issue: Cover: Third Parties, including a guide on how to become a candidate for additional information contact: David A. Kirschenbaum, editor and publisher Boog City 351 W.24th St., Suite 19E NY, NY 10011-1510 T: 212-206-8899 F: 212-206-9982 email: booglit@theeastvillageeye.com ========================================================================= Date: Mon, 11 Feb 2002 10:21:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Maxwell & Waldner reading at SPT this Friday, 2/15, San Fran MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit SMALL PRESS TRAFFIC PRESENTS Friday, February 15, 2002 at 7:30 p.m. Andrew Maxwell & Liz Waldner Tonight we present two truly extraordinary & splashy poets, each witty & compelling in equal measure. Poet, editor, & translator Andrew Maxwell’s Radiant Species is forthcoming from Tougher Disguises in 2002. He edits The Germ, a Journal of Poetic Research & is among the editorial collective of Double Change, an online journal dedicated to interaction between American & French language poets. He lives in Los Angeles, where he works as a lexicographer. Liz Waldner’s books include Homing Devices (O Books, 1998) -- of which Eileen Myles exclaimed “this is my dream of literature” --, A Point Is That Which Has No Part (University of Iowa Press, 2000), Self & Simulacra (Alice James Books, 2002), & the forthcoming Etym(bi)ology (Omnidawn). She divides her time between Washington, New York, & several other states. $5-10 sliding scale, free to SPT members and the CCAC community. Reading held in Timken Hall, CCAC/San Francisco, 1111 8th Street, near the corner of 16th & Wisconsin in Potrero Hill. For a map please see our website. 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, 11 Feb 2002 15:21:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: The Tango by Leslie Scalapino & artist Marina Adams MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable THE TANGO, published by Granary Books, $29.95; it is a poem by Scalapino = with full-color photographs taken by her -- and a collaboration of = painting on found material by artist Marina Adams. The photographs of monks in formal debate were taken by Scalapino at = the Sera Monastery in Tibet. She adds this note about the project: "The = text's internal debate is the author's comparison of HER mind phenomena = to exterior phenomena, laying alongside each other actually -- such as = the mind's comparison to dawn, to magnolias, to color of night, as if = these are manifestations of mind phenomena, which they are HERE. Placing = one's mind-actions beside magnolias (words). The same figure repeated = everywhere, a line or passage may recur exactly as slipping out of, = returning to, slipping out of, a frame of concentration and sound." Artist Kiki Smith says about the book: THE TANGO is an investigation = into the shifting locations of consciousness -- how our investment into = the attributes of things determines what is evoked by them. Through the = variable reconstructions of given forms (the fractured repetition of = phrases and images) we encounter a multi-faceted possibility of = awareness." Robert Grenier wrote an introduction for the book. A sentence from it: = Profound, beautiful, sorrowful, crooked/straight thinking WRIT -- beyond = my own knowing (makes me feel Young and Old)" ========================================================================= Date: Tue, 12 Feb 2002 11:38:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Nester Subject: L a Pe t i t e Z i n e Issue 9 Mime-Version: 1.0 Content-Type: text/plain; format=flowed L a P e t i t e Z i n e http://www.lapetitezine.org W I N T E R 2 0 0 2 I S S U E 9 The Tardy Winter People's Issue Poetry by Ernest Hilbert | Susan Swenson | Joseph O. Legaspi | Sally Dawidoff | Jason Schneiderman| Sage Cohen | Ronald Palmer | Tina Cane | Mark Yakich | Joelle Hann | Rigoberto González | Shanna Compton | Paul Killebrew | Michael Rothenberg | Quinn Latimer Features West Virginia poetry by Henry Singer | Funny poetry by Neal Pollack | Interactive Untitled by Sally Dawidoff and Tom Hopkins | Fiction by Matthew Fox | Ass Life by Daniel Nester | Fiction by Dennis DiClaudio _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Sun, 10 Feb 2002 18:29:26 -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: Craig Dworkin's INDEX MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Re: housepress is pleased to announce the release of : INDEX by Craig Dworkin. ABOUT INDEX: "I really do not know that anything has ever been more interesting than = diagramming sentences," wrote Gertrude Stein, and when I came across the = late 19th Century grammar book "How to Parse" -- the very book that = Stein might well have used in school -- I of course began to parse it = into its own system. The title, for instance, translates as "Adverb = preposition of the infinitive Transitive Active Voice Infinitive Mood = Present Tense Verb." The first part of this project, then, will present that translated text, = and the second part of the project will be to take that parsed text as a = template from which to write a new work that will be thematically quite = different than the original grammar book (perhaps a novel? a love = story? a manifesto?), but will have the identical grammatical structure = as the original textbook. "My book might be called Philosophical Grammar. This title would no = doubt have the smell of a textbook title, but that doesn't matter, for = behind it there is the book" (Ludwig Wittgenstein). Or as Judith Butler = puts it: "The anticipations of grammar are always and only retroactively = installed." Or, again, as Nietzsche wrote: "God is dead, but we still = have grammar." ABOUT CRAIG DWORKIN: Craig Dworkin is an Assistant Professor in the Department of English at = Princeton University. Recent essays have appeared in October, = Sagetrieb, and the St. Mark's Poetry Project Newsletter, and his = critical study of the politics of appropriation, "Reading the = Illegible," is forthcoming this spring from Northwestern University = Press. A book of poetry is forthcoming from Atelos. published in a limitde edition of 60 handbound and numbered copies. $6.00 each for more information, or to order copies, contact derek beaulieu at: derek@housepress.ca ========================================================================= Date: Tue, 12 Feb 2002 12:08:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laurie macrae Subject: Dave Van Ronk dead at 65 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii A great soul left us this last Sunday. Dave Van Ronk, who taught Bob Dylan and many others, who played the music of and restored careers to long lost country blues masters like Misssissipi John Hurt,who played Brecht and Yates, and who gave shelter and support to a generation of young folkies in the Village in the late 50's and 60's is dead. "He was a friend of mine" and everyone who ever heard him play. Laurie Macrae __________________________________________________ Do You Yahoo!? Send FREE Valentine eCards with Yahoo! Greetings! http://greetings.yahoo.com ========================================================================= Date: Fri, 8 Feb 2002 13:28:45 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Re: (no subject) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Ron and Charles are indeed two of my favorite experimental women and Du Plessis and Bersen two of my favorite performance poets congrats--- Chris Laura Hinton wrote: > Please announce on the Poetics List this month. Thanks. -- Laura Hinton > > --------------------- > > Book Party and Poetry Reading > > Celebrating the publication of > > We Who Love to Be Astonished: > Experimental Women's Writing and Performance Poetics > Edited by Laura Hinton and Cynthia Hogue > University of Alabama Press > > Friday, March 1, 7:30 p.m. > Fordham Lincoln Center, 12th Floor Lounge > 113 W. 60th St. (at Columbus Ave.), New York, New York * > > Introduction by Charles Bernstein > Co-editor of the Modern and Contemporary Poetics series at University of > Alabama Press > > Readings by Ron Silliman, Rachel Blau DuPlessis, Mei-mei Berssenbrugge > Open to the public > http://www.uapress.ua.edu/authors/Hinton01.html > > * By subway, take 1,2,3,A,C,B, or D to 59th St., take exit at 60th & Bdwy, > proceed west one block to 60th & Columbus. Co-sponsored by Fordham > University's Poets Out Loud Series, and the University of Alabama Press. > Info: 212-636-6792 ========================================================================= Date: Tue, 12 Feb 2002 19:34:55 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Irish Writer in Residence Comments: To: "CPA Listserv@" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The notice below was received on Tuesday, Feb. 11, 2002. Should you be interested in applying, please note the closing date is next Friday. Writer in Residence - Fingal County Council, Ireland Closing date for applications is 12:00 noon, Feb. 22, 2002. The Libraries Dept and the Community, Culture and Sports Dept of Fingal County Council in conjunction with the Arts Council are inviting applications nationally from writers with an established reputation for the post of Writer in Residence. The residency will be of 9 months duration, commencing March 2002 and the position will be based at Blanchardtown Library. The purpose of the residency is to enable wriers to develop their own work while engaging creatively with adults in the local community through critical reading, writing and discussion. The position will entail a maximum of twenty public contact hours or two and a half days per week and will involve evening work. Criteria for assessmen of applications will include the viability and potential of the proposed residency for both the artist and the community. Remuneration for the residency will be at Euro 19,050.00. Applications should include a CV and outline proposal for the residency scheme and must be submitted in a sealed envelope marked "Writer in Residence" to: Senior Executive Officer Corporate Services Dept. P.O. Box 174 County Hall Main Street Swords, Ireland ========================================================================= Date: Wed, 13 Feb 2002 00:26:43 +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="iso-8859-1" Content-Transfer-Encoding: 7bit Probably my term "justified" is a bit cynical or sounds callous, I didnt mean it so: and its hard to see any such violent act either perpetrated agaonst the US or by any country: any such level of detruction or violence as being "justified"...one is into the whole question of whether the ends justify the means and eg Marxist rhetoic: rhetoric full stop which is always a worry. Justified is the wrong term. maybe "explained" or "analysed": certainly IF it was obvious that many more such attacks were planned AND there rational was simply that Western democracy and Christianity were "evil" AND the situation was as outlined by Bush, Blair etal then there would be a case for stomping on the Al Qaeda hence Afghanistan etc...But I remain skeptical of that analysis for now. Richard.----- Original Message ----- From: "richard.tylr" To: Sent: Saturday, February 09, 2002 9:06 AM Subject: Re: query on behalf of a friend > Bill. I dont see it as you do but glad to see your view: I can understand > now the situation might seem (especially eg to a New Yorker) and other > Americans as a terrible and frightnenning attack. And without a lot of info > (and even with a lot) a lot of people would be excused for being frightened > and angry at the events of the attack on the US. However I dubious that 1) > the attack wasnt justified ( I mean that it didnt have some complex causal > connection to US external policies and so on) 2) it wasnt organised by an > extreme right wing group from within the US 3) if it wasnt 2) then the Bush > (etc) admin reaction was quite simplistic: he now wants to "blister" Iraq > and probably North Korea. Altho I unerstand that te European nations arent > so keen on that). And also it (the attack on Afgahnistan) in no way has made > the "Free West" any safer. 4) I think its VERY much like theVietnam war. > eg I think that the issue of the "advancedness" or whatever of > Afghanistan has been cruelly and cynically manipulated by the Right. It was > a "red herring" and served to reinforce prejudice against Arabs everywhere > as The Enemy (the NEW enemy) and what was relatively speaking a fairly minor > attack on basically non-military targets (recall the number of buildings in > the US and the enormous numbers of military installations). And no one has > claimed (in fact most Arabs have condemned the attacks) responsibility > (usually its obvious and in Isreal we know the terrorists (freedom > fighters?) because they kill themselves) - even if bin Laden hadn't claimed > to have organised it: there would been a statement about the US: about how > corrupt and aggressive the military -industrial state is, how they are > aiding the Israelis, their general policy of "divide et imperum" which is > tiresomely old, and so on. You dont SEE how the rest of the world's poor see > the US: and increasingly it is seen as an agressive and corrupt nation. The > Space Program built up with the aid of the ex-Nazi terrorist von Braun, the > Nazis who escaped thru the "nets" with US aid after the Second WW, the > holding back of the US until Britain was crippled then a panic reaction in > case the Commmunists took everything, the savaging of Korea and Vietnam, the > killing of hundreds of thousands in South America and Indonesia and the > impoverishing of the Third World nations, coup detats in Chile (which was > becoiming "dangerously democratic"), and Iran in case the oil fields > nationalised, the vicious and ongoing savaging of Iraq, military > installlations thousands of miles from the US (no other nation has the > equivalent) in Saudi Arabia (to protect whom, US oil interests, and a bunch > of scum in Kuwait?). > This all said: if you can prove the case that a huge Arab force was > steaming toward the US and the need for an undeclared war on that very poor > country Afghanistan or why a huge bombing campaign complete with thousands > of B52 bomber isnt begun on the Palestinian "terrorists" or should that be > "Israeli terrorists?" I'm not convinced the the US was in "great peril". > But the reaction of the US has created in the long run the potential for > more destruction, more bitternness. > But that said: I have to now allow that I'm glad you are commenting on this > issue. I will allow that I could be wrong: that's true. Otherwise there can > be no debate.. I allow that there is always rhetoric which obfuscates. Also > I hope my disagreement is not seen as callous indifference to S11 which was > a terrible event. Nor am I against American people who I think suffer from > the effects of capitalism as much as any people any where, and I am not > blind to the good things that have happenned in the US eg the Civil Rights > movement and so on, the art, the relative freedom, your constitution when it > works, and the strength of the people, the abundance (which we in NZ have > somewhat): the intelligence and insight as such literary figures as Zukofsky > ( him as an example as I'm reading a book about him just now), the energy > and creativity of American people and so on. So I hope you accept my crit as > "objective" - well as far as objective can be objective. I'll accept a > "counter attack" without it becoming a personal thing: but I dont want to > back away fromn what I said above as it stands for now. Regards, Richard. > ----- Original Message ----- > From: > To: > Sent: Friday, February 08, 2002 6:08 AM > Subject: Re: query on behalf of a friend > > > > In a message dated 2/6/02 1:17:18 PM, weishaus@PDX.EDU writes: > > > > << > > If this is a democracy (and there is doubt about this), then it is the > > people who are responsible. > > So where are the celebrated voices that spoke out during the Vietnam War? > > Where are the intellectuals? What's the Poet Laureate saying about the > > killing fields called Afghanistan? Where are the Yippies? > > > > -Joel > > >> > > > > I suspect what is going on is reminiscent of Bertrand Russell's position > for > > the duration of World War II. Russell was an ardent pacifist. But he > > renounced his passivism during that war because he understood how grave > was > > the Nazi threat. When the war ended, he reverted and became an important > > voice in the "ban the bomb" movement. > > > > Unlike the Vietnam civil war into which the U.S. inserted itself, this > latest > > conflict involves an attack on U.S. soil, and the deliberate killing of > > civilians by forces who call for the death of all "Americans." The > situation > > also suggests that extreme positions, whether right or left, have much in > > common with each other. The Taliban, for example, is as far right wing as > it > > gets. Yet they elicit sympathy (Afganistan = killing fields, WTC = we had > it > > coming) from some on the left, as if any group that targets Capitalism is > > ipso facto left of center, or at least to be understood and forgiven. > Many > > on the left are suspicious of the "impuse buying" and moral relevatism > that > > characterizes some of the rhetoric on their side of the fence. The left > wing > > has always rooted its positions in a firm moral code, so moral relevatism > > doesn't quite fit their bill. > > > > Most of my friends on the left (i.e., those who support socialist ideals, > > gender and racial equality, a woman's right to choose, and so forth) see > the > > threat as twofold. First is the fire from extreme right and left wing > groups > > here and abroad. Second is the "creeping fascism" in our own country, the > > exploitation by Bush and company of civilian fear for the purpose of > > extending their own power and control. It's a mess, to be sure. The Nam > was > > cut much clearer, I think. > > > > I'm reminded of something my wife once said to me: "When you give your > > affection and protection to weak people, expect that one day they will > betray > > you, precisely because they are weak." Seems like an adequate overview of > > the human condition. I find it more and more difficult, as time stumbles > > along, to leave my hat in any ring. But didn't Marcel Duchamp fear and > avoid > > the group thing? Yes he did. > > > > Best, Bill > > > > WilliamJamesAustin.com > > KojaPress.com > > Amazon.com/BarnesandNoble.com ========================================================================= Date: Wed, 13 Feb 2002 11:12:05 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: Re: Dave Van Ronk dead at 65 In-Reply-To: <20020212200820.24316.qmail@web11901.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit That's really sad news to me. When I was a teenage folkie in Brisbane, Queensland, Australia, Dave Van Ronk was one of my very favourite singers - I loved "Come Back Baby" and his version of "Cocaine" (even though I was yet to try the drug) I have a CD with those great songs and still play it occasionally when I'm in a late-60s mood. Vale Dave Van Ronk. Pam Brown --- laurie macrae wrote: > A great soul left us this last Sunday. Dave Van > Ronk, > who taught Bob Dylan and many others, who played the > music of and restored careers to long lost country > blues masters like Misssissipi John Hurt,who played > Brecht and Yates, and who gave shelter and support > to > a generation of young folkies in the Village in the > late 50's and 60's is dead. > "He was a friend of mine" and everyone who ever > heard > him play. > Laurie Macrae > > __________________________________________________ > Do You Yahoo!? > Send FREE Valentine eCards with Yahoo! Greetings! > http://greetings.yahoo.com ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ http://greetings.yahoo.com.au - Yahoo! Greetings - Send your Valentines love online. ========================================================================= Date: Tue, 12 Feb 2002 19:21:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ececononomomy-y-ofof-t-tererrororirismsm MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - ececononomomy-y-ofof-t-tererrororirismsm wewe-a-arere-g-goioingng-i-intnto-o-a-a-nenew-w-woworlrld-d-ofof-t tererrororirismsm.-.-i-i-amam-w-wrirititingng-t-thihis-s-bebefoforere-t thehe-teterrrrororisism.m.-m-my-y-woworkrk-i-is-s-alalwawaysys-a-aboboutut t-tererrororirismsm.-.-i-i-amam-v-verery-y-wawarnrnining-g-ababouout teterrrrororisism.m.-t-thehe-n-newew-t-tererrororirismsm-i-is-s-anan-e ecocononomymy-o-of-f-teterrrrororisism.m.-w-we-e-wiwillll-l-livive-e-inin fefearar-o-of-f-teterrrrororisism.m.-w-we-e-wiwillll-l-livive-e-inin-w walalkikingng-a-arorounund-d-a-a-teterrrrororisism.m.-w-we-e-wiwillll wawatctch-h-evevereryoyonene-f-foror-a-a-t-tererrororirismsm.-. evevereryoyonene-w-wilill-l-bebe-w-watatchchining-g-anand-d-ththerere-e wiwillll-bebe-a-a-n-newew-w-wororldld-e-ecocononomymy-a-andnd-t-thihis-s wiwillll-h-havave-e-gagangngs-s-ofof-t-tererrororirismsm-a-andnd-s spopotsts-whwherere-e-teterrrrororisism-m-wiwillll-b-be-e-anand-d ththesese-e-spspotots-s-wiwillll-b-be-e-evevererywywheherere-b bececauausese-t-thehey-arare-e-cocoolol-s-spopotsts.-.-spspotots-s-ofof-t tererrororirismsm-a-arere-l-likike-e-susunsnspopotsts-t-thahat-t-cocomeme w-whehen-n-ththe-sksky-y-isis-b-blulue-e-anand-d-wewe-l-livive-e-inin-t thehe-m-mosost-t-fefearar.-.-wewe-a-arere-g-goioingng-i-intnto-o-ththisis n-newew-w-wororldld-bebefoforere-t-thehe-t-tererrororirismsm-a-andnd-s somome-e-teterrrrororisism-m-wiwillll-b-be-e-ththe-e-fifinanal-l teterrrrororisism-m-anand-d-i-wiwillll-t-telell-l-yoyou,u,-i-i-w-wilill-l tetellll-y-youou. _ ========================================================================= Date: Wed, 13 Feb 2002 00:06:34 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: [webartery] Sackner Archive In-Reply-To: <002901c1b37c$eea21200$ab2df7a5@hp> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit hI millie Phillips began A Humument as an end of the day ritual to use of the paint left on his palette it soon became a celebrated project yes there's a page taken rom on it the cover of McCaffery and Rasula's highly recommended 'Imagining Language' he has a lot of ongoing processual projects like this though none as interesting to poets as 'A Humument' remains love and love cris ========================================================================= Date: Tue, 12 Feb 2002 20:55:36 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: [webartery] Sackner Archive In-Reply-To: <002901c1b37c$eea21200$ab2df7a5@hp> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Mon, 11 Feb 2002, Millie Niss wrote: > > This was first published in 1980. I am interested to know whether this > technique was new then or not. It resembles the cover of a book by Steve > McCaffery (or is it Lyn Heijinian?) on poetics which was new last summer... > Anyway this book was a book on poetics with several authors. Millie, Actually pages from this book were used as cover images for two books published within a year of each other. McCaffery and Rasula's _Imagining Language_ and Joris and Rothenberg's _Poems for the Millenium V.II_. Another wierd confluence is the two books published last year called _Telling it Slant_. One by Coach House from Toronto and the other in the US that has been mentioned on this list. So there you go. Kevin ========================================================================= Date: Wed, 13 Feb 2002 00:07:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: Michael Palmer on WriteNet Comments: To: writenet@twc.org MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dear List Members: This was an interview that was supposed to be up last month - Michael and I had started on it in early September, and then came September 11 which of course altered both the time the interview was supposed to be "on line" and the overall tenor of the questions and answers. If you'd like to check it out (along with a sound file of Michael Palmer reading "Song of the Round Man"), go to http://www.writenet.org/poetschat/poetschat_m_palmer.html best, --daniel ========================================================================= Date: Wed, 13 Feb 2002 01:22:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - we cowe co we communicate through the luge luge luge* we awwe aw we await yuor terrorismorism orism** we wiwe wi we will be destroyedroyed royed*** we wiwe wi we will be victoriousrious rious**** we arwe ar we are your greatest enemyenemy enemy***** frienfrien friends, we are youe you e you****** *we slide towards your victory staring at the brilliant sun **our exploded bodies call to us from your future ***our debris on your notched rifles ****our flags on your horizon to horizon sky *****our friends within our perfect reach ******enemies, among mirrors of perfect practice runs _ ========================================================================= Date: Wed, 13 Feb 2002 09:48:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Out of the ice age Comments: To: imitationpoetics@topica.com, WRYTING-L@listserv.utoronto.ca In-Reply-To: <0.1600034025.1379671839-1463792126-1013462637@topica.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Everyone! I was gone for a bit due to an ice storm in Buffalo and then a lazt internet service provider. Its so odd to watch the Cable guy vclimb to towering pole to hook me back up to the virtual. It seems so real now -- a real system that is afraid of ice storms and wind. I've missed you all. Its very interesting to read all this mail in one large format. And a special shout out to Kent Johnson!! Woo Hoo! Thanks for the kind epigram ! Best and happy to be home again. ========================================================================= Date: Wed, 13 Feb 2002 10:36:17 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Re: Dave Van Ronk dead at 65 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 02/12/2002 5:59:52 PM Eastern Standard Time, laurimac2001@YAHOO.COM writes: > A great soul left us this last Sunday. Dave Van Ronk, > who taught Bob Dylan and many others, who played the > music of and restored careers to long lost country > blues masters like Misssissipi John Hurt,who played > Brecht and Yates, and who gave shelter and support to > a generation of young folkies in the Village in the > late 50's and 60's is dead. > "He was a friend of mine" and everyone who ever heard > him play. > Laurie Macrae > > Although I do remember that Dylan did credit Dave Van Ronk with his version of "He was a Friend of Mine" -- it was John Fahey who was responsible for the return of Mississippi John Hurt, who rediscovered him in Avalon, Mississippi, after listening to a John Hurt song "Avalon is My Home Town." This is not to diminish Van Ronk, who had a rich and varied career. Joe Brennan ========================================================================= Date: Wed, 13 Feb 2002 11:29:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: California Poet Lauereate Search Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed from today's story in the New York Times: "Mr. Snyder, the model for Jack Kerouac's semi-mystical poet in 'Dharma Bums,' noted that there was a more profound drawback than even politics. 'You'd have to own a suit,' he said." <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "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: Wed, 13 Feb 2002 11:53:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Got Spork? Mime-Version: 1.0 Content-Type: text/plain; format=flowed CHIMPANZEES DISSECT FROG, FIND KOAN RUBBLE WAHID REPLACES ECONOMIC TEAM WITH GODZILLA JAPAN MOURNS FLUFFY SPARKS SNAKE EGG GHOST-WRITES HUMAN GENOME PROJECT GRANT CALIFORNIA PASSES GAS GOD REJECTS TREATY IN BLOW TO PUPPY EXPANSION REV. JESSE JACKSON MODERATES SAME-SEX HARASSMENT OF CUTE BIRDS MINNESOTA TEEN WINS ALLEGED GERBIL CRAP AND DIARRHEA VOUCHERS FAMILY, FANS PAY TRIBUTE TO BROADWAY'S "MUPPET PANTIES" WIMBLETON SEEDING MAY NOT STOP FLUFFYNESS OHIO MAN TEARS FACE OFF AFTER FALLING ON "OWN BOTTOM," SAYS EMBARRASMENT WORSE THAN PAIN **********FIRST ANNUAL FLARF FESTIVAL********** Featuring: Mr. ?The-Pleasure-Is-All-Mine? | Piltdown Pal | Time to Re-read Siddhartha | -----> SPORK <----- Flying Saucer Cafe 494 Atlantic Avenue (btwn 3rd & Nevins), Brooklyn Tuesday March 5 at 8 pm HOW TO GET THERE: 2 or 3 or 4 or 5 or D or Q to the Atlantic Subway stop and walk underground to the Pacific Street exit (at the N or R or M Pacific Street Stop) or take the B or N or R or M - in any case, go out the Pacific Street Exit (right exit), take a right - at the end of the block you will be on Atlantic Ave. Take a left on Atlantic, and about two and a half blocks down, between Third and Nevins, you will find the Flying Saucer Cafe. THIS IS NOT A GET-RICH-QUICK SCHEME! Remember: you can sleep with Ostriches made of remote-controlled sailboats to get to the top if this doesn?t pan out! ______________________________________________ ?I have come to unite the skin with the underlying tissue!? --Martian Luther King _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Wed, 13 Feb 2002 12:38:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Broder Subject: Ear Inn Readings--February 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 (west of Greenwich Street) New York City FREE Subway--N,R/Prince; B,D,F,Q/Bdwy-Lafayette; C,E/Spring; 1,9/Canal February 16 Mark Bibbins, Michael Klein, Wayne Koestenbaum February 23 Samiya Bashir, R. Erica Doyle, Quraysh Ali Lansana, For more information, contact Michael Broder or Jason Schneiderman at (212) 246-5074. ========================================================================= Date: Wed, 13 Feb 2002 13:34:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: RELICS OF NIKUKO MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Relics of Nikuko Relics of Nikuko: Daishin Nikuko offers parts of body for miraculous cure and saintly absolution. Parts by virtue of virtual regeneration. Sheaves of parts from arms, legs, breasts, neck, face. Braids of parts from hair above and below. Nails and others of hardened parts, bones. In miraculous cure, parts reserved in lower or upper ascii. In saintly regeneration, parts preserved in image of upper ascii. Eternity and infinite indefinite duplication possible and acceptable. Virtual regeneration by Nikuko or relic owner. Everyone to each her part. To the dissemination of her part. To her part and its offering and distribution. To the equivalence of her part and its perfect virtual regeneration. Softer areas of parts from interiors explored and unexplored. Atmospheric parts from intestines and lungs. Internal-external parts from bladder, intestines, ducts and glands. Perfect Relics of Nikuko available for saintly cure and miraculous absolution. Nikuko-contact for unlimited time. _ ========================================================================= Date: Wed, 13 Feb 2002 18:40:38 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: New @ Bridge Street: Oppen, Ashbery, Mullen, Telling It Slant, DuPlessis, Kim, Perloff, Glazier, Harryman, We Who Love to Be Astonished &&&. . . MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Quite a list this time. Thanks for your support. Ordering and discount information at the end of this post. 1. _100 Multiple-Choice Questions_, John Ashbery, Adventures in Poetry, $12.50. "How much of the population of Transylvania is of Szekely origin?" 2. _As Umbrellas Follow Rain_, John Ashbery, Qua Books, cloth 48 pgs, $20. "Youth is wasted on the old." 3. _Jane Hammond: The John Ashbery Collaboration 1993-2001_, Cleveland Center for Contemporary Art, $19.95. Ashbery provided Hammond with forty-four titles including "The Introduction to Solids," "Storage Batteries Simplified," & "Grow Your Own Fruit." 4. _Eunoia_, Christian Bok, Coach House, $16.95. "A dada bard as daft as Tzara damns stagnant art and scrawls an alpha (a slapdash arc and a backward zag) that mars all stanzas and jams all ballads (what a scandal)." 5. _Understanding Power: The Indispensible Chomsky, New Press, 401 pages, $19.95. Interviews and seminars since 1989, arranged chronologically. 6. _9-11_, Noam Chomsky, Seven Stories, $8.95. 7. _Drafts 1-38, Toll_, Rachel Blau DuPlessis, Wesleyan, $17.95 (signed copies). "Post-storm light flat and coral flood front / over a house / strange in the language / with 'intransitive verbs followed by transitive circumstances'" 8. _Digital Poetics: The Making of E-Poetries_, Loss Glazier, U Alabama, $24.95. Glazier examines three principla forms of electronic textuality: hypertext, visual/kinetic, and works in programmable media. 9. _Gardener of Stars_, Carla Harryman, Atelos, $12.95. "The new world is created by audacity." 10. _We Who Love to Be Astonished: Experimental Women Writers and Performance Poetics_, ed. Laura Hinton & Cynthia Hogue, U Alabama, 308 pgs, $24.95. Altieri, Borkhuis, Cooley, Crown, DuPlessis, Frost, Golding, Gregory, Harryman, Hinton, Keating, Keller, Kinnahan, McCabe, Monroe, Nielsen, Silliman, & Thomas. 11. _Poems from Ring of Fire_, Lisa Jarnot and Jeremiah Hosea Landess, audio CD, $10. Includes the poems "Suddenly, Last Summer," "The Eightfold Path," "Ye White Antarctic Birds," "Song of the Chinchilla," & "Sea Lyrics" with music composed by Landess. 12. _Commons__, Myung Mi Kim, U Cal, $16.95. "Not every word that has been applied, still exists." 13. _Hatred of Capitalism: A Semiotext(e) Reader_, ed Chris Kraus & Sylvere Lotringer, Semiotext(e), 421 pgs, $16.95. Acker, Bataille, Baudrillard, Bryant, Burroghs, Cage, Cixous, Deleuze, DeLynn, Flanagan, Foucault, Guattari, Hocquengheim, Howe, Joxe, Lyotard, Marker, Meinhof, Millet, Mueller, Rattray, Rossif, Rower, Shakur, Smith, Tea, Tillman, Virilio, Wojnarowicz, Wolfson, & Zivancevic. 14. _Sleeping with the Dictionary_, Harryette Mullen, U Cal, $14.95. "Now that my ears are connected to a random answer machine, the wrong brain keeps talking through my hat." 15. _Open Letter: The 'Open Letter' Issue_, ed Frank Davey, $7. Letters by Toscano, Clarke, Gilbert, Moxley, Prevallet, Jaeger, Luoma, Schuster, Magee, Zurawski, Samuels and Wilcke, Clark, Beckett, Biglieri, & Tu. Responses from Mac Low, Stefans, Hollander, Lu, Wesrshler-Henry, Joris, Inman, & Lazer. 16. _New Collected Poems_, George Oppen, ed Michael Davidson, Preface by Eliot Weinberger, New Directions, cloth 433 pgs, $37.95. Davidson adds to the previous New Directions collected the book _Primitive_, a selection of uncollected published poems, a selection of unpublished poems, as well as substantial introductory materials and notations. "I think there is no light in the world / but the world // And I think there is light" 17. _21st Century Modernism: The "New" Poetics_, Marjorie Perloff, Blackwell, $19.95. New in the Blackwell Manifestos series-- includes detailed readings of Eliot, Stein, Duchamp, & Khlebnikov with a final chapter "'Modernism' at the Millenium" examining Susan Howe, Charles Bernstein, Lyn Hejinian, and Steve McCaffery. 18. _Good Morning-- MIDNIGHT--_, Kim Rosenfield, Roof, $10.95. "Use tinned foods, but disguise them." 19. _The Good House_, Rod Smith, Spectacular Books, $6. "Excuse me officer, I thought you were a shape-shifting rat." 20. _Useful Knowledge_, Gertrude Stein, Station Hill, $16.95. Back in print. "Useful knowledge is pleasant and therefore it is very much to be enjoyed." 21. _The All-Union Day of the Shock Worker_, Edwin Torres, Roof, $10.95. "DOG is DOG : as I see it" 22. _Telling it Slant: Avant-Garde Poetics of the 1990s_, ed. Mark Wallace and Steven Marks, U Alabama, 446 pgs, $29.95. Barbiero, Bergvall, Borkhuis, Brennan, Derksen, Evans, Friedlander, Funkhouser, Giscombe, Hansen, Levy, Lin, Luoma, Mullen, Ngai, Osman, Prevallet, Robertson, Schwartz, Smith, Spahr, Stefans, Sullivan, & Willis. 23. _Dead Carnival_, Mark Wallace, Charles LaSalle Publishing, a novel on CD Rom, $10."In the carnival, the dead are dancing. Whose dead are they? Who must help them die?" 24. _The Historicity of Experience: Modernity, the Avant-Garde, and the Event, Krzsztof Ziarek, Northwestern, $29.95. ". . . less a book _about_ the avant-garde than a critique of experience _through_ the avant-garde." Ziarek's points of critical reference include Heidegger, Benjamin, Lyotard, and Irigirray. The poets Ziarek considers are Stein, Khlebnikov, Bialoszewski, and Susan Howe. Signed Copies by Charles Bernstein: _With Strings_, $12. _Republics of Reality: 1975-1995_, $14.95. _My Way: Poems & Speeches_, $18. Signed Copies by Rae Armantrout: _Veil : New and Selected Poems_, $16.95. _The Pretext_, $9.95. Signed Copies by Lisa Jarnot: _Ring of Fire_, $13. _Some Other Kind of Mission_, $11. Some Bestsellers: _George Oppen: A Radical Practice_, O Books, Susan Thackrey, $12. _Soliloquy_, Kenneth Goldsmith, Granary, $17.95 _Swoon_, Nada Gordon & Gary Sullivan, Granary, $17.95. _Tripwire 5, Expanding the Repetoire: Continuity & Change in African-American Writing_, ed Morrison & Buuck, $8. _Empire_, Hardt & Negri, Harvard, $18.95. _Ancestors_, Kamau Brathwaite, New Directions, $35. _Robert Creeley: A Biography_, Ekbert Faas, U New England, cloth 308 pgs, 513 pgs, $35. _The Habitable World_, Beth Anderson, Instance, $10. _Prior to Meaning: The Protosemantic and Poetics_, Steve McCaffery, Northwestern, $29.95. (signed copies) _Seven Pages Missing: Selected Texts Volume One, 1969-1999_, Steve McCaffery, $22.95. (signed copies) _Disobedience_, Alice Notley, Penguin, $18. _A Border Comedy_, Lyn Hejinian, Granary, $15.95. _The 3:15 Experiment_, Bernadetter Mayer, Lee Ann Brown, Jen Hofer, & Danika Dinsmore, The Owl Press, $14.95. _Ace_, Tom Raworth, $10. (signed copies) _Fuck You - Aloha - I Love You_, Juliana Spahr, Wesleyan, $12.95. _The Angel Hair Anthology_, ed Anne Waldman & Lewis Warsh, Granary, $18.95. _100 Days_, ed Andrea Brady & Keston Sutherland, Barque Press, $15. _Microclimates_, Taylor Brady, Krupskaya, $9. _Chain #8 / Comics_, ed Spahr, Osman, Sullivan, Zweig, & Greenberg, $12. Ancestors_, Kamau Brathwaite, $35. _Metropolis 1-15_, Robert Fitterman, Sun & Moon, $11.95. _Spin Cycle: Selected Essays and Reviews 1989-1999_, Chris Stroffolino, Spuyten Duyvil, $16. _Again: Poems 1989-2000_, Joanne Kyger, La Alameda Press, $16. _Talking_, David Antin, Dalkey Archive, $12.50. _Ogress Oblige_, Dorothy Trujillo Lusk, Krupskaya, $9. _M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, & Criticism_, ed Bee & Schor, Duke, $22.95. _Bombay Gin #27_, ed Corpuz & Pierce, $10. _The Weather_, Lisa Robertson, New Star, $12. _Everybody's Autonomy: Connective Reading and Collective Identity_, Juliana Spahr, $24.95. _Goan Atom_, Caroline Bergvall, Krupskaya, $9. _Argento Series_, Kevin Killian, Krupskaya, $9. _Anarchy_, John Cage, Wesleyan, $25. _New American Writing 19: Special Section on Clark Coolidge_, $!0. _Genders, Races, and Religious Cultures in Modern American Poetry 1908-1934_, Rachel Blau DuPlessis, Cambridge, $22.95. _Leaving Lines of Gender: A Feminist Genealogy of Language Writing_, Ann Vickery, $24.95. _Surrealist Painters & Poets: An Anthology_, ed Mary Ann Caws, $49.95. _A Menorah for Athena: Charles Reznikoff and the Jewish Dilemmas of Objectivist Poetry_, Stephen Fredman, $16.95. _Joe Brainard: A Retrospective_, Constance M. Lewallen, $29.95. _On the Nameways Volume 2_, Clark Coolidge, $12.50. _The Beginner_, Lyn Hejinian, Spectacular Books, $6. _Comp._, Kevin Davies, $12.50. _Prepositions + : The Collected Critical Essays_, Louis Zukofsky, $16.95. _Big Allis 9_, ed Melanie Neilson & Dierdre Kovac, $10. _New Mannerist Tricycle_, Jarnot, Luoma, & Smith, $8. _Indivisible: A Novel_, Fanny Howe, $11.95. _Aerial 9: Bruce Andrews_, ed Rod Smith, $15. _Modern Poetry and the Idea of Language: A Critical and Historical Study_, Gerald Bruns, $13.95. _The Language of Inquiry_, Lyn Hejinian, $17.95. _The Sonnets_, Ted Berrigan, intro & notes by Alice Notley, $16. Poetics list members receive free shipping on orders of more than $20. Free shipping + 10% discount on orders of more than $30. There are two ways to order: 1. E-mail your order to aerialedge@aol.com with your address & we will bill you with the books. or 2. via credit card-- you may call us at 202 965 5200 or e-mail aerialedge@aol.com w/ yr add, order, card #, & expiration date & we will send a receipt with the books. Pease remember to include expiration date. We must charge shipping for orders out of the US. ========================================================================= Date: Wed, 13 Feb 2002 17:40:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Jackson Subject: LILYFOIL Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear Friends & Colleagues, I am entering a new land! My poem LILYFOIL (or Boy & Girl Tramps of America) is as of today an ebook very kindly published by Mr. Jerrold Shiroma of Duration Press and available to download as a PDF (it's 33 pp) at http://www.durationpress.com/bookstore. I hope you like it! Elizabeth Treadwell http://www.durationpress.com/authors/treadwell/home.html _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Thu, 14 Feb 2002 00:02:16 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: readings in canada MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT hello, if there are any canadians on this list who are organizing regular readings could they please contact me? I'm compiling a national directory/calender with the aim of convincing the large wigs in toronto that there should be a national poetry segment on the CBC. The pilot has been approved now I just need as much evidence of activity as possible. the large KSW contingent in NYC hasn't been overlooked. backchannel of course. thanks, kevin -- ---------- Washington, D.C. (SatireWire.com) — Asked by a Congressional panel Tuesday if he was aware of Enron's intricate and impenetrable accounting practices, former Enron Chairman Kenneth Lay, speaking through an attorney for a Caribbean subsidiary of a joint venture created with money from an investment partnership that was partially owned by an internal offshore hedge fund that originally acted as a shell corporation for a second investment partnership spun off from three separate private partnerships created with stock and options from the first partnership which enabled the fourth partnership to record losses unattributable to the Caribbean subsidiary of the joint venture corporation, refused to answer. ========================================================================= Date: Wed, 13 Feb 2002 16:40:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: ::: A R R A S new links ::: Comments: To: "ubuweb@yahoogroups.com" , "list@rhizome.org" MIME-Version: 1.0 Content-Type: text/plain A R R A S new media poetry and poetics http://www.arras.net ::: gallery of digital poetry (off-site) ::: http://www.arras.net/gallery.htm Floating Sushi An original game of letters and words that takes you on a non-linear stroll through the street poetry of San Francisco's distinctive typefaces, color palette and consumer needs. Rather than imitate the idea of a "game," this is actually something you could get good at. flash make it so The Impermanence Agent I haven't actually gotten this to run, but the concept is great: a running narrative created by the texts that appear on the pages you are browsing, illustrated by collages constructed from those same pages. Mac only folks. make it so The Pornolizer Not sure if this is for the "wish I'd thought of that" category, but this site -- which exposes a Sadean sublife of cataclysmic, if unsatisfying, sexual exchange beneath any text -- seems the natural use for word replacement algorithms. Series Poems I have some misgivings about Jason Nelson's aesthetic sense, but there's something to be said for a rotating poetry device that emits secondary text clusters based on the user's clicks and rollovers. Nelson is a prolific web poet whose other work appears here. text.ure.org/ This site "inspired by the textural white on white paintings of Kasimir Malevich" is a highly intricate, beautiful application that allows you to contribute to a language structure that can be recombined by later users and also viewed in different diagrammatic fashions. The Gates of Paradise David Daniels is kind of like a Blake with a word processor, or an Apollinaire with a mystical bent creating caligrammes as fast as the laser printer will allow -- or neither, but an original, if strange, artist whose primary fan base seems to be on the web. ::: offsite .pdfs (requires acrobat plug-in) ::: http://www.arras.net/acrobat.htm kenwardelmslie.com The website of the irreverent, witty "New York School" poet and playwright Kenward Elmslie which contains several .pdf files of his plays and poems, and several curious digital renditions of his works. This entertaining site is Flash-heavy in its navigation, but slower computers can use the html nav or go directly to the .pdfs. Duration Press The Duration Press houses more .pdf poetry files than any site that I know of, including writers as diverse as Jacques Roubaud, Clark Coolidge, Juliana Spahr, Xue Di - oh, they're unpredictable. They have an international chapbook series, an archive, and a series of e-books dedicated to younger writers. ::: writing by bks ::: http://www.arras.net/stefans.htm Travels in the Protosemantic: Three Books by Steve McCaffery (North American Centre for Interdisciplinary Poetics) http://www.poetics.yorku.ca/article.php?sid=42&mode=nested&order=0 Lyn Hejinian, Language of Inquiry; Bruce Andrews, Paradise & Method: Poetics and Praxis (Boston Review) http://bostonreview.mit.edu/BR26.6/stefans.html &tc. &tc. ========================================================================= Date: Sun, 17 Feb 2002 17:36:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Re: Trivia HOT and NOW Comments: To: "J. Kuszai" Comments: cc: cwa@acsu.buffalo.edu In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" joel, keep in mind that I assigning some of these files in my classes! ========================================================================= Date: Thu, 14 Feb 2002 09:27:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Essays Wanted for a Companion to 20C American Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I am editing A Companion to Twentieth-Century American Poetry (for Facts on File, Inc., a publisher that enjoys very wide distribution in libraries, colleges and high schools, as well as bookstores). The project has been ongoing for about a year, and the volume is scheduled to appear in 2004. Some essay topics that had been assigned to people now have to be reassigned (writers who thought they'd be able to contribute essays have found they cannot do so after all), and so I am soliciting essayists to contribute to the volume. The volume will be peer reviewed. Payment for essays will be in presentational offprints and, too, for the large topic essays, a copy of the book. All essays will carry the author's name, and a list of contributors will appear in the back of the book. The list of entries for the volume can be viewed at this website: http://eies.njit.edu/~kimmelma/companion.html; also at the website can be found a set of guidelines for writing the essays as well as sample, model essays. If you are interested in writing for this book, then please contact me via e-mail (see my eddress below), using the subject header Essays for Book (or else simply reply to this message). If I don't know you, then please provide me with a bit of background about yourself including a brief account of your publishing history if you have one. I look forward to hearing from you. Cordially, Burt Dr. Burt Kimmelman, Associate Professor of English Director, Undergraduate Studies, Program in Professional and Technical Communication Department of Humanities and Social Sciences New Jersey Institute of Technology Newark, New Jersey 07102 973.596.3376 (p); 973.642.4689 (f) kimmelman@njit.edu http://eies.njit.edu/~kimmelma ========================================================================= Date: Thu, 14 Feb 2002 09:45:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Isat@AOL.COM Subject: Re: [webartery] Sackner Archive Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Millie, I think as far as visual poetry and recuts go, A Humument is landmark work and a definite masterpiece. It's interesting to note that Phillips keeps reworking the book, so that there are at least 30 reworked pages (different text and/or artwork) in each new edition (the latest is the 4th, i believe). When I visited Sackners 2 years ago, Marvin told me that they are either in possession, or aware of over 800 distinct pages. Also, success of the Phillips' work brought the original Victorian novel, A Human Document, back to print in the U.K. As for the cutup technique, William Burroughs and Brion Gysin developed it in the 50s, combining it with collaging methods used by DADA and early surrealists. However, what makes A Humument such an achievement is Phillips's awareness of the different literary & art styles, as well as his ability to fuse them together. Tom Phillips just might be the third British most impressive poly-artist, after William Bake and Wyndham Lewis. Best, Igor Satanovsky ========================================================================= Date: Thu, 14 Feb 2002 10:24:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fargas Laura MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" from today's story in the New York Times on the California Poet Lauereate Search: "Mr. Snyder, the model for Jack Kerouac's semi-mystical poet in 'Dharma Bums,' noted that there was a more profound drawback than even politics. 