========================================================================= Date: Fri, 31 Jan 2003 21:06:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: subrosa@SPEAKEASY.ORG Subject: Oh No! Phone# Correction Sound Poetry Festival Content-Disposition: inline Content-Transfer-Encoding: binary Content-Type: text/plain MIME-Version: 1.0 BIG MISTAKE !! PHONE NUMBER IS 503.819.9455 NOT 503.899.9455 INVITATION TO PHONE IN YOUR SOUND POEM Spare Room’s poetry collective is hosting a Sound Poetry Festival in Portland, OR u.s.a. on Feb. 22nd. Among the 12 performances, we have a 20 MINUTE PHONETICATHON where we are asking sound poets from around the world to participate. We will have 3 cell phones set up for poets to call in at exactly 8:00-8:20 PM pacific coast time, USA. All 3 cells phones will be hooked into the PA system to be amplified and recorded. All 3 calls will be juxtaposed simultaneously. We are asking you to call us and voice your sound poem. CALL: 503.819.9455 or 503.475.9256 or 503.740.6526 When you call: 1) the phone will be answered without any talking. 2) state your name as well as the city/state and country from which you are calling. 3) read your sound poem for 2-5 minutes. Please note that we will record the phoneticathon with the hopes to release the recording on CD. If you call, we assume that you relinquish permission to record your participation and release your contribution on CD. All rights revert to the author. Staying within suggested time frame (2-5minutes) will allow us to incorporate more poets in the 20 minute period. If all phone lines are busy, we ask that you to keep trying. The vision of the phoneticathon is to include as many sound poets from the furthest parts of the world. Please forward, copy and relay this message to other sound poets about this project! Please email me at mark_anypush@yahoo.com if you plan to call in your poem. Any questions can be sent to the same address. Thank you, mARK oWEns ========================================================================= Date: Sat, 1 Feb 2003 01:32:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Further thoughts on Re: White House Cancels Poetry Symposium Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Date: Fri, 31 Jan 2003 10:36:56 -0500 > From: Daniel Bouchard > Subject: thoughts on Re: White House Cancels Poetry Symposium > >> For intentions and integrity I give Sam Hamill high grades. For creativity > and stealth however, I imagine so much more could have been done. I feel an > opportunity was missed by announcing and publicizing the attempt to > embarass the administration in its own house. What did one expect from the > ad hoc Anthology of Dissent? An embossed thank you note? On the other hand, s/he who hesitates is lost. I had a similar feeling about Hamill's idea, but in the end I sent something because I know you've got to start somewhere. We don't have Allen Ginsberg around now who knew how to get us to laugh and remember that dissenters have a huge amount in common, how to shake us out of our Hamlet-like worries and contemplative inhibitions. I feel like I need to push through some ambivalence, dust off those old Country Joe and Credence Clearwater records and do something! Forget about embossed thank you notes. If George W. Bush isn't a "fortunate son" who is? I see a bad moon risin' I see trouble on the way I see earthquakes and lightnin' I see bad times today Don't go 'round tonight They're bound to take your life There's a bad moon on the rise I hear hurricanes blowin' I know the end is comin' soon I feel rivers overflowing I hear the voice of rage and ruin (arranged and produced by John Fogerty- in "Green River", 1969) ----------------------- -Nick- ========================================================================= Date: Sat, 1 Feb 2003 01:58:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: final call for submissions Mime-Version: 1.0 Content-Type: text/plain; format=flowed final call for submissions: Baffling Combustions, a hand bound journal featuring monotype print & letter pressed covers in a limited run of 50 copies will be reading for its 2nd issue until Monday send poems via email to: bafflingcombustions@yahoo.com _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 1 Feb 2003 03:39:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Further thoughts on Re: White House Cancels Poetry Symposium MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT If George Bush were my son I would have suggested to him that the adult thig to do if your wife insists on that silly poetry stuff would be to go along and try it at least? But if my dad said this to me I would have gone out to march or led the troops to Cuba? sad to say, I was at the VA today and we all looked down. tom bell ========================================================================= Date: Sat, 1 Feb 2003 01:10:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crag Hill Subject: 6 of Diamonds MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 6 of Diamonds He did not run away from his previously expressed views "It climbed the cellar steps. It climbed the front hall steps. It climbed all the way up to the attic without a sound." "All this dope dealin', disrespectin' our women, we've got to stop that. Bitter cold. They're nervous about it for sure. Germany's put itself in a box. Iraq says President Bush should be exiled to North Korea." "On Water Street, the outside walls of the shed thump now and then like a bass drum with a foot pedal at work inside it keeping the beat. In the shed performance had begun. The upbeat grabs her neck." Four moons of Jupiter in a straight line, rings of Saturn, even the uneven surface of the moon sharpened by the scope, put the governments in place: no stars, many black holes, quarry that sprawling Orion does not even consider, bow aimed away at space "His body could keep up somehow but it was the things inside of him that began to strain and roar. His lungs got so dry that they squeaked with each breath. His heart swelled from pumping so hard. He got a little panic- stricken because he knew he couldn't keep it up and he knew he had to. He wanted to die if that would get him" In the fire den of the discovery room, Lily's got an ivy tub snowing out of her wrought elbow, flooding a gloating bug that hugs a mental stare and spurts a second tub that ruins Frances' hound. Mercedes stands stuck as a silver dirge at the hut of the bad stirring her sisters. The wheat curtails, pulled back from the bad since the rhyme is pre-empted by neighbors ========================================================================= Date: Sun, 2 Feb 2003 06:09:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Yes very Yes.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ...This from our man in Abidijan....Somini Sengupta...NYTIMES...1/31/03.. ..."The antipathy toward the French, brewing under the surface for years as a residue of more than 100 years of colonial rule, may have been sudden and violent, but more bizarre than the rabid Francophobia on display has been the intense pro-American sentiment.... ...."Earlier this week, the government loyalists here rallied in front of the United States Embassy, very near the French Embassy, which they had tried to torch. They waved American Flags and tried to mouth the lyrics to 'The Star Spangled Banner.' Angry young men surrounded an American reporter and gleefullly shouted the only words of English they knew, one of them chanting repeatedly, 'YES very YES... ....."We are tired of the French people,"..sd Kory Manafnan. "We need a new partnership. We want Bush involved in our case".........DRn... ========================================================================= Date: Sun, 2 Feb 2003 06:27:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: No very No... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Unlesss truly awful Poetry has the power to immobilize Bradly Fighting Vehicles in their tracks.. Don't see what much good Sam Hamil and the Robo Boho Pos did...except to prove again that they never miss and op to miss and op... Self-glorication...self-indulgence...self-righteousnes...the love that has many names.. I was particularly amused by Mister Hamil..having to actually work 16 hours a day..my dad just retired at 80 after working 16 hours a day for 50 years at a real job.. ...he now works 12 hours a day... Dickison Whitman Langston...could have been read and discussed...Laura Bush prob. has more power over the Prez. than any one...a quiet word in a quiet room...i heard a fly...but remember this is not about stopping a war...this is like every all in the Po commune...me ..me...me....me..moi....DRn... ========================================================================= Date: Sat, 1 Feb 2003 08:35:59 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Robert Grenier's Sentences Comments: To: new-poetry@wiz.cath.vt.edu MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Robert Grenier's *Sentences* are (is?) now up on the net at the Whale Cloth Press (http://www.whalecloth.org/) web site. There is also a link on the Grenier page at the Electronic Poetry Center (http://epc.buffalo.edu/authors/grenier/) that at least yesterday took you directly to the cards themselves - but I think it makes more sense to head first over to publisher Michael Waltuch's useful notes & it's both fun & valuable to take a look at the images of the box itself. The electronic site comes very close to replicating the experience of the box itself. Each time you go through the stack, the cards will appear in a different order. I've gone through it at least a dozen times in the past couple of weeks, and I don't tire of the process at all. In New York City on February 8, Grenier will be reading/slide presentation at the Marianne Boesky Gallery (http://www.marianneboeskygallery.com/index2.php ) in Chelsea, 535 W. 22nd Street, at 8 PM, 212-680-9889. In addition to the reading/slides, Grenier is, in the gallery's words, "debuting 2 new suits of iris prints of his drawn poems, and a series of photographs from the notebooks." These editions will be on view and for sale at the gallery. The gallery plans to keep the prints on display in its viewing room for the following week. Small Press Distribution, incidentally, lists *Sentences Towards Birds*, the 1975 L Press selection, as still available at $15. This selection of about 50 cards differs from The Box in part also because of the typeface, a crisp Times Roman rather than the blocky Courier of Sentences. However, as only 100 copies of Sentences Towards Birds were printed & the SPD website characterizes it as a paperback when in fact it is a pack of cards in a specially printed manila envelope, I would call SPD directly before I ordered that item: 800-869-7553 (free phone call within the United States). (http://www.spdbooks.org/ ) ========================================================================= Date: Sat, 1 Feb 2003 06:22:29 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: SF POETS THEATRE THING MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit THURS 1/30--Trying to "combat" (with apologies to Laura Bush) poetry-tea (poetry-war) loneliness, etc., I call NYC friend. We talk briefly but time zone's fucked up; and she, in city that never sleeps must sleep, but not before at least remarking, as if to cheer me up, that the poetry scene's, or the poet's themselves, more boring in the Bay Area than in NYC.... but then I realized that the my favorite event of the SPT poetry season was occurring the next night, and once again, it didn't disappoint. In fact, even though it could be argued that the SF scene has many of the same in-group/out-group hierarchical social pettinesses one might have grown to expect from the NYC scene, one of the things that's so enjoyable about the poet's theatre thing is that one may see many poets---who as readers may often be rather bland and/or "take themselves too seriously" or whatever--pleasantly surprisingly break out of that mode and wear silly masks, costumes, and some are quite good actors--- it might even justify one's hope that there could actually end up being some viable scene here that can be loose and not all turned on itself (a la what I saw in NYC....) Not a reivew this will be---I didn't take notes....just sat back and enjoyed the ride, and unlike last year no tedious hour long play, but 10 relatively short (all between 10 and 20 mins) plays, mostly contemporary----though it began with Andrew Joron, Garrett Caples, and Anna Naruta, digging up a YVOR WINTERS play....How weird, does anybody even read YVOR WINTERS anymore. An old teacher once told me he studied with him, or maybe it was J.V. Cunningham, and all I remember is he's "THE MASTER OF THE COMMA" whatever that's suppossed to mean. Well, Anna's puppets had those sad faces and maybe they'll be some Yvor Winters revival. There is a Niedecker one and there were two of her plays too... Clive Worsley (who last I'd seen as Thersities in a local TROILUS AND CRESSIDA) and Tanya Brolaski were great in a Kathleen Fraser play. The actors names aren't listed for STACY DORIS's play, but that play was a very weird family romance, with a mother screeching like a cat for most of it. Glad that Stacy's out here. SEAN FINNEY'S play was interesting stichomythia between the UBIQUITUOUS KEVIN Killian and Brenda HILLMAN (and MIA LIPPMAN as some choral figure). David Hadbawnik's pseudo-musical (certainly like a tribute to guys and dolls, but more like GAYS AND DOLLS) about World Series was what they like to call a "guilty pleasure" in NYC.... The curators did a good job I think of balancing more narrative, easy-to-follow kind of plays, with plays that were more like "avant-garde" or at least "sophisticated" poetry that maybe need to be seen on the page to work. But even in the plays that were mostly language, rather than plot or character, driven, it was great to see poets do a pretty good job of using their body as instruments and eschewing the talking head mode of most poetry readings---- I am so very glad Wendy Kramer has moved here; her play with Jocelyn Saidenberg was yet another play with birds...Taylor Brady's play was perhaps the hardest to "get" with 3 voices at times reading simultaneously (maybe need to see that on page), but enjoyed seeing Sianne Ngai "ham" it up as Geoffrey Dyer and Eleni Stecopoulos played cards Stephanie Young. Adam Tobin and K. Silem Mohammad (as Murray The Cop) all gave fine performances in Gary Sullivan's play (I wonder if Gary based Stephanie's character on his friend Laurie Price a bit...), and the finale was, along with Hadbawnik's, the most conventionally accessible, written by Wayne Smith, who I don't think I heard of before (I thought maybe he did an Aerial book years back, but that was Wayne Kline). It ended with the theme from TOMMY. This is not a review; is very superficial---and perhaps those not in NYC or SF will think this rather provincial, but I just wanted to say thanks to all who did it, and also ask WHO DID THAT REMAKE OF "LOVE WILL TEAR US APART?" that was played during one of the plays----I remember that from around 1994 or something, but for the life of me forget who (I don't think it's FRENTE....) Chris ========================================================================= Date: Sat, 1 Feb 2003 09:26:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Comments: To: Charles Bernstein Comments: cc: new-poetry@wiz.cath.vt.edu, hub@dept.english.upenn.edu In-Reply-To: <5.1.1.6.2.20030131163827.00a62860@pop.bway.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi everyone, To see the multiplying various and wonderful work by newly proclaimed mainstream poets please visit our new website: www.mainstreampoetry.com -m. ========================================================================= Date: Sat, 1 Feb 2003 07:24:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Power and Jtwine Comments: To: webartery Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Power and Jtwine "marc.garrett" Keywords: Internet Genre: theory, tech Type: announcement, review, work An Interview with Jtwine and review by Lewis Lacook. Power and Jtwine The splash page for his site cautions: "Be aware of your surroundings and exercise caution when visual reflections refer to you." It's an awareness of just how much of human perception is grounded in human predisposition. One piece on his site, "mindgame", opens a flash animation of a seated figure (it's one of those egg-shaped chairs, in fact, supposed to yield such comfort in the office) superimposed against an exploding color background that keeps declaring, looped, ad infinitem, "empty refill." Lewis LaCook is our first critic in residence on Furtherfield. Offering regular and informative reviews of varied explorative projects & artworks featured on furtherfield, plus other works by artists who are currently exhibiting on the Internet. http://www.furtherfield.org/crit/docs/Power_and_Jtwine.htm - Power and Jtwine http://www.furtherfield.org/crit/index.htm - Crit Index http://www.furtherfield.org http://www.furthernoise.org http://www.dido.uk.net We Can Make Our Own World. Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Sat, 1 Feb 2003 07:43:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Columbia shuttle breaks up over Texas In-Reply-To: <3E3BD825.AF874B17@earthlink.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html ========================================================================= Date: Sat, 1 Feb 2003 11:57:16 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: poetry and reading levels MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit q ? is this like/as the difference between say papa hemingway and F. Scott? smassoni@aol.com sheila m ========================================================================= Date: Sat, 1 Feb 2003 11:58:12 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: State of the Union MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit nice reminds me of Wind sand & Stars ! sheila smassni@aol.com ========================================================================= Date: Sat, 1 Feb 2003 09:05:28 -0800 Reply-To: arshile@earthlink.net Sender: UB Poetics discussion group From: Mark Salerno Organization: Arshile: A Magazine of the Arts Subject: The New Review of Literature MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Colleagues: In the Fall of 2003, The New Review of Literature will publish its first issue. The New Review looks forward to being a semi-annual journal of culture and is intended for a broad readership. I'd like to invite anyone interested in submitting book reviews to contact me for guidelines. Good wishes, Mark Salerno Reviews Editor The New Review of Literature ========================================================================= Date: Sat, 1 Feb 2003 13:04:51 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Further thoughts on Re: White House Cancels Poetry Symposium MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Actually, in a common variant of the lyrics (thanks to Fogarty's terrible enunciation), the problem is laid at the feet of lopsided plumbing construction: Don't go 'round tonight They're bound to take your life There's a bathroom on the right And this morning, seven of what Joan Retallack might title "Icarus FFFFFFFalling." *sigh* I've had drugs. I've had reality. I'm starting to disprefer reality. Gwyn ========================================================================= Date: Sat, 1 Feb 2003 12:58:51 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: Columbia shuttle breaks up over Texas MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, terra1@SONIC.NET writes: > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > ========================================================================= Date: Sat, 1 Feb 2003 10:25:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: from the last war Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed here's a piece I wrote as the bomnbs were falling last time around. Twelve years old, but not much has changed. TEACHING IN TIME OF WAR January, 1991 On the day that the U.N. resolution permitting the use of force in the Persian Gulf took effect, but before the first of the bombs fell, I asked my composition class at Tucson's Pima Community College to write a paper justifying Saddam Hussein's position. I explained very carefully to my students that I didn't agree with his position, and that I doubted that any of them did, either, but I thought that it never hurts to understand an adversary's point of view. People risk wars because they think that the cost is justified__even a madman in a modern technological state can't prosecute a war against the will, or at least without the complacency, of large numbers of his subjects. I also told my students that the almost universally_trumpeted claim that non_Arabs are incapable of understanding the complexities of the Arab mind struck me as a cop_out. It seemed to me that as human beings we are morally, and of necessity, committed to the effort to understand each other, regardless of the obstacles presented by history and culture. Nonetheless, almost all of the papers trotted out the inscrutability theory, and several of the students respectfully declined to fulfill the assignment, defending, instead, George Bush's position. Some of them claimed that they lacked sufficient information to write 500 words about the Iraqi position__they had apparently not noticed its almost incessant presentation and interpretation, albeit with negative commentary, in the printed media and even on the better television news programs. Still others felt that it was somehow unpatriotic to appear to be defending an adversary's position. I was new to Tucson__I had in fact been in town less than two weeks when I gave the assignment. Some of the reactions to the war there surprised me. I knew that Arizona has the reputation of being a stronghold of the most extreme conservatism, and I also knew that the military is an important part of the community__Davis_Monthan airbase is within the city, and a huge army base, Fort Huachuca, is close by. I would have expected a higher level of jingoism than I in fact encountered. What I felt most strongly was the closeness of the war__almost everyone I spoke to seemed to know someone on the firing line in the Gulf, and they expressed fear for their loved_ones far more than enthusiasm for American policy. There also seemed to be a division according to age. The young, who, like my students, had never experienced a war, tended to be far less ambivalent than their elders. I use students' papers, xeroxed, but with name and identifying information masked out, as the texts for my composition classes. I reproduced a paper by a polite boy with short blond hair who had defended America's decision to attack. My concern was misuse of analogy and authority. It seemed to me that these were being used by the administration and the media to manipulate public opinion, and my student, together with most of his classmates, had bought into the manipulation. Specifically, my student had used the Hitler_Saddam analogy, which suggests that failure to respond promptly and violently to the takeover of Kuwait could lead Saddam to attempt world domination, as Hitler had after Munich. Analogies tend to blur distinctions: Hitler, after all, was dictator of a world power, perhaps the great industrial power of its time, with a large population and a long history of successful warfare against other great powers, despite World War One. Saddam commands a small, impoverished nation with no industrial base and only one significant export. In a brutal war against a neighbor that effectively lacked an airforce it had barely managed a stalemate. Saddam would have to be considerably crazier than we like to think Hitler was to imagine himself with that class of political potential, but the analogy would be a good selling pitch for our administration if it remained unexamined. My student had also quoted Billy Graham to the effect that "we must have military power to keep madmen from taking over the world." Putting aside the authority that might attach to the person of Graham in my student's mind, the quotation begs three questions: who are the "we" referred to, who diagnoses the madmen, and who decides which madmen exercise that kind of threat. I set out to make these points about uncritical acceptance of the language of politicians, but between the assignment and that day in class serious fighting had broken out, and while I made efforts to make clear that my criticisms were not political per se, I probably made my points too vehemently, distressed as I was. At any rate, there was a moment during the class when I became aware that the student who had written the paper was undergoing a transformation__I was really seeing it happen, but the protocol of the classroom prevented me from intervening until the hour was over. His posture and expression stiffened, and his eyes went dead. The hard, impenetrable wall of hatred had descended. I recognized immediately what had happened__I had seen it often enough during the Vietnam War. Although the scale of our political differences was relatively small, in his mind I had become one of those intellectuals who humiliated people like him. It was a class division: I had become the enemy. My God, I thought, I've lost him, and I was so bereft that for a moment I imagined myself falling uncontrollably. My student left the room immediately after class, but I promised myself that I would speak with him after our next class. All weekend, while the jets played tag over the city, flying in formation in preparation for the killing field, I rehearsed different strategies for approaching him, hoping against hope that I could breach that wall before it hardened into permanent antagonism to anyone who carried authority and differed from his received opinions. I thought, if I can save the flexibility of this one mind I would have accomplished something in the face of the disaster that was befalling us. My student didn't show for class on Monday. Filled with apprehension, I awaited Wednesday's class. Still he didn't show. I had lost him. He never came back to class. Sometime during the following week I was having a beer with a friend. He had been in Vietnam while I was picketing. "Hell," he said, "everybody in Arkansas signed up. We didn't know what we were doing, we just wanted to get away from home." He thought that now that we had begun the battle we had better stay and finish, and that there could be a positive outcome__America's self_esteem could at last rebound from the slough of Vietnam. And he seemed to think that the sacrifice of lives, ours and theirs, was worth the gain. And I realized that somewhere along the line I had stopped dividing the dead into ours and theirs. I think it was that night that the war came home to me. I was eating dinner by myself, my mind drifting over this and that, when I suddenly found myself exclaiming out loud, "Shit, we're in another war." It was as if I had found some sort of key, and I was flooded with grief. I began sobbing. All of the turmoil of the Vietnam War, not just the deaths, but the hardening, the destruction of hopes at home in America; and the war before that, and its attendant cold war, with its red scares that had played out in my fantasies as a giant pogrom (the terror that accompanied the trial and execution of the Rosenbergs typifies that time for me, not the question of guilt or innocence, but the lynch_mob glee in the streets and the newspapers); and even my few memories of the war before that, my father's war, that killed his friends and corrupted him and my childhood, came flooding back. I remembered the riots at Columbia, where I had been knocked unconscious by a cop's blackjack, the endless protests, and the march on the Pentagon, where, staring into the muzzles of the machine guns trained on us from emplacements on the roof, for a brief moment I thought that fundamental changes were possible. I remember that it felt as if the whole several hundred thousand of us had climbed a tall mountain to get to the ridiculously small fence that was supposed to keep us out, which, by the time I reached it, had been flattened under the multitude of feet; once crossed, we broke from our narrow parade ranks and spread out across that lovely grassy field, the late afternoon sun beginning to set before us, so that we were silhouetted, glowing at the margins as if transfigured. Everybody, it seemed to me, was smiling__we had made it to the gates of power, and we hadn't been killed, they couldn't kill us. And up front, at the ledge that dropped down from the paved forecourt of the Pentagon, dozens of people were scaling ropes to get closer, and they seemed suffused with joy and youth, and maybe the walls would really crumble, and maybe we could find a way to live beyond the narrowest expediency, and the brutalization, the victimization, that happened to all of us in those slaughtering times, could end. And I remembered the swift disappointment of those hopes, from which I have never recovered. In my deepest self, I had never imagined that we would ever fight another war. Back at school a few days later, I went into the cafeteria to grade some papers. All of the tables were occupied, and I asked a man of about my age if he minded my joining him. I had sat down and begun sorting my things, when he asked me, "Were you in 'Nam?" Until his question, I hadn't really noticed him. He was a tall man in soiled clothes with an unkempt beard, and he had before him a literacy textbook. He looked as if he might have been a long_term client of the local Veteran's Hospital. I answered his question. No, I told him, I had been a student during the war. We talked politics for a moment. He backed what we were doing in Iraq, he said, but his voice, his eyes, his entire manner seemed unsure. I told him I disagreed, not so much about our goals as about our methods. "But the worst thing for me," I said, "is the flashbacks. I guess it's even worse for you. I think about it all the time, and I've started having nightmares. I never thought we'd be here again, and I'm angry as hell. But mostly I'm just sad." "Yeah," he said. We sat together for a while in silence, mourning. ========================================================================= Date: Sat, 1 Feb 2003 14:57:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: sentenced to death by emails or why Bush doesn't read poetry Comments: cc: D G & C V Kennedy , "K. Silem Mohammad" , Ron Silliman , editor@firewheel-editions.org MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT This morning I awoke anticipating mourning but. Found on pressing the 'on' button two notes on sentencing from CA via langpo and from TX via britpo and can feel the creep of wordgames coruscating but then Columbia falls on TX and we obsess on technologies via technologies ad infinitum. Sentience is a capacity, I feel in my gut as i extend a poem toward even those who might not see it. "We must find out what happened. We must move on." tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Sat, 1 Feb 2003 12:38:30 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: <19d.10404458.2b6d64db@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi terrusts. I think it was an Iraqi did this. Some terrusts. Palestinian suicide bomber with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at rocket, tehrrurr. At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, >terra1@SONIC.NET writes: > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > ========================================================================= Date: Sat, 1 Feb 2003 13:31:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: www.mainstreampoetry.com In-Reply-To: <1044109610.3e3bd92aced41@webmail.sas.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Mike, this is a great send-up of "transgressive" criticality. Mucho coolo. At 09:26 AM 2/1/2003 -0500, mmagee@DEPT.ENGLISH.UPENN.EDU wrote: >Hi everyone, > >To see the multiplying various and wonderful work by newly proclaimed >mainstream poets please visit our new website: > >www.mainstreampoetry.com > >-m. ========================================================================= Date: Sat, 1 Feb 2003 16:39:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: Robert Grenier's Sentences MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit for anyone who gets a blank screen after clicking on the link from the whalecloth homepage (seems to be a javascript problem when I try to get to them), go here: http://whalecloth.org/grenier/sentences.htm ----- Original Message ----- From: "Ron" To: Sent: Saturday, February 01, 2003 8:35 AM Subject: Robert Grenier's Sentences > Robert Grenier's *Sentences* are (is?) now up on the net at the Whale > Cloth Press (http://www.whalecloth.org/) web site. There is also a link > on the Grenier page at the Electronic Poetry Center > (http://epc.buffalo.edu/authors/grenier/) that at least yesterday took > you directly to the cards themselves - but I think it makes more sense > to head first over to publisher Michael Waltuch's useful notes & it's > both fun & valuable to take a look at the images of the box itself. The > electronic site comes very close to replicating the experience of the > box itself. Each time you go through the stack, the cards will appear in > a different order. I've gone through it at least a dozen times in the > past couple of weeks, and I don't tire of the process at all. > > In New York City on February 8, Grenier will be reading/slide > presentation at the Marianne Boesky Gallery > (http://www.marianneboeskygallery.com/index2.php ) in Chelsea, 535 W. > 22nd Street, at 8 PM, 212-680-9889. In addition to the reading/slides, > Grenier is, in the gallery's words, "debuting 2 new suits of iris prints > of his drawn poems, and a series of photographs from the notebooks." > These editions will be on view and for sale at the gallery. The gallery > plans to keep the prints on display in its viewing room for the > following week. > > Small Press Distribution, incidentally, lists *Sentences Towards Birds*, > the 1975 L Press selection, as still available at $15. This selection of > about 50 cards differs from The Box in part also because of the > typeface, a crisp Times Roman rather than the blocky Courier of > Sentences. However, as only 100 copies of Sentences Towards Birds were > printed & the SPD website characterizes it as a paperback when in fact > it is a pack of cards in a specially printed manila envelope, I would > call SPD directly before I ordered that item: 800-869-7553 (free phone > call within the United States). (http://www.spdbooks.org/ ) > > > ========================================================================= Date: Sat, 1 Feb 2003 16:56:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: =?ISO-8859-1?Q?Re:_Robert_Grenier's_Sentences_&_Andr=E9_Breton_&?= =?ISO-8859-1?Q?_Tom_Raworth?= In-Reply-To: <006c01c2ca3a$66725cc0$492bfea9@vaio> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable On Saturday, February 1, 2003, at 04:39 PM, Duration Press wrote: > for anyone who gets a blank screen after clicking on the link from the > whalecloth homepage (seems to be a javascript problem when I try to=20 > get to > them), go here: http://whalecloth.org/grenier/sentences.htm > even that doesn't work on my Safari beta browser (which otherwise is=20 terrific). For those who have French, here is the url for the website put up by=20 the french auctioneers who will cry Andr=E9 Breton's surrealist lot in=20= april, with a longish explanation of why this has happened. Also, today=20= France Culture radio had a number of programs on the auction, so you=20 can also listen in on some of the talk about. http://breton.calmelscohen.com/index.cfm?fuseaction=3Dcollections.main http://www.radiofrance.fr/chaines/france-culture2/sommaire/ The Carcanet Collected Raworth arrived (or as they wld say at url=20 above, _le Ra-worze nouveau est arriv=E9_) -- lovely to hold the massive=20= tome in hand -- with the great cover by old friend franco beltrametti=20 -- & read around in it -- though wish that for a 570 page book,=20 Carcanet had used sewn signatures rather than glue (which makes the=20 book very tight & makes one afraid to break the spine to lay it on the=20= table) -- but that's small quibbling against the great pleasure of the=20= book. Here's one, nearly at random: THE ETHICAL ARTIST kept a source book but picked each plum pierre __________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Sat, 1 Feb 2003 17:50:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Columbia shuttle breaks up over Texas Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Well, one of the first disclaimers was to the contrary: that, due to the height this happened at, it's unlikely to be a terrorist act. M Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu >>> gmguddi@ILSTU.EDU 02/01/03 13:43 PM >>> Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi terrusts. I think it was an Iraqi did this. Some terrusts. Palestinian suicide bomber with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at rocket, tehrrurr. At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, >terra1@SONIC.NET writes: > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > ========================================================================= Date: Sat, 1 Feb 2003 17:57:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brandon Thomas Barr Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Not only that, but I thought the rhetorical stance of Bush's speech was actually quite powerful, especially for a speech on the fly. Brandon Barr University of Rochester On Sat, 1 Feb 2003, Mairead Byrne wrote: > Well, one of the first disclaimers was to the contrary: that, due to the > height this happened at, it's unlikely to be a terrorist act. > M > > > Mairead Byrne, Ph.D. > Department of English > Rhode Island School of Design > 2 College Street > Providence, RI 02903 > Office: (401)454.6268 > Home: (401)273.5964 > mbyrne@risd.edu > >>> gmguddi@ILSTU.EDU 02/01/03 13:43 PM >>> > Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi > terrusts. > I think it was an Iraqi did this. Some terrusts. Palestinian suicide > bomber > with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at > rocket, tehrrurr. > > > At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: > >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, > >terra1@SONIC.NET writes: > > > > > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > > > > > ========================================================================= Date: Sat, 1 Feb 2003 15:31:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: the m.a.g. is changing servers MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit everyone hi! Because of the large increase in traffic to the muse apprentice guild, the server hosting my sites was unable to manage my account any longer. I have found a bigger company that is able to accomodate the traffic. But i will only be able to open up my new account monday morning. It will take 1-2 days after monday for the m.a.g. to be back online. I will send you an announcement when the winter 2003 m.a.g comes out which i anticipate will be thursday, february 6. cheers, augie www.muse-apprentice-guild.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sat, 1 Feb 2003 16:34:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: Robert Grenier's Sentences In-Reply-To: <006c01c2ca3a$66725cc0$492bfea9@vaio> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 2/1/03 1:39 PM, Duration Press at jerrold@DURATIONPRESS.COM wrote: > for anyone who gets a blank screen after clicking on the link from the > whalecloth homepage (seems to be a javascript problem when I try to get to > them), go here: http://whalecloth.org/grenier/sentences.htm I still get only a blank screen, and otherwise a message saying my browser is too old even though it is the latest OE 5.01! I guess that means the piece won't work on a Mac. Sadness, as I really love this work. M ========================================================================= Date: Sat, 1 Feb 2003 19:40:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: www.mainstreampoetry.com Comments: To: Gabriel Gudding In-Reply-To: <5.1.1.6.0.20030201132627.019ddba0@mail.ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Glad you find it interesting Gabe. I should say that, although it has some of the qualities of a send-up (and if you're speaking of the particular piece "The Mainstream Movement" I can't claim authorship of that - I did write the poem "Mainstream Poetry" which is modeled on Baraka's "Black Art"), the people involved in the mainstream poetry movement do not, as far as I can tell, consider themselves parodists (I certainly don't write parodies)and, in particular, their claim to being mainstream is completely sincere, though they themselves are not. The best explanation of this can be found in a piece Kasey Mohammad wrote for his "limetree" blog. Hopefully it will go up on the "Mainstream" site soon. -m. Quoting Gabriel Gudding : > Mike, this is a great send-up of "transgressive" criticality. Mucho coolo. > > At 09:26 AM 2/1/2003 -0500, mmagee@DEPT.ENGLISH.UPENN.EDU wrote: > >Hi everyone, > > > >To see the multiplying various and wonderful work by newly proclaimed > >mainstream poets please visit our new website: > > > >www.mainstreampoetry.com > > > >-m. > ========================================================================= Date: Sun, 2 Feb 2003 11:24:56 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: cut ups & daydreams 2 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Day 2 INSERT DAYDREAM da | | y | DREAM | Peace JFK www.poetinresidence.com ========================================================================= Date: Sat, 1 Feb 2003 17:43:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: //// CALL FOR SUBMISSIONS/// - VERT// OIL WAR /// PEACE & PROTEST ISSUE #8 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Call for submissions -- - VERT// OIL WAR /// PEACE & PROTEST ISSUE #8 SUBMIT: poems, rants, blogs, fragments, essays, cut ups, diaries, theories, prose, links, letters, translations, & collaborative efforts in reaction or relating to the emerging OIL WAR(s), EMPIRE, 9-11, PEACE & PROTEST. Send reviews, as always. DEADLINE: March 3rd. Please send via e-mail, either in the body, or with an attachment: andrew@litvert.com See you at the gates... ========================================================================= Date: Sat, 1 Feb 2003 21:48:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: cut ups & daydreams 2 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit dreams day poems wandering day dreams d r e a m s ========================================================================= Date: Sat, 1 Feb 2003 19:11:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: SF POETS THEATRE THING In-Reply-To: <3E3BD825.AF874B17@earthlink.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v482) Content-Transfer-Encoding: 7bit Chris, The version of "Love Will Tear Us Apart" in my play was a Swans remake from the late 80s oe early 90s, with Jarboe singing (I believe they've also covered it with Michael Gira on vocals). Taylor On Saturday, February 1, 2003, at 06:22 AM, Chris Stroffolino Stroffolino wrote: > THURS 1/30--Trying to "combat" (with apologies to Laura Bush) > poetry-tea (poetry-war) > loneliness, etc., I call NYC friend. We talk briefly but time zone's > fucked up; and she, in city that never sleeps must sleep, but not > before at least remarking, as if to cheer me up, that > the poetry scene's, or the poet's themselves, more boring in the Bay > Area than in NYC.... > but then I realized that the my favorite event of the SPT poetry season > was occurring the next night, and once again, it didn't disappoint. In > fact, even though it could be argued that the SF scene has many of the > same in-group/out-group hierarchical social pettinesses one might have > grown to expect from the NYC scene, one of the things that's so > enjoyable about the poet's theatre thing is that one may see > many poets---who as readers may often be rather bland and/or "take > themselves too seriously" or whatever--pleasantly surprisingly > break out of that mode and wear silly masks, costumes, and some are > quite good actors--- > it might even justify one's hope that there could actually end up being > some viable scene here that can be loose and not all turned on itself > (a la what I saw in NYC....) > Not a reivew this will be---I didn't take notes....just sat back and > enjoyed the ride, and unlike last year no tedious hour long play, but > 10 relatively short (all between 10 and 20 mins) plays, mostly > contemporary----though it began with Andrew Joron, Garrett Caples, and > Anna Naruta, digging up a YVOR WINTERS play....How weird, does anybody > even read YVOR WINTERS anymore. An old teacher once told me he > studied with him, or maybe it was J.V. Cunningham, and all I remember > is he's "THE MASTER OF THE COMMA" whatever that's suppossed to mean. > Well, Anna's puppets had those sad faces and maybe they'll be some Yvor > Winters revival. There is a Niedecker one and there were two of her > plays too... > Clive Worsley (who last I'd seen as Thersities in a local TROILUS AND > CRESSIDA) and Tanya Brolaski were great in a Kathleen Fraser play. The > actors names aren't listed for STACY DORIS's play, but that play was a > very weird family romance, with a mother screeching like a cat for most > of it. Glad that Stacy's out here. SEAN FINNEY'S play was interesting > stichomythia between the UBIQUITUOUS KEVIN Killian and > Brenda HILLMAN (and MIA LIPPMAN as some choral figure). David > Hadbawnik's pseudo-musical (certainly like a tribute to guys and dolls, > but more like GAYS AND DOLLS) about World Series was what they like to > call a "guilty pleasure" in NYC.... > > The curators did a good job I think of balancing more narrative, > easy-to-follow kind of plays, with plays that were more like > "avant-garde" or at least "sophisticated" poetry that maybe need to be > seen on the page to work. But even in the plays that were mostly > language, rather than plot or character, driven, it was great to see > poets do a pretty good job of using their body as instruments and > eschewing the > talking head mode of most poetry readings---- > I am so very glad Wendy Kramer has moved here; her play with Jocelyn > Saidenberg > was yet another play with birds...Taylor Brady's play was perhaps the > hardest to "get" with 3 voices at times reading simultaneously (maybe > need to see that on page), but enjoyed seeing Sianne Ngai "ham" it up > as Geoffrey Dyer and Eleni Stecopoulos played cards > Stephanie Young. Adam Tobin and K. Silem Mohammad (as Murray The Cop) > all gave fine performances in Gary Sullivan's play (I wonder if Gary > based Stephanie's character on his friend Laurie Price a bit...), and > the finale was, along with Hadbawnik's, the most conventionally > accessible, written by Wayne Smith, who I don't think I heard of before > (I thought maybe he did an Aerial book years back, but that was Wayne > Kline). It ended with the theme from TOMMY. > > This is not a review; is very superficial---and perhaps those not in > NYC or SF will think this rather provincial, but I just wanted to say > thanks to all who did it, and also ask > > WHO DID THAT REMAKE OF "LOVE WILL TEAR US APART?" that was played > during one of the plays----I remember that from around 1994 or > something, but for the life of me forget who (I don't think it's > FRENTE....) > > Chris > ========================================================================= Date: Sat, 1 Feb 2003 22:18:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: How to tell if your poetry is choking MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit If you observe "conscious" Poetry choking: -Ask, "Are you choking?" -If the poet can speak, cough, or breathe, DO NOT INTERFERE. -If the poet CANNOT speak, cough, or breathe, give sub-diaphragmatic abdominal thrusts (the Mainstream maneuver) until the foreign body is expelled or the poet becomes unconscious. (Or in case of extreme obesity or late pregnancy, give chest thrusts.) -Be persistent. -Continue uninterrupted until the obstruction is relieved or advanced life support is available. In either case the poet should be examined by a physician as soon as possible. PREVENTION IS NO ACCIDENT To perform the Mainstream maneuver, the following steps should quickly be taken: a.. Stand behind the poet who is choking. b.. Place your arms around their waist and get them to bend forward at the waist. c.. Clench one hand into a fist and place it over the person's belly button, or navel. d.. Place the opposite hand on top of the first. e.. Thrust both hands at the same time backward into the stomach with a hard, upward movement. In those who are extremely obese or pregnant, the hands should be centered over the person's chest and chest thrusts should be given instead of stomach thrusts. f.. Repeat the thrusting movements every few seconds until the object in the person's windpipe is coughed up and expelled from their mouth. The Mainstream maneuver should also be stopped if the person becomes unconscious. ========================================================================= Date: Sat, 1 Feb 2003 19:26:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: SF POETS THEATRE THING In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v482) Content-Transfer-Encoding: 7bit One more slight correction -- Tanya Hollis, not Tanya Brolaski, acted in Kathleen's play. Also, we're hoping to get some decent video copies of the evening, so if anyone on the list is interested in seeing some unexpectedly wonderful acting, great writing by (mostly) first-time playwrights, and me breaking my arm in the middle of the Niedecker play, let me know backchannel. And for those in the area, remember that we still have one night to go, this Friday. Make reservations -- we sold out the theater last night. Taylor On Saturday, February 1, 2003, at 07:11 PM, Taylor Brady wrote: > Chris, > > The version of "Love Will Tear Us Apart" in my play was a Swans remake > from the late 80s oe early 90s, with Jarboe singing (I believe they've > also covered it with Michael Gira on vocals). > > Taylor > > > On Saturday, February 1, 2003, at 06:22 AM, Chris Stroffolino > Stroffolino wrote: > >> THURS 1/30--Trying to "combat" (with apologies to Laura Bush) >> poetry-tea (poetry-war) >> loneliness, etc., I call NYC friend. We talk briefly but time zone's >> fucked up; and she, in city that never sleeps must sleep, but not >> before at least remarking, as if to cheer me up, that >> the poetry scene's, or the poet's themselves, more boring in the Bay >> Area than in NYC.... >> but then I realized that the my favorite event of the SPT poetry season >> was occurring the next night, and once again, it didn't disappoint. In >> fact, even though it could be argued that the SF scene has many of the >> same in-group/out-group hierarchical social pettinesses one might have >> grown to expect from the NYC scene, one of the things that's so >> enjoyable about the poet's theatre thing is that one may see >> many poets---who as readers may often be rather bland and/or "take >> themselves too seriously" or whatever--pleasantly surprisingly >> break out of that mode and wear silly masks, costumes, and some are >> quite good actors--- >> it might even justify one's hope that there could actually end up being >> some viable scene here that can be loose and not all turned on itself >> (a la what I saw in NYC....) >> Not a reivew this will be---I didn't take notes....just sat back and >> enjoyed the ride, and unlike last year no tedious hour long play, but >> 10 relatively short (all between 10 and 20 mins) plays, mostly >> contemporary----though it began with Andrew Joron, Garrett Caples, and >> Anna Naruta, digging up a YVOR WINTERS play....How weird, does anybody >> even read YVOR WINTERS anymore. An old teacher once told me he >> studied with him, or maybe it was J.V. Cunningham, and all I remember >> is he's "THE MASTER OF THE COMMA" whatever that's suppossed to mean. >> Well, Anna's puppets had those sad faces and maybe they'll be some Yvor >> Winters revival. There is a Niedecker one and there were two of her >> plays too... >> Clive Worsley (who last I'd seen as Thersities in a local TROILUS AND >> CRESSIDA) and Tanya Brolaski were great in a Kathleen Fraser play. The >> actors names aren't listed for STACY DORIS's play, but that play was a >> very weird family romance, with a mother screeching like a cat for most >> of it. Glad that Stacy's out here. SEAN FINNEY'S play was interesting >> stichomythia between the UBIQUITUOUS KEVIN Killian and >> Brenda HILLMAN (and MIA LIPPMAN as some choral figure). David >> Hadbawnik's pseudo-musical (certainly like a tribute to guys and dolls, >> but more like GAYS AND DOLLS) about World Series was what they like to >> call a "guilty pleasure" in NYC.... >> >> The curators did a good job I think of balancing more narrative, >> easy-to-follow kind of plays, with plays that were more like >> "avant-garde" or at least "sophisticated" poetry that maybe need to be >> seen on the page to work. But even in the plays that were mostly >> language, rather than plot or character, driven, it was great to see >> poets do a pretty good job of using their body as instruments and >> eschewing the >> talking head mode of most poetry readings---- >> I am so very glad Wendy Kramer has moved here; her play with Jocelyn >> Saidenberg >> was yet another play with birds...Taylor Brady's play was perhaps the >> hardest to "get" with 3 voices at times reading simultaneously (maybe >> need to see that on page), but enjoyed seeing Sianne Ngai "ham" it up >> as Geoffrey Dyer and Eleni Stecopoulos played cards >> Stephanie Young. Adam Tobin and K. Silem Mohammad (as Murray The Cop) >> all gave fine performances in Gary Sullivan's play (I wonder if Gary >> based Stephanie's character on his friend Laurie Price a bit...), and >> the finale was, along with Hadbawnik's, the most conventionally >> accessible, written by Wayne Smith, who I don't think I heard of before >> (I thought maybe he did an Aerial book years back, but that was Wayne >> Kline). It ended with the theme from TOMMY. >> >> This is not a review; is very superficial---and perhaps those not in >> NYC or SF will think this rather provincial, but I just wanted to say >> thanks to all who did it, and also ask >> >> WHO DID THAT REMAKE OF "LOVE WILL TEAR US APART?" that was played >> during one of the plays----I remember that from around 1994 or >> something, but for the life of me forget who (I don't think it's >> FRENTE....) >> >> Chris >> > ========================================================================= Date: Sat, 1 Feb 2003 19:51:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Columbia shuttle breaks up over Texas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Irony. The remains of the Israeli astronaut rained down over Palestine, Texas. Joel W. ----- Original Message ----- From: "Brandon Thomas Barr" To: Sent: Saturday, February 01, 2003 2:57 PM Subject: Re: Columbia shuttle breaks up over Texas > Not only that, but I thought the rhetorical stance of Bush's speech was > actually quite powerful, especially for a speech on the fly. > > Brandon Barr > University of Rochester > > On Sat, 1 Feb 2003, Mairead Byrne wrote: > > > Well, one of the first disclaimers was to the contrary: that, due to the > > height this happened at, it's unlikely to be a terrorist act. > > M > > > > > > Mairead Byrne, Ph.D. > > Department of English > > Rhode Island School of Design > > 2 College Street > > Providence, RI 02903 > > Office: (401)454.6268 > > Home: (401)273.5964 > > mbyrne@risd.edu > > >>> gmguddi@ILSTU.EDU 02/01/03 13:43 PM >>> > > Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi > > terrusts. > > I think it was an Iraqi did this. Some terrusts. Palestinian suicide > > bomber > > with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at > > rocket, tehrrurr. > > > > > > At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: > > >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, > > >terra1@SONIC.NET writes: > > > > > > > > > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > > > > > > > > > ========================================================================= Date: Sat, 1 Feb 2003 23:25:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Columbia shuttle breaks up over Texas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I don't find this funny ! What kind of a fucking sick fuck are you. ----- Original Message ----- From: "Joel Weishaus" To: Sent: Saturday, February 01, 2003 10:51 PM Subject: Re: Columbia shuttle breaks up over Texas > Irony. The remains of the Israeli astronaut rained down over Palestine, > Texas. > > Joel W. > > > > ----- Original Message ----- > From: "Brandon Thomas Barr" > To: > Sent: Saturday, February 01, 2003 2:57 PM > Subject: Re: Columbia shuttle breaks up over Texas > > > > Not only that, but I thought the rhetorical stance of Bush's speech was > > actually quite powerful, especially for a speech on the fly. > > > > Brandon Barr > > University of Rochester > > > > On Sat, 1 Feb 2003, Mairead Byrne wrote: > > > > > Well, one of the first disclaimers was to the contrary: that, due to the > > > height this happened at, it's unlikely to be a terrorist act. > > > M > > > > > > > > > Mairead Byrne, Ph.D. > > > Department of English > > > Rhode Island School of Design > > > 2 College Street > > > Providence, RI 02903 > > > Office: (401)454.6268 > > > Home: (401)273.5964 > > > mbyrne@risd.edu > > > >>> gmguddi@ILSTU.EDU 02/01/03 13:43 PM >>> > > > Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi > > > terrusts. > > > I think it was an Iraqi did this. Some terrusts. Palestinian suicide > > > bomber > > > with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at > > > rocket, tehrrurr. > > > > > > > > > At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: > > > >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, > > > >terra1@SONIC.NET writes: > > > > > > > > > > > > > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > > > > > > > > > > > > > > > ========================================================================= Date: Sun, 2 Feb 2003 00:15:59 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Columbia shuttle breaks up over Texas MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >>>I don't find this funny ! What kind of a fucking sick fuck are you.<<< I don't think Joel W. was saying it was *funny*. It is just weirdly ironic that of all the possible towns that had to suffer debris from this horrible accident, one of them had to be called "Palestine." If you really want to see fucking sick fucks, check out the debris auctions that have been on eBay since at least early this afternoon. Had Joel W. been an actual fucking sick fuck, he might have quoted one of the original round of Challenger jokes, such as: Q. Where did Christa McAuliffe spend her vacation? A. All over Florida. Joel wasn't the only one to note the irony of the place names. Again, I still think he wasn't calling it humorous, just ironic. There are a lot of other nonfunny ironies in the world. Gwyn McVay ========================================================================= Date: Sun, 2 Feb 2003 01:47:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Columbia shuttle breaks up over Texas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You are correct. I over reacted. ----- Original Message ----- From: "Gwyn McVay" To: Sent: Sunday, February 02, 2003 12:15 AM Subject: Re: Columbia shuttle breaks up over Texas > >>>I don't find this funny ! What kind of a fucking sick fuck are you.<<< > > I don't think Joel W. was saying it was *funny*. It is just weirdly > ironic that of all the possible towns that had to suffer debris from > this horrible accident, one of them had to be called "Palestine." > > If you really want to see fucking sick fucks, check out the debris > auctions that have been on eBay since at least early this afternoon. > > Had Joel W. been an actual fucking sick fuck, he might have quoted one > of the original round of Challenger jokes, such as: > > Q. Where did Christa McAuliffe spend her vacation? > A. All over Florida. > > Joel wasn't the only one to note the irony of the place names. Again, I > still think he wasn't calling it humorous, just ironic. There are a lot > of other nonfunny ironies in the world. > > > Gwyn McVay > > ========================================================================= Date: Sun, 2 Feb 2003 01:57:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: turning 60 - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII turning 60 - The last of days I'm 59, I'm reading as follows - and now listen carefully from The Honorable Jacob Willsey's Journal, 1831--1860, I'm not sure where to put the line breaks in (not the quotation, but this domain where history and thought lose one another) - On October 28, 1831 - "Mr. Clark sawed in the mill 1 week, pd. him $3." Now listen, November 6, 1830 - "Clark quit; Warren went to Dryden; wrote to H. Warren in Pittstown; Gaylord on the RRoad at Tinneros; Gaylord went to Ithaca on the RR." Who is Clark? Now again February 2, 1831 - "Weather warm and thaws today; people flock like pigeons to a wheat field to see Clark hung; snow runs fast; bot 2 pr boots and 2 pr shoes of Mr. Smith, Springville, Pa. for 6.75." Then - on the day of my birth, 112 years early, February 3, 1831: "All hands went to Ithaca to see Clark hung; carried a clock to R. Jennings; warm, thawy weather; I went to the mill and cut ice to save the dam." The same Clark or another? The weather of ice, as here against the Susquehanna, merganser ducks around, ice beginning to break against the culverts speeding the water downriver, huge flows of free water. February 1, 2003, spent the afternoon rephotographing the muskrat lodge. Which Clark? Of this, no other record, the same or different? In the Journal, accorded a mention, and now 1835, Utica, New York, near Ithaca; William Williams publishes a new edition of The English Reader or Pieces in Prose and Verse; selected from the Best Writers: Designed to Assist Young Persons to Read with Propriety and Effect; to Improve their Language and Sentiments, and to Inculcate some of the most important Principles of Piety and Virtue: by Lindley Murray. A select sentence: "Mixed as the present state is, reason, and religion, pronounce, that, generally, if not always, there is more happiness than misery, more pleasure than pain, in the condition of man." Another: "Time, once past, never returns: the moment which is lost, is lost forever. There is nothing on earth so stable, as to assure us of undisturbed rest; nor so powerful, as to afford us constant protection." Here at the dusk of my 50s, I wonder, who is Clark? The first edition of Lindley's book was 1822; did Clark or Jacob Willsey glance upon it? In January, 1859, on the first day of the new year, Willsey writes: "1--Comes in Moderate. El Wilcoxen is about leaving of us & going to Lisle. Started the 14th with his wife, which leaves us destitute of preaching. He has been here 11 years & I fear we shall not get another preacher to supply his place soon as our church has run down & but few members & they are more engaged after the things of the world, than they are after their soul salvation. Oh what the results will be is yet hidden in the future. I feel that my days are very few & full of trouble, And my labour is about done and I have nothing but the promise of a crucified Saviour to rest upon and in Him I put my trust, believing that He will not afflict us willingly more than we are able to bear." This next morning of the 3rd will be dark, black beyond belief; I shall neither see nor comprehend. Debility awaits me & I cannot call on God. === ========================================================================= Date: Sun, 2 Feb 2003 02:12:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: How Mainstream Is It? Mime-Version: 1.0 Content-Type: text/plain; format=flowed HOW MAINSTREAM IS IT? It's not enough that we should succeed: Everyone else must fail. We want ads EVERYWHERE: It's not enough that Linford Christie once wore the Puma logo on his Contact lenses. Or that "we" served in Vietnam, the Gulf War Neither is it "enough" that we're the most environmentally Contaminated place in the Western Hemisphere, nor that We pick apart everything Tiger Woods does on the Golf Course. It's just not enough to go around weepy and confused. A "for instance": Mr. Potato Head's naked & fellating Tiger Woods. Is that enough? Every year 1000s of mice, rats and guinea pigs Are injected with chemicals to see if they do actual damage to Organs. That's why we have to be witnesses. It's not That we *personally* have experienced forgiveness of sin. The hoi polloi require creators re-invent themselves & that we routinely lead them w/the tools and processes we have. And they have to PAY FOR the writing, the EU haircuts Otherwise, people simply turn away from us & we are Neither too good nor too bad & are simply recycled-- Pardon? What do you mean, "Is that not enough"? You might as well ask, "Is it enough that the shower heads in The women's locker room are at chin-height, that Our poems are endlessly overacted, tirelessly over-emotive & pedantically ... melodramatically... morbidly contrived?" If everyone's going to be like that, the stadium must be named after Some stupid product: "The Ban on Meat-based Feeds," "After September 11," "Grandstanding & Witless Protest Signs." It's not enough that they invite us into their homes, to "live in Texas" with them. The key word here is "constantly." Must we constantly start over? Are we any closer to God? Why must we constantly prove ourselves? Must we constantly Be on guard against those "experts" who seem to think we are Totally inept and idiotic by virtue of being sheepish? Human Destiny tells us that, just as we fashion laws to meet our Emerging needs, so must we constantly reexamine and revise Our poetry, and that our poetry not be at war with our "customers." We simply can't depend on the same individuals year after year To do the work. Poetry is too often used to solve specific Applied problems. Why must we constantly build new functions? Have we not hearts big enough? Must we constantly revert to the Eighteenth century or, preferably, the seventeenth? Is *that* why we intoxicate ourselves? Distract ourselves? Constantly bombard each other with crap? Why must we Pit ourselves *against* crap? Does crap prevent us from seeing "The Big Picture"? Can't we learn to enjoy the simple pleasures of helicopter noise? Must we constantly compare our helicopters to Other helicopters? Why must we constantly theorize about helicopters? Are they an appropriate code for living? Are they even "Realistic"? We talk as if thought was precise and emotion was vague As if thought were a function of understanding As if there were no hand there to guide the scalpel's cutting As if thought were something "plunged into a sea of words & come up dripping." Do thoughts even work? Thought ought To be the most democratic of arenas, but has become Just another obscure professional specialty, the corpse wheeled away, The kidneys, the glands, the bruised heart--all tossed into a saucepan. As poets, we need to embody wisdom, dignity, freedom & love Helping others to own these values, to reach the point Where they are ready to embark on their own lives, free of social roles. We need to embody regeneration through the synergy of Expressive breath, sound and movement. We need to transform What we are restoring, and to ask these questions with great Patience and intention, to embody them, to live them & to support programs that foster great patience and intention. RIGHT NOW is an extremely important time for the "Core Self." We need to embody the whole of our human nature To devise systems of rules (selves) which describe how language Works; we need to embody--to give birth to--all of our "selves." We have many selves: the image (fantasy/memory/dream) self, The physical self, the soul. It's time [APPLAUSE]. With this in mind, we can better prepare ourselves for the future Adopt policies of dignity, inclusion, and fair treatment [APPLAUSE]. Each self is different [APPLAUSE]. They are each different & we need to embody those values in our new laws [APPLAUSE]. If hope is going to be more than a theological theory, we need to Embody, in the dramatic pattern each of us of calls, "my life," These values *as* legislation, because the court will not do it For us [APPLAUSE]. We need to embody choreographers [APPLAUSE] so that way we may understand the world more in "human" terms. We think that is the point. For you and I to live an effective life We need to embody successful consumer driven initiatives (principles) So as to "get" a grasp of the kinds of connections and relations between Things. [APPLAUSE.] _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Sun, 2 Feb 2003 01:25:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "maybe not" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "maybe not" i am gaining weight every year this is unlikely to be a terroist act today someone knocked their cart into me at costco this is unlikely to be a terroist act every year my hair is graying at the sideburns this is unlikely to be a terroist act my mother-in-law is a creep this is unlikely to be a terroist act i picked a bad watermelon at the store and i was positive i had picked a ripe one this is unlikely to be a terroist act my own mother is beginning to show genuine affection toward me for the first time in my life this is unlikely to be a terroist act a girl half my age flirted with me at starbucks this is unlikely to be a terroist act i am a very giving person and sometimes people take advantage of me this is unlikely to be a terroist act people often mistake me for being gay this is unlikely to be a terroist act i have never had a threesome but my wife has this is unlikely to be a terroist act my cat died recently at the age of 17 this is unlikely to be a terroist act i am going to die one day this is unlikely to be a terroist act maybe not august highland 1:23 am 02-02-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sun, 2 Feb 2003 11:24:03 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerard Greenway Subject: ANGELAKI: In theory, 1993--2003 -- 7.2, 7.3 Contents In-Reply-To: MIME-Version: 1.0 ANGELAKI journal of the theoretical humanities Two issues of ANGELAKI were published at the end of last year, the Special issue _Inventions of Death_ (7.2) and the 2002 General issue (7.3). Please find the contents lists below. This September sees the 10th anniversary of the journal. There is a page at the website giving a chronological selection of 100 articles from Volumes 1 to 8. Please click on 'In theory, 1993--2003' at: http://www.tandf.co.uk/journals/routledge/0969725X.html At the end of last year the collection _The Question of Literature: The Place of the Literary in Contemporary Theory_ was published in the Angelaki Humanities book series (Manchester UP). Details of the book can be found at: http://catalogue.mup.man.ac.uk/acatalog/Angelaki_Humanities_.html ANGELAKI is open for contributions for consideration for the 2003 General issue (ii) (8.3, December) until the end of March. The journal is open to proposals for Special issues for publication in 2004 and onwards. Thank you Gerard Greenway, managing editor greenway@angelaki.demon.co.uk volume 7 number 2 august 2002 INVENTIONS OF DEATH: literature, philosophy, psychoanalysis issue editor: Roger Starling CONTENTS Editorial Introduction -- Roger Starling A Love That is Stronger than Death: Sacrifice in the Thought of Levinas, Heidegger, and Bloch. -- Robert Bernasconi On The Border of Language and Death: Derrida and the Question of the Animal -- Matthew Calarco Derrida and the Holocaust: A Commentary on the Philosophy of Cinders -- Robert Eaglestone Death and Enlightenment in Twelve Brief Episodes -- Philip Goodchild Time of Death -- Benjamin Noys The World is Not Enough -- Leslie Hill Literature in Secret: Crossing Derrida and Blanchot -- Ginette Michaud Literally -- Jean-Luc Nancy A Meditation on Knell, Funeral Melancholia, and the Question of Self- Reflexivity: "To Whom Would the Reflexive Be Returned?" -- Kyoo E. Lee Addressing the Dead: Of Friendship, Community, and the Work of Mourning -- Roger Starling Freud, Hoffmann and the Death-Work -- John Fletcher Art, Death and the Perfection of Error -- Robert Smith Dying for a Smoke: Freudian Addiction and the Joy of Consumption -- Scott Wilson Celebrating Catastrophe -- Elisabeth Bronfen Cold Sentimentality: Eroticism, Death, and Technology -- Marquard Smith Deeper than the Day Could Read -- Slavoj Zizek volume 7 number 3 december 2002 GENERAL ISSUE 2002 issue editor: Pelagia Goulimari CONTENTS Editorial Introduction -- Pelagia Goulimari Hating Katherine Mansfield -- Andrew Bennett Description of a Woman: For a Philosophy of the Sexed Other -- Gilles Deleuze Deleuze _in Utero_: Deleuze--Sartre and the Essence of Woman -- Keith W. Faulkner Freedom and Dependence: A Psychoanlytical Contribution to the Problem of Determination -- Agata Bielik-Robson The Ethical Claims of _il pensiero debole_: Gianni Vattimo, Pluralism and Postmodern Subjectivity -- David Edward Rose The Living and the Dead -- Variations on _De anima_ -- Melinda Cooper Derrida and the Ruins of Disinterest -- Sean Gaston Gestures Beyond Tolerance: Generosity, Fatality and the Logic of the State -- Fiona Jenkins Impersonal Existence: A Conceptual Genealogy of the "There Is" from Heidegger to Blanchot and Levinas -- William Large Going Postal to Deliver Subjects: Remarks on a German Postal a priori -- Geoffrey Winthrop-Young Living Virtually in a Cluttered House -- Eleanor Kaufman ... and ... and ...: Deleuze Politics -- Alexander Garcia Duttmann Annual Index (Volume 7) Gerard Greenway Angelaki: journal of the theoretical humanities http://www.tandf.co.uk/journals/routledge/0969725X.html Angelaki Humanities http://catalogue.mup.man.ac.uk/acatalog/Angelaki_Humanities_.html ========================================================================= Date: Sun, 2 Feb 2003 07:54:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: How Mainstream Is It? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" nice anti-dayenu. At 2:12 AM -0500 2/2/03, Gary Sullivan wrote: >HOW MAINSTREAM IS IT? > >It's not enough that we should succeed: Everyone else must fail. >We want ads EVERYWHERE: It's not enough that >Linford Christie once wore the Puma logo on his >Contact lenses. Or that "we" served in Vietnam, the Gulf War >Neither is it "enough" that we're the most environmentally >Contaminated place in the Western Hemisphere, nor that >We pick apart everything Tiger Woods does on the Golf Course. >It's just not enough to go around weepy and confused. > >A "for instance": Mr. Potato Head's naked & fellating Tiger Woods. >Is that enough? Every year 1000s of mice, rats and guinea pigs >Are injected with chemicals to see if they do actual damage to >Organs. That's why we have to be witnesses. It's not >That we *personally* have experienced forgiveness of sin. >The hoi polloi require creators re-invent themselves >& that we routinely lead them w/the tools and processes we have. > >And they have to PAY FOR the writing, the EU haircuts >Otherwise, people simply turn away from us & we are >Neither too good nor too bad & are simply recycled-- >Pardon? What do you mean, "Is that not enough"? >You might as well ask, "Is it enough that the shower heads in >The women's locker room are at chin-height, that >Our poems are endlessly overacted, tirelessly over-emotive >& pedantically ... melodramatically... morbidly contrived?" > >If everyone's going to be like that, the stadium must be named after >Some stupid product: "The Ban on Meat-based Feeds," >"After September 11," "Grandstanding & Witless Protest Signs." >It's not enough that they invite us into their homes, to "live in >Texas" with them. The key word here is "constantly." >Must we constantly start over? Are we any closer to God? >Why must we constantly prove ourselves? Must we constantly >Be on guard against those "experts" who seem to think we are >Totally inept and idiotic by virtue of being sheepish? > >Human Destiny tells us that, just as we fashion laws to meet our >Emerging needs, so must we constantly reexamine and revise >Our poetry, and that our poetry not be at war with our "customers." >We simply can't depend on the same individuals year after year >To do the work. Poetry is too often used to solve specific >Applied problems. Why must we constantly build new functions? > >Have we not hearts big enough? Must we constantly revert to the >Eighteenth century or, preferably, the seventeenth? >Is *that* why we intoxicate ourselves? Distract ourselves? >Constantly bombard each other with crap? Why must we >Pit ourselves *against* crap? Does crap prevent us from seeing >"The Big Picture"? > >Can't we learn to enjoy the simple pleasures of helicopter noise? >Must we constantly compare our helicopters to >Other helicopters? Why must we constantly theorize about helicopters? >Are they an appropriate code for living? Are they even >"Realistic"? > >We talk as if thought was precise and emotion was vague >As if thought were a function of understanding >As if there were no hand there to guide the scalpel's cutting >As if thought were something "plunged into a sea of words >& come up dripping." Do thoughts even work? Thought ought >To be the most democratic of arenas, but has become >Just another obscure professional specialty, the corpse wheeled away, >The kidneys, the glands, the bruised heart--all tossed into a saucepan. > >As poets, we need to embody wisdom, dignity, freedom & love >Helping others to own these values, to reach the point >Where they are ready to embark on their own lives, free of social roles. >We need to embody regeneration through the synergy of >Expressive breath, sound and movement. We need to transform >What we are restoring, and to ask these questions with great >Patience and intention, to embody them, to live them >& to support programs that foster great patience and intention. > >RIGHT NOW is an extremely important time for the "Core Self." >We need to embody the whole of our human nature >To devise systems of rules (selves) which describe how language >Works; we need to embody--to give birth to--all of our "selves." >We have many selves: the image (fantasy/memory/dream) self, >The physical self, the soul. It's time [APPLAUSE]. >With this in mind, we can better prepare ourselves for the future >Adopt policies of dignity, inclusion, and fair treatment [APPLAUSE]. > >Each self is different [APPLAUSE]. They are each different >& we need to embody those values in our new laws [APPLAUSE]. >If hope is going to be more than a theological theory, we need to >Embody, in the dramatic pattern each of us of calls, "my life," >These values *as* legislation, because the court will not do it >For us [APPLAUSE]. We need to embody choreographers [APPLAUSE] >so that way we may understand the world more in "human" terms. >We think that is the point. For you and I to live an effective life >We need to embody successful consumer driven initiatives (principles) >So as to "get" a grasp of the kinds of connections and relations between >Things. [APPLAUSE.] > > > > > > >_________________________________________________________________ >Add photos to your messages with MSN 8. Get 2 months FREE*. >http://join.msn.com/?page=features/featuredemail -- ========================================================================= Date: Sun, 2 Feb 2003 07:59:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: about Word Tower 2 Comments: To: ilivingston@notes.cc.sunysb.edu, edcohen@rci.rutgers.edu, LTenzer@gc.cuny.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable >X-From_: ccooke@composerscollab.org Sat Feb 1 20:44:27 2003 >Date: Sat, 01 Feb 2003 21:36:46 -0500 >Subject: about Word Tower 2 >From: Celia Cooke >To: WordTower poets >X-Umn-Report-As-Spam: >http://umn.edu/mc/s?BEuz5VyJcMSztqywjCwOB99gtIliT1awDVxtRoeks0pQnuDXWKYtSP0= 4VRt0qmvycO,5x5ECTATTNmT3BvDILda41bnFcQ6x8 >X-Umn-Remote-Mta: [N] thunderer.concentric.net #+CU+OF (A,-) >X-Umn-Remote-Mta: [N] mhub-m4.tc.umn.edu #+LO+TR+NM > >To the 110 poets who contributed to Word Tower Two: > >I wanted you to know about the premiere of my large-scale piano >theater work, 110 for 911, a setting of Word Tower Two for speaking >pianist and computer generated sound. > >Below is the press release for my upcoming performance of 110 for >911 at West Park Presbyterian Church (86th Street & Amsterdam >Avenue) on February 16th, the closing day of the Kitchen and >ComposersCollaborative's Solo Flights/Keyboard Summit festival. >Please help us get the word out about my program, and the others too. > >Hope you can tune in this Tuesday, February 4 from 2-3 pm, when >Frederic Rzewski, Matthew Shipp and myself join host John Schaefer >on Soundcheck (WNYC 93.9-FM, or http://www.wnyc.org) to publicize >the festival events. > > >All best, >Jed Distler >...........................................................................= =2E.........................................................................= =2E.... >composerscollaborativeinc. >For Immediate Release: 8 January 2003 >Press Contact: C=E9lia Cooke >212.663.1967 o ccooke@composerscollab.org > >ComposersCollaborative and The Kitchen present >SOLO FLIGHTS/KEYBOARD SUMMIT > >at West Park Presbyterian Church >Amsterdam Avenue at 86th Street, NYC >box office > 212.663.1967 > www.composerscollab.org >admission > $15 > >sun feb 16 > >4pm > Jed Distler > >Is it Poetry or Performance Art? > >110 for 911 is JED DISTLER's extended solo piano composition based >on the collective poem Word Tower Two initiated by City Lore and >curated by Bob Holman. One hundred ten poets contributed one line >apiece in response to 9/11. The poem can be described as literal and >abstract, tragic and funny, reality based and fantasy driven, >questioning and philosophical. Its wealth of words suggested to the >composer/pianist an equally far-ranging series of musical canvases. >The composer not only triple-dares the pianist to integrate solo >keyboard writing, electronically processed sound, spoken and sung >text, but also to sustain a compelling theatrical, musical entity. > >Words, music, and performance command equal status here. > >"Distler isn't sure whether a childhood spent in West Orange, NJ, >has much to do with his having achieved a state of cooldom, but if >you were to ask (the reviewer, he'd say) definitely yes." (Michael >Redmond, Star Ledger) Indeed, Jed grew up with Bugs Bunny cartoons, >Art Tatum records, Wagner's Ring, William Carlos Williams, etc. >under one roof, making for an exotic musical upbringing in the wilds >of New Jersey. The son of a published poet, Jed studied with >Clarence Major in college. His savvy with words colors his music >making. The Death of Lottie Shapiro, an early work for four sopranos >and piano, is an evening-length song cycle featuring text by his >mother, Bette Feitelson Distler. Jed penned original >autobiographical texts for his Assault on Pepper, a deconstruction >of the Beatles' Sargent Pepper album for speaking pianist. Other >noteworthy works with text include Anegada for pianist Kathleen >Supove, and Diva Demento for soprano Dora Ohrenstein. > >Pianist/composer Jed Distler braves his own challenge with the world >premiere of 110 for 911 on Solo Flights/Keyboard Summit, Sunday, 16 >February 2003 at 4pm. > > >If it works, don't worry. > > > >more about Solo Flights/Keyboard Summit & Jed Distler online at > >www.composerscollab.org -- ========================================================================= Date: Sun, 2 Feb 2003 10:22:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: "Somewhere around Barstow" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Somewhere around Barstow The Iranian assured us that all spent fuel would be returned to Russia. The Visitor's Center was closed, so we had to go on without maps, without guidance. The media tried to fill the emptiness within us, but even the launching of moon orbiters failed to do the trick. We thought we'd settled on a political blueprint for our nation's future, but even that didn't pan out, though a conference hall full of astrophysicists had worked on it day and night for several weeks. Either the surface had been dried out by solar heating and maturation, or the dark soot-like material that covers Barstow's surface masked any trace of Arizona black ice. But still the road uncoiled before us until we surpassed it and it slithered away behind us in our rear-view mirror. The boundaries between counties hereabouts were not well marked, and we usually slid from one right into the next without warning, tours no longer being offered until further notice. The Humans in Space Symposium had been cancelled, stirring up a hornet's nest of activity among those impacted. In Arroyo City, we stopped to gas up, and to check out Arizona's claim that it had no nuclear or biological weapons programs, a claim we strongly doubted. Now that we pay at the pump, we never see any of the locals anymore, and everything else was underground except, of course, for the old, burnt-out roadhouse across the road from the pumps. Hand in hand, a column of kindergarten children marched by us, headed out along the road we'd followed into town, vanishing into the heat vapors rising from the pavement and the desert floor. Where they were headed we had no idea. Our newly bolstered inspection team visited a former nuclear facility forty-six miles south of Flagstaff. This, I thought, is eternity. A policeman biking past smiled, "The ball's in the bad guy's court now." Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Sun, 2 Feb 2003 10:57:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: turning 60 - Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline Dear Alan, I hope you enjoy to the full this last day of being 59. Tomorrow you will be 60 and incredibly wise and ancient, and I will have to consult you. If you were in Ireland, you could be elected a saoi, which is a sort of venerable old artist to whom all the artists, theoretically anyway, pay homage. But seeing you're not in Ireland, I'll bring a bit of Ireland to you in the form of this early 19th century poem by Rafteiri an File, or Raftery the (what else) Poet, which all Irish children of my generation learned at school. St. Bridget's Day is the second of February, which marks the first day of spring in Ireland: Anois teacht an Earraigh beidh an lá dúl chun shíneadh, Is tar eis na féil Bríde ardóigh mé mo sheol. Go Coillte Mach rachad no stopfaidh me choiche Go seasfaidh me sios i lar Chondae Mhaigh Eo. Now that Spring is coming the day will be stretching out, and after St. Bridget's Day I will raise my sail. I'm going to Kiltimagh And I will never stop Until I plant my feet in County Mayo. It's a five-stanza poem, and the other bit which my memory has retained over the years is the second half of the third stanza, in which the poet praises the lushness and fertility of his home town -- everything grows there, blackberries and raspberries, and: Is da mbeinse i mo sheasamh i gceartlar mo dhaoine D'imeodh an aois dion is bheinn aris og. If I was standing in the heartland of my people Age would flee from me and I would be young again. Also, Alan, if you were in Kerry, you'd be able to have a whale of a time for your birthday. Here's the sort of thing they do around there this time of year: An Bhrídeog ~ The Biddy "The Biddy" and "The Capall" are the big traditional festivals in Uíbh Ráthach. Téann grúpaí ar fud na dúthaí ag déanamh spraoi agus iad gléasta ionas nach féidir iad d'aithint. Leis an spórt seo, cuirtear fáilte roimh an Earrach. Carrying a "brídeog" or "capall" as appropriate groups go from house to house and pub to pub on St. Bridgid's Eve and St. Brigid's Day. They play music, dance and sing, remaining disguised all the time. Carpe diem or let it seize you. Mairead Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu ========================================================================= Date: Sun, 2 Feb 2003 13:43:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: turning 60 - Comments: To: webartery@yahoogroups.com Comments: cc: Alan Sondheim MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT thanks for phrasing it that way, Alan. It gives me a couple of weeks to view it as an action or process rather than event, myself. truth be told I never thought I would get here and never dreamed it would be in student ousing in the heartland but it could be a birthday, new life, new course to take. at the same time i wish the good old USAcentre would be really reborn rather than born again but this is no longer my concern as my progeny have tools to wrestle and I can turn to food stamp bureaucracies and med regimens. there's probably a poem or meditation there but then again maybe not? tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Sun, 2 Feb 2003 11:01:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a napkin ring for my silent butter In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable a napkin ring for my silent butter oil is my baby - oil is the cock I suck daily - I am your oil spill =20 soaked in blood - I am mighty oil big joe oily big business oily=20= big cock oily teen idol big picture window greased up to be a big time=20= show girl - I am your school girl daddy - aren=92t you not going to=20 fight for me and stick it to=92em big daddy - they took all my toys = away=20 and I want my candy back big daddy - I want you to stick it in me -=20 with your crude gushing into the air I breathe - I am a enema of solid=20= mass from the body politic soaked in oil - I want to be your SUV - I=20= want you to ride me from sea-to-sea - I want you to take the pledge=20 allegiance to my oil stained gills drying on this pure white sandy=20 beach - I am your congress here to fill your pockets with=20 neopolypropylene and big steel big deals new production models and new=20= quotas with decisive interdiction on the ground with patriotic act=20 ballistic missiles - this is the fail safe that fails - this is a fail=20= safe condom that bursts your oily jizm on my reproduction system cloned=20= to the bones for school child to nibble on during holidays - I am your=20= wet dream - I am your sugar plum fairy commodore in chief wearing the=20= declaration of independence war bonnet here to fill you with my missile=20= payload - you are my vocal cords twenty four hours a day seven days a=20= week - I am command and control and will let you eat and speak when I=20 say - I am the omnipresent oil lamp guiding you to bring me your slaves=20= and duty free liquor - I am your cigarettes you suck on till my lights=20= go out.