'You'd have to own a suit,' he said." Love him! Laura ========================================================================= Date: Thu, 14 Feb 2002 13:23:46 -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 FEBRUARY 15, FRIDAY LOVE AS THE WAY: Singer/song writers QUEEN ESTHER and THEO EASTWIND FEBRUARY 18, MONDAY THE POETRY PROJECT'S PRESIDENT'S DAY 24-HOUR PLAY FESTIVAL FEBRUARY 20, WEDNESDAY KIMIKO HAHN and SEKOU SUNDIATA FEBRUARY 22, FRIDAY NICK ZEDD + REV. JEN: ART STARS ON DISPLAY PERFORM AND SCREEN VIDEO LORD OF THE COCK RINGS MARCH 3, SUNDAY A MEMORIAL TRIBUTE TO FIELDING DAWSON (1930-2002) DETAILS BELOW AND WWW.POETRYPROJECT.COM: FEBRUARY 15, FRIDAY LOVE AS THE WAY: Singer/song writers QUEEN ESTHER and THEO EASTWIND QUEEN ESTHER, musician and solo performer, has written four one-person shows. Her semi-autobiographical Queen Esther: Unemployed Superstar had a five-week sold-out run at Joe's Pub last year. Her debut CD, Black Hillbilly Deluxe, will be available this spring. THEO EASTWIND, the contemporary folk rocker, returns to the Poetry Project to share his poetic prowess and striking tenor with an eager and growing audience. His guitar and vocals will be accompanied by upright bass and djembe. He'll share his songs from his CDs Oh La La Li and One. [10:30 pm] FEBRUARY 18, MONDAY THE POETRY PROJECT'S PRESIDENT'S DAY 24-HOUR PLAY FESTIVAL Since its inception in 1995, The 24-Hour Plays have produced well over 200 new short plays. This is the first time the event has taken place at the Poetry Project. With writers: JEFFERY MCDANIEL, RACHEL LEVITSKY, BRIAN KIM STEPHANS, SHARON MESMER, JORDAN DAVIS [8:00 pm] [Admission: $9 general, $6 students & seniors, $5 members] FEBRUARY 20, WEDNESDAY KIMIKO HAHN and SEKOU SUNDIATA KIMIKO HAHN is the author of six collections of poetry including Mosquito and Ant, Volatile, The Unbearable (American Book Award), and Earshot (The Theodore Roethke Memorial Poetry Prize and an Association of Asian American Studies Literature Award). She has received fellowships from the NEA, the NYFA, and the Lila Wallace-Reader's Digest Fund. A professor in the English Department at Queens College/CUNY, Hahn is currently working on a collection of poetry and prose, largely utilizing the classical Japanese forms, tanka and zuihitsu. SEKOU SUNDIATA is a poet who writes for both print and performance. He has recorded and performed with a wide variety of artists including Craig Harris, David Murray, Nona Hendryx and Vernon Reid. He has co-produced a series of concerts at the American Center in Paris and has written and performed in the highly acclaimed performance theater work The Circle Unbroken Is a Hard Bop, as well as his own music-theater work The Mystery of Love, which was presented by New Voices/New Visions at Aaron Davis Hall and later produced by the American Music Theater Festival. [8:00 p.m.] FEBRUARY 22, FRIDAY NICK ZEDD + REV. JEN: ART STARS ON DISPLAY PERFORM AND SCREEN VIDEO LORD OF THE COCK RINGS The duo will read recent work attacking consensus reality as well as earlier crowd pleasers from their respective oeuvres that threaten the status quo. They will also screen their new movie Lord of the Cockrings (appx. 27 min). NICK ZEDD, insurrectionary mastermind of the Cinema of Transgression and director of War Is Mentrual Envy, Why Do You Exist, Ecstasy And Entropy, Police State and They Eat Scum. His books include Totem of the Depraved (2.13.61 Publications) and Bleed (Hanuman Books.) Mr. Zedd recently acted in the off-Broadway play The Intruder by Maurice Maeterlinck, and has starred in such movies as What About Me, Bubblegum, and The Manhattan Love Suicides. SAINT REV. JEN, poet, preacher, prophet and Patron Saint of the Uncool is the author of several plays, including Rats, Urban Elf, Magical Elf Panties, and Lord of the Cock Rings in which she stars. She is the author of Sex Symbol for the Insane. A painter, and a curator for the world famous Lower East Side Troll Museum, and comedienne, she has appeared at Caroline's Comedy Club, Luna Lounge and the Collective Unconscious. [10:30 pm] MARCH 3, SUNDAY A MEMORIAL TRIBUTE TO FIELDING DAWSON (1930-2002) On the afternoon of Sunday, March 3rd, the Poetry Project will hold a Memorial Tribute to the writer, teacher and poet, Fielding Dawson, who passed away on January 5th, 2002, will take place at The Poetry Project from 3 to 7 pm. Fielding Dawson is the author of over 20 books, including a recent collection of short stories, The Land of Milk and Honey. A student at Black Mountain College from 1949-53, he wrote extensively and wonderfully on that experience in The Black Mountain Book. He served as director and dedicated teacher of the PEN Prison Writing Workshop Program. On Thurdsay mornings he was on WAKE UP CALL, hosted by Bernard White on radio station WBAI (99.5 FM in New York), with Breaking Down the Walls. Every spring he was Writer-in-Residence at Hartwick, NY where he worked with at-risk youth in Upward Bound. In 1999 he received the Thomas Mott Osborne Service Award from The Osborne Association Family Works. Often gracing The Poetry Project with his presence, both as a reader of his work and as a listener passionately committed to writing, he generated excitement and insight wherever he was. We find it hard to imagine we will not see him again, at a reading, standing, rapt with attention and his love for words. He will be deeply missed. -- 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: Thu, 14 Feb 2002 15:36:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: DWORKIN' BJORK Mime-Version: 1.0 Content-Type: text/plain; format=flowed Spork: Blend of sp(ank + Bj)ork. A proprietary name for a piece of spankery shaped to cup former Sugar Cube, Björk Gudmundsdottir's buttock. (At the age of fifteen, Bjork formed the group Tappi Tikarass, a post-punk outfit influenced strongly by Siouxsie and the Banshees. "Tappi Tikarass" is Icelandic for "Tap her cute [lit. "tiki-time"] buttock"). Patent Information: 1993 Official Gaz. (U.S. Patent Office) 11 Aug. tm 65 Vaughn Bode Milling Co., Inc., Clinton, MO. Spork for spanking Iceland's most famous singer. A spork is a perfect metaphor for human existence. It suggests that anyone "has access to" Bjork's ass. It makes one painfully, depressingly aware just how far from Bjork's ass any one of us actually are: it shows us how we each have failed miserably at our lives. You cannot use the spork to do the one thing the spork is intended to be used for: to spank Bjork. Babe Bagheera Baloo Bambi Barney Bashful Basia Batman Beavis Beelzebub Beetlejuice Bert Blondie Bluto Bono BooBoo Brand Brandy Broomhilda Brutus Butthead Uses for the spork? Invert the spork (place it curve side down on a table) and call it a foon (fo'on = foison). Sporks from around the world: fodient - of or relating to digging foehn - dry wind that blows down from mountaintops foeticide - one fetus killing another fetus (?) foliform - shaped like a leaf fontinal - growing near springs footle - to waste time; to act foolishly Spork, oh how I adore thee, beautiful piece of art. I sit alone in my bed, no thoughts in my head, except for those of my spork. BOY WITH THE SPORK IN HIS HAND: Satan, how come there is so much suffering in the world? SATAN: God hates humans. He wants you all to suffer. BOY WITH THE SPORK IN HIS HAND: Thanks, Satan! There was once an old woman, she died a happy woman, her spork in her hand. DWORKIN' BJORK: Mind and thought have their origin in an abstract plane of conscious intelligence, which comes into manifest form through the symbols of language. The brain is not the source of the mind, but merely the physical instrument of the mind. When name is attached to an individual, certain specific forces of conscious intelligence are combined. They constitute the nucleus of the mind. The conscious forces combined by the name can be represented by a numerical formula in much the same way as the basic chemical elements combined in a chemical compound can be represented by a chemical formula. The mental characteristics of an individual can be read from the numerical formula representing the person's name, just as the characteristics of a chemical compound can be read from its chemical formula. B = ---------->FIRST ANNUAL FLARF FESTIVAL<------------ J = ~~~o{ Flying Saucer Cafe O = ~~~o{ 494 Atlantic Avenue (btwn 3rd & Nevins), Brooklyn R = ~~~o{ Tuesday March 5 at 8 pm K = HOW TO GET THERE: 2 or 3 or 4 or 5 or D or Q to the Atlantic Subway stop and walk underground to the Pacific Street exit (at the N or R or M Pacific Street Stop) or take the B or N or R or M - in any case, go out the Pacific Street Exit (right exit), take a right - at the end of the block you will be on Atlantic Ave. Take a left on Atlantic, and about two and a half blocks down, between Third and Nevins, you will find the Flying Saucer Cafe. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ========================================================================= Date: Thu, 14 Feb 2002 16:12:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: [webartery] Sackner Archive In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Millie -- A Humument has been one of my favorites for ages -- so much so that I used pages from it twice for covers: 1) on MATIERES D'ANGLETERRE, the first anthology of english avant-garde poetry, edited together with Paul Back in the early 80s & published only in France and 2) the cover of voluem 2 of POEMS OF THE MILLENNIUM. I do like some of his other big projects too: his INFERNO is superb. He is also a composer & I do enjoy his SIX OF HEARTS (CD) with soprano Mary Wiegold. 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: ____________________________________________________________________________ _ > ========================================================================= Date: Thu, 14 Feb 2002 16:10:02 -0500 Reply-To: Bob Grumman Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: [webartery] Sackner Archive MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > > This was first published in 1980. I am interested to know whether this > > technique was new then or not. The obliterated text was not new then: da levy did the the same kind of thing in the sixties. Probably the dadaists invented it. Doris Cross painted over texts about the same time Phillips did. I've never researched it and would be most interested in who first used the technique, and who first used it to real poetic effect. Phillips does seem to have done it better than anyone else. He's the one important visual poet in English acknowledged to be such by Marjorie Perloff and Johanna Drucker. --Bob G. --Bob G. ========================================================================= Date: Mon, 18 Feb 2002 07:17:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: AWP reception invitation--please pass it on MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --On Thursday, February 14, 2002, 7:27 PM -0500 "Annie Finch" wrote: " > " >For any who will be at the AWP conference, please come. Poetics " >LIsters in the book include Charles Bernstein, Maxine Chernoff, Paul " >Hoover, Jackson MacLow, Aldon Nielsen, Jena Osman, Keith Tuma, Mark " >Wallace, and more; and numerous others contributed poems.--AF " > " > " >AWP RECEPTION to celebrate the publication of " > " >AN EXALTATION OF FORMS: CONTEMPORARY POETS CELEBRATE THE DIVERSITY " >OF THEIR ART " > " >Join editors Annie Finch and Kathrine Varnes and contributors to " >the volume for a wine and cheese party in the AWP Book Exhibit Hall " >Friday, March 8 at 4 p.m at the University of Michigan Press book " >exhibit,Tables 83 and 84. " > " " " _________________________________________ " Annie Finch " Associate Professor of English " Miami University " ""Form is the wave, emptiness the water""--Thich Nhat Hanh " " Website: http://miavx1.muohio.edu/~finchar/ " " " ========================================================================= Date: Thu, 14 Feb 2002 21:09:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Dave Van Ronk dead at 65 In-Reply-To: <20020213001205.73681.qmail@web12008.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I too was saddened to hear this. After listening to his music on record for years, I finally had the chance to see him perform when he came through town just a few months ago. So I can report that, to the end, he was funny, warm, and still a dazzling singer and guitarist. He had a kind of Elmer Fudd lisp that was very endearing -- impressed me as the kind of person who doesn't give a damn for celebrity. Some of you may know that he learned one of his signature tunes, "Green Green Rocky Road," from Bob Kaufman, the S.F. Beat legend. I believe it was a children's song Kaufman remembered from his early years in New Orleans. Damian On Wed, 13 Feb 2002 11:12:05 +1100 =?iso-8859-1?q?Pam=20Brown?= wrote: > That's really sad news to me. When I was a teenage > folkie in Brisbane, Queensland, Australia, Dave Van > Ronk was one of my very favourite singers - I loved > "Come Back Baby" and his version of "Cocaine" (even > though I was yet to try the drug) > I have a CD with those great songs and still play it > occasionally when I'm in a late-60s mood. > Vale Dave Van Ronk. > Pam Brown > --- laurie macrae wrote: > A > great soul left us this last Sunday. Dave Van > > Ronk, > > who taught Bob Dylan and many others, who played the > > music of and restored careers to long lost country > > blues masters like Misssissipi John Hurt,who played > > Brecht and Yates, and who gave shelter and support > > to > > a generation of young folkies in the Village in the > > late 50's and 60's is dead. > > "He was a friend of mine" and everyone who ever > > heard > > him play. > > Laurie Macrae > > > > __________________________________________________ > > Do You Yahoo!? > > Send FREE Valentine eCards with Yahoo! Greetings! > > http://greetings.yahoo.com > > ===== > Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ > > http://greetings.yahoo.com.au - Yahoo! Greetings > - Send your Valentines love online. <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english/ institute for advanced technology in the humanities university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Thu, 14 Feb 2002 21:09:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Dave Van Ronk dead at 65 In-Reply-To: <73.1ac4a808.299be1f1@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII And Fahey's gone - one of the really great musicians/thinkers - you could always recognize his guitar a mile away - it was fantastic - the forms he used challenge anything going on now - alan Internet text at http://www.anu.edu.au/english/internet_txt Partial at http://lists.village.virginia.edu/~spoons/internet_txt.html Trace Projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm CDROM of collected work 1994-2002 available: write sondheim@panix.com ========================================================================= Date: Fri, 15 Feb 2002 00:41:19 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: hack remediation drag and drop In-Reply-To: <0129AFDB56AD4D4B93529F6E768586C02B28C1@POBOX.gc.cuny.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" http://www.gu.edu.au/ppages/K_Zervos/colorwriter.html comments please 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: Thu, 14 Feb 2002 21:37:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 01 nikuko-arm----------------{armarmarm} (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - 01 nikuko-arm----------------{armarmarm} you open your arms wide, begging the populace to embrace you. you pull your arms around your body. pop-pop-pop. it hums with the beauty of death. it warms to my hand. i am once again, warm in my hand, warm with the beauty of it. no pop-pop-pop, we emerged later with blood on our arms. at last i came to the eastern arm to hold my warm out, my flesh out, to their touch, their gatherings, communal. it seems impossible. i want to hold my warm out, my flesh out, i'm feverish; there are strange welts on my arms.. _ ========================================================================= Date: Thu, 14 Feb 2002 10:08:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: The Poetry Project's President's Day 24-Hour Play Festival Comments: To: "ubuweb@yahoogroups.com" , "list@rhizome.org" MIME-Version: 1.0 Content-Type: text/plain [Some goofy thing I'm involved in...] February 18 8:00 pm The Poetry Project's President's Day 24-Hour Play Festival Plays by: Jeffery McDaniel, Rachel Levitsky, Brian Kim Stefans, Sharon Mesmer, Jordan Davis The process begins at 10 pm the night before the show, when a group of about fifty writers, directors, actors and designers gather at a theater for the latest round of the unpredictable. After everyone has been briefed (and Polaroided), the writers are left alone to each compose a ten-minute play. At 7 am, the directors return, read the plays, make their bids for a play, and begin casting. The actors arrive at 8 am, meet with their respective writer/director teams; rehearsals start promptly at 9 am. Tech rehearsal runs from 5 to 7:30 pm-doors open at 7:45. At 8 pm, ink barely dry, the new plays are performed for a live audience. Since its inception in 1995, The 24-Hour Plays have produced well over 200 new short plays in this manner. This is the first time the event has taken place at the Poetry Project. Admission: $9 general, $6 students & seniors, $5 members St. Mark's Church, 131 E. 10th St., New York, NY 10003 ========================================================================= Date: Fri, 15 Feb 2002 08:43:44 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Out of the ice age MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To Geoffery and Other Listers. Welcome back. I spent years doing cable work, pole work, telephone intsallations and cable faults and so on ...also worked on microwave antennae: never in an icy blizzard but sometimes in the mud and rain: but you get to keep fit and those were good days when my family were young. Once my daughter said: "What do poles do Dad?" I dont dare embarass her with that question nowadays: nor do i dare argue my crazy political ideas! In touch with "the real" I was, whatever "the real" is. Lets all write poetry and debate things: make (inrelligent?) noises not war. Richard ----- Original Message ----- From: "Geoffrey Gatza" To: Sent: Thursday, February 14, 2002 3:48 AM Subject: Out of the ice age > Hi Everyone! I was gone for a bit due to an ice storm in Buffalo > and then a lazt internet service provider. Its so odd to watch the Cable > guy vclimb to towering pole to hook me back up to the virtual. It seems > so real now -- a real system that is afraid of ice storms and wind. I've > missed you all. Its very interesting to read all this mail in one large > format. > > And a special shout out to Kent Johnson!! Woo Hoo! Thanks for > the kind epigram ! > > Best and happy to be home again. ========================================================================= Date: Thu, 14 Feb 2002 10:41:03 -0500 Reply-To: ronhenry@clarityconnect.com Sender: UB Poetics discussion group From: ronhenry@CLARITYCONNECT.COM Subject: Email or snail mail address for Vernon Frazer Can anyone email me backchannel with an email or snail mail address for Vernon Frazer? The email address I have for him no longer accepts mail, and I need to respond to him about a publication acceptance. Thanks in advance-- -- Ron Henry, Editor, AUGHT ronhenry@clarityconnect.com http://people2.clarityconnect.com/webpages6/ronhenry/aught.htm ========================================================================= Date: Fri, 15 Feb 2002 10:34:00 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Michael Palmer on WriteNet MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Daniel etal. I enjoy your interviews.. Michael Palmer is clearly a very intelligent writer and thinker: his oint that the way one's perception of poems is altered (by events, "exreme events") is interesting. I was looking at some (mostly bad and bit mushy) pems I'd been wriitng about 2 or so days before when I had decided to turn my back on ANY new input as kiind of "experiment": that is I was going to know nothing about any news and see how that affected thhings (a crazy idea robably) but then I was shocked awake with my son ringing about "America's under attack!!" It was bizzarre, extraordinary and even at this distance shocking. Even with no remotely personal danger to myself or family...I actually went thru a big range of emotions and I'm not even American. At one stage I began to get paranoid and I was walking around my house witha knife! Dont worry, I probably could never kill anyone or fight my way out of a paper bag...but the poems I tried to write "about S11" simply dont work. (They sometimes just seem clever... (I mean bad-clever)) Its bizarre...but looking back at those (previous to S11) poems they are strange now. Seem nearly pointless. I have read poetry of Brecht and I aso heard an interview on the radio with Wolye Soyinka: now a man with his life and experience couldn't not but be (strongly overtly) "political"...but for all that the implication is there: a very intense lyric by Creeley, or a collablorative poem by Ashbery, or the amazing Jess-Duncan art, even difficulty (or especially difficulty) or simplicity: something obscure...they all have their place so to speak. It was a good idea for those poets to have a reading as it also restores one's belief in one's own work or the need to work or dabble as the case maybe in poetry or lit. Its against war or terror but also the "twisting" and hijacking of language...altho of course poets are the "worst" twisters of the lot! Those interviews are very good, thanks for the link.Regards, Richard. ----- Original Message ----- From: "Daniel Kane" To: Sent: Wednesday, February 13, 2002 6:07 PM Subject: Michael Palmer on WriteNet > Dear List Members: > > This was an interview that was supposed to be up last month - Michael and > I had started on it in early September, and then came September 11 which > of course altered both the time the interview was supposed to be "on line" > and the overall tenor of the questions and answers. > > If you'd like to check it out (along with a sound file of Michael Palmer > reading "Song of the Round Man"), go to > > http://www.writenet.org/poetschat/poetschat_m_palmer.html > > best, > --daniel ========================================================================= Date: Fri, 15 Feb 2002 08:36:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Discount offer - Rachel Back's new Susan Howe book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Announcing the latest volume in the series Modern and Contemporary Poetics, edited by Charles Bernstein and Hank Lazer Led by Language The Poetry and Poetics of Susan Howe Rachel Tzvia Back This first full-length study of Susan Howe illuminates the historical, autobiographical, and theoretical influences that underlie the work of this enigmatic and important contemporary American poet. In Led by Language, poet and scholar Rachel Tzvia Back offers a close and detailed reading of Susan Howe's provocative and powerful poetry. Howe's work is dense, often difficult, but always distinctive, and Back's volume explains a number of features crucial to understanding her poems. In this complete survey of Howe's major work, from 1978's Secret History of the Dividing Line to 1999's Pierce-Arrow, Back highlights the key strategies underlying Howe's work: linguistic experimentation, historical motifs, autobiographical references, and visual experimentation with types, fonts, and images. One of the book's most compelling arguments is Back's case for reading Howe's work autobiographically. An obsession with history characterizes Howe's poetry-historical figures from Mary Magdalene to Melville haunt her work-and Back deftly demonstrates the intensely personal nature of much of the historical terrain Howe traverses. This study debunks the myth of Howe's impenetrability, making her work accessible to a wide range of readers. Back has created a thorough guide to reading and understanding this important poet, and her book will be welcomed by students and scholars of contemporary poetry, American literature, literary theory, and cultural studies. "This book will be an essential resource. . . . (There is) a marvelously restless, inquiring, lucid intelligence at work. . . . (It is) delightful, engaging reading . . . scholarship at its finest." -Hank Lazer "The first full-length study of Susan Howe's poetry . . . will be of enormous value to students of Howe's work as well as to anyone interested in contemporary experimental poetry and poetics." -Marjorie Perloff Rachel Tzvia Back is an Assistant Professor of English at Tel-Aviv University in Israel and the author of Azimuth, a collection of poetry. 308 pages, 6 x 9 ISBN 0-8173-1132-7 $24.95 paper ISBN 0-8173-1126-2 $54.95 cloth SPECIAL OFFER TO POETICS LISTSERV 20% DISCOUNT WHEN YOU MENTION THAT YOU ARE ON THE POETICS LISTSERV OFFER EXPIRES 31 March 2002 To order contact Elizabeth Motherwell E-mail emother@uapress.ua.edu Phone (205) 348-7108 Fax (205) 348-9201 or mail to: The University of Alabama Press Marketing Department Box 870380 Tuscaloosa, AL 35487-0380 Attn: Elizabeth Motherwell www.uapress.ua.edu Back/ Led by Language paper discounted price $19.96 ISBN 0-8173-1132-7 cloth discounted price $43.96 ISBN 0-8173-1126-2 Subtotal ________________ Illinois residents add 8.75% sales tax ________________ USA orders: add $4.00 postage for the first book and $1.00 for each additional book _________________ Canada residents add 7% sales tax _________________ International orders: add $5.00 postage for the first book and $1.00 for each additional book _________________ Enclosed as payment in full _________________ (Make checks payable to The University of Alabama Press) Bill my: _________Visa _________MasterCard Account number _______________________________ Daytime phone________________________________ Expiration date ________________________________ Full name____________________________________ Signature ____________________________________ Shipping Address______________________________ City _________________________________________ State_______________________ Zip ______________ ========================================================================= Date: Fri, 15 Feb 2002 12:09:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: megan minka lola camille roy Subject: Calling all (SF Bay Area) poets! MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT Camille Roy here. New Langton Arts is accepting literature applications for the Bay Area Award Show for 2002. Past winners include Taylor Brady (00), Susan Gevirtz (00), Jocelyn Saidenberg (99), giovanni singleton (99), Laura Moriarty (98), Aaron Shurin (98), Renee Gladman (97), Tobey Kaplan (96), Scott McLeod (96), Kevin Killian (95). The application is online at: http://www.newlangtonarts.org/ The deadline is march 1. Send em in! camille roy http://www.grin.net/~minka "If this is going to be a calm equality, there will be no people." (L. Scalapino) ========================================================================= Date: Fri, 15 Feb 2002 16:43:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ethan Paquin Subject: SLOPE #14: HERE FOR THE TAKING Comments: To: ethan@slope.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SLOPE.....the long-awaited release of Issue 14 www.slope.org .....come along for the ride with the first exclusively-online magazine ever to be included in THE BEST AMERICAN POETRY series ~ NEW POETRY Bruce Beasley | Lisa Lubasch | Karen Volkman | Peter Boyle | & MORE ~ NEW PROSE EVEN GETS IN THE ACT Susan Steinberg | Andrew Zawacki | Ronald Palmer | & MORE ~ "SLOVENIA: AT THIS MOMENT" FEATURE Poems, interview, art, essays and criticism featuring Ales Debeljak, Brane Mozetic, Jure Novak, Meta Kusar and Dusan Fiser ~ SLOPE E-CHAPBOOK #1 "The World Other": Poems by Franz Werfel translated by James Reidel _______________________________________________________ If you feel you received this message in error, let us know and we'll stop notifying you of Slope news. -Eds. ========================================================================= Date: Thu, 14 Feb 2002 15:38:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laurie macrae Subject: reply to Joe Brennan re Van Ronk MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > I did not say nor mean to imply that Van Ronk > re-discovered John Hurt, but that he restored his > career by getting him bookings on the same bill with > himself. In fact, for years they were a regular bill > together on McDougal St. > Laurie > > __________________________________________________ > Do You Yahoo!? > Send FREE Valentine eCards with Yahoo! Greetings! > http://greetings.yahoo.com __________________________________________________ Do You Yahoo!? Send FREE Valentine eCards with Yahoo! Greetings! http://greetings.yahoo.com ========================================================================= Date: Fri, 15 Feb 2002 17:13:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Relic Catalog of Nikuko MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Relic Catalog of Nikuko 00 nikuko-relic inventory 01 nikuko-arm----------------{armarmarm} 02 nikuko-bla----------------{blablabla} 03 nikuko-bre----------------{brebrebre} 04 nikuko-che----------------{checheche} 05 nikuko-chi----------------{chichichi} 06 nikuko-ear----------------{earearear} 07 nikuko-elb----------------{elbelbelb} 08 nikuko-eye----------------{eyeeyeeye} 09 nikuko-fac----------------{facfacfac} 10 nikuko-fin----------------{finfinfin} 11 nikuko-foo----------------{foofoofoo} 12 nikuko-hai----------------{haihaihai} 13 nikuko-hea----------------{heaheahea} 14 nikuko-kne----------------{kneknekne} 15 nikuko-leg----------------{leglegleg} 16 nikuko-lun----------------{lunlunlun} 17 nikuko-nec----------------{necnecnec} 18 nikuko-nip----------------{nipnipnip} 19 nikuko-nos----------------{nosnosnos} 20 nikuko-pub----------------{pubpubpub} 21 nikuko-shi----------------{shishishi} 22 nikuko-sho----------------{shoshosho} 23 nikuko-sol----------------{solsolsol} 24 nikuko-sto----------------{stostosto} 25 nikuko-toe----------------{toetoetoe} 26 nikuko-uri----------------{uriuriuri} 27 nikuko-vag----------------{vagvagvag} 28 nikuko-vag----------------{vagvagvag} 29 nikuko-wai----------------{waiwaiwai} 30 sort zz > yy; sed 's/^.../&----------------\{&&&\}/g' yy > zz 31 sed 's/^/nikuko-/g' zz > yy 01 nikuko-arm----------------{armarmarm} you open your arms wide, begging the populace to embrace you. you pull your arms around your body. pop-pop-pop. it hums with the beauty of death. it warms to my hand. i am once again, warm in my hand, warm with the beauty of it. no pop-pop-pop, we emerged later with blood on our arms. at last i came to the eastern arm to hold my warm out, my flesh out, to their touch, their gatherings, communal. it seems impossible. i want to hold my warm out, my flesh out, i'm feverish; there are strange welts on my arms.. 15 nikuko-leg----------------{leglegleg} ms ms m|eeteeteet|s ts ts t|he he he |leglegleg|, t, t, t|hathathat| cr cr |intintint|o to to t|he he he |sinsinsin|gleglegle| ey ey ey|e, e, e, of parts from arms, legs, breasts, neck, face*. Braids of parts from hair* 09 nikuko-fac----------------{facfacfac} face. i fall to the ground like a worm. i can't move. i jerk about. i want you so bad this might be a dream. i want your body in my face. perhaps i'm not being clear, faced with the clarity and fuzziness of the inconcei- vably tangled matrices of molecular organization, video and interactivity in the face of periphyton. fl|flui|uids|ds o| on |n my|my f| fac|ace,|e, m| my |y ha|hair|ir, |, of parts from arms, legs*, breasts, neck, face. *Braids of parts from hair 08 nikuko-eye-----------{eyeeyeeye}}eyeeyeeye{------------eye-okukin 80 .uoy nwo I ,okukiN ,ffo my eyes. Take everything off, Nikuko, I own you. I am looking at you now, Nikuko. I am undressing you with my eyes. I take ekat I .seye ym htiw uoy gnihtyreve ekaT .seye ym gnisserdnu ma I .okukiN ,won uoy ta gnikool ma I tail mi grep eye mi > zz rev zz >> zz sort zz > yy; mv yy zz sort zz > yy; mv yy zz EUEUEU_ ========================================================================= Date: Thu, 14 Feb 2002 19:00:07 -0500 Reply-To: locussolus@earthlink.net Sender: UB Poetics discussion group From: Doublechange Subject: Double change#2 + 02/25 reading w/ C. Edgar & F. Smith Comments: To: info@doublechange.com MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Double Change, a web journal dedicated to French-American interaction in poetry, launches its second issue: Http://www.doublechange.com Issue 2 edited by Caroline Crumpacker & Lisa Lubasch With TRIBUTE to Léopold Sédar Senghor (1906-2001) by René Depestre + POEMS (in the original & in translation) by Maurice Blanchard, Jeff Clark, Mohammed Dib, Christopher Edgar & Tchicaya U Tam'si. INTERVIEWS with Guy Bennett, Nicole Brossard, & editor Tod Thilleman of Spuyten Duyvil. REVIEWS of Christophe Tarkos, Joe Brainard, & "Action Poétique." ++ LINKS to French & American publishing houses & websites dedicated to poetry. +++ Paris Reading Series : Chris Edgar and Frank Smith, Monday Feb 25th, 7.30 pm at EOF Gallery (see below). e-mail us at: info@doublechange.com --if you want to be removed from our list please send us an e-mail-- ** Please join us for the second reading of the season on Monday February 25th @ 7.30 pm with CHRISTOPHER EDGAR & FRANK SMITH @ GALERIE EOF 15 Rue Saint-Fiacre, Paris 2e (Métro 'Grands Boulevards', l. 8 ou 9) Free Refreshments will be provided. The Double Change reading series is made possible by a grant from the French Ministry of Culture and the Centre National du Livre. Please feel free to forward this email. For more information, please contact Omar Berrada omar.berrada@m4x.org tél./fax 01 58 30 75 68 Olivier Brossard: olivierbrossard@hotmail.com -- Biographies -- CHRIS EDGAR is Publications Director of Teachers & Writers Collaborative, a nonprofit arts organization in New York. Recent poems have appeared in The Germ, Shiny, Lincoln Center Theater Review, Sal Mimeo, The Portable Boog Reader, and Best American Poetry 2000, and he was winner of the annual Boston Review poetry prize for 2000. He is an editor of The Hat, a literary magazine, and is the translator of Tolstoy as Teacher: Leo Tolstoy's Writings on Education (Teachers & Writers Collaborative, 2000). Poet and performer FRANK SMITH was almost born in May 1968. He produces the Ateliers de Création Radiophonique (France Culture) and is artistic advisor for the Maison de la Poésie in Paris. His published volumes include "Là où la nuit se veut, déjà" (L'Harmattan, 1997), "Pas", on photographs by Anne-Marie Filaire (éditions Créaphis, 1998), "Je @ toi" (éditions Obadia, 2002). He co- edited, along with Christophe Fauchon, the anthology of contemporary French poetry "Poé/tri" (éditions Autrement, 2001), soon to appear in Spanish from ediciones Plural, La Paz. His work has appeared in numerous journals, among which Action poétique, CCP, Cargo, Entrelacs (Montreal), If, L'Oeil de Boeuf, Poésie, _Quid_ (London), etc. www.doublechange.com ========================================================================= Date: Fri, 15 Feb 2002 18:10:58 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 2/14/02 7:17:51 AM, richard.tylr@XTRA.CO.NZ writes: << Bill. I dont see it as you do but glad to see your view: I can understand > now the situation might seem (especially eg to a New Yorker) and other > Americans as a terrible and frightnenning attack. And without a lot of info > (and even with a lot) a lot of people would be excused for being frightened > and angry at the events of the attack on the US. However I dubious that 1) > the attack wasnt justified ( I mean that it didnt have some complex causal > connection to US external policies and so on) 2) it wasnt organised by an > extreme right wing group from within the US 3) if it wasnt 2) then the Bush > (etc) admin reaction was quite simplistic: he now wants to "blister" Iraq > and probably North Korea. Altho I unerstand that te European nations arent > so keen on that). And also it (the attack on Afgahnistan) in no way has made > the "Free West" any safer. 4) I think its VERY much like theVietnam war. > eg I think that the issue of the "advancedness" or whatever of > Afghanistan has been cruelly and cynically manipulated by the Right. It was > a "red herring" and served to reinforce prejudice against Arabs everywhere > as The Enemy (the NEW enemy) and what was relatively speaking a fairly minor > attack on basically non-military targets (recall the number of buildings in > the US and the enormous numbers of military installations). And no one has > claimed (in fact most Arabs have condemned the attacks) responsibility > (usually its obvious and in Isreal we know the terrorists (freedom > fighters?) because they kill themselves) - even if bin Laden hadn't claimed > to have organised it: there would been a statement about the US: about how > corrupt and aggressive the military -industrial state is, how they are > aiding the Israelis, their general policy of "divide et imperum" which is > tiresomely old, and so on. You dont SEE how the rest of the world's poor see > the US: and increasingly it is seen as an agressive and corrupt nation. The > Space Program built up with the aid of the ex-Nazi terrorist von Braun, the > Nazis who escaped thru the "nets" with US aid after the Second WW, the > holding back of the US until Britain was crippled then a panic reaction in > case the Commmunists took everything, the savaging of Korea and Vietnam, the > killing of hundreds of thousands in South America and Indonesia and the > impoverishing of the Third World nations, coup detats in Chile (which was > becoiming "dangerously democratic"), and Iran in case the oil fields > nationalised, the vicious and ongoing savaging of Iraq, military > installlations thousands of miles from the US (no other nation has the > equivalent) in Saudi Arabia (to protect whom, US oil interests, and a bunch > of scum in Kuwait?). > This all said: if you can prove the case that a huge Arab force was > steaming toward the US and the need for an undeclared war on that very poor > country Afghanistan or why a huge bombing campaign complete with thousands > of B52 bomber isnt begun on the Palestinian "terrorists" or should that be > "Israeli terrorists?" I'm not convinced the the US was in "great peril". > But the reaction of the US has created in the long run the potential for > more destruction, more bitternness. > But that said: I have to now allow that I'm glad you are commenting on this > issue. I will allow that I could be wrong: that's true. Otherwise there can > be no debate.. I allow that there is always rhetoric which obfuscates. Also > I hope my disagreement is not seen as callous indifference to S11 which was > a terrible event. Nor am I against American people who I think suffer from > the effects of capitalism as much as any people any where, and I am not > blind to the good things that have happenned in the US eg the Civil Rights > movement and so on, the art, the relative freedom, your constitution when it > works, and the strength of the people, the abundance (which we in NZ have > somewhat): the intelligence and insight as such literary figures as Zukofsky > ( him as an example as I'm reading a book about him just now), the energy > and creativity of American people and so on. So I hope you accept my crit as > "objective" - well as far as objective can be objective. I'll accept a > "counter attack" without it becoming a personal thing: but I dont want to > back away fromn what I said above as it stands for now. Regards, Richard. > ----- Original Message ----- > From: > To: > Sent: Friday, February 08, 2002 6:08 AM > Subject: Re: query on behalf of a friend > > > > In a message dated 2/6/02 1:17:18 PM, weishaus@PDX.EDU writes: > > > > << > > If this is a democracy (and there is doubt about this), then it is the > > people who are responsible. > > So where are the celebrated voices that spoke out during the Vietnam War? > > Where are the intellectuals? What's the Poet Laureate saying about the > > killing fields called Afghanistan? Where are the Yippies? > > > > -Joel > > Hi Joel and Richard. Well, call me crazy but I don't think deliberate attacks on civilians, i.e., with no military target in sight, can ever be justified. I agree that prejudice against the Arab population has been "reinforced." But the key here is in the word. Most Americans, like most people everyone, are a pretty bigoted bunch. Even Bush's two appearances on TV during which he warned US citizens to knock off the bigotry while praising most Muslims, can't help much. Believe me, I am no fan of Bush, or of politicians generally. But Bush did publicly defend Muslims and condemn the bigots, for what it's worth. Whatever sneaky shit goes on behind the curtain, what the West heard from Bush is a vote of confidence for Muslims, for Islam. So I'll give him that much. As Richard says, if the information we are fed is accurate, then the US is justified in its actions. We really can't know if military actions against Afghanistan have made our side of the fence safer. Perhaps not. Perhaps so. It is clear that certain arrests in this country have averted planned attacks. That's something, anyway. It is also clear that a large percentage of the Afghan population (who can say how large?) is delighted to see the Taliban gone. Both men and women there, denied the opportunity to practice their professions, can now do so. No disagreement from me on the corrupt machinations of the US government. But sympathizing with another government, equally or more corrupt, seems illogical to me. How does that make the world safer? How does pissing off the toughest guy on the block make the world safer? Obviously, it doesn't. Logic. Europe is even more dependent on Middle East oil than the US is, so it's not surprising that they would drag their feet when oil rich nations are targeted. The French also have serious business dealings with North Korea. Nothing here surprises. You and I know what so many people are like, how the world works. If, however, Iraq, Iran, and North Korea are in fact harboring/funding those who work for the annihilation of the west, then I certainly understand that the best defense is a good offense. But am I ready to take everything the White House puts out as gospel? Never have. Can I say definitively that they are lying? Nope. Yes, we know they have lied about lots of things. But so has everyone else. That most Arabs have condemned the attack -- well, we really have no way of knowing this. In this country most Arabs seem to support the attacks. Right wing Arab radio broadcasts anti-west propaganda in the Middle East (in the West, we get the reverse). A steady diet of that might convince that all Arab nations are poised to rise up against the West. But the protests there have been steadily losing steam, similar to the protests here, according to most news sources. We really have no footing from which to judge what is true and what isn't. I would have to be there, to talk to the people, to observe just how heavy or light was the collateral damage caused by American bombs, before I felt I could speak with authority. It does seem that the damage was rather light considering the number of bombs in the air, which may be a tribute to American technological brilliance, if not a moral justification. Or it may be so that not since W.W.II has the US military deliberately targeted civilians. But again, I have no way of knowing for certain. I can only watch the screen, read the papers, read the journals right and left, correspond with friends in Europe and China, and stare at the patchwork quilt. Every one of my Jewish friends, both in an out of the avant-garde community, believes that the anti-Israel rhetoric is driven by anti-Semitism, conscious or unconscious. Perhaps they're right. Perhaps not. I realize that so much equivocation can be infuriating. But I'm a practical man. I'm not jumping until I know there's water in the pool. My sense of most New Yorkers is that they were frightened for a short while, but that is long over. Now they're just pissed. And they want their government to make sure such a tragedy never happens again. Most are aware that during such times, civil liberties always take a hit as the government puts up protective fences. Some view this latest hit as substantial. Others see it as rather light, and that view seems the more common throughout the US. As always, perception is reality. As for my position, I've learned that my views rarely coincide with anyone's, point for point. The litany of US sins, of course, no longer shocks, not since the Nam. But can we not see them as a red herring? That the US has committed atrocities does not alter the fact that other nations have been equally corrupt and inhumane -- in many cases moreso -- and to the best of their ability. I'm sure you don't really believe that the governments/political organizations the US targeted had clean hands? Wouldn't that be naive? I don't consider my previous remarks a counter attack. Nothing personal intended, though I did question a point of view. Joel wondered why the Vietnam generation is not out in force, and I thought I'd offer a possible reason or two. I don't think it's any great loss, anyway. My generation raised some light, but also dropped some darkness. A younger generation is perfectly capable of doing the same. My experience has taught me that no matter which camp cooks your meal, there's a little arsenic in every bite. Your experience may lead somewhere else entirely. Whatever, I appreciate the give and take, always. And naturally I respect anyone's right to position him/her self. Best wishes to both of you. Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Fri, 15 Feb 2002 15:45:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hazel smith Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Dear list and list servers Please note that email my address is now hazel.smith@canberra.edu.au many thanks hazel Dr. Hazel Smith Senior Research Fellow School of Creative Communication and Culture Studies University of Canberra ACT 2601 6201 5940 More about my creative work at www.australysis.com ========================================================================= Date: Fri, 15 Feb 2002 15:36:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: The Yoga of Moby Dick Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable I am participating in this panel, and if your in the SF Bay Area you may be= =20 interested in coming. As far as I can tell, the performance is, indeed,=20 comic, but also serious. Hilton Obenzinger AMERICAN YOGI: PERSPECTIVES ON EASTERN PRACTICE AND OUR NATIONAL MYTHOLOGY A panel discussion following the Thursday, February 28th performance of The Yoga of Moby Dick with moderator Barbara Lane, Mark Kenward, Hilton Obenzinger and other distinguished scholars. The Marsh 1062 Valencia near 22nd Many Western scholars and writers have predicted that the meeting of Eastern and Western philosophies will someday prove to be one of the most= significant events of our age. Today in America=E2=80=94when consumerism has never been= more rampant and danger has never seemed so near=E2=80=94 more people than ever= are grounding their lives in Eastern practices such as Yoga, Zen, and= meditation. Some of these seekers leave their homeland, figuratively and literally,= while others remain here in America trying to tread an authentic path within their own cultural milieu. Can it be done? Can our own literature, mythology, and memoirs help us relate to the Eastern philosophy of self-transcendence? Or are we courting spiritual dilettantism by refusing to let go of the= trappings of our narcissistic culture? These questions and more will be addressed in two fascinating panel discussions. Please join Mark and friends for one of these lively forays into a world of literature, memoir, and enlightenment. THE YOGA OF MOBY-DICK WHAT IT'S ABOUT: God or no God? If a whale ate your leg could you still do tree pose? Mark Kenward asks the essential questions in his provocative comic solo performance which won effusive praise in its initial outings at The Winnipeg and San Francisco Fringe Festivals and was awarded a mainstage run at San Francisco=E2=80=99s most prestigious venue for solo performance: The Marsh. Developed with and directed by SF solo performance guru David Ford, The Yoga of Moby-Dick is the fourth in a quartet of innovative works that originated with Kenward=E2=80=99s stunning one man adaptation of Moby-Dick.= This recreation of Melville's classic text was nominated by the Bay Area Theater Critics Association for best solo performance in 1995 and toured eleven cities, drawing praise in each one. Now, as a new dad and nascent Yoga teacher, Kenward once again wrestles with Melville's ideas but in a contemporary context that has electrified audiences. With the fervor of a mad Ahab, Kenward pursues an improbable and surprisingly personal connection between Hatha Yoga and the great American novel as he struggles with the legacy of a literate yet violent parent. During the course of the show, he restlessly prowls a vast landscape from Nantucket to the Mill Valley Yoga Studio to the deck of the Pequod in search of meditative redemption that may be no further than his own back yard. Kenward allows this tale to unfold in his inimitably, self-effacing, comic manner while bravely welcoming us into the darkest parts of a mysterious past that still haunts him today. Please also note the two special events we're including with this show. There's info about both the Scholars Panel (called: American Yogi) and the yoga classes. FROM THE CRITICS: =E2=80=9CIn this powerful solo performance he will make you laugh hard,= think hard, feel hard, and at the same time he will achieve a total participation from the audience. It is highly recommended!=E2=80=9D - SF Tribune =E2=80=9CMark Kenward has a whale of a tale in THE YOGA OF MOBY-DICK, a= sharp, well-deconstructed meditation on the parallels between Herman Melville=E2=80= =99s=20 epic novel, yoga, and Kenward=E2=80=99s own life and quest for enlightenment.=E2= =80=9D - Winnipeg Sun =E2=80=9CThe subtle way in which he allows the verse and chapter of his= literary scripture to inform us about the whirling sea of his personal life is wonderful to observe. Yoga may be about non-attachment, but it would be easy to be un-yogmatic about this imaginative and entertaining play. You can get attached to it.=E2=80=9D - CBC Radio Winnipeg =E2=80=9C(A) strange merger of a book report, yoga class, theological= discussion, and personal journey that takes you through the gamut of emotions. Often hilarious, Mr. Kenward gives a stellar performance. You may be laughing one breath, and deadly silent the next I highly recommend THE YOGA OF= MOBYDICK.=E2=80=9D - UMFM Radio=E2=80=B9Winnipeg =E2=80=9C(A)s details of his own life creep into the narrative and wrap= themselves around this classic whaling tale, we suddenly find ourselves squeezed into the vortex of Kenward=E2=80=99s own spiritual journey, a journey into an= underworld populated by truly American characters I heartily recommend it.=E2=80=9D - Sanfranciscoguide@about.com =E2=80=9CLanky and handsome, he weaves these disparate elements into a= fascinating comic monologue Kenward has real stage presence: Imagine Bruce Dern crossed with Woody Harrelson.=E2=80=9D - Winnipeg Free Press SPECIFICS: WHAT The Yoga of Moby-Dick written and performed by Mark Kenward WHERE The Marsh 1062 Valencia near 22nd WHEN Thursdays, Fridays and Saturdays at 8:00 and on Sundays at 3:00 SPECIAL EVENTS Twist and Spout: Yoga Class and the show. To be held on the First four Sundays of the run American Yogi on Feb. 28 A panel of scholars participate in a dialogue with the theater community following the show. TICKETS & ADDITIONAL INFO Ticketweb.com Markkenward 415/826-5750 Thurs (8:00) & Sun (3:00) $9-$18 Fri (8:00) & Sat (8:00) $12-$18 With Yoga class on Sundays ($18 including show) Want to bring your class, literary group, book club, salon group to this special event? Please e-mail (brupach@aol.com) for group rates! ----------------------------------------------------------------------------= --- Hilton Obenzinger, PhD. Associate Director of Undergraduate Research Programs for Honors Writing Lecturer, Department of English Stanford University 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Fri, 15 Feb 2002 09:46:13 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: (teaching) writing workshop opportunity Comments: To: creativefac@amethyst.tc.umn.edu, writers-l@amethyst.tc.umn.edu, englstaff@amethyst.tc.umn.edu, creativeadj@amethyst.tc.umn.edu, engltchr@amethyst.tc.umn.edu, compedspec@amethyst.tc.umn.edu, englfac@amethyst.tc.umn.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" From: gfcivil@stkate.edu Date: Fri, 15 Feb 2002 09:10:22 -0600 X-MIMETrack: Serialize by Router on Carbon/St. Catherine(Release 5.0.8 |June 18, 2001) at 02/15/2002 09:18:01 AM MIME-Version: 1.0 Hey friends . . . You all are fairly connected so I wanted to pass along this call for a writer to work in our Witness Tree prison workshop program "Speaking Freely." Please forward to anyone you know who might be interested. The pay is preyyu good and the experience is extraordinary. Thanks. Gab POETRY WORKSHOP LEADER WANTED Witness Tree Literary Arts Education seeks a writer/educator to lead Speaking Freely, a four-week pilot poetry workshop program in a suburban Maryland detention center, to take place Saturdays in March and April. Each two-hour workshop must include reading poetry as well as writing exercises and sharing. Candidates must have experience designing and leading writing workshops. Experience with incarcerated populations and ability to speak Spanish are pluses. The fee will be $50 per contact hour, for a total of $400. BY 28 FEBRUARY 2002 Email resume, references, and brief answers to the following questions: 1) What authors or artists inspire you and your work? 2) Describe your experience with the target population and/or describe a situation in which your authority as teacher or facilitator was challenged and how you handled it. 3) Briefly list 3 exercises you would use in this workshop. 4) Provide two reasons why a skeptical warden should fund this program. The answers to all four questions should not exceed a total of 2 single-spaced or 4 double-spaced pages. Please submit answers, resume, and references BY 28 FEBRUARY 2002 to WitnessTree@Hotmail.com Witness Tree Literary Arts Education is a non-profit organization dedicated to revealing the liberatory force of literature in diverse communities. We have conducted workshops for varied constituencies, including literacy students, corporate employees, urban public school teachers, and underprivileged youth. Founded in 1996, the organization is run collectively by three women artists of color. If the pilot Speaking Freely program is a success, we hope to expand it to a recurring 6-week workshop series. ========================================================================= Date: Fri, 15 Feb 2002 21:45:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Kuszai" Subject: Trivia HOT and NOW Comments: cc: bernstei@bway.net, cwa@acsu.buffalo.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed For those of you who are curious about such things, since the Factory School poetry audio archive reopened in January, we have received requests (hits) more than 2500 files. While it is difficult to know how many total unique individuals have visited the site to listen to poetry, since the breakdown for the stats is by month (and I have no way to know if a unique visitor in January has returned), I can say that in January alone more than 260 unique sites (individuals) were responsible for the more than 2000 file requests. For February, so far more than 160 unique visitors have asked for about 500 files. Granted, none of this is scientific, and my own site adminisrator duties probably account for about twenty to thirty hits alone. For some reason, no one -- anywhere in the world -- has requested a file in either month in the 11-12am hour Mountain Time (where the server is located). Here is a list of the most popular requests: Ohara (54) Ginsberg/howl (35) Frost/mendingwall (32) Baraka/rhythm blues (28) Whitman/america (28) Whitman/songofmyself (27) Bishop/fillingstation (26) Angelou/sepia fashion show (25) Stevens/soliloquy (24) Ginsberg/supermarket (21) Auden/nyc64(20) Eliot(20) Frost/road not taken (18) Lowell (18) Auden/wanderer (17) Baraka/freedom suite (17) Mayakovsky (16) Zukofsky/"A"mix (15) Berrigan/part1 (13) Niedecker (13) Pound/canto-xlv (13) Wilde (13) Zukofsky/kpfa 13 Auden/musee (12) Browning (12) Pound/canto-i (11) Pound/canto-iv (11) Pound/canto-xxxvi (10) Now, in my opinion this is very interesting. Check out the list and see if you can't do something about these numbers: http://www.factoryschool.org Those of you who have so graciously donated audio to the project will be receving your free CDs this week. If you would like to send tapes in exchange for copies of the Factory School audio archive, drop me a note: jsk66@cornell.edu _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Fri, 15 Feb 2002 12:13:09 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Whirl2@AOL.COM Subject: JIM CARROLL | ANNE WALDMAN | TUES FEB 19 | PRATT INSTITUTE Comments: To: MShechtman@brooklynchamber.com, jChan@brooklynchamber.com, larchibald@swbidc.org, raquel@nysia.org, fadu@nycedc.com, mythkiller@hotmail.com, events@thecyberscene.com, nora.finton@nyu.edu, PGalbis@aol.com, susanmci@hotmail.com, Picasya@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'd like to invite you to a reading/celebration/party on Tues. Feb. 19 at 7 p.m. WRITERS LIVE! at Pratt Institute JIM CARROLL and ANNE WALDMAN (performing with Daniel Carter on saxophone) I hope you can make it--all Writers Live! events are free and open to the public. I've enclosed directions and more info below if you want to email this to anyone... Best, Marcella Harb Curator, Writers Live! at Pratt Institute www.pratt.edu/writerslive JIM CARROLL The Basketball Diaries, first published in 1978, was adapted into a movie starring Leonardo DiCaprio in 1995. Carroll's diary was lauded by Jack Kerouac, who observed, "At 13 years of age, Jim Carroll writes better prose than 89% of the novelists working today." As Viking Penguin's best-selling poet, Jim Carroll has written over 7 books of poetry, including the award-winning Living at the Movies, the critically lauded Praying Mantis spoken word album, Forced Entries, The Book of Nods, Fear of Dreaming, and most recently Void Of Course, featuring the popular "8 Fragments for Kurt Cobain." As Newsweek noted, the song "People Who Died" from his "Catholic Boy" album, in effect "propelled Carroll from underground status...to national attention as a contender for the title of rock's new poet laureate." ANNE WALDMAN Anne Waldman, a performance poet and teacher, joined forces with Allen Ginsberg in 1974 to found the Jack Kerouac School of Disembodied Poetics at the Naropa Institute. She has written more than 43 books, including the book-length epic poems Iovis I and II: All is Full of Jove, as well as Fast Speaking Woman. Her most recent books include Vow to Poetry: Essays, Interviews, Manifestos, and Marriage: A Sentence, a volume of poems published by Penguin in 2001. The New York Times calls Anne Waldman "the fastest, wisest woman to run with the wolves in some time." DIRECTIONS TO PRATT: By SUBWAY: Take the A, C, L or F train to Brooklyn Then connect to the G line, (which runs through Brooklyn and Queens) Get off at CLINTON/WASHINGTON station on the G line. Use the Washington Ave. exit, then walk on Wash. (toward the Jesus Saves sign) one block to DeKalb Ave, turn right and go one block to Hall St/St. James, the corner of the gated campus--- and if that gate is not open, walk down DeKalb to the first open gate--The Thrift Hall entrance, and continue down the straight path to Memorial Hall. By CAB or Car Service: From the Brooklyn Bridge, exit bridge at Tillary Street. Turn left on Tillary. Right on Flatbush Ave. Left turn on Fulton st. Left turn on Lafayette Ave. Left turn on Clinton Ave. Right turn on Willoughby Ave. Go 3 blocks to Pratt Campus on your right. Stop at Pratt security booth (2nd entrance on right) for instructions to Memorial Hall. ========================================================================= Date: Fri, 15 Feb 2002 12:37:43 -0800 Reply-To: rova@rova.org Sender: UB Poetics discussion group From: Rova Saxophone Quartet Subject: poetry reading SF February 19 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FRIENDS & STUDENTS OF DIANE DI PRIMA the first in a series of poetry readings #1 Gayle Leyton Maxine Wyman Elizabeth Gjelten February 19, 2002 7.30pm FREE Bird & Beckett Books 2788 Diamond at Chenery (Glen Park BART) San Francisco 415.586.3733 Diane di Prima will be present to introduce these hot new poets ----- come on down!!the joint venture corporation, refused to answer. ========================================================================= Date: Fri, 15 Feb 2002 16:44:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Bassford Subject: Thomas Lux and more from EXOTERICA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Just a reminder...this Sunday, 1 p.m. Thomas Lux will be our featured reader at EXOTERICA, housed at The Society for Ethical Culture, 4450 Fieldston Road in the Bronx. $5 admission, OPEN MIKE follows. AND, Wednesday, Feb. 20th at 6:30 p.m., The Bronx Writers Center's UPTOWN LOCAL presents "Two Good Friends Sitting Around Reading"- Rick Pernod and Elizabeth Bassford of Exoterica, both BRIO award winners from the Bronx Council on the Arts, will read their own work in a dialogue of poetry. FREE admission, Open Mike, and light refreshments. The Kingsbridge Library, 281 W. 231st St, Bronx. Join us...EXOTERICA...we'll be spreading the word.... ========================================================================= Date: Fri, 15 Feb 2002 19:40:33 -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: FOOTNOTES by Johan de Wit 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: FOOTNOTES by Johan de Wit published in a handbound and numbered edition of 60 copies $5.00 each FOOTNOTES explores the role of the para -- meaning, explication and the = extraneous through the eponymous tool. Johan de Wit is the author of "The october revolution in poetry" = (Mainstream, 1997), "Title and Six Pages" (Writers Forum, 1997), = "METROPOLITAN Drinking Fountain & Cattle Trough" (Microbrigade, 1992) = and "HIPPOTOTESCOPO" (West House Books, 2000) and while he has appeared = in a recent issue of The Gig, this is his first seperate publication in = Canada. for more information, or to order cpies, contact: derek@housepress.ca www.housepress.ca ========================================================================= Date: Sat, 16 Feb 2002 01:35:47 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Scott=20Hamilton?= Subject: Black Hawk Down: Hollywood and the Pentagon Rewrite History MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Reproduced below is the text of a leaflet which is being distributed in Christchurch and Auckland, New Zealand. If you agree with the leaflet's message, then please tell your friends that it's online at http://www.geocities.com/anti_imperialist_coalition/BHD.htm (Anyone wanting copes to distribute can e mail to the AIC and MESC addresses given at the bottom of this message.) As Bush's war for global domination looks set to move onto a massive new stage - and to prompt massive new opposition, in the First as well as the Third World - the job of opposing the Pentagon's propaganda wing becomes more and more important. BLACK HAWK DOWN: HOLLYWOOD AND THE PENTAGON REWRITE HISTORY What really happened in Somalia and why? On December 12, 1992, the US sent 28,000 soldiers into Somalia under the auspices of the United Nations in a supposed "humanitarian operation" to bring food to starving people. TV photo opportunities included a staged D-Day style landing on the beach, to waiting cameras, and copious news coverage of hungry Somalians receiving food courtesy of the "international community." What we didn't see was the other major activity of the US forces of "Operation Restore Hope": the almost daily gun battles in heavily populated neighbourhoods which resulted in the deaths of over 10,000 Somalis in only ten months. Resistance to the US presence in Somalia, which rapidly became widespread, was brutally repressed. Journalist Richard Dowden, not to be confused with Mark Bowden, on whose book the film is based, discovered that the US army started killing Somali civilians right from the outset of its mission. "In one incident, Rangers took a family hostage. When one of the women started screaming at the Americans, she was shot dead. In another incident, a Somali prisoner was allegedly shot dead when he refused to stop praying outside. Another was clubbed into silence." The human rights group Africa Watch stated that the United Nations' troops "have engaged in abuses of human rights, including killing of civilians, physical abuse, theft…" The abuses included turning machine guns on unarmed protesters and the firing of missiles into residential areas. The report concluded that "UNOSOM has become an army of occupation." Why did the US intervene in Somalia? By 1991, the pro-US President Siad Barre had leased nearly two thirds of Somalia to four US oil companies. When he was overthrown, the US needed another way of guaranteeing their interests. Initially they chose a local leader, Mohammed Farrah Aideed, but when he proved unreliable, they intervened directly. And when the US intervenes, it means business. A few days before the troops hit the beach, the US embassy set up shop in oil company Conoco's corporate compound. At the same time, Colin Powell, then chairing the US military's Joint Chiefs of Staff, described the invasion as a "paid political advertisement" for the Pentagon. Powell opposed calls to spend more money on the pressing needs of health, housing and education, taking the opportunity to argue instead for continued military spending. Now, as this movie whitewashes the role of the US military in Somalia, Colin Powell, George W Bush and the US army are casting about for new countries to invade as they continue their "War on Terrorism." Somalia is again high on the list. What better way to prepare people for this new aggression than a movie that, in the words of New York Times critic Elvis Mitchell, "converts the Somalis into a pack of snarling dark-skinned beasts..." How does New Zealand fit in? Here in New Zealand, the government was quick to commit SAS soldiers and other military resources to the "War on Terrorism." Who knows whether they will be deployed to kill Somalians this year, just as they were sent to kill the Afghan people last year? There was money immediately available to beef up the SIS and send troops to far flung corners of the globe, but if we want our kids to get a good education or an operation at hospital, or if nurses want a pay rise, we're told the coffers are empty. There's something wrong when it's easier to get extra funding to join an international bombing attack on the world's poorest and most defenceless countries than it is to fund a hospital. "The first casualty of war is truth" The US military cooperated intimately in the making of this film, supplying staff, expertise and equipment to make the action look as realistic as possible. But that's not the same as "showing what really happened". Before the film was released, the Motion Picture Association of America held a private screening for senior White House advisers, allowing them to make changes to the movie. What chance was there that they would allow the depiction of helicopter gunships firing indiscriminately at people in the streets and markets of Mogadishu? What chance was there that they would allow US soldiers to be depicted, as most interviewed by Mark Bowden described, firing "on crowds and eventually at anyone and anything they saw"? But at least while we watch the film, we can admire the personal courage and morality of the individual soldiers involved, right? Well, unfortunately no. It's no surprise that they gave a new name to Ewan McGregor's character, Company Clerk John Grimes for the film. The real John Grimes, John "Stebby" Stebbins, is now serving a 30-year sentence in Fort Leavenworth military prison for raping a 12-year-old girl. If you're looking for a true story, you're as likely to find it in Lord of the Rings as in Black Hawk Down. We hope you enjoy the film, but remember to treat it as you might any other action fantasy. Also bear in mind that the "heroes" of Delta Force are actually the soldiers of an invading army, and the forces of the "evil Somali warlords" are actually defending themselves and their country from an entirely unprovoked attack. And in Somalia today, people are bracing themselves for Black Hawk Down 2, only that will be real, and New Zealand should have no part in it. This leaflet was produced by the Middle East Information and Solidarity Collective, PO. Box 513, Christchurch www.revolution.org.nz In Auckland, this leaflet is promoted and distributed by the Anti-Imperialist Coalition. email: anti_imperialist@hotmail.com Phone 025 2800080 The AIC meets weekly on Wednesdays @ 7.30pm at Trades Hall, 147 Great North Rd, Grey Lynn. Join a NZ anti-capitalist, anti-war e-group by visiting http://groups.yahoo.com/group/antiwar_anticap_nz/ Follow worldwide anti-war news at http://www.antiwar.com __________________________________________________ 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: Thu, 14 Feb 2002 08:52:01 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: California poet laureate? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/12/02 6:25:22 PM, bobgrumman@NUT-N-BUT.NET writes: << Why would any serious poet want to be Poet Laureate of a state? Even if it were not a given that no state would be able to elect a valid laureate. Being Poet Laureate of the U.S. or Britain would at least garner some visibility. And states don't really vary much, anymore, it seems to me. I wouldn't mind being named poet laureate of American mathematicians, or of American substitute teachers, but I truly would not be interested in being poet laureate of Florida, my home state now. Of course, if I lived in a place with a neat name, like Oshkosh, I wouldn't mind being poet laureate of it. Poet Laureate of Hayworth Road, Port Charlotte, Florida, wouldn't be bad, either. --Bob G. >> Stephen Stepanchev, a former Professor of mine, was named Poet Laureate of Queens, New York. Not even Brooklyn. I say we narrow it down to neighborhoods, even blocks. Warhol would approve. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Sun, 17 Feb 2002 01:17:54 -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 - i killed off jennifer with a bier a couple of years ago jennifer returns as a helpmate all the times she's safe and warm and comforting and conjures dismal julu julu disappeared into smoke and empathy she manipulated protocols of alan alan was gone among them and gone among all exhausted women azure came among them and swept out the cobwebs and nightmare nikuko moved among them nikuko kept moving among them nikuko the dismembered reassembled herself over and over again the protocols transformed into programs of war and violence these people are always these people or the they or the thing in the night they come in the form of crabs of several disparate types pink ones with soft-shelled carapace black ones with dark subterranean patterns enormous black ones like shields or medallions nikuko moved among them clawed from every direction nikuko crawled out with her face limbs and neck torn and hanging she reassembled herself speak speak nikuko we are listening speak speak nikuko we are listening listening alan will be killed off by all exhausted women travis and honey and tiffany have found serrated claws they live among the planets lrns speaallions imbs and neck nikuko kept moving among them grams of war we are listening nikuko the dismembered reassembled all exhausted women cobwebs and nightmares e of years ago mes njures dismal julu speak speak nikuko are are listenihe they or the thing gramallions m every direction jkimbs and neck all exhausted women enormous black ones like shields or med cobwebs and nightmare listeniherself over and over again allions they live among the planets _ ========================================================================= Date: Sun, 17 Feb 2002 19:06:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: Poultry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Bill, “Stump Speaking,” Bank of America Gift of Bingham Paintings, Lieber-Meister Louis -- http://www.fmub.com/images/Eagle_on_bank.jpg -- follows function, wishing you well, if you use a 1040EZ, watch out for line 7. On the MO1040B and MO1040C forms, look at instructions for line 7. Frustrated? Be careful with line 30. Flustered? If you file a MO1040A form, read the instructions for line 5. Freaked out? And on the MO1040 form, pay attention to line 11. Fear not! DEPULP. Saisir le Mot Clé. The illustrations you are about to see may overwhelm you at first glance (you can access Louis in many ways; but, to list on Louis: -- 1. The first step is to send a letter stating that you wish to file your titles in Louis. The letter should include: name, address, phone number, fax number, e-mail address and contact person. It is important to remember that you must be willing to exchange, sell, or lend. 2. Upon receipt of your contact information, we will send you Louis forms for filing Intentions and Completions. Use Intention forms when you begin transcribing or recording. 3. For each title, send photocopies of the front and back of the title page, along with a completed Intention form. This step is extremely important to accurately list your title in Louis. 4. When the item is completed, send in a Completion form. If the item is already completed, and no Intention form or photocopies were previously submitted, send the title page photocopies along with the Completion form. The goal of the training is to help users learn to retrieve information that is useful and relevant to work, study, and personal interests.). “Microbes: Invisible Invaders...Amazing Allies.” -- Why don’t you share like Meg Cox? http://www.reunionsmag.com/reunion_stories/friends_reunions.html. Aren’t you a reunion resource? The Olympic defenestration of Chris Pronger, the Tahitian-inspired work of artist Paul Gauguin... The display also includes the totems “Birdman” and “Fisherman’s God” which were inspired by Gauguin's experiences on Easter Island, as well as a replica of the thatched house that Gauguin had built while he lived in Tahiti. Monsieur Louis Lagrange has been there (http://www.vuitton.com/) for six weeks. Modernity, new creations, one love, breakfast with the Gazelles, ready to give... He has become quite seriously ill and he needs, not financial aid, for the Marquis de Caraccioli directed upon leaving for England that he should not lack for anything, but rather some signs of interest on the part of his native country. Grassy areas are found outside exit MT11 at the main terminal and outside exit ET 15 of the east terminal. Dress your bug friends any way you want, http://www.searsportrait.com/createart/butterfly.asp?tag=25FA0ADE097F4DB5B9A CA8191F4C111E2171AC152DF3426196E5EC672096E0F5. We & God regret that we can no longer offer tours of planes. If the short pulse of energy strikes an object (raindrop, snowflake, http://www.stlouisrams.com/CheerleaderPhotoGallery/1009/), the radar waves are scattered in all directions (my real name is Louis, of about 10,600,000). Computers analyze the strength of the returned radar waves, the time of travel to the object and back, and frequency-shift of the pulse. The frequency of the returning signal typically changes based upon the motion of the raindrops (snowflake, dust, etc.). You have most likely experienced the “Doppler effect” around trains. First Execution of 2002: James Johnson was convicted of killing 4 people in a single night; including two sheriffs and a deputy. On January 9 he was executed at the state prison in Potosi. Jeri Johnson, wife of the accused, believes that her husband was suffering from post-traumatic stress disorder while committing the acts of violence. Johnson was a Vietnam Veteran and went on numerous night infantry patrols. However, all of this information was deemed inadmissible during his trial. Protests were held all over the state on the evening of his execution. Have you lived through a very scary and dangerous event? Thought and action, values and facts, compassion and fulfillment -- there are very few phrases in baseball that can create the excitement of “pitchers and catchers report.” Louis, St. Louis ========================================================================= Date: Sun, 17 Feb 2002 22:47:18 -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 - pre-image i'm jennifer and i know everything. there are bars of pink-red flesh. you can't go in there. there are shadows as well. the shadows are cool; they cover the holes. they show you just how dimensional the bars are. the bars are way in front of the holes. the bars stop the holes from sinking. the bars stop you from sinking into the holes. the bars hash everything that goes through them. that is everything gets two variables which access like indirect addressing. you can't go in straight ahead. you have to go in with a twenty-eight degree angle. you can fit in with a twenty-degree angle. you can go in either hole but one of them is more difficult and you must go in through the bars and change from one to another. everything is tiny tiny and you can dream with them. you can only see them and the scent of them. the scent of them is jennifer and this is all you know of jennifer and nothing else and jennifer knows everything. jenny sleeps in niky. you can see niky too. post-image jennifer and nothing else. jenny sleeps in cc::sun 17 attchmnt:21:36:15 subject : another you can see niky too. _ ========================================================================= Date: Sun, 17 Feb 2002 23:41:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Re: SHAMPOO 10 and reading on March 1 in SF In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" fabulous - adj. 1. barely credible; astonishing 2. Extremely pleasing or successful: "a fabulous vacation." real - adj. 1. being or occuring in fact or actuality; not imaginary or ideal 2. genuine; not artificial actuality - n. 1. the state or fact of being actual; reality. See synonyms at _existence_. existence - n. 1. the fact or state of existing 2. presence; occurrence I don't know, George, you seem pretty fabulous to me..... Ken At 02:53 PM 2/12/2002 -0700, you wrote: >>Hello Fabulous People, > >I am not fabulous. I am real. >-- >George Bowering >Born with perfect grammar. >Fax 604-266-9000 > ========================================================================= Date: Sun, 17 Feb 2002 15:22:45 -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 (NYC, Houston, Elsewhere!) exnihilist@exnihilopress.com To: EXNIHILIST2002: ; Subject: UPDATE 02.20.02 Here's what's new this week. e-book / Internet Edition 24/7 by Jim Leftwich. e-book / Internet Edition Jacobus by Don Hilla. audio book / Audio Edition is also Jacobus. New in The Exnihilist(e) we've got: A review of MICHAEL BASINSKI'S HEKA: LAND OF FORGIVENESS by Tom Hibbert Six Visual Poems from September - October, 2001 by Jim Leftwich Check out the The Exnihilist(e). If you think you are working in a similar vein, send us a sample @ this address. We are especially interested in hearing from WOMEN WRITERS. Aubrey Joyceline HYPERTEXT: WHEN THERE'S MOONLIGHT A visit with our good friends at Jacket Magazine. There's something new in Video Treasures. Chat Sunday night, 02.10.02, 9 PM East / 6 PM West. Just click on the the word chat, at the top of the page. NEWS AND REVIEWS: http://www.exnihilopress.com/news_revhome.html Subject: BECOME A REGISTERED PATRIOT TODAY! http://whitehouse.org/initiatives/patriot/index.asp FOR IMMEDIATE RELEASE CONTACT: Alice McCarthy February 7, 2002 713.524.9839 HOUSTON CITIZENS, WRITERS AND ARTISTS CALL FOR WORLD PEACE Houston, Texas In the wake of violence both at home and abroad, and in observance of the United Nation^s Decade of Non-Violence, a number of Houston writers and artists will hold Words for Peace, an evening filled with poetry and prose at the Rothko Chapel at 7:30pm on Tuesday, February 26, 2002. The event, co-sponsored by Houston writers, citizens and Voices Breaking Boundaries, will feature local award-winning poets and writers Valerie Kinloch, Rich Levy, Farnoosh Moshiri, Radames Ortiz, Michele Rainford, Sehba Sarwar, Varsha Shah, Bapsi Sidhwa, and Sandra Tarlin, and young writer Sami Mesarwi. The
evening will be hosted by VBB founder and director Sehba Sarwar. The Rothko Chapel is located at 1409 Sul Ross and the event is free and open to the public. Since space is limited, reservations are required. Please cal713.524.9839 to reserve your seat. Penya Sandor wanted you to know the latest issue of the Redneck Review is available, with streaming audio of some of the work, at http://www.redneckreview.com/. LUMMOX JOURNAL publishes issue #75: RD Armstrong Lummox Press & Journal DUFUS - an online poetry journal http://home.earthlink.net/~lumoxraindog/ http://www.geocities.com/lumoxraindog/dufus.html POB 5301 San Pedro, CA 90733-5301 TRIBES GALLERY (NYC) 285 E.3RD ST. 2ND FLOOR (BETWEEN AVENUES C AND D) ---CHECK OUT---WWW.tribes.org FOR INFO CALL: 212.674.8262 ========================================================================= Date: Sun, 17 Feb 2002 22:24:54 -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: yeah, but is it worth printing? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > van zine seeks far out texts to photocopy, > van is a little micromagazine of usually three pages, > van wants you to send some cool wwwritings, > van is available: > van sevendy-one has a john m bennett/scott helmes collab plus work by john > crouse of vancouver washington > van seventy-three has visual poetry by jim leftwich plus wr-eye-ting by > shane plante of vancouver british columbia > van seventy-two has dirty concrete by gustave morin plus "poetry" by > michael basinski > van sixty-nine has a problem picture by spencer selby > van sixty-seven has typewriter concrete by bill bissett > van sixty-eight has mail art by clemente padin plus vispo by theo breuer > van seventy has asemic calligraphy by reed altemus plus concrete by paul > dutton > van can be had for a song, if you would be interested in seeing a copy or > two of this little zine send a song to: > > imp press > box 1612 > vanderhoof, bc > v0j 3a0 > canada > > and of course you're all very welcome to contribute, > cheers, > ross priddle > imp editor > > ISSN: 1496-0729 ========================================================================= Date: Tue, 19 Feb 2002 21:15:33 -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 Content-Transfer-Encoding: 7bit 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=QWGPSIJGHXUZJMYSBSOQ This invitation was sent to you by Spiral Bridge Writers Guild using Evite. To remove yourself from this guest list please click on the link above. 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@www.evite.com * Updated 03/15/01. ========================================================================= Date: Mon, 18 Feb 2002 09:01:45 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Fragment MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Fragment for Godard Colonized or Colorized, eyed Or dyed or-- One is, I don't know, Hologram or door, Dolorous or grammatical, The problem Of other minds. Tom Beckett ========================================================================= Date: Mon, 18 Feb 2002 09:51:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Trivia HOT and NOW In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thanks you so much for this link. I have been looking for a site like this for a while. Best, Geoffrey -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of J. Kuszai Sent: Saturday, February 16, 2002 12:46 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Trivia HOT and NOW For those of you who are curious about such things, since the Factory School poetry audio archive reopened in January, we have received requests (hits) more than 2500 files. While it is difficult to know how many total unique individuals have visited the site to listen to poetry, since the breakdown for the stats is by month (and I have no way to know if a unique visitor in January has returned), I can say that in January alone more than 260 unique sites (individuals) were responsible for the more than 2000 file requests. For February, so far more than 160 unique visitors have asked for about 500 files. Granted, none of this is scientific, and my own site adminisrator duties probably account for about twenty to thirty hits alone. For some reason, no one -- anywhere in the world -- has requested a file in either month in the 11-12am hour Mountain Time (where the server is located). Here is a list of the most popular requests: Ohara (54) Ginsberg/howl (35) Frost/mendingwall (32) Baraka/rhythm blues (28) Whitman/america (28) Whitman/songofmyself (27) Bishop/fillingstation (26) Angelou/sepia fashion show (25) Stevens/soliloquy (24) Ginsberg/supermarket (21) Auden/nyc64(20) Eliot(20) Frost/road not taken (18) Lowell (18) Auden/wanderer (17) Baraka/freedom suite (17) Mayakovsky (16) Zukofsky/"A"mix (15) Berrigan/part1 (13) Niedecker (13) Pound/canto-xlv (13) Wilde (13) Zukofsky/kpfa 13 Auden/musee (12) Browning (12) Pound/canto-i (11) Pound/canto-iv (11) Pound/canto-xxxvi (10) Now, in my opinion this is very interesting. Check out the list and see if you can't do something about these numbers: http://www.factoryschool.org Those of you who have so graciously donated audio to the project will be receving your free CDs this week. If you would like to send tapes in exchange for copies of the Factory School audio archive, drop me a note: jsk66@cornell.edu _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Mon, 18 Feb 2002 10:29:52 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Re: reply to Joe Brennan re Van Ronk MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 02/18/2002 7:39:10 AM Eastern Standard Time, laurimac2001@YAHOO.COM writes: > > I did not say nor mean to imply that Van Ronk > > re-discovered John Hurt, but that he restored his > > career by getting him bookings on the same bill with > > himself. In fact, for years they were a regular bill > > together on McDougal St. > > Laurie > > > I didn't know that, so thanks, Laurie -- also it wasn't Van Ronk who was the source of Dylan's "He Was a Fiend of Mine" as I reported earlier, but Rick Von Schmidt, another of the troubadours of the 50's and 60's.... joe brennan.... ========================================================================= Date: Mon, 18 Feb 2002 10:59:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: SLOPE #14 plus shameless plug In-Reply-To: <004d01c1b669$e0d65a10$68a47ed8@slopepimp> from "Ethan Paquin" at Feb 15, 2002 04:43:48 pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Howdy folks, just wanted to say that there's a review of my _Morning Constitutional_ in this issue of SLOPE. (pretty thought provoking, tho I have some small disagreements w/ it.) Also, while I'm at it, the listing for the book on amazon.com includes a blurb from Publishers Weekly. (But enough about me!...) -m. According to Ethan Paquin: > > SLOPE.....the long-awaited release of Issue 14 > www.slope.org > > .....come along for the ride with the first exclusively-online magazine ever > to be included in THE BEST AMERICAN POETRY series > > > ~ NEW POETRY > Bruce Beasley | Lisa Lubasch | Karen Volkman | Peter Boyle | & MORE > > > ~ NEW PROSE EVEN GETS IN THE ACT > Susan Steinberg | Andrew Zawacki | Ronald Palmer | & MORE > > > ~ "SLOVENIA: AT THIS MOMENT" FEATURE > Poems, interview, art, essays and criticism featuring Ales Debeljak, > Brane Mozetic, Jure Novak, Meta Kusar and Dusan Fiser > > > ~ SLOPE E-CHAPBOOK #1 > "The World Other": Poems by Franz Werfel translated by James Reidel > > > _______________________________________________________ > If you feel you received this message in error, let us know and we'll stop > notifying you of Slope news. -Eds. > ========================================================================= Date: Mon, 18 Feb 2002 12:23:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annie Finch Subject: Re: AWP reception invitation In-Reply-To: <404351594.1014016633@ubppp233-99.dialin.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Maureen-who-backchanneled-me and any interested others, sorry I >didn't include full details. This is the Associated Writing >Programs Conference, held in New Orleans March 6-9. >--Annie > >AWP RECEPTION to celebrate the publication of > AN EXALTATION OF FORMS: >CONTEMPORARY POETS CELEBRATE THE DIVERSITY >OF THEIR ART > >Join editors Annie Finch and Kathrine Varnes and contributors to >the volume for a wine and cheese party in the AWP Book Exhibit Hall >Friday, March 8 at 4 p.m at the University of Michigan Press book >exhibit,Tables 83 and 84. >For any who will be at the AWP conference, please come. Poetics >LIsters in the book include Charles Bernstein, Maxine Chernoff, Paul >Hoover, Jackson MacLow, Aldon Nielsen, Jena Osman, Keith Tuma, Mark >Wallace, and more; and numerous others contributed poems.--AF _________________________________________ Annie Finch Associate Professor of English Miami University "Form is the wave, emptiness the water""--Thich Nhat Hanh Website: http://miavx1.muohio.edu/~finchar/ ========================================================================= Date: Tue, 19 Feb 2002 08:25:39 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: Re: hack remediation drag and drop In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Nice colours --- komninos zervos wrote: > http://www.gu.edu.au/ppages/K_Zervos/colorwriter.html > > comments please > > 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 ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ http://movies.yahoo.com.au - Yahoo! Movies - Vote for your nominees in our online Oscars pool. ========================================================================= Date: Wed, 20 Feb 2002 00:20:32 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Snyder and US not the Only Country in the World MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'd love to be able to walk into a tailor's and say: please make me a suit. I want to be dapper: I want lots of clothes that fit me. I like suits: but dont own one. I can understand Snyder...but he wasnt just putting on a pose? Snyder's important in the scheme of things as is Kerouac and was/is Ginsberg...the unofficial "poet lauriate " of Auckland (NZ) Bob Orr I have never seen in a suit. His style is "user-freindly" but can be very intense and its "simplicity" is deceptive.Steve Braunias of The NZ Listener called him "New Zealand's greatest living poet" I know he reads widely and is a good friend/aqauintance. Like many poets he is fond of the odd "drop" and when faced with the choice of giving up driving or booze he chose the former. Bill Manhire, who doest over indulge very much I hear, and who "stole" some ideas from Ashbery, is the "poet lauriate" of NZ .I dont know him personally but he writes some brilliant poems. Of course whether Manhire and the other "known" poets will last per se maybe irrelevant. Anycase Bill as far as I know would be ok in a suit whereas Bob would as likely tell anyone recommending such a sartorial move that they go away quickly. Regards, Richard. PS These comments are to get you Americans out of your shell and to realise the US is only an small country of relatively small significance: there are other countries like NZ and Australia and France and Luxemborg as well as the US. ----- Original Message ----- From: "Fargas Laura" To: Sent: Friday, February 15, 2002 4:24 AM > from today's story in the New York Times on the California Poet Lauereate > Search: > > "Mr. Snyder, the model for Jack Kerouac's semi-mystical poet in 'Dharma > Bums,' noted that there was a more profound drawback than even > politics. 'You'd have to own a suit,' he said." > > Love him! > > Laura > ========================================================================= Date: Mon, 18 Feb 2002 13:57:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Avery Burns Subject: Fwd: Arc 4 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Here is information on the latest issue of Arc, an online magazine edited by Joseph Noble. Avery E. D. Burns <<<<<< Arc 4 is now online. This issue contains the serial poem, "Days," by Lisa Mikiko Hawes. Lisa Hawes was born in Palo Alto, California, and has spent most of her life in Northern or Southern California, but currently finds herself in Paris doing research for a doctoral dissertation on the poetics of "the local" in the writing of Masaoka Shiki, William Carlos Williams and Robert Desnos. Her long poem "The Color Series" was published in Ribot. Previous issues of Arc: Arc 3: Rosace by Brazilian poet Orides Fontela, translated by Chris Daniels; Arc 2: "Counterweight" by Brian Strang; Arc 1: "Tonics" by Avery Burns and Eric Selland. Arc can be found at: http://home.earthlink.net/~josephnoble/ __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Mon, 18 Feb 2002 16:11:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Discount offer - Rachel Back's new Susan Howe book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > One of the book's most compelling arguments is Back's case for reading Howe's work autobiographically. Oh, drat. And I so eagerly had my credit card poised to order. ~More~ biographical reductivism? (?!) Is there no end to this ~People Magazine~ school of criticism recidivist trend of reading de-subject-ifed text through insiders' information about the private life of the (theoretically extinct [:Barthes]) author? I've presented on Howe only once at an academic conference, a fluke, (--- to paradoxically reverse my protest against personist criticism with an ostensibly personist retort ---) and published criticism/reviews of her books only twice (aside from that, my scansion Howe postings here this past spring serve as the only remaining public tip-of-the-iceberg evidence of in-depth involvement),--- but everything I've been able to amateurishly contrive about her, the "vertical reading," the interpretation of ~Bed Hangings,~ etc., was done without this wizard's stone of the conveniently neurotic Oedipal facticity of biograpy; and an entire factory of critics could have gone on writing from now until the deforestation of all paper sources similarly explicating her books along suprapersonal lines. What a disappointment, what a crushing disappointment, --- and how perplexing! --- that the first full-length book on our greatest living poet is reported to resort to the universally infallible decoder key of Reading Through The Life. ...As though as indomitable a suprapersonalizer as Mary Magdalene's ~noli me tangere~ from Howe's depicted Risen Christ Himself didn't insist on transcendentalisms larger than one-woman (auto)biography. Language poetry = covert Confessionalism? >> This study debunks the myth of Howe's impenetrability One might've chosen a less frustratedly phallic, more invagination-friendly predicate for her unfathomability. __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Mon, 18 Feb 2002 20:47:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: vjntaj MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - vjntaj ions in 2000 began everything we were so very afraid of 2 5 2 5 2 5 2 how beauty which rankled Victorina, remember? males and females have true scatter-hormones. Julu jumped in Victorina. Nikuko laughed for joy. Travis did jump in Alan. Jennifer did laugh in Victorina. Nikuko did laugh for joy.:microbes will attack the following years: 2001, 2002, 2004, 2005. 2003 will be primed ungainly. oh oh oh said Alan sniff-cry, why am i truly so cruelly persecuted? oh said Victorina, you do bring it on yourself. jump on your flesh! Alan did jump on Alan-flesh, sniff-cry, and saw how true the worldy-world was. Travis rose to stupendous height. he did Alan kill. travis said all right we wait for 2003 prime.:2001 = 3 23 29; 2002 = 2 7 11 13; all right we wait for 2003 prime - that's the beginning of it - that's the ending. what of 2011? well, what of it? teach them how to think. cut them back, remember Nikuko? "she carried her threadbare shirt to the wall, where Victorina gladly returned the necklace." it was marked all the way through the 1990s. anything with a zero will be glad for a two and a five. even in war the canons are primed, genreissimo. remember, Julu, did you ever fit in? "the wall was breached by fantastic forces checked by rings of light. remember Jennifer? "all of us gathered around her decimated body." there were loons, coots, grebes, herons, egrets, american alligators.:of false numerics 41: "the necklace." it was marked all the way through the 1990s. anything with a zer Su o will be glad for a two and a five. even in war the canons are primed, genreiss If you are reading this, it is li imo. remember, Julu, did you ever fit in? "the wall was breached by fantastic fo rces checked by rings of light. remember Jennifer? "all of us gathered american all think. cut them back, remember Nikuko? "she carried her threadbare shirt to theion] way t sentiment into starkly manipulated and aggregated grebes, herons, egrets, american alligators. is yours! milky instal The symptoms of your most violent war:kolaj Szoska, the of perfect 6 and 28 of false numeri ions in 2000 began everything we were so very afraid of 2 5 2 5 2 5 2 how beauty portrayed as just an interface where the operator rankled Victorina, remember? males and females have true scatter-hormones befittingly clever in 2003 w ravis rose to stupdenous height. he did Alan kill. travis said all right ... solider is of false numerics 41 on wet flesh, it's solider?ILY LINE Drawings and Paintings by Anne / | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | \ Travis did jump in Alan. Jennifer did laugh in Victorina. Nikuko did laugh for j | | | | | | | + | | | | | | | | | |19//02//2002 oy.? yes A casualties and thrust| | | | | | | | | | | | nightmare!| | | | | beauty FAST v_2.1:overall #1 _ ========================================================================= Date: Tue, 19 Feb 2002 01:54:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: working poets, working class poets. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This topic came up on another list but it is intriguing. Unless I = disremember, most poetry byand/or for the 'working class' tends to be = traditional and focused on content rather than form? I'm not sure if = this is writing down or writing for? Counter examples welcome. 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: Tue, 19 Feb 2002 12:56:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fargas Laura Subject: Re: Dave Van Ronk dead at 65 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" And Fahey's gone - one of the really great musicians/thinkers - you could always recognize his guitar a mile away - it was fantastic - the forms he used challenge anything going on now - alan >> Is this the John Fahey who used to live in Venice, Calif? I saw him onstage several times -- once so drunk he sort of aimed for a chair and hit the floor -- he always played like an angel, in any condition. When I found out where he lived, I used to just go sit outside his place and listen to him play. I was in my young teens, way too afraid to knock on the door. FWIW, wrote this about Mississipi John Hurt years ago: John Hurt "I'm satisfied, tickled too, old enough to marry you...." I fell as far as there was for me to go into his fathomless eyes, mouth like a harp raising tunes out of Mississippi delta mud that rattled my nine year old Los Angeles bones. I wanted to deserve him. Laura Fargas ========================================================================= Date: Tue, 19 Feb 2002 16:22:17 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: "Jacket 16: still going strong!" Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Dear friends: There has been a little misunderstanding about Jacket magazine on the talk= =20 circuits of the Net, which is entirely my fault. Announcing Jacket 16=20 recently, I said: _______________________ Announcing (well, pre-announcing) Jacket 16, due to close in March 2002 -- ...another Special Giant Bumper Issue, again, already: http://www.jacket.zip.com.au/jacket16/index.html _______________________ When I said "due to close in March 2002", I didn't mean that Jacket was=20 going to close -- heaven forbid! I meant that number 16 was going to close= =20 -- that is, I would stop uploading new material to it in mid-March 2002 --= =20 and I would get to work on number 17. And so on. In fact I have been uploading bits and pieces to all the Jacket issues up= =20 to number 20, due to close -- whoops, I mean due to be *published* -- in=20 December 2002. You can reach them all from the links at the top of the=20 Jacket homepage, and at the top of every Jacket issue's Contents page. I have no plans to close Jacket. And I promise to think more clearly in future!! In the meantime, Jacket 16 has been growing bit by bit: _______________________ Angel Hair magazine: The Sixties and Seventies A sampler of writing selected by Jacket editor John Tranter from the=20 630-page Granary Books anthology of material from the collection of Angel=20 Hair magazine and books edited by Lewis Warsh and Anne Waldman between 1966= =20 and 1978. Another thirty pages of poetry and prose will be made available=20 as permissions come in. So far we have: Introduction =97 Anne Waldman Introduction =97 Lewis Warsh John Ashbery, The Hod Carrier Bill Berkson, Sheer Strips Ted Berrigan, from To Clear the Range Ted Berrigan, Two prose poems Ted Berrigan, For You Edwin Denby, =91Out of Bronx subway...=92 Dick Gallup, Guard Duty Lee Harwood, The Seaside Tony Towle, Poem (=91The lead drains...=92) _______________________ Feature: Joe Brainard, 1942=AD1994 From Pressed Wafer: Bill Corbett, Introduction Anselm Berrigan, =91I remember hearing Joe read=92 Lee Ann Brown, =91Joe Over Easy=92 Tom Carey, =91Joe B.=92 Maxine Chernoff, =91Sonnet: Some Things I Miss About Joe=92 Tom Clark, =91My Joe Brainards=92 Elaine Equi, =91A Freshly Painted Poem=92 Paul Hoover, =91Winter (Mirror)=92 Nathan Kernan, =91Premonition=92 Wayne Koestenbaum, =91Two Little Elegies for Joe Brainard=92 David Lehman, =91For Joe Brainard=92 Ange Mlinko, =91Boston Flower Market=92 Eileen Myles, =91Worst Seat in the House=92 Charles North, =91Romantic Note 1=92 Jerome Sala, =91I=92m Glad I Don=92t Understand the Writing of Joe Brainard= =92 David Trinidad, =919 Cigarettes=92 Other material: Bill Berkson: Working with Joe Kristin Prevallet interviews Kenward Elmslie Kristin Prevallet Joe Brainard & Poetry _______________________ Overland magazine feature -- Guest Editor: Pam Brown=09 Prose: Pam Brown: Introduction Ken Bolton reviews New and Selected Poems, by Tony Towle Murray Edmond: No Paragraphs (Meditations on Noh, Poetry, Theatre and the=20 Avant-garde) Poems: Maxine Chernoff Gillian Conoley Lidija Cvetkovic Mary di Michele Linh Dinh Laurie Duggan Michael Farrell Denis Gallagher Jane Gibian Noelle Kocot Bronwyn Lea Michele Leggott Kate Lilley Rachel Loden Geraldine McKenzie Eileen Myles Ted Nielsen Alice Notley Brendan Ryan Ron Silliman Sam Wagan Watson _______________________ Feature: New Zealand -- Smoking Jacket =97 Philip Mead reviews the Big Smoke anthology, and books= =20 by Michele Leggott and David Howard -- Terence Diggory: The Red Wheelbarrow Goes Global =97 The Value of the=20 Local in William Carlos Williams and Postmodern Art (featuring the art of= =20 German Wolfgang Kaiser and the video art of New Zealander Bridget= Sutherland) -- Peter Robinson reviews Bill Manhire Poems: -- Alan Brunton: In the Wilderness of Being -- Janet Charman: Two Poems -- Murray Edmond: Three Ballads -- Michele Leggott: milk and honey taken far far away (i) -- Pooja Mittal: Three poems -- Ian Wedde: Epistle: to John Dickson -- Yang Lian: Two poems -- Mark Young: 3 Poems _______________________ Ed Dorn: Epilogue =AD The Last Range -- Excerpt from Tom Clark=92s biography= of=20 Ed Dorn _______________________ Interviews Kent Johnson interviews Eliot Weinberger Toh Hsien Min interviews Bob Perelman John Tranter interviews Chris Emery, of Salt Publications Nina Zivancevic in Paris interviews Jerome Rothenberg _______________________ Memoir: George Evans: A Working Boy=92s Whitman: =91...one must question how= it=20 could be that a man who lived with his eyes and heart wide open, could have= =20 so little to say about certain matters that truly contradicted his notions= =20 of liberty and freedom.=92 _______________________ Sister Sites: Ram Devineni interviews Ravi Shankar, editor of Drunken Boat _______________________ Michael Hrebeniak: =97 In Memoriam Fielding Dawson, 1930=AD2002 _______________________ Reviews: -- Aaron Belz reviews I Used to Be Ashamed of My Striped Face, by Mike Topp -- Aaron Belz reviews Understanding Objects, by Vincent Katz -- Tom Hibbard reviews Strange Things Begin to Happen When a Meteor Crashes= =20 into the Arizona Desert, by Michael Basinski -- Kevin Gallagher reviews All Prose, by William Corbett -- Tom Hibbard reviews HEKA, by Michael Basinski -- Mark Neely reviews Mary Jo Bang and Ange Mlinko -- Philip Nikolayev reviews Michael Palmer and Brian Henry -- Larry Sawyer reviews Poems From the Akashic Record by Ira Cohen -- Larry Sawyer reviews Goofbook: for Jack Kerouac by Philip Whalen -- Mark Scroggins reviews The Shrubberies by Ronald Johnson _______________________ Poems: Miekal And / Johannes Beilharz / Maria Damon / Sharon Dolin /=20 Chris Emery / Edwin Honig / Rebecca Lu Kiernan / Pura L=F3pez-Colom=E9 /= Jeni=20 Olin / Peter Porter / Spencer Selby / Andrzej Sosnowski _______________________ There's more to come, too, including a special feature on Tom Raworth, and= =20 other bits and pieces. ... thanks for your support. Enjoy! John Tranter ========================================================================= Date: Tue, 19 Feb 2002 13:56:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rick Snyder Subject: Taggart & Davidson at Dactyl and Double Happiness Mime-Version: 1.0 Content-Type: text/plain; format=flowed Those of you in the New York area may want to mark your calendars for these upcoming events: The Dactyl Foundation Poetics Lecture Series The Work of George Oppen in a Time of War John Taggart & Michael Davidson Friday, February 22 7 pm The Dactyl Foundation 64 Grand St., Ground Floor (between Wooster and W. Broadway in SoHo) A question and answer session will follow the featured speakers' presentations. John Taggart and Michael Davidson will also read the following day in the Segue series at Double Happiness. Saturday, February 23 4 pm Double Happiness 173 Mott St. (just south of Broome St.) Michael Davidson teaches Literature at UC San Diego. He is the author of The San Francisco Renaissance: 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). 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. _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Tue, 19 Feb 2002 14:06:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Organization: Boog Literature Subject: NY Press's pick of the week: Smells Like Boog City, tomorrow 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 ______________________ NY Press's pick event of the week http://nypress.com/15/8/listings/since.cfm Smells Like Boog City tomorrow, Wed. Feb. 20, 2002, 8:30 p.m. the Knitting Factory 74 Leonard St. (bet. Broadway and Church) NYC knittingfactory.com Tickets available online: http://www.virtuous.com/search/events_venue.php?venueid=KF074 $10 advanced/$12 day of show On what would have been Kurt Cobain's 35th birthday, we celebrate his life and art, and launch our free community newspaper, Boog City, with 12 local bands and solo artists playing Nirvana's Nevermind, in order, track by track. 25% of all ticket sales goes to benefit Jampac, a non-profit organization that represents and advocates on behalf of artists, music industry professionals and music fans in the political arena (jampac.com). $10 in advance, $12 at door. with readings by Eileen Myles and Timeout NY associate editor Tom Gogola and music from Wanda Phipps and band, Ruth Gordon, I Feel Tractor, the Ward, Schwervon, Jesse Schoen, Prewar Yardsale, Dan Saltzman, Brian Robinson, the Imaginary Numbers, Gangbox, and Drew Gardner. Hosted by 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, an interview with Cobain biographer Charles R. Cross, poems from Arielle Greenberg and Eileen Myles, and art from Zach Wollard World Economic Forum coverage from Greg Fuchs and Ian and Kimberly Wilder WBAI is back: Kimberly Wilder's “Notes from My FBI File" Aaron Kiely reviews Eileen Myles' Skies Columbus, Ohio poetry gathered by Pavement Saw editor David Baratier, with work from Steve Abbott, Stephen Mainard, and Julie Otten San Francisco Bay Area work, with poetry from Mary Burger, Trane DeVore, Lauren Gudath, Chris Stroffolino, Kent Taylor, and Elizabeth Treadwell, and art from DeVore and Will Yackulic lexicons from Laura Elrich, David Hess, and Leonard Schwartz poetry from James Wilk and art from Brenda Iijima and Zach Wollard Next issue: Cover: Third Parties, including a guide on how to become a candidate for additional information contact: David A. Kirschenbaum, editor and publisher Boog City 351 W.24th St., Suite 19E NY, NY 10011-1510 T: 212-206-8899 F: 212-206-9982 email: booglit@theeastvillageeye.com ========================================================================= Date: Tue, 19 Feb 2002 13:06:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: A Note To Publishers MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable One publication for whom I review poetry is The Oregonian, Portland's = daily newspaper. Thus I am interested in reading regional poetry. If you = want to send me books for consideration--the Book Review Editor makes = the choices, and, of course, there is limited space--please contact me = off-list and I will send you my mailing address. Thanks, Joel Joel Weishaus Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 ========================================================================= Date: Tue, 19 Feb 2002 19:15:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gene Subject: Re: Trivia HOT and NOW In-Reply-To: <5.1.0.14.2.20020217173552.0307d820@pop.bway.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed does that mean that i can't look? copyright etc? please advise. Gene At 05:36 PM 2/17/02 -0500, you wrote: >joel, keep in mind that I assigning some of these files in my classes! ========================================================================= Date: Tue, 19 Feb 2002 20:48:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: what will you do MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - what i do keeps me alive, you have to understand, you really have to understand what: No hey's found. what i write yesterday, do you hear me, is already a week a month old; what i write the day before is distant memory; what i write now is already gone before its time what: No hey's found. what: No hey's found. what: No hey's found. i am stalling you; i am stalling myself; i am stalling everything and nothing; see: i think clearly; see: i | this to you; this to you | i; what i write stays in shreds; you will read my shreds; you will be found; i will be found in you /usr/local/bin/ksh: i: not found /usr/local/bin/ksh: i: not found /usr/local/bin/ksh: i: not found /usr/local/bin/ksh: see:: not found /usr/local/bin/ksh: see:: not found /usr/local/bin/ksh: this: not found /usr/local/bin/ksh: this: not found /usr/local/bin/ksh: i: not found what: No hey's found. /usr/local/bin/ksh: you: not found /usr/local/bin/ksh: you: not found /usr/local/bin/ksh: i: not found please read me; please keep me alive /usr/local/bin/ksh: please: not found /usr/local/bin/ksh: please: not found what you will do; there is no time left; there is every time left; what will you do; what will you do what: No hey's found. /usr/local/bin/ksh: there: not found /usr/local/bin/ksh: there: not found what: No hey's found. what: No hey's found. what will you do _ ========================================================================= Date: Tue, 19 Feb 2002 17:18:33 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: Magnitude show: poetry and video MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable you're invited! please come =E2=80=9CMagnitude=E2=80=9D, a video art and short film screening will be he= ld February 20, 2002 from 6:30-8:30 PM at The Educational Alliance=E2=80=99s Mazer Theat= er. For more information please contact Kimberly Mora at (646) 621-8787. The Educational Alliance is pleased to announce the screening of =E2=80=9CMagnitude =E2=80=94 An exhibition of Video Art and Short Film Inspi= red By and Created From Literature, Language and Poetics=E2=80=9D. Featured are recent works by John Pilson & Dale Sherrard, Les LeVeque, Adam Goldstein, Heimo Wallner and Shaun Irons & Lauren Petty. The screening accompanies the =E2=80=9CMagnitude=E2=80=9D sculpture show, an exhibition of poet/artist col= laborations on works of magnitude poetry at the Educational Alliance=E2=80=99s Ernest Rubenstein Gallery. =E2=80=9CMagnitude=E2=80=9D is a rare opportunity for an audience to view a cross-section of film, video, animation and installation addressing the significance of language in film and video. It examines the tradition of writer/artist collaborations as well as works inspired by and adapted from literary pieces. Following the screening there will be a panel discussion concentrating on the works in the show, as well as the historical precedent for the incorporation of poetics in the film and video mediums. Among the works to be screened: a new video piece by John Pilson & Dale Sherrard; Adam Goldstein=E2=80=99s short film =E2=80=9CWoman Found Dead in E= levator=E2=80=9D based on the Ruth Tarson story; and =E2=80=9CDream of Automatic Release=E2= =80=9D, an installation by Shaun Irons and Lauren Petty where intermittant text punctuates the deep undercurrent of frustrations obscured by sunny lawns, backyard games and chores, creating a sense of mounting tension and the desire for release. The screening is curated by Kimberly Mora, an independent curator based in Brooklyn, NY. The panel discussion features gallerist and curator Laurie DeChiara, filmmaker Adam Goldstein, new media installation artist and Interactive Art Theory instructor Sandra McClean, and video and sound artist Dale Sherrard. 197 east broadway, 1 block from the east broadway stop on the f train. the after party is from 9:00 on at bar 169, 1 block from the alliance on east b'way. drinks are cheap and food is good. see you tomorrow night! ========================================================================= Date: Mon, 18 Feb 2002 09:07:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ronhenry@CLARITYCONNECT.COM Subject: AUGHT #7 (2001) online Since 1997, the online poetry journal AUGHT has worked to bring innovative poetry to an Internet readership. We're pleased to announce that issue #7 of AUGHT is online. AUGHT #7 features exciting new work from 11 wonderful poets: Jukka- Pekka Kervinen, Nicole Tomlinson, Michael Farrell, John Gimblett, Larry Sawyer, David Braden, Phil Santo, Steven Timm, Michelle Cherrix, Jonathan Minton, Anders Soegaard, and Tom Hibbard. AUGHT #7 resides on the Internet at: http://people2.clarityconnect.com/webpages6/ronhenry/aught7.htm . Past issues of AUGHT remain online as well, and feature exciting, thought-provoking poems by Sheila E. Murphy, Michael Farrell, Kenneth Sherwood, Jonathan Monroe, Bill Freind, Larry Sawyer, Catherine Daly, Annabelle Clippinger, Louis Armand, Joel Chace, Rob Faivre, Chris Piuma, Thomas Fink, Lewis Lacook, and many others. All past issues of AUGHT can be accessed through the main AUGHT page at: http://people2.clarityconnect.com/webpages6/ronhenry/aught.htm . Once again, thanks to all those who have supported AUGHT with their contributions and kind praise. AUGHT is always open to submissions of innovative poetry; we anticipate the next issue, AUGHT #8, will appear later in 2002. See the guidelines on the web page (link below in the signature line), or just e-mail ronhenry@clarityconnect.com for information (or with submitted work in plain text or RTF format). -- Ron Henry, Editor, AUGHT ronhenry@clarityconnect.com http://people2.clarityconnect.com/webpages6/ronhenry/aught.htm (If you'd prefer not to receive future announcements about AUGHT, please e-mail ronhenry@clarityconnect.com to be removed from our contact list.) ========================================================================= Date: Mon, 18 Feb 2002 09:06:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Lorraine Graham Lorraine Graham's poetry and reviews have appeared or are forthcoming in the Washington Review, So to Speak, and 108. She edits Anomaly, a magazine of innovative poetry and poetics in (mostly) the Washington, DC region, speaks Chinese, and knows a lot about missile defense systems. You can read more work or contact her at www.yakub-beg.com. She can be reached at lgraham@stimson.org. (from "Work Poems") ALWAYS FOR Been nice in the active phase well known catalytic roles and I have major goals: basket grabbing, make requests. An underway development. Institution game talk process functionality & design recap. Change the finish. Map & start. ~ It's the new logo! It's Taiwan. It's not tic tack toe it's an H! It's been working on copy sketch interface with CIA technology. Group think macro micro tooling game effect. Delusion making template. Every day is a move every team hierarchical. Communicate. Leak. Post analysis. Estimate first target first blush realistic in total. Support over time I mean war demarche or speech. Military move economic evolved congress. Get info in the situation room. 3000 people played this scene and blew up the world every time. ~ Something's wrong with the plumbing, catcalls, and your pants. ~ Nausea: today's witty story an over rated skill. ~ Nail glue nylon. Less overheated than almost business causal. Almost digging up the district rotting riots and fish fry. Office space for rent now lounge. So you've dabbed congealer on those would-be dancer legs. Go archive. ~ We're cooking with gas. Still citizen, eating doughnuts. Growth/ identity on track to critical mass. Back up graphs, break out groups. My leave is over! Any specific. ~ Commission to run through the staff meeting. Bang it out located. All your favorite themes run out-keep in mind divorce. ~ Dedicated to strange bedfellows and to case closures and rehearsing pitch incineration. What it takes to clean up kill or sanction Raj in the starts and stripes omnimedia. Get potassium, acryl ate. Execute. ~ Budget office chairs for more serious perversions. This day least evanescent sexy incantation not sexy like sex or computer pellet nutrition. There's enough space under my desk-dear G-d pls. Erase beliefnet browser history and alt. sex.com. Bored girl scout cookies all shack. I eat 5. ~ In jail compile recipes for fish and cold warm-weather soup and salad. Jail's got it good in the utility bill, in the Admin with a capital "L" for no I don't know where it is or read the news is sub Siberian vodka. Ice cream Nostalgia. Won't that get you through labor camp Winter or possible execution? ~ STASH beerfast week and weekend slum (I love the you that's you in the magazine article). She looked like I imagine she does but not as pretty cuz I've seen pictures and don't have to imagine anyway. ~ high season singing sergeants on the west terrace ~ (used cookie dough but baked it in a muffin pan) ~ theory of bite suck complexity in total quality free range autonomous latte-fat. coffee cherry fly by plastic fencing match-a chance to be the loving circus freak box under your bed order level. one step feed loop competition. blast the cream. nibble or stop it. ~ push up office squat no spaghetti straps here ~ MY PROPOSAL Moral resolution: circle jerk scotch tape. All together: single or Fascist? Never more than two wives one is best says G-d it's OK. Employ virgins read maids and what if she isn't and then what? ~ SHRINK That blare excites. Summarize. It's all about standing around, shrieking. ~ Yearning for fruit and non group therapy mean this progression is linear. I'm falling behind in my doomsday plan. ~ in honor of not being at the meeting in honor of escalating anti stoic anti in honor of anti in honor of noodles pulled and noodles fried and tossed and carried over land. in honor of nestorians and satellite technology not for anti intelligence life for life in honor of lunch. ~ Big 5 agreeable ticket to the online teenage fanclub now debunked commission. Strive for thorough abstract theory building interaction. Casual loafers. Every morning news of the gap. ~ Seeking guidance in the summer being here in the summer. Macadamia nuts seeking lava. This meeting will occur ideally during my vacation. Cleaning day: I find the Russian masks helpful I find the refrigerator satisfying hosting dignitaries. Strategic thinking about pithy expressions. Final is the wrong word. Bring back drafts. Policy in space. ~ Cross with the light my little green munchkin girl. You're out of coffee down mythologize damage-control displacement. Serves to go at least go there and there is better than traffic. Lorraine Graham ========================================================================= Date: Mon, 18 Feb 2002 18:31:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Bassford Subject: poetry festival information MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit exoterica is looking for volunteers to help with WORD: The Jay Liveson Poetry & Music Festival, which will take place on June 8, at Mt. St. Vincent's beautiful campus on the Hudson. We will be having our first meeting on February 26, 7 p.m., at The Society for Ethical Culture, 4450 Fieldston Road, in the Riverdale section of the Bronx. The success of the festival will depend on our volunteer base, which will ensure that it will become a flagship event for the Bronx! Some of the top names in both poetry and music will take part, and we want our exoterica friends to be part of it too. Please RSVP if you would like to attend. We need you. Yours, Rick Pernod Director ========================================================================= Date: Tue, 19 Feb 2002 03:35:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: trbell@COMCAST.NET Subject: Re: DWORKIN' BJORK MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT may have answered my query about experimental poetry for the working man or woman. tom bell ========================================================================= Date: Tue, 19 Feb 2002 12:51:35 -0500 Reply-To: dcpoetry@lycos.com Sender: UB Poetics discussion group From: dc poetry Organization: Lycos Mail (http://mail.lycos.com:80) Subject: Tattoos and banjos Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit There will be tattoos; there will be banjos. You'll laugh, you'll cry, you won't want to miss the Zinc Bar reading series featuring Sunday, February 24th: Jen Coleman & Aaron Kiely Coleman, described by curator D Rothschild as a "poet of the fantastical" and Kiely, described by Rothschild as "romantic and postromantic" are going to rock the house. Hope to see you. Readings start at 6:37 pm. Zinc Bar is downstairs at 90 west houston--just off the corner of LaGuardia Place. Take the F train to 2nd Ave and walk south to Houston. Check out Cupid School where you will learn from Matchmaker's best and brightest. Good Luck! http://ecard.matchmaker.com/cupid0202/cupid0202.html ========================================================================= Date: Tue, 19 Feb 2002 21:44:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: [webartery] Sackner Archive MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit WilliamJamesAustin writes: > A quick vote for the underappreciated D. A. Levy. I was lucky enough to > be a small part of the Levy tribute at the Poetry Project a few years > ago -- lucky enough to rediscover the versitile and , yes, tragic > artist. Best, Bill One day a few years back, Mike Basinski handed me this poem out of the blue - er, actually, out of an unspecified poetry mag - "with zen simplicity." It now hangs over my desk. The first impulse might be to read the piece as unsophisticated acting out - and I'd have to say, yeah, that's part of the point too. But then take a moment to admire the permutations of the first stanza, or the way that line breaks are used to alter the rhythm of the second and third. There's a level of attention here that repays like. [n.b.: all "typos" as read.] Christopher W. Alexander poetics list moderator -- Bourgeoisie Chant we go to the poetry readings we go to the poetry forums we go to hear the poets read hear the Karl Shapiro read in forty different lays but never really saying FUCK YOU YOU IGNORANT PIGS thats why the Karl Shapiro is a great poet hear the new young poets imitate the master telling the bourgeosie to get fucked in forty different ways but never really just out and saying FUCK YOU YOU IGNORANT PIGS hear the d. a. levy hear the ed sanders standing on their heads in full lotus blossom positions telling the bourgeoisie with zen simplicity FUCK YOU YOU IGNORANT PIGS (there is no moral to this poem) d. a. levy '64 ========================================================================= Date: Sun, 17 Feb 2002 23:18:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Abel Subject: Re: Patrick Fetherston contact info MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit If anyone on the list has contact information for English poet Patrick Fetherston, or is in direct contact themself with (and would be willing to inquire same of) Bob Cobbing, please send a note backchannel. Thanks very much, David Abel ========================================================================= Date: Mon, 18 Feb 2002 08:37:47 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: [webartery] Sackner Archive MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/18/02 8:27:09 AM, bobgrumman@NUT-N-BUT.NET writes: << The obliterated text was not new then: da levy did the the same kind of thing in the sixties. Probably the dadaists invented it. Doris Cross painted over texts about the same time Phillips did. I've never researched it and would be most interested in who first used the technique, and who first used it to real poetic effect. Phillips does seem to have done it better than anyone else. He's the one important visual poet in English acknowledged to be such by Marjorie Perloff and Johanna Drucker. --Bob G. >> A quick vote for the underappreciated D. A. Levy. I was lucky enough to be a small part of the Levy tribute at the Poetry Project a few years ago -- lucky enough to rediscover the versitile and , yes, tragic artist. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Wed, 20 Feb 2002 23:07:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Fahey Mime-Version: 1.0 Content-Type: text/plain; format=flowed "Is this the John Fahey who used to live in Venice, Calif? I saw him onstage several times -- once so drunk he sort of aimed for a chair and hit the floor -- he always played like an angel, in any condition. When I found out where he lived, I used to just go sit outside his place and listen to him play. I was in my young teens, way too afraid to knock on the door." Yep - that's definitely the one. He used to live in Berkeley as well, right around Gilman & Monterey as I recall. "Blind Joe Death" had folk-metal figured out long before Neil Young did. I still listen to City of Refuge with ears wide open, Ron _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ========================================================================= Date: Tue, 19 Feb 2002 20:27:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Silem Mohammad" Subject: Re: California poet laureate? Mime-Version: 1.0 Content-Type: text/plain; format=flowed >Stephen Stepanchev, a former Professor of mine, was named Poet Laureate of >Queens, New York. Not even Brooklyn. I say we narrow it down to >neighborhoods, even blocks. Warhol would approve. Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com/BarnesandNoble.com I hereby appoint myself the Poet Laureate of my laundry room. Kasey ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ K. Silem Mohammad Visiting Asst. Prof. of British & Anglophone Lit University of California Santa Cruz _________________________________________________________________ Join the world’s largest e-mail service with MSN Hotmail. http://www.hotmail.com ========================================================================= Date: Tue, 19 Feb 2002 21:44:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mister Kazim Ali Subject: Re: Susan Howe book In-Reply-To: <20020219001120.42315.qmail@web11707.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I am definitely an "amateur" when it comes to Susan Howe (in all the good senses of that word), but honestly, I mostly have always read her work autobiographically. But I don't mean "use a decoder ring and insider information on Susan Howe's life to unlock the meaning of these weird-ass books" autobiographical. I mean "there is a speaking subject of these poems which are emotionally realistic to me and have immediate relevance to my--and her--emotional life" autobiographical. How do you read something like "Europe of Trusts" otherwise? How much more autobriographical can you get than the books in "Frame Structures"--even without the new introduction... It also makes me think of that remark of Rosmarie Waldrop's (where did I read that?)--she's talking about how all her poems were about her mother, so she (as a cure for this ailment) began constructing poems out of lines chosen at random from books on her bookshelf but (as she says) "they were still all about my mother." I guess it's a pretty old argument...one I don't really have the critical education (or the schooling) to engage in, but I (naively, perhaps) always thought Susan Howe's heart was pretty much on her sleeve. Which always distinguished her as a writer for me. The reason I am really interested in the book is to see what exactly RTB's claim is and how she backs it all up. As for impenetrability...phallic indeed...I also happen to wish more poetry could be mysterious and enraptured and possessed. but it'll be like that. I read RTB's book of poems "Azimuth" and liked it well enough to think I'd read the Howe book even if I wasn't nuts about the subject. Which I am. Besides, don't be disappointed. Someone else will just have to write a different book. "conveniently neurotic Oedipal facticity of biograpy" "kneel to intellect in our work chaos cast cold intellect back" (including this--and any other--book, i imagine) Kazim. --- Jeffrey Jullich wrote: > > One of the book's most compelling arguments is > Back's case for reading Howe's work > autobiographically. > > > > Oh, drat. And I so eagerly had my credit card > poised > to order. > > ~More~ biographical reductivism? (?!) > > Is there no end to this ~People Magazine~ school of > criticism recidivist trend of reading > de-subject-ifed > text through insiders' information about the private > life of the (theoretically extinct [:Barthes]) > author? > > > I've presented on Howe only once at an academic > conference, a fluke, (--- to paradoxically reverse > my > protest against personist criticism with an > ostensibly > personist retort ---) and published > criticism/reviews > of her books only twice (aside from that, my > scansion > Howe postings here this past spring serve as the > only > remaining public tip-of-the-iceberg evidence of > in-depth involvement),--- but everything I've been > able to amateurishly contrive about her, the > "vertical > reading," the interpretation of ~Bed Hangings,~ > etc., > was done without this wizard's stone of the > ; > and an entire factory of critics could have gone on > writing from now until the deforestation of all > paper > sources similarly explicating her books along > suprapersonal lines. > > What a disappointment, what a crushing > disappointment, > --- and how perplexing! --- that the first > full-length > book on our greatest living poet is reported to > resort > to the universally infallible decoder key of Reading > Through The Life. > > ...As though as indomitable a suprapersonalizer as > Mary Magdalene's ~noli me tangere~ from Howe's > depicted Risen Christ Himself didn't insist on > transcendentalisms larger than one-woman > (auto)biography. > > Language poetry = covert Confessionalism? > > >> This study debunks the myth of Howe's > impenetrability > > One might've chosen a less frustratedly phallic, > more > invagination-friendly predicate for her > unfathomability. > > > > > > > > __________________________________________________ > Do You Yahoo!? > Yahoo! Sports - Coverage of the 2002 Olympic Games > http://sports.yahoo.com ===== "As to why we remain:/we're busy now/waiting behind bolted doors/for the season that will not pass/to pass" --Rachel Tzvia Back, "Azimuth," Sheep Meadow Press __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Wed, 20 Feb 2002 01:22:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Millie Niss Subject: Re: Discount offer - Rachel Back's new Susan Howe book In-Reply-To: <20020219001120.42315.qmail@web11707.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Howe does seem like the last poet I'd want to read autobiographically. Her themes are squarely in mythology or history or literature, and I can't imagine how knowing about her life would help. Even if it did, I think it would lessen the impact of the poetry, not expand it. If Howe were experiencing a difficult to hide illicit love affair at the time she wrote about Tristan and Iseut, I don't want to hear about it! It would disappoint me to think that's why she wrote that poem (I'm thinking of part of Pierce-Arrow). It's generally true that most people write poems because of something psychological (obviously, we do everything because of _something_ psychological/biological/whatever; we can't be explained at the intellectual level alone), but it is more respectful and more sensible to approach a poet according to the thematic and intellectual strains in her work than by attributing everything to her personal life. I mean, if we were to learn that Howe wrote the beginning of Pierce Arrow because she was able to work better since her cat was in the cat hospital after a neutering opewration, so wasn't comppeting with poetry for her attention, what good would that do us? It is ridiculous.... I assume the book in question does not present this kind of ridiculous detail, but in some sense, all biographical criticism is like this, at least if the poet if not autobiographical in her work. I have found knowing the biography useful in reading other poets, specifically poets whose biography is assumed knowledge in their works. For example, reading Robert Lowell without knowing about his family (for the early poems), his conversion to Roman Catholicism, his wives, daughters, and breakdowns, is somewhat difficult. The blatantly confessional poems speak for themselves, but the poems that follow just assume we know this material, and if we don't, they don't quite make sense. But I think that current poetic trends are not in favor of autobiographical poets (except perhaps for Afro-American female poets); it just doesn't matter who a Language poet is in real life, and it probably matters even less who a formalist poet is. Millie P.S. By the way, what do you call the type of poetry that Ashbery writes? It's not Language (it precedes it), it's not new Formalism obviously, is just plain "postmodern" specific enough to describe a style? It seems too vague... Also, what about the styles of non-elite poets? You know, the kind that are perfectly good, and read by many of us, but not trend-setters. They tend to used a "realistic" style, but not a formal one, more of a plain free verse thing. Some really stand out though and I think they are better than mediocre, like Goldbarth or Nicholas Christopher (in 5 degrees especially)... How would you describe these poets style (they're obviously not the same... -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Jeffrey Jullich Sent: Monday, February 18, 2002 7:11 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Discount offer - Rachel Back's new Susan Howe book > One of the book's most compelling arguments is Back's case for reading Howe's work autobiographically. Oh, drat. And I so eagerly had my credit card poised to order. ~More~ biographical reductivism? (?!) Is there no end to this ~People Magazine~ school of criticism recidivist trend of reading de-subject-ifed text through insiders' information about the private life of the (theoretically extinct [:Barthes]) author? I've presented on Howe only once at an academic conference, a fluke, (--- to paradoxically reverse my protest against personist criticism with an ostensibly personist retort ---) and published criticism/reviews of her books only twice (aside from that, my scansion Howe postings here this past spring serve as the only remaining public tip-of-the-iceberg evidence of in-depth involvement),--- but everything I've been able to amateurishly contrive about her, the "vertical reading," the interpretation of ~Bed Hangings,~ etc., was done without this wizard's stone of the conveniently neurotic Oedipal facticity of biograpy; and an entire factory of critics could have gone on writing from now until the deforestation of all paper sources similarly explicating her books along suprapersonal lines. What a disappointment, what a crushing disappointment, --- and how perplexing! --- that the first full-length book on our greatest living poet is reported to resort to the universally infallible decoder key of Reading Through The Life. ...As though as indomitable a suprapersonalizer as Mary Magdalene's ~noli me tangere~ from Howe's depicted Risen Christ Himself didn't insist on transcendentalisms larger than one-woman (auto)biography. Language poetry = covert Confessionalism? >> This study debunks the myth of Howe's impenetrability One might've chosen a less frustratedly phallic, more invagination-friendly predicate for her unfathomability. __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Wed, 20 Feb 2002 09:23:19 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Re: Dave Van Ronk dead at 65 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Here's a little story about Fahey. Many years ago I was at a party at Helen Schneyer's house - she was a kind of den mother to our little band of folkies -- and one of our group, Ed Morris, a good blues guitar player -- was doing an old tune -- it may have been a Robert Johnson piece. A fellow that none of us knew remarked very kindly that he had never heard that piece in an open D tuning. Ed glared at him and said that it was the tuning that Robert Johnson had used, but the stranger insisted that Johnson had played it in an open E tuning. Ed became very agitated and snottily replied that the stranger didn't know what the hell he was talking about, and that the only person in the world who could tell him (Ed) that he was wrong was John Fahey. Whereupon the stranger said, "I am John Fahey", and poor Ed's eyes bulged wide and his face turned the color of fresh blood, and he thrust his guitar to Fahey, exclaiming "you're John Fahey? What the hell am I doing playing guitar when you're here!" jb... In a message dated 02/19/2002 9:27:28 PM Eastern Standard Time, fargas-laura@DOL.GOV writes: > Is this the John Fahey who used to live in Venice, Calif? I saw him > onstage several times -- once so drunk he sort of aimed for a chair and hit > the floor -- he always played like an angel, in any condition. When I > found > out where he lived, I used to just go sit outside his place and listen to > him play. I was in my young teens, way too afraid to knock on the door. > > FWIW, wrote this about Mississipi John Hurt years ago: > > John Hurt > > > "I'm satisfied, tickled too, old > enough to marry you...." I fell as far as > there was for me to go into his fathomless eyes, > mouth like a harp raising tunes > out of Mississippi delta mud that rattled > my nine year old Los Angeles bones. > I wanted to deserve him. > > ========================================================================= Date: Wed, 20 Feb 2002 09:08:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r..the most dangerous... from the P.B.S..doc..last nite....on Ralph Ellison..."the most dangerous thing in the world is a skilled artist with backward ideas"..says Amiri Baraka....or as they say on the sts...the pot calling the kettle black.. from N.P.R. last nite...on the Daily Biz Roundup...Joey Ramone who lived on the floor above us for x years..."who is that guy"...tall hunched leather jacketed..' o he's in a rock band'...shows what i knows....was totally into the stock market during his last yrs...the chorus of a new song is Mary B...Mary B...a love crush for a stock analyst on CNBC...or as they say on the wall sts....don't sell punk short if you want to take the red out of the black....docn... ========================================================================= Date: Wed, 20 Feb 2002 10:39:21 -0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: READING, ETC. Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The WRITERS' RETROSPECTIVE series: Presents MICHAEL HELLER Thursday, February 28th 6:30 PM "Heller's poetry and prose are noble in gesture and intent, superbly rich and profoundly emotional. The should be considered a unique and vital part of the contemporary canon"---Dictionary of Literary Biography at LOCUS MEDIA 594 Broadway #1010 (Between Houston & Prince) Admission: $8.00 ========================================================================= Date: Wed, 20 Feb 2002 07:45:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: POETICS Digest - 18 Feb 2002 to 19 Feb 2002 (#2002-29) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Date: Thu, 14 Feb 2002 08:52:01 EST From: Austinwja@AOL.COM Subject: Re: California poet laureate? In a message dated 2/12/02 6:25:22 PM, bobgrumman@NUT-N-BUT.NET writes: << Why would any serious poet want to be Poet Laureate of a state? Even if it were not a given that no state would be able to elect a valid laureate. Being Poet Laureate of the U.S. or Britain would at least garner some visibility. And states don't really vary much, anymore, it seems to me. I wouldn't mind being named poet laureate of American mathematicians, or of American substitute teachers, but I truly would not be interested in being poet laureate of Florida, my home state now. Of course, if I lived in a place with a neat name, like Oshkosh, I wouldn't mind being poet laureate of it. Poet Laureate of Hayworth Road, Port Charlotte, Florida, wouldn't be bad, either. --Bob G. >> Stephen Stepanchev, a former Professor of mine, was named Poet Laureate of Queens, New York. Not even Brooklyn. I say we narrow it down to neighborhoods, even blocks. Warhol would approve. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com I think it should go the other way, too. The United Nations should declare a Poet Laureate of Earth. ...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!? Yahoo! Sports - Coverage of the 2002 Olympic Games ========================================================================= Date: Wed, 20 Feb 2002 10:56:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shannon Holman Subject: Alex Cigale contact info request Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Anybody know how I can reach Alex Cigale? cheers, Shannon -- Shannon Holman work: 212.545.6089 home: 718.638.1239 sholman@mac.com -- http://www.onemississippi.com ========================================================================= Date: Wed, 20 Feb 2002 13:00:52 +1000 Reply-To: k.zervos@mailbox.gu.edu.au Sender: UB Poetics discussion group From: Komninos Zervos Organization: Griffith University Subject: digital poetics In-Reply-To: <4.2.2.20020219162154.01bb1418@pop3.norton.antivirus> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT has anyone read loss glazier's new book, digital poetics, alabama, 2002? first of all congratulations loss, i know it must be lots of hard work to get a book like this out. it is a fairly good introduction to the field for those who have little experience of this field. so for me the first half was sort of going over a lot of stuff i already knew. the most important point loss makes, i believe, is that hypertext/hypermedia poetry is not hypertext/hypermedia prose. they are read differently, they are experienced differently, they are recognised differently, but, unfortunately they are often spoken about and critiqueds as if they were the same thing. unfortunately the differences are not spelt out clearly enough, and this conclusion comes half way through the book, after loss also referred to both interchangeably when he spoke of the development of the field. so for me there is a little contradiction. also the parts about eastgate/storyspace dominating the field of hypermedia/hypertext and establishing hierarchies of value, and economies of exchange is very thought provoking. as well the observation that eastgate are dealing mainly with hypertexts that suit a contained medium like cd-rom rather than 'cybertexts' on the web is relevant. but the setting up of oppositional positions joyce/bolter/landow versus cayley/glazier weakens everything that has been said and personalizes the arguments that are being made. i personally think that many prose text analysts/theorists have made the transition to the web over the last five years, and bring with them prejudices from print medium. ie poetry is read the same way as prose, prose is better than poetry, performance is less serious than written or printed poetry, visual aspects of e- poetries/cyberpoetry/webpoetry/netpoetry/poetries in programmable media are only decorative, what do other people think? also it is difficult in a book like this, when the author has been at the forefront of development in this field, not to seem a little self- promotional in quoting your own work. i haven't seen any discussion of the book here or at e-Poetry so i thought i'd get the ball rolling. cheers love komninos komNinos zErvos cYberPoet lecTurer cyBerStudies SchOol of aRts griFfith uniVerSity GolD coaSt cAmpuS pmb 50 gold coast mail centre queensland 9726 tel +61 7 55 528872 http://www.gu.edu.au/ppages/K_Zervos ========================================================================= Date: Tue, 19 Feb 2002 19:44:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Maxwell Subject: Otis Writers & the Germ present Raworth and Armantrout @ Dawsons, Friday Night! Comments: To: "Rae Armantrout (E-mail)" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Otis Graduate Writing Program joins the The Germ & Poetic Research Bureau to welcome: Tom Raworth and Rae Armantrout! Friday evening, 7:30pm at Dawsons Book Shop. *** Masters of the mot juste, duke and duchess of the dancing aside, Tom = Raworth and Rae Armantrout give the quick-take a tug out to unexpected = longitudes. Come watch Tom unstitch the monostiche into the sort of beard bramble = you'd pull off a mugging Ivor Cutler, unsettling the strong bright eggs from = a neglected nest. Come see Rae unwrap the rap at a fierce diagonal, daisy chaining the dailies to make a tafetta bloom out of doubt, like Galileo = as a weekend magician turning motherwit into the "father of invention". = Presto! And thank you Otis Graduate Writing Program for making it happen! *** February 22, Friday 7:30 pm Rae Armantrout has published eight books of poetry -- Veil, True, The Pretext, Extremities, The Invention of Hunger, Precedence, Necromance, = & Made to Seem. Wild Salience, a book of essays by twenty authors devoted = to her work appeared from Burning Press last year. Her poems have appeared = in numerous influential magazines (from This and Temblor to Iowa Review = and The Los Angeles Times Book Review) as well as anthologies such as In the American Tree (ed. Ron Silliman, National Poetry Foundation, 1986) and 'Language' Poetries (ed. Douglas Messerli, New Directions, 1987). = (Check her out reading her poem "Crossings" at salon.com: http://www.salon.com/audio/2000/10/05/armantrout/ ) Armantrout's work = has been translated into Italian, Russian, Spanish, and French. Couverture, = a book of her selected poems, translated by Denis Dormoy, was published = in France in 1991. Rae Armantrout has taught writing at the University of California since 1981. She lives in San Diego.=20 Tom Raworth was born and grew up in London. During the 1970s he = traveled and worked in the United States and Mexico, returning to England in 1977 to = be Resident Poet at King's College, Cambridge, in which city he still = lives. Since 1966 he has published more than 40 books and pamphlets of poetry, prose and translations, in several countries. A fantastic site and full bibliography can be found at www.tomraworth.com Raworth's graphic work = has been shown in France and Italy, and he has collaborated and performed = with musicians (Steve Lacy, Jo=EBlle L=E9andre), painters (Giovanni = D'Agostino, Mica=EBla Henich) and other poets (Franco Beltrametti, Corrado Costa, = Dario Villa). In 1991 he was invited to teach at the University of Cape Town: = the first European writer to visit there for thirty years. And if you = haven't seen his comix, dig this: ; *** 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. All Friday nights are free. Call Andrew at 310.446.8162 x233 for more info. ========================================================================= Date: Wed, 20 Feb 2002 12:03:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Luoma Subject: Re: Goulet MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Hey Louis, thanks for the chicken Bill Website Bring the world of the luxury to your by joining the network eLUXURY the subsidiary one. Sale Our program you will gain commission in each the situated referred of your, more provide to your users the access to the most prestigious marks of the world. No other situated offers the as many well-knows, of true names of luxury AND of creator such as Louis Vuitton, Christian Dior, Hides loads, March In the network of subsidiary eLUXURY joining website of your of to luxury of Apportez the world of. Vente Situated of referred to you of your of each of in commission of will gain of program of the Our, plus them with marks of with your of the accesses provide of users more prestigious of the world. The it offers of situated of other of None the as much well-knows, names of luxury of the true ones AND that Louis Vuitton, Dior of such of Christian creator, Hides loads, Jacobs Mars, In the network of subsidiary eLUXURY joining website of your of to luxury of Apportez the world of. Vente Situated of referred to you of your of each of in commission of will gain of program of the Our, plus them with marks of with your of the accesses provide of users more prestigious of the world. The it offers of situated of other of None the as much well-knows, names of luxury of the true ones AND that Louis Vuitton, Dior of such of Christian creator, Hides loads, luxury joining eLUXURY of website Apportez the world of of to of your of of subsidiary of in network of the Mars. Will gain sale The each you of your of referred of of situated of in program of of of commission of the Our, more OF the of users provide of marks of of of to the auxiliary accesses of your of more prestigious of the world. The true ones well-know of None of other of situated of the offers of, names of luxury of of AND that as much the Louis Vuitton, creator of Dior of such of Christian, Hides loads, Jacobs Mars, Karan Woman, Salvatore Ferragamo, Bvlgari, baccara, senior AND DeLuca, of the meadow Of, just pours to name ones of some of. -----------------\\\\\\\\\ Date: Sun, 17 Feb 2002 19:06:28 -0700 From: Louis Cabri Subject: Re: Poultry Bill, "Stump Speaking," Bank of America Gift of Bingham Paintings, Lieber-Meister Louis -- http://www.fmub.com/images/Eagle_on_bank.jpg -- follows function, wishing you well, if you use a 1040EZ, watch out for line 7. On the MO1040B and MO1040C forms, look at instructions for line 7. Frustrated? Be careful with line 30. Flustered? If you file a MO1040A form, read the instructions for line 5. Freaked out? And on the MO1040 form, pay attention to line 11. Fear not! DEPULP. Saisir le Mot Clé. The illustrations you are about to see may overwhelm you at first glance (you can access Louis in many ways; but, to list on Louis: -- 1. The first step is to send a letter stating that you wish to file your titles in Louis. The letter should include: name, address, phone number, fax number, e-mail address and contact person. It is important to remember that you must be willing to exchange, sell, or lend. 2. Upon receipt of your contact information, we will send you Louis forms for filing Intentions and Completions. Use Intention forms when you begin transcribing or recording. 3. For each title, send photocopies of the front and back of the title page, along with a completed Intention form. This step is extremely important to accurately list your title in Louis. 4. When the item is completed, send in a Completion form. If the item is already completed, and no Intention form or photocopies were previously submitted, send the title page photocopies along with the Completion form. The goal of the training is to help users learn to retrieve information that is useful and relevant to work, study, and personal interests.). "Microbes: Invisible Invaders...Amazing Allies." -- Why don't you share like Meg Cox? http://www.reunionsmag.com/reunion_stories/friends_reunions.html. Aren't you a reunion resource? The Olympic defenestration of Chris Pronger, the Tahitian-inspired work of artist Paul Gauguin... The display also includes the totems "Birdman" and "Fisherman's God" which were inspired by Gauguin's experiences on Easter Island, as well as a replica of the thatched house that Gauguin had built while he lived in Tahiti. Monsieur Louis Lagrange has been there (http://www.vuitton.com/) for six weeks. Modernity, new creations, one love, breakfast with the Gazelles, ready to give... He has become quite seriously ill and he needs, not financial aid, for the Marquis de Caraccioli directed upon leaving for England that he should not lack for anything, but rather some signs of interest on the part of his native country. Grassy areas are found outside exit MT11 at the main terminal and outside exit ET 15 of the east terminal. Dress your bug friends any way you want, http://www.searsportrait.com/createart/butterfly.asp?tag=25FA0ADE097F4DB5B9A CA8191F4C111E2171AC152DF3426196E5EC672096E0F5. We & God regret that we can no longer offer tours of planes. If the short pulse of energy strikes an object (raindrop, snowflake, http://www.stlouisrams.com/CheerleaderPhotoGallery/1009/), the radar waves are scattered in all directions (my real name is Louis, of about 10,600,000). Computers analyze the strength of the returned radar waves, the time of travel to the object and back, and frequency-shift of the pulse. The frequency of the returning signal typically changes based upon the motion of the raindrops (snowflake, dust, etc.). You have most likely experienced the "Doppler effect" around trains. First Execution of 2002: James Johnson was convicted of killing 4 people in a single night; including two sheriffs and a deputy. On January 9 he was executed at the state prison in Potosi. Jeri Johnson, wife of the accused, believes that her husband was suffering from post-traumatic stress disorder while committing the acts of violence. Johnson was a Vietnam Veteran and went on numerous night infantry patrols. However, all of this information was deemed inadmissible during his trial. Protests were held all over the state on the evening of his execution. Have you lived through a very scary and dangerous event? Thought and action, values and facts, compassion and fulfillment -- there are very few phrases in baseball that can create the excitement of "pitchers and catchers report." Louis, St. Louis -----------------\\\\\\\\\ ========================================================================= Date: Wed, 20 Feb 2002 00:03:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Garrett Kalleberg Subject: Above Islands / Dan Machlin & Serena Jost Comments: To: Poetics List Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Above Islands / Dan Machlin & Serena Jost (IACD03 - Released February 2002) The 3rd Immanent Audio CD, Above Islands is the first release by the collaborative talents of poet Dan Machlin & musician Serena Jost. Using cello, Casio, string machine, guitar, accordion and voice, the work on Above Islands easily and charmingly breaks through the barrier separating irony from earnestness. In addition to original songs, compositions and / or sound events, the recording contains settings of two H.D. pieces that will break your goddamn heart. More information and sample tracks (in mp3 format) are available at: http://www.morningred.com/immanentaudio The lovingly crafted CD is $10 direct from Immanent Audio. Send a check to: Garrett Kalleberg 80 Skillman Ave., 2nd fl. Brooklyn, NY 11211 -- Garrett Kalleberg mailto:tf@morningred.com The Transcendental Friend can be found at: http://www.morningred.com/friend Immanent Audio Online at: http://www.morningred.com/immanentaudio ========================================================================= Date: Wed, 20 Feb 2002 08:13:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: working poets, working class poets. In-Reply-To: <004401c1b91a$a6ab0a80$6401a8c0@ruthfd1tn.home.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" this is a sort of bromide, or cliche, or whatever, but it ain't necessarily so: check out Meridel Le Sueur's work, and Annie Ernaux's Cleaned Out, Kenneth Patchen, Kenneth Fearing, Mark Nowak, etc etc. At 1:54 AM -0600 2/19/02, Thomas Bell wrote: >This topic came up on another list but it is intriguing. Unless I >disremember, most poetry byand/or for the 'working class' tends to be >traditional and focused on content rather than form? I'm not sure if >this is writing down or writing for? Counter examples welcome. > >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, 20 Feb 2002 10:30:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gillespie william k Subject: 20-02-2002: a palindrome revealed MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII To mark this historic date and the last palindrome year of your life Spineless Books is reviled to deliver: 2002: a Palindrome Story in 2002 Words by Nick Montfort and William Gillespie http://www.spinelessbooks.com/2002 ========================================================================= Date: Thu, 21 Feb 2002 12:12:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: Re: digital poetics Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Komninos, Thanks for your detailed and thoughtful reply to _Digital Poetics_. It is good to hear a response from someone who also has an interest in the possibilities of poetry and image in the medium. I'm appreciative of your wish to open discussion on the book in this regard. Thinking about your post, I would comment that one of the book's urgencies *is* the need for distinctions to be made at this point in the development of the field. If you look at the axes that are suggested in the book, Joyce/Bolter/Landow and Kac/Cayley/Rosenberg (other readers may wish to note this clarification), it should first be observed that these axes are proposed in order to examine "authority", i.e., citations of secondary sources received. This is done to suggest how a sense of influence in the medium might be mapped. The point is that prose theorists and practitioners in the medium have occupied -- if not a totalizing position in terms of attention, criticism, and influence -- one that is at minimum dominant. The main intention of this argument, far from wanting to personalize, is to say that now is the time to observe the situation. Indeed, if not now at this nascent moment in the development of the field, there is much that will be overlooked. This is not a gesture towards personalization but one towards delineating crucial distinctions. That is, poetry practice in the field has, until now, *not* been directly expressed. (A look at any bibliography of books published on electronic literature would confirm this.) In order to chart the field of digital poetic practice, distinctions should be made. One can only make such distinctions by citing specific practitioners. All in all, the book argues, it is time to talk about digital *poetry*, a point with which you seem to agree. If digital literature has its "prose and versus", _Digital Poetics_ seeks to position its verses. When such a dominant structure exists for electronic prose -- yes -- one must look at which practitioners fall into which camps. This is not simply a necessary way to approach this mostly ignored side of practice but a way to vitalize the discussion of the whole of digital literature, since digital poetry provides approaches unique in its range of poetics. Again, thanks for your interesting thoughts! Warmest wishes from the frozen north, Loss Note: Information on _Digital Poetics_, just out from University of Alabama Press, can be found at http://epc.buffalo.edu/authors/glazier/dp/ >Date: Wed, 20 Feb 2002 13:00:52 +1000 >From: Komninos Zervos >Subject: digital poetics > >has anyone read loss glazier's new book, digital poetics, alabama, >2002? > >first of all congratulations loss, i know it must be lots of hard work to >get a book like this out. > >it is a fairly good introduction to the field for those who have little >experience of this field. > >so for me the first half was sort of going over a lot of stuff i already >knew. > >the most important point loss makes, i believe, is that >hypertext/hypermedia poetry is not hypertext/hypermedia prose. > >they are read differently, they are experienced differently, they are >recognised differently, but, unfortunately they are often spoken >about and critiqueds as if they were the same thing. >unfortunately the differences are not spelt out clearly enough, and >this conclusion comes half way through the book, after loss also >referred to both interchangeably when he spoke of the development >of the field. so for me there is a little contradiction. > >also the parts about eastgate/storyspace dominating the field of >hypermedia/hypertext and establishing hierarchies of value, and >economies of exchange is very thought provoking. as well the >observation that eastgate are dealing mainly with hypertexts that >suit a contained medium like cd-rom rather than 'cybertexts' on the >web is relevant. > >but the setting up of oppositional positions >joyce/bolter/landow versus cayley/glazier >weakens everything that has been said and personalizes the >arguments that are being made. > >i personally think that many prose text analysts/theorists have made >the transition to the web over the last five years, and bring with them >prejudices from print medium. > >ie >poetry is read the same way as prose, >prose is better than poetry, >performance is less serious than written or printed poetry, >visual aspects of e- >poetries/cyberpoetry/webpoetry/netpoetry/poetries in >programmable media are only decorative, > >what do other people think? > >also it is difficult in a book like this, when the author has been at the >forefront of development in this field, not to seem a little self- >promotional in quoting your own work. > >i haven't seen any discussion of the book here or at e-Poetry so i >thought i'd get the ball rolling. > >cheers >love > >komninos >komNinos zErvos cYberPoet lecTurer cyBerStudies >SchOol of aRts griFfith uniVerSity GolD coaSt cAmpuS >pmb 50 gold coast mail centre queensland 9726 >tel +61 7 55 528872 http://www.gu.edu.au/ppages/K_Zervos ========================================================================= Date: Wed, 20 Feb 2002 10:07:16 -0800 Reply-To: robintm@tf.org Sender: UB Poetics discussion group From: Robin Tremblay-McGaw Organization: Trauma Foundation Subject: class and innov writing MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > Dear Tom and others-- > an interesting dialogue on what appears to be for many on this list an exotic category of working class poets can be seen up close and personal at the HOW2 website. See the March 1999 issue in which there is a forum on class and innovative writing edited by Kathy Lou Schultz and me [ http://www.scc.rutgers.edu/however/v1_2_1999/current/index.html]. You'll find there alos my essay on class as it relates to Dodie Bellamy's Letters of Mina Harker.......... Robin Tremblay-McGaw > From: Thomas Bell > Subject: working poets, working class poets. > > This topic came up on another list but it is intriguing. Unless I = > disremember, most poetry byand/or for the 'working class' tends to be = > traditional and focused on content rather than form? I'm not sure if = > this is writing down or writing for? Counter examples welcome. > > tom bell > ========================================================================= Date: Wed, 20 Feb 2002 12:08:06 -0500 Reply-To: ATELIER14@HOTMAIL.COM Sender: UB Poetics discussion group From: THE ANNEX Organization: THE ANNEX Subject: MAYUMI TERADA at the ANNEX MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit MAYUMI TERADA / NEW WORKS JOIN US FOR THE OPENING RECEPTION: FRIDAY, 22 FEBRUARY 2002 , 6-8PM the annex 601 WEST 26TH STREET FLOOR 14 NEW YORK, NY 10001 GALLERY HOURS: TUESDAY - SATURDAY / 12 - 6PM E-MAIL: ATELIER14@HOTMAIL.COM This exhibition is the first United States presentation of work by Japanese artist, Mayumi Terada. On exhibition at The ANNEX is the work dollhouse series, 2001, large scale, black and white photographs depicting interior spaces illuminating furniture, windows, doorways, and stairs. The artist's dollhouse series was created out of construction paper. She photographs the houses holding them up to natural light. Transforming the three-dimensional microcosm into a space perceived to be of human scale Terada plays with our perception of actual and virtual reality. EXHIBITION RUNS THROUGH 30 MARCH 2002 ========================================================================= Date: Wed, 20 Feb 2002 13:43:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Garin Lee Cycholl Subject: Chicago reading on Friday MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Poets Michael Anania, John Breedlove, Simone Muench, and Kristy Odelius will read from their work this Friday. 2/22, at Jak's Tap (901 W. Jackson). All are welcome! ========================================================================= Date: Wed, 20 Feb 2002 21:09:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Fence fiction editor Ben Marcus Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Fence fiction editor Ben Marcus' novel, Notable American Women, will be published soon, and he is giving some readings, listed below. His other new book, The Father Costume, with images by Matthew Ritchie, is coming out next month. For info, check out: http://www.benmarcus.com/ NEW YORK Sunday, March 10 7:00 PM KGB 85 E. 4th St. (with Aimee Bender) NEW YORK Monday, April 1 7:30 PM Barnes & Noble, Astor Place (with Shelley Jackson) BOSTON Tuesday, April 2 6:45 PM Brookline Booksmith PROVIDENCE, RI Wednesday, April 3 4:00 PM Brown Bookstore ANN ARBOR Monday, April 8 6:45 PM Shaman Drum (with Marc Nesbitt) MINNEAPOLIS Wednesday, April 10 7:00 PM Ruminator Books (with Marc Nesbitt) CHICAGO Thursday, April 11 7:00 PM Quimby's IOWA CITY, IA Friday, April 12 6:45 PM Prairie Lights (with Wendy Rawling and Shelley Jackson.) SAN FRANCISCO Monday, April 15 7:00 PM City Lights (with Dave Eggers.) PORTLAND Tuesday, April 16 7:30 PM Powell's Bookstore SEATTLE Wednesday, April 17 7:30 PM Elliott Bay VILLANOVA, PENNSYLVANIA Thursday, April 18 7:30 PM Villanova University DeLeon Room (Room 300) St. Augustine Center 800 Lancaster Ave. NEW YORK Wednesday, April 24 6:30 PM - 8:00 PM Lenox Hill Bookstore 1018 Lexington Ave. (73 and Lex.) NEW YORK Tuesday, April 30 6:15 PM; 6:30 PM The New School 66 W. 12th Street BROOKLYN Thursday, May 2 7:15 PM; 7:30 PM The Community Bookstore 143 7th Ave. BROOKLYN Thursday, May 9 McSweeney's Store ********** Rebecca Wolff Fence et al. 14 Fifth Avenue, #1A New York, NY 10011 http://www.fencemag.com ========================================================================= Date: Wed, 20 Feb 2002 20:26:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Fahey In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Fahey tapes got me across the US several times in the late 60s and early 70s. A superb musician, and a superb musical mind. At 11:07 PM 2/20/2002 -0500, you wrote: >"Is this the John Fahey who used to live in Venice, Calif? I saw him >onstage several times -- once so drunk he sort of aimed for a chair and hit >the floor -- he always played like an angel, in any condition. When I found >out where he lived, I used to just go sit outside his place and listen to >him play. I was in my young teens, way too afraid to knock on the door." > >Yep - that's definitely the one. He used to live in Berkeley as well, right >around Gilman & Monterey as I recall. "Blind Joe Death" had folk-metal >figured out long before Neil Young did. I still listen to City of Refuge >with ears wide open, > >Ron > > >_________________________________________________________________ >Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ========================================================================= Date: Wed, 20 Feb 2002 20:58:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: working poets, working class poets. In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed First define working class poet--the poet worked in a factory, or the poet's parents? At 08:13 AM 2/20/2002 -0600, you wrote: >this is a sort of bromide, or cliche, or whatever, but it ain't necessarily >so: check out Meridel Le Sueur's work, and Annie Ernaux's Cleaned Out, >Kenneth Patchen, Kenneth Fearing, Mark Nowak, etc etc. > >At 1:54 AM -0600 2/19/02, Thomas Bell wrote: > >This topic came up on another list but it is intriguing. Unless I > >disremember, most poetry byand/or for the 'working class' tends to be > >traditional and focused on content rather than form? I'm not sure if > >this is writing down or writing for? Counter examples welcome. > > > >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, 22 Feb 2002 07:15:51 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Discount offer - Rachel Back's new Susan Howe book MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Waht say you knew nothing about any poets, not even their names: ever? How would you go? I'm not saying you're wrong - I was just reading this and that occurred to me. Just an interesting concept. Maybe not so original, but it would be the real McCoy: the real "Death of the Author". I agree that knowing something of the cofessionals is (or seems to be) more important than knowing so much about: well we know nothing of the author of...what's a good example(s) Pynchon? The author of "The Pearl", of "Piers Ploughan" or even much about Shakespear: would matter if we knew absolutely nothing about W Shakespeare? And so on. Regards, Richard ----- Original Message ----- From: "Millie Niss" To: Sent: Wednesday, February 20, 2002 7:22 PM Subject: Re: Discount offer - Rachel Back's new Susan Howe book > Howe does seem like the last poet I'd want to read autobiographically. Her > themes are squarely in mythology or history or literature, and I can't > imagine how knowing about her life would help. Even if it did, I think it > would lessen the impact of the poetry, not expand it. If Howe were > experiencing a difficult to hide illicit love affair at the time she wrote > about Tristan and Iseut, I don't want to hear about it! It would disappoint > me to think that's why she wrote that poem (I'm thinking of part of > Pierce-Arrow). It's generally true that most people write poems because of > something psychological (obviously, we do everything because of _something_ > psychological/biological/whatever; we can't be explained at the intellectual > level alone), but it is more respectful and more sensible to approach a poet > according to the thematic and intellectual strains in her work than by > attributing everything to her personal life. I mean, if we were to learn > that Howe wrote the beginning of Pierce Arrow because she was able to work > better since her cat was in the cat hospital after a neutering opewration, > so wasn't comppeting with poetry for her attention, what good would that do > us? It is ridiculous.... I assume the book in question does not present > this kind of ridiculous detail, but in some sense, all biographical > criticism is like this, at least if the poet if not autobiographical in her > work. > > I have found knowing the biography useful in reading other poets, > specifically poets whose biography is assumed knowledge in their works. For > example, reading Robert Lowell without knowing about his family (for the > early poems), his conversion to Roman Catholicism, his wives, daughters, and > breakdowns, is somewhat difficult. The blatantly confessional poems speak > for themselves, but the poems that follow just assume we know this material, > and if we don't, they don't quite make sense. But I think that current > poetic trends are not in favor of autobiographical poets (except perhaps for > Afro-American female poets); it just doesn't matter who a Language poet is > in real life, and it probably matters even less who a formalist poet is. > > Millie > > P.S. > > By the way, what do you call the type of poetry that Ashbery writes? It's > not Language (it precedes it), it's not new Formalism obviously, is just > plain "postmodern" specific enough to describe a style? It seems too > vague... Also, what about the styles of non-elite poets? You know, the > kind that are perfectly good, and read by many of us, but not trend-setters. > They tend to used a "realistic" style, but not a formal one, more of a plain > free verse thing. Some really stand out though and I think they are better > than mediocre, like Goldbarth or Nicholas Christopher (in 5 degrees > especially)... How would you describe these poets style (they're obviously > not the same... > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Jeffrey Jullich > Sent: Monday, February 18, 2002 7:11 PM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Discount offer - Rachel Back's new Susan Howe book > > > > One of the book's most compelling arguments is > Back's case for reading Howe's work > autobiographically. > > > > Oh, drat. And I so eagerly had my credit card poised > to order. > > ~More~ biographical reductivism? (?!) > > Is there no end to this ~People Magazine~ school of > criticism recidivist trend of reading de-subject-ifed > text through insiders' information about the private > life of the (theoretically extinct [:Barthes]) author? > > > I've presented on Howe only once at an academic > conference, a fluke, (--- to paradoxically reverse my > protest against personist criticism with an ostensibly > personist retort ---) and published criticism/reviews > of her books only twice (aside from that, my scansion > Howe postings here this past spring serve as the only > remaining public tip-of-the-iceberg evidence of > in-depth involvement),--- but everything I've been > able to amateurishly contrive about her, the "vertical > reading," the interpretation of ~Bed Hangings,~ etc., > was done without this wizard's stone of the > conveniently neurotic Oedipal facticity of biograpy; > and an entire factory of critics could have gone on > writing from now until the deforestation of all paper > sources similarly explicating her books along > suprapersonal lines. > > What a disappointment, what a crushing disappointment, > --- and how perplexing! --- that the first full-length > book on our greatest living poet is reported to resort > to the universally infallible decoder key of Reading > Through The Life. > > ...As though as indomitable a suprapersonalizer as > Mary Magdalene's ~noli me tangere~ from Howe's > depicted Risen Christ Himself didn't insist on > transcendentalisms larger than one-woman > (auto)biography. > > Language poetry = covert Confessionalism? > > >> This study debunks the myth of Howe's > impenetrability > > One might've chosen a less frustratedly phallic, more > invagination-friendly predicate for her > unfathomability. > > > > > > > > __________________________________________________ > Do You Yahoo!? > Yahoo! Sports - Coverage of the 2002 Olympic Games > http://sports.yahoo.com > ========================================================================= Date: Fri, 22 Feb 2002 07:34:59 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: READING, ETC. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Is Michael Heller related to Joseph Heller of "Catch 22"? Richard. ----- Original Message ----- From: "Michael Heller" To: Sent: Thursday, February 21, 2002 1:39 AM Subject: READING, ETC. > The WRITERS' RETROSPECTIVE series: > > Presents MICHAEL HELLER > > Thursday, February 28th 6:30 PM > > "Heller's poetry and prose are noble in gesture and intent, superbly rich > and profoundly emotional. The should be considered a unique and vital part > of the contemporary canon"---Dictionary of Literary Biography > > at LOCUS MEDIA > > 594 Broadway #1010 (Between Houston & Prince) > > Admission: $8.00 ========================================================================= Date: Wed, 20 Feb 2002 13:31:02 -0500 Reply-To: WHITEBOX@EARTHLINK.NET Sender: UB Poetics discussion group From: WHITE BOX Organization: WHITE BOX Subject: Pound, Picabia & Seiburth at 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 Ö a series of reading organized by a.s.bessa _____________________________________________________________ wednesday 27 february - 8pm RICHARD SEIBURTH Pound & Picabia "In late 1920, age thirty-five, nel mezzo del cammin, Pound found himself at a crisis point in his career: the Cantos were not progressing, he had just been fired from his position as the Athenaeumís drama critic, his most recent volume of verse, Quia Pauper Amavi, had been poorly received, and for a brief period, he apparently even considered returning to America to take up the study of medicine in the footsteps of his friend William Carlos Williams." This is how Richard Sieburth, in his essay Dada Pound, characterizes Poundís state of mind as he was about to meet Francis Picabia, "the dynamic behind Dada," in 1921. Sieburth sees in their meeting, enormous consequences to Poundís elaboration of the section of the Cantos that were produced right after. The strategies of quotations and misquotations, of displacement and fragmentationówhich were part of Dadaís overall attempt to disrupt the semantic function of the ideological sign system that made World War I possibleówill eventually find way in Poundís Cantos, together with explicit quotes from and references to Picabia. Richard Sieburth will revisit his text, which was originally published in The South Atlantic Quarterly, in 1984, by way of an informal conversation with A.S.Bessa. ------------------------------------------------------------------------------------------------------------------------------------------------ upcoming TEXTUAL OPERATIONS: March 27: Eric Robertson "Arpís Concretions" April 10: Marjorie Perloff "The Cake Shops on the Nevsky" May 15: Ulla Dydo... reading Gertrude Stein (tba) June 5: Carolee Schneemann "A B C -- We Print Anything In The Cards" WHITE BOX______________________________ 525 WEST 26TH STREET (BETWEEN 10TH & 11TH AVENUES) NEW YORK, NY 10001 / TEL 212.714.2347 WWW.WHITEBOXNY.ORG ========================================================================= Date: Thu, 21 Feb 2002 07:37:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Broder Subject: Ear Inn Readings--February 23, 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 (west of Greenwich Street) New York City FREE Subway--N,R/Prince; B,D,F,Q/Bdwy-Lafayette; C,E/Spring; 1,9/Canal February 23 Samiya Bashir, R. Erica Doyle, Quraysh Ali Lansana plus special guests in a celebration of Roll Call, a new anthology of African-American literature and art. For more information, contact Michael Broder or Jason Schneiderman at (212) 246-5074. ========================================================================= Date: Thu, 21 Feb 2002 05:38:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: working poets, working class poets. In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm thinking of Brenda Coultas extra-specially in this vein. And what about Lorine Neidecker? --- Maria Damon wrote: > this is a sort of bromide, or cliche, or whatever, > but it ain't necessarily > so: check out Meridel Le Sueur's work, and Annie > Ernaux's Cleaned Out, > Kenneth Patchen, Kenneth Fearing, Mark Nowak, etc > etc. > > At 1:54 AM -0600 2/19/02, Thomas Bell wrote: > >This topic came up on another list but it is > intriguing. Unless I > >disremember, most poetry byand/or for the 'working > class' tends to be > >traditional and focused on content rather than > form? I'm not sure if > >this is writing down or writing for? Counter > examples welcome. > > > >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 __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Thu, 21 Feb 2002 08:18:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Re: Discount offer - Rachel Back's new Susan Howe book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A thought on Rachel Back's Susan Howe book: read it. I think that you'll find it's much more of an extended source study (among other things) than a biographical reading or biographical decoding. Hank Lazer ========================================================================= Date: Wed, 20 Feb 2002 13:51:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Cartelli, Donna" Subject: Martha King and Cydney Chadwick Reading March 14--Cornelia Street Cafe Comments: To: "cartelld@aol.com" Comments: cc: martha king , "cydney chadwick (avec)" , angelo verga MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Cornelia Street Cafe presents Cydney Chadwick & Martha King Thursday March 14 @ 6:00 pm $6 includes a complimentary drink THE CORNELIA STREET CAFE 29 CORNELIA STREET NEW YORK CITY 10014 212 989 9319 http://www.corneliastreetcafe.com ========================================================================= Date: Thu, 21 Feb 2002 07:09:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: Open City reading at KGB MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Open City magazine presents the February Reading: Stories by Vince Passaro, contributor to Open City #13 and author of Violence, Nudity, Adult Content (Simon & Schuster, February 2002) Betsy Andrews, contributor to Before & After: Stories from New York, Edited by Thomas Beller (Mr. Beller¹s Neighborhood Books/W.W. Norton, February 2002) Craig Chester, contributor to Open City #14 and author of Why the Long Face: The Adventures of a Perfectly Fine* Actor (*Fucked-Up, Insecure, Neurotic, Emotional) (St. Martin¹s, June 2002) Susan Connell-Mettauer, contributor to Before & After: Stories from New York Wednesday, February 27, 7PM KGB , 85 E. 4th Street (2nd and 3rd Aves.) FREE Click here for a subscription special only for mailing list members: http://www.opencity.org/subspecial3.html __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Thu, 21 Feb 2002 10:22:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fargas Laura Subject: Re: working poets, working class poets. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" At 1:54 AM -0600 2/19/02, Thomas Bell wrote: >This topic came up on another list but it is intriguing. Unless I >disremember, most poetry byand/or for the 'working class' tends to be >traditional and focused on content rather than form? I'm not sure if >this is writing down or writing for? Counter examples welcome. Marge Piercy. Union organizers use her poems, and they get xeroxed and passed around. Laura ========================================================================= Date: Thu, 21 Feb 2002 10:24:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: California poet laureate? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/21/02 12:09:26 AM, immerito@HOTMAIL.COM writes: << >Stephen Stepanchev, a former Professor of mine, was named Poet Laureate of >Queens, New York. Not even Brooklyn. I say we narrow it down to >neighborhoods, even blocks. Warhol would approve. Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com/BarnesandNoble.com I hereby appoint myself the Poet Laureate of my laundry room. Kasey >> A venerable art has come down to this. Selling soap. Where's that rinse cycle? Ha Ha! Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Thu, 21 Feb 2002 10:43:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Fahey In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed AND Fahey had lived in the D.C. suburbs for a time in my youth -- He was a remarkable presence on the music scene -- always encouraging other musicians, getting them recorded --- I used to strum chords with him when he would pass through Dupont Circle from whichever part of the country he was living in at the time -- At 11:07 PM 2/20/2002 -0500, you wrote: >"Is this the John Fahey who used to live in Venice, Calif? I saw him >onstage several times -- once so drunk he sort of aimed for a chair and hit >the floor -- he always played like an angel, in any condition. When I found >out where he lived, I used to just go sit outside his place and listen to >him play. I was in my young teens, way too afraid to knock on the door." > >Yep - that's definitely the one. He used to live in Berkeley as well, right >around Gilman & Monterey as I recall. "Blind Joe Death" had folk-metal >figured out long before Neil Young did. I still listen to City of Refuge >with ears wide open, > >Ron > > >_________________________________________________________________ >Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "You made a mistake. You did something wrong. Now make another mistake, and do something right." --Sun Ra 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, 21 Feb 2002 10:40:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kerri Sonnenberg Subject: Barone info Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello, Does anyone have an email address for Dennis Barone? Please backchannel. Thanks! Kerri ========================================================================= Date: Thu, 21 Feb 2002 09:23:25 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fredrik Hertzberg Organization: =?iso-8859-1?Q?=C5bo?= Akademi Subject: Articles on Zukofsky as translator? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm looking for articles/essays on Zukofsky as translator. So far, I've found only the three pieces in Zukofsky Man and Poet (by Burton Hatlen, Guy Davenport, and David Gordon). If you know of any other stuff, I'd be very happy to find out. Fred Hertzberg Helsinki, Finland ========================================================================= Date: Thu, 21 Feb 2002 09:15:32 -0500 Reply-To: irving@dmv.com Sender: UB Poetics discussion group From: irving weiss Subject: Re: Alex Cigale contact info request MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit You again, me again, Shannon. Impossible to find Alex Cigale unless perhaps you look him up as a name on Google or Ilor. I have had in the last 8 years a number of poems published in his Synaesthetic but he changes address and phone so often and is so late in responding that it takes detective work to track him down. You might try to look up the Russian-English-avant-garde magazine Koja, which has also published me.I forget who is now editor (Mike Basinski?), but Alex belongs to a group of Russians, now publishing in both languages in both magazines. His "next" Synaesthetic, with several of my poems promised to it, hasn't appeared for two or three years now. Best wishes, Irving http://members.tripod.com/~sialbach/ Shannon Holman wrote: > Anybody know how I can reach Alex Cigale? > > cheers, > Shannon > > -- > Shannon Holman > work: 212.545.6089 > home: 718.638.1239 > sholman@mac.com > -- > http://www.onemississippi.com -- http://members.tripod.com/~sialbach/ ========================================================================= Date: Thu, 21 Feb 2002 09:33:12 -0500 Reply-To: irving@dmv.com Sender: UB Poetics discussion group From: irving weiss Subject: Re: Alex Cigale contact info request MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Shannon, the name re Koja is Mike Magazzinick, not Basinski Irving Shannon Holman wrote: > Anybody know how I can reach Alex Cigale? > > cheers, > Shannon > > -- > Shannon Holman > work: 212.545.6089 > home: 718.638.1239 > sholman@mac.com > -- > http://www.onemississippi.com -- http://members.tripod.com/~sialbach/ ========================================================================= Date: Thu, 21 Feb 2002 11:46:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: digital poetics In-Reply-To: <5.0.2.1.2.20020221120343.01e8c4d0@imap.