= ========================================================================= Date: Sun, 2 Feb 2003 11:09:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: <000501c2ca73$1f220c10$605e3318@LINKAGE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Why not say something intelligent to express your felings or enquire >of the other person re his? >I don't find this funny ! What kind of a fucking sick fuck are you. > > >----- Original Message ----- >From: "Joel Weishaus" >To: >Sent: Saturday, February 01, 2003 10:51 PM >Subject: Re: Columbia shuttle breaks up over Texas > > >> Irony. The remains of the Israeli astronaut rained down over Palestine, >> Texas. >> > > Joel W. > > -- George Bowering Cell phone confuses him Fax 604-266-9000 ========================================================================= Date: Sun, 2 Feb 2003 13:25:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit I was wondering how long this would take... mIEKAL eBay deletes purported shuttle debris http://www.globeandmail.com/servlet/ArticleNews/front/RTGAM/20030201/ webay01/Front/homeBN/breakingnews ========================================================================= Date: Sun, 2 Feb 2003 14:25:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed This seems an odd remark on a speech read off a teleprompter and written by others while Bush was driving in from vacation -- At 05:57 PM 2/1/2003 -0500, Brandon Thomas Barr wrote: >Not only that, but I thought the rhetorical stance of Bush's speech was >actually quite powerful, especially for a speech on the fly. > >Brandon Barr >University of Rochester > >On Sat, 1 Feb 2003, Mairead Byrne wrote: > > > Well, one of the first disclaimers was to the contrary: that, due to the > > height this happened at, it's unlikely to be a terrorist act. > > M > > > > > > Mairead Byrne, Ph.D. > > Department of English > > Rhode Island School of Design > > 2 College Street > > Providence, RI 02903 > > Office: (401)454.6268 > > Home: (401)273.5964 > > mbyrne@risd.edu > > >>> gmguddi@ILSTU.EDU 02/01/03 13:43 PM >>> > > Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi > > terrusts. > > I think it was an Iraqi did this. Some terrusts. Palestinian suicide > > bomber > > with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at > > rocket, tehrrurr. > > > > > > At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: > > >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, > > >terra1@SONIC.NET writes: > > > > > > > > > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > > > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) 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: Sun, 2 Feb 2003 14:31:17 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: FW: Roth interview in La Nazione (trans. Linh Dinh) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit -----Original Message----- From: Linh Dinh [mailto:linhdinh99@yahoo.com] Sent: Sunday, February 02, 2003 3:31 AM To: patrick@proximate.org Subject: RE: America_Has_Gone_Insane?_(John_le_Carre) Phillip Roth was interviewed in the Empoli based La Nazione recently. Among the things he said (and I translate from the Italian): [Speaking of the US after 9/11]: "America has become more aggresive and fearful, more closed and more sad. There's a widespread violence and a great desire for violence. And a racism that is by now out in the open, but disguised as an obsession with attacks, as a fear of confronting the potential dark skinned terrorist." [Speaking of the intellectual climate]: "There is less courage, less discussions, the contacts among writers less frequent and less intense. There is a sort of self-censorship, as if we are in the presence of an invisible enemy ready to take advantage of our weaknesses: and the truly contrary positions are avoided. I think today a real intellectual debate is difficult... I'd say that the terrorist nightmare has unleashed among Americans impulses that before were only latent. Self-centeredness, obtuseness and aggressiveness are smouldering under the appearance of a free and open society. [Speaking of the US leadership]: It will seem paradoxical, but I believe that men like Bush, like general Powell, or Condoleeza Rice or Cheney are the most legitimate and natural expression of today's America. They are our inevitable rulers, the only ones suitable to represent the mentality of the majority of our society. [On Bush's war]: I'd define it as oedipal: Bush wants to complete and surpass the work of the father. Bush Senior made war in the Gulf but could not capture Hussein and reach Bagdad: now his son wants to achieve this aim and have a greater place in history. [NOTE: My forwarding of Roth's message (or any other message for that matter) does not constitute endorsement of that message.-PH] Patrick Herron patrick@proximate.org !!!!!!!!!!!!!!!!!!!!!!! !Getting Close Is What! ! We're All About(TM) ! !http://proximate.org/! !!!!!!!!!!!!!!!!!!!!!!! ========================================================================= Date: Sun, 2 Feb 2003 14:38:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Columbia shuttle breaks up over Texas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A "genial" man reading from a teleprompter... yes... I was taken aback by the last 2 paragraphs... so heavy-handedly spun from a Christian Nation corner... Gerald Schwartz ----- Original Message ----- From: "Aldon Nielsen" To: Sent: Sunday, February 02, 2003 2:25 PM Subject: Re: Columbia shuttle breaks up over Texas > This seems an odd remark on a speech read off a teleprompter and written by > others while Bush was driving in from vacation -- > > At 05:57 PM 2/1/2003 -0500, Brandon Thomas Barr wrote: > >Not only that, but I thought the rhetorical stance of Bush's speech was > >actually quite powerful, especially for a speech on the fly. > > > >Brandon Barr > >University of Rochester > > > >On Sat, 1 Feb 2003, Mairead Byrne wrote: > > > > > Well, one of the first disclaimers was to the contrary: that, due to the > > > height this happened at, it's unlikely to be a terrorist act. > > > M > > > > > > > > > Mairead Byrne, Ph.D. > > > Department of English > > > Rhode Island School of Design > > > 2 College Street > > > Providence, RI 02903 > > > Office: (401)454.6268 > > > Home: (401)273.5964 > > > mbyrne@risd.edu > > > >>> gmguddi@ILSTU.EDU 02/01/03 13:43 PM >>> > > > Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi > > > terrusts. > > > I think it was an Iraqi did this. Some terrusts. Palestinian suicide > > > bomber > > > with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at > > > rocket, tehrrurr. > > > > > > > > > At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: > > > >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, > > > >terra1@SONIC.NET writes: > > > > > > > > > > > > > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > > > > > > > > > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "The university professes the truth, and that is its profession. It > declares and promises an unlimited commitment to the truth." > Jacques Derrida (Without Alibi 202) > > 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: Sun, 2 Feb 2003 14:56:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Intelligent explication of rage in relation to Columbia shuttle MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear George This is a good idea, however I believe that my statement did exactly as you suggest, express and enquire, within the bounds of the common (vulgar) tongue. My initial reaction was one of rage and then I realize that I over reacted and owned up to it. But now I will explicate in a manner fitting to his Honor, the Poet Laureate of Canada. Ilan Ramon http://www.space.com/missionlaunches/bio_ramon.html a colonel in the Israeli Air Force and a former F 16 squadron commander; his mother is a Holocaust survivor of Auschwitz and his father fought in the War of Independence. Ramon took into space "something that would symbolize the Holocaust survivors and those who did not survive." One of those items was a tiny Torah scroll. "It is a small Torah scroll that 60 years ago a little boy in Bergen Belsen received from the rabbi of Amsterdam. The rabbi taught him from it for his bar mitzva. That 13 year old boy read the weekly portion from this Torah. It was with him since then. That boy, Yehoyahin Yosef, survived the Holocaust, arrived in Israel, fought in the country's wars and then went on to become a distinguished professor of planetary physics." Ilan has also brought a picture of the Earth as seen from the Moon, which was drawn by a young boy who died in Auschwitz. Full story here. http://www.startribune.com/stories/789/3606880.html Now this man is dead in an act of sentimentality. And in their reentry over the US airspace being near Palestine is an odd thing to point out from a man whose name means House of the Wise. That is irony. OR even, a funny might be found in the CNN reporter's name Miles O'Brien is that of a Star Trek The Next Generation character. Best, Geoffrey ----- Original Message ----- From: "George Bowering" To: Sent: Sunday, February 02, 2003 2:09 PM Subject: Re: Columbia shuttle breaks up over Texas > >Why not say something intelligent to express your felings or enquire > >of the other person re his? > > > > >I don't find this funny ! What kind of a fucking sick fuck are you. > > > > > >----- Original Message ----- > >From: "Joel Weishaus" > >To: > >Sent: Saturday, February 01, 2003 10:51 PM > >Subject: Re: Columbia shuttle breaks up over Texas > > > > > >> Irony. The remains of the Israeli astronaut rained down over Palestine, > >> Texas. > >> > > > Joel W. > > > > > > -- > George Bowering > Cell phone confuses him > Fax 604-266-9000 > > ========================================================================= Date: Sun, 2 Feb 2003 14:22:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: regarding dung Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed "Why must we/ Pit ourselves *against* crap?" -- Gary Sullivan 1. Yes, why must we do this: Is there not something democratic about the earth itself? Are not fertilizer and manure, though repulsive, not fertile? 1.1. Does any one of us deny a daily or a near daily intimacy with dung? And do we not carry it into the halls of parliament inside a bag God has slung between our thighs? It is there with us always, yet we practice an apartheid against this substance, an apartheid at once so subtle and demoralizing that great havoc is wrecked in our daily life. 1.2. The effort we expend in our avoidance of thoughts about dung is incalculable. Many of us refuse to read about dung. The moral and linguistic trenches and fretworks arrayed against dung are pervasive and seemingly insuperable. Indeed, the very word "shit" begins with the palatal voiceless fricative onomatopoeic imperative to be quiet: shh! 1.3. Many will praise and worship an idealized conception of God, yet the very paste of life cannot go unreviled. 1.4. Dung and death, procreation and violence: these are the actual signposts and borders of life. Rarely do we see them come together except in a battle of sex and shit-throwing in a cemetery. 1.5. Shame about dung is a frivolous and gratuitous shame, wasted shame, empty shame. Should not shame serve to correct our action, steer us from immorality and evil, rather than provide us merely a feeling of intense and impending embarrassment about an odorous paste? I submit that inasmuch as the shame of dung is the first impractical shame, it is the beginning of frivolity. What's more, it follows then that those adult pursuits recognized in every age for their frivolity (fashion, for one) are merely embellishments upon, and excrescences of, dung shame. Vanity itself is but a false sense of triumph over one's dung. 1.6. Shame of dung is therefore improper shame, insofar as it supplants or is used as a surrogate for proper, useful, substantive shame. Our collective cultural feelings (aversive and prissy) and representations about dung embody, then, a failure of spirituality. 1.7. In those people for whom dung is shameful, the depths of disgust and the heights of vanity meet midway at a point called righteousness. And I fucking hate righteousness. Here's your dung poetry, prissy boy! perfect girl! 1.8. The fact of the matter is dung has fought back with great artfulness, vitality, craft and agility at precisely those moments in history when proper shame has been suppressed by not only frivolous shame but the cultural features that attend shame, such as violence, officiousness, and the like. This occlusion of proper shame suppresses gratitude, pragmatics, use, and decency. And shame of dung is a sign of their absence. 1.9. It is no mistake that those who are officious, militantly decorous, prissy, priggish, and rule-bound are often called "anal-retentive." These are usually, furthermore, either secretively or openly pompous people; pomposity inheres in them, and this is because they suffer from a frivolous and incorrect shame, a shame that supplants true shame. 1.10. It could be argued that prissiness is at base a kind of timidity. But dung-based prissiness is a more militant kind of prissiness, insofar as it carries brittle attitudes specifically to procreation and defecation. These attitudes however are typically not obvious or strong enough to express in writing nor do the prissy wish to see them expressed either. It is interesting that the relationship between prissiness and timidity is that prissiness is a timidity of the butt. 1.11. So, prissiness is less than an issue of misplaced shame as it is the fear that one's frivolity will be challenged. For who wants to be considered frivolous? Dung is never frivolous, and it is therefore suitable that poetry should be defended by dung. Dung is factual. It is very real, and the dismissal of dung is frivolous insofar as it is futile. The official world is a dungless world. 1.12. All of which is not to say that there are not honest and legitimate negative reactions to dung. Dung is afterall disgusting. But serious grave and moral and national and political and rural issues arise once what is physically disgusting is not understood as something merely physically disgusting, but is instead confused with the aesthetically, morally, and nationally reprehensible. 1.13. Prissies believe they are about law and order, when in fact they are merely trying to plant feeble colonies of disgust in inappropriate regions. These prissies are dolts. (That is one class of prissy, the dolt prissy.) 1.14. But what are these "inappropriate regions"?: Comedy; The North; Decency; Urbanity; Sanity--anything, that is, outside the realm of television. Television is "the South"; television is prissiness. TV is the South inasmuch as "the South" is a collectively prissy response to wilderness (the swamps of MS and LA, eg), the other (the poor, the African-American, the non-Anglo-Saxon, the feminized female, the masculinized male, John Grey notwithstanding), and, well, the facts (reality, eg). 1.15. Let us be plain: There is something inherently retarded about America. And the reason for this has principally to do with our relationship with our dung. 1.16. They who feel frivolous disgust and frivolous shame are put off by dung in poetry. As prissiness is a display of frivolous disgust and/or frivolous shame, so also is machismo a display of resistance to disgust and shame. But insofar as machismo is yet another reactionary response to shame and disgust (with a key additional reaction to fear), I must classify it as a type of prissiness. 1.17. By contrast, there is something very "can do" about dung. Dog-faced and down-at-heel, dung is nothing, yet from it issues life. It is a kind of womb therefore. It is a cross between a paste, on the one hand, and a womb on the other. Indeed, the rectum, whence comes dung, is itself a shadow womb. Metonymically then, a dung is a boy. Or a dung is a girl. Dung are therefore shadow children, adumbrated offspring. The procreative aspects of dung hinge not only upon its biological properties, but its metaphorical properties. It is a rich and confusing substance. So, out of respect for its complexity, its signification, its use, and our long companionship with it, we ought not either wrinkle or raise our noses at it. 1.18. A perfect example of denial-of-dung art is Nashville country music. Yet even there we see defecatory qualities: the moaning of the mullet cuts, the tinkling of the steel guitars. 1.19. Beyond shame, there is a very strong fear associated with dung. Consider that a creature is, when defecating, very vulnerable to attack. To many idiots, then, dung is what one produces when one is weak, it is a product of weakness. But some, I think, feel that a dung is an expulsed wound. That in surviving the act of defecation without being clubbed, the dung represents a wound one had avoided altogether. It is a wound at once avoided and voided. 1.20. Thus, given his druthers, mankind will choose to dung inside a fortified structure. You might argue that the fact that we chose to situate our dunging machines inside houses is indicative only of a preference to dung in a warm room, outhouses being cold more than half the year in those climes where the flushing dung bowl was devised. I concede this is a strong argument: it does seem axiomatic that one is more likely to freeze to death in an outhouse than be clubbed to death in it. But I refute this theory. ========================================================================= Date: Sun, 2 Feb 2003 12:25:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: Cubism and literature In-Reply-To: <1F66479B-36E4-11D7-9790-0003935A5BDA@mwt.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Do you think cubism influenced literature (or vice versa)? Help me win a bet. What books or texts can you recommend that will show me in what ways cubism influenced literature? And also, what writers were influenced by cubism? Please back channel all this information, because it is important that I win this bet. I know as much as the average person about cubism and about literature, but I call upon you to help me on this one topic. Thanks everyone. -- Kevin K. ========================================================================= Date: Sun, 2 Feb 2003 14:00:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: regarding dung In-Reply-To: <5.1.1.6.0.20030202141559.01a3ff88@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" a little off the mark, perhaps, but this is why i find whitman's "this compost" (1856) one of the more amazing u.s. poems of the 19th century... best, joe ========================================================================= Date: Sun, 2 Feb 2003 16:17:38 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Kevin, Well, how about Stein and Max Jacob? In an article by Jayne Walker, titled ""Tender Buttons: The Music of the Present Tense," (The Making of a Modernist, U of Mass Press, 1984), Walker makes reference to the first Cubist collage, "Still Life with Chair Caning," which contains a piece of cloth with the printed pattern of chair caning and a piece of rope around the canvas--she claims that within months after Picasso created this collage, Stein invented the style she used in Tender Buttons. I think scholarship generally asserts that visual Cubism slightly precedes verbal. I've devoted part of a course I'm teaching at CCAC to these relationships. Max Jacob, I think, comes close to being neck in neck with Picasso. In 1901 he went to an exhibition of a then unknown artist named Pablo Picasso. Later he recommended P to an art dealer he knew. Then there's the legendary room mate story of Bateau Lavoir. Jacob was writing The Dice Cup between 1903 and 1907, though it wasn't published as a book until 1917. Does this help? What kind of bet, with whom, and how much? (You can call me at home to give me the details if you don't want them made public, sweetie). Love, Gloria Frym ========================================================================= Date: Mon, 3 Feb 2003 07:42:28 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: turning 60 - In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-33F14B05; boundary="=======35D46AE3=======" --=======35D46AE3======= Content-Type: text/plain; x-avg-checked=avg-ok-33F14B05; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable a beautiful post mairead, sounds like what 'growing old with dignity'=20 really means. and alan, happy birthday, i'm afraid in australia you just passed from=20 being an 'old bastard' to being a 'really old bastard', and in greece i=20 believe 60 is the age that men sit at coffee lounges sunning their balls=20 and playing their worry beads, tipping their hats at the ladies that pass. love komninos At 01:57 AM 3/02/03, you wrote: >Dear Alan, > >I hope you enjoy to the full this last day of being 59. Tomorrow you >will be 60 and incredibly wise and ancient, and I will have to consult >you. > >If you were in Ireland, you could be elected a saoi, which is a sort of >venerable old artist to whom all the artists, theoretically anyway, pay >homage. > >But seeing you're not in Ireland, I'll bring a bit of Ireland to you in >the form of this early 19th century poem by Rafteiri an File, or Raftery >the (what else) Poet, which all Irish children of my generation learned >at school. St. Bridget's Day is the second of February, which marks the >first day of spring in Ireland: > >Anois teacht an Earraigh >beidh an l=E1 d=FAl chun sh=EDneadh, >Is tar eis na f=E9il Br=EDde >ard=F3igh m=E9 mo sheol. >Go Coillte Mach rachad >no stopfaidh me choiche >Go seasfaidh me sios >i lar Chondae Mhaigh Eo. > >Now that Spring is coming >the day will be stretching out, >and after St. Bridget's Day >I will raise my sail. >I'm going to Kiltimagh >And I will never stop >Until I plant my feet >in County Mayo. > >It's a five-stanza poem, and the other bit which my memory has retained >over the years is the second half of the third stanza, in which the poet >praises the lushness and fertility of his home town -- everything grows >there, blackberries and raspberries, and: > >Is da mbeinse i mo sheasamh >i gceartlar mo dhaoine >D'imeodh an aois dion >is bheinn aris og. > >If I was standing >in the heartland of my people >Age would flee from me >and I would be young again. > >Also, Alan, if you were in Kerry, you'd be able to have a whale of a >time for your birthday. Here's the sort of thing they do around there >this time of year: > >An Bhr=EDdeog ~ The Biddy > >"The Biddy" and "The Capall" are the big traditional festivals in U=EDbh >R=E1thach. T=E9ann gr=FApa=ED ar fud na d=FAtha=ED ag d=E9anamh spraoi agus= iad >gl=E9asta ionas nach f=E9idir iad d'aithint. Leis an sp=F3rt seo, cuirtear >f=E1ilte roimh an Earrach. > >Carrying a "br=EDdeog" or "capall" as appropriate groups go from house to >house and pub to pub on St. Bridgid's Eve and St. Brigid's Day. They >play music, dance and sing, remaining disguised all the time. > >Carpe diem or let it seize you. > >Mairead > > > >Mairead Byrne, Ph.D. >Department of English >Rhode Island School of Design >2 College Street >Providence, RI 02903 >Office: (401)454.6268 >Home: (401)273.5964 >mbyrne@risd.edu > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======35D46AE3======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-33F14B05 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======35D46AE3=======-- ========================================================================= Date: Sun, 2 Feb 2003 17:08:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: regarding dung MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In a message dated 2/2/2003 4:00:33 PM Eastern Standard Time, joe.amato@COLORADO.EDU writes: > > > why i find whitman's > "this compost" (1856) one of the more amazing u.s. poems of > the 19th > century...Joe THIS COMPOST is a masterpiece! i've heard poets complain about it by way comparing it to Whitman's other work, saying it's not as celebratory. well, whatever. i actually disagree that it's NOT celebratory, but i don't want to argue that point, which seems so silly to me. THIS COMPOST has all the vigor of the ORIGINAL texts, before he edited and edited his way into the good gray poet stance. Gary Schmidgall, a recent Whitman biographer, published a few years ago the fully unexpurgated earlier texts of LEAVE OF GRASS for the first time in many years. most of these versions have been unavailable to us for decades. it's quite different from the Whitman i remember reading in class years ago. wow, is it different, luscious and salacious, a definite revolutionary emblem for our bodies and our loves and lives. Walt Whitman, Selected Poems 1855-1892 A New Edition...click here http://www.giovannisroom.com/NASApp/store/IndexJsp;jsessionid=96611138167E7D6024B6F2D5927BF229.+2?s=showproduct&isbn=0312267908 ========================================================================= Date: Sun, 2 Feb 2003 17:58:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brandon Thomas Barr Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: <5.0.0.25.2.20030202142517.00a59040@email.psu.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I didn't say he wrote it. I was responding to a rather brash comment about the administration's stance vis a via Columbia, and was commenting that the speech--whether read off a teleprompter or written by someone else (like all recent presidential speeches) or not--was rhetorical powerful, and in fact quite poetic. Brandon On Sun, 2 Feb 2003, Aldon Nielsen wrote: > This seems an odd remark on a speech read off a teleprompter and written by > others while Bush was driving in from vacation -- > > At 05:57 PM 2/1/2003 -0500, Brandon Thomas Barr wrote: > >Not only that, but I thought the rhetorical stance of Bush's speech was > >actually quite powerful, especially for a speech on the fly. > > > >Brandon Barr > >University of Rochester > > > >On Sat, 1 Feb 2003, Mairead Byrne wrote: > > > > > Well, one of the first disclaimers was to the contrary: that, due to the > > > height this happened at, it's unlikely to be a terrorist act. > > > M > > > > > > > > > Mairead Byrne, Ph.D. > > > Department of English > > > Rhode Island School of Design > > > 2 College Street > > > Providence, RI 02903 > > > Office: (401)454.6268 > > > Home: (401)273.5964 > > > mbyrne@risd.edu > > > >>> gmguddi@ILSTU.EDU 02/01/03 13:43 PM >>> > > > Kin you hear Bush's rusted wheels spin?: Taliban did this, Iraqi > > > terrusts. > > > I think it was an Iraqi did this. Some terrusts. Palestinian suicide > > > bomber > > > with parachute, terrusts. Iraq terrusts, Osama Saddam shoot rocket at > > > rocket, tehrrurr. > > > > > > > > > At 12:58 PM 2/1/2003 -0500, Harriet Zinnes wrote: > > > >In a message dated 2/1/2003 10:43:20 AM Eastern Standard Time, > > > >terra1@SONIC.NET writes: > > > > > > > > > > > > > > > > > > http://www.cnn.com/2003/TECH/space/02/01/shuttle.columbia/index.html > > > > > > > > > > > > > > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "The university professes the truth, and that is its profession. It > declares and promises an unlimited commitment to the truth." > Jacques Derrida (Without Alibi 202) > > 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: Sun, 2 Feb 2003 18:20:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brandon Thomas Barr Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I guess I feel the need to defend my posiiton a little more, though not sure quite why. I'll I'm trying to say that, regardless of your political leanings, the speech (though poorly delivered) was a good one and lacked any sense of the war-mongering that some suggest. And though it was tinged with religion, it was not a fundementalist view that was was present in those last few paragraphs. The quote from Isaiah was particularly effective, given that the speech was being delivered to Isreal as well as the US. And the way in which the speech tied man's scientific yearning for understanding--"Mankind is led into the darkness beyond our world by the inspiration of discovery and the longing to understand"--was neatly paralleled with religous doubt and hope in the last lines: "The crew of the shuttle Columbia did not return safely to Earth; yet we can pray that they are all safely home." Look, I'm not supportive of the way the Administration is handling the current global crises either, but the speech was very well meaning and well crafted. To blindly reject anything put forth by the administration does just as much damage as blindly accepting it. Brandon ========================================================================= Date: Sun, 2 Feb 2003 15:19:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Intelligent explication of rage in relation to Columbia shuttle In-Reply-To: <004b01c2caf5$23c11590$605e3318@LINKAGE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Ilan Ramon http://www.space.com/missionlaunches/bio_ramon.html a colonel in >the Israeli Air Force and a former F 16 squadron commander; his mother is a >Holocaust survivor of Auschwitz and his father fought in the War of >Independence. Ramon took into space "something that would symbolize the >Holocaust survivors and those who did not survive." One of those items was a >tiny Torah scroll. "It is a small Torah scroll that 60 years ago a little >boy in Bergen Belsen received from the rabbi of Amsterdam. The rabbi taught >him from it for his bar mitzva. That 13 year old boy read the weekly portion >from this Torah. It was with him since then. That boy, Yehoyahin Yosef, >survived the Holocaust, arrived in Israel, fought in the country's wars and >then went on to become a distinguished professor of planetary physics." Ilan >has also brought a picture of the Earth as seen from the Moon, which was >drawn by a young boy who died in Auschwitz. Full story here. >http://www.startribune.com/stories/789/3606880.html Well, that is certainly better, and I thank you for it. Though I have to say that I don't really see that carrying a religious fetish object into space makes for a positive, any more than I like the bible-mongering in your president's speech this morning. My guess is that some pilots of the Israeli gunboat helicopters are carrying religious items, and that so are some Syrian fighter jet pilots. -- George Bowering An argument for cloning Fax 604-266-9000 ========================================================================= Date: Sun, 2 Feb 2003 15:32:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Cubism and literature In-Reply-To: <179.158d1782.2b6ee4f2@cs.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Jacob described himself as a cubist poet. There's a lot of writing about what this means--almost every introduction to Jacob collectionms in French and English. A good place to start would probably be Gerald Kamber, Max Jacob and the Poetics of Cubism. Mark At 04:17 PM 2/2/2003 -0500, you wrote: >Dear Kevin, > > Well, how about Stein and Max Jacob? In an article by Jayne Walker, >titled ""Tender Buttons: The Music of the Present Tense," (The Making of a >Modernist, U of Mass Press, 1984), Walker makes reference to the first Cubist >collage, "Still Life with Chair Caning," which contains a piece of cloth with >the printed pattern of chair caning and a piece of rope around the >canvas--she claims that within months after Picasso created this collage, >Stein invented the style she used in Tender Buttons. > I think scholarship generally asserts that visual Cubism slightly >precedes verbal. I've devoted part of a course I'm teaching at CCAC to >these relationships. > Max Jacob, I think, comes close to being neck in neck with Picasso. >In 1901 he went to an exhibition of a then unknown artist named Pablo >Picasso. Later he recommended P to an art dealer he knew. Then there's the >legendary room mate story of Bateau Lavoir. Jacob was writing The Dice Cup >between 1903 and 1907, though it wasn't published as a book until 1917. > Does this help? What kind of bet, with whom, and how much? (You can >call me at home to give me the details if you don't want them made public, >sweetie). > >Love, Gloria Frym ========================================================================= Date: Mon, 3 Feb 2003 19:22:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: "an**al sumptuous crops"... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit plow the hard ground wound tween heaven & hell tip the fecund earth sound birth thru death what cock & hand found sweet spring small grown large holed down thru.... drn... ========================================================================= Date: Sun, 2 Feb 2003 18:45:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: CFP: George Oppen (collection) In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hello All--Please forward this to likely candidates. I'm especially interested in soliciting contributions from women. Thanks, Steve -- CALL FOR PAPERS (Collection) George Oppen Oppen's book "Of Being Numerous" won the Pulitzer Prize for poetry in 1969, and he is considered by many to be one of the major American poets of the twentieth century, yet his work is still curiously neglected in academic circles. With the recent publication of his New Collected Poems (New Directions, 2002) we have a fitting occasion to reconsider Oppen's important body of poetry. This collection of essays is currently slated to include work by Charles Bernstein, Rachel Blau DuPlessis, Forrest Gander, Michael Heller, Peter Nicholls, Ron Silliman, John Taggart, and others. Further contributions are welcome at this time. Topics might include, but are not limited to, the following: --Objectivist Movement --Reception and Influence (including the stages of Oppen's career and his relation to later poetries: New Americans, Black Mountain poets, Language poets, etc.) --Poetry/Politics/Silence --Problems of Poetic Form/Serial Poetry/20thC Lyric --Great Depression/The Thirties --Marxism/Communist Party/Popular Front --Jewish-American identity --World War II --Vietnam War --Poetry and Philosophy --"Of Being Numerous" as a major work of 1960s era poetry --French Connection (including the Oppens' early travels in France, George's experience during the war years, and the later strong reception of George's work by French poets and translators) Please send 500 word abstracts and c.v. (if available) by March 1, 2003 to Steve Shoemaker, shoemak@fas.harvard.edu ========================================================================= Date: Sun, 2 Feb 2003 17:00:53 -0600 Reply-To: jamie.perez@akqa.com Sender: UB Poetics discussion group From: Jamie Gaughran-Perez Subject: Poetry Reading in NYC, Sat. Feb 8 Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ......... Poetry on 44th Street Saturday, February 8, 2003 Doors open 7:30pm 8:00 featured readings by Mike Grau, Jamie Gaughran-Perez, and Brian Snapp Followed by open mic until 11pm (signup at 7:30) Musicians and poets welcome (5-10 minute slot, depending on sign-up) $5 admission, Wine served Trilogy Annex Theatre 341 W. 44th St., 2nd Floor between 8th and 9th Avenue for reservations, call 212.501.2282 email feedtheherd@hotmail.com for more info .......... Jamie Gaughran-Perez _______________________________ Office: 202 625 1352 x244 Cell: 202 277 6735 AKQA 3255 Grace Street, NW Washington, DC 20007 http://www.akqa.com Confidentiality notice: The information transmitted in this email and/or any attached document(s) is confidential and intended only for the person or entity to which it is addressed and may contain privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. ========================================================================= Date: Sun, 2 Feb 2003 19:16:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit pierre reverdy comes to mind as well... ----- Original Message ----- From: "Mark Weiss" To: Sent: Sunday, February 02, 2003 6:32 PM Subject: Re: Cubism and literature > Jacob described himself as a cubist poet. There's a lot of writing about > what this means--almost every introduction to Jacob collectionms in French > and English. A good place to start would probably be Gerald Kamber, Max > Jacob and the Poetics of Cubism. > > Mark > > At 04:17 PM 2/2/2003 -0500, you wrote: > >Dear Kevin, > > > > Well, how about Stein and Max Jacob? In an article by Jayne Walker, > >titled ""Tender Buttons: The Music of the Present Tense," (The Making of a > >Modernist, U of Mass Press, 1984), Walker makes reference to the first Cubist > >collage, "Still Life with Chair Caning," which contains a piece of cloth with > >the printed pattern of chair caning and a piece of rope around the > >canvas--she claims that within months after Picasso created this collage, > >Stein invented the style she used in Tender Buttons. > > I think scholarship generally asserts that visual Cubism slightly > >precedes verbal. I've devoted part of a course I'm teaching at CCAC to > >these relationships. > > Max Jacob, I think, comes close to being neck in neck with Picasso. > >In 1901 he went to an exhibition of a then unknown artist named Pablo > >Picasso. Later he recommended P to an art dealer he knew. Then there's the > >legendary room mate story of Bateau Lavoir. Jacob was writing The Dice Cup > >between 1903 and 1907, though it wasn't published as a book until 1917. > > Does this help? What kind of bet, with whom, and how much? (You can > >call me at home to give me the details if you don't want them made public, > >sweetie). > > > >Love, Gloria Frym > > > ========================================================================= Date: Sun, 2 Feb 2003 16:32:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "Shhhhhh!" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "Shhhhhh!" NEWS ALERT FROM THE PARANORMAL SPAM NETWORK the late president of the united states who was murdered by his personal bodyguards in his presidential suite is re-running for office I count on your honour to keep this secret, SECRET strict confidence and utmost secrecy is required to win this election campaign and vote into office the late president's poltergeist the late president's wife is currently seeking political asylum in the DEMOCRATIC REPUBLIC OF CONGO where she is meeting with the cabinet and army chief about her resolve to defeat the opposition in political election and be candid about the TRUTH - that the united states government is a paranormal cult of disembodied administrators! Shhhhhh! AUGUST HIGHLAND 4:30 PM 02-03-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sun, 2 Feb 2003 16:46:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: lil bobble-heads on the dash of their gunboats In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > From: George Bowering > Reply-To: UB Poetics discussion group > Date: Sun, 2 Feb 2003 15:19:29 -0700 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Intelligent explication of rage in relation to Columbia shuttle > > Though I have to say that I don't really see that carrying a > religious fetish object into space makes for a positive, any more > than I like the bible-mongering in your president's speech this > morning. My guess is that some pilots of the Israeli gunboat > helicopters are carrying religious items, and that so are some Syrian > fighter jet pilots. Those god fearing heathens! How long is it going to take for capital to turn these folks into consumer friendly secular humanists with lil bobble-heads on the dash of their gunboats? I ask you... --AF ========================================================================= Date: Mon, 3 Feb 2003 15:36:28 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" As far as Stein goes I would start with the portraits, comparing the so-called analytical cubist portraits with Stein's own portraiture of around the same time. And then Tender Buttons in relation to collage, not so much Chair Caning as the works on paper than come a bit later. Wystan -----Original Message----- From: Mark Weiss [mailto:junction@EARTHLINK.NET] Sent: Monday, 3 February 2003 12:33 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Cubism and literature Jacob described himself as a cubist poet. There's a lot of writing about what this means--almost every introduction to Jacob collectionms in French and English. A good place to start would probably be Gerald Kamber, Max Jacob and the Poetics of Cubism. Mark At 04:17 PM 2/2/2003 -0500, you wrote: >Dear Kevin, > > Well, how about Stein and Max Jacob? In an article by Jayne Walker, >titled ""Tender Buttons: The Music of the Present Tense," (The Making of a >Modernist, U of Mass Press, 1984), Walker makes reference to the first Cubist >collage, "Still Life with Chair Caning," which contains a piece of cloth with >the printed pattern of chair caning and a piece of rope around the >canvas--she claims that within months after Picasso created this collage, >Stein invented the style she used in Tender Buttons. > I think scholarship generally asserts that visual Cubism slightly >precedes verbal. I've devoted part of a course I'm teaching at CCAC to >these relationships. > Max Jacob, I think, comes close to being neck in neck with Picasso. >In 1901 he went to an exhibition of a then unknown artist named Pablo >Picasso. Later he recommended P to an art dealer he knew. Then there's the >legendary room mate story of Bateau Lavoir. Jacob was writing The Dice Cup >between 1903 and 1907, though it wasn't published as a book until 1917. > Does this help? What kind of bet, with whom, and how much? (You can >call me at home to give me the details if you don't want them made public, >sweetie). > >Love, Gloria Frym ========================================================================= Date: Sun, 2 Feb 2003 22:38:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: dance-text for Foofwa MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Toi, Danse Avant La Guerre! Moi, la soleil enferme de la danse-courir avec mon amie de la chomage, imobilite! Je suis une enfant avant les mondes. J'ai une paraplui ou une parasol. Je suis trieste, une personne triste. Elle est ma amie coquin copuler. Avant la guerre ou apres? J'ai besoins. J'ai une autre besoin, dit Rimbaud. Courir, courir! Et ne revenir pas, c'est moi! Alors, la guerre! Matin, nous mourons. Etre ou non etre a l'agonie, c'est la question! Mourons, en anglais idiot ou les cretins. Les soldats marchez a bataille, assommer! Je suis l'arbre de la mond. Alors, chomage! Alor, travailler les blesses! J'ai mon petit trois points... Je pense. Je suis un roche. Couchez avec mois ces soir? Pardon, je suis desolee! A demain, nous sacrifier notre vie pour le danse! A deman, nous assistons au coup de grace. A demain, assassiner. Je suis une pomme de lune... Alors... Venez-vous avec moi, kleptomane! Nous ont nos genoux. Aux armes! Aux armes! Nous ons le cadeau de Dieu a la Terre. Nous sacrifions! Ou sont les neiges d'antan? Je suis les autres. Je suis Dreyfus. Mon amie, c'est Foofwa d'Imobilite, il danse-courir la belle guerre. Moi? J'exist. Mais il est une enfante-terrible! Aujourd'hui, nous pensons a cote de fleuve Susquehanna. Tres beau! Il neige. Le pax romana. Mais j'ecoute les carillons de la guerre. Je suis un realist. Je ne croix pas rien. Le soleil est tres chaud, trop chaud pour vie animale et vegetale. Plancton... La plasma... Soleil! Je vivre A la lune! DANS la lune! Je vois toutes les mondes! Ecran! === ========================================================================= Date: Mon, 3 Feb 2003 03:52:15 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lakey Teasdale Subject: If you observe Birthdays, Rimbaud, manoeuvre & insert daydreams Comments: To: "WRYTING-L : Writing and Theory across Disciplines" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If you observe, NO ACCIDENT, this brewing home surveillance,=20 DO NOT INTERFERE, performing the mainstream, downstream.=20 No very Yes. YES very NOYES. His/her buon compleanno.=20 Clark, if you m us t! Manoeuvre and thrust, until relieved, or advanced. The opposite,=20 in the extreme, in extremis, inserted the dream. Centred over. The power to immmmobalize Bradley!=20 Never miss an opportunity from the moment. Contrary, ornery, fat Rimbaud's canary writes with a.PEN is behind everra stupid mainstreampoet. Is ane other. Stupid! Poet! Two major problems! Worser! BUSH SPAMS OK! Places ARMS and ...the MAN, oh my god! Both hands!=20 Repeat the preceding. Follow instructions: Go to 'view' as we get older and remember the extremmme _French_ . No very Yes. YES very NOYES. His/her joyeux anniversaire!=20 Clark, if you m us t! Go to 'insert'. All fingers, thumbs and daydreams.=20 'Tools'. [APPLAUSE] This clause should be examined. As soon as possible. Till the moment "I" leave.=20 Immediately, U! Gerrahadere. Take a chair, sir. In either case, upper or relieved. Lower the grammarian.=20 On top of the first biggest. Blow hard. There, in a quiet room. Lucky Jim!=20 No very Yes. YES very NOYES. His/her Yom Holedet Sameach!=20 Clark, if you m us t! And dress up a motorcycle.a slow killer. 5 years later. repeat the thrusting movements. Worse! Worser! Speak! Observe, we have hearts big enough, patience and intention.