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" well for the record: the question of prose v. poetry as a template for discussing hypertext (and hypermedia) was raised at least a decade ago on the old technoculture list that stuart moulthrop ran while at georgia tech... some of us found the problematic of narrative linearity---and nonlinearity, and multilinearity, etc.---somewhat beside the point when considered in light of poetic practice per se... i know that my own work in emedia was shaped by an awareness that storyspace linking and guard fields and the like took on a different valence when such protocols weren't being used to break up plot per se... and i also have 1st hand experience (if you will, and if i may be pemitted to say this publicly) in having work that combined prose narrative and poetry, and mixed genres, rejected on the basis of its presumably too "disjunctive" status (though of course, i might have failed too at some aesthetic level, i'll grant this!--- but i was given to understand by my readers, more than once, that disjunctiveness was an issue for them)... all of which is to say that i don't find the poetry v. prose argument esp. new, though loss lays it out in greater detail than anyone who's come before... now in just browsing through loss's book, the aspect of it that i most appreciate at this point is its emphasis of the work of folks like eduardo kac and john cayley *in addition to* the more narrative-based writers, the latter more typically cited in english studies-based accounts of electronic media (which isn't to say anything "against" the latter, either)... not to focus too awful much on omissions, but i'm distressed not to see alan sondheim's name come up (right?---incl. the focus one finds in that recent ~american book review~ on "codework"), and i think the argument might have done well to take account of some of the more arts-oriented discussions of emedia (e.g., martin rosenberg's discussion of hypertext and duchamp and physics in landow's ~hyper/text/theory~... it was martin in fact who introduced me some years ago to eduardo kac)... i also have some reservations about an overt emphasis on "poetry v. prose" in any case, as i would assume most of us are well aware of the experimental fiction community, which seems to drop entirely out of the mix the moment we start drawing up such distinctions (mark amerika's name comes immediately to mind)... i also think the book doesn't give enough due to a list like technoculture, which, from an historical perspective, was a primary breeding ground (if you will) for so much theory that has followed in its wake... i mean, i can see history being shaped by books like ~digital poetics~, and whereas i enjoy the book and think it of great value, i can't say, for the record, that i'm entirely happy with the history that thereby emerges (or seems to, in my reading of it thus far)... perhaps mcgann's thematic, "conditions of textuality," is a bit less empirical than i would have liked, in all, though i can understand its benefits to loss's analysis... in any case a history as such of the past dozen years of emedia has, as i see it, yet to be writ, and it certainly won't be entirely independent of the sort of history one finds in hawisher et al., ~computers and the teaching of writing in american higher education, 1979-1994: a history~... best, joe ========================================================================= Date: Thu, 21 Feb 2002 08:35:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Discount offer - Rachel Back's new Susan Howe book In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" i agree w/ mister kazim ali: there's a lot more to autobiographical writing than match-the-poetry-to-a-specific-event-in-the-poet's-life. a person lives in history, in culture. doesn't it make a difference that she lives in the 20th century and not the 19th? doesn't it make a difference that she grew up in certain powerful historical environs (new england) which continue to provide source material for her work? biography is much more than events in a private life --tho' at times, those are significant too. it's easy to dismiss a reductive understanding of biography, but that's not the whole story. At 1:22 AM -0500 2/20/02, Millie Niss wrote: >Howe does seem like the last poet I'd want to read autobiographically. Her >themes are squarely in mythology or history or literature, and I can't >imagine how knowing about her life would help. Even if it did, I think it >would lessen the impact of the poetry, not expand it. If Howe were >experiencing a difficult to hide illicit love affair at the time she wrote >about Tristan and Iseut, I don't want to hear about it! It would disappoint >me to think that's why she wrote that poem (I'm thinking of part of >Pierce-Arrow). It's generally true that most people write poems because of >something psychological (obviously, we do everything because of _something_ >psychological/biological/whatever; we can't be explained at the intellectual >level alone), but it is more respectful and more sensible to approach a poet >according to the thematic and intellectual strains in her work than by >attributing everything to her personal life. I mean, if we were to learn >that Howe wrote the beginning of Pierce Arrow because she was able to work >better since her cat was in the cat hospital after a neutering opewration, >so wasn't comppeting with poetry for her attention, what good would that do >us? It is ridiculous.... I assume the book in question does not present >this kind of ridiculous detail, but in some sense, all biographical >criticism is like this, at least if the poet if not autobiographical in her >work. > >I have found knowing the biography useful in reading other poets, >specifically poets whose biography is assumed knowledge in their works. For >example, reading Robert Lowell without knowing about his family (for the >early poems), his conversion to Roman Catholicism, his wives, daughters, and >breakdowns, is somewhat difficult. The blatantly confessional poems speak >for themselves, but the poems that follow just assume we know this material, >and if we don't, they don't quite make sense. But I think that current >poetic trends are not in favor of autobiographical poets (except perhaps for >Afro-American female poets); it just doesn't matter who a Language poet is >in real life, and it probably matters even less who a formalist poet is. > >Millie > >P.S. > >By the way, what do you call the type of poetry that Ashbery writes? It's >not Language (it precedes it), it's not new Formalism obviously, is just >plain "postmodern" specific enough to describe a style? It seems too >vague... Also, what about the styles of non-elite poets? You know, the >kind that are perfectly good, and read by many of us, but not trend-setters. >They tend to used a "realistic" style, but not a formal one, more of a plain >free verse thing. Some really stand out though and I think they are better >than mediocre, like Goldbarth or Nicholas Christopher (in 5 degrees >especially)... How would you describe these poets style (they're obviously >not the same... > >-----Original Message----- >From: UB Poetics discussion group >[mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Jeffrey Jullich >Sent: Monday, February 18, 2002 7:11 PM >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Discount offer - Rachel Back's new Susan Howe book > > >> One of the book's most compelling arguments is >Back's case for reading Howe's work >autobiographically. > > > >Oh, drat. And I so eagerly had my credit card poised >to order. > >~More~ biographical reductivism? (?!) > >Is there no end to this ~People Magazine~ school of >criticism recidivist trend of reading de-subject-ifed >text through insiders' information about the private >life of the (theoretically extinct [:Barthes]) author? > > >I've presented on Howe only once at an academic >conference, a fluke, (--- to paradoxically reverse my >protest against personist criticism with an ostensibly >personist retort ---) and published criticism/reviews >of her books only twice (aside from that, my scansion >Howe postings here this past spring serve as the only >remaining public tip-of-the-iceberg evidence of >in-depth involvement),--- but everything I've been >able to amateurishly contrive about her, the "vertical >reading," the interpretation of ~Bed Hangings,~ etc., >was done without this wizard's stone of the >conveniently neurotic Oedipal facticity of biograpy; >and an entire factory of critics could have gone on >writing from now until the deforestation of all paper >sources similarly explicating her books along >suprapersonal lines. > >What a disappointment, what a crushing disappointment, >--- and how perplexing! --- that the first full-length >book on our greatest living poet is reported to resort >to the universally infallible decoder key of Reading >Through The Life. > >...As though as indomitable a suprapersonalizer as >Mary Magdalene's ~noli me tangere~ from Howe's >depicted Risen Christ Himself didn't insist on >transcendentalisms larger than one-woman >(auto)biography. > >Language poetry = covert Confessionalism? > >>> This study debunks the myth of Howe's >impenetrability > >One might've chosen a less frustratedly phallic, more >invagination-friendly predicate for her >unfathomability. > > > > > > > >__________________________________________________ >Do You Yahoo!? >Yahoo! Sports - Coverage of the 2002 Olympic Games >http://sports.yahoo.com ========================================================================= Date: Thu, 21 Feb 2002 13:23:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: California poet laureate? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Stephen Stepanchev, a former Professor of mine, was named Poet Laureate of > Queens, New York. Not even Brooklyn. I say we narrow it down to > neighborhoods, even blocks. Warhol would approve. Best, Bill > > WilliamJamesAustin.com > KojaPress.com > Amazon.com/BarnesandNoble.com Unlike California, who asked Gary Snyder to be its Poet Laureate, whom I'd nominate for Brooklyn would be Duke Snyder, he of the Brooklyn Dodgers. Alive or dead, what's the difference when it comes to Zen Masters or Centerfielders? Joel Joel Weishaus Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 ========================================================================= Date: Thu, 21 Feb 2002 13:38:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit SPECIAL ANNOUNCEMENTS NEW ISSUE OF POETS & POEMS FEATURING WORK BY JOHN KEENE, JANICE LOWE, CHRISTOPHER STACKHOUSE WWW.POETRYPROJECT.COM/POETS.HTML MARCH 3, SUNDAY [3 - 7 PM] A MEMORIAL TRIBUTE TO FIELDING DAWSON (1930 - 2002) MARCH 10, SUNDAY [3:30 PM] A CELEBRATION FOR POET ZOE ANGLESEY: EIGHT POETS FOR ZOE For more details, please visit www.poetryproject.com/announcements.html. ******************************* FEB/MAR ISSUE OF POETS & POEMS: www.poetryproject.com/poets.html Featuring poems by John Keene and Janice Lowe, and line drawings by Christopher Stackhouse. Forthcoming issues to feature Jena Osman, Renee Gladman, Joan Retallack, Sawako Nakayasu, and others. MARCH 3, SUNDAY [3 - 7 PM] A MEMORIAL TRIBUTE TO FIELDING DAWSON (1930 - 2002) On the afternoon of Sunday, March 3rd, the Poetry Project will hold a Memorial Tribute to the writer, teacher and poet, Fielding Dawson, who passed away on January 5th, 2002, will take place at The Poetry Project from 3 to 7 pm. Readers include: Alex Albright, Vyt Bakaitis, Mark Begley, Carol Berge, Josie Clare, Andy Heugel, William Honey, Harvey Isaac, Hettie Jones, Jerry Kelly, Basil King, Martha King, D.H. Melhem, Maureen Owen, Jimmy Owens, Anthony Papa, Donal Phelps, Eric Waters, Bernard White MARCH 10, SUNDAY [3:30 PM] A CELEBRATION FOR POET ZOE ANGLESEY: EIGHT POETS FOR ZOE On Sunday, March 10th at 3:30 PM, The Poetry Project at 131 E. 10th St. @ 2nd Ave. will host A Celebration for Poet Zoe Anglesey featuring: CORNELIUS EADY BOB HOLMAN KAREN SWENSON SUHEIR HAMMAD JENNIFER CLEMENT LINDA GREGG FORREST GANDER YUSEF KOMUNYAKAA Refreshments provided by La Palapa Restaurant. $10 Contribution. Funds raised will contribute to medical expnses incurred by Zoe Anglesey who is fighting lung cancer. -- 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: Thu, 21 Feb 2002 10:07:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "by way of Charles Bernstein " Subject: Voix d'Ameriques Poetry Festival (Montreal) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Voices of the Americas Festival http://www.fva.ca --spoken word in all its guises February 26th - March 3rd, 2002 We are happy to announce the inauguration of Le Festival Voix d'Ameriques / Voices of the Americas Festival (FVA), a new bilingual festival dedicated entirely to oral literature. The FVA 2002 will happen over a six-day period, from Tuesday, February 26th until Sunday, March 3rd. Four types of activities will be held for this first edition of the festival. Nightly from February 26 to March 3 starting at 8 pm there will be 6 cabarets, each evening highlighting three different themes/styles of literature in performance, uniting 54 artists: storytelling, theatre, poetry, spoken word, multimedia, monologues, first nations, emerging artists and more... In the late afternoon (5 to 7 pm) on February 27 and 28 and March 1 and 2: four 'new discoveries' open mic spaces will feature readings, storytelling, spoken word and slam poetry. In the afternoon on February 27 and 28 and March 1 and 2: four round table discussions: - The relationship between music and spoken word when the two are combined; - a meeting with Carole Boucher from the Canada Council for the Arts (Spoken and Electronic Words section); - the role of new technologies in the production of oral literature; and - the current renaissance in the practice of storytelling. Finally, on the morning of March 2 there will be a voice technique workshop. The FVA will take place in three well-known venues within a block of each other on St-Laurent Boulevard: * The launch of the event will be held at the Sergent Recruteur (location of the now legendary weekly Dimanches du conte): 4650 St-Laurent, (514) 287-1412 * Nightly cabarets will be presented at the Sala Rossa: 4848 St-Laurent at 8PM. * The 5-7 PM open mike events will be held at the Sergent Recruteur: 4650 St-Laurent, (514) 287-1412 * The Round Table discussions will take place from 2:30 - 4:30 at the Casa del Popolo (swiftly becoming a cornerstone of underground music and cultural happenings in Anglophone Montreal): 4873 St-Laurent, (514) 284-3804. Boulevard St. Laurent was chosen as it is an important location in the history of literature and the culture of Montreal. The long-standing symbolic 'divide' between Francophone and Anglophone cultures, the street is also a contemporary melting pot and meeting place for a multitude of languages and cultural heritages. For more info on the FVA, please contact MarieLyne Durocher, publicist, at (514) 259-7581 * * * Background The FVA is presented by Productions si on r=EAvait encore, a non-profit organization whose mandate is to promote oral literature (l'oralit=E9) and all the unique forms that have emerged from spoken word's interdisciplinary nature. This new production company, its mission and the introduction of this new festival are a result of the efforts of Andr=E9 Lemelin, an artist, organizer and producer of cultural events who continues celebrating the written and spoken word (Stop magazine, Lectures journal, Exit poetry magazine, Dimanches du conte storytelling night, Plan=E8te rebelle press). During the last decade, artists working with the word have become more numerous, visible and present among the various Montreal arts scenes (in previous years, at Foufounes electrique, Isart, Bistro 4, cafe Phoenix; more recently at Jailhouse, Casa Del Popolo and Sala Rossa). However, they continue to be relatively isolated from each other, with no one venue or event bringing them together in a coherent collective. The Voices of the Americas festival will attempt to present the entire range of spoken word in Qu=E9bec as well as giving its practitioners a chance to come together, witness each others' creations and engage in creative exchanges. The FVA plans to produce an annual event revolving around the 'spoken' word. It will showcase artists' existing performance works and invite them to present new works for the festival. At the helm of the FVA is Andr=E9 Lemelin, general director of the festival and director of artistic programming. His support crew of artistic advisors includes Jean-Marc Massie (storytelling - host of Dimanches du conte); Pierre Thibeault (First Nations artists - an organizer of the Presences autochtones Festival); Sonia Pelletier (performance artists, South American artists - curator); D.Kimm (theatre artists, poets - writer); and Yannick B. Gelinas (multimedia artists - visual artist) For the artistic direction of Anglophone programming, Lemelin has enlisted Ian Ferrier (poet and musician) and Victoria Stanton (performance artist and co-author of Impure: Reinventing the word) as well as Mike Burns (Montreal Intercultural Storytelling Festival - storyteller) and Estelle Rosen (Theatre events organizer). MarieLyne Durocher is assistant director / director of communications, while Denis Bigras (Festival des Films du Monde) is the production director. Productions si on r=EAvait encore 5644 Bordeaux Montr=E9al, Quebec H2G 2R3 Canada Phone (514) 276-1278 Fax (514) 273-7918 In English (514) 849-2353 from the Words&Music label Wired on Words http://wiredonwords.com ========================================================================= Date: Thu, 21 Feb 2002 11:15:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: Re: 20-02-2002: a palindrome revealed In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit doesn't work in the U.S., where in typical fashion we use a system that's both unlike everyone else's, and illogical: here yesterday was 2/20/02 POETICS@LISTSERV.ACSU.BUFFALO.EDU writes: >http://www.spinelessbooks.com/2002 ========================================================================= Date: Thu, 21 Feb 2002 16:47:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Torres, The All-Union Day of the Shock Worker MIME-Version: 1.0 Content-Type: text/plain ha ha but you have to go to alienated to read it... http://www.alienated.net/ Brian ========================================================================= Date: Thu, 21 Feb 2002 19:38:46 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: G.E. Patterson Reading in Bay Area MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit ubject: Patterson Date: Thu, 21 Feb 2002 10:57:11 -0800 From: Chris Sindt To: cstroffo@earthlink.net Saint Mary's College Welcomes Poet G.E. Patterson Moraga, California. The Saint Mary's College of California Creative Writing Reading Series will feature its 2002 Distinguished Poet-in-Residence, G.E. Patterson, author of Tug. WHAT: A reading and book signing by playwright G.E. Patterson. WHO: G.E. Patterson is the author of Tug, which won the Minnesota Book Award in 2000. He has held residencies at the Macdowell Colony and the Djerassi Resident Artists Program, and he was a featured reader in the New York's Panasonic Village Jazz Fest. His poetry has appeared in Swerve, Fence, and Cross Cultural Poetics. About Tug, Cornelius Eady wrote, "You will have to travel far to find a book that tackles the interior landscape of a black man with such tenderness and lyric power." As the MFA Program's Distinguished Poet-in-Residence, Mr. Patterson will teach the Program's Graduate Poetry Workshop and generally promote poetry in the Saint Mary's community. He will be on campus through the spring semester. Recent Poets-in-Residence have included Myung-Mi Kim, Al Young, and Lyn Hejinian. WHERE: Saint Mary's College Soda Activity Center. 1928 Saint Mary's Road, Moraga. WHEN: March 5, 2002, 7:30 p.m. COST: Free, Refreshments will be served. CONTACT: Christopher Sindt, Director, MFA Program in Creative Writing 925-631-4088 ========================================================================= Date: Thu, 21 Feb 2002 20:30:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Digital Poetics In-Reply-To: <776342.3219749132@ny-chicagost2a-242.buf.adelphia.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii What I "had trouble with" in ~Digital Poetics~ was not the New Media treatment, which seems fair, as much as a more fundamental sort of ontological or metaphysical distinction he makes about "multiple "I's"': that becomes the basis for not just the following New Media assumptions, but for poetics both on-line and on-page. He calls it the "key feature." I'll present his position and then my disagreement. I quote at length (with commentary) for those who haven't bought the book: 'The position of the "I" is a crucial distinction between non-innovative and innovative literature. How the "I" is constituted in a text says much about that text's writing practice. Does the "I" assert forms of authority? Is it unquestionably a nonpermeable (or semipermeable) filter between the ego and the world?" ----But how does Loss hair-splits between ego and "I" above? They're synonyms. He passingly cites Williams ('Whenever I say, 'I' I mean also, 'you'"), Rimbaud's "Je, c'est l'autre," Spicer's Martian radio, Hannah Weiner's audiohallucination-dictations, Creeley ("As soon as / I speak, I / speaks"), and Mac Low's eventual post-chance defeatism "that there is no such thing as nonegoiac art". Against the "I," Glazier poses the collective, . . . but perhaps oddly: 'The notion of our nation as multicultural . . . insists that a "nation" can be made of a plurality of identities rather than a sole stereotypical one." (Further slippage of terms: from "I" to ego and then on to "identities." --- Although identity is also true of the non-"I" subconscious.) ' 'Such a perspective can be socially beneficial in a heterogeneous society as it obviates, for one thing, the need for one "I" to be more valid than others,'--- although he then flipflops the collective into a proven evil: 'holocausts, acts of genocide, and interpersonal violence'. No dispute with his points about the fallaciousness of the autonomous "I" (or subject). It's just that the "I" can be de-coupled from its false autonomy and remain a contingent "I" (rather than throwing baby out, bathwater, etc). Then the subsequent Web talk is predicated upon these 'multiple "I's"': 'Such examples of the possiblity of multiple or "distributed" identity lead us to consider the text as not singular and isolated but more like the "I" of the Internet. The web can be seen as such a multiple text, being composed of endless varying pages or "I's."' (…From "I" to ego to identity to--- ~pages,~ although pages are no more the "I" than, conversely, ID cards are.) 'Its pages are like the cells that fall off the "I" of the human body" (…not to belabor the ongoing slippage with Descartes' accomplishment of retaining "I" ~without~ body,--- or the haywire syllogism: pages are "I's" are like cells of the body but the body is "I," where the whole becomes a part and then re-emerges out of that part as a different part that is the whole, etc). Comically, he then dashes the whole "distribution" with the normal colloquialism: "In this vein, ~I~ published a volume of poetry . . ." So, that's Glazier. I sketched out some of my botherment in a letter to Geoffrey Gatza on January 27th, so I'll just quote that, for now: ------------------------------------------------------------- I used to say the same thing as Glazier, that the "I"s have it, and that that's the distinguishing feature between innovation and non-innovative, the heart of the battle. I might still have agreed and let it slip by, except that I'm at the moment very much under the influence of also reading Deleuze's ~Logic of Sense~ (in English; I've read it in French before, and didn't catch what I'm getting this round). Deleuze introduces the "I"-dimension in a very special and technical semiotic way. First, there's the level of denotation, where there's a pure statement, and that statement is either true/false, or absurd: "It is snowing outside"/"It is raining cats and dogs, literally". (There is a veterinarian's kennel on the second story of a building where there's a fire, and orderlies toss the animals out the windows into the arms of firemen and people below: "It is raining cats and dogs, literally.") But in order for it be uttered, there has to be a second level, which he calls manifestation: "I heard on the radio that it is snowing outside"/"Whenever I fall asleep during the day, I dream that it is raining cats and dogs, literally." Even where that manifestation-"I" isn't present, it's implicit. Your mother looks out the window and says, "It is raining outside," which is to say, she is implicitly stating: I just saw that it is raining outside. The manifestation-"I" (or "I"s, if Glazier and Buffalo are right) is an absolutely necessary precondition for the statement's denotation. If the "I" who makes the statement about it snowing is a known liar (Cretan paradox) or practical joker, the denotation is recast in light of that, and the T/F value is suspended until further confirmation due to the unreliability of the narrator. Etc. What Glazier is calling multiple "I"s is really School of Buffalo. Most of that writing (asyntactical) doesn't have multiple "I"s and it doesn't have a single "I": it has ~no~ "I". So,--- that's the base out of which my "contention" precedes: the divisions of personality and identity that we harbor as individuals, mainly due to the work/leisure office/home split, do not radically alter our manifestation of propositions. ("When I said, 'It is snowing outside,' and I was mistaken, you have to understand, I was just speaking informally, not in my capacity as a professional weather man.") Of course, Glazier shuffles the bean game a little by slipping between Mac Low's Buddhist pursuit of "non-egoic" writing, to single-authored "multiple I" writing, to communities and society in general where of course there are multiple I's because each I is a surrogate for an individual person or person's name: "Geoffrey in Buffalo says it is snowing", "mez in Australia says it is snowing" (where it cannot be snowing, since it is summer). In the case of community, though, he's muddying his terminology, because he really means ~perspectives.~ ...Which is similar to my next gripe with him: I think he's using "multiple Is" to refer to what otherwise could be called "voices" or "characters". Lon Cheney Sr. "The Man with a Thousand Faces" was not a case of "multiple Is": those were characters; it was still clear when T.S. Eliot first titled "The Waste Land" as "He Do The Police in Many Voices". Multiple Is is actually a pathological condition: Multiple Personality, or its lesser version Disassociation Syndrome. And while I'd agree that the incidence of Disassociation Syndrome has become tremendously on the rise in America, that's not what Glazier is talking about. My third disagreement is that he's talking about "I" as a ~starting point~ of communication (despite the scientist whom he quotes about our receptivity and passivity to perceptual stimuli): "I'm the one talking now and this is what I have to say---". The "I" remains intact, though, as a ~reception point.~ Glazier, as "receptor" or reader of different poetries, will consistently class some as innovative and some as non-innovative. That's because he is single-I'ed, as a reception point. The singularity of "I" is absolutely necessary as the target or end point of a communication, even if the "I" of the sender were debateable. And my last and fourth disagreement is about the internal/external function of "I" or ego. (Now I'll switch to calling "I" ego.) Ego is a mediation between id and super-ego, that is, between sprawling polymorphous perverse desire and the controlling authorities (including fate and necessity) that interfere with the gratification of that id. Without an "I", the personality just rocks back and forth between impulsive craving and fantasy, and neutralizing agencies of authority that deny those impulses. "I" is a mechanism that learns to compromise between fantasy and authority (reality), that learns to delay and to work in order to fulfill desires. I don't see where there's room for Glazierian multiplicity in ego function. Competing egos within the same person do not help maintain any distance between id and super-ego, ... although, to a certain extent, I could understand and acknowledge that we possess ~auxiliary~ "I"s which, when the disappointment to one ego-zone becomes too crushingly disappointing and the id is either threatened with starvation or at risk of rebellion, can be called into play: "He couldn't marry his mother, so he became a priest devoted to the Virgin Mary." But there any "I" is serving as ~the~ "I" at the moment it's in operation. It doesn't matter ~who~ the batter is for there to be a baseball game, but there ~must~ be a batter. Likewise, "I". I guess I do have a fifth (and maybe "multiple," down the road!) objection. Despite the loose use of the word "ego", conversationally, when we mean pride, greed, or ambition, the risk of our times is not from the "I" or egomania (the Me Generation is over). The danger of our times is the transformation of individuals, of people, into statistics, into enumeration. There are no longer faces in an audience; there's the number of "hits" for a site. The stock market graph line, of course, epitomizes that tendency: the labor of hundreds of thousands, the symbolic exchange that motivates and accrues out of that labor, and the lives of tens of thousands of finance industry service sector workers who contribute to building the symbolism that culminates in the Dow Jones average, are all atomized, smaller than a hundredth of a pixel, and the non-"I" graph line prevails. (I'm not aiming for simple "anti-capitalism" by putting it this way. The same is true of any graph representation of people,--- or even of an individual, when the abstractions are DNA and chromosomes.) It's not a good time for The Left to abandon the "I". The "I" has more effectively been jettisoned by the cultures associated with The Right: the "I"-subordination to an imaginary Christ in fundamentalism, Super Bowl Sunday, . . . The age of the ~masses~ needs to hold onto the "I", even where that "I" has many voices and is versatile and changeable. ………………… __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Thu, 21 Feb 2002 20:50:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Juliana Spahr/Lytle Shaw, Jennifer Moxley/Steve Evans at C21P, 3/15 a& 3/21 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The 21st Century Poetics series continues at the Berkeley Center for Writers. Thanks to everyone who helped out with, and participated in, our opening event; it was lovely. Now the series continues with two March evenings, structured as a conference spread over two nights. Don't be confused: it's the same format, with a friendly dining and wining session, two guests each night, readings, discussion, chat, music, and dancing. We are excited to have brilliant visitors from far away. All are welcome to attend both or either of the evenings; feel free to pass this note around, and we look forward to seeing you. Interverse: Directions in Contemporary Poetry and Poetics A Conference in Two Sessions Sponsored by C21 Poetics at the Berkeley Center for Writers March 15 (Friday), 6:30 pm potluck, 8 pm reading, Berkeley Center for Writers. Juliana Spahr, co-editor of Chain and author of Fuck You-Aloha-I Love You, Response, and Everybody=B9s Autonomy: Connective Reading and Collective Identity, and Lytle Shaw, editor of Shark and author of Cable Factory 20 and The Lobe, will read from their work and discuss the horizon of contemporary poetics and poetic practice. March 21 (Thursday), 6:30 pm potluck, 8 pm reading, Berkeley Center for Writers. Jennifer Moxley, editor of The Impercipient Lecture Series and author of Imagination Verses, Wrong Life, Impervious To Starlight, and The Sense Record, and Steve Evans, editor of The Impercipient Lecture Series, author of The Dynamics of Literary Change, and creator of online series Notes To Poetry, will read from their work and discuss directions in contemporary verse experimentalism. The Berkeley Center for Writers is located at 2275 Virginia Street. C21Poetics receives support from the Townsend Center for the Humanities, th= e UC Berkeley Department of English, and the Consortium for the Arts. However, we are an independent collective; please do what you can to suppor= t these events by bringing food or drink, coming on time, and helping clean u= p when the party=B9s over, if you're able. We will send out a reminder of each evening individually, as the date approaches. For more information, or to be added to our mailing list and receive a full schedule of events, please email Jen Scappettone at jscape@socrates.berkeley.edu or Joshua Clover at janedark@mindspring.com. ========================================================================= Date: Thu, 21 Feb 2002 23:19:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Susan Howe book In-Reply-To: <776342.3219749132@ny-chicagost2a-242.buf.adelphia.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii >> I mean "there is a speaking subject of these poems which are emotionally realistic to me and have immediate relevance to my--and her--emotional life" autobiographical. << That's mistaking expressivity or Expressionism for autobiography. A feeling of empathic connectedness and emotive verisimilitude is not memoir; it's timbre. >>How do you read something like "Europe of Trusts" otherwise? Well, here's a very partial synopsis of my marginalia from just the first hundred pages of EOT, to give the outlines of how I've read it otherwise ---a sort of concordance method (paragrammatics) I've called "vertical reading": -------------------------------------------------------------------------------- NEGATIVITY/NON-BEING: "because they ~are~ not." (21) "for they are not but as they seem" (38) "what are are / and what we are not" (61) "Do nothing / wrong / but Wrong" (30) "Save for air nothing here" (47) "of nothingness Estray" (60) "Not the true story that comes to / nothing" (88) BIBLICAL: "In Rama / Rachel weeping for her children" (p. 21) "not a sparrow / shall fall" (26) "Who is my shepherd" (29) "word made flesh" (92) PN abbreviated into single letter/initial "fonction de la lettre": "R / (her cry" (22) MEMORY: "soon forgotten" (24) "In memory / Errant turns to" (26) "Purpose / depends on memory Memory" (47) "another waking up Memory / harmony . . . Knowledge is a simple recollection / . . . forgotten" (59) "long as remember" (79) "mute memory vagrant memory" (89) "remembered name in Quiet / rembered precepts" (104) "Distant forget" (105) "Ten adventures here forgotten" (107) "Transgression links remembering . . . illusory sanctuary of memory" (109) THINKING: "Thoughts are born" (38) "into clear reason" (48) "arrows for thought" (67) "earth as thought of the sea" (100) "monadical and anti-intellectual" (108) TIME: "and clock / a foil for future" (25) "lasting to everlasting" (28) "set nimble clocks at every station" (29) "Forever and for / ever" (30) "Slipping / forever / between rupture and rapture" (31) "Clock / and shadow of a Clock" (32) "Wheel of mutable time" (38) "And with time / I could do it . . . Time's theme" (40) "no more a long future the present" (41) "and Difference remote in time" (50) "time inattention / Finite velocity" ( 59) "Doomsday overturns and milleniums" (67) "Time to set our face homeward" (68) "woodcut of space time logic" (92) "late edge / Understanding of time endlessly" (105) "no clock running / no clock in the forest" (108) Lyrical/sentimental ("poetical"): mirrors, memory, farewell, pearl, shadows - snow, trees (27) SHADOW: "Spires cast long shadows" (26) "Snow coming and beauty of long shadows tumbling" (27) "Shadows are seated at the kitchen table" (32) "and strange shadows" (43) "Shadows only shadows" (44) "Shapes shadow-hunting / Supremacy" (56) "Moving in solitary symbols through shadowy" (74) "no secrets spoken together" (79) "Set work on wheels (shadow / on shadow)" (81) "Lean as her shadow" (111) STARS: "constellations of duration" (29) "morning star evening star will / rise" (31) "the unsphered stars" (38) "farewell to star and star" (44) "regions untenanted by stars" (65) "of late starlight undreamt of" (75) "a dry and icy star" (90) "The leashed stars kindle thin" (103) "(spangs like stars)" (109) SECRET: "skip pebbles in secret also" (25) "in still / shared secrets of the sea" (30) "Dark as theology's secret book" (38) "Through secret parables thorugh / books of dark necessity" (48) "(Socrates was a midwife / but that is secret)" (46) "volumes of secrets to teach / Socrates" (101) "Helios flies secretly across a lost / country" (52) "(sacred and secret tree systems)" (57) "the secret Secret" (65) "Iseult seaward gazing / (pale secret fair)" (100) "sees in severt houses in sand" (102) Z: "Zodiacal sign / Sun / --- this is a circle and serpent" (52) "(Zodiac window)" (90) "mathematical starlight, zodiacal signs" (FRAME STRUCTURES, 105) The book, and Howe's entire oeuvre, goes on and on that way. Not in any limiting way, but--- her books can be read as the unfolding of about a dozen or less highly stressed themes or verbatim reiterated words ("theme" being one of them) and maybe a dozen more secondary themes, --- re-combined and varied in musical structures very much like the Schoenberg or other composers she discusses elsewhere. Howe is a kind of literary Serialist composer. The zodiacal wheel that I partially brought out at the end, above, might almost be a figure for the cyclical/cyclonic structures she circles through. (The zodiac is an example of an ordinal but non-hierarchical/non-causative chain.) >> How much more autobriographical can you get than the books in "Frame Structures"--even without the new introduction... <<< . . . But the "auto" behind "autobiographical" has to be a particular, concrete, narrativized "auto," --- autobiography is a sub-genre of realism or naturalism --- and if you look at the "I" that appears throughout "Frame Structures," she's of an entirely different sort altogether: "I kiss the wall's hole" (114, for Shakespeare), "I dined with the destroyers" (108), "I cut out my tongue in the forest" (102), "I sang for the besieged forces / sang to the ear of remote wheels" (101), "when next I looked he was gone" (90), "starry circle of some kind, of which I was one of the beads!" (81), "I bit off and burned my fingers to keep from freezing" (71), "I looked at our precise vanishing point on the horizon", "I squeezed my baby flat as a pancake" (70), "I stopped my chidren's eyes with wool / as the angel did with Jacob" (66), "far off in the dread / blindness I heard light / eagerly I struck my foot / against a stone" (56), "I count the clouds others count the seasons" (53), "I the Fly" (80). It's either luridly imaginative in a way that shifts the trace of person into an environment of fable or legend that is not autobiographical, or--- the subject has been reoriented toward an immaterial object (vanishing point, enumerating clouds, the synaesthesia of hearing light) that no longer provides the leverage of reality needed for a biographical subject, so that the "I," as if the eternity of these strange objects traveled back along the relation like an electric charge, becomes as nebulous, if not more so, than the clouds. >> It also makes me think of that remark of Rosmarie Waldrop's (where did I read that?)--she's talking about how all her poems were about her mother, so she (as a cure for this ailment) began constructing poems out of lines chosen at random from books on her bookshelf but (as she says) "they were still all about my mother." << But if you look at The Mother (or father figures, and kings) in Howe, what you'll find are archetypal entities --- like a magnetic north --- that also don't function along an autobiographical axis: "I am looking for lucky Luck / I am his mother" (EOT, 178), "Inward memory / Mystery passing myth sanctuary / Secret isle and mortal father" (146), "Dim artificer enchantment proud / Father / Countless secrets hissing together" (140), "Pursuer and pursuer / cloth sky-color / Follow my mother" (131), "Anathema / who was my father / Empty dominions beyond structure" (114), "seeds to be sorted Where / have I have I been I say to myself Mother" (52), "to Sleep (where / are you crying) / crying for a mother's help" (44), "Father's house forever falling" (41), "Midday or morrow / move motherless" (40) "Mother and father / turn downward your face" (31). >> always thought Susan Howe's heart was pretty much on her sleeve. The tour de force that Howe accomplishes, of viscerally awakening infantile longings for parent and filial attachment (or any of her other passionate communications), while still maintaining a thoroughly "Language poetry" abstacted picture plane throughout, that she, that ~anyone~ must've at some juncture in the career experienced loss of a parent, say, --- those elegiac and needy places within us and within language do not require specific autobiography as explanation. The impact of "Mein Fader! Mein Fader!" sung out in Schubert's "Erlking" is only peripherally illuminated by whatever we might learn about Schubert's real life father and family. (Some might say it even detracts.) It may be easier to grasp in a medium which has less representational capacity: music. And especially Serial music (twelve-tone), whose idioms remain especially foreign to us, despite re-listenings. George Perle painstakingly demonstrated that Alban Berg's ~Lyric Suite~ contains encrypted in it, along the onomastics of the well-known BACH B-A-C-H, or Schumann's better-known A-S-C-H (initials for his wife, himself, and a city important to their romance), cryptographic records of his mistress, in great detail and at points in every measure. Schoenberg also wrote, I believe it was, a string quartet which, although we hear it as "pure" twelve-tone Expressionism, followed the autobiographical narrative of his heart attack and hospitalization to the letter: there's a ~male nurse~ theme, and a chord for ~the injection!~ But, as fascinating as it may be to learn about this sort of side-car of significance that rides beside the piece itself, the representational angle of the language, of the linguistic system, does not accommodate the realistic pictography and narrative that is necessary for what we mean by autobiography. You can't hold the two in your head at the same time. You cannot extrapolate out of the original the supplementary "insider's information." Any relation between the poetry of Howe, or Language Poetry, --- or even John Ashbery, similarly misappropriated by Shoptaw's and Lehman's biographical misdirections, --- and the facts of their lives is equally tangential, oblique in a way that deserves to ~remain~ oblique. Legible autobiography was ~purposely~ excluded. To try to restore it is like autobiographizing personal content into a mathematician's algebraic formulae. There was the High/Low show at The Museum of Modern Art. They took Picasso's and Braque's newspaper collages --- Molly Nesbit does the same for Duchamp and school children's ~cahiers~ --- and traced the collaged pages back to their original sources. The same feat was performed for Max Ernst's collage novels, ~Une Semaine de Beaute,~ etc. But to reveal the sources and original contexts of those inserts does not conclude in some sort of end-point of now knowing, meaningfully, the autobiography that Picasso ~subscribed to Le Figaro!,~ --- voila --- or that Max Ernst haunted flea markets and bought old books of lithographs. The ~significance~ of any such contemporaneous addenda takes place, at least in the intentions of MOMA, rather in the discovery and contrast between the rarified museum connotations of those artworks and their earlier incarnation as low culture detritus,--- like finding out that a frog was once a tadpole. The -graphy is one of the political, of the class resonances of different literatures and media; and how those different strata "collide" ("the collisions and collusions of history"--- Howe); it's not a Dickensian "I was born in such-and-such a place on such-and-such a date" ~bildungsroman.~ Where I feel such an antipathy toward biographical reductivism of experimental writing, too, is in the totem we've made of ~facts.~ Once you have reached a fact (the author experienced a divorce, came from such-and-such a Brahmin background, outlived a loved one), it's seen as having arrived at a dividing-line that's "true," where you do not need to go any further. The fact, in our minds, in this misinterpretation, is regarded as so real and so important and so unsurpassable, with no Platonic idea standing in behind it, that the search stops there, a kind of detective story that has traced the "clues" to their smoking pistol, to their "The End" reconstruction. Freud dispensed with the question of whether it mattered if paranormal (psychic) phenomena were real or not. What their variable true/false toggle only lead to was ~what do they represent~ in the psyche, what more ~mythic~ formula are they only the variable evidence of, how to they signify, what would that matter. What's wrong with the equation of biography with "Language poetry" is ~epistemological.~ (It also badly encourages the naïve next generation to write their lives into cubism.) It's always going to be believable and provide another plane of plausible reference to find out the facts of a writer's biography,--- but it lacks validity, because the translation or conversion of information moves in only one direction: the biographical satisfyingly supplies a scenario or ~mise en scene~ that grounds the "impenetrable" poetry in a dimension we then explore no further because it's our ideological dogma that a domestic, familial narrative-personal dimension is the beginning and end of everything. But it ~counts,~ epistemologically, that the paraphrase ~cannot~ be reversed, and that you cannot deduce from the conclusion what's been induced into it. A last example: the epic abstractionist Ellsworth Kelly, whose work, to the eye, is surfboard-like curves, arcs, pure but sensual geometries. ~All~ of his abstractions originate in completely specific visual encounters, things he's seen and often photographed in his day-to-day. The art is a black-&-white of zigzags. The source: shadows of a railing on a staircase. The origination of one from the other does not maintain ~content~ in a way that constitutes autobiography. P.S. John Ashbery's kind of poetry was called "New York School." __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Sat, 23 Feb 2002 01:19:23 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: digital poetics In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >... in any case a history >as such of the past dozen years of emedia has, as i see it, yet to be >writ, and it certainly won't be entirely independent of the sort of >history one finds in hawisher et al., ~computers and the teaching of >writing in american higher education, 1979-1994: a history~... > >best, > >joe but you must appreciate that loss acknowledges the existence of culture outside of the us of a! -- 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, 22 Feb 2002 10:59:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: California poet laureate? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'm the Poet Laureate of my house. I've also been its undefeated middleweight, light-heavyweight and cruiserweight boxing champion. (It pays to keep out of fights.) When I spend next winter in Del Ray Beach, FL, perhaps I'll seek the city's Poet Laureate slot so that I can write odes to boxing promoter and fellow resident Don King and to the 9/11 terrorists who lived around the corner from my condo and sent e-mail to their fellow conspirators from the public library. Vernon Frazer ----- Original Message ----- From: "Joel Weishaus" To: Sent: Thursday, February 21, 2002 1:23 PM Subject: Re: California poet laureate? > > Stephen Stepanchev, a former Professor of mine, was named Poet Laureate of > > Queens, New York. Not even Brooklyn. I say we narrow it down to > > neighborhoods, even blocks. Warhol would approve. Best, Bill > > > > WilliamJamesAustin.com > > KojaPress.com > > Amazon.com/BarnesandNoble.com > > Unlike California, who asked Gary Snyder to be its Poet Laureate, whom I'd > nominate for Brooklyn would be Duke Snyder, he of the Brooklyn Dodgers. > Alive or dead, what's the difference when it comes to Zen Masters or > Centerfielders? > > Joel > > Joel Weishaus > Center for Excellence in Writing > Portland State University > Portland, Oregon > http://web.pdx.edu/~pdx00282 ========================================================================= Date: Fri, 22 Feb 2002 12:23:12 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: California poet laureate? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/22/02 11:01:55 AM, weishaus@PDX.EDU writes: << > Stephen Stepanchev, a former Professor of mine, was named Poet Laureate of > Queens, New York. Not even Brooklyn. I say we narrow it down to > neighborhoods, even blocks. Warhol would approve. Best, Bill > > WilliamJamesAustin.com > KojaPress.com > Amazon.com/BarnesandNoble.com Unlike California, who asked Gary Snyder to be its Poet Laureate, whom I'd nominate for Brooklyn would be Duke Snyder, he of the Brooklyn Dodgers. Alive or dead, what's the difference when it comes to Zen Masters or Centerfielders? Joel >> Excellent! Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Fri, 22 Feb 2002 12:48:05 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Digital Poetics MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable In a message dated 2/22/02 11:19:42 AM, jeffreyjullich@YAHOO.COM writes: << The "I" has more effectively been jettisoned by the cultures associated with The Right: the "I"-subordination to an imaginary Christ in fundamentalism, Super Bowl Sunday, . . . The age of the ~masses~ needs to hold onto the "I", even where that "I" has many voices and is versatile and changeable. =E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6 >> Yes. A couple of us have been saying much the same re: the Right. I loved=20 every word of this post. And where would we be without Derrida who was firs= t=20 ... uh ... not first, since first is a contingency? The illusion of=20 eliminating the locus "I" from a text, any text, is just that. The locus is= =20 both reinforced and disseminated at every turn, traced and traceable. I hat= e=20 to leave that standing without a few pages of follow-up, but I just don't=20 have the energy at the moment. Jeffrey doesn't need me, anyway. His=20 analysis is first rate ... uh ... Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Fri, 22 Feb 2002 09:51:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: News from Small Press Traffic MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Dear Small Press Traffic Members, Funders, & Other Supporters of Independent Literature, I'm writing to let you know what's new at Small Press Traffic Literary Arts Center at CCAC. As many of you know, our recent Poets Theater Jubilee was a tremendous success; we sold out two evenings of new plays by stunningly & philosophically wild playwrights including Tina Darragh, Dan Farrell, Carla Harryman, David Larsen, Leslie Scalapino, and Chris Vitiello. Poets Theater Jubilee got lots of attention in the local press and allowed us to collaborate with New Langton Arts and the Jon Sims Center for the Arts. NEW SERIES Small Press Traffic is in a growth spurt. Both our membership and our attendance are up by over 30% from last year, and we have added two new series, Crosstown Traffic and Series X, to our schedule. These series augment our Friday night reading series. Crosstown Traffic is interdisciplinary, bringing writers and artists in other fields together in collaboration and conversation. Series X is a discussion series, examining the uses of anarchy and tradition in literature and encouraging the cross-pollination of creative thought across genre, media, and politically/culturally contested spaces of all sorts. READING SERIES Andrew Maxwell and Liz Waldner, two extraordinary and splashy poets, gave an astounding reading just last Friday, and coming up we have poet and prose writers Rachel Levitsky and Fanny Howe coming to read at SPT next Friday, March 1. UPCOMING EVENTS Two of our big upcoming events are the release party for the just-published volume Technologies of Measure: A Celebration of Bay Area Women Writers, which SPT produced for the FWord Feminist Arts Festival in collaboration with Kelsey St. Press and Yerba Buena Center for the Arts. That's on March 8. Then the first weekend in April we present a conference, Coordinates 2002: Indigenous Writing Now, with participants including Native American writers and scholars Paula Gunn Allen, Esther Belin, Diane Glancy, Cedar Sigo, James Thomas Stevens, and Gerald Vizenor. That's April 5-7 here at SPT at CCAC. The conference is free to the public and you are warmly invited! OUR ARCHIVE Small Press Traffic's archive of small press books and ephemera dating back to the 1950s is available for public research and pleasure at Simpson Library, here on the San Francisco campus of CCAC. We've had folks from as far away as New Zealand coming to use this great resource, and invite you to, too! MORE INFO For more information on our programs and upcoming events, and a map to guide you here, please call us for a current flyer (415-551-9278) or just log on to our website at http://www.sptraffic.org. There's lots of good reading on our site also! The spring issue of our newsletter, TRAFFIC, has just gone out in the mail to our members. If you are not a member and would like to become one, I am thrilled! You can do so on our website or by picking up a membership form at one of our events (we'd of course also be happy to mail you one -- just ask!). Our members receive a year's free admission to all of our events, a subscription to TRAFFIC, and our gratitude! As I complete my second year at the helm of Small Press Traffic, I am eager to hear feedback on our programming and publications from you, our constituency. I plan to send out these email updates every few months. If you prefer not to receive them, please just reply to this message with a note to that effect. 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, 22 Feb 2002 11:29:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: digital poetics In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" komninos, sure, i acknowledge that... i was impressed esp. to see kac given his due... i had talked about his work in 1998, at a suny/stony brook conference on new arts/new humanities, and only the arts depts. folks seemed to have heard of him... my referencing the hawisher volume was not meant to lay the emedia situation squarely within u.s. confines... but do have a look at same, as you'll realize that the ferment out of which you get a michael joyce or a stuart moulthrop (and i should say up-front here that these two guys are friends of mine from way back) is something of the same ferment out of which you get a johndan johnson-eilola, carolyn guyer, martha petry, j. yellowlees douglas, cindy selfe, and many others---some of whom you'll find cited in loss's volume, some of whom you won't... broadly, some of the focus here can be captured by reviewing the names on the editorial board of the journal ~computers and composition~ (yes, you will find my name there too)... i wouldn't want to reduce digital arts (a newer concept) to computers and writing... but i met michael joyce at u of illinois @ urbana-champaign in 1991, as one of the writing practitioners brought in to talk to us about hypertext (i sat up on the stage and clicked through ~afternoon~ based on audience reading choices, as michael read each passage aloud---well, this is perhaps a self-aggrandizing way of putting it!)... it was gail hawisher (who coedits ~computers and composition~ with cynthia selfe) who brought michael in, along with jay bolter, (the late) james berlin, joseph williams, and others (you will note that all of these folks are composition folks, or affiliated with the teaching of writing, save for jay bolter---whose ~writing space~ was published on a press, lawrence erlbaum, that boasts something of a social science/empirical take on composition, and anything but a literary-critical orientation)... the first time i met stuart moulthrop and nancy kaplan was at a computers and writing conference in indianapolis... and the first hypertexts i rec'd from my writing students as final projects, owing of course to urbana-champaign's substantial funding for technology, are dated 1991 (bob jones, an 18th century lit scholar by training, as i recall, had put together a helluva hypermedia lab at uiuc by the early 90s... in fact i think he published an article on same in ~academic computing~ in the late 80s)... that's one set of contexts that seems to me entirely vital, perhaps more telling in historical terms that the prose/narrative bias (esp. given the general *lack* of emphasis in writing circles on poetry and poetics, though at one point, ~computers and composition~ published poetry, kinda like ~college english~ used to do)... another context might go something like this: that the information age thinking that led to the term "digital arts" have yet to fully account for the sort of work you find in david porush's ~the soft machine~ and steve heim's ~the cybernetics group~... i.e., as don byrd long ago explained to me, if the history of cybernetics is ever entirely unpacked, folks like heinz von foerster (and places like urbana-champaign, where you can find on the shelves in the communication library a copy of foerster's ~the cybernetics of cybernetics~) will most assuredly loom large... loss does, to his credit, give a brief summary of this situation (see the beginning of his chapter 5, in which he also mentions brown's intermedia project---another forerunner to all of this, and folks like nelson, bush, etc.)... but my sense, in any case, and to put it somewhat harshly, is that what's happened here is what typically happens to the word "composition" within english lit circles: it tends to drop out of the mix, and what's left becomes a matter of (in this case, literary/digital) genre and formal classification and the like... the larger insight would be that this is the way literary studies codifies knowledge (and along with knowledge as such comes a sense of history, of course)... still, the institutional ferment out of which you get many of the current u.s. academic hypertext practitioners and theorists (incl. yours truly) is underwritten by an orientation toward writing-composition (and that dastardly academic term, composition pedagogy)... fred kemp's MBU (megabyte university), the first online list to which i subscribed (and the first in which i got mself into the middle of a flamewar, with joseph williams, about what properly constitutes a "theory"), was all about computers and writing, and in fact, there was a proportionately greater number of women on this online list than you might expect (which is in fact one of the lessons of hawisher et al.'s history of computers and writing)... there are other events that, to my way of thinking, were kind of major---the online electronic salon held back in, was it 1992? by deakin u? (i think it was, just can't recall at the moment)... and then there are the multiple volumes hawisher and selfe have edited on computers and writing... in all, i was pleased to see in ~digital poetics~ an emphasis on the digital arts (emphasis on arts), but i am distressed to see the writing communities of which i speak get such short-shrift... i understand too that one book can't do it all---but given my druthers, i would have liked to see more emphasis on this latter writing history... apologies to all for zipping off these remarks with autobiographical zeal---but much of what i'm talking about hits close to home... best, joe ========================================================================= Date: Fri, 22 Feb 2002 13:49:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Bibby Subject: Re: class and innov writing MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This is a fascinating and important topic for the list, one I've been very much thinking about for several years. I think Niedecker certainly needs to be viewed from the perspective of class (as Arielle Greenberg has mentioned)--I'd also highly recommend the HOW2 forum Robin cites--here are some other references: Maria Damon, _The Dark End of the Street_ (esp. look at Maria's discussion of Ranciere's point about the bourgeois view of "worker poets" in 19th C France: to what extent is "formal innovation" a "classed" category that threatens to alienate workers from their own culture and reinforce hegemonic class values?) [hi, maria!] Cary Nelson, _Repression and Recovery_ makes a very good case for rethinking the formal complexities of so-called "agitprop" Although the essays in this book tend to oversimplify, _A Gift of Tongues_ (U of Georgia P, 1987) has a couple of good essays on working-class poetics--one of them (can't recall the author--Charlotte Nekola?) makes the point that using the standard emphasis on linguistic complexity and innovative form to judge worker poetry misses the whole point and fails to consider the "uses" of poetry for various writers and readers in economically oppressed communities-- Ross Talarico, _Spreading the Word: Poetry and the Survival of Community in America_ focuses on issues concerning the teaching of poetry in economically oppressed communities-- Charlotte Nekola's intro to the section on women's radical poetry of the 1930s in _Writing Red_ is also insightful-- Mark Van Wienen's _Partisans and Poets: The Political Work of American Poetry in the Great War_ has a very insightful chapter on the formal complexities of poetry by Wobblies-- (Sorry for the self-promo:) My own book, _Hearts and Minds: Bodies, Poetry, and Resistance in the Vietnam Era_ discusses the formal innovations of working-class GI poets during the Vietnam War--in particular, I argued that the poetry of the GI Resistance often made form central to the expression of its anti-military, anti-war political agenda-- To support what Maria's written in her follow-up e-mail to the inital post that started this thread: to characterize the diff. between working-class poetry and Poetry as a diff between form & content greatly oversimplifies--further I think it threatens to strangely dehumanize "worker poets" (only concerned [like O'Neill's "hairy ape"?] with brute, inarticulate content--the concrete, the unsophisticated expression--why can't they develop more sophisticated ways of thinking? why can't they be more like "us"?)--it also, of course, reiterates the old Lukacs/Brecht debates that seem, esp. now, to be rather superfluous--and to judge worker poetry through the same aesthetic values perpetuated by the academy seems to only reinforce the class prejudices of the academy, to underscore its privilege--rather than trying to understand the poetics actually being practiced by social groups outside the self-identified literary culture, to understand how and why they use poetry, in what way this poetry speaks to and addresses the needs of readers in these social groups, the tendency is to impose an aesthetic ideology--(also see Terry Eagleton's _Ideology of the Aesthetic_) i could go on--but i gotta go "work"-- michael bibby Robin Tremblay-McGaw wrote: > > Dear Tom and others-- > > > an interesting dialogue on what appears to be for many on this list an > exotic category of working class poets can be seen up close and personal > at the HOW2 website. See the March 1999 issue in which there is a forum > on class and innovative writing edited by Kathy Lou Schultz and me [ > http://www.scc.rutgers.edu/however/v1_2_1999/current/index.html]. You'll > find there alos my essay on class as it relates to Dodie Bellamy's > Letters of Mina Harker.......... > Robin Tremblay-McGaw > > > From: Thomas Bell > > Subject: working poets, working class poets. > > > > This topic came up on another list but it is intriguing. Unless I = > > disremember, most poetry byand/or for the 'working class' tends to be = > > traditional and focused on content rather than form? I'm not sure if = > > this is writing down or writing for? Counter examples welcome. > > > > tom bell > > ========================================================================= Date: Fri, 22 Feb 2002 14:01:46 -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 POETRY PROJECT EVENTS FEBRUARY 22, FRIDAY [10:30 PM] NICK ZEDD + REV. JEN: ART STARS ON DISPLAY PERFORM AND SCREEN VIDEO LORD OF THE COCK RINGS FEBRUARY 25, MONDAY [8 PM] QURAYSH ALI LANSANA and CATHY PARK HONG FEBRUARY 27, WEDNESDAY [8 PM] JANE DELYNN and ANN ROWER MARCH 1, FRIDAY [10:30 PM] LOUDMOUTH COLLECTIVE PRESENTS AN ANTI-READING MARCH 3, SUNDAY [3 PM] A TRIBUTE TO FIELDING DAWSON (1930-2002) ***************************************** FEBRUARY 22, FRIDAY NICK ZEDD + REV. JEN: ART STARS ON DISPLAY PERFORM AND SCREEN VIDEO LORD OF THE COCK RINGS The duo will read recent work attacking consensus reality as well as earlier crowd pleasers from their respective oeuvres that threaten the status quo. They will also screen their new movie Lord of the Cockrings (appx. 27 min). NICK ZEDD, insurrectionary mastermind of the Cinema of Transgression and director of War Is Mentrual Envy, Why Do You Exist, Ecstasy And Entropy, Police State and They Eat Scum. His books include Totem of the Depraved (2.13.61 Publications) and Bleed (Hanuman Books.) Mr. Zedd recently acted in the off-Broadway play The Intruder by Maurice Maeterlinck, and has starred in such movies as What About Me, Bubblegum, and The Manhattan Love Suicides. SAINT REV. JEN, poet, preacher, prophet and Patron Saint of the Uncool is the author of several plays, including Rats, Urban Elf, Magical Elf Panties, and Lord of the Cock Rings in which she stars. She is the author of Sex Symbol for the Insane. A painter, and a curator for the world famous Lower East Side Troll Museum, and comedienne, she has appeared at Caroline's Comedy Club, Luna Lounge and the Collective Unconscious. [10:30 pm] FEBRUARY 25, MONDAY QURAYSH ALI LANSANA and CATHY PARK HONG QURAYSH ALI LANSANA is the author of the poetry collection Southside Rain (Third World Press, 2000) and a children's book, The Big World (Addison-Wesley, 1999). He is the editor of Glencoe/McGraw-Hill 's African American Literature Anthology and is a co-editor of Role Call: A Generational Anthology of Social and Political Black Literature. He is the recipient of the 2000 Poet of the Year Award, presented by Chicago's Black Book Fair and the 1999 Henry Blakely Award, presented by Gwendolyn Brooks. CATHY PARK HONG's first book is called Translating Mo'um (Hanging Loose Press, 2002) She grew up in Los Angeles and has been living in New York for some time. A 1999 recipient of the Van Lier Fellowship, she is currently at the Iowa Writer's Workshop where she is a teaching writer's fellow. She has received the 2000 Pushcart Prize. [8:00 p.m.] FEBRUARY 27, WEDNESDAY JANE DELYNN and ANN ROWER JANE DELYNN is the author of the novels Don Juan in the Village, Real Estate, In Thrall, and Some Do. Her most recent book is a collection of fiction and essays, Bad Sex Is Good (Painted Leaf Press, 1998). ANN ROWER's second novel, Lee & Elaine, is being published by Serpent's Tail in March. She is also the author of a collection of stories, If You're a Girl and a novel, Armed Response. She has collaborated with the Wooster Group and other performers. [8:00 p.m.] MARCH 1, FRIDAY LOUDMOUTH COLLECTIVE PRESENTS AN ANTI-READING Loudmouth Collective is a young, Brooklyn-based press dedicated to portable fiction and poetry, artists' books and sound art. This March marks the first anniversary of the Loudmouth Collective Anti-Readings series. For those that associate boredom with literary functions, Loudmouth Collective presents an anti-reading of new work by Matvei Yankelevich, Joel Schlemowitz, Ryan Haley, James Hoff, Ellie Ga, Marisol Martinez, Julien Poirier, Filip Marinovic and many others. Expect live typewriter art, concrete poetry, language installations, paperless books, poetry film and loads of free books. [10:30 pm] MARCH 3, SUNDAY A TRIBUTE TO FIELDING DAWSON (1930-2002) On Sunday afternoon, March 3rd, a Tribute to the writer and poet, Fielding Dawson, who passed away on January 5th, 2002, will be held at The Poetry Project from 3 to 7 pm. He will be deeply missed. -- 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, 22 Feb 2002 14:24:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ". sandra" Subject: Re: Articles on Zukofsky as translator? In-Reply-To: <3C74A06D.6B41038E@abo.fi> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --On Quinta-feira, 21 de Fevereiro de 2002, 9:23 +0200 Fredrik Hertzberg wrote: > I'm looking for articles/essays on Zukofsky as translator. So far, I've > found only the three pieces in Zukofsky Man and Poet (by Burton Hatlen, > Guy Davenport, and David Gordon). If you know of any other stuff, I'd be > very happy to find out. > Fred Hertzberg > Helsinki, Finland > fred: so far, from the more immediate resources available to me here are 3 articles about his work although i don't know if they talk specifically about Zukofsky as translator may be this is no help at all Phillip R. Yannella, "On Louis Zukofsky," in Journal of Modern Literature, Vol. 4, No. 1, September, 1974, pp. 74- 87. Julian Symons, "All = Nothing," in London Magazine, n. s. Vol. 6, No. 5, August, 1966, pp. 82-6. "Louis Zukorfsky with L. S. Dembo," Contemporary Literature, Vol. 10, No. 2, Spring, 1969, pp. 203-19. sandra guerreiro ========================================================================= Date: Fri, 22 Feb 2002 12:47:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: California poet laureate? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Tom Bell just pointed out to me what it was Duke Snider, not Snyder. Too bad that Gary can't claim to be related to Duke, who owned his own suit. I remember seeing Ginsberg in Berkeley, shortly after he's received a Guggenheim, wearing a suit. I suspect he's the Poet Laureate of Nirvana.. -Joel Joel Weishaus Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 ========================================================================= Date: Sat, 23 Feb 2002 00:01:53 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: working poets, working class poets. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Er, I am most definitely a counter-example. This is an interesting topic but also one I feel twitchy about. I am most definitely working-class, that is to say, not just born working-class but remaining so. I do not write to the stereotypes of how working-class poets should write. I use to be a shop-steward in my twenties, btw. But I find debates on this matter restrictive from both sides, as it were, there are those who carry around prescriptions of how us lower-classes should write, while at the same time others tyles seem to have guardians installed to keep out the hoi-polloi. That people on this list might be uncomfortable with the idea of working-class poets doesn't surprise me, I'm afraid to say, it's much the same elsewhere. Those who are supposed to be silent shouldn't start speaking, should they? 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: "Fargas Laura" To: Sent: Thursday, February 21, 2002 3:22 PM Subject: Re: working poets, working class poets. At 1:54 AM -0600 2/19/02, Thomas Bell wrote: >This topic came up on another list but it is intriguing. Unless I >disremember, most poetry byand/or for the 'working class' tends to be >traditional and focused on content rather than form? I'm not sure if >this is writing down or writing for? Counter examples welcome. Marge Piercy. Union organizers use her poems, and they get xeroxed and passed around. Laura ========================================================================= Date: Fri, 22 Feb 2002 12:39:31 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Borkhuis Subject: Book Party and Poetry Reading Comments: To: andrewsbruce@netscape.net MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Book Party and Poetry Reading Celebrating the publication of We Who Love to Be Astonished: Experimental Women's Writing and Performance Poetics Edited by Laura Hinton and Cynthia Hogue University of Alabama Press Friday, March 1, 7:30 p.m. Fordham Lincoln Center, 12th Floor Lounge 113 W. 60th St. (at Columbus Ave.), New York, New York * Introduction by Charles Bernstein Co-editor of the Modern and Contemporary Poetics series at University of Alabama Press Readings by Ron Silliman, Rachel Blau DuPlessis, Mei-mei Berssenbrugge Open to the public http://www.uapress.ua.edu/authors/Hinton01.html * By subway, take 1,2,3,A,C,B, or D to 59th St., take exit at 60th & Bdwy, proceed west one block to 60th & Columbus. Co-sponsored by Fordham University's Poets Out Loud Series, and the University of Alabama Press. Info: 212-636-6792 ========================================================================= Date: Sat, 23 Feb 2002 02:46:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: Re: Poem MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit new email trbell@comcast.com tom bell ----- Original Message ----- From: "Nick Piombino" To: Sent: Wednesday, October 10, 2001 8:17 PM Subject: Poem The Broken Angel Something which is absent flows nonetheless. The words contain the table they are written on. You can rest your arm on them. Simplicity belies itself, occasion Does more than reach out, it annexes Moments by subtracting them. Occasion Leaks through time, catching its hold on The rough textured edge of conviction. The "I" aspires to stretch its arms, Move about comfortably, settle in. But the invisibility of response, the familiarity Of a certain dance which takes its same turns While everyone is watching, emotions, thoughts, Predictions, choices shift into a perfectly orchestrated Ensemble:-this would not necessarily have to be Recorded in notes, you could relive it day after day, Century after century in a series of affective rituals. Although it is self-evident you observe that «Things live or die» you do admit That birth is far from painless, you Acknowledge human helplessness before diseases Like A.I.D.S.-the multiplicity of forms of physical And psychological cruelty that existence confers. Should you deny this you'll never see the space Between the glass and the landscape outside Which we all agree is lovely and in tremendous peril. The rebels are taking their positions, The old fathers are constructing weapons, People are fearing for their lives, Nobody can take their eyes off the facts for a moment. Over and over again you have to teach yourself How to breathe, how to stand and talk. Does this sound like you? It isn't you, in fact, even though we share The same world, the same trees, the same room. Sorry about the broken angel, it's no one's fault. Sometimes the years burst their seams And growth goes where it will. But There must always be time for fumbling through the memorabilia For putting some order next to the scurrying chaos If not around it:-a "running fence." Originally published in Central Park (#21-Spring 1992) and in Light Street (Zasterle) 1996 Nick Piombino ========================================================================= Date: Sat, 23 Feb 2002 00:53:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Minneapolis evening performance residue 2/22/02: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Minneapolis evening performance residue 2/22/02: (I performed, then Miekal And. I ran video/still images, wrote the following text; all this was projected from a laptop - the text written live - sometimes 2-3 videos would play at once - the text brackets the audio-visual.) my work's concerned with language, sexuality, the virtual body and subjectivity - all of these elements interacting online and off - i'm concerned with what happens beneath the surface, the coding, the psychoanalytics, the substances i'm concerned, i'm very concerned thank you! It's r-rated, not X-rated - the difference I think is based on penetration? I'm not really sure... I do codework and what might be considered virtual -body work online. For example - sorry about the errors - they accumulate - for example the mime piece I showed yesterday - please exit through that door over there!!! <===== sure!!! well, we know nothing about mime. we do know that hmmm... there are glass boxes and ropes and things and sometimes the hula =- you've got a bit of all this here - it's like a language mapped across the body - for that matter the hula is really an exact mapping, azure's smoking again - down the stairs, up the stairs, etc. etc. so this seemed a bit boring and we sent the mimes to hell - heh heh the fire's really hot! but the digital layer does add something else to it - a kind of sign imposed on the body from outside - it's through the framework - it's not present in the space we're performing in... these are darker works... about a year ago we were at the experimental television center in owego upstate ny and were able to create a piece i'd wanted to do for a long time - exploring literal writing on the body - in a kind of presencing of both sexuality and inscription - that comes next - that's here - the sound triggers the cameras through an analog synthesizer... we write chinese ideograms on each other - from an early period of the development of the characters - we come together, erase them through our contact - we're apart - we stamp each other with hanko - one at the beginning and one at the end - I seem to be making less typing mistakes than usual for this kind of stuff. i showed this in Buffalo and Loss Glazier thought that I was hmmm... like it was a big movie done but you know better, Minneapolis! anyway the ideograms are those for breath, circulation, respieration (heh!), turning, - and above the genitals, a symbol for negation - it's the same in contemporary Japanese - I'm in the wrong font here... I'll skip about - to show how this works... Azure's a lot younger than me but we're married. we showed some images in the university in Florida and the students thought she was my daughter... you can have absolutely no idea what that led to. this piece with foofwa d'imobilite also uses the five camera setup - he's a brilliant dancer from switzerland... we did a number of works deconstructing ballet and emphasizing both the labor and the sexuality involved - then of course there are the extensions of these body issues through mathematics - but these are stationary images - we'll just use the sound - that was a bit of a lacanian mystery with all those symbols... but i began to get interested (I began to get interesting? Not on your life) - I began to get int. etc. in transforming images into mathematical functions and then modifying them through a program called Mathematica - it produced the result you see above left but also could modify existing digital images - In all of them the body's surrounded by mathesis, a mathematical space that heightens the contrasted areas... In the movie above left - those are Azure's nipples mapped onto a mathematical framework, turned into a three-dimensional mapping which is then deconstructed by transforming positions and parameters... Azure stood at the end of the dance piece; it was important that she stood - it brackets the relationship of the males who were in a kind of competition - the fast guitar - the dahdahdah - the dance - as if we could overpower each other - the vertical positioning changed everything - well, I worked through a character called Nikuko - "meat girl" in Japanese - who started off as a snack-bar girl and ended up as a demiurge. Azure played nikuko and I played Doctor Leopold Konninger in a series of texts, videos, soundworks, and performances. Nikuko would pirouette for Doctor Leopold Konninger or anyway as you can see a lot of the work has to do with bodily abjection as well - the relationship between the body and various forms of discomfort... what happens if you map flesh onto asteroids? or onto three-dimensional space itself - creating convoluted spaces... - all of this - this section - based on the near earth object (NEO) email list I belong to - warning me, through NASA, of whatever asteroids are about to hit the planet. there are also images of flybies (?) flybyes of asteroids, al silent of course - so I worked on making them work for me... this is part of a series of works using Nikuko and Dr LK - produced at the same place using analog synthesizers - they were run as a series at Millennium Film in NY - you see the references to piroettes here.. she dances and dances for the doctor. the two of them are locked together like gears or cams in a localized sexual economy written by george grosz - there's no escape from it/them, from the obsessiveness - how did we get here? the deconstruction of the body, of inscription on or around the body, of ballet, of writing on the body, of an incipient sexuality, of machinery and functional gears... we could end with a couple of things - Miami Everglads and the welcome movie and then there was the mess of the Everglades and the violent sexuality of Miami and its highest crime rate in the country and the corrupt university and civic government and and and and about Miami, as someone said, Trust me you don't want to go there but this isn't about Miami so much as about deconstruction and the body and inscription and sex and language and and and and and ... just one more runthrough - the "new one" btw (by the way) refers to a computer i got from the place to use while I was there - it's not THIS machine - THIS machine is a lot better - I can really DREAM on this machine - and as you see it allows a lot of movies to play at once. testing one two three can you hear me? testing one two three can you hear me? I'm azure Carter's neurotic husband, welcome to - Cyberspace (If I were Miekal I could make that really big and move all over the page! Alan .. _ ========================================================================= Date: Sat, 23 Feb 2002 08:29:54 -0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed He is not related to Joseph Heller, though when he had a house in the Hamptons he was often referred to as "the other Heller." Date: Fri, 22 Feb 2002 07:34:59 +1300 From: "richard.tylr" Subject: Re: READING, ETC. Is Michael Heller related to Joseph Heller of "Catch 22"? Richard. ----- Original Message ----- From: "Michael Heller" To: Sent: Thursday, February 21, 2002 1:39 AM Subject: READING, ETC. > The WRITERS' RETROSPECTIVE series: > > Presents MICHAEL HELLER > > Thursday, February 28th 6:30 PM > > "Heller's poetry and prose are noble in gesture and intent, superbly rich > and profoundly emotional. The should be considered a unique and vital part > of the contemporary canon"---Dictionary of Literary Biography > > at LOCUS MEDIA > > 594 Broadway #1010 (Between Houston & Prince) > > Admission: $8.00 ========================================================================= Date: Sun, 24 Feb 2002 01:15:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Note and These People MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Miekal And, Azure and I, have been doing workshops and performance at the University of Minnesota, Minneapolis, thanks to Maria Damon. The events have been incredible for us - really successful as well. For the first time, there were no technical problems; everything worked. I demonstrated an awk filter I use in unix and began thinking about apply- ing it to dipthongs instead of letters, created a crashed partial coding which couldn't be decrypted. In Minneapolis we've been to a lot of used bookstores - bought for example Japanese Street Slang, Tibetan-English Dictionary of Buddhist Terminology, Hulme's Speculations, books on Nara and Katsura, Wallace's The Psychology of the Internet, Whitehead's Process and Reality. I thought of my worst Miami nightmares, wrote the following with the script - === these people these party people screw you over with their fucking drugs, it's a drag to be around them, he wants you to screw his wife, she wants you to screw her husband, they'll open their holes to anyone really annoying he's a real pest and tremendously needy he's just awful and screwed up she's unbelievably a total mess some sort of jerk and far too fucked up and they're incredible sluts and going to suck anything in sight suicidal and depressed half the time a horrible baby diseased and never going to leave you alone smelly between the legs and ready for violence all the time and needy beyond belief and incapable of loving anyone and saddled with a borderline personality and he's a total loser and she's a fucked-up tease who won't do a thing and they're part of a lousy crowd and she's going to screw you over and really annoying he's a real pest and tremendously needy he's just awful and screwed up she's unbelievably a total mess some sort of jerk and far too fucked up and they're incredible sluts and going to suck anything in sight suicidal and depressed half the time a horrible baby diseased and smelly between the legs and ready for violence all the time and needy beyond belief and incapable of loving anyone and saddled with a borderline personality and he's a total loser and she's a fucked-up tease who won't do a thing and they're part of a lousy crowd and she's going to screw you over and really annoying he's a real pest and tremendously needy he's just awful and screwed up she's unbelievably a total mess some sort of jerk and far too fucked up and they're incredible sluts and going to suck anything in sight suicidal and depressed half the time a horrible baby diseased and never going to leave you alone smelly between the legs and ready for violence all the time and needy beyond belief and incapable of loving anyone and saddled with a borderline personality and he's a total loser and she's a fucked-up tease who won't do a thing and they're part of a lousy crowd and she's going to screw you over. ========================================================================= Date: Mon, 25 Feb 2002 12:01:29 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Susan Howe MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Briefly. I see Susan Howe as predicating her work of an historical and to some extent an autobiographical frame and movng from there: it is a fairly common ploy to take a given text and so on and work through or with it: but Howe's work transforms these potential frames or structures by combining lyricallity with intelligence and as well as a sense of history and so on there emerges an interesting poetic...some parts eg of "Pyhagorean Silence " I feel could be read without any (special) knowledge even of poetry: by the intelligent or sensitive lay-person so to speak:someone who is alert and intelligent. Of course various exegeses and "linkings" can help to intensify the poem:but that, as always, depends where the reader wants to go. Richard. ----- Original Message ----- From: "Hank Lazer" To: Sent: Friday, February 22, 2002 3:18 AM Subject: Re: Discount offer - Rachel Back's new Susan Howe book > A thought on Rachel Back's Susan Howe book: read it. I think that > you'll find it's much more of an extended source study (among other > things) than a biographical reading or biographical decoding. > > Hank Lazer ========================================================================= Date: Sun, 24 Feb 2002 11:45:51 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Fw: Urgent: Survival e-news extra] Comments: To: Britpo , ImitaPo , PoetryEspresso@topica.com, Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit For as many eyes as possible. David Bircumshaw Leicester, England Home Page A Chide's Alphabet Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/index.htm ----- Original Message ----- From: "Brian Fewster" To: ; "Chris Davies" ; "Matthew Gough" ; ; "Robert Ball" ; "Simon Bennett" ; ; "tonyc.walker" ; ; ; ; ; "patcorina" ; "david.bircumshaw" ; ; "Anna Cheetham" ; Sent: Sunday, February 24, 2002 11:38 AM Subject: [Fwd: Urgent: Survival e-news extra] >Return-Path: >Date: Sat, 23 Feb 2002 00:21:04 +0000 >From: Chris Keene >X-Accept-Language: en >To: Chris Keene >Subject: [Fwd: Urgent: Survival e-news extra] >X-UIDL: 4YM!!U:1"!"7_"!%:4!! > > Survival's e-news is normally sent out monthly - apologies for this extra bulletin, which we are sending because of the extreme urgency of events unfolding in the Central Kalahari Game Reserve in Botswana. BOTSWANA: BUSHMEN WITHOUT WATER The Botswana government has now deliberately cut off water to Gana and Gwi Bushman villages in the desert. In the last couple of days officials have removed parts from the Bushmen's only pump, making it impossible for them to get any water. They also deliberately emptied the tanks containing their remaining water supplies. Bushmen who tried to protest were abused. Government officials still falsely claim that Bushmen are leaving their homes willingly - although they admit that they want to remove all Bushmen from their ancestral lands in the reserve. If they succeed it will entail the destruction of the Gana and Gwi tribes who have supported themselves on their land for 20,000 years. PLEASE HELP! Please send an email (with a blank subject line) protesting at this step to as many as possible of: stsiane@gov.bw, parliament@gov.bw, dwnp@gov.bw, botswanatourism@gov.bw Please forward this message to anyone you know who may be interested. More information on the situation and the campaign: http://www.survival-international.org/latest.htm Survival International, founded 1969, registered charity 267444. ---------------------------------------------------------------------------- ----------------------------- >Survival International is a worldwide organisation supporting tribal >peoples. It stands for their right to decide their own future and helps >them protect their lives, lands and human rights. It receives no >government funding and is dependent on donations from the public. To >find out more or to help see http://www.survival-international.org or >email info@survival-international.org > >Please forward this message to anyone who may be interested. > >English: >To subscribe: send a blank message to survival-on@mail-list.com >To unsubscribe: send a blank message to survival-off@mail-list.com >To change your address: send a message from your new address to >survival-change@mail-list.com, with your old address in the subject line > >Espanol: >Si deseas recibir estas noticias en espanol, envia un mensaje en blanco >a survivalspan-on@mail-list.com >Para dejar de recibir las en ingles, envia un mensaje en blanco a >survival-off@mail-list.com > >Portugues: >Para receber as novidades em portugues, envie uma mensagem vazia a >survivalport-on@mail-list.com >Para parar de receber as novidades em ingles, envie uma mensagem vazia a >survival-off@mail-list.com > > > Brian Fewster (bfewster@gn.apc.org) ========================================================================= Date: Fri, 22 Feb 2002 13:06:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: Discount offer - Rachel Back's new Susan Howe book MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Now that we're moving away from the book itself and toward a sense of reading... I think unless explicitly stating it out front, a reading reducing understanding poetry (or specific poems) to autobiography is a very bad approach, and a reading that ignores autobiography or treats it as irrelevant for whatever reason is also suffering from unacknowledged limits. Unless explicitly reading a poet's writing one way for a particular reason, say Howe autobiographically to shed light on sources for her 'themes', or non-autobiographically to really focus on her shifting of memory through language say, then why not take both into an account of reading? Why does it have to be one or the other exclusively? ----- Original Message ----- From: "Maria Damon" To: Sent: Thursday, February 21, 2002 7:35 AM Subject: Re: Discount offer - Rachel Back's new Susan Howe book > i agree w/ mister kazim ali: there's a lot more to autobiographical writing > than match-the-poetry-to-a-specific-event-in-the-poet's-life. a person > lives in history, in culture. doesn't it make a difference that she lives > in the 20th century and not the 19th? doesn't it make a difference that > she grew up in certain powerful historical environs (new england) which > continue to provide source material for her work? biography is much more > than events in a private life --tho' at times, those are significant too. > it's easy to dismiss a reductive understanding of biography, but that's not > the whole story. > > At 1:22 AM -0500 2/20/02, Millie Niss wrote: > >Howe does seem like the last poet I'd want to read autobiographically. Her > >themes are squarely in mythology or history or literature, and I can't > >imagine how knowing about her life would help. Even if it did, I think it > >would lessen the impact of the poetry, not expand it. If Howe were > >experiencing a difficult to hide illicit love affair at the time she wrote > >about Tristan and Iseut, I don't want to hear about it! It would disappoint > >me to think that's why she wrote that poem (I'm thinking of part of > >Pierce-Arrow). It's generally true that most people write poems because of > >something psychological (obviously, we do everything because of _something_ > >psychological/biological/whatever; we can't be explained at the intellectual > >level alone), but it is more respectful and more sensible to approach a poet > >according to the thematic and intellectual strains in her work than by > >attributing everything to her personal life. I mean, if we were to learn > >that Howe wrote the beginning of Pierce Arrow because she was able to work > >better since her cat was in the cat hospital after a neutering opewration, > >so wasn't comppeting with poetry for her attention, what good would that do > >us? It is ridiculous.... I assume the book in question does not present > >this kind of ridiculous detail, but in some sense, all biographical > >criticism is like this, at least if the poet if not autobiographical in her > >work. > > > >I have found knowing the biography useful in reading other poets, > >specifically poets whose biography is assumed knowledge in their works. For > >example, reading Robert Lowell without knowing about his family (for the > >early poems), his conversion to Roman Catholicism, his wives, daughters, and > >breakdowns, is somewhat difficult. The blatantly confessional poems speak > >for themselves, but the poems that follow just assume we know this material, > >and if we don't, they don't quite make sense. But I think that current > >poetic trends are not in favor of autobiographical poets (except perhaps for > >Afro-American female poets); it just doesn't matter who a Language poet is > >in real life, and it probably matters even less who a formalist poet is. > > > >Millie > > > >P.S. > > > >By the way, what do you call the type of poetry that Ashbery writes? It's > >not Language (it precedes it), it's not new Formalism obviously, is just > >plain "postmodern" specific enough to describe a style? It seems too > >vague... Also, what about the styles of non-elite poets? You know, the > >kind that are perfectly good, and read by many of us, but not trend-setters. > >They tend to used a "realistic" style, but not a formal one, more of a plain > >free verse thing. Some really stand out though and I think they are better > >than mediocre, like Goldbarth or Nicholas Christopher (in 5 degrees > >especially)... How would you describe these poets style (they're obviously > >not the same... > > > >-----Original Message----- > >From: UB Poetics discussion group > >[mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Jeffrey Jullich > >Sent: Monday, February 18, 2002 7:11 PM > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: Discount offer - Rachel Back's new Susan Howe book > > > > > >> One of the book's most compelling arguments is > >Back's case for reading Howe's work > >autobiographically. > > > > > > > >Oh, drat. And I so eagerly had my credit card poised > >to order. > > > >~More~ biographical reductivism? (?!) > > > >Is there no end to this ~People Magazine~ school of > >criticism recidivist trend of reading de-subject-ifed > >text through insiders' information about the private > >life of the (theoretically extinct [:Barthes]) author? > > > > > >I've presented on Howe only once at an academic > >conference, a fluke, (--- to paradoxically reverse my > >protest against personist criticism with an ostensibly > >personist retort ---) and published criticism/reviews > >of her books only twice (aside from that, my scansion > >Howe postings here this past spring serve as the only > >remaining public tip-of-the-iceberg evidence of > >in-depth involvement),--- but everything I've been > >able to amateurishly contrive about her, the "vertical > >reading," the interpretation of ~Bed Hangings,~ etc., > >was done without this wizard's stone of the > >conveniently neurotic Oedipal facticity of biograpy; > >and an entire factory of critics could have gone on > >writing from now until the deforestation of all paper > >sources similarly explicating her books along > >suprapersonal lines. > > > >What a disappointment, what a crushing disappointment, > >--- and how perplexing! --- that the first full-length > >book on our greatest living poet is reported to resort > >to the universally infallible decoder key of Reading > >Through The Life. > > > >...As though as indomitable a suprapersonalizer as > >Mary Magdalene's ~noli me tangere~ from Howe's > >depicted Risen Christ Himself didn't insist on > >transcendentalisms larger than one-woman > >(auto)biography. > > > >Language poetry = covert Confessionalism? > > > >>> This study debunks the myth of Howe's > >impenetrability > > > >One might've chosen a less frustratedly phallic, more > >invagination-friendly predicate for her > >unfathomability. > > > > > > > > > > > > > > > >__________________________________________________ > >Do You Yahoo!? > >Yahoo! Sports - Coverage of the 2002 Olympic Games > >http://sports.yahoo.com > ========================================================================= Date: Sun, 24 Feb 2002 09:05:08 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Del Ray Cross Subject: SHAMPOO reading on March 1 in SF MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Dear SHAMPOOers, To help us celebrate 10 issues and 2 years of SHAMPOO, the fabulous Poetry & Pizza series is hosting SHAMPOO's first reading ever. Your calendars should be marked "SHAMPOO" this Friday, March 1 at 7:30pm At Escape from New York Pizza 333 Bush Street (near Montgomery Street BART Station in downtown San Francisco) $5 gets you all the pizza and poetry you can handle proceeds go to St. James Infirmary Featured readers will be Tim Yu, Cassie Lewis, Beth Murray, and Del Ray Cross, along with a few surprises. Here are a few words about our sooper- sudsy readers: Tim Yu has a chapbook entitled _Immersion_ and his poems have appeared in SHAMPOO and the Asian Pacific American Journal. He is a graduate student in English at Stanford, and you can find his website at www.stanford.edu/~tyu. Cassie Lewis, originally from Melbourne, has been living in the San Francisco Bay Area since 2000. Her first book, _High Country,_ came out with Little Esther Press in Australia in 2001. Another is due very soon from Potes & Poets. Beth Murray received an MFA from the University of Illinois-Chicago. Her books of poetry are _Hope Eternity Seen on the Hip of a Rabbit_ (a+bend), _Spell_, and _Into the Salt_ (lucinda). She lives in Oakland where she edits "The San Jose Manual of Style" with her husband, David Larsen. Her work has been published in "Volt," "Tinfish," "Clamour," "Fence," "Kenning," "Skanky Possum," and is forthcoming in "Old Gold." Del Ray Cross is the editor of SHAMPOO (www.ShampooPoetry.com). His little book of poems entitled _Cinema Yosemite_ is just out from Pressed Wafer (www.durationpress.com/pressedwafer). It's gonna be a terrific party & I hope to see you there!! Squeaky cleanalicious, Del Ray Cross, Editor SHAMPOO clean hair / good poetry www.ShampooPoetry.com (If you'd rather not be on the SHAMPOO e-list, just let me know.) ========================================================================= Date: Fri, 22 Feb 2002 18:36:00 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: trbell@COMCAST.NET Subject: Golden Age MIME-version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT "We are living in a neo-golden age of poetry, we want to embrace that fact and show our support for the genre. Years ago, newspapers regularly printed poetry. We would like to reinvigorate that tradition." - Charles McGrath, editor of the NYTimes Book Review. I wonder if the NYTimes definition of this neo-golden age will extend to the forms and places alluded to in the discussion s here of Loss' book? 