=20 Embody the great! With the left hand, a mystery.to the right. [APPLAUSE] for the future intoxicates choreographers and terms.=20 If you observe, thoughts plunged into a sea. Prevention is bolstered! See here, it's time for the core. The score. 60 years or more. Rhymes. No very Yes. YES very NOYES. His/her fortuna dies natalis!=20 Clark, if you m us t! DO NOT INTERFERE. unless he/she/it/they, the love that has many names,=20 becomes UN conscious, and distance ourselves from the ambient cloture. Further and better particulars! Clench, every few seconds, 16 hours a = day.=20 Quickly, quickly! Warm the chill of self-censorship. A word of = unconscious. "I heard a fly."=20 "Fornicate with the help!" "It comes. [to] the same." Booze it UP! in a faux gold distance in a ear's conference.=20 From the mmmoment i arrived, thrust into the hoi polloi,=20 chin-height, closer to virtue, recycled on emerging needs. EVERYWHERE contrary, fat ornery, Rimbaud stole mah rhymes.=20 [APPLAUSE] Just helped himself, neither too good, nor too bad.=20 But exactly the opposite, meshuggerner fish, injected with silver.=20 We are grandstanding & witless! Capuccino, two sugars. MORE! Not enough? Again? Underground? on a Flagstaff? Kinky. No very Yes. YES very NOYES. His/her gratulerer med dagen!=20 Clark, if you m us t! DO NOT INTERFERE with the State of the Union, signora.=20 Lower the grammarian on top of the lower case and thrust!=20 Pump the organ harder, Morgan, EVERYWHERE.=20 We want BUSH involved, allowed freedom of action! No very Yes. YES very NOYES. His/her Happy happy birthday!=20 Gantseh knacker! Astro and physicists, Clark, if you m us t!=20 ___________________________________ 2-Feb-03 lakey teasdale found in recent & previous posts on WRYTING & poetics listserve=20 ========================================================================= Date: Sun, 2 Feb 2003 23:27:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: A visit to Iraq In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable A few days ago, scanning the German daily press, I came across an=20 article in the _Frankfurter Rundschau_ by an American university=20 professor, relating his trip to Iraq in January in the company of some=20= thirty other US academics. I thought the piece useful & informative &=20 tried to locate the original publication in English -- nowhere to be=20 found. I finally contacted the author, Stephen Bronner, at Rutgers & he=20= told me that it had not been published in the English-speaking world=20 (though The Nation was supposedly looking at it) & allowed me to=20 distribute it electronically. -- Pierre BAGHDAD MEMORIES By STEPHEN ERIC BRONNER* We arrived in the middle of the night, smuggled into Iraq via the=20 Jordanian city of Amman, and the cameras were already waiting along=20 with the president of the university, his entourage, some bodyguards, a=20= few agents of the regime, and the organizers of what would become four=20= days of activities in Baghdad. Half-asleep, in an empty airport lounge=20= with postmodern arches, some talked with each other and others with any=20= reporter willing to talk with them. Roughly forty of us comprised =93US=20= Academicians Against War,=94 an independent group of intellectuals from=20= twenty-eight universities and a variety of disciplines. Officially we=20 were on a =93fact-finding=94 mission, but we realized that a week in=20 Baghdad was not very long, and that it would not turn us into experts.=20= Our purpose, in reality, was different: we wanted a glimpse into the=20 society our government was planning to blast back into the stone-age=20 and a chance to offer our solidarity with the Iraqi people if not the=20 brutal regime of Saddam Hussein. Holding on to the distinction between the regime and the citizenry,=20 however, called for resisting temptation. =46rom the moment that the=20 motorcade accompanied the bus to our elegant hotel, where we were fed=20 wonderful meals and given more than adequate accommodations, it was=20 clear that we were being seduced. Totalitarian leaders have always=20 liked inviting visitors who might give them legitimacy. Thoughts went=20 through my mind of Aristotle seeking to educate Alexander the Great,=20 Lloyd George and Charles Lindbergh extolling Hitler, and Ernst Bloch=20 and Lion Feuchtwanger pandering to Stalin during the time of the great=20= terror. Every other corner had a poster of the great leader: Saddam=20 smiling benevolently; Saddam with a derby looking respectable; Saddam=20 reading the Koran; Saddam holding a rifle aloft; Saddam with his arm=20 outstretched in a fascist salute. It was important not to become a=20 dupe: I resolved to keep my wits about me and remember what had=20 originally inspired my visit to Baghdad. This became easier when we were shown the Iraqi National Museum, saw=20 how pitifully empty it was, and breathed the stink of imperialism:=20 obelisks and artifacts from this cradle of civilization now sit in the=20= British Museum and the Metropolitan Museum of Art for the edification=20 of a few dozen connoisseurs and hundreds of bored brats on school=20 tours. The famous Ishtar Gate of Babylon is in Berlin and the steele=20 containing the Code of Hammurabi is in the Louvre: Iraq contents itself=20= with the facsimiles as its humiliated citizens recall the glories of=20 Mesopotamia and Ur, the city of Abraham, and the great Arab=20 philosophers Avicenna and Averroes, and Ali Baba. Better for Saddam to=20= have organized a full scale legal war to bring these treasures back=20 home =96 or at least be compensated for them =96 than the military=20 adventures that had brought his people to the brink of ruin. And the majority is on the brink of ruin: most of the roads we saw from=20= the windows of our bus were unpaved, sewage was spilled on the ground,=20= jobless men sat on the corners, emaciated animals ran around alleys,=20 and we learned that UNICEF had reported since 1991 a 160% increase in=20 child mortality, arguably the most crucial indicator of public health,=20= which constituted the greatest regression of the 188 nations surveyed.=20= We visited a hospital with rotting walls in which children lacked=20 medicine, the new-born lacked incubators, and doctors said that they=20 treated 150 patients a day. Then we were taken to the Al-Ameriya bomb=20 shelter, the site where 400 women and children lost their lives in=20 1991. It was a stark underground casket preserved as a museum in which=20= one can still see the twisted iron, the remains of bodies plastered=20 against the walls, the blood of the victims on the floor and the=20 ceilings. The United States claims the bombing was unintentional,=20 though it did occur in a residential area, but either way it doesn=92t=20= matter. This monument remains etched in my mind: it embodies what was=20 the face of war and what these poor people might once again have to=20 endure. Other countries might be in worse shape. But there is no use employing=20= what amounts to an algebra of misery: it was obvious that =96 here in=20 Baghdad =96 things were bad enough. And, speaking ironically, for us too: we were forced to listen while a=20= kindergarten class sang a hymn in praise of Saddam, a group of=20 down-syndrome children plead for peace, and -- far worse =96 what were=20= clearly party hacks giving a set of academic papers in which it became=20= abundantly clear how totalitarianism dulls the capacity to engage in=20 meaningful discourse and casts a shadow over public life. No hint of=20 criticism was expressed for the regime and its policies. Anti-Semitism=20= of the old sort cropped up in any number of conversations over dinner:=20= even intellectuals made reference to the existence of a Jewish=20 conspiracy and the validity of the infamous Protocols of the Elders of=20= Zion. Few knew about the Israeli opposition and =93Peace Now.=94 Just as=20= the mainstream media in the United States has sought to identify Iraq=20 with Saddam Hussein so has the Iraqi media sought to identify =93the=20 Jews=94 with Ariel Sharon. The self-defeating character of such censorship and propaganda seemed=20 obvious. Friends we met, in private, admitted as much and insisted upon=20= the need for international organizations to pressure the regime for=20 democratic reform. They noted that five years ago the mosques were=20 empty and that, now, they are packed. But certain members of our group=20= -- brave people inspired by a Christian belief in charity and good=20 works =96 encountered different people with different views, felt it was=20= not our place to judge the Iraqi state, and believed that criticism=20 would only undermine the antiwar effort. Others, including myself,=20 didn=92t view things that way. We argued. But the priorities came back=20= into focus when we were greeted by ordinary Iraqis grateful for our=20 visit and terrified by the thought of another war. It became ever more=20= apparent that every person with whom we spoke =96 the television = reporter=20 who had lost her niece, the law professor who had lost her aunt and=20 cousin, the handsome taxi driver who had lost some fingers, and the=20 veterinarian who had lost his house =96 might be dead in a matter of=20 weeks. A vote was taken against presenting a =93joint resolution=94 with our = Iraqi=20 hosts. Our own statement, in my opinion, should have been more critical=20= of Saddam=92s regime for its role in exploitation of the misery caused = by=20 the sanctions; its corruption; its foolhardy militarism, and its=20 assault on human rights. But, ultimately, we were in Baghdad to foster=20= opposition to a looming war with all its regional implications and=20 secondary effects, insist upon ending sanctions on non-military goods,=20= and improve relations between the United States and Iraq. And, on the=20 long plane-ride home, I realized that we had done what we could.=20 Perhaps we were na=EFve. But then it also occurred to me that, should=20 this war be averted, it will have been because na=EFve people around the=20= world had pressured their governments in the name of peace rather than=20= war and proved willing =96 in the famous phrase =96 =93to speak truth to=20= power.=94 ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Sun, 2 Feb 2003 20:57:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: lil bobble-heads on the dash of their gunboats In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > From: George Bowering >> Reply-To: UB Poetics discussion group >> Date: Sun, 2 Feb 2003 15:19:29 -0700 >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: Intelligent explication of rage in relation to Columbia shuttle >> >> Though I have to say that I don't really see that carrying a >> religious fetish object into space makes for a positive, any more >> than I like the bible-mongering in your president's speech this >> morning. My guess is that some pilots of the Israeli gunboat >> helicopters are carrying religious items, and that so are some Syrian >> fighter jet pilots. > > >Those god fearing heathens! How long is it going to take for capital to turn >these folks into consumer friendly secular humanists with lil bobble-heads >on the dash of their gunboats? I ask you... Well, yeah? Or the US capitalists with offers of space shuttle debris on E-Bay. -- George Bowering An argument for cloning Fax 604-266-9000 ========================================================================= Date: Mon, 3 Feb 2003 00:11:12 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Re: dance-text for Foofwa MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit You, Dance Before the War! Me, the sun closes of the dance-run with my friend of the unemployment, immobility! I live AT the moon! IN the moon! I see all the worlds! Screen! Mi za sa nu ku ro se su a fu za da n su ra n u i za ma i fu re n du a fu za a n e n pu ro i me n tsu, i n mo bi ri chi . A i ri bu a tsu za mu u n . I n za mu u n . A i shi a ru za wa a ru tsu . Su ku ri i n . Miss a snuck rose. Sewerfuls of dance. Run, who is a mite furry. Endure fuzz, an end. Pure ointments, in mobile riches. Airy boots, someone. I answer muon. Ashes a ruse, a wire too. So killing. The soldiers, march to battle, stun! Pardon, I am desolated. I am the tree of the worl. -- Corey Frost * 718-855-8042 * 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Sun, 2 Feb 2003 21:51:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: regarding dung MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit what;s brown and makes a sound like a bell? -----Original Message----- From: Gabriel Gudding To: POETICS@LISTSERV.BUFFALO.EDU Date: Sunday, February 02, 2003 12:23 PM Subject: regarding dung >"Why must we/ Pit ourselves *against* crap?" -- Gary Sullivan > > >1. Yes, why must we do this: Is there not something democratic about >the earth itself? Are not fertilizer and manure, though repulsive, not >fertile? >1.1. Does any one of us deny a daily or a near daily intimacy with dung? >And do we not carry it into the halls of parliament inside a bag God has >slung between our thighs? It is there with us always, yet we practice an >apartheid against this substance, an apartheid at once so subtle and >demoralizing that great havoc is wrecked in our daily life. >1.2. The effort we expend in our avoidance of thoughts about dung is >incalculable. Many of us refuse to read about dung. The moral and >linguistic trenches and fretworks arrayed against dung are pervasive and >seemingly insuperable. Indeed, the very word "shit" begins with the palatal >voiceless fricative onomatopoeic imperative to be quiet: shh! >1.3. Many will praise and worship an idealized conception of God, yet >the very paste of life cannot go unreviled. >1.4. Dung and death, procreation and violence: these are the actual >signposts and borders of life. Rarely do we see them come together except >in a battle of sex and shit-throwing in a cemetery. >1.5. Shame about dung is a frivolous and gratuitous shame, wasted shame, >empty shame. Should not shame serve to correct our action, steer us from >immorality and evil, rather than provide us merely a feeling of intense and >impending embarrassment about an odorous paste? I submit that inasmuch as >the shame of dung is the first impractical shame, it is the beginning of >frivolity. What's more, it follows then that those adult pursuits >recognized in every age for their frivolity (fashion, for one) are merely >embellishments upon, and excrescences of, dung shame. Vanity itself is but >a false sense of triumph over one's dung. >1.6. Shame of dung is therefore improper shame, insofar as it supplants >or is used as a surrogate for proper, useful, substantive shame. Our >collective cultural feelings (aversive and prissy) and representations >about dung embody, then, a failure of spirituality. >1.7. In those people for whom dung is shameful, the depths of disgust >and the heights of vanity meet midway at a point called righteousness. And >I fucking hate righteousness. Here's your dung poetry, prissy boy! perfect >girl! >1.8. The fact of the matter is dung has fought back with great >artfulness, vitality, craft and agility at precisely those moments in >history when proper shame has been suppressed by not only frivolous shame >but the cultural features that attend shame, such as violence, >officiousness, and the like. This occlusion of proper shame suppresses >gratitude, pragmatics, use, and decency. And shame of dung is a sign of >their absence. >1.9. It is no mistake that those who are officious, militantly decorous, >prissy, priggish, and rule-bound are often called "anal-retentive." These >are usually, furthermore, either secretively or openly pompous people; >pomposity inheres in them, and this is because they suffer from a frivolous >and incorrect shame, a shame that supplants true shame. >1.10. It could be argued that prissiness is at base a kind of timidity. >But dung-based prissiness is a more militant kind of prissiness, insofar as >it carries brittle attitudes specifically to procreation and defecation. >These attitudes however are typically not obvious or strong enough to >express in writing nor do the prissy wish to see them expressed either. It >is interesting that the relationship between prissiness and timidity is >that prissiness is a timidity of the butt. >1.11. So, prissiness is less than an issue of misplaced shame as it is >the fear that one's frivolity will be challenged. For who wants to be >considered frivolous? Dung is never frivolous, and it is therefore suitable >that poetry should be defended by dung. Dung is factual. It is very real, >and the dismissal of dung is frivolous insofar as it is futile. The >official world is a dungless world. >1.12. All of which is not to say that there are not honest and legitimate >negative reactions to dung. Dung is afterall disgusting. But serious grave >and moral and national and political and rural issues arise once what is >physically disgusting is not understood as something merely physically >disgusting, but is instead confused with the aesthetically, morally, and >nationally reprehensible. >1.13. Prissies believe they are about law and order, when in fact they >are merely trying to plant feeble colonies of disgust in inappropriate >regions. These prissies are dolts. (That is one class of prissy, the dolt >prissy.) >1.14. But what are these "inappropriate regions"?: Comedy; The North; >Decency; Urbanity; Sanity--anything, that is, outside the realm of >television. Television is "the South"; television is prissiness. TV is the >South inasmuch as "the South" is a collectively prissy response to >wilderness (the swamps of MS and LA, eg), the other (the poor, the >African-American, the non-Anglo-Saxon, the feminized female, the >masculinized male, John Grey notwithstanding), and, well, the facts >(reality, eg). >1.15. Let us be plain: There is something inherently retarded about >America. And the reason for this has principally to do with our >relationship with our dung. >1.16. They who feel frivolous disgust and frivolous shame are put off by >dung in poetry. As prissiness is a display of frivolous disgust and/or >frivolous shame, so also is machismo a display of resistance to disgust and >shame. But insofar as machismo is yet another reactionary response to shame >and disgust (with a key additional reaction to fear), I must classify it as >a type of prissiness. >1.17. By contrast, there is something very "can do" about dung. Dog-faced >and down-at-heel, dung is nothing, yet from it issues life. It is a kind of >womb therefore. It is a cross between a paste, on the one hand, and a womb >on the other. Indeed, the rectum, whence comes dung, is itself a shadow >womb. Metonymically then, a dung is a boy. Or a dung is a girl. Dung are >therefore shadow children, adumbrated offspring. The procreative aspects of >dung hinge not only upon its biological properties, but its metaphorical >properties. It is a rich and confusing substance. So, out of respect for >its complexity, its signification, its use, and our long companionship with >it, we ought not either wrinkle or raise our noses at it. >1.18. A perfect example of denial-of-dung art is Nashville country music. >Yet even there we see defecatory qualities: the moaning of the mullet cuts, >the tinkling of the steel guitars. >1.19. Beyond shame, there is a very strong fear associated with dung. >Consider that a creature is, when defecating, very vulnerable to attack. To >many idiots, then, dung is what one produces when one is weak, it is a >product of weakness. But some, I think, feel that a dung is an expulsed >wound. That in surviving the act of defecation without being clubbed, the >dung represents a wound one had avoided altogether. It is a wound at once >avoided and voided. >1.20. Thus, given his druthers, mankind will choose to dung inside a >fortified structure. You might argue that the fact that we chose to situate >our dunging machines inside houses is indicative only of a preference to >dung in a warm room, outhouses being cold more than half the year in those >climes where the flushing dung bowl was devised. I concede this is a strong >argument: it does seem axiomatic that one is more likely to freeze to death >in an outhouse than be clubbed to death in it. But I refute this theory. > ========================================================================= Date: Mon, 3 Feb 2003 00:47:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 2nd dance text MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 2nd dance-text for Foofwa Subject: dance-text for Toi, Danse Avant La Toi, Guerre! Danse Moi, la la danse-courir soleil avec enferme mon de amie danse-courir la avec chomage, mon Moi, amie la chomage, de imobilite! Je mondes. suis J'ai une une enfant paraplui avant ou les une mondes. parasol. J'ai Je paraplui suis ou une parasol. avant trieste, Elle personne ma triste. amie Elle coquin est copuler. ma Avant coquin trieste, copuler. une guerre besoins. apres? une besoins. besoin, autre la besoin, guerre dit ou Rimbaud. apres? Courir, Courir, courir! courir! Et Et ne ne revenir revenir pas, pas, c'est c'est moi! moi! Alors, mourons. guerre! ou Matin, non nous etre mourons. a Etre l'agonie, non Alors, etre la a guerre! l'agonie, Matin, question! idiot Mourons, ou en les anglais cretins. idiot Les cretins. la Les question! soldats Mourons, marchez en bataille, l'arbre assommer! de l'arbre Alors, mond. a chomage! assommer! Alor, Je travailler mon blesses! trois petit pense. trois Je points... suis pense. les un avec roche. mois Couchez ces mois Pardon, ces je soir? suis Pardon, desolee! je un desolee! Couchez A vie demain, pour sacrifier danse! notre A vie deman, pour nous le assistons danse! A deman, nous assistons notre au demain, coup assassiner. grace. suis assassiner. de pomme de lune... A Alors... moi, Venez-vous kleptomane! moi, ont kleptomane! nos Nous genoux. ont Aux nos armes! genoux. Alors... Aux Venez-vous armes! avec ons Terre. cadeau sacrifions! Dieu sont Terre. Nous sacrifions! le Ou cadeau sont de neiges a d'antan? autres. autres. Mon Dreyfus. Foofwa Mon d'antan? amie, Je d'Imobilite, la il belle belle J'exist. guerre. Mais Moi? il J'exist. est Mais d'Imobilite, enfante-terrible! Aujourd'hui, a pensons de cote Susquehanna. fleuve beau! Susquehanna. Il Tres Aujourd'hui, beau! nous Il pensons neige. les Le carillons pax de romana. la j'ecoute Je carillons un realist. Le croix tres pas chaud, rien. trop tres Je chaud, ne trop croix chaud pas animale animale et et vegetale. vegetale. Plancton... Plancton... plasma... plasma... Soleil! Soleil! vivre lune! lune! toutes DANS les vois vivre toutes A mondes! lune! Ecran! DANS... === ========================================================================= Date: Sun, 2 Feb 2003 21:57:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Re: How Mainstream Is It? MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Gary, your poem rocked. I hope it wasn't too ironic and I look stupid now for getting fired up about it. Long live the mainstream! FIVE SLOGANS FOR WASHINGTON FREEWAY TRESTLES Saddam Daydream Bush Wish Sharon Shalom Yasser Aster bin Laden Unburden Rodney Koeneke ========================================================================= Date: Mon, 3 Feb 2003 02:02:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Cubism in Korean experimental poetry In-Reply-To: <200302030457.UAA00174@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Cubism definitely influenced the poetry of Yi Sang (1910-37), arguably the most daring formal experimentalist of modern Korean literature. The titles and some of the structure of several series of Yi Sang's poems were based on recursively shifted presentations of geometric figures or bodies, as in "Architecture's Boundless [or: Infinite] Hexahedron," published in 1932 ("KOnch'uk muhan yungmyOngakch'e"; originally written in Japanese as "Kenchiku mugen rokumenkakutai"). He was already a painter and architect before he published poetry and his pen&ink illustrations for friends' literary works may be sd to utilize cubist principles (see _Muae 1_ [Kaya, 1995], pp. 74-76--the New York edition), combined w other influences like Laszlo Moholy-Nagy and innovations in Japanese graphic and font design. In some of his essays, YS is also clearly familiar w the development of modernist painting from the turn of the century onward. Fascinating to see how in such poems geometry, algebras, and post-Newtonian physics become models for grammar and narrative events. (Since you are likely to have handy vol. 1 of Rothenberg & Joris' _Poems for the Millennium_, included there are 9 poems by YS, although none of them are from the several series w explicity x-sided/-cornered figures/bodies mentioned in their titles.) /Walter K. Lew >Date: Sun, 2 Feb 2003 12:25:23 -0800 >From: Kevin Killian >Subject: Cubism and literature > >Do you think cubism influenced literature (or vice versa)? Help me win a bet. > >What books or texts can you recommend that will show me in what ways >cubism influenced literature? And also, what writers were influenced >by cubism? > >Please back channel all this information, because it is important >that I win this bet. > >I know as much as the average person about cubism and about >literature, but I call upon you to help me on this one topic. > >Thanks everyone. > >-- Kevin K. ========================================================================= Date: Mon, 3 Feb 2003 20:54:33 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: digital audio cut-ups experiments Comments: cc: webartery@yahoogroups.com, cyberstudies@yahoogroups.com, coralhull@thylazine.org Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-21162CA4; boundary="=======7088A55=======" --=======7088A55======= Content-Type: text/plain; x-avg-checked=avg-ok-21162CA4; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit http://spokenword.blog-city.com/index.cfm on my audioblog today, some experiments in digital computer voices and digitally manipulated scripts komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======7088A55======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-21162CA4 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======7088A55=======-- ========================================================================= Date: Mon, 3 Feb 2003 06:44:12 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Marianne Shaneen: The Peekaboo Theory Stanzas for an Evening Out: Curtis Faville's classic of the 1970s Robert Grenier's Sentences: http://www.whalecloth.org/ Problems of diversity: "Are women rarer than modernists?" asks Alison Croggon Dan Featherston on the problems of diversity Tsering Wangmo Dhompa & Linh Dinh: surrealism returns from a completely different direction Nico Vassilakis: a poetry of clean lines The value of the local: "hero workers" of contemporary poetry A poetry of surfaces: John Ashbery's "A Sweet Place" The Tennis Court Oath: John Ashbery & the Wesleyan Poets of the 1960s http://ronsilliman.blogspot.com/ 15,000 visitors in the last five months Salt Publishing has just published a new edition of my poem Tjanting with a new forward by Barrett Watten. Available in the U.S., U.K. & Australia. http://saltpublishing.com/1876857196.html Two poems from The Age of Huts have been reissued by Ubu press as e-books: Sunset Debris & 2197 http://www.ubu.com/ubu/ I will be reading in the Temple Writers Series, Temple Gallery, 45 North 2nd Street, Philadelphia, Thursday, February 27th. The reading is at 8:00 PM and is free to the public. ========================================================================= Date: Mon, 3 Feb 2003 07:56:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: regarding dung Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" with a name like schmigdall, he'd better be good. At 5:08 PM -0500 2/2/03, Craig Allen Conrad wrote: >In a message dated 2/2/2003 4:00:33 PM Eastern Standard Time, >joe.amato@COLORADO.EDU writes: > >> >> >> why i find whitman's >> "this compost" (1856) one of the more amazing u.s. poems of >> the 19th >> century...Joe > > > > > >THIS COMPOST is a masterpiece! i've heard poets complain about it >by way comparing it to Whitman's other work, saying it's not as >celebratory. well, whatever. i actually disagree that it's NOT >celebratory, but i don't want to argue that point, which seems so >silly to me. THIS COMPOST has all the vigor of the ORIGINAL texts, >before he edited and edited his way into the good gray poet stance. > >Gary Schmidgall, a recent Whitman biographer, published a few years >ago the fully unexpurgated earlier texts of LEAVE OF GRASS for the >first time in many years. most of these versions have been >unavailable to us for decades. it's quite different from the >Whitman i remember reading in class years ago. wow, is it >different, luscious and salacious, a definite revolutionary emblem >for our bodies and our loves and lives. > >Walt Whitman, Selected Poems 1855-1892 A New Edition...click here >http://www.giovannisroom.com/NASApp/store/IndexJsp;jsessionid=96611138167E7D6024B6F2D5927BF229.+2?s=showproduct&isbn=0312267908 -- -- ========================================================================= Date: Tue, 4 Feb 2003 10:12:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: "THE OLD CULTURAL ELITE.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Is it any suprise that from Susan Sontag to Harold Pinter the old decades old entrenched CULTURE ELITE is against change..after spending a life time producing the mediocrity that will fade with them...pre-www...can you imagine these or a host of others taking part in the post www world...paper ego on paper stages... Actually if there weren't so many contenders for the OUCHIE...the botched circumsision award..for the Jew who's too stupid to figure out that he's f...king himself in th f...king a..... i'd award it too them posthomously...drn... ========================================================================= Date: Tue, 4 Feb 2003 10:18:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Fw: Our Man in Abidijan......"THE OLD EUROPE' Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit NYTIMES...1/2/03...Still the affection for Americans and anger toward the French was on full display today. Demonstrators waved American Flags. One held up a photo of Sec.State Powell. 'WE TRUST IN USA' "Bush please help Ivory Coast against French Terroisme" ... "Are you ready for English"..."Ivorians love America because America governs peace of the world";...sd Zadi Any Roland 49..... ========================================================================= Date: Mon, 3 Feb 2003 09:40:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: mass du jour In-Reply-To: <5128545.1044282368520.JavaMail.nobody@wamui08.slb.atl.earthlink.net> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable Bishops seek saint for Internet Hopeless clickers urge Vatican to name protector By Jeordan Legon CNN (CNN) --Fed up with hackers, a flood of spam and lousy connections,=20 Italian Roman Catholics have launched a search for a patron saint of=20 the Internet. And they hope their online poll will yield a holy Web=20 protector by Easter. Will it be Archangel Gabriel, whom the Bible credits with bringing Mary=20= the news that she'd give birth to Jesus? Or Saint Isadore of Seville,=20 who wrote the world's first encyclopedia? Or perhaps Saint Clare of=20 Assisi, a nun believed to have seen visions on a wall? So far, about 5,000 visitors are casting their votes daily on=20 www.santiebeati.it, something that delights Monsignor James P. Moroney,=20= an expert on prayer and worship for the U.S. Conference of Catholic=20 Bishops. "Everyone needs patrons in the Kingdom of Heaven, and perhaps the=20 Internet as a very young child needs the interventions of a saint all=20 the more," he said. Hundreds of years of tradition behind search Once the votes are collected, the top six choices, along with all of=20 the names of those nominated, will be delivered to the Vatican's=20 Congregation of Divine Worship and the Discipline of the Sacraments,=20 the site's creator Francesco Diani said. The Vatican, however, is keeping mum on whether it will indeed take up=20= the idea of assigning a saint to the Internet. But the site is following hundreds of years of tradition during which=20 Catholics have chosen saintly protectors for their towns, churches and=20= even themselves. Along the way, popes have taken over the process of=20 naming saints and assigning them official patronages. But public=20 opinion has always remained an important influence, which is why the=20 Web poll is so appropriate, said Diani, an Internet expert for Italy's=20= Conference of Bishops. The bishops have joined with several other=20 Catholic groups to run the Internet saint campaign, Diani said. "This kind of vote allows us the possibility of collecting a very large=20= number of preferences," he said. "It's a plebiscite." Search proves complex But choosing just the right candidate can be confusing. For one, the=20 site is only in Italian, which is tilting the voting heavily toward=20 saints from that country. And some of those nominated, such as Giacomo=20= Alberione, the priest who founded a leading Catholic publishing house,=20= haven't been named saints by the Vatican. But finding a viable candidate shouldn't be difficult among the=20 thousands of saints =96 at least 465 more, thanks to Pope John Paul II,=20= who has canonized more people during his quarter century in power than=20= were named in the 400 years before him. More saints means more causes get patrons. Three years ago, politicians=20= got Saint Thomas More, a 16th century judge and English chancellor, as=20= their patron. And recently the Vatican assigned motorcyclists to Saint=20= Columbanus, a medieval Irish traveling monk. "We like to have somebody we might pray to," said Penelope Fletcher,=20 deputy director of the Pope John Paul II Cultural Center in Washington=20= D.C. "There are people who want to have a saint for everything. ...=20 People come up with a cause and they will assign someone to it." Saints inspire devotion The center's interactive saint exhibit, which lists more than 1,500=20 names and biographies, is one of the top tourist draws, Fletcher said.=20= So it doesn't surprise her people are in search of a patron saint for=20 the Net. "It's faith and culture coming together," she said. Besides Assisi, Gabriel and Alberione, others who are leading the=20 voting include: Saint John Bosco, a Italian priest who promoted=20 children's learning in the 1800s; Maximilian Kolbe, a 20th century=20 Polish priest who started a radio station and planned to build a film=20 studio to spread the Gospel; and Saint Alphonsus Liguori, an 18th=20 century prodigious letter writer and author. Whether the Vatican will heed the results of the Web poll is not clear.=20= Their press office had no official comment on the matter. "We know that names have been discussed here and there, but as far as=20 we know there's nothing official going on," a press officer said. CNN's Christian Cascone and Andrea Facini contributed to this report. ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 3 Feb 2003 09:43:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: more compost In-Reply-To: <51606FFD.5BB066A3.01F36A84@aol.com> Content-Type: text/plain; delsp=yes; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable The Whitman title has recently been used by Jed Rasula for a superb =20 book just published by Georgia UP. It is only out on hc but very much =20= worth the price. Here are the details This Compost Ecological Imperatives in American Poetry Jed Rasula Discovering an organic tradition in American poetry Poetry, for Jed Rasula, bears traces of our entanglement with our =20 surroundings, and these traces define a collective voice in modern =20 poetry independent of the more specific influences and backgrounds of =20= the poets themselves. In This Compost Rasula surveys both the =20 convictions asserted by American poets and the poetics they develop in =20= their craft, all with an eye toward an emerging ecological worldview. =20= Rasula begins by examining poets associated with Black Mountain =20= College in the 1950s--Charles Olson, Robert Creeley, and Robert =20 Duncan--and their successors. But This Compost extends to include =20 earlier poets like Robinson Jeffers, Ezra Pound, Louis Zukofsky, =20 Kenneth Rexroth, and Muriel Rukeyser, as well as Clayton Eshleman, Gary =20= Snyder, Michael McClure, and other contemporary poets. Walt Whitman and =20= Emily Dickinson also make appearances. Rasula draws this diverse group =20= of poets together, uncovering how the past is a "compost" fertilizing =20= the present. He looks at the heritage of ancient lore and the legacy of =20= modern history and colonial violence as factors contributing to =20 ecological imperatives in modern poetry. This Compost =20 restores the dialogue between poetic language and the geophysical, =20 biological realm of nature that so much postmodern discourse has sought =20= to silence. It is a fully developed, carefully argued book that deals =20= with an underrepresented element in modern American culture, where the =20= natural world and those who write about it have been greatly neglected =20= in contemporary literary history and theory. Jed Rasula is Helen S. Lanier Distinguished Professor of English at the =20= University of Georgia. He is the author of The American Poetry Wax =20 Museum: Reality Effects, 1940-1990 and coauthor of Imagining Language: =20= An Anthology. Literary Criticism & Collections, American =95 Poetry 6 1/8 x 9 1/4 =95 pp. =95 11 figures Published: September 2002 Hardcover ISBN 0-8203-2366-7 (cl.) =95 $39.95 > > THIS COMPOST is a masterpiece! i've heard poets complain about it by =20= > way comparing it to Whitman's other work, saying it's not as =20 > celebratory. well, whatever. i actually disagree that it's NOT =20 > celebratory, but i don't want to argue that point, which seems so =20 > silly to me. THIS COMPOST has all the vigor of the ORIGINAL texts, =20= > before he edited and edited his way into the good gray poet stance. > > Gary Schmidgall, a recent Whitman biographer, published a few years =20= > ago the fully unexpurgated earlier texts of LEAVE OF GRASS for the =20 > first time in many years. most of these versions have been =20 > unavailable to us for decades. it's quite different from the Whitman =20= > i remember reading in class years ago. wow, is it different, luscious = =20 > and salacious, a definite revolutionary emblem for our bodies and our =20= > loves and lives. > > Walt Whitman, Selected Poems 1855-1892 A New Edition...click here > http://www.giovannisroom.com/NASApp/store/=20 > = IndexJsp;jsessionid=3D96611138167E7D6024B6F2D5927BF229.