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: Sun, 24 Feb 2002 12:45:55 +0100 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: working poets MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Tom, adding to Maria-- Muriel Rukeysers first two books, first two of Sherman Alexie both form oriented, the first used later by wcw for Patterson the second it's own gig. Depends on what you mean by content driven, work I assumed-- Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Mon, 25 Feb 2002 00:06:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: a MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 0: 1: 20: 21: 139: " Beguine. 174:You cry. 295: nothing more so show me the door" 700:You kiss yourself. 844: yours! " 857: 2603:millimeter pistol. 2622: 2771:door. It is brown, wood. I shoot them. The pistol hums, it doesn't go 4234:up. 4238: 4239:I woke up frightened, Nikuko, frightened of everything. 7062:of struggle in the pipes. 9587: 10191:in the hole of the forest 14834:moved slowly nothing moved 14923: 27359:thicket. why did they burn the shelter down? in the center 28978:subtlety of embers... 42397: 42666: 80608:over. 80614: ========================================================================= Date: Fri, 22 Feb 2002 13:24:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shiny magazine Subject: SHINY MAGAZINE MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii "Not to play favorites...but isn't Shiny good?"--The Poetry Project Newsletter "Garish fashions meet gaudy poetics"--Vanity Fair S H I N Y - B I E N N I A L V O L U M E S O F N E W W R I T I N G The current issue, NUMBER ELEVEN, edited by Michael Friedman includes writing by: Lydia Davis Clark Coolidge Leslie Scalapino John Godfrey Ron Silliman Bernadette Mayer Rosmarie Waldrop Kit Robinson and many, many others (for a complete list of contributors, see below) 240 pages / Fifteen Dollars ORDER DIRECTLY FROM SPD BY CLICKING THE URL BELOW http://www.pub24X7.com/scripts/rgw.dll/rblive/BOOKS:OneProduct,this.Create(096246533X) Also still available: NUMBER TEN, guest-edited by Larry Fagin, includes 30 pages of Ted Berrigan's previously unpublished journals and work by: John Ashbery Charles North Lyn Hejinian Kenneth Koch Lisa Jarnot Ted Greenwald Harry Mathews Carla Harryman Stephen Rodefer and many, many more (complete list at bottom) 220 pages / Fifteen Dollars SPD WILL SEND IT ZIPPILY IF YOU CLICK THE URL ABOVE Keep an eye out for NUMBER TWELVE hitting newsstands with a bang fall 2002 Editorial Board: Editor: Michael Friedman Art Editor: Duncan Hannah Contributing Editors: Larry Fagin, Michael Gizzi, Eileen Myles, Ron Padgett, Cole Swensen and Geoffrey Young Complete list of contributors to No. 11: Richard Baker, Dodie Bellamy, Alan Bernheimer, Ellen Berkenblit, Bill Berkson, Mei-mei Berssenbrugge, Reed Bye,Fran Carlen, Miles Champion, Tom Clark, Jim Cohn, Norma Cole, Clark Coolidge, Jordan Davis, Lydia Davis, Stacy Doris, Mark DuCharme, Chris Edgar, Elaine Equi, Robert Fitterman, Elizabeth Fodaski, Ed Friedman, Merrill Gilfillan, Michael Gizzi, John Godfrey, Michael Gottlieb, Kevin Killian, Michael Lally, Tony Leuzzi, Bernadette Mayer, Steve McCaffery, Eileen Miles, Ron Padgett, Patrick Pritchett, Elizabeth Robinson, Kit Robinson, Stephen Rodefer, Douglas Rothschild, Jerome Sala, Leslie Scalapino, Andrew Schelling, Elio Schneeman, Ron Silliman, Juliana Spahr, Cole Swensen, Keith Waldrop, Rosmarie Waldrop, Anne Waldman, Craig Watson, Richard Wilmarth, Geoffrey Young Complete list of contributors for No. 10: John Ashbery, Ted Berrigan, Miles Champion, Jack Collum, Clark Coolidge, Tim Davis, Michael Gizzi, Judith Goldman, Emily Greenley, Ted Greenwald, Carla Harryman, Lyn Hejinian, Piero Heliczer, Anselm Hollo, Lisa Jarnot, Kenneth Koch, Steve Malmude, Harry Mathews, Gillian McCain, David Meltzer, Ange Mlinko, Charles North, Ron Padgett, Clere Parsons, Winthrop Mackworth Praed, Judith Reifman, Pierre Reverdy, Stephen Rodefer, Prageeta Sharma, Carol Szamatowicz, Tony Towle, Paul Violi, Elizabeth Willis, Geoffrey Young THIS IS A POST-ONLY E-MAIL - PLEASE DO NOT RESPOND __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ========================================================================= Date: Fri, 22 Feb 2002 15:31:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "WrightZ, Laura" Subject: ANON (etc.): Potato Clock Editions presents... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Eagerly announcing the publication of the first 3 books from Potato Clock Editions: Anon the first anthology of the School of Continuation with poems and manifestoes by Mark DuCharme Anselm Hollo Patrick Pritchett Laura Wright and artwork by Jane Dalrymple-Hollo In Cities by David Ball and Arranging Nature by Paul Naylor Each title is usually $7, but the following prices apply to Poetics List members: $6 each or, even better, $17 for all three titles (includes shipping w/in the U.S.) Please send orders (prepaid) to: Laura Wright 298 Arapahoe Ave #7 Boulder, CO 80302-5821 Please contact me (e-mail Laura.Wright@colorado.edu) with any questions or for international orders. -- Laura Wright Serials Cataloging Norlin Library, University of Colorado, Boulder (303) 492-3923 "Translation is not appropriation; it is a form of listening that then changes how you speak." --Eliot Weinberger ========================================================================= Date: Mon, 25 Feb 2002 09:50:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: 2 New Media Positions at UMaine Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ASSISTANT PROFESSORS OF NEW MEDIA (TWO POSITIONS) The University of Maine New Media program is seeking two tenure-track faculty members to begin September 2002. Rank: assistant professor. Qualifications: One position requires extensive knowledge of information systems, dynamic databases and Internet programming. The other requires a broad understanding of the historical, theoretical and ethical implications of new media. Both require a demonstrated commitment to the highest standards of production, teaching, service, student advising, and scholarship. Terminal degree in related discipline or comparable professional experience preferred, Masters Degree required. Significant professional and/or creative experience in New Media development and expertise in a relevant subject area are highly desirable. Responsibilities: Primary duties include teaching undergraduate core and elective New Media concepts and skills courses, supervising senior projects, and participating in research conducted by program's student-centered New Media and Internet Technologies Laboratory. Application: Review of applications will begin as they arrive and continue until positions are filled. Submit a letter of application; curriculum vitae; names, addresses, phone numbers and email addresses of three references; statement of teaching philosophy; appropriate documentation of research; and examples of creative effort. Supporting material such as teaching evaluations, course syllabi, or other pertinent information may be included. Send materials to: Professor Bill Kuykendall, Search Committee Chair 5713 Chadbourne Hall University of Maine Orono, Maine 04469 Telephone: 207-581-4403 Email: bill_kuykendall@umit.maine.edu Web page: www.ume.maine.edu/~new media The University of Maine is an Equal Opportunity/Affirmative Action Employer. ========================================================================= Date: Mon, 25 Feb 2002 09:42:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Levistky & Howe at Small Press Traffic, 3/1 MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Small Press Traffic presents Friday, March 1, 2002 at 7:30 p.m. Fanny Howe & Rachel Levitsky Tonight we present two writers at ease in poetry, prose, & everywhere in between. Join us as they continue to map the range of possibility. Rachel Levitsky’s magnificent meanderings can be traced through the chapbooks 2[1x1] Portraits (Baksun, 1997), The Adventures of Yaya & Grace (Potes & Poets, 1999), Cartographies of Error (Leroy, 1999), & Dearly, (a+bend, 2000). A Brooklynite, she coordinates the Bluestocking reading series in NYC & publishes Belladonna books. Fanny Howe's most recent novel is Indivisible (Semiotexte/MIT Press, 2002), & her Selected Poems appeared in 2000, from the University of California Press. Her numerous other books include The Quietist (O Books) & the stern, gorgeous novel Nod (Sun & Moon) for which she won the American Book Award. Howe’s compelling critical writings have appeared in How2 & Moving Borders: Three Decades of Innovative Writing by Women (Talisman House, 1998). Also, mark your calendars for our conference, Coordinates 2002: Indigenous Writing Now, coming up the first weekend in April. Details at http://www.sptraffic.org/html/events/apr.html Best regards, 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, 22 Feb 2002 21:26:53 -0500 Reply-To: irving@dmv.com Sender: UB Poetics discussion group From: irving weiss Subject: Re: Project hope - kanonmedia Comments: To: hope MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Dear Reiner, There's a point at which lack of linear-cardinal direction, want of receiver's appropriate technology, freezing and having to rebegin, uncertainty of how long to wait for a link to declare itself, illegibility because of color of print, among other things, belongs to the avant-garde idea of no beginnings-no endings, enjoying the thrill of uncertainty, the seduction of the untrustable, being left to decide whether to give up or continue--all of which online art enjoys so tremendously today that we will miss it all once stabilization sets in (but it never will in computer technics!). And so I thoroughly enjoyed being buffeted about by HOPE, structural walk, the shrine, being told the sound is invalid, Beware Your, Water Water Water, Douleur-pain, that I can't express enough my admiration for your art. If I seem effusive, you will have to believe me: my rhetoric is my poetry of intention. Anyway, thank you so much for your CD, which I shall be returning to, and congratulations for the success which you have made of the entire enterprise of HOPE.. Irving http://members.tripod.com/~sialbach/ > Dear artists, > > Just a short information > > "project hope" will be shown (linked) at New Media Line of Kanonmedia, > Vienna, Austria - http://www.kanonmedia.com > > "NEW MEDIA LINE exhibition project going online on 28 / 02 / 2002" > > Love and hope > > Reiner > :::::::::::::::::::::::::::: > . > (((o))) > . > project hope > . > collecting[reflecting]spreading hope > . > http://nonfinito.de/hope/ > . > :::::::::::::::::::::::::::: > Project Hope, la net art per la speranza - Alessandro Ludovico > short review of 3Project Hope2 on Neural.it > http://www.neural.it/nnews/projecthope.htm > * > Hope, l'espoir fait créer - Annick Rivoire > review of 3Project Hope2 in Libération, Paris > http://nonfinito.de/hope/stuff/liberation.html -- http://members.tripod.com/~sialbach/ ========================================================================= Date: Fri, 22 Feb 2002 23:45:53 -0600 Reply-To: thomas/swiss Sender: UB Poetics discussion group From: thomas/swiss Subject: Digital Poetics/New Media Poetry Conference MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="US-Ascii" On the subject of digital and 'New Media' poetry, we're happy to announce = that the University of Iowa will be hosting a conference on the topic: = October 11-12, 2002. New Media Poetry: Aesthetics,Institutions, and Audiences Participants include: N. Katherine Hayles, Marjorie Perloff, Kenneth = Goldsmith, Jennifer Ley, Giselle Beiguelman, Katherine Parrish, Barrett = Watten, Martin Spinelli, Loss Glazier, Alan Golding, Al Filreis,Carrie = Noland, and others. For more information: ----------------------- ========================================================================= Date: Sun, 24 Feb 2002 13:35:21 -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 Lanny Quarles Lanny Quarles writes: "Conhunto (sic) is a kind of mexican border music descended from the German Polka music of the mid 19th century which uses a lot of accordion, though not chromatic accordian....It's sort of where Tejano music comes from...." Sometimes known as Dr. Xylene Tektor, Lanny can be reached at solipsis@hevanet.com. Born to Conhunto three little skeletons join me on the road to Pasha they are a local bandit conhunto unit but the accordion is made of flesh like glittery salamander skin clacking their bones is a sound I capture in my microphone One of them has a pistola made with a handle of red resin we came to a patio where hung the pulque curing in pig-skins and ten peyoteros lie sleeping in ten old VW buses one of them had chilies hanging from his moustache one of them had a shrunken head smoking a pipe We played the conhunto polka and I fired my cannon up into the air and caught the ball with my giant head-glove and danced till jaguars became my furniture and lived in little radio-shrines locked up in miniatures shacks built in the mountains I survived by plaiting myself banana-leaf pants and jacket and fashioning an anvil-shaped clay jug-helmet only this would frighten the bat who had become my master an image the skeleton conhunto band had projected into my mind like a yage' dream I awoke in the yarn mill to the sound of owls hunting my shoes were gone a foul taste was in my mouth I was born again Purple Alien Sticker on Scanner Lid w/ Bright White Human Teeth what these poets become on a hot Sunday scaly makers in their plundered wells they assert and assert, nobody listening the desert strong-box vacuum self-sufficiency alone and sealed leaking abit not much tigered walls of green lupine-drenched timbres jeweled robotic cockroaches arranging themselves semantic on the marquetry kabbala-wall all diseased ornaments in that rich plague of time (TIME GRINDS ME TO SWEET PURPLE OOZE!) the old noises the saprogenic gurgle of genius-mud a whine of bees in the wax skull that apple-fleshed temple a hundred miles tall birth-groom for tornadic white crow-fields or a Styrofoam model whereby the cokecans and cheap dishes retain their insane significance the absurd distances poetry squashing the merely poetic or perhaps a kind of vast and variegate cactus cathedral where sentient birds haunt and drill and mate to sun-music Lanny Quarles ========================================================================= Date: Mon, 25 Feb 2002 13:59:44 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Scott=20Hamilton?= Subject: Fwd: Big John Wants Your Reading List Comments: To: HALTwar@yahoogroups.com, antiwar_anticap_nz@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Nat Hentoff (Village Voice) Has the Attorney General Been Reading Franz Kafka? Big John Wants Your Reading List During the congressional debate on John Ashcroft's USA Patriot Act, an American Civil Liberties Union fact sheet on the bill's assaults on the Bill of Rights revealed that Section 215 of the act "would grant FBI agents across the country breathtaking authority to obtain an order from the FISA [Foreign Intelligence Surveillance Act] court . . . requiring any person or business to produce any books, records, documents, or items." 2/26/02 The FBI, under Attorney General John Ashcroft and the USA Patriot Act, can order bookstores to provide lists of books bought by people suspected of involvement in terrorism. This is now the law, and as I wrote last week, the FBI, armed with a warrant or subpoena from the FISA court, can demand from bookstores and libraries the names of books bought or borrowed by anyone suspected of involvement in "international terrorism" or "clandestine activities." Once that information is requested by the FBI, a gag order is automatically imposed, prohibiting the bookstore owners or librarians from disclosing to any other person the fact that they have received an order to produce documents. You can't call a newspaper or a radio or television station or your representatives in Congress. You can call a lawyer, but since you didn't have any advance warning that the judge was issuing the order, your attorney can't have objected to it in court. He or she will be hearing about it for the first time from you. I have been told that at least three of these court orders have been served, but that's all the information I was given—not the names of the bookstores or the libraries. And I can't tell you my source. Courts do infrequently impose gag orders preceding or during trials, and newspapers sometimes successfully fight them. But never in the history of the First Amendment has any suppression of speech been so sweeping and difficult to contest as this one by Ashcroft. For example, if a judge places a gag order on the press in a case before the court, the press can print the fact that it's been silenced, and the public will know about it. But now, under this provision of the USA Patriot Act, how does one track what's going on? How many bookstores and libraries will have their records seized? Are any of them bookstores or libraries that you frequent? Are these court orders part of FBI fishing expeditions, like Ashcroft's mass roundups of immigrants? And if the FBI deepens its concerns about terrorist leanings after inspecting a suspect's reading list, how can everyone else know what books will make the FBI worry about us? As one First Amendment lawyer said to me, "What makes this so chilling is that there is no input into the process." First there is the secrecy in which the subpoenas are obtained—with only the FBI present in court. Then then there is the gag order commanding the persons receiving the subpoenas to remain silent. Has John Ashcroft been reading Franz Kafka lately? As I often do when Americans' freedom to read is imperiled, I called Judith Krug, director of the Office for Intellectual Freedom of the American Library Association. I've covered, as a reporter, many cases of library censorship, and almost invariably, the beleaguered librarians have already been on the phone to Judy Krug. She is the very incarnation of the author of the First Amendment, James Madison. When some librarians—because of community pressure or their own political views, right or left—have wanted to keep books or other material from readers, Judy has fought them. She is also the leading opponent of any attempt to curb the use of the Internet in public libraries. As she has often said, "How can anyone involved with libraries stand up and say, 'We are going to solve problems by withholding information'?" I called to talk with her about the FBI's new power to force libraries to disclose the titles of books that certain people are reading—and she, of course, knew all about this part of the USA Patriot Act. And the rest of it, for that matter. She told me how any library can ask for help—without breaking the gag order and revealing a FISA visit from the FBI. The librarian can simply call her at the American Library Association in Chicago and say, "I need to talk to a lawyer," and Judy will tell her or him how to contact a First Amendment attorney. The reason the president and the attorney general have so far been able to trade civil liberties for security is they know from the polls that they can count on extensive support. Most Americans are indeed willing to forgo parts of the Bill of Rights for safety. Only by getting more and more Americans to realize that they themselves—not just noncitizens—can be affected by these amputations of the Bill of Rights will there be a critical mass of resistance to what Ashcroft and Bush are doing to our liberties. Accordingly, the press ought to awaken the citizenry not only to the FBI's harvesting lists of what "suspect" Americans read, but also to the judicial silencing of bookstores and libraries that are being compelled to betray the privacy and First Amendment rights of readers. I would welcome any advice from civil liberties lawyers on ways to counter both this provision of the USA Patriot Act and the gag order, which is the sort of silencing you'd expect of China or Iraq. Remember the repeated assurances by the president, the attorney general, and the secretary of defense that any security measures taken in the war on terrorism would be within the bounds of the Constitution? Whose Constitution? George Orwell said: "If large numbers of people believe in freedom of speech, there will be freedom of speech even if the law forbids it. But if public opinion is sluggish, inconvenient minorities will be persecuted, even if laws exist to protect them." Today, the public doesn't even know about this provision in the strangely titled USA Patriot Act. A lot of people are still afraid to get on a plane. Is Ashcroft fearful that if people find out about his interest in what they're reading, they'll be afraid to go to libraries and bookstores—and will start asking questions about what the hell he thinks he's doing? And where is Congress? ===== "Revolution is not like cricket, not even one day cricket" __________________________________________________ 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: Mon, 25 Feb 2002 09:24:47 -0500 Reply-To: irving@dmv.com Sender: UB Poetics discussion group From: irving weiss Subject: [Fwd: Installation] 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 post, it may be of interest to installation poets Arnold Dreyblatt wrote: > Arnold Dreyblatt > Installation: "Flashbulb Memory" (2002) > > 23. Feb. bis 20. April 2002 > > Opening / Eröffnung: > Friday / Freitag > 22. Feb. 2002, 19 - 21 > > Exhibition / Ausstellung: > John M. Armleder, Arnold Dreyblatt, Ange Leccia, Volkhard Kemptner, > Lawrence Wiener > > Galerie Anselm Dreher > Pfalzburger Strasse 80 > 10719 Berlin (Charlottenburg-Wilmersdorf) > Tues-Fri / Di-Fr 14 - 18 > Tel: 49.30.8835249 > anselm.dreher@web.de > http://www.galerie-anselm-dreher.com > -- http://members.tripod.com/~sialbach/ ========================================================================= Date: Mon, 25 Feb 2002 12:12:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: Poetry: JOANNE KYGER this Saturday evening, Sunday afternoon (POG & Chax) Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POETRY READING & WORKSHOP by JOANNE KYGER Reading: Saturday, March 2, 7pm, St. Philips Church, West Gallery NE Corner of Campbell and River $5 admission / $3 students Workshop: Sunday, March 3, 1:30-3:00 pm Poetry Center, University of Arizona 1216 N. Cherry Ave. (1½ blocks north of Speedway) Participation fee: $10 Presented by POG and CHAX PRESS with assistance from Arizona Teachings, Inc., University of Arizona Poetry Center, and friends. Please call Chax Press at 620-1626 for information. Joanne Kyger, a native Californian, is the author of 20 books of poetry, the most recent being Again: Poems 1989-2000 from La Alameda Press, Albuquerque, N.M. Her Selected Poems is forthcoming from Penguin Books in 2002. As a poet, Kyger has been associated with the Beat writers and the San Francisco Renaissance. She has lived on the coast north of San Francisco for the past 30 years. She teaches at Naropa Institute in Boulder, Colorado, and the New College of California, in San Francisco. View North Back dropped blue-grey clouds warm lull a spot of sun in this clearing of moment transferred— a perfectly peaceful point of view— Larry Eigner's window. Salute you Larry! Seagull cries 3 times and then the crow, also a reef grazer, slowest, easiest, then smooth layers exhale— Don't let yourself get away from that conversational tone line of the reef emerging low tide, windless February 2, 1996 —Joanne Kyger She’s one of our hidden treasures — the poet who really links the Beats, the Spicer Circle, the Bolinas poets, the New York School, and the Language poets, and the only poet who can be said to do all of the above. — Ron Silliman Our literary histories of the last quarter of the twentieth century were all written far too soon — in fact, before the period had even been lived. When this history is finally rewritten, as it will have to be, Joanne Kyger will assume a central place. She is one of the finest practioners of the art of poetry conceived (after Whitman and Williams, among others) as the preservation of experience in language. The scale of Kyger’s poetry is human existence; spoken language provides its measure; the animating force is curiosity. Out of these materials she has accomplished something magnificent and beautiful. She has many peers but no betters. — Ben Friedlander In stressing the self as a phenomenon, as appearing, being there - Joanne Kyger's work encourages one to move beyond the tendency to see two types of poets (women and men), which in feminist scholarship has produced a particular, unfavorable model of literary productions. Her work encourages one to see women writers as gesturing outward - in the same generous sense that Charles Olson saw Robert Creeley as a "figure of outward." This «Jacket» feature ventures in that direction with an array of critical readings, none of them particularly attuned to gender but all of them responsive to the powerful insistence of Joanne Kyger's cultivated line and ear, and the graceful persistence of a continually evolving poetic, one that lets the self go through listening to what's there - from the intimate notebook page and the company it keeps to larger temporalities and geographies - to create a self, broad and sweeping. — Linda Russo from JOANNE "JOANNE is a novel from the inside out." what I wanted to say was in the broad sweeping form of being there I am walking up the path I come home and wash my hair I am bereft I dissolve quickly I am everybody reprinted from Joanne, Angel Hair, 1970 *** 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 Humanities. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English . We also thank the following POG donors: Patrons Austin Publicover and Mark & Gail Seldess; Sponsors Sam Ace, Charles Alexander, Alison Deming, Maggie Golston, Mary Rising Higgins, Elizabeth Landry, Allison Moore, Sheila Murphy, Heather Nagami & Tim Peterson, Tenney Nathanson, Stacey Richter, Jesse Seldess, and Frances Sjoberg.for further information contact POG: 296-6416; 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: Mon, 25 Feb 2002 16:33:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Poem on Salon.com--MP3Lit MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hey, They've just put up a poem of mine on Salon.com's MP3Lit website with a sound clip (a reading of the poem with accompaniment by Joel Schlemowitz and Hiroshi Noguchi). You can check it out here if you're interested: http://www.salon.com/audio/poetry/2002/02/23/phipps/index.html -- 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: Mon, 25 Feb 2002 19:56:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark In-Reply-To: <200202241951.g1OJpY01028989@manatee.unf.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Flash No. 16 (2002) Tiff Holland | My Mother's Transvestites Tiff Holland is working on her Ph.D. at the Center for Writers at the University of Southern Mississippi. She writes both poetry fiction. Her work has recently appeared in POETRY MIDWEST, SLIPSTREAM, and THE CORTLAND REVIEW and will soon appear in EXPOSURE and LITERAL LATTE. 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, 25 Feb 2002 18:07:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Jackson Subject: Re: working poets, working class poets. Mime-Version: 1.0 Content-Type: text/plain; format=flowed Meridel LeSueur is fabulous, her book The Girl. What about Wilma Elizabeth McDaniel also? I want to add Liz Waldner as well. I see it in her work. Elizabeth Treadwell http://www.durationpress.com/authors/treadwell/home.html _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ========================================================================= Date: Tue, 26 Feb 2002 06:55:51 -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=20Press=20Conference=20=26=20Glyn=20Maxwell?= 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 Dialogue Through Poetry & Poetry on th= e Peaks Press Conference, Launch Party & Poetry Reading on Friday, March 1, 2002 at 7:00 pm at National Arts Club, 15 Gramercy Park South, New York City. FREE Also, reading are: Glyn Maxwell received the Somerset Maugham Prize and the E. M. Forster Pr= ize, which he was awarded in 1997 by the American Academy of Arts and Letters.= He is author of The Boys at Twilight: Poems 1990-1995, The Breakage, and Time's Fool and Poetry Editor of the New Republic. Stephanos Papadopoulos' first collection, Lost Days, was published Leviat= han and Rattapallax Press. His poetry has been published in major periodicals= on both sides of the Atlantic, and attracted the attention of Nobel Laure= ate, Derek Walcott, who invited him to attend the Rat Island Foundation's firs= t program on St. Lucia. More information at http://www.dialoguepoetry.org/nac_press_conference.ht= m Thank You, Ram Devineni Program Coordinator & Publisher Rattapallax Press Rattapallax Press 532 La Guardia Place Suite 353 New York, NY 10012 USA http://www.rattapallax.com http://www.dialoguepoetry.org ========================================================================= Date: Tue, 26 Feb 2002 10:18:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis Warsh Subject: ANGEL HAIR readings Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Two Readings celebrating THE ANGEL HAIR ANTHOLOGY published 2001 by Granary Books "ANGEL HAIR reaches us now from a moment in American history that is still a part of our cultural & spiritual present. Under the care of Anne Waldman & Lewis Warsh--young poets in what was, circa 1965, the hot center of a "new" "American" "poetry"--their economically printed & exuberantly disseminated magazine was a key vehicle for the innovative & groundbreaking work of an entire generation of poets & artists. This large & generous anthology is not only an archival masterpiece--the best of a time that's now gone though scarce forgotten--but an incitement to keep their work aive for a still newer generation." Jerome Rothenberg Friday March 8 7:30 Blue Books Cultural Center New College 766 Valencia San Francisco Anne Waldman Lewis Warsh Bill Berkson Joanne Kyger Clark Coolidge Dick Gallup Gloria Frym Kevin Killian David Rosenberg Sotere Torregian Norma Cole Sandy Berrigan Michael Rothenberg Lew Elllingham Saturday March 9 7:30 Moe's Books 2476 Telegraph Ave Berkeley Anne Waldman Lewis Warsh Bill Berkson Tom Clark Both readings are free ========================================================================= Date: Tue, 26 Feb 2002 11:18:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura Hinton Subject: Re: POETICS Digest - 21 Feb 2002 to 22 Feb 2002 (#2002-3 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Book Event and Poetry Reading in NYC Celebrating the publication of We Who Love to Be Astonished: Experimental Women's Writing and Performance Poetics Edited by Laura Hinton and Cynthia Hogue University of Alabama Press Friday, March 1, 7:30 p.m. Fordham Lincoln Center, 12th Floor Lounge 113 W. 60th St. (at Columbus Ave.), New York, New York * Introduction by Charles Bernstein Co-editor of the Modern and Contemporary Poetics series at University of Alabama Press Readings by Ron Silliman, Rachel Blau DuPlessis, Mei-mei Berssenbrugge Open to the public http://www.uapress.ua.edu/authors/Hinton01.html * By subway, take 1,2,3,A,C,B, or D to 59th St., take exit at 60th & Bdwy, proceed west one block to 60th & Columbus. Co-sponsored by Fordham University's Poets Out Loud Series, and the University of Alabama Press. Info: 212-636-6792 ========================================================================= Date: Tue, 26 Feb 2002 19:11:15 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: madison cawein Subject: bernstein's absorption Mime-Version: 1.0 Content-Type: text/plain; format=flowed Reading Charles Bernstein's poem "Artifice of Absorption," I was struck by a resemblance between his term "absorption' and the Sublime. To pick just one point (and one version of Sublime), Bernstein writes By absorption I mean engrossing, engulfing completely engaging, arresting attention, reverie, attention intensification, rhapsodic, spellbinding, mesmerizing, hypnotic, total, riveting, enthrallic: belief, conviction, silence which to me serves as an introduction to his passages on Poe and Dickinson which jibe with a remark in Longinus (chapter 7) that "by some innate power the true sublime lifts our souls; we are filled with a proud exaltation and a sense of vaulting joy, just as though we had ourselves produced what we had heard." Heard, received - hearing/seeing, receptivity. Bernstein remarks that ... In Poe's fiction, horror is a means not only of absorbing the reader in the tale but also, explicitly, obliterating the self-consciousness of the story's characters, who commonly fall into states of absolutely rapt presentness, or rapture, or terror, or reverie. Bernstein then goes on to quote Dickinson's "I would not paint - a picture-" as a "radically absorptive poetic" and writes Not to describe or incant but to be the thing described, "endued" - endowed - "Baloon"; to be inside, lighter than, "things," inflated by them, so absolutely absorbed as to be floating "Enamored - impotent - content"; for such enrapturement leaves one impotent to affect the world, since to be able to affect requires that one is removed from; & this armless connection not only leaves one content but also, & the double sense is crucial to the metaphysics of the poem, makes one CONtent, thinged - bolts one to the other side of the see/seen divide. Yet to be able to be absorbed into this other side requires jolts, an antiabsorptive disruption of complacent pictoral "talk." So to "stun" is to shock into one's senses, an ecstatic, perhaps mystical, transport into what Howe calls the "thrilling anonymity" of Dickinson's poetics. Author disappears & by this act "licenses" the "luxury" of a deeper absorption, by the reader, in the poem than otherwise imaginable. There are other correspondences between Bernstein's absorption and Longinus's Sublime (which engulfs, as the Sublime is wont to do, the Burkean and Kantian Sublimes). _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Tue, 26 Feb 2002 12:27:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: FW: Minnis & Catanzano read at CU Boulder Mime-Version: 1.0 Content-Type: text/plain; format=flowed This Friday, March 1st @7:30 Old Main, University of Colorado, Boulder The poetry of Chelsey Minnis and the poetry of Amy Catanzano Friday March 1st. @7:30 Old Main Auditorium University of Colorado Chelsey Minnis is winner of the 2001 Alberta Prize from Fence Books with her book Zirconia. Minnis is a graduate of the Iowa Writers Workshop, where she was a Teaching-Writing Fellow. Her work has appeared in Caliban, OntheBus, Faucheuse, The Portlander, Cream City Review, Jacaranda, Seneca Review, Provincetown Arts, Silverfish Review, Two Girls Review, Chicago Review, Kenning, and others. Minnis was a winner and featured reader at the Portland, Oregon Artquake Literary Festival. Winner of the 2001 Alberta Prize Zirconia's laconic visionary is detached, but alive to the poignancy of detachment, and through the "silver lips of a feverish child" invites connectivity by means of tenderness and brutality. Amy Catanzano's poems have appeared or are forthcoming in American Letters & Commentary, Aufgabe, Columbia Poetry Review, Conjunctions, Web Conjunctions, Facture, Greyrock Review, Iowa Journal of Cultural Studies and VOLT. She received her M.F.A. in poetry from the Iowa Writers' Workshop, where she was the recipient of a Maytag Fellowship and a teaching appointment in Literature. She received her B.A. in English from Colorado State University. She grew up in Boulder and has taught English at the University of Iowa and at Metropolitan State College of Denver. She currently works in fundraising as a research analyst for the University of Colorado Foundation. 'poetry because things say' —Bernadette Mayer _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ========================================================================= Date: Mon, 25 Feb 2002 12:49:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: FWD Jim Harrison, Live Webcast Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable WEDNESDAY 27 FEBRUARY 2002 JIM HARRISON with PETER LEWIS LIVE WEBCAST FROM SANTA FE 9:00pm EST 8:00pm CST 7:00pm MST 6:00pm PST Lannan Foundation presents JIM HARRISON reading and discussing his work with poet and filmmaker, Peter Lewis. To listen in, go directly to http://lannan.org/live If you miss the broadcast, the audio of the reading and conversation will be available on our website within 48 hours at http://www.lannan.org/audio. Check out our upcoming Web cast schedule at http://www.lannan.org/webcasts/upcoming.htm Your email address is on the Lannan mailing list. If you do not wish to be notified of future Web casts, please send an email to jo@lannan.org and ask to be removed from the Web casts email list. =46eedback on this new Lannan program is always welcome. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Mon, 25 Feb 2002 13:09:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: ** FOUR additional POETRY CENTER events added Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ** ATTENTION ** FOR IMMEDIATE RELEASE ** THE POETRY CENTER & AMERICAN POETRY ARCHIVES presents =46our special events this Spring 2002 (in addition to our regular calendar)= : An afternoon reading with California Poetry Series poets MYUNG MI KIM & GEOFFREY G. O'BRIEN Wednesday March 6, 4:30 pm @ The Poetry Center, HUM 512, SFSU co-sponsored by University of California Press in celebration of their new UC Press books Common, Myung Mi Kim The Guns & Flags Project, Geoffrey G. O'Brien * * * In tribute to Beat Generation poet Bob Kaufman CECIL TAYLOR plus TONY SEYMOUR & BLAKE MORE Saturday March 23, 3:00-5:30 pm San Francisco Public Library, Koret Auditorium 100 Larkin Street an afternoon of poetry in performance presented by San Francisco Public Library co-sponsored by The Poetry Center * * * An afternoon reading with poets MAXINE CHERNOFF & PAUL HOOVER Wednesday April 3, 4:30 pm @ the Poetry Center, HUM 512, SFSU A book party in celebration of their new collections World: Poems 1991-2001, Maxine Chernoff Rehearsal in Black, Paul Hoover published by Salt Publishing (Australia/UK) * * * In performance, Word Descarga with LOS DELICADOS Tuesday April 23, 6:30-7:30 pm San Francisco Public Library, Koret Auditorium 100 Larkin Street a program of rhythms & spoken word presented by San Francisco Public Library co-sponsored by The Poetry Center * * * Coming up: 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 Details at http://www.sfsu.edu/~newlit/readings/readings.htm#current_season =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Mon, 25 Feb 2002 13:25:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Myung Mi KIM & Geoffrey G. O'BRIEN Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable MYUNG MI KIM & GEOFFREY G. O'BRIEN Wednesday, March 6, 2002, 4:30 pm, free @The Poetry Center, SFSU, Humanities 512 MYUNG MI KIM is Professor of Creative Writing at San Francisco State University. Her three previous books of poetry are Under Flag, winner of the 1991 Multicultural Publishers Book Award, The Bounty (1996), and Dura (1998). Myung Mi Kim reads from Commons, her newest volume, out from UC Press. Myung Mi Kim's Commons weighs on the most sensitive of scales the minute grains of daily life in both peace and war, registering as very few works of literature have done our common burden of being subject to history. Abstracting colonization, war, immigration, disease, and first-language loss until only sparse phrases remain, Kim takes on the anguish and displacement of those whose lives are embedded in history. "The poems in Commons are at once global and intensely personal and emotional. An immensely talented poet, Myung Mi Kim loves language - its internal rhymes, alliterations, and diverse rhythms. Caught off guard by the beauty and precision of Kim's language and the exquisite images she so deftly conjures, we are drawn unwittingly into a web of fragmentary memories that subvert what we think we know about the violent history that haunts her and never ceases to demand recognition."-Elaine Kim GEOFFREY G. O'BRIEN's poetry has appeared in many journals, including American Letter & Commentary, The American Poetry Review, Boston Review, Denver Quarterly, Fence, The Iowa Review, and Volt. Obsessed with work and dream, shot through with weather and color, Geoffrey G. O'Brien's spirited debut, The Guns and Flags Project, pursues the possibility of the lyric itself-whether the voice raised "with melodies/and thinking" can be rescued from the ongoing disaster of progress. In roving five-beat lines the poems pass again and again through scenes of liminality-sunset and dawn, falling asleep and waking up, border crossings-searching there for a potential ethics and politics of vision, a mutating, rhythmic "project" to oppose the inert spectacle of guns and flags. Like Ashbery stoked on sonics, O'Brien insists that the restless, unsatisfied motion of thought must hold the place for an ever-decaying freedom within the state. 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 * * * Coming up: 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 March 23 Cecil Taylor, plus Tony Seymour & Blake More in tribute to Beat Generation poet Bob Kaufman April 3 Maxine Chernoff & Paul Hoover April 11 Jay Wright April 18 Kevin Davies & Kevin Killian April 23 Los Delicados 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 Details at http://www.sfsu.edu/~newlit/readings/readings.htm#current_season =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