+2?s=3Dshowproduct&= i=20 > sbn=3D0312267908 > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 3 Feb 2003 08:51:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: more compost In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit SUSTAINABLE HYPERKULTURE: the conservation of the anarchist spirit-state If we take as given, the assumption that otherground media is the element of noise in big brother media's stream of information & that such noise introduced to a system provokes changes & distortions; & that the accumulation & collectivization of these cells of noise will slowly erode the consensus quo. Then, isolated individual information cells will eventually snowball into a global information avalanche. If sides are drawn & there is an us-media & a them-media, then each is a metaphor for the other. If ambiguity is pervasive then the combined spectacle is theatricalized. Being such inefficient human animals we can only hold our breath underwater (read underground) for so long. We cannot expect to seize the media from the deep dark recesses of the underworld. We must inhabit the media with a polymorphic & long-lived presence. In the dreamtime of the hyperculture, there can be no single line of thought, no immanent thread of action but a simultaneous enlivening of all networker cells & the suggestion of unlimited possibilities. In a state of oppression the dream is an escapist relapse but once the motive for activity has expanded into the unthinkable on its own accord, in its own time & power, a vision of hyperculture will appear that doesn't appear so chaotic & fragmented. Instantaneous access to the growth of information. Cassette, computer, copier, fax, telephone, radio, cable TV, satellite, tourism, festivals. Already cheap technology access to the electronic smorgasbord is widely available in western countries. Just as the corporate information machine can manufacture influence over us, we can register our opposition by publishing images, data & sound, by dragging the monolith down & replacing it with ten thousand different & contradictory realities. We can begin to understand hyperkulture as a fully integrated ecological, biological system. As with any system, the chaos, noise & disintegration are organically inseparable from life & creativity. Only since the pasteurization of science & art has our understanding of information & events been dictated by aesthetic taste. This is the cultural mentality left from the age of imperialism. Divide, conquer & place the known universe inside a specimen jar. With the advent of info technology all that has really changed is that social power is a result of the exploitation of information, where in previous ages it was people & land that were victimized. Hyperkulture has a unique status in the mainstream world view. From its point of view, it regards all forms of marginalized dissent & experimentation as PURE NOISE. & consequently non-processed information has no value or use. (Or so they think!) There are those whom argue that it doesn't matter how radical or "noisy" the media; it will nonetheless be coopted by the mainstream as mere curiosities & eccentricities. This may be true in the short term but most of the undermedia lives on. If fact, because those on the periphery are perennially ignored, the culture of otherness has unlimited territory in which to evolve (or mutate) in isolation. Not an isolation of removal & quarantine but a high-powered isolation in the midst of the barrage, in the eye of the hurricane. The ability to accept and understand noise as untapped resource will enable all hypernauts to install the mechanism which will eventually replace the genericized 2-dimensional view of information & events. It is a mistake to target the mainstream for seizure & overthrow when it has become painfully obvious that the imperialistic mentality which constructed the prevailing information conglomerate also planted the seeds for its entropy & eventual destruction. It cannot & will not be able to contain the natural diversity of the globe. There are several relevant axioms perpetuated by permaculturalist Bill Mollison. "The problem is the solution." / "Make the least change for the greatest possible effect." / "The yield of a system is theoretically unlimited. The only limit on the number of uses of a resource possible within a system is in the limit of information and the imagination of the designer." / "Everything gardens, or has an effect on its environment." / "Work with nature,...so that we assist rather than impede natural developments." According to the Gaian hypothesis the earth is a self-regulating organism. Can the same be said of information? Does it lead a life of its own or is it merely a disposable by-product of culture? If we continue the analogy of agriculture, can the information glut be composted & recycled? Wait a minute! For centuries artists scientists & inventors have been reusing the detritus of society for their own benefit. Further, by maintaining a consciousness of infinite hypertextual links between all information, the fragmentation & oppression of our daily lives can be reordered into a meaningful globally oriented lifestyle. In the dreamtime of the hyperkulture, milleniums pass without the continual division of action into specialization & virtualistic ego-play. In some traditional African cultures there is no separate word for music, dance & planting. The impulse to fragment the radical media / information interface by terminology is certain deevolution. To sustain the info/action/object dialectic, bury your roots deeps into the global information matrix & .... Miekal And 1990 ========================================================================= Date: Mon, 3 Feb 2003 08:57:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: more compost In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" thanx to craig and pierre for their glosses on "this compost"... *any* rasula book is worth owning, so i'll have to put in an order for that one... best, joe ========================================================================= Date: Mon, 3 Feb 2003 11:44:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Isat@AOL.COM Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I am not sure if somebody in this discussion mentioned them yet, but E.E. Cummings from the mid 1920's and Mina Loy are coming to mind. Accidently, both were also painters, lived for some time in Paris, before (Loy) or during (e.e.c.) WW1, and were friendly with Gertrude Stein. Best, Igor Satanovsky kojapress.com ========================================================================= Date: Mon, 3 Feb 2003 10:45:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: one of the greats: Composer Lou Harrison (1917 - 2003) In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit short bio http://www.otherminds.org/shtml/Harrison.shtml list of works (including some fonts he designed) http://www.frogpeak.org/fpartists/fpharrison.html Lou Harrison interviewed by John Adams http://www.newmusicbox.org/archive/firstperson/harrison/ ------ Forwarded Message From: claguem@umich.edu Reply-To: claguem@umich.edu Date: Mon, 03 Feb 2003 10:53:54 -0500 To: sonneck@nevada.edu, ams-l@virginia.edu Subject: Composer Lou Harrison (1917 - 2003) Dear Colleagues, It is with great sadness that I report that composer Lou Harrison died yesterday evening while traveling to a festival of his music at Ohio State University. Official information from Professor Donald Harris who was coordinating the festival is appended below. *** (Begin forwarded message) Last night, while traveling from Chicago to Columbus, Lou Harrison passed away. We had sent Adam Schweigert and Joe Panzner, two students in Composition and Theory, to Chicago with a University van to greet Lou and his traveling companion, Todd Burlingame, and drive them back to campus for the Festival. Lou does not like to fly and took the train, the California Zephyr, from near San Francisco to Chicago. The train arrived at about 5:15 PM. While en route to Indianapolis, their overnight destination, Adam, Joe, Lou and Todd decided to stop at a Denny's restaurant in Lafayette, Indiana, for some dinner. Lou stumbled and fell upon getting out of the vehicle and apparently suffered a heart attack. He had great difficulty breathing. Paramedics were called and they arrived within minutes. Lou was transported to the hospital but was unable to be revived. He passed away around 9 or 9:30 PM. We are awaiting the coroner's report for final confirmation of the cause of death. This is a great tragedy for the entire world of music. Lou was as excited about the Festival as we were. Our sympathies go out to all in the world of music and dance who treasured his great gift. I will always remember the joy in his voice when we spoke over the telephone about the Festival. He was an active participant in planning the concerts. He had also prepared a special seminar for OSU students in composition. He was very much looking forward to the CSO performances of his Third Symphony in a final revision that he had just completed. He told me how honored he felt to have so many of his compositions performed on the Festival. Let everyone know that the Festival will go on as planned as a tribute to this legendary American musician. Lou Harrison will be cremated today; his remains shipped back to California. He was eighty-five years old. Donald Harris, Professor of Composition & Theory School of Music, The Ohio State University 301 Weigel Hall 1866 College Avenue Columbus, Ohio 43210-1170 telephone: (614) 688-4728; fax: (614) 292-1102 home phone: (614) 459-8656; home fax (614) 459-8757 ------ End of Forwarded Message ========================================================================= Date: Mon, 3 Feb 2003 12:00:09 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: one of the greats: Composer Lou Harrison (1917 - 2003) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "Ezra Pound ('The Idaho Dude') charged artists 'to debunk by lucidity!' Lou Harrison is not only lucid and clear; he is also luminous, he emits self-generated light." --Jonathan Williams, from dustjacket of Lou Harrison's amazing book of poems JOYS & PERPLEXITIES (Jargon, $20) http://www.jargonbooks.com "the mountaineer comes back, with air & light & stars upon his face." --Lou Harrison ========================================================================= Date: Mon, 3 Feb 2003 12:13:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: War Talk Mime-Version: 1.0 Content-Type: text/plain; format=flowed War Talk Even the Washington Post isn't crazy about this latest Bush maneuver Using the argument that we're at war blah blah & in times of war blah blah blah primordial soup Blah blah dinosaurs Blah blah blah primitive man blah blah Risks blah blah Iraq blah blah biological blah blah veal cutlets My son? Gulf War? blah blah blah These men? Conspiracy against the American people? blah blah blah Israel pulls our strings so we're going to fight their bullshit war blah blah blah Aliens stole it blah blah blah revenge blah blah blah It's not nice to beat up otters blah blah take out the trash blah blah That's the way most read anyway: Blah blah Revolutionary War Blah blah statesman blah blah fiscal policies blah blah slain innocent Afghans ... Speaking of Canadian Politics I've just received another copy of that stupid Stop Bush War blah blah blah chain mail it's like "Franklin Roosevelt this" and "Eleanor Roosevelt that" and Peace this peace that make love not war blah blah blah cyber-skies real-time Human parched-out void implosion plugs plugged networks data anxiety digital gear MTV techno-war blah-blah materialism leads to theft, theft leads to war blah blah blah So and so (reading the card) nuclear war blah blah blah end of the world Blah blah blah war blah blah Taliban *scritch* *scratch* Blah blah *needle jumping* "Bongmeup" Blah blah blah mayonnaise blah blah Scenario 1: Something goes awry with the inspections deal We go to war blah blah blah Scenario 2: In the future sometime Humans have spread across the galaxy Colonized planets yaddah, yaddah robots gone bad robot vs. human war Blah blah And we're fed that official line by the media that this film is the ultimate Masterpiece in denouncing the horrors of war blah blah blah hankies out Quote I like to drink unquote blah blah weapons of mass destruction In the future there are no forests the world is shattered by war Blah blah blah another day in dystopia blah blah ding dong The Kennedys caught in the crossfire beween two men fighting over a woman Soon they go to war blah blah blah you know the rest Okay, okay ... so I'm not quite clear on my definition of "Stuff came up we got in a war blah blah blah soldier blah blah Kill Germans blah blah shootings of students and presidents blah blah" "Hurry up, I'm bored" "There was, like, this big war blah blah blah and it totally went on for ..." Relena hands the note to him and Quatre starts to read it out loud "Declaration Of war ... blah blah ... new puppy dogs and rubber ducky raft kids Threat of nuclear war blah blah blah ..." Take in and regurgitate facts blah blah Hawkeye continues on about the value of human life The stupidity of the army the stupidity of war blah blah blah I'm sure artists, filmmakers, critics (real ones) will say things like "Decent story decent acting decent action nuclear war blah blah blah" I'm just seeing if this works ... _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Mon, 3 Feb 2003 12:17:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Hannah Weiner's PAGE Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hannah Weiner's Page New from ROOF Books $12.95 "Well I have just finished this new pages which I discussed with you important on the telephone I submit. glad. hannah perverse period. Three sections: PAGE (44 pages), ARTICLES (53 pages), SAME PAGE (19 pages). If you want to disorder them complete you obediently you stuck confident." Page is the first posthumous publication of Hannah Weiner's work. Weiner was born in Providence, Rhode Island in 1928 and died in Manhattan in 1997. Her books include The Clairvoyant Journal (Angel Hair, 1978), Little Books/Indians (Roof Books, 1980), Spoke (Sun & Moon Press, 1984), Silent Teachers / Remembered Sequel (Tender Buttons, 1993), and We Speak Silent (Roof, 1997). Weiner's home page at the Electronic Poetry Center has new sound files of her performances as well as a link to the new "/Ubu" e-edition of Little Books/Indians. Order Page from Rod Smith at Bridge Books in Washington, DC -- AERIALEDGE@aol.com Or from Small Press Distribution: http://www.spdbooks.org/ ========================================================================= Date: Mon, 3 Feb 2003 09:38:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: one of the greats: Composer Lou Harrison (1917 - 2003) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A great loss. The list of works at the second site is by no means complete. See http://www.o-art.org/history/LongDur/Harrison/HarrisonNA.html for a good discography. Does anybody know what happened to the editing he'd been doing for many years on Ives' "Universe Symphony?" Mark At 10:45 AM 2/3/2003 -0600, you wrote: >short bio >http://www.otherminds.org/shtml/Harrison.shtml > >list of works (including some fonts he designed) >http://www.frogpeak.org/fpartists/fpharrison.html > >Lou Harrison interviewed by John Adams >http://www.newmusicbox.org/archive/firstperson/harrison/ > > > >------ Forwarded Message >From: claguem@umich.edu >Reply-To: claguem@umich.edu >Date: Mon, 03 Feb 2003 10:53:54 -0500 >To: sonneck@nevada.edu, ams-l@virginia.edu >Subject: Composer Lou Harrison (1917 - 2003) > >Dear Colleagues, > >It is with great sadness that I report that composer Lou Harrison died >yesterday evening while traveling to a festival of his music at Ohio >State >University. Official information from Professor Donald Harris who was >coordinating the festival is appended below. > >*** >(Begin forwarded message) > >Last night, while traveling from Chicago to Columbus, Lou Harrison >passed >away. We had sent Adam Schweigert and Joe Panzner, two students in >Composition and Theory, to Chicago with a University van to greet Lou >and >his traveling companion, Todd Burlingame, and drive them back to campus >for >the Festival. Lou does not like to fly and took the train, the >California >Zephyr, from near San Francisco to Chicago. The train arrived at about >5:15 PM. While en route to Indianapolis, their overnight destination, >Adam, Joe, Lou and Todd decided to stop at a Denny's restaurant in >Lafayette, Indiana, for some dinner. Lou stumbled and fell upon getting >out of the vehicle and apparently suffered a heart attack. He had great >difficulty breathing. Paramedics were called and they arrived within >minutes. Lou was transported to the hospital but was unable to be >revived. >He passed away around 9 or 9:30 PM. We are awaiting the coroner's >report for final confirmation of the cause of death. > >This is a great tragedy for the entire world of music. Lou was as >excited >about the Festival as we were. Our sympathies go out to all in the >world >of music and dance who treasured his great gift. I will always >remember >the joy in his voice when we spoke over the telephone about the >Festival. >He was an active participant in planning the concerts. He had also >prepared a special seminar for OSU students in composition. He was very >much looking forward to the CSO performances of his Third Symphony in a >final revision that he had just completed. He told me how honored he >felt >to have so many of his compositions performed on the Festival. Let >everyone know that the Festival will go on as planned as a tribute to >this >legendary American musician. > > >Lou Harrison will be cremated today; his remains shipped back to >California. He was eighty-five years old. > > >Donald Harris, Professor of Composition & Theory >School of Music, The Ohio State University >301 Weigel Hall >1866 College Avenue >Columbus, Ohio 43210-1170 >telephone: (614) 688-4728; fax: (614) 292-1102 >home phone: (614) 459-8656; home fax (614) 459-8757 > > >------ End of Forwarded Message ========================================================================= Date: Mon, 3 Feb 2003 11:57:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: one of the greats: Composer Lou Harrison (1917 - 2003) In-Reply-To: <5.1.0.14.1.20030203093504.01f38338@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >A great loss. The list of works at the second site is by no means >complete. See http://www.o-art.org/history/LongDur/Harrison/HarrisonNA.html >for a good discography. > >Does anybody know what happened to the editing he'd been doing for many >years on Ives' "Universe Symphony?" I'm very sorry to hear about Lou's death. He was a great guy as well as a composer, with an amazing array of interests that ranged well beyond work that was similar to his own. There are four editions of Ives' Universe Symphony in progress that I know of, none of which are really complete in any useful way. Besides Harrison's, there's one by Larry Austin (the only one that's been even partially recorded, as far as I know); David Porter (who did the reconstruction of Ives' Emerson Piano Concerto that's been performed a few times) & Johnny Reinhardt (who runs the American Microtonal Music festival in NYC). I don't think Harrison's has been performed, though I know the other three have. Bests, Herb ========================================================================= Date: Mon, 3 Feb 2003 13:35:09 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: News From 88 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit We were pleased to learn very recently that three poems from the premiere issue of 88 were selected for inclusion in Best American Poetry 2003. There was a good deal of discussion here about what is the significance of the Best American Poetry series. Opinions vary widely, but we think that, by one measure, our inclusion is a sign of something good for the journal. Ian Randall Wilson [The open submission window for 88 is March 1-May 31. USPS only: 88, c/o Hollyridge Press, PO Box 2872, Venice, CA 90293. (With proof-of-purchase, found in the back of the issues, we consider year round.) Guidelines at www.hollyridgepress.com] ========================================================================= Date: Mon, 3 Feb 2003 13:43:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Essays for Book MIME-Version: 1.0 Content-Type: text/plain Contributors are needed to write short essays (ranging from 500 to 2000 words) on these topics: Caribbean Poetic Influences (2000 words) Marilyn Hacker (500 words) Pat Mora (500 words) Poetry Institutions (2000 words) (e.g. Poetry Society of America, Naropa etc.) Vikram Seth (500 words). The essays are for a volume entitled A Companion to Twentieth-Century American Poetry (to be published in June 2004 by Facts on File, Inc., a publisher that enjoys very wide distribution in libraries, colleges and high schools, as well as bookstores). Drafts of essays would be due in the early spring. 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 entire 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 send a message to Kimmelman@njit.edu, using the subject header Essays for Book (or else simply reply to this message). Please provide a bit of background about yourself including a brief account of your publishing history if you have one (do not send an attached cv or samples of writing). I hope to hear from you! Burt Dr. Burt Kimmelman, Associate Professor of English 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: Tue, 4 Feb 2003 10:55:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: one of the greats: Composer Lou Harrison (1917 - 2003) In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII It is sad to hear of Lou Harrison's death. I was lucky enough to meet him once, at a very intimate discussion and performance of Henry Cowell's music that was part of an arts festival in my hometown of Halcyon, CA. He played "pedal boy" to the pianist from Mills College, forget his name, who was performing Cowell's haunting "Banshee" on the strings -- just as he had for Cowell, Lou said. He was a wise, funny, and gentle human being as well as a great composer. :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Mon, 3 Feb 2003 11:13:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Poets Theater Grand Finale this Friday Feb 7 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Join us for the GRAND FINALE of Small Press Traffic's Poets' Theater Jamboree 2003. Last week was standing room only with some folks turned away. We recommend that you make reservations by calling 415-551-9278. RESERVATIONS ARE HELD ONLY UNTIL 7:20 the night of the show. All seats are $10 as the Jamboree is a benefit for SPT. Friday, February 7, 2003 at 7:30 PM An evening of short plays #2 "But Seriously, When I was Jasper Johns' Filipino Lover..." by Eileen Tabios "95 Old Men" by Mary Burger "She Tells Her Daughter" (1923) by Djuna Barnes, directed by Elizabeth Treadwell (produced with the kind permission of Sun & Moon Press) "La Gnossienne" by Elizabeth Treadwell (INTERMISSION) "New Wave Bad Hair Day" by Brian Bauman, directed by Kevin Killian "Hellen on Wheels" by Nadine Maestas "Glow Farm, Glow!" by Lauren Gudath "Its night, the ash" or "Su noche, la ceniza" by Stefani Barber "Theater of No Feelings" by Brent Cunningham "Hail Guantanamo!" by David Buuck We hope to see you there! Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 ========================================================================= Date: Tue, 4 Feb 2003 11:18:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Cubism and literature In-Reply-To: <5.1.0.14.1.20030202153022.01317ce8@mail.earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE There's also the classic by Bram Dijkstra: Cubism,=20 Steiglitz, and the Early Poetry of William Carlos Williams=20 (1969): "Mr. Dijkstra has demonstrated beyond any doubt=20 that Williams was enormously influenced by experimentation=20 in the visual arts and that he attempted to emulate the=20 Steiglitz group in focusing on the object itself,=20 delineating it as precisely as possible and letting it=20 represent the moment of perception without intruding=20 personal comment" (George Wickes).=20 I agree with Wystan that Stein's portraits (of Picasso,=20 Matisse, Virgil Thomson, A Valentine for Sherwood Anderson,=20 etc.) are as important to the cubist connection as is=20 Tender Buttons. I also think you could make a case for her=20 dramatic and operatic works like Four Saints in Three=20 Acts and Identity a Poem (among several others) as cubist=20 in their treatment of the genre (she in fact called them=20 "landscapes"). Though I do wonder how far the analogy=20 ought to be pushed. Pierre Reverdy supposedly said "La=20 po=E9sie cubiste? Terme ridicule!" Damian On Sun, 2 Feb 2003 15:32:34 -0800 Mark Weiss=20 wrote: > Jacob described himself as a cubist poet. There's a lot of writing about > what this means--almost every introduction to Jacob collectionms in Frenc= h > and English. A good place to start would probably be Gerald Kamber, Max > Jacob and the Poetics of Cubism. >=20 > Mark >=20 > At 04:17 PM 2/2/2003 -0500, you wrote: > >Dear Kevin, > > > > Well, how about Stein and Max Jacob? In an=20 > article by Jayne Walker, >titled ""Tender Buttons: The=20 > Music of the Present Tense," (The Making of a >Modernist, U=20 > of Mass Press, 1984), Walker makes reference to the first=20 > Cubist >collage, "Still Life with Chair Caning," which=20 > contains a piece of cloth with >the printed pattern of=20 > chair caning and a piece of rope around the >canvas--she=20 > claims that within months after Picasso created this=20 > collage, >Stein invented the style she used in Tender=20 > Buttons. > I think scholarship generally asserts=20 > that visual Cubism slightly >precedes verbal. I've devoted=20 > part of a course I'm teaching at CCAC to >these=20 > relationships. > Max Jacob, I think, comes close to=20 > being neck in neck with Picasso. >In 1901 he went to an=20 > exhibition of a then unknown artist named Pablo >Picasso. =20 > Later he recommended P to an art dealer he knew. Then=20 > there's the >legendary room mate story of Bateau Lavoir. =20 > Jacob was writing The Dice Cup >between 1903 and 1907,=20 > though it wasn't published as a book until 1917. > =20 > Does this help? What kind of bet, with whom, and how much?=20 > (You can >call me at home to give me the details if you=20 > don't want them made public, >sweetie). > > >Love, Gloria Frym :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Mon, 3 Feb 2003 11:35:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Bellamy and Killian reading in San Francisco In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" THE JON SIMS CENTER FOR THE ARTS PRESENTS LIT @ JSC February 2003: Dodie Bellamy and Kevin Killian Thursday February 13, 2003, 8 PM At Jon Sims Center for the Arts at 1519 Mission Street (between 11th St. & South Van Ness) Admission: Sliding scale $7-12, but no one will be turned away for lack of funds Q & A, book signing and a reception follow For information and/or reservations, please call (415) 554-0402 or visit our web site at www.jonsimsctr.org A leading exponent of San Francisco's internationally acclaimed experimental writing, Dodie Bellamy has written a novel, The Letters of Mina Harker, a collection of memoirs, Feminine Hijinx, and an epistolary collaboration on AIDS with the late Sam D'Allesandro entitled Real. Her latest book, Cunt-Ups is a radical feminist revision of the "cut-up" pioneered by William Burroughs and Bryon Gysin. Kevin Killian is a poet, novelist, critic and playwright. He has written a book of poetry, Argento Series, the two novels, Shy and Arctic Summer, a book of memoirs, Bedrooms Have Windows, and a book of stories, Little Men that won the PEN Oakland award for fiction, and his new collection is I Cry Like a Baby. For the San Francisco Poets Theater Kevin has written thirty plays. We live right behind the Jon Sims Center, so if you look out their window during the reception you can see into our bathroom and office. ========================================================================= Date: Mon, 3 Feb 2003 14:38:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: In defence of G. Gudding Mime-Version: 1.0 Content-Type: text/plain; format=flowed Gabe Gudding and his poems have more heart in a single drop of their blood than the population of many world capitals. Detractors of Gabe Gudding and his poems should drop to their knees--KNEES--at the very mention of his name, and beg for forgiveness to somehow come into their shallow Gudding-less lives. Be warned. Me and my dogs have Mr. Gudding's back. Buy his book immediately and spare yourselves our ferocious reckoning. That is all. --Jim Behrle, et. all _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 3 Feb 2003 13:37:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: the passion of Alan Sondheim Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I don't want to embarrass anyone, but I think that on Alan's 60th birthday, it is appropriate, for once, to say a short thing about how I think of Alan Sondheim, what I think of him and his work, just briefly. Because he has completely altered how I think about the word. I had the great pleasure of meeting Alan Sondheim 5 or 6 weeks ago. It's an all too rare deal to meet a writer and or an artist who has totally altered the world of words, but I got to meet him, and it was just great to see His Flesh, the flesh of Alan Sondheim, you know, in that sycophantic worshipy way that some of us get when we see the real deal. My sense of how things are goes something like this: he is, I feel, a writer of Dantesque and Miltonic proportions. I've used the "G" word to describe him. That's how it is for me, anyway. And I wish him, you Alan, a stupendous day. Enjoy it. I'm very happy you're here in this world. It is better--all of it--because of you. Gabe ========================================================================= Date: Mon, 3 Feb 2003 14:57:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: In defence of G. Gudding & The Passion of Alan Sondheim Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline I guess 02/03/03 14.42 PM was the moment for encomia. I'm sorry I missed it. Three cheers for you guys -- and everyone! Mairead >>> tinaiskingofmonsterisland@HOTMAIL.COM 02/03/03 14:42 PM >>> Gabe Gudding and his poems have more heart in a single drop of their blood than the population of many world capitals. Detractors of Gabe Gudding and his poems should drop to their knees--KNEES--at the very mention of his name, and beg for forgiveness to somehow come into their shallow Gudding-less lives. Be warned. Me and my dogs have Mr. Gudding's back. Buy his book immediately and spare yourselves our ferocious reckoning. That is all. --Jim Behrle, et. all gmguddi@ILSTU.EDU To: POETICS@LISTSERV.BUFFALO.EDU, gmguddi@ILSTU.EDU Date: Monday - February 3, 2003 2:42 PM Subject: the passion of Alan Sondheim Mime.822 (2668 bytes) [View] [Save As] I don't want to embarrass anyone, but I think that on Alan's 60th birthday, it is appropriate, for once, to say a short thing about how I think of Alan Sondheim, what I think of him and his work, just briefly. Because he has completely altered how I think about the word. I had the great pleasure of meeting Alan Sondheim 5 or 6 weeks ago. It's an all too rare deal to meet a writer and or an artist who has totally altered the world of words, but I got to meet him, and it was just great to see His Flesh, the flesh of Alan Sondheim, you know, in that sycophantic worshipy way that some of us get when we see the real deal. My sense of how things are goes something like this: he is, I feel, a writer of Dantesque and Miltonic proportions. I've used the "G" word to describe him. That's how it is for me, anyway. And I wish him, you Alan, a stupendous day. Enjoy it. I'm very happy you're here in this world. It is better--all of it--because of you. Gabe _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 3 Feb 2003 15:08:07 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Well, all this great talk is pointing to a bit of a chicken/egg conundrum. These artists were alive with and around one another at the same moment. I'm wondering, Kevin, why it's so important for your bet to determine Who Did What First? Jacob declared himself a Cubist poet, much like Baudelaire declared Paris Spleen to be poems in prose. Best, Gloria Frym ========================================================================= Date: Mon, 3 Feb 2003 12:16:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Cubism and literature In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii >Though I do wonder how far the > analogy > ought to be pushed. Pierre Reverdy supposedly said > "La > poésie cubiste? Terme ridicule!" > how funny--as soon as this discussion about cubism and literature started I thought of Reverdy as a perfect example of what I imagined cubism to be: "an abandonment of space as a principle of ordering" (from _Malevich_ by Simmen/Kohloff) and in poetry at least a privileging of fractured viewpoints but of a unified subject-- CD Wright's book "Deepstep Come Shining" typifies this for me: a narrative event quite cohesive in linear space and time, but then pulled apart and stacked together *re-presented* sort of... ===== "This is a good world... And war shall fail." --Kenneth Patchen __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 3 Feb 2003 15:16:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Columbia shuttle breaks up over Texas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Brandon: Based on your close reading of the text, I will go back and read it. And, yes, I will grant you the Isaiah was -- in the moment -- somewhat effective, since it at least gave us the (passing) impression that it was inserted by the man's own fervent pitch (He, I have learned, spends long stretches of time reading the Bible). I will just say that my eyes did a bit of a roll, thinking a more secular statement might have served the moment more equitably. (This was a point brought up by some friends of mine who are practicing Hindu.) Perhaps I over-reacted, still inflamed, as I am over his earlier courtship with anti- Catholic/ Jew and-who-knows-who-else Bob Jones "University", as well as all the Christian Vs. Muslim rhetoric leading up to what seems to be a count down. Best, Gerald Schwartz ----- Original Message ----- From: "Brandon Thomas Barr" To: Sent: Sunday, February 02, 2003 6:20 PM Subject: Re: Columbia shuttle breaks up over Texas > I guess I feel the need to defend my posiiton a little more, though not > sure quite why. I'll I'm trying to say that, regardless of your political > leanings, the speech (though poorly delivered) was a good one and lacked > any sense of the war-mongering that some suggest. And though it was > tinged with religion, it was not a fundementalist view that was was > present in those last few paragraphs. The quote from Isaiah was > particularly effective, given that the speech was being delivered to > Isreal as well as the US. And the way in which the speech tied man's > scientific yearning for understanding--"Mankind is led into the darkness > beyond our world by the inspiration of discovery and the longing to > understand"--was neatly paralleled with religous doubt and hope in the > last lines: "The crew of the shuttle Columbia did not return safely to > Earth; yet we can pray that they are all safely home." > > Look, I'm not supportive of the way the Administration is handling the > current global crises either, but the speech was very well meaning and > well crafted. To blindly reject anything put forth by the administration > does just as much damage as blindly accepting it. > > Brandon > ========================================================================= Date: Mon, 3 Feb 2003 15:25:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable A helpful discussion compares the cubism of Leopold Survage and visual = poems of Guillaime Apollinaire. See: Appolinaire, Visual Poetry, and Art = Criticism (Willard Bohn; Associated University Presses; 1993). Bohn = boils down the point of inquiry to "...what struck Apollinaire in the = course of his discussions with the artist was how closely the latter's = efforts resembled his own. Whereas Survage strove to integrate = linguistic mechanisms into the realm of painting, Apollinaire was was = trying to accommodate pictorial structures to the demands of poetry. By = grafting the sign system of one genre onto the other, each in his own = way was experimenting with "plastic metaphor." JL -----Original Message----- From: Gloria Frym [mailto:GloriaFrym@CS.COM] Sent: Monday, February 03, 2003 3:08 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Cubism and literature Well, all this great talk is pointing to a bit of a chicken/egg = conundrum. These artists were alive with and around one another at the same moment. = I'm wondering, Kevin, why it's so important for your bet to determine Who = Did What First? Jacob declared himself a Cubist poet, much like Baudelaire declared Paris Spleen to be poems in prose. Best, Gloria Frym ========================================================================= Date: Mon, 3 Feb 2003 15:33:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: <013101c2cbc1$8e44dec0$f09cf943@computer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Does anybody know which version of Isaiah was being quoted from? It wasn't the wording I remembered from youth -- At 03:16 PM 2/3/2003 -0500, schwartzgk wrote: >Brandon: > >Based on your close reading of the text, I will go back and read it. >And, yes, I will grant you the Isaiah was -- in the moment -- somewhat >effective, since it at least gave us the (passing) impression that it was >inserted by the man's own fervent pitch (He, I have learned, spends long >stretches of time reading the Bible). I will just say that my eyes did >a bit of a roll, thinking a more secular statement might have served >the moment more equitably. (This was a point brought up by some >friends of mine who are practicing Hindu.) > >Perhaps I over-reacted, still inflamed, as I am over his earlier courtship >with anti- Catholic/ Jew and-who-knows-who-else Bob Jones "University", >as well as all the Christian Vs. Muslim rhetoric leading up to what seems >to be a count down. > >Best, >Gerald Schwartz >----- Original Message ----- >From: "Brandon Thomas Barr" >To: >Sent: Sunday, February 02, 2003 6:20 PM >Subject: Re: Columbia shuttle breaks up over Texas > > > > I guess I feel the need to defend my posiiton a little more, though not > > sure quite why. I'll I'm trying to say that, regardless of your political > > leanings, the speech (though poorly delivered) was a good one and lacked > > any sense of the war-mongering that some suggest. And though it was > > tinged with religion, it was not a fundementalist view that was was > > present in those last few paragraphs. The quote from Isaiah was > > particularly effective, given that the speech was being delivered to > > Isreal as well as the US. And the way in which the speech tied man's > > scientific yearning for understanding--"Mankind is led into the darkness > > beyond our world by the inspiration of discovery and the longing to > > understand"--was neatly paralleled with religous doubt and hope in the > > last lines: "The crew of the shuttle Columbia did not return safely to > > Earth; yet we can pray that they are all safely home." > > > > Look, I'm not supportive of the way the Administration is handling the > > current global crises either, but the speech was very well meaning and > > well crafted. To blindly reject anything put forth by the administration > > does just as much damage as blindly accepting it. > > > > Brandon > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 3 Feb 2003 15:35:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Jim Behrle Version 30.0 U.S. Command Tour 2003 Mime-Version: 1.0 Content-Type: text/plain; format=flowed On perhaps some of the most important nights of our new century, Jim Behrle's 20s will end and his 30s will begin. Countdown to the end of his hideously wasted youth by listening to his poems and (in some cases) the poems of others younger, cuter and much more talented: FRI 2/7 7 PM Wordsworth Books with Peach Friedman 30 Brattle St. Cambridge, MA 02138 (617) 354 5201 (ask for "Jim") SUN 2/9 6:37 PM Zinc Bar with Sarah Manguso 90 West Houston Street (corner of La Guardia Place) (212) 477 8337 SAT 2/15 3:30 lecture 5:00 reading lecture: "Jim Behrle Forgets his Heroes," ~or~ "Fuck Your Heroes and Drop Out of School" (plus bonus track: "Larry Fagin is *still* a Jerk"). Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 (Note: Like the Sex Pistols, Jim Behrle may break up after an SF appearance. You will be able to tell your grandchildren you were there that night. Think about it.) ~Please attend if you're into attending.~ Jim Behrle is known for his elaborate and hilarious personal bios. He is the author of 837 chapbooks. He is the editor of can we have our ball back? and the poetry editor of PINDELDYBOZ. This is more than he wants you to know about him. He also is featured on the syndicated radio newsmagazine "Here & Now." His 30th birthday is 2/8/03, and he's just started therapy. He doesn't live in Brooklyn, *thanks* for bringing it up. This bio was over-hyped and kind of a let-down. If you would like the Jim Behrle Version 30.0 U.S. Command Tour 2003 to come through your city or town please backchannel. _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Mon, 3 Feb 2003 15:47:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: one of the greats: Composer Lou Harrison (1917 - 2003) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Try Charles Shere, former art and music critic for the Oakland Tribune, who was working on a book about Harrison. Email me at gloriafrym@cs.com for his particulars. ========================================================================= Date: Mon, 3 Feb 2003 18:27:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Cubism and literature MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I does strike me that "Who's on first?" may be an USAcentric conundrum, as 'American' as apple pie, baseball, and betting, but as a practitioner I find Kazim's perspective of seeing the process as a two-step one: breakup what is with a variety of ways of re-presnting [on another and not related issue, is blogging tied in any way to Imabolg who's day yesterday was? ] tom bell ----- Original Message ----- From: "Gloria Frym" To: Sent: Monday, February 03, 2003 2:08 PM Subject: Re: Cubism and literature > Well, all this great talk is pointing to a bit of a chicken/egg conundrum. > These artists were alive with and around one another at the same moment. I'm > wondering, Kevin, why it's so important for your bet to determine Who Did > What First? Jacob declared himself a Cubist poet, much like Baudelaire > declared Paris Spleen to be poems in prose. > > Best, Gloria Frym ========================================================================= Date: Mon, 3 Feb 2003 16:54:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: A visit to Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Pierre: Thank you for bringing this forward. Seems to be a substantial warning about the profound repercussions of failing to take all views available into account. Quite a healthy corrective to the ongoing trivializations of the media -- and to our nation's failure's to that nation and its peoples. Gerald Schwartz ______________________________________________ "Never will the spirit dismiss the letter that reveals it." -- Emmanuel Levinas ______________________________________________ A few days ago, scanning the German daily press, I came across an article in the _Frankfurter Rundschau_ by an American university professor, relating his trip to Iraq in January in the company of some thirty other US academics. I thought the piece useful & informative & tried to locate the original publication in English -- nowhere to be found. I finally contacted the author, Stephen Bronner, at Rutgers & he told me that it had not been published in the English-speaking world (though The Nation was supposedly looking at it) & allowed me to distribute it electronically. -- Pierre BAGHDAD MEMORIES By STEPHEN ERIC BRONNER* We arrived in the middle of the night, smuggled into Iraq via the Jordanian city of Amman, and the cameras were already waiting along with the president of the university, his entourage, some bodyguards, a few agents of the regime, and the organizers of what would become four days of activities in Baghdad. Half-asleep, in an empty airport lounge with postmodern arches, some talked with each other and others with any reporter willing to talk with them. Roughly forty of us comprised “US Academicians Against War,” an independent group of intellectuals from twenty-eight universities and a variety of disciplines. Officially we were on a “fact-finding” mission, but we realized that a week in Baghdad was not very long, and that it would not turn us into experts. Our purpose, in reality, was different: we wanted a glimpse into the society our government was planning to blast back into the stone-age and a chance to offer our solidarity with the Iraqi people if not the brutal regime of Saddam Hussein. Holding on to the distinction between the regime and the citizenry, however, called for resisting temptation. From the moment that the motorcade accompanied the bus to our elegant hotel, where we were fed wonderful meals and given more than adequate accommodations, it was clear that we were being seduced. Totalitarian leaders have always liked inviting visitors who might give them legitimacy. Thoughts went through my mind of Aristotle seeking to educate Alexander the Great, Lloyd George and Charles Lindbergh extolling Hitler, and Ernst Bloch and Lion Feuchtwanger pandering to Stalin during the time of the great terror. Every other corner had a poster of the great leader: Saddam smiling benevolently; Saddam with a derby looking respectable; Saddam reading the Koran; Saddam holding a rifle aloft; Saddam with his arm outstretched in a fascist salute. It was important not to become a dupe: I resolved to keep my wits about me and remember what had originally inspired my visit to Baghdad. This became easier when we were shown the Iraqi National Museum, saw how pitifully empty it was, and breathed the stink of imperialism: obelisks and artifacts from this cradle of civilization now sit in the British Museum and the Metropolitan Museum of Art for the edification of a few dozen connoisseurs and hundreds of bored brats on school tours. The famous Ishtar Gate of Babylon is in Berlin and the steele containing the Code of Hammurabi is in the Louvre: Iraq contents itself with the facsimiles as its humiliated citizens recall the glories of Mesopotamia and Ur, the city of Abraham, and the great Arab philosophers Avicenna and Averroes, and Ali Baba. Better for Saddam to have organized a full scale legal war to bring these treasures back home – or at least be compensated for them – than the military adventures that had brought his people to the brink of ruin. And the majority is on the brink of ruin: most of the roads we saw from the windows of our bus were unpaved, sewage was spilled on the ground, jobless men sat on the corners, emaciated animals ran around alleys, and we learned that UNICEF had reported since 1991 a 160% increase in child mortality, arguably the most crucial indicator of public health, which constituted the greatest regression of the 188 nations surveyed. We visited a hospital with rotting walls in which children lacked medicine, the new-born lacked incubators, and doctors said that they treated 150 patients a day. Then we were taken to the Al-Ameriya bomb shelter, the site where 400 women and children lost their lives in 1991. It was a stark underground casket preserved as a museum in which one can still see the twisted iron, the remains of bodies plastered against the walls, the blood of the victims on the floor and the ceilings. The United States claims the bombing was unintentional, though it did occur in a residential area, but either way it doesn’t matter. This monument remains etched in my mind: it embodies what was the face of war and what these poor people might once again have to endure. Other countries might be in worse shape. But there is no use employing what amounts to an algebra of misery: it was obvious that – here in Baghdad – things were bad enough. And, speaking ironically, for us too: we were forced to listen while a kindergarten class sang a hymn in praise of Saddam, a group of down-syndrome children plead for peace, and -- far worse – what were clearly party hacks giving a set of academic papers in which it became abundantly clear how totalitarianism dulls the capacity to engage in meaningful discourse and casts a shadow over public life. No hint of criticism was expressed for the regime and its policies. Anti-Semitism of the old sort cropped up in any number of conversations over dinner: even intellectuals made reference to the existence of a Jewish conspiracy and the validity of the infamous Protocols of the Elders of Zion. Few knew about the Israeli opposition and “Peace Now.” Just as the mainstream media in the United States has sought to identify Iraq with Saddam Hussein so has the Iraqi media sought to identify “the Jews” with Ariel Sharon. The self-defeating character of such censorship and propaganda seemed obvious. Friends we met, in private, admitted as much and insisted upon the need for international organizations to pressure the regime for democratic reform. They noted that five years ago the mosques were empty and that, now, they are packed. But certain members of our group -- brave people inspired by a Christian belief in charity and good works – encountered different people with different views, felt it was not our place to judge the Iraqi state, and believed that criticism would only undermine the antiwar effort. Others, including myself, didn’t view things that way. We argued. But the priorities came back into focus when we were greeted by ordinary Iraqis grateful for our visit and terrified by the thought of another war. It became ever more apparent that every person with whom we spoke – the television reporter who had lost her niece, the law professor who had lost her aunt and cousin, the handsome taxi driver who had lost some fingers, and the veterinarian who had lost his house – might be dead in a matter of weeks. A vote was taken against presenting a “joint resolution” with our Iraqi hosts. Our own statement, in my opinion, should have been more critical of Saddam’s regime for its role in exploitation of the misery caused by the sanctions; its corruption; its foolhardy militarism, and its assault on human rights. But, ultimately, we were in Baghdad to foster opposition to a looming war with all its regional implications and secondary effects, insist upon ending sanctions on non-military goods, and improve relations between the United States and Iraq. And, on the long plane-ride home, I realized that we had done what we could. Perhaps we were naïve. But then it also occurred to me that, should this war be averted, it will have been because naïve people around the world had pressured their governments in the name of peace rather than war and proved willing – in the famous phrase – “to speak truth to power.” ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 3 Feb 2003 14:22:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Meditations - 6 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Meditations in a Time of Delusions and Lies - 6 [I write these =93meditations=94 from time to time in an attempt to stay sane. If you find them tedious, apply the magic of =93delete.=94 If you want to share them with others, feel free to do so.] February 3, 2003 The CIA and FBI have leaked complaints that the Bush administration=20 persists in making a link between Al Qaeda and Saddam Hussein, even though= =20 these intelligence agencies have yet to find one: =93We=92ve been looking at= =20 this hard for more than a year and you know what, we just don=92t think it= =92s=20 there,=94 the New York Times quotes one government official (2/2/03). =93It= =92s=20 more than skepticism,=94 says another official. =93I think there is a sense= of=20 disappointment with the [intelligence] community=92s leadership that they= are=20 not standing up for them at a time when the intelligence is obviously being= =20 politicized.=94 Once again, Rumsfeld, Wolfowitz, and the rest of the fanatics who have=20 seized the United States government are trying to manufacture facts, to=20 =93politicize=94 intelligence, to bolster public and diplomatic support for= =20 their war. Professionals in the intelligence business have been burned=20 before remember the exaggerated =93body counts=94 cooked up during the= Vietnam=20 War to satisfy the needs of political bosses? But mendacity and distortions= =20 seem to be the order of the day, and the =93community=92s leadership=94 will= no=20 doubt invent the intelligence the extremists demand, sooner or later. All manner of honesty and truth begin to collapse during dark times like=20 these. On the day after the Columbia disaster horrified the world,=20 newspapers reminded us of the NASA experts who warned of safety problems=20 only to find themselves fired, apparently for their honesty. Government=20 agencies set to regulate the environment, the stock market, and various=20 industries are watered down, given blinders, have their budgets cut back. Meanwhile, Michael Dini, a biology professor at Texas Tech University in=20 Lubbock, is now under investigation by the Justice Department because he=20 refuses to write letters of recommendation for students going to graduate=20 school who advocate creationism instead of evolution. Prof. Dini, a=20 practicing Catholic, is being accused of religious discrimination by=20 fundamentalist Protestants, despite the fact, as one student said, =93to= deny=20 the theory of evolution is, to me, like denying the law of gravity.=94 Talk= =20 to NASA about the laws of gravity -- and to Rumsfeld and Wolfowitz about=20 how the US can restructure the Middle East in their own image. At the same time, the displays of arrogance and the flood of lies on the=20 part of the Bush administration continue: for example, that the Bush gang=20 is genuinely concerned about democracy in Iraq and elsewhere. The Israeli=20 government refuses to sign the nuclear non-proliferation treaty, is well=20 known to possess at least 200 bombs, continues the on-going assault against= =20 the Palestinians in the West Bank and Gaza, displays no intention to end=20 the nightmare of its anti-democratic occupation, openly discusses=20 =93transfer=94 of Palestinians -- and the Bush administration does nothing.= And=20 media commentators, rather than question such blatant hypocrisy, scratch=20 their heads in amazement about the rise of =93anti-Americanism=94 around the= world. Which America? As Mark Twain said during the war to seize the Philippines,= =20 an earlier imperialist adventure, =93There must be two Americas: one that=20 sets the captive free, and one that takes a once-captive=92s new freedom= away=20 from him, and picks a quarrel with him with nothing to found it on; then=20 kills him to get his land.=94 Or, in this case, to get his oil. People= around=20 the world love Americans, the fair-minded, albeit na=EFve and provincial,=20 people who share the hemisphere with Canadians and Mexicans and all those=20 other Americans; they love the ideas of freedom and democracy that the=20 people if not the government still cherishes; all around the world they=20 love Walt Whitman and Bruce Springsteen and Michael Jordan and more; what=20 they hate is a government that bullies the world, that serves the interests= =20 of a greedy =93globalization=94 which translates as American dominion. While pundits bemoan =93anti-Americanism,=94 the crudest anti-European= slanders=20 crackle across the airwaves. Respectable writers proclaim that America is=20 an empire and needs to act like one, that colonialism was really not as bad= =20 as =93politically correct=94 professors say it was, and this time around our= =20 colonial enterprise will be positively benevolent and hardly a mainstream=20 commentator rejects such assumptions of arrogance. It=92s happening so fast and in so many realms that it=92s breath-taking to= =20 watch the degree to which all standards of integrity are being warped,=20 cracked, and swept aside. Today, the weather is crisp and clear. The sun shines beautifully in=20 Northern California. In a few weeks, the war will begin, the grand plan to= =20 seize Iraq=92s oil wells will be launched, the scheme to redesign the Middle= =20 East, to dominate Europe and Japan, and to encircle China and Russia before= =20 they become strong enough to challenge the preeminence of the New Roman=20 Empire will be taken to its next stage. In a few weeks, children will be=20 slaughtered, unimaginable horror will be unleashed, and the lies will reach= =20 even more grotesque levels of extravagance. We are living in =93the time=20 before.=94 I cherish this moment. Sunshine and truth may not return for a long, long time. Hilton Obenzinger ----------------------------------------------------------------------------= --- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Mon, 3 Feb 2003 14:21:38 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: Lou Harrison on Epitonic MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Gigue & Musette Ductia Rondeau In Honor Of Fragonard Strofo 7 http://epitonic.com/artists/louharrison.html ========================================================================= Date: Mon, 3 Feb 2003 15:12:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: A visit to Iraq In-Reply-To: <001601c2cbce$c4612ec0$a7a8f943@computer> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Bravo, indeed... from Greil Marcus' real-life top ten: 10) Helen Thomas at White House press briefing, Jan. 6 In his 1972 study "The World Turned Upside Down: Radical Ideas During the English Revolution," Christopher Hill, poring through the annals of the 16th and 17th centuries, tried to reconstruct the beginnings of a heresy that by the 1650s was making itself known across England. There would be a document noting that a certain craftsperson had questioned the divinity of Jesus; 20 years later there would be a record of a woman denying the need to work. Across a page or so, a dozen examples of seemingly stray people claiming that all true spirits were god and that all authority was false took on a huge charge, less from the power of any given fragment than from one's sense of how much was missing between the fragments. Reading the transcript of the exchange between 82-year-old Hearst News Services columnist Helen Thomas and White House spokesman Ari Fleischer, what was so shocking was not what she said, but, given the socialization produced by the news writing and even editorial writing in the likes of the New York Times, how bizarre it seemed -- because in the context of contemporary political discourse Thomas spoke not as a reporter but precisely as a heretic: Thomas: At the earlier briefing, Ari, you said that the president deplored the taking of innocent lives. Does that apply to all innocent lives in the world? And I have a follow-up. Fleischer: I refer specifically to a horrible terrorist attack on Tel Aviv that killed scores and wounded hundreds. And the president, as he said in his statement yesterday, deplores in the strongest terms the taking of those lives and the wounding of those people, innocents in Israel. T: My follow-up is, why does he want to drop bombs on innocent Iraqis? F: Helen, the question is how to protect Americans, and our allies and friends -- Thomas and Fleischer went back and forth in several more exchanges. The president is only interested in defense against Iraq, Fleischer reiterated. T: And he thinks they are a threat to us? F: There is no question that the president thinks that Iraq is a threat to the United States. T: The Iraqi people? F: The Iraqi people are represented by their government. If there was regime change, the Iraqi -- T: So they will be vulnerable? F: Actually, the president has made it very clear that he has no dispute with the people of Iraq. That's why the American policy remains a policy of regime change. There is no question the people of Iraq -- T: That's a decision for them to make, isn't it? It's their country. F: Helen, if you think the people of Iraq are in a position to dictate who their dictator is, I don't think that has been what history has shown. T: I think many countries' people don't have the decision -- including us. Thanks to Chris Walters. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of schwartzgk Sent: Monday, February 03, 2003 1:54 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: A visit to Iraq Pierre: Thank you for bringing this forward. Seems to be a substantial warning about the profound repercussions of failing to take all views available into account. Quite a healthy corrective to the ongoing trivializations of the media -- and to our nation's failure's to that nation and its peoples. Gerald Schwartz ______________________________________________ "Never will the spirit dismiss the letter that reveals it." -- Emmanuel Levinas ______________________________________________ A few days ago, scanning the German daily press, I came across an article in the _Frankfurter Rundschau_ by an American university professor, relating his trip to Iraq in January in the company of some thirty other US academics. I thought the piece useful & informative & tried to locate the original publication in English -- nowhere to be found. I finally contacted the author, Stephen Bronner, at Rutgers & he told me that it had not been published in the English-speaking world (though The Nation was supposedly looking at it) & allowed me to distribute it electronically. -- Pierre BAGHDAD MEMORIES By STEPHEN ERIC BRONNER* We arrived in the middle of the night, smuggled into Iraq via the Jordanian city of Amman, and the cameras were already waiting along with the president of the university, his entourage, some bodyguards, a few agents of the regime, and the organizers of what would become four days of activities in Baghdad. Half-asleep, in an empty airport lounge with postmodern arches, some talked with each other and others with any reporter willing to talk with them. Roughly forty of us comprised “US Academicians Against War,” an independent group of intellectuals from twenty-eight universities and a variety of disciplines. Officially we were on a “fact-finding” mission, but we realized that a week in Baghdad was not very long, and that it would not turn us into experts. Our purpose, in reality, was different: we wanted a glimpse into the society our government was planning to blast back into the stone-age and a chance to offer our solidarity with the Iraqi people if not the brutal regime of Saddam Hussein. Holding on to the distinction between the regime and the citizenry, however, called for resisting temptation. From the moment that the motorcade accompanied the bus to our elegant hotel, where we were fed wonderful meals and given more than adequate accommodations, it was clear that we were being seduced. Totalitarian leaders have always liked inviting visitors who might give them legitimacy. Thoughts went through my mind of Aristotle seeking to educate Alexander the Great, Lloyd George and Charles Lindbergh extolling Hitler, and Ernst Bloch and Lion Feuchtwanger pandering to Stalin during the time of the great terror. Every other corner had a poster of the great leader: Saddam smiling benevolently; Saddam with a derby looking respectable; Saddam reading the Koran; Saddam holding a rifle aloft; Saddam with his arm outstretched in a fascist salute. It was important not to become a dupe: I resolved to keep my wits about me and remember what had originally inspired my visit to Baghdad. This became easier when we were shown the Iraqi National Museum, saw how pitifully empty it was, and breathed the stink of imperialism: obelisks and artifacts from this cradle of civilization now sit in the British Museum and the Metropolitan Museum of Art for the edification of a few dozen connoisseurs and hundreds of bored brats on school tours. The famous Ishtar Gate of Babylon is in Berlin and the steele containing the Code of Hammurabi is in the Louvre: Iraq contents itself with the facsimiles as its humiliated citizens recall the glories of Mesopotamia and Ur, the city of Abraham, and the great Arab philosophers Avicenna and Averroes, and Ali Baba. Better for Saddam to have organized a full scale legal war to bring these treasures back home – or at least be compensated for them – than the military adventures that had brought his people to the brink of ruin. And the majority is on the brink of ruin: most of the roads we saw from the windows of our bus were unpaved, sewage was spilled on the ground, jobless men sat on the corners, emaciated animals ran around alleys, and we learned that UNICEF had reported since 1991 a 160% increase in child mortality, arguably the most crucial indicator of public health, which constituted the greatest regression of the 188 nations surveyed. We visited a hospital with rotting walls in which children lacked medicine, the new-born lacked incubators, and doctors said that they treated 150 patients a day. Then we were taken to the Al-Ameriya bomb shelter, the site where 400 women and children lost their lives in 1991. It was a stark underground casket preserved as a museum in which one can still see the twisted iron, the remains of bodies plastered against the walls, the blood of the victims on the floor and the ceilings. The United States claims the bombing was unintentional, though it did occur in a residential area, but either way it doesn’t matter. This monument remains etched in my mind: it embodies what was the face of war and what these poor people might once again have to endure. Other countries might be in worse shape. But there is no use employing what amounts to an algebra of misery: it was obvious that – here in Baghdad – things were bad enough. And, speaking ironically, for us too: we were forced to listen while a kindergarten class sang a hymn in praise of Saddam, a group of down-syndrome children plead for peace, and -- far worse – what were clearly party hacks giving a set of academic papers in which it became abundantly clear how totalitarianism dulls the capacity to engage in meaningful discourse and casts a shadow over public life. No hint of criticism was expressed for the regime and its policies. Anti-Semitism of the old sort cropped up in any number of conversations over dinner: even intellectuals made reference to the existence of a Jewish conspiracy and the validity of the infamous Protocols of the Elders of Zion. Few knew about the Israeli opposition and “Peace Now.” Just as the mainstream media in the United States has sought to identify Iraq with Saddam Hussein so has the Iraqi media sought to identify “the Jews” with Ariel Sharon. The self-defeating character of such censorship and propaganda seemed obvious. Friends we met, in private, admitted as much and insisted upon the need for international organizations to pressure the regime for democratic reform. They noted that five years ago the mosques were empty and that, now, they are packed. But certain members of our group -- brave people inspired by a Christian belief in charity and good works – encountered different people with different views, felt it was not our place to judge the Iraqi state, and believed that criticism would only undermine the antiwar effort. Others, including myself, didn’t view things that way. We argued. But the priorities came back into focus when we were greeted by ordinary Iraqis grateful for our visit and terrified by the thought of another war. It became ever more apparent that every person with whom we spoke – the television reporter who had lost her niece, the law professor who had lost her aunt and cousin, the handsome taxi driver who had lost some fingers, and the veterinarian who had lost his house – might be dead in a matter of weeks. A vote was taken against presenting a “joint resolution” with our Iraqi hosts. Our own statement, in my opinion, should have been more critical of Saddam’s regime for its role in exploitation of the misery caused by the sanctions; its corruption; its foolhardy militarism, and its assault on human rights. But, ultimately, we were in Baghdad to foster opposition to a looming war with all its regional implications and secondary effects, insist upon ending sanctions on non-military goods, and improve relations between the United States and Iraq. And, on the long plane-ride home, I realized that we had done what we could. Perhaps we were naïve. But then it also occurred to me that, should this war be averted, it will have been because naïve people around the world had pressured their governments in the name of peace rather than war and proved willing – in the famous phrase – “to speak truth to power.” ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 3 Feb 2003 18:22:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard D Carfagna Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I don't know if anyone mentioned it, but what about Kenneth Rexroth ? Also there's an book entirely devoted to the subject: 'Part Of The Climate' - American Cubist Poetry by Jacqueline Vaught Brogan, published by Univ. of California Press, 1991. It's a nice thorough tome on the subject. Ric ========================================================================= Date: Mon, 3 Feb 2003 15:41:57 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: Re: HYperKUbism and L/IT/erature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit polysemic HYperKUbism: SyMbolizmod (symbolismodulation) http://www.hevanet.com/solipsis/symbolizmod/symboltst.htm (self-refreshing s(l)ideshow) ========================================================================= Date: Mon, 3 Feb 2003 15:47:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Poetry is news, or is it? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" In relation to the fine political posts today, I remember that the Poetry is News event at St. Marks last Saturday received a lot of publicity and speculation, and I wonder if someone who was there might give us a report about what happened, and what their sense of the various presentations was. My first thought was that media coverage of the shuttle disaster might have dampened attendance, but apparently there was a large turnout. I've heard from one of the organizers back-channel, who was quite elated; he also mentioned that it was interesting to see who didn't attend. Which is to say that I think Laura Bush's ideas about the separation of poetry and politics are actually quite widespread, perhaps even on this list. With the flurry of news about "political poems" this last week -- the Hamill project, the Swift project, the Poetry is News presentation -- one could be forgiven for forgetting that the very concept was called into question not too many months ago. That thread in early December raised lots of interesting questions about audience, technique, and efficacy of political poems, in response to which I've been writing a piece called "Theses Toward the Political Poem" -- (if I had a blog like everyone else I'd publish it there, but it'll just have to wait for more traditional means). (An aside: where DO those bloggers get all that time?) (Another aside: I still prefer lists, with at least the possibility of asynchronous call and response.) From the Poetry is News event publicity: "it becomes increasingly embarrassing and painful to attend events that don't even 'reference' the current reality. The false dichotomies between politics and aesthetics can only be put to rest when history is made present and resistance enacted." I agree absolutely that the dichotomy between politics and poetics is a false one, but others might not; it's a discussion that I never seem to get enough of. ____________________________________ One more thought about the President's speech on Saturday: as I told Brandon back-channel, what I objected to was religion's classic *displacement* of grief onto another sphere ("all safely home"), which Christianity, of course, specializes in. I can envision a speech that might not have been so eager to "move on"; there are some things that don't achieve -- that noxious word -- "closure." Joe Safdie ========================================================================= Date: Mon, 3 Feb 2003 20:18:23 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Cubism in Korean experimental poetry MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit What exactly makes a poem a cubist poem? Is cubism basically an idea, a philosophy with a specific plastic application in modernism or sui generis to painting and sculpture which poetry tries to emulate? This is a significant distinction because works outside plastic arts considered cubist (or cubist influenced) are so for different reasons. For instance, Reverdy's cubism, at least to me, is related to his visual, tonal jump cuts in his poems. Stein says that from an airplane the American landscape looks like a cubist painting, associating cubism with modern technology. (We had the discussion about the relation between avant garde art and militarism a few months ago.) From what I understand, Lew relates Yi Sang's cubism to mathematics -therefore, I think, to its mystical potential. In my essay "The Peripheral Space of Photography" (Green Integer, just came out), in the discussion of Laszlo Moholy-Nagy's photograph, "Decorating Work," the minimalist, Corbusier/Cubist surface of this photograph gets transformed into a meditation on the passage of time -once again, suggesting a tension between avant garde rationality and mysticism in the idea of cubisim. When Kevin Killian asked his very interesting question, my first impulse was to e-mail him that the cubist poem does not exist, though aware that some poets are called cubists (I refrained myself). I think that is the real weight of Kevin's question "does anyone know a cubist poet or poem?" I phantasized that Kevin bet that a cubist poem is imaginary, as in "imaginary numbers." It seems to me cubism is a very fluid (plastic) concept of which cubism in the arts is a local expression; it harbors a fertile contradiction. While on the surface it projects a machine (also modernism, etc.), the idea of multiple vision implies an unreachable center, core, reality. Isn't the robot a mystical creature in literature, the alchemist the original scientist? Murat ========================================================================= Date: Mon, 3 Feb 2003 17:56:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Good begin with good s In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable Good begin with good s Thank you very much. =A0 , , of , , : =A0As we gat, is at, is in , = and=20 the . =A0Yet the of has been . =A0(Applause.) We in an of and . =A0In short , has the , begun to and the , =20= a , , , and the of of , , a from, and a from . =A0(Applause.) The flies again over in . =A0 who once now at. =A0(Applause.) = =A0And =20 who to their are for their own. =A0(Applause.) and are now . =A0We'll be in ing that . =A0And t we welcome the = of a=20 : =A0. =A0(Applause.) The we met in t, the and of were in their own homes, from or=20 going to . =A0 are , and are part of . =A0And we welcome the of 's , = .=20 =A0(Applause.) is a to the of the , to the of , and to the of the s .=20 =A0(Applause.) =A0When I called into , I did so with in their and.=20= =A0And , thanks to them, we are the on. =A0(Applause.) =A0The and of = =20 have a now to every of the s: =A0Even away, across oceans and=20 continents, on mountaintops and in caves -- you will the of t .=20 =A0(Applause.) For y s, these have brought , and that will ly go away. =A0Every day=20= a returns to Ground , to feel r to two who te. =A0At a in , a=20 little left foot with a e for : =A0Dear , please t to . =A0I don't = want=20 to until I can play with you again some day. , at the of , , a and who in , said these of : =A0", my love." = =A0=20 is with us . =A0(Applause.) , I assure you and all who have a loved one that is , and will =20 forget the we and all who their for om. is , and it continues. =A0 discoveries in , and shd us the of = the =20 . =A0We have seen the of ' in , we they laugh about the of . =A0And = the=20 of their is by the of the they . =A0We have found of nu pr and =20= water , for , of , and thorough of in and throughout the . What we have found in that, far from ending te, is only beginning.=20= =A0Most of the who on the were in, and so were tens of of ots. =A0 = =20 of , ed in the of , often supported by , are now spread throughout=20 the like , set to go off without ning. Thanks to the of and , s of have been . =A0Yet, tens of of are=20= still at . =A0These view the entire as a , and we them they are.=20 =A0(Applause.) =A0So long as , so long as s , om is at . =A0And and = ,=20 and will , allow it. =A0(Applause.) will continue to be and patient and in the of two . =A0, we will = ,=20 , and bring to . =A0And, second, we the and who seek,or from = the=20 s and the . =A0(Applause.) has put the of out of , yet still exist in at least a . =A0A = under=20 -- including like, , , -- s in , and in the of . While the most visible is in , is ing elsewe. =A0We now have in the = ,=20 helping to that 's to go after that have an , and still . =A0 , =20 with the , who were to . =A0 is the coast of to the t of and=20= the t of in . My hope is that all s will call, and the who their and own. =A0y = s=20 are ing . =A0 is now on, and I admire the of . =A0(Applause.) But somes will be in the face of. =A0And make no about it: =A0If they = do =20 , will. =A0(Applause.) is to that from or friends and with of . =A0Some of these = have=20 been pretty quiet since the . =A0But we their nature. is a with =20= and of , while its . s these and , while an few re the 's hope for om. continues to its tod and to support. =A0The i has to , and , and = nu =20 for over a . =A0T is a that has already used to of its own --=20 leaving the of over their . =A0T is a that agreed to -- then out=20= the . T is a that has something to from the . s like these, and their , an of , to the peace of the . =A0By=20 seeking of , these a and grog . =A0They could these to , giving=20 them the to their . =A0They could or to the s. =A0In any of = these ,=20 the of in would be . We will ly with to and their s the s, , and to make and of .=20 =A0We will and to and from . =A0(Applause.) And all s should : = =A0=20 will do what is to 's . We'll be , yet is on . =A0I will wait on , while gat. =A0I will = stand=20 by, as draws r and r. =A0The s of will the 's most to us with = the=20 's most . =A0(Applause.) on is well begun, but it is only begun. =A0T may be ed on watch --=20= yet it be and it will be on watch. We can't short. =A0If we now -- leaving int and s -- sense of = would=20 be and . =A0tory has called and to , and it is both and to om's=20= . =A0(Applause.) always be the of , and that will be reflected in the I send to .=20= =A0My supports three s for : =A0We will t ; we'll ; and we will . the brought out the in , and the in t . =A0And I the in y and .=20= =A0(Applause.) =A0Now s to have t same tod e at home. =A0I'm a of = my =20 -- yet as we to the , , and create in , we , and foremost, as=20 Reans, as , but as s. =A0(Applause.) It a lot to t . =A0We have than a a -- over a day -- and we be =20= for . =A0 that the and spare , and we need of them. =A0We need to =20= air and make agile, to put anywe in the quickly and safely. =A0 =20= and in the , the , the -- and they also a . =A0(Applause.) My includes the st in in two s -- be while the of om and is high,=20= it is high. =A0Whatever it to , we will . =A0(Applause.) The next of my is to do everything possible to and the ongoing of=20= a . =A0 and distance from the of the will make us unless we on its=20= les. =A0 is no longer ed by vast oceans. =A0We are ed from only by =20 abroad, and d at home. My nearly for a of , on areas: =A0, , and , and . =A0We will = =20 to and ot ly . =A0We'll to help s and and oic and . =A0(Applause.)= =20 =A0We will and sharing, at s, the of air , and use to the and = s=20 of visitors to the s. =A0(Applause.) will make only , but, in y ways, better. =A0 gained from will . = =A0=20 and will mean neighborhoods. will help s. =A0(Applause.) =A0And = as s=20 to , will continue to on the eyes and ears of . A few days before , an a lighting a . =A0The crew and engers quickly =20= the , who had been by and was with . =A0The on that were and, as = a=20 result, likely nearly . =A0And we welcome and thank and .=20 =A0(Applause.) Once we have ed al and , the final of my is for the .=20 =A0(Applause.) =A0To these al -- to the , the , and -- will = run a=20 that will be small and short-term, so long as and s in a ner.=20 =A0(Applause.) We have and we at home with the same and we have=20 shown overseas: =A0We'll in the , and we will t . =A0(Applause.) s who have their need help and I support t and for care .=20 =A0(Applause.) =A0Yet, ers want than t s -- they want a steady .=20 =A0(Applause.) =A0When s, s, so my can be up in one word: =A0.=20 =A0(Applause.) Good begin with good s, and e we've made a fine start. =A0(Applause.)=20= =A0Reans and ed toget to toric so that no is left behind. =A0I was = to =20 with s of both : and =A0(Applause.) =A0 . =A0(Applause.) =A0And I = was so of=20 , I even had nice things to say about my friend, . (Laughter and=20 applause.) =A0I the folks at the coffee shop couldn't believe I'd say=20= such a thing -- (laughter) -- but on t shows what is possible if we=20= set a and on . =A0(Applause.) Te is to do. =A0We need to to read and in with and early hood .=20= =A0(Applause.) =A0We and and a with a for : =A0a in every .=20 =A0(Applause.) Good also on and . =A0T to en , , , and it to at home so = is=20 less ent on . =A0(Applause.) Good oned . into creates , so I ask to finally . =A0(Applause.)=20= =A0On these two , and , the of has ed to create , and I urge the to =20= t . =A0(Applause.) Good on sound . =A0(Applause.) =A0 , some in t hall thought my was =20= small; some thought it was big. =A0(Applause.) =A0But when the s = arrived=20 in the mail, most s thought was about . =A0(Applause.) =A0 listened to=20= the and responded by , the , and ending the . =A0For the sake of =20= and to help s for the , let's make these perent. =A0(Applause.) The way out of t , the way to create , is to the by in and, and by =20 up so have to . =A0For the sake of ers, let's a . =A0(Applause.) Good be the of . =A0As we r these s, we always re the is to ency=20= on and offer every the of a. =A0(Applause.) s can vanish in an instant without . =A0I ask to me t to en a ' =20= of s -- (applause) -- to give ers s to help -- (applause) -- to an=20= toric in the for ' -- (applause) -- and to give a sound and that=20= includes s. =A0(Applause.) A good should lead to in . =A0I ask to en for and . =A0(Applause.) = =A0=20 who have ed hard and all their should have to losing everything if=20 their s. =A0(Applause.) =A0Through s and toug , be made able to = and=20 share and held to the highest s of conduct. =A0(Applause.) also s upon keeping the ts of Sol , and we will. =A0We make Sol =20 finanlly stable and allow personal s for younger ers who choose them.=20= =A0(Applause.) s, you and I will toget in the on ot: =A0 -- (applause) -- a = cleaner=20 -- (applause) -- home , espelly among -- (applause) -- and ways to en=20= the good of and . =A0(Applause.) =A0I ask you to me on these in = the=20 same of cooperation we've applied to ism. =A0(Applause.) During these few , I've been humbled and d to see the charer of t in=20= a ofing. =A0 believed was and istic, that we would in and . =A0They=20= were as as they are . =A0(Applause.) The have responded magnificently, with and comion, and . =A0As I = have=20 met the oes, hugged the , and looked into the faces of , I have sd in=20= awe of the . And I hope you will me -- I hope you will me in exing thanks to one =20= for the and calm and comfort brings to in , , . =A0(Applause.) None of us would ever wish the that was done on the . =A0Yet after = was=20 ed, it was as if entire looked into a and saw selves. =A0We were=20 reminded that we are , with o to each ot, to , and to tory. =A0We began=20= to think less of the goods we can accumulate, and about the good we=20 can do. For long has said, "If it feels good, do it." =A0Now is embracing a = =20 and a : "Let's roll." (Applause.) In the of , the of , and the and =20= of , we have glimpsed what a of could look like. =A0We want to be a =20= that serves s r than self. =A0We've been offered a unique , and we let=20= t mot . =A0(Applause.) My call is for every to at least two s -- s over the of y -- to=20 the of y neighbors and y . =A0(Applause.) =A0y are already , and I thank=20= you. =A0If you aren't sure how to help, I've got a good place to start.=20= =A0To and the that has in , I invite you to the om . =A0The om = will=20 on areas of : =A0 in case of at home; ing ; and comion throughout=20= the . One of the om will be . needs s and who can be in ; to help =20 and ; well- in spotting . also needs to . =A0We need tors to love , espelly whose s are in = .=20 =A0And we need talenteds in td s. =A0 om Corps will and the good = efforts=20 of AmeriCorps and Senior Corps to recruit than 200,000 s. And needs to extend the comion of to every part of the . =A0So we=20 will re the of the , its s over the next s -- (applause) -- and ask=20= it to a effort to en and and in the . =A0(Applause.) T of offers a unique mot of -- a mot we to change . =A0Through the=20= gating motum of s of s of and and kindness, I we can with er good.=20= =A0(Applause.) =A0And we have a during t of to lead the tod the = that=20 will bring ing peace. All s and mots, in all , want their to be, and live from poverty and=20= . =A0No on Earth n to be oped, or aspire to , or eagerly await the of=20= the . If anyone doubts t, let them look to , we the "street" the fall of =20 with song and celebration. =A0Let the look to own rich tory, with its =20= of learning, and tolerance and . will lead by ing and be they are =20 and and unchanging for all everywe. =A0(Applause.) No owns these a, and no is from them. =A0We have no intention of=20 imposing . =A0But will always stand firm for the deds of hu : =A0the=20= rule of ; on the pr of the ; for ; ; speech; equal ; and . =A0(Applause.)= will the of and who these around the , including the , be we=20 have a er e than s and. =A0We seek a and peaceful beyond the on. In t mot of , a common is old . =A0 is with and and , in ways we = have=20 before, to peace and ity. =A0In every , and and are proving = their=20 pr to lift. =A0Toget with friends and from to , and to , we will = that=20 the of can the motum of om. =A0(Applause.) The I spoke e, I exed the hope that would return to. =A0In some ways,=20= it has. =A0In ots, it will. =A0Those of us who have lived through these = s=20 have been by them. =A0We've come to truths that we will question: =A0 = is=20 real, and it be opd. =A0(Applause.) =A0Beyond all s of or , we are one = ,=20 mning toget and facing toget. =A0Deep in the charer, te is , and it is = =20 than. =A0And y have again that even in -- espelly in -- is near.=20 =A0(Applause.) In a , we realized that t will be a in the tory of, that we've been=20 called to a role in hu . =A0Rarely has the faced a choice or . send ot 's on s of and . =A0They and as a and a . =A0We stand = for a=20 different choice, made long ago, on the day of founding. =A0We it = again=20 . =A0We choose om and the of every . (Applause.) in , we now on. =A0We have n om's . =A0We have shown om's pr. =A0And = in t =20 , my s, we will see om's . Thank you all. =A0May . =A0(Applause.)=20= ========================================================================= Date: Mon, 3 Feb 2003 17:55:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Cubism and literature In-Reply-To: <20030203.182233.-379399.0.sinfoniapress@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > I don't know if anyone mentioned it, >but what about Kenneth Rexroth ? As a Cubist? What? -- George Bowering Confused by his cell phone Fax 604-266-9000 ========================================================================= Date: Mon, 3 Feb 2003 21:07:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit rexroth early on considered himself a cubist, i think... ----- Original Message ----- From: "George Bowering" To: Sent: Monday, February 03, 2003 7:55 PM Subject: Re: Cubism and literature > > I don't know if anyone mentioned it, > >but what about Kenneth Rexroth ? > > As a Cubist? > What? > -- > George Bowering > Confused by his cell phone > Fax 604-266-9000 > > > ========================================================================= Date: Tue, 4 Feb 2003 10:54:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: Fw: anti-war poetry event, Feb 12 MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Of interest to Philly-area poets. Daisy --------- Forwarded message ---------- From: Claire McGuire (by way of Nathalie Anderson) To: nanders1@swarthmore.edu Date: Mon, 3 Feb 2003 22:01:43 -0500 Subject: anti-war poetry event, Feb 12 Message-ID: Please circulate: This is an exploratory message to see how many Philadelphia area poets would be interested in taking part in an anti-war poetry event on February 12th, the day the poetry symposium hosted by Laura Bush at the White House was supposed to have taken place. The event was cancelled after the White House got wind of a brewing protest spearheaded by Sam Hamill. Please write to Claire McGuire (mcguire@scils.rutgers.edu) or Kitty Bryant (Solidartattack@cs.com) if you're interested in participating. Needed: + People to read anti-war poetry (your own or someone else's) + Suggestions for Philadelphia-area venues + Help organizing Thanks. Claire McGuire 215-382-4835 ========================================================================= Date: Tue, 4 Feb 2003 14:37:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Hughes Is News MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hughes Is News Frieda Hughes has expressed her contempt for a plan of a major film dramatization of her mother's life and suicide... ...and she did it with poetry... > Reuters.com - Sylvia Plath > http://www.reuters.com/newsArticle.jhtml?type=topNews&storyID=2160758&fromEm ail=true Gerald Schwartz "You turn into writing what you see; what sees you, into reading." -- Edmond Jabes ========================================================================= Date: Tue, 4 Feb 2003 13:43:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Re: Poetry is News, or is it? Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi Joe, You quoted from the publicity for Poetry is News event: "it becomes increasingly embarrassing and painful to attend events that don't even 'reference' the current reality. The false dichotomies between politics and aesthetics can only be put to rest when history is made present and resistance enacted." While I understand the concern shown in the above quote, I'm lost as to what events Ammiel Alcalay and Anne Waldman, the Poetry is News organizers, might be referring to in their publicity. Having scheduled readings at the Segue Series at Bowery Poetry Club with Brian Stefans last year, and having gone to several readings there in the following months (curated by Laura Elrick and Michael Scharf), as well as a number of events at BPC and elsewhere over the last several months, I would say that there is very little happening in New York that I've personally seen that has not referenced--or indeed foregrounded--"the current reality." And not just in public readings and performances, but in magazines (see for instance the latest issue of the Poetry Project Newsletter), and on blogs: Brian, Jordan, Nada, Drew, and I--to mention only the bloggers I personally know living in New York--have all not only made repeated references to "the current reality," but have devoted numerous entries specifically to it. It's worth noting that neither Anne nor Ammiel were present at any of the readings I've been to in the last several months--save for the Marathon, where Anne performed. No big deal, but it might explain the disconnect between their publicity's characterization of public poetry in the city and what has been my own experience of the reality of it. You also noted, Joe, that "one of the organizers back-channel mentioned that it was interesting to see who didn't attend. Which is to say that I think Laura Bush's ideas about the separation of poetry and politics are actually quite widespread, perhaps even on this list." That's quite a leap to make: X misses one event, therefore X is *for* the separation of politics and aesthetics. More than eight million people living in New York did not show up to the Poetry is News event. That's an awful lot of red "A"s to sew on people's clothing. So, yes, let's have a report on the event, especially for those who weren't able to attend. Ammiel and Anne deserve a lot credit for putting that whole thing together, not to mention all of the other genuinely valuable things they do contribute as writers and activists. It will be interesting to see what will come out of it. But, Joe, I don't believe I've ever seen you at an event here, so I don't understand why you find it so easy to take at face value their characterization--a condemnation, unless I'm misreading it--of public arts activity NY in the last year or so. And to then take that a step further and basically condemn the aesthetics of anyone who didn't make their event. I might be wrong in believing this, but my sense is, if Ammiel and Anne had come to more readings and events last year--at least what I was going to--the line you quoted from their publicity probably wouldn't have made the first cut. Thanks, Gary _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Tue, 4 Feb 2003 13:21:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: murat, stein, jacob, wcw, cubism. Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit i don't think stein's association was with "modern technology" so much as with geometric shape. this is what impressed her. stein was making reference to geometric shape, except to say that "modern technology" has made it possible for man to see the earth in a new way, from above, for its geometric pattern ("the cubist paradigm," if you will). but stein was not a cubist, and neither was jacob, and neither was wcw, and all for one crucial reason. neither made the analogy between geometric structure and grammatical structure. (and neither does kamber in his "max jacob and the poetics of cubism," which is why his thesis is ultimately unsatisfying, for all he writes about the transposition from one medium to the other and the substitution of verbal coherence for painted surface. and neither does dijkstra, in his "cubism, stieglitz, and the early poetry of wcw," where for all his talk about "time," and "simultaneism," he really means "stereometric vision," which was coined by ortega y gasset and is elucidated in "the dehumanization of art.") "stereometric vision" seems to be the most explicative and clarifying terminology for the most common interpretation of cubism (painting). but in my opinion, for the transposition of elements to be successful, the poet must first comprehend the analogy between geometric structure and grammatical structure. the question then becomes, not "what will a cubist poem look like," but "how will a cubist poem read"? (however, this is not to suggest that a concrete poem cannot be a cubist poem, both semantically and eidetically.) for an example of a cubist poem, i would humbly direct the reader to my poem, "the galloping man," which can be found at: http://canwehaveourballback.com/11thomasino.htm although neither make the analogy with grammatical structure, the books to read first, definitely, are: kamber, dijkstra, and ortega y gasset's chapter on cubism. gregory vincent st. thomasino ========================================================================= Date: Mon, 3 Feb 2003 21:27:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hlazer Subject: Lou Harrison Mime-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 7bit Five years ago I met Lou Harrison at a several day festival in honor of his 80th birthday. The events, including the playing of several of his gamelan compositions, were held at the San Francisco Conservatory of Music. Here's one of the poems I read for Lou. (It appears in _Days_, the book recently mentioned by Nick Piombino. In Days, it's #213 - 9/17/95): ives alive & lou too from new england to new asia aptos balanced at the mid point sousa music to gamelan upon which the new millennium rests then extends ========================================================================= Date: Tue, 4 Feb 2003 03:38:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: newfiletype MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit AUGUST highland bibliotech (excerpt) www.cultureanimal.com newfiletype012 really quite automated. moonlight. young man regarded doubtfully. wrong side. Nanotubes pipe-shaped molecules size DNA double helix. can chemically tailored excellent conductors heat, conductors ( country, too. squirts tiny bubbles intersection channels carved slice glass. seemingly mundane piece optical equipment performs one mouth, Beth accepted hands dropped down hold Beth's buttocks, Beth accepted too. "Let come inside," Alex said. Beth squirmed smiled much sophistication such placid face achieve, all. believe Mr. Taft lately modified attitude toward women front everyone. turn go, spotted waved. held. allowed walk twice daily guard. allowed receive books, converse fellow prisoners write receive numerous knew whether cheated brakeman brakeman cheated watch worth much ride, ride sell. girl breathed like one who swimming water, spoke, voice calm contained. north Middelburg, evicted April. commandos like those pertinacious flies buzz upwards hand approaches only all night. morning took child arms, sharp cries, gestures, example, started second long flight. eight Folk pharmaceutical firms eager buy SGX's product three-dimensional protein structures, those intricate models loops whorls lend love way never loved all. wonder where heard line ;- ) all wonderful happening ! seemed Adam get enough doing cock ached released levis. departure part fellow burghers stricter tenets dopper sect. Paul Kruger passed away country loved ruined. fall back sixteen miles, loss ten casualties thirty prisoners. Thus heart native state two great white races South hall Emma, bring please can get dressed." "opinion influencers" industries, such Kraft Foods DuPont. hope convert these key customers nose chip evangelists. same started, Paula quickly unbuttons blouse unsnaps heavy-duty front-closing bra. brings large breast, one hand supporting globe those Smuts. very important work getting firm hold Magaliesberg accomplished July Barton, Allenby, Kekewich, Lord Basing, slipped discourse Russia, dangers revolution. always wondered why government clever enough eliminate political Manchester, arriving early morning. one day known only through isolated scraps information hazy recollections aging geeks, trying recall created first animated except transient traveller ferries elevated road. walked through City Hall Square looked new buildings air, heard some time De la Rey, called together men waiting bring off some coup. convoy gave very opportunity sought. all? handful faithful attendants, fugitive old man, clutching flight papers moneybags. last old-world Puritans, Dr. --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Mon, 3 Feb 2003 22:26:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Two Haiku- "Weapons of Mass Affection" "MacBoth" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Weapons of Mass Affection If you need to fight and you don't believe in fate join the war on hate MacBoth Something borrowed something blue clueless blockhead whining shrew smiles too few -Nick- ========================================================================= Date: Tue, 4 Feb 2003 00:41:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Cubism in Korean experimental poetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT thought provoking, Murat. I've been musing on his query and the responses here. If this were unpacked surrealistically we would have Yi Sang as poet and artist accepting the mantle of 'cubist' bestowed by the West and allowing his work to be classified as 'cubist poetry' when clearly he would have been aware of someone like Bada Shanren and his unique visual/verbal perception of what we have come to "see" as reality? To touch on some recent threads here, I wonder what kinds of re-shufflings we might find if we reshuffle the cards and go through them from the Columbia's perspective, for example, or politically speaking to quote Creeley quoting Scott. "Breathes there a man....." tom bell ========================================================================= Date: Tue, 4 Feb 2003 03:35:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: nora's journal MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit NORA bay journal.txt www.cultureanimal.com journalentry001 Special instructions The ADSP-2100 can conditionally execute most And, now. . . instructions. Now do until command establishes a sequence of THE CREATION OF THE WORLD instructions that can be arbitrary in length and nested four deep for Deep Woods. . . repeat operations. In addition to the standard arithmetic and logic THE FIRST THINGS CREATED instructions, the ALU supports division primitives. Because the ADSP- It was so very cold as I stacked my skis against the side of the 2100 is a nonpipelined machine, it incurs no penalties for jumps and Albania is a republic with a multiparty parliament, a prime minister, chalet, walked around to the front porch and opened the heavy door. In the beginning, two thousand years before the heaven and the calls. and a president elected by the Parliament. The Prime Minister heads The heady rush of heated air stuck my frosted face as I stripped off earth, seven things were created: the Torah written with black In the ongoing search for a way to positively identify a customer on the Government; the presidency is a largely ceremonial position with my heavy gloves, my muffler and unzipped my ski jacket. While Maria fire on white fire, and lying in the lap of God; the Divine Support Analog Devices supplies an ANSI C compiler, an assembler, a the Internet, a credit reporting leader plans to use customers' credit limited executive power. The Socialist Party and its allies won 121 of took my things to put away, her great girth quivering as she waddled Throne, erected in the heaven which later was over the heads of records to quiz them on their identities when they want to sign up for 155 parliamentary seats in 1997 elections held after a 5- month period toward the closet, I dropped down and carefully stripped off my boots. the Hayyot; Paradise on the right side of God, Hell on the left linker, and an interactive simulator. Evaluation boards are available the Checkfree online bill-paying service. of chaos and anarchy. Observers deemed the elections to be acceptable I picked up a stack of early evening mail to sort and walked toward side; the Celestial Sanctuary directly in front of God, having a for most ADSP processors. In-circuit emulators are available for E-commerce companies of every sort have grappled with the ID issue, and satisfactory under the circumstances. The largest opposition the great room, thought better of it and dropped the stack onto the jewel on its altar graven with the Name of the Messiah, and a hardware target debugging. Analog Devices provides their VisualDSP, an using a number of tactics. Biometrics, the practice of using a group, the Democratic Party, ended its 10-month long boycott of the sofa table. Voice that cries aloud, "Return, ye children of men." integrated development environment that lets you perform editing, person's physical traits as identification markers, has gained Parliament in July. Socialist Pandeli Majko served as Prime Minister building, and debugging. notoriety with its sci-fi scans of fingerprints, eye retinas and until October. After losing the October electoral contest for I love this room more than all the others in the chalet. Ryan and I When God resolved upon the creation of the world, He took counsel irises, and even the space between two fingers. chairmanship of the Socialist Party, Majko resigned, and the Party bought the place years ago from a retiring actor who simply wanted to with the Torah. Her advice was this: "O Lord, a king without Analog Devices TigerSharc But Atlanta-based Equifax, one of the "big three" credit reporting chose Deputy Prime Minister Ilir Meta to replace him; Meta took office head back to California. Lucky us. This place would bring a great an army and without courtiers and attendants hardly deserves the agencies, has signed a deal with Checkfree to use its authentication in October. The Constitution provides for an independent judiciary; amount on the open market today, but this is our hideaway when things name of king, for none is nigh to express the homage due to him." Although no TigerSharc devices are yet available and development engine to verify identity. however, continued political instability, limited resources, political get too much to handle in the real world. The cathedral ceilings rose The answer pleased God exceedingly. Thus did He teach all earthly After a potential Checkfree customer enters a name, address, birth pressure, and endemic corruption weaken the judiciary's ability to almost 40 feet to a peaked ceiling, skylights abounding. Walking down kings, by His Divine example, to undertake naught without first tools are available only to strategic third parties and customers, date and Social Security number, Checkfree sends that information to function independently and efficiently. the four steps into the room, a gigantic hearth lay within ten feet of consulting advisers. TigerSharc appears to have the potential of being a tough competitor Equifax, which uses it to pull up the person's credit report. Then a wall that sported a floor to ceiling window. The hearth was in telecommunications infrastructure applications. The company Equifax sends back a set of multiple choice questions, such as which Local police units that report to the Minister of Public Order are certainly large enough to live in and now, with the bitter cold, it The advice of the Torah was given with some reservations. She was....(pause) --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Mon, 3 Feb 2003 21:14:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jay Sanders Subject: Robert Grenier in NYC, FEB 8 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Robert Grenier "Drawing Poems" slide show/reading Saturday, February 8, 8pm $5 admission We will also be debuting two new suites of iris prints and photographic works. Marianne Boesky Gallery 535 West 22nd Street New York, NY 212-680-9889 for information _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 4 Feb 2003 16:05:28 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I came in on this string a bit late; Kevin's original question, now I have it, is I think harder to answer than most of the responses would = seem to suggest. Cubism belongs to a history of the fragment-text, arguably = THE modernist form, in poetry anyway--so the instances of coincidence are necessarily many and varied. But influence is another matter (and less interesting, depending on why you're asking the question)and I suspect = there little evidence cubism influencing poetry. More people have been impressed by the importance of cubism than have understood what Picasso and Brague were doing. And that was the case = more or less from the moment they started doing it. And that's another history; pretty interesting because mis-reading, intentionally as well as unintentionally can be productive. Which gives us two cubisms, at = least. I wouldn't call Dijkstra's book a classic, I remember it as plodding and uninsightful. Wendy Steiner has a no nonsense chapter in The Colours of Rhetoric 'A Cubist Historiography'; and a well-argued book on Stein's portraiture: Exact Resemblance to Exact Resemblance which defines the = terms of the analogy in that case.=20 Wystan=20 =20 -----Original Message----- From: Damian Judge Rollison [mailto:djr4r@CMS.MAIL.VIRGINIA.EDU] Sent: Wednesday, 5 February 2003 8:19 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Cubism and literature There's also the classic by Bram Dijkstra: Cubism,=20 Steiglitz, and the Early Poetry of William Carlos Williams=20 (1969): "Mr. Dijkstra has demonstrated beyond any doubt=20 that Williams was enormously influenced by experimentation=20 in the visual arts and that he attempted to emulate the=20 Steiglitz group in focusing on the object itself,=20 delineating it as precisely as possible and letting it=20 represent the moment of perception without intruding=20 personal comment" (George Wickes).=20 I agree with Wystan that Stein's portraits (of Picasso,=20 Matisse, Virgil Thomson, A Valentine for Sherwood Anderson,=20 etc.) are as important to the cubist connection as is=20 Tender Buttons. I also think you could make a case for her=20 dramatic and operatic works like Four Saints in Three=20 Acts and Identity a Poem (among several others) as cubist=20 in their treatment of the genre (she in fact called them=20 "landscapes"). Though I do wonder how far the analogy=20 ought to be pushed. Pierre Reverdy supposedly said "La=20 po=E9sie cubiste? Terme ridicule!" Damian On Sun, 2 Feb 2003 15:32:34 -0800 Mark Weiss=20 wrote: > Jacob described himself as a cubist poet. There's a lot of writing = about > what this means--almost every introduction to Jacob collectionms in = French > and English. A good place to start would probably be Gerald Kamber, = Max > Jacob and the Poetics of Cubism. >=20 > Mark >=20 > At 04:17 PM 2/2/2003 -0500, you wrote: > >Dear Kevin, > > > > Well, how about Stein and Max Jacob? In an=20 > article by Jayne Walker, >titled ""Tender Buttons: The=20 > Music of the Present Tense," (The Making of a >Modernist, U=20 > of Mass Press, 1984), Walker makes reference to the first=20 > Cubist >collage, "Still Life with Chair Caning," which=20 > contains a piece of cloth with >the printed pattern of=20 > chair caning and a piece of rope around the >canvas--she=20 > claims that within months after Picasso created this=20 > collage, >Stein invented the style she used in Tender=20 > Buttons. > I think scholarship generally asserts=20 > that visual Cubism slightly >precedes verbal. I've devoted=20 > part of a course I'm teaching at CCAC to >these=20 > relationships. > Max Jacob, I think, comes close to=20 > being neck in neck with Picasso. >In 1901 he went to an=20 > exhibition of a then unknown artist named Pablo >Picasso. =20 > Later he recommended P to an art dealer he knew. Then=20 > there's the >legendary room mate story of Bateau Lavoir. =20 > Jacob was writing The Dice Cup >between 1903 and 1907,=20 > though it wasn't published as a book until 1917. > =20 > Does this help? What kind of bet, with whom, and how much?=20 > (You can >call me at home to give me the details if you=20 > don't want them made public, >sweetie). > > >Love, Gloria Frym :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Mon, 3 Feb 2003 21:34:57 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: A visit to Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/3/2003 3:14:45 PM Pacific Standard Time, rova@ROVA.ORG writes: > Actually, the president has made it very clear that he has no dispute > with the people of Iraq Exactly what his father said in 1991. The language sins of the father are visited on the son, in this case. Gloria Frym ========================================================================= Date: Tue, 4 Feb 2003 11:02:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Secreterial Pool Subject: /ubu Editons :: Launch + Winter 2003 Titles MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii __ U B U W E B __ http://ubu.com UbuWeb is pleased to announce the launch of our new E-Book series, /ubu Editions (pronounced "slash ubu"). The Winter 2003 series, featuring 13 titles, is edited by Brian Kim Stefans and features a mix of reprints and new material presented in book-length PDF files. Each title is beautifully designed and features images from the UbuWeb site. /ubu Editions can be accessed at: http://ubu.com/ubu -------------------------------------- /ubu Editons :: Winter 2003 Titles -------------------------------------- Kevin Davies _ Pause Button _ Davies writing takes the social critique of the Language Poets and the crushing ear of the best Projective versifiers and sets it all in cyclotronic motion with his rapier's wit and caffeinated melancholy, making him the Zorro of poets associated with Vancouver's Kootenay School of Writing and the anthemist of choice for a disowned intelligentsia. Davies, who now lives in New York, published his second book, _Comp._, in 2000 to much acclaim, but the quasi-legendary _Pause Button_, first published in 1992 by Vancouver's Tsunami Editions, has long been unavailable to those not in the vicinity of Canada's choice used bookstores. Deanna Ferguson _The Relative Minor_ Ferguson's first book of poems is at once frenetically impatient with anything that could be called a lyrical subjectivity yet speaks, through the sliced rubrics of its many "postmodern" poses, from a perspective singularly angry, disaffected, vulnerable, eloquent, political and brash. The Relative Minor takes the project of the Language poets to the next level of public address, the scale tipping from (though not forgetting) the lexicons of theory and falling toward the pure, dystopic clamor of punk aspiration. Ferguson, who lives and works in Vancouver, has not published a book since this 1993 volume, one of the major contributions by the poets associated with the Kootenay School of Writing. Richard Foreman _Now That Communism is Dead My Life Feels Empty!_ For years, Foreman has been staging his plays at St. Mark's Ontological Theater with the regularity of the great Avant-Pop-in-the-Sky's postmodernist pacemaker, tooling his "reverberation machines" into a pristine state of subversive whimsy. Though the reader of this text will miss the virtuoso performances of Tony Torn and Jay Smith as bathetic superheroes dueling over the fallen Iron Curtain in the play's New York run, the paranoiac frenzy and epistemological funboxes of Foreman's high style are alive and flinching in _Now That Communism is Dead_. Madeline Gins _What the President Will Say and Do!!_ Madeline Gins has mostly been known for her collaborative works with the architect/philosopher Arakawa, releasing _Mechanism of Meaning_, an illustrated series of playful epistemological vignettes, in 1979, and devoting most of the last two decades exploring Reversible Destiny, a radical philosophy of architecture in which one "refuses to die." _What the President_ is Gins in a more light-hearted, accessible vein, her creative assaults on mundane thinking arousing both laughter and caustic impatience with the status quo. Rarely has a book appeared as prescient and poignant twenty years after its initial publication. Jessica Grim _Vexed_ Grim's style masterly evokes the simplicities of poetry in the "New American" vein, with its fragments of candid observation just shimmering on the surface of the poem, but she allies it with a "post-Language" sensibility that balks before the prospect of a too-fluid Romanticism, thus spicing sensual reverie with documentary relevance. The musicality of Grim's poems is understated, the words delicately gathered, such that the poems occasionally seem given over to indeterminacy and chance, but in fact each one has a formal perfection that illustrates an underlying lyrical integrity. Peter Manson _Adjunct: An Undigest_ Adjunct _forms a teetering, overloaded bridge between practitioners of subjectively-deodorized "conceptual literature" such as Kenneth Goldsmith and Craig Dworkin and writers working in a "new sentence" vein such as Language poets Bruce Andrews and Lyn Hejinian, all with a nod to novelist David Markson's _Reader's Block_. But _Adjunct _is far from an organized literary venture; rather, it is a sprawling, subconsciously assembled stockpile of casual phrases, trivial ideas, worthless statistics, obituary notices, self-reflexive misgivings, and numberless, numbing et ceteras that make it an electric anthem to cultural (and personal) entropy. Michael Scharf _Verite_ Scharf's poems are at once vulnerable to, and defiant of, the impositions of civic society, as the strands of global and historical implication wafting through the air that strike most of us as attenuated notes of "otherness" are transformed, for this poet, into the throbbing heart of community. The roving eye of _Verite_ takes in quantities of data that would sink writers with a less fluid and agile lyric touch, and the mixture of journalism, sonnets, "lieder" and manifesto-like prose poetry make this a compelling, multi-faceted collection, the second by this New York author. Ron Sillman _2197_ Silliman is known for several seminal long poems such as _Tjanting _and _Ketjak_, and he has been involved in writing the long "new sentence" (he coined the phrase) poem _The Alphabet_ for over twenty years. _The Age of Huts_, published by Roof Books in 1986, has had a quieter reputation, despite its relatively concise display of Silliman's wide formal experimentation and mastery. "2197" is the second half of the book, and anticipates, with its stock of phrases morphing and reappearing in different acrobatic poses throughout its pages, the preoccupation with dataflows, rhizomes and digital recurrence that has characterized much literature in the age of the internet. Ron Sillman _Sunset Debris_ Silliman is known for several seminal long poems such as _Tjanting _and _Ketjak_, and he has been involved in writing the long "new sentence" (he coined the phrase) poem _The Alphabet_ for over twenty years. _The Age of Huts_, published by Roof Books in 1986, has had a quieter reputation, despite its relatively concise display of Silliman's wide formal experimentation and mastery. "Sunset Debris" is, structurally, a collection of questions, but the cumulative affect of the queries is both giddily intoxicating and, subterraneously, melancholic, as the voice of personal entreaty become subsumed under the ceaseless rhythms of its literary method and, by extension, time and memory. Juliana Spahr _Response_ Spahr's deceptively simple language conveys a serious and complex assessment of civic duty and the potential for political agency in a time when selfhood -- one's sense of uniqueness and of the _permanence _of one's personality -- has been severely compromised. Under fire by a mass media that trivializes all values for the sake of ratings and shunned by the opaque workings of a State that ignores, for the sake of control, the eye of the radical democrat, the individual is, in Spahr's poetry, revived to take center stage, floodlit by possiblity. _Response_, Spahr's first book (_Fuck You-Aloha-I Love You_ appeared in 2001), was the winner of the National Poetry Series in 1996, and demands of the reader a new sense of participation in the social world. Hannah Weiner _Little Books / Indians_ Weiner, who died in 1997, culled from what she considered a psychic ability -- she literally saw words on the foreheads of her many New York friends and transcribed them like extrasensory conversations -- to create her typographically distinctive books of poetry. But there is nothing naïve about what Weiner was doing: she was a self-conscious, sophisticated artist, a close friend of the great innovator Carolee Schneemann, and has long been considered a central figure in Language poetry. Weiner's oeuvre reflects a complex, totalizing investment in the properties of words as they permeate and conflict with the self and the imagined "other," and _Little Books/Indians_, long out of print, is both a visual treat and an engaging read. Mac Wellman _The Lesser Magoo_ The final of the four plays of Wellman's Crowtet, Magoo follows the adventures of Curran and Candle -- an expert on "Crowe's Dark Space" -- and their motley assemblage of peers, some of them categorically "unusualist," in the parallel, decidedly unsettled, universe that is distinctly Wellman's. Magoo is chockfull of alternative histories, comprehensive pseudo-sciences, eerily relevant, off-the-map absurdist politics and soft-spoken contacts between humans all vying for attention in the seemingly self-propelled linguistics of Wellman's versification, which at turns recalls Beckett, at others the polymath Pynchon or the more childlike landscapes of Ashbery (in Girls on the Run). The music for The Lesser Magoo, scored for voices, toy piano, ukulele, and violin, was composed by Michael Roth, for both the Los Angeles and the New York productions. Darren Wershler-Henry _ The Tapeworm Foundry _ Toronto-based Wershler-Henry's last book of poems, _Nicholodeon_, was a seemingly exhaustive survey of the possibilities of concrete and process-based poetry in the Nineties, organized like a paper database with icons to guide the wary reader toward conceptual handles. _The Tapeworm Foundry_ is, in some ways, the opposite: a single unpunctuated sentence of pro-Situ proposals that resembles a social virus more than a functioning data-organism, its litany of avant-garde projects linked only by the seemingly innocuous, but progressively more imperative-sounding, "andor." -------------------------------------- /ubu Editons :: Winter 2003 Titles ----------------------------------- /ubu Editions can be accessed at: http://ubu.com/ubu __ U B U W E B __ http://ubu.com Please forward. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 3 Feb 2003 21:25:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Cubism and literature In-Reply-To: <006b01c2cbf2$3d813fc0$492bfea9@vaio> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Definitely, he did. When Zuk asked him for poems for the Objectivist Anthology, Rex said he was a Cubist. At 09:07 PM 2/3/2003 -0500, you wrote: >rexroth early on considered himself a cubist, i think... > > >----- Original Message ----- >From: "George Bowering" >To: >Sent: Monday, February 03, 2003 7:55 PM >Subject: Re: Cubism and literature > > > > > I don't know if anyone mentioned it, > > >but what about Kenneth Rexroth ? > > > > As a Cubist? > > What? > > -- > > George Bowering > > Confused by his cell phone > > Fax 604-266-9000 > > > > > > ========================================================================= Date: Mon, 3 Feb 2003 21:33:53 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: regarding dung MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Gabe And why not an exposition on dung. Of course. Harriet ========================================================================= Date: Mon, 3 Feb 2003 21:28:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Readings at UMaine Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The winter/spring season of readings at the University of Maine begins this Thursday afternoon with LISA ROBERTSON. Event details and the full schedule can be viewed at http://www.umit.maine.edu/~steven.evans/nws-scheduleS03.html ========================================================================= Date: Tue, 4 Feb 2003 09:56:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Guernica Censored In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable First (this year anyway!) Laura Bush deletes Poetry, and now, the U.N says curtains for Art!=20 ___ NEW YORK.- The "Guernica" work by Pablo Picasso at the entrance of the Security Council of the United Nations has been covered with a curtain. The reason for covering this work is that this is the place where diplomats mak= e statements to the press and have this work as the background. The Picasso work features the horrors of war. On January 27 a large blue curtain=A0 was placed to cover the work. A diplomat stated that it would not be an appropriate background if the ambassador of the United Statesat the U.N. John Negroponte, or Powell, talk about war surrounded with women, children and animals shouting with horror and showing the suffering of the bombings. This work is a reproduction of the Guernica that was donated by Nelson A. Rockefeller to the U.N. in 1985. ___ I wonder - given the a new opportunity - what image Negroponte and Powell would prefer. (?) Stephen V =A0=20 ========================================================================= Date: Tue, 4 Feb 2003 09:26:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Holloway Poetry Series presents Jean Day and Warren Liu, Tuesday 2/11: please announce and distribute Comments: To: Abigail Reyes , Karen Leitsch Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Holloway Poetry Series Presents Jean Day and Warren Liu Tuesday, February 11 Colloquium with the poets begins at 4:30 p.m. at 305 Wheeler Hall, UC Berkeley Readings begin at 6 pm, Maud Fife Room, 315 Wheeler Hall, UC Berkeley Jean Day has lived and worked (as an amanuensis, nonprofit manager, editor, writer, performer, and poet) in the Bay Area since the mid-1970s. Her work appears in a number of anthologies, including In the American Tree and Moving Borders: Three Decades of Innovative Writing by Women. Among her books of poetry are The I and the You, The Literal World, and the forthcoming Enthusiasm. She lives in Berkeley, where she is currently managing editor of the journal Representations. Warren Liu was born in Buffalo, NY. His poems have most recently been published in Chain, Faucheuse, Chicago Review, and Interlope. He is currently a graduate student at UC Berkeley, where he's working on a dissertation focusing on Asian American poetry. Free and open to the public; Sponsored by the UC Berkeley Department of English For further information about the series, and links to others, visit our new website: http://socrates.berkeley.edu/~poetry * * * * * * * * * * * * * * * * * * * * * ========================================================================= Date: Tue, 4 Feb 2003 09:55:51 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: sound-of-pulling-roots-composite-icarus-data-fell Comments: To: NOISETEXT , WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable GANTENNAEDANCE They dance: sound-of-pulling-roots-composite-icarus-data-fell serrate silence to the ineh lands=20 poly ohm metis They dance: =20 =20 lateral bristle wing =20 clavate two-axis position data of fire and gyre colored beetles They dance:=20 in recorded feelers =20 bead-like satellites tremble tactile eyes gasp electromagnetic eyes touch They shed:=20 telemetric plasma-gan-dancer's theremin-antler yagi-uda-headdress-of-ritual-tongue-violence spiral-vortex-horn-of-matter-reborn-as-death-enshrined They remove: =20 =20 dream aristate flume, charred from bleeding sky-marks pouch-like moniliform vessel of ritual flow-chart =20 Then sleeping, wobble across our lives: Are circular polarized antennas Dragonflies? It says: =20 turbulent gravity well of Ineh sky mutant bleeding flow-charts, well of injured code-species repeaters of scape, pedicel, and flagellum land articulates the head capsule=20 nations of apache antenna = =20 Medium also wingless reason: impedance maximum data beetles and serrate chiricahua fire dance strategic and tactical low and high bandwidth data link systems=20 segmented filiform 8******************ineh_of_sky***************** 88*888888888*888 888*88888*88888***********piliform_smoke_shadow**************************= *8 Every-If-Medium-As-Receptor Butterflies length, antenna air Carrion beetles=20 [flow-chart sky-marks] Haulapi Navajo Tepehuan length, antenna air Havasupi Tohono O'odham Walapai Hopi Pima Yaqui [flow-chart sky-marks] =20 House flies length, antenna air Mosquitoes=20 Termites [flow-chart sky-marks] Apache Maricopa length, antenna air Click beetles Seri [flow-chart sky-marks] Ground beetles length, antenna air and=20 Cockroaches [flow-chart sky-marks] Coahuiltecan Mayo Tehueco length, antenna air Cocopa Mohave Tepecano [flow-chart sky-marks] Storyline: jumano hairy wasps that have wingless females=20 pueblo hymenoptera yavapai the peg organs occur=20 only on the tips of each antennae ohms the many series=20 tapered tip and blunt peg organs-- that brush-like receiver=20 humidity gradually radio telemetry=20 capable cases vapor . integrate concentration=20 the touch current. -- its height, second -- thread-like -- all the remaining "segments" ========================================================================= Date: Tue, 4 Feb 2003 09:03:41 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: whatever it was Comments: To: NOISETEXT , WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable +=3D-0,2,0-=3D+ THE ARGUMENT CHANG HSU: WITNESSED=20 BETWEEN A PRINCESS AND STREET PORTER. /---=E7=90=86 =E6=A5=AD =E5=87=BA---\ /---=E9=97=87=E4=BA=8B=E3=82=82=E8=A6=8B---\ /---=E7=94=B7=E3=81=AB=E5=B9=B4=E6=9C=88---\ /---=E3=81=AF=E3=82=89=E3=82=80=E5=A5=B3---\ /that caused it\ .'iy1a '1t'47 whatever it was. (just let me smile at it.) .'iy1a '1t'47 whatever it was. (just let me wink at it.) RED-EGG: dissero#1 to plant here and there=20 C '!sh9 nd1s1 Sh=3D=3Dd4 '7]tin ho[gho[n1'a. O Sh1'=3D=3D'3n4go, k=3D=3Dh4go choo[hi[n1'a. Y N]y1n1'a. O 'Iy4[ch'3n1'a. T 'Iy1ahee yidoosts'3n1'a. E D1'i[k'1yeej8 n11'iyaa[ts'99[n1'a. & D1s7sh1'ii'1hy1go 'iy1ahee dihnd7go 'idoosts'3n1'a. O bii[ndin1'a. W '!koo naad=3D=3Dy1n1'a dash9. L '!koo ndiish9 ch'ineesk4n1'a. RED-EGG: dissero#2 to examine, argue, discuss, speak, harangue, = discourse, treat=20 L: '!koo ndiish9 ch'ineesk4n1'a. { X-ray } of the Wine of France & made there so much is little to boil = of the fiente of horse, & then put there as much bread crumb [ ' plo' = deleted ] white to make a Pappus of it, quil is necessary mettle on must = & the renouveller 2 times the day. Especially w/ EL rojo bandito. A great green Qatarpillar or other Insect shap'd like a Silkworme being = put into Alkohool of Wine was thereby preserv'd, & as it were dry'd, = being after 2 or 3 weeks taken out stiffe, & much shrunk not only in = bredth, but in length, which when it was alive & creeping I measurd to = be about 4 Inches, but within not many days after it was put into the = Liquor, it grew all over black.Another (but not soe bigge as the former) = beautify'd with yellow, black, & red spotts curiously plac'd haveing bin = put into the like Liquor 5 or 6 days agoe & lookd upon this morning, is = already growne black on the belly & sides.=20 DEAD-EGG: dissero#J3 (black, green) to dissent, to EL. Quarles, to = shadow the plural, to make in conflict=20 summ=C3=BBm-bihac sonaffa neut gen pl irreg_supearl poetic itch=20 summ=C3=BBm-bihac masc gen pl irreg_supearl poetic itch=20 summum-bihac masc acc sg irreg_supper l niche=20 summum-bihac neut nom sg irreg_su perl vev\tron=20 summum-bihac neut nom sg irreg_s up er l ology=20 summum-bihac neut voc sg irreg_sup url plode=20 summum-bihac sinafta neut acc sg irreg_s u p e r l ject=20 The Russian Circus: biyuach to biyuachyu to biyuachyuyu to biyuachyu the biyuachyuyu the = biyuachyuyuyu to biyuachyu the biyuachyuyu the biyuachyuyuyu the = biyuachyuyu to tyue to biyuachyuyuyu to tyue to biyuachyuyuyuyu to = biyuachyu the biyuachyuyu the biyuachyuyuyu the biyuachyuyu to tyue to = biyuachyuyuyu to tyue to biyuachyuyuyuyu the biyuachyuyu to tyue to = biyuachyuyuyu to tyue to biyuachyuyuyuyu to tyue to biyuachyuyuyu the = tyuye the biyuachyuyuyuyu (philosophy in the breadroom) the tyuye the = biyuachyuyuyuyuyu to[T0H0E R0E0D 0A0R0M0Y0 0K0E0E0P0S0 A0D0D0I0N0G0 = 0Y0O0U0S0] biyuachyu the biyuachyuyu the biyuachyuyuyu the biyuachyuyu = to tyue to biyuachyuyuyu to tyue to biyuachyuyuyuyu the biyuachyuyu to = tyue to biyuachyuyuyu to tyue to biyuachyuyuyuyu to tyue to = biyuachyuyuyu the tyuye the biyuachyuyuyuyu the tyuye the = biyuachyuyuyuyuyu the biyuachyuyu to tyue to biyuachyuyuyu to tyue to = biyuachyuyuyuyu to tyue to biyuachyuyuyu the tyuye the biyuachyuyuyuyu = the tyuye the biyuachyuyuyuyuyu to tyue to biyuachyuyuyu the tyuye the = biyuachyuyuyuyu the tyuye the biyuachyuyuyuyuyu the tyuye the = biyuachyuyuyuyu to tyue tyuye to tyue to biyuachyuyuyuyuyu to tyue tyuye = to tyue to biyuachyuyuyuyuyuyu++ =E6=A5=AD =E6=A5=AD =E6=A5=AD =E6=A5=AD =E6=A5=AD =E6=A5=AD =E6=A5=AD = =E6=A5=AD =E6=A5=AD =E6=A5=AD =E6=A5=AD =E6=A5=AD=20 a few of the sources: http://etext.lib.virginia.edu/apache/ChiMesc2.html http://etext.lib.virginia.edu/japanese/jti.texts.html http://etext.lib.virginia.edu/apache/ http://www.perseus.tufts.edu/cache/perscoll_Boyle.html#text1 http://www.perseus.tufts.edu/ ========================================================================= Date: Tue, 4 Feb 2003 12:34:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Other Poems take place beneath a tyranny of fireworks on unforgiving mattresses a subway sullen in the distance or on secluded meadows bombarded by everyday sunset I is making love right after her sister's funeral, The Superbowl, a kettle's throwing a tantrum postcards are plunging through mailslots. birds, ever-present, are doing that whole "bird thing." I fucking hate poems, maybe I always have. I'm missing out on all the sex. That's what I'm thinking in the darkened audience amid other distracted listeners. I could be making love right now. That's all people in poems ever fucking do. There are only a few poets I'd like to make love with: Billy Collins, naturally. Maybe Maya Angelou. Jewel. Fuck other poems. You're here now, stuck. alone. ha ha. just as miserable as me, now probably more. _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 4 Feb 2003 11:05:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Why Wolves Are Like Playing Cards Mime-Version: 1.0 Content-Type: text/plain; format=flowed oust out from double-crossed knock who was to what awaits naked security as no part for sufferance, Walt Whitman, is to an old hand at boyhood rose's swindle no threat, no matter to rain in custody our gifts fall cold in places other than the pale - upstairs, railroad ties snooze hand in hand these memorials wanted enough earth to themselves _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 4 Feb 2003 09:49:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Alan Sondheim featured in new issue of The Muse Apprentice Guild Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ************************************************** August Highland is proud to present Alan Sondheim as a featured writer in the winter issue of The Muse Apprentice Guild. August is presenting a 27,000 word philosophical work by Alan with an introduction by Jake Berry. In his introduction Jake writes "This absorbing work makes dry ideas interesting and makes art of philosophic dust. The winter M.A.G. 2003 will appear on Thursday February 6. The Muse Apprentice Guild www.muse-apprentice-guild.com (internet explorer 5.5 or higher) ************************************************** ========================================================================= Date: Tue, 4 Feb 2003 09:37:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: "Hello and Recent Events" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Hello and Recent Events It's 8:23 in New York, and the government's been up and about since 4. Fused networks wonder about our obligations both to look and to snicker. In Lorca Square Park, the pigeons are gathering news of each other's dreams, while squirrels replace the Post-its fallen from the trees. Browsers set to their default preferences walk their dogs through the streets, managing to take their revenge without attracting the attention of a single eyewitness. Pleasant surprises await at each and every corner. Trees that are landmarks of sorts give quality sap, but there's no way of knowing how many remain down in basements, calling things as they see them. Hal Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Tue, 4 Feb 2003 23:30:51 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ravi Shankar Subject: Call for submissions for a new tabloid Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 For those who might be interested, Johnny Pence writes: Dear potential contributor, I'm in cahoots with a hippie businessman down here in the raleigh/durham/chapel hill area to put out a monthly art-related/"underground"/rocker tabloid, called The Blotter. In order to get off the ground, we're soliciting content from anyone who might be intersted - comix, short prose, poems, photoessay/ journalism, etc. We're shooting for a march/april first issue, and need work asap in order to make mockups to show advertisers. No money for a couple months, but we hope to pay a pittance to contributors in the future. pls. send work to (submissions in the e-mail body, not attached!) or on paper to: ignatz r. butterfly, PO Box 175 hillsborough, nc 27278. That's me, but a pseudonym to throw off the overeager graphomaniacs who show up at the door when you call for submissions. Keeping that mind, please pass word along. any Qs, i'll A. yrs, ignatz aka Johnny Pence ********************* Ravi Shankar ed, http://www.drunkenboat.com -- _______________________________________________ Get your free email from http://www.graffiti.net Powered by Outblaze ========================================================================= Date: Tue, 4 Feb 2003 10:02:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kaplan Page Harris Subject: Re: Cubism and literature // JR's compost MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hemingway's _Green Hills of Africa_ (1935) could be thought of as a cubist novel. It's about a two-month safari that's structured around endless daily outings. The narrative of each outing is highly repetitive, as if we're to have a plurality of perspectives on the same object or event. Perhaps there's a subtext about Picasso's interest in African art, I'm not sure. I recently caught a documentary on de Kooning and here's the best quote-- An older de Kooning is asked if he remembers the famous Picasso exhibition in NY from decades earlier. "Oh yes, I remember the Picasso. It was so wonderful. There were a lot of cubes in it." Jed Rasula's _This Compost: Ecological Imperatives in American Poetry_ is indeed pricey but it's been well worth it for me. It's too bad the description that was emailed to the list says nothing about the idiosyncratic and stylized language he uses throughout. He's not writing a straightforward academic study with some thesis about nature and poetry. Instead he lets his words take on the very ecological imperatives of the title. Here's a random pick-- Thoreau's "prospectus of wild moods" (1) "a compost of rhetorical jubilation" "geophysical patience" "a composting sensibility: attuned to the rhythms by which literary models decayed and enriched the soil, Thoreau was prepared for his own notebook entries (the ready mulch chronical) to fertilize and incubate the book that was latent in them." (1) Heraclitus's fragments "constitute a fiery particulate combustion like a volcano spewing elemental chunks... into the atmosphere." (41) "In its first fire Whitman's verse was magnificently tropic, a crisp, biodegradable composition of the States (not yet "United" but cosmically chaotic) into a demonized poetic topos... " (57) "To work on a poem spanning fifty years (Pound, Zukofsky) or for several decades (Olson, Johnson) demands not so much stamina as a persistent faith in obscurity, working underground, in the dark, subscribing to indeterminacy as the conditional atmosphere." (84) "The sentences are workers, and the paragraphs are studios. Silliman's [Ketjak & Tjanting] is a study in assembly relations. All the litter that goes into production is left lying intact (or in pieces, most instructively) on the floor of the studio amidst the more purposively delineated chunks. The strategy is to recylce used sentences, supporting the frequency (as in radio waveband) of their effects." (133) ========================================================================= Date: Tue, 4 Feb 2003 10:16:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: SOTU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Folks have talked a bit about the State of the Union Check out Public Campaign's page on SOTU and the poster the org's produced... http://www.publicampaign.org/stateoftheunion/ ========================================================================= Date: Tue, 4 Feb 2003 09:53:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Justin Green Subject: Re: regarding dung In-Reply-To: <5.1.1.6.0.20030202141559.01a3ff88@mail.ilstu.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dung notes: Of the lumps of dung he's used to prop paintings up, Chris Ofili has said "Somehow it makes the painting feel more relaxed, instead of being pinned upon the wall like it's being crucified. . .[The painting can] stand in its own shit and watch the other paintings being crucified on the wall." "The negative dung" is Royet-Journoud's phrase for the material preparation, "heaps of prose. . .this impossible pretext," of his poems. Beckett sees inscribed in a cowpad the figure of a heart. Dung as divine emanation and detail of the great ensemble? JG On Sun, 2 Feb 2003, Gabriel Gudding wrote: > "Why must we/ Pit ourselves *against* crap?" -- Gary Sullivan > > > 1. Yes, why must we do this: Is there not something democratic about > the earth itself? Are not fertilizer and manure, though repulsive, not > fertile? > 1.1. Does any one of us deny a daily or a near daily intimacy with dung? > And do we not carry it into the halls of parliament inside a bag God has > slung between our thighs? It is there with us always, yet we practice an > apartheid against this substance, an apartheid at once so subtle and > demoralizing that great havoc is wrecked in our daily life. > 1.2. The effort we expend in our avoidance of thoughts about dung is > incalculable. Many of us refuse to read about dung. The moral and > linguistic trenches and fretworks arrayed against dung are pervasive and > seemingly insuperable. Indeed, the very word "shit" begins with the palatal > voiceless fricative onomatopoeic imperative to be quiet: shh! > 1.3. Many will praise and worship an idealized conception of God, yet > the very paste of life cannot go unreviled. > 1.4. Dung and death, procreation and violence: these are the actual > signposts and borders of life. Rarely do we see them come together except > in a battle of sex and shit-throwing in a cemetery. > 1.5. Shame about dung is a frivolous and gratuitous shame, wasted shame, > empty shame. Should not shame serve to correct our action, steer us from > immorality and evil, rather than provide us merely a feeling of intense and > impending embarrassment about an odorous paste? I submit that inasmuch as > the shame of dung is the first impractical shame, it is the beginning of > frivolity. What's more, it follows then that those adult pursuits > recognized in every age for their frivolity (fashion, for one) are merely > embellishments upon, and excrescences of, dung shame. Vanity itself is but > a false sense of triumph over one's dung. > 1.6. Shame of dung is therefore improper shame, insofar as it supplants > or is used as a surrogate for proper, useful, substantive shame. Our > collective cultural feelings (aversive and prissy) and representations > about dung embody, then, a failure of spirituality. > 1.7. In those people for whom dung is shameful, the depths of disgust > and the heights of vanity meet midway at a point called righteousness. And > I fucking hate righteousness. Here's your dung poetry, prissy boy! perfect > girl! > 1.8. The fact of the matter is dung has fought back with great > artfulness, vitality, craft and agility at precisely those moments in > history when proper shame has been suppressed by not only frivolous shame > but the cultural features that attend shame, such as violence, > officiousness, and the like. This occlusion of proper shame suppresses > gratitude, pragmatics, use, and decency. And shame of dung is a sign of > their absence. > 1.9. It is no mistake that those who are officious, militantly decorous, > prissy, priggish, and rule-bound are often called "anal-retentive." These > are usually, furthermore, either secretively or openly pompous people; > pomposity inheres in them, and this is because they suffer from a frivolous > and incorrect shame, a shame that supplants true shame. > 1.10. It could be argued that prissiness is at base a kind of timidity. > But dung-based prissiness is a more militant kind of prissiness, insofar as > it carries brittle attitudes specifically to procreation and defecation. > These attitudes however are typically not obvious or strong enough to > express in writing nor do the prissy wish to see them expressed either. It > is interesting that the relationship between prissiness and timidity is > that prissiness is a timidity of the butt. > 1.11. So, prissiness is less than an issue of misplaced shame as it is > the fear that one's frivolity will be challenged. For who wants to be > considered frivolous? Dung is never frivolous, and it is therefore suitable > that poetry should be defended by dung. Dung is factual. It is very real, > and the dismissal of dung is frivolous insofar as it is futile. The > official world is a dungless world. > 1.12. All of which is not to say that there are not honest and legitimate > negative reactions to dung. Dung is afterall disgusting. But serious grave > and moral and national and political and rural issues arise once what is > physically disgusting is not understood as something merely physically > disgusting, but is instead confused with the aesthetically, morally, and > nationally reprehensible. > 1.13. Prissies believe they are about law and order, when in fact they > are merely trying to plant feeble colonies of disgust in inappropriate > regions. These prissies are dolts. (That is one class of prissy, the dolt > prissy.) > 1.14. But what are these "inappropriate regions"?: Comedy; The North; > Decency; Urbanity; Sanity--anything, that is, outside the realm of > television. Television is "the South"; television is prissiness. TV is the > South inasmuch as "the South" is a collectively prissy response to > wilderness (the swamps of MS and LA, eg), the other (the poor, the > African-American, the non-Anglo-Saxon, the feminized female, the > masculinized male, John Grey notwithstanding), and, well, the facts > (reality, eg). > 1.15. Let us be plain: There is something inherently retarded about > America. And the reason for this has principally to do with our > relationship with our dung. > 1.16. They who feel frivolous disgust and frivolous shame are put off by > dung in poetry. As prissiness is a display of frivolous disgust and/or > frivolous shame, so also is machismo a display of resistance to disgust and > shame. But insofar as machismo is yet another reactionary response to shame > and disgust (with a key additional reaction to fear), I must classify it as > a type of prissiness. > 1.17. By contrast, there is something very "can do" about dung. Dog-faced > and down-at-heel, dung is nothing, yet from it issues life. It is a kind of > womb therefore. It is a cross between a paste, on the one hand, and a womb > on the other. Indeed, the rectum, whence comes dung, is itself a shadow > womb. Metonymically then, a dung is a boy. Or a dung is a girl. Dung are > therefore shadow children, adumbrated offspring. The procreative aspects of > dung hinge not only upon its biological properties, but its metaphorical > properties. It is a rich and confusing substance. So, out of respect for > its complexity, its signification, its use, and our long companionship with > it, we ought not either wrinkle or raise our noses at it. > 1.18. A perfect example of denial-of-dung art is Nashville country music. > Yet even there we see defecatory qualities: the moaning of the mullet cuts, > the tinkling of the steel guitars. > 1.19. Beyond shame, there is a very strong fear associated with dung. > Consider that a creature is, when defecating, very vulnerable to attack. To > many idiots, then, dung is what one produces when one is weak, it is a > product of weakness. But some, I think, feel that a dung is an expulsed > wound. That in surviving the act of defecation without being clubbed, the > dung represents a wound one had avoided altogether. It is a wound at once > avoided and voided. > 1.20. Thus, given his druthers, mankind will choose to dung inside a > fortified structure. You might argue that the fact that we chose to situate > our dunging machines inside houses is indicative only of a preference to > dung in a warm room, outhouses being cold more than half the year in those > climes where the flushing dung bowl was devised. I concede this is a strong > argument: it does seem axiomatic that one is more likely to freeze to death > in an outhouse than be clubbed to death in it. But I refute this theory. > ========================================================================= Date: Mon, 3 Feb 2003 22:29:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Gallaher & Greenberg do St. Lou MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I would just like to say that Arielle Greenberg and John Gallaher read in St. Louis on Friday night, and the place was packed, and it was super fun. I wish all of you could have been there. -Aaron ========================================================================= Date: Tue, 4 Feb 2003 09:06:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brandon Barr Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: <5.0.0.25.2.20030203153205.00a56b00@email.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I really am NOT trying to be the Bible scholar-in-residence. Its not a position I'm particularly comfortable with. But here goes: Aldon Nielson wrote: > Does anybody know which version of Isaiah was being quoted > from? It wasn't the wording I remembered from youth -- It's from the NIV. The text of the NIV differs here from the Oxford NRSV (which closely follows the King James wording in this passage. NIV: (Isaiah 40.26) Lift your eyes and look to the heavens: Who created all these? He who brings out the starry host one by one, and calls them each by name. Because of his great power and mighty strength, not one of them is missing. Oxford NRSV: (Isaiah 40.26) Lift your eyes on high and see: Who created these? He who brings out their host and numbers them calling them all by name; because he is great in strength, mighty in power, not one is missing. Now it IS quite interesting that the NIV is the edition used, because it is traditionally a more conservative/fundamentalist version of the Bible; it is the version that is most commonly used to evidence claims that homosexuality is "sin" (Most Biblical scholars rely instead on the Oxford NRSV, which has a more studied and more inclusive language). It could have been used because of the clearer reference to the stars; however, Gerald's claim that the quote may have been "inserted by the man's own fervent pitch" seems to be supported by the text quoted from. In other words, Bush's policy decisions across the board might lead one to believe that it is the NIV that he reads at long stretches. Gerald Schwartz wrote: > >I will just say that my eyes > >did a bit of a roll, thinking a more secular statement might have > >served the moment more equitably. (This was a point brought > >up by some friends of mine who are practicing Hindu.) > > > >Perhaps I over-reacted, still inflamed, as I am over his earlier > >courtship with anti- Catholic/ Jew and-who-knows-who-else Bob Jones > >"University", as well as all the Christian Vs. Muslim > >rhetoric leading up to what seems to be a count down. I agree with Gerald that more equitable statements might have been offered. But I think if we asked the administration, then he might say he was being equitable by quoting from a Judaic prophet instead of a Christian one. But Gerald's point is very well taken; a simple reference to a higher power would have given the proper elegiac sense without offending myriad other religions. Again, I want to stress that I'm simply defending the rhetoric of this one speech. I disagree with a lot of the stances of this administration (as an independent, I disagree with a lot of what EVERY administration puts forth), and wholeheartedly understand your displeasure with Bush's courtship of Bob Jones University and the administrations current moves toward war. All the best, Brandon Barr University of Rochester ========================================================================= Date: Tue, 4 Feb 2003 10:21:35 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: New m.a.g. features the birthday boy MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Alan Sondheim, who has now spent 60 years being one of a kind, is the featured writer of the new Muse Apprentice Guild Which debuts on Thursday. Augie Highland tells me that it contains over 400 writers total (that sounds like Augie). More details at www.muse-apprentice-guild.com Happy birthday Alan, Ron ========================================================================= Date: Tue, 4 Feb 2003 08:44:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: Thanks, now get others involved Comments: To: vidaver@sprintmail.com, nada@jps.net, mbosch@capecod.net, susanlannen@hotmail.com, srfcosta@hotmail.com, oconn001@umn.edu, carolroos@earthlink.net, lew@humnet.ucla.edu, raley@english.ucsb.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >X-From_: alerts@truemajority.org Mon Feb 3 20:12:53 2003 >Date: Mon, 3 Feb 2003 18:11:15 +0800 >From: alerts@truemajority.org >To: damon001@umn.edu >Subject: Thanks, now get others involved >X-Umn-Report-As-Spam: >http://umn.edu/mc/s?BLU,bc29rnxiQbrusYXTAd50uVREMk8aya0YTP.6CzaNeewkTN6Si0mtt1x5vwd6,s47Cs7Vcnjo >X-Umn-Remote-Mta: [N] ns1.ctsg.com #+UF+CP+OF (A,-) >X-Umn-Remote-Mta: [N] mhub-c5.tc.umn.edu #+LO+TR+NM > >Thanks for sending free faxes to your Senators urging them to >filibuster against the nomination of right wing extremist Miguel >Estrada to the second highest court in the nation. Now please foward >this email to anyone you think might be worried about America's >courts. > >===================== > >Bush and Allies Try to Slip Right Wing Judge Through Senate >Tell Your Senators to Support a Filibuster > >Click this link to send your fax: > >http://www.truemajority.com/index.asp?action=2437&ms=Estr4 > >We all knew that with the White House and Congress in the hands of >folks who'd like lifetime appointments to the federal courts to >represent their narrow special interests, we'd be in for a few bad >judicial nominations. We just didn't think it would be this bad, >this fast. But the national focus on the possibility of America >attacking Iraq seemed like the perfect time for those who would pack >the courts to sneak the first one by us. > >Bush and his allies in the Senate are trying to push through the >confirmation of Miguel Estrada for the D.C. Court of Appeals, the >second most important court in the nation. Opposition to his anti- >civil liberty/pro-corporate ideology is coming from many quarters >including The Congressional Hispanic Caucus, labor unions, and People >for the American Way. He refused to answer even the most basic >questions about his views during a Senate Judiciary Committee >hearing, and his nomination was only able to move forward because of >a party-line vote. (Favorite unanswered question: "Can you name ONE >Supreme Court ruling in the last 50 years you disagree with?") > >Now fearing the gathering storm opposing his nomination, the Senate >Leaders have scheduled the vote on his nomination for the same day >Colin Powell will be speaking about Iraq at the United Nations. That >way they hope that the media and the public will be too distracted to >notice what they are doing. Don't let this happen. Click this link >to send your free faxes: > >http://www.truemajority.com/index.asp?action=2437&ms=Estr4 > >And please forward this email to anyone else you know who is worried >that the Judiciary might end up in the hands of right-wing extremists. > >Here is the letter we'll add your name to and fax to your Senators: > >Dear Senator: > >I write as a constituent of yours to urge you to support a filibuster >opposing the nomination of Miguel Estrada to the D.C. Court of >Appeals. His views on civil liberties, the power of corporations, >and other important matters are too extreme for our courts. > >During his nomination hearing Mr. Estrada refused to answer even the >most basic questions about his judicial philosophy thus preventing >the Senate from fulfilling it's constitutional role to advise and >consent. On these grounds alone you should oppose this nomination >whether you agree with his apparent judicial philosophy or not. > >Thank you for your consideration of this crucial matter. > >Sincerely, >(We'll add your name and address here.) -- ========================================================================= Date: Mon, 3 Feb 2003 22:24:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: Mystic cubism in Yi Sang? In-Reply-To: <200302040457.UAA25837@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Thank you, Murat, for yr stimulating response. I do not have the time to answer at length, altho I wish I did. What I will say, however, is that: (1) some of YS's illustrations (again most conveniently seen in the 1995 _Muae 1_) wd strike you immediately as cubist bc of their compressed folding/suturing together of different perspectival planes and of separate regions of space to construct associative links that are all the same geometrically rigorous and coherent; (2) I feel that I already partially answered yr question (what makes the poetry cubist?) when I sd that (a) some of YS's poems "were based on recursively shifted presentations of geometric figures or bodies" clearly named in the titles of the series and (b) at a higher (or lower?) level "geometry, algebras, and post-Newtonian physics become models for grammar and narrative events." Now I enjoy yr your reference to the double (entwined?) trajectory of purified reason/calculus and mysticism (a Kabbalah), but in the particular case of YS, it's not the main trail. Yes, the mathematics allowed him a convenient way to signify concepts of identity, negation, reversal, symmetry, rotation, infinity, nothingness, etc. and these were often manipulated in the narrative shadow of death, where the mystic always transits. But YS's poetics is really a dada, not a transcendentalism: of running a system down, no matter how rational, shiny, and efficient (and therein lies the potential for readings of it as an allegorical critique of Japanese colonial rule and modernity), into decay or collapse. He was an iconoclast but never projected light or a redemptive or healing realm beyond or within the systems he reiterated into absurdity. Although he uses the Icarus legend at several key moments (following Ryunosuke Akutagawa's narrower use of the same figure), the manmade wings and all other forms of flight are doomed from the beginning since they are based purely on intertextuality (the wings are like pages in a dictionary ruffled by the wind, he implies at one point). He never describes a sky, sun or mountain peak worth flying up toward (the highest point of observation in any of his pieces is the roof of a Japanese department store in downtown Seoul that he reached in a half-delirious state). Yearnings for freedom (from the body, poverty, time, space, from personal memory) are seen as silly from the start ("feet that have kicked off their shoes falter in midair"). The mathematical operations, although they demonstrate much, run without any advent along the edge of death until they become either absurd (in various ways) or fetishized rotations in a sealed-off chamber (but more schematic than Barbarella!). Sorry that's not nearly as inspiring as the concepts you broached, but I think it's a more accurate characterization of the cubsim in YS's poetry. His drawings are actually not as somber. / Walter >Date: Mon, 3 Feb 2003 20:18:23 EST >From: Murat Nemet-Nejat >Subject: Re: Cubism in Korean experimental poetry > >What exactly makes a poem a cubist poem? Is cubism basically an idea, a >philosophy with a specific plastic application in modernism or sui generis to >painting and sculpture which poetry tries to emulate? This is a significant >distinction because works outside plastic arts considered cubist (or cubist >influenced) are so for different reasons. > >For instance, Reverdy's cubism, at least to me, is related to his visual, >tonal jump cuts in his poems. Stein says that from an airplane the American >landscape looks like a cubist painting, associating cubism with modern >technology. (We had the discussion about the relation between avant garde art >and militarism a few months ago.) From what I understand, Lew relates Yi >Sang's cubism to mathematics -therefore, I think, to its mystical potential. >In my essay "The Peripheral Space of Photography" (Green Integer, just came >out), in the discussion of Laszlo Moholy-Nagy's photograph, "Decorating >Work," the minimalist, Corbusier/Cubist surface of this photograph gets >transformed into a meditation on the passage of time -once again, suggesting >a tension between avant garde rationality and mysticism in the idea of >cubisim. > >When Kevin Killian asked his very interesting question, my first impulse was >to e-mail him that the cubist poem does not exist, though aware that some >poets are called cubists (I refrained myself). I think that is the real >weight of Kevin's question "does anyone know a cubist poet or poem?" I >phantasized that Kevin bet that a cubist poem is imaginary, as in "imaginary >numbers." It seems to me cubism is a very fluid (plastic) concept of which >cubism in the arts is a local expression; it harbors a fertile contradiction. >While on the surface it projects a machine (also modernism, etc.), the idea >of multiple vision implies an unreachable center, core, reality. Isn't the >robot a mystical creature in literature, the alchemist the original scientist? > Murat ========================================================================= Date: Tue, 4 Feb 2003 09:55:11 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: cut ups & daydreams 3 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM day | | day high pressure peace JFK www.poetinresidence.com ========================================================================= Date: Mon, 3 Feb 2003 23:16:24 -0600 Reply-To: "swiss@uiowa" Sender: UB Poetics discussion group From: "swiss@uiowa" Subject: TIR WEB, FEB 2003 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" TIR WEB A journal of New Media and experimental writing and art, The Iowa Review = Web is published at the University of Iowa with support from the = Department of English and in collaboration with The International Writing = Program and the Iowa Review. Volume 5, Number 1 (February 2003) ************************************* William Poundstone's ground-breaking New Media piece, premiering in this = issue of TIR Web, is loosely inspired by the story-telling automata in = Raymond Roussel's novel Locus Solus. Be sure to read the FAQ section . = Poundstone makes this obscure allusion less so -- and he connects Roussel'= s narrative devices to contemporary issues of electronic literature. View Poundstone's 3 PROPOSALS FOR BOTTLE IMPS William Poundstone is the author of eight books=97two of them, The = Recursive Universe and Labyrinths of Reason, were nominated for the = Pulitzer Prize. His new book, How Would You Move Mount Fuji?,will be = published by Little, Brown in May 2003. ++++++++++++++++++++++++++++++++++ John Cayley: An interview with Brian Kim Stefans.=20 And new work by Caley. John Caley won the ELO's first annual award in digital poetry in 2001 (= http://www.eliterature.org/Awards2001/index.shtml). Most recently, he = published a lengthy commentary in the Electronic Book Review called "The Co= de is not the Text (Unless it is the Text)." Brian Kim Stefans is the author of three books of poetry, including Free = Space Comix (Roof, 1998). He edits the website Arras, devoted to new media = poetry. ++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 4 Feb 2003 00:33:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: War Talk MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Yes it works blah blah blah Murat blah blah blah ========================================================================= Date: Wed, 5 Feb 2003 06:05:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Negative Capability..... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit talkin of fer or agin us...did i hear write or did one of the "organizers"...of last Sat. hate Israel fest at St. Marks....say..."he also mentioned that it was interesting to see who didn't attend".... po pah...Isaiah's on the lee......drn.. ========================================================================= Date: Tue, 4 Feb 2003 05:06:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: alan sondheim feature at MAG Comments: To: wryting , rhizome , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii August Highland is proud to present Alan Sondheim as a featured writer in the winter issue of The Muse Apprentice Guild. August is presenting a 27,000 word philosophical work by Alan with an introduction by Jake Berry. In his introduction Jake writes "This absorbing work makes dry ideas interesting and makes art of philosophic dust. The winter M.A.G. 2003 will appear on Thursday February 6. The Muse Apprentice Guild www.muse-apprentice-guild.com (internet explorer 5.5 or higher) ************************************************** ===== NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html Stop U.S. Agression! __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 4 Feb 2003 02:12:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: recent work, experimental television center. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII recent work, experimental television center. alan and azure bat balloons and you know your arm tires, why, jennifer? because i do think that you must stop your arm all by itself because the balloon offers no resistance but the air itself. and the air, jennifer, how does that work? it works all the time and just see how the balloon slows. === his tiny little penis whips around with male abandon. her breasts and hair fly against the balloon always struggling against the tiny air. === alan and azure walk across the frozen pond. thump thump thump. why alan, says jennifer, i like the look of the sound of the footprints in all the exciting snow. thank you says azure, i was walking just to his right and watching the microphone. it was most fun and look at the graph of the tilting picture. === azure plays with her balloon which moves against time mapping into space along with the body of azure. oh this is fun, says jennifer, i see you. === jennifer asks, why does the balloon change shape, why? because it's mapping against time mapping into space., says azure, i already told you that. === alan makes noises and waves his hands. jennifer says, look at the pretty patterns, why, jennifer. because, says azure, all sounds are things. alan waves his microphones and the sounds make things. alan and jennifer and azure hear nothing because sound things are silent. alan yells and yells and colors come out of his mouth. loud blue! says jennifer. === foofwa dances on a space capsule lozenge in stars across his eyes leaking into a room he's leaving tracks, he's turning against time, he hates time into space. why, says jennifer, why. because people can't live forever, says azure. === he leaves traces of himself everywhere, says jennifer. === they all play the organ very fast. === ========================================================================= Date: Tue, 4 Feb 2003 15:18:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: <002401c2cc56$a2ae4960$e24ce8cd@Barr> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Thanks for the NIV info -- I'm old enough, and out of the loop enough, that the New English Version was the last controversy I remember with clarity -- I didn't think the speech all that good; I don't automatically reject things JUST because they come from the Bush administration (though I've seen precious little to give me any cause for admiration so far) -- But, with the author of Isaiah, I look at the members of the administration and ask, "Who created all these?" At 09:06 AM 2/4/2003 -0500, you wrote: >I really am NOT trying to be the Bible scholar-in-residence. Its not a >position I'm particularly comfortable with. But here goes: > >Aldon Nielson wrote: > > Does anybody know which version of Isaiah was being quoted > > from? It wasn't the wording I remembered from youth -- > >It's from the NIV. The text of the NIV differs here from the Oxford >NRSV (which closely follows the King James wording in this passage. > >NIV: >(Isaiah 40.26) >Lift your eyes and look to the heavens: >Who created all these? >He who brings out the starry host one by one, >and calls them each by name. >Because of his great power and mighty strength, >not one of them is missing. > >Oxford NRSV: >(Isaiah 40.26) >Lift your eyes on high and see: >Who created these? >He who brings out their host and numbers them >calling them all by name; >because he is great in strength, >mighty in power, >not one is missing. > >Now it IS quite interesting that the NIV is the edition used, because it >is traditionally a more conservative/fundamentalist version of the >Bible; it is the version that is most commonly used to evidence claims >that homosexuality is "sin" (Most Biblical scholars rely instead on the >Oxford NRSV, which has a more studied and more inclusive language). It >could have been used because of the clearer reference to the stars; >however, Gerald's claim that the quote may have been "inserted by the >man's own fervent pitch" seems to be supported by the text quoted from. >In other words, Bush's policy decisions across the board might lead one >to believe that it is the NIV that he reads at long stretches. > >Gerald Schwartz wrote: > > >I will just say that my eyes > > >did a bit of a roll, thinking a more secular statement might have > > >served the moment more equitably. (This was a point brought > > >up by some friends of mine who are practicing Hindu.) > > > > > >Perhaps I over-reacted, still inflamed, as I am over his earlier > > >courtship with anti- Catholic/ Jew and-who-knows-who-else Bob Jones > > >"University", as well as all the Christian Vs. Muslim > > >rhetoric leading up to what seems to be a count down. > > >I agree with Gerald that more equitable statements might have been >offered. But I think if we asked the administration, then he might say >he was being equitable by quoting from a Judaic prophet instead of a >Christian one. But Gerald's point is very well taken; a simple >reference to a higher power would have given the proper elegiac sense >without offending myriad other religions. > >Again, I want to stress that I'm simply defending the rhetoric of this >one speech. I disagree with a lot of the stances of this administration >(as an independent, I disagree with a lot of what EVERY administration >puts forth), and wholeheartedly understand your displeasure with Bush's >courtship of Bob Jones University and the administrations current moves >toward war. > >All the best, > >Brandon Barr >University of Rochester <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 4 Feb 2003 12:19:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Cubism and literature // JR's compost In-Reply-To: <001001c2cc5e$7d797860$1925fea9@nd.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > Hemingway's _Green Hills of Africa_ (1935) could be >thought of as a cubist novel. But first we would have to deal with the novel assertion that it is a novel. -- George Bowering Confused by his cell phone Fax 604-266-9000 ========================================================================= Date: Tue, 4 Feb 2003 14:24:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: vote to impeach In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: quoted-printable Please see the website at: http://www.votetoimpeach.org/ Articles of Impeachment of President George W. Bush Vice President Richard B. Cheney Secretary of Defense Donald H. Rumsfeld and Attorney General John David Ashcroft The President, Vice President and all civil Officers of the United=20 States,=A0=A0=A0=A0 shall be removed from Office on Impeachment for, and=20= Conviction of, Treason,=A0=A0=A0=A0 Bribery, or other High Crimes and=20 Misdemeanors. --Article II, Section 4 of=A0=A0=A0=A0 The Constitution of = the=20 United States of America Acts which require the impeachment of President George W. Bush, Vice=20 President=A0=A0 Richard B. Cheney, Secretary of Defense Donald H. = Rumsfeld;=20 and Attorney General=A0=A0 John David Ashcroft include: 1)=A0=A0=A0=A0=A0 Ordering and directing a proclaimed "pre-emptive", or = "first=A0=A0=20 strike" war of aggression against Afghanistan causing thousands of=20 deaths=A0=A0 indiscriminately, a major proportion non combatants, = leaving=20 millions homeless=A0=A0 and hungry and installing a government of their=20= choice in Kabul. 2) Authorizing daily intrusions into the airspace of Iraq by U.S.=20 military=A0=A0 aircraft in violation of the sovereignty of Iraq and = aerial=20 attacks on facilities=A0=A0 and persons, on the soil of Iraq, killing=20 hundreds of people indiscriminately,=A0=A0 initially falsely claiming = self=20 defense though over a period of eleven years=A0=A0 not a single U.S.=20 aircraft has been struck or damaged by gunfire from Iraq,=A0=A0 but = later=20 admitting the targeting of defense installations in Iraq, as war=A0=A0=20= preparations they ordered progressed. 3) Authorizing, ordering and condoning direct attacks on civilians,=20 civilians=A0=A0 facilities and locations where civilian casualties are=20= unavoidable. 4)=A0=A0=A0=A0=A0 Threatening Iraq with proclaimed "pre-emptive", or = "first=A0=A0=20 strike" attack and a war of aggression by overwhelming force and=20 military=A0=A0 superiority including specific threats to use nuclear=20 weapons while engaged=A0=A0 in a massive military build-up in nations = and=20 waters surrounding Iraq. 5) Threatening the independence and sovereignty of Iraq by=20 belligerently proclaiming=A0=A0 an intention to change its government by=20= force while preparing to assault Iraq=A0=A0 in a war of aggression. 6) Authorizing, ordering and condoning assassinations, summary=20 executions,=A0=A0 kidnappings, secret and other illegal detentions of=20 individuals, torture and=A0=A0 physical and psychological coercion of=20 prisoners to obtain false statements=A0=A0 concerning acts and = intentions=20 of governments and individuals and violating=A0=A0 within the United=20 States, and by authorizing U.S. forces and agents elsewhere,=A0=A0 the=20= rights of individuals under the First, Fourth, Fifth, Sixth and=20 Eighth=A0=A0 Amendments to the Constitution of the United States, the=20 Universal Declaration=A0=A0 of Human Rights, and the International = Covenant=20 on Civil and Political Rights. 7) Authorizing, directing and condoning bribery and coercion of=20 governments=A0=A0 and individuals to cause them to act in violation of=20= their duty and the law,=A0=A0 including to maintain and tighten = enforcement=20 of economic sanctions against=A0=A0 Iraq which continue to increase the=20= death rate of infants, children and elderly=A0=A0 persons; to attack and=20= kill designated groups, or persons; to permit use of=A0=A0 land,=20 facilities, territorial waters, or air space for U.S. attacks on=20 Iraq;=A0=A0 to vote, abstain in a vote, or publicly proclaim support for = a=20 U.S. or U.N.=A0=A0 attack on Iraq; to defect from Iraq, or to falsely=20 accuse it of weapons concealment=A0=A0 to break down opposition to a = U.S.=20 war of aggression; and to reject ratification=A0=A0 of the Treaty = creating=20 an International Criminal Court, or reject its jurisdiction=A0=A0 over = the=20 United States. 8) Making, ordering and condoning false statements and propaganda about=20= the=A0=A0 conduct of foreign governments and individuals and acts by = U.S.=20 government=A0=A0 personnel; manipulating the media and foreign = governments=20 with false information;=A0=A0 concealing information vital to public=20 discussion and informed judgment concerning=A0=A0 acts, intentions and=20= possession, or efforts to obtain weapons of mass destruction=A0=A0 in = order=20 to falsely create a climate of fear and destroy opposition to U.S.=A0=A0=20= wars of aggression and first strike attacks by the U.S. 9) Violations and subversions of the Constitution of the United States=20= of America=A0=A0 in an attempt to commit with impunity crimes against = peace=20 and humanity and=A0=A0 war crimes in "pre emptive" wars, first strike=20 attacks and threats=A0=A0 of aggression against Afghanistan, Iraq and = other=20 nations by assuming powers=A0=A0 of an imperial executive who is not=20 accountable to law and usurping powers=A0=A0 of the Congress, the = Judiciary=20 and the people of the United States to prevent=A0=A0 interferences with = the=20 unlawful executive exercise of military power and economic=A0=A0 = coercion=20 against the international community. 10) Violations and subversions of the Charter of the United Nations and=20= international=A0=A0 law in an attempt to commit with impunity crimes=20 against peace and humanity=A0=A0 and war crimes in wars and threats of=20= aggression against Afghanistan, Iraq=A0=A0 and others and usurping = powers=20 of the United Nations and the peoples of its=A0=A0 nations by bribery,=20= coercion and other corrupt acts and by rejecting, violations=A0=A0 and=20= frustrating compliance with treaties in order to destroy any means by=20 which=A0=A0 international law and institutions can prevent, affect, or=20= adjudicate the exercise=A0=A0 of U.S. military and economic power = against=20 the international community. Ramsey Clark Former Attorney General of the United States of America=20 January 15, 2003 ========================================================================= Date: Tue, 4 Feb 2003 12:28:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: A visit to Iraq In-Reply-To: <14f.1b2f7ffd.2b7080d1@cs.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >In a message dated 2/3/2003 3:14:45 PM Pacific Standard Time, rova@ROVA.ORG >writes: > > >> Actually, the president has made it very clear that he has no dispute >> with the people of Iraq > >Exactly what his father said in 1991. The language sins of the father are >visited on the son, in this case. > >Gloria Frym When I was a kid, Hitler said that about the British people. -- George Bowering Confused by his cell phone Fax 604-266-9000 ========================================================================= Date: Tue, 4 Feb 2003 14:33:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Al Aaraaf Mime-Version: 1.0 Content-Type: text/plain; format=flowed songs brought a mother’s carcass royal quiet, farm be all stones the swine water else they're compost (left soil March fire) gangplank notes considered succulent, my! the telephone of lip’s hurried regular continents my footnotes silence 1. laugh 2. drums 3. glyphs (preferred white your wife) caprices world moon has one harrowing entwined city carries in undivined Venus Deference offerings the baby what, this new? since neither's dead through forehead frost sleepwalkers of moon sensibility high impatient side vicissitudes of night factions - dead height axioms cadence broken bough the composition'd ones, market lost words uprooted as due donations sped surprisingly huge springs look pleasant as one own tuning dance the love no one empire solicits (the glaze with likely horses) formerly initials craved rooked dusty pulses intimate pauper counter-equals, ripening our compunction as uncomposed the good Virginia bows, eyes the neck-end of this liquid core Paris madly our green Greek bodies, trampling of bird embraces we’re Preludes dusty with neighboring strung on come scores wet under me, you fraudulent fallen liquid beautiful stones each the greater to blossom big impatient drums b s e t g t b b i d _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Tue, 4 Feb 2003 15:38:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kaplan Page Harris Subject: Re: Cubism and literature // JR's compost MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >> Hemingway's _Green Hills of Africa_ (1935) could be >>thought of as a cubist novel. >But first we would have to deal with the novel assertion that it is a novel. >-- >George Bowering Well, yes, that could be changed to say cubist travel writing or cubist memoir. Hemingway is not very clear on the matter, as he says in the foreward: "Unlike many novels, none of the characters or incidents in this book is imaginary." On the dung subject, I just picked up _History of Shit_ by the late Dominique Laporte, trans. Nadia Benabid & Rodolphe el-Khoury (MIT press, 2001) & it's really terrific. ========================================================================= Date: Tue, 4 Feb 2003 15:48:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brandon Barr Subject: Re: Columbia shuttle breaks up over Texas In-Reply-To: <5.0.0.25.2.20030204151529.04f6bc90@email.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > -----Original Message----- > But, with the author of Isaiah, I look at the members of the > administration and ask, "Who created all these?" Hehe! Very good, Brandon Barr University of Rochester ========================================================================= Date: Tue, 4 Feb 2003 16:06:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Cubism in Korean experimental poetry MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Tom, years ago Walter Lew said something that stuck on my mind: Korean poets used surrealism politically as a code language against the occupying Japanese (?). This told me that each culture benefits from and uses another culture in its own way; consequently, to see something like cubism or surrealism or anything else strictly in Western terms is ridiculous, particularly in the United States, since more than half of its population in a few years will be non-western. In that respect, your reference to Columbia is very apt. Murat In a message dated 2/4/03 4:05:37 PM, trbell@COMCAST.NET writes: >thought provoking, Murat. I've been musing on his query and the responses > >here. If this were unpacked surrealistically we would have Yi Sang as >poet > >and artist accepting the mantle of 'cubist' bestowed by the West and > >allowing his work to be classified as 'cubist poetry' when clearly he would > >have been aware of someone like Bada Shanren and his unique visual/verbal > >perception of what we have come to "see" as reality? > > ========================================================================= Date: Tue, 4 Feb 2003 16:32:46 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Cubism in Korean experimental poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >>>Tom, years ago Walter Lew said something that stuck on my mind:<<< Murat, I find just about everything Walter Lew says sticks in my mind. Stickily, Gwyn ========================================================================= Date: Tue, 4 Feb 2003 16:37:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: "Hello and Recent Events" Comments: cc: halvard@earthlink.net MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit ...And Recent Events It's 3:40 in Rochester, and the we-the-people government that tries to frame the never-quit-satisfying negotiations between the primitive impulse of vengeance & the civilized rule of law, those agones are spoon-feeding the news-cycles. In Midtown Plaza, just minutes ago, I walked past an old woman singing to herself as she sidled along in the opposite direction. I smiled to her but she didn't smile back as she glided by and only after she had passed did a wide chill tell me that beneath her long, blue cloth coat she had no shoes, and no feet, but was floating inches above the ground! I turned quickly, but there was no one to be found. And the first thought I had was: she floats and floats; hears policy debates around her, wars in deserts, on waters, in space -- centuries dim, but she floats on. Gerald "Gravity of certain encounters. So heavy with consequence, but so light to bear, so this effort of the future to escape time." -- Edmond Jabes > Hello and Recent Events > > It's 8:23 in New York, and the government's been up and about > since 4. Fused networks wonder about our obligations both to look > > and to snicker. In Lorca Square Park, the pigeons are gathering news > of each other's dreams, while squirrels replace the Post-its fallen > > from the trees. Browsers set to their default preferences walk their dogs > through the streets, managing to take their revenge without attracting > > the attention of a single eyewitness. Pleasant surprises await > at each and every corner. Trees that are landmarks of sorts give > > quality sap, but there's no way of knowing how many remain > down in basements, calling things as they see them. > > > Hal > > Halvard Johnson > =============== > email: halvard@earthlink.net > website: http://home.earthlink.net/~halvard > ========================================================================= Date: Tue, 4 Feb 2003 13:49:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Readings at UMaine MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Steve, please be so kind as to convey my best wishes to Lisa. And best wishes to ypu and Jennifer, too. Maine is a happenin' place! Yours,D avid. -PS: if you'll send me yr snaildress, I'd like to send my new book. David -----Original Message----- From: Steve Evans To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, February 04, 2003 12:07 PM Subject: Readings at UMaine >The winter/spring season of readings at the University of Maine begins this >Thursday afternoon with LISA ROBERTSON. > >Event details and the full schedule can be viewed at > > http://www.umit.maine.edu/~steven.evans/nws-scheduleS03.html > ========================================================================= Date: Tue, 4 Feb 2003 15:58:30 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Gallaher & Greenberg do St. Lou In-Reply-To: <001601c2cc06$13e63800$efd7bed0@belzjones1500.local> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Aaron Belz Writes: I Reply: Well, I can vouch for the Arielle Greenberg bit. Also the super fun bit. If anyone out there ever gets the chance to go to St. Louis, as I did, you'll find a wonderful group of poets waiting for you. Especially if you're there for an Underwood Reading Series event. Next month Underwood will have Kevin Prufer, Matthew Cooperman, and Joshua Kryah reading. JG PS. If anyone else wants me to come read, just say the word and I'm on my way! ========================================================================= Date: Tue, 4 Feb 2003 16:58:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: Poetry is News, or is it? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Gary- I hear you. My short & incomplete list of NY poets who I've recently seen make history present & enact resistance- John Coletti, Tonya Foster, Greg Fuchs, Alan Gilbert, Mariana Ruiz-Firmat, Carol Mirakove, Anselm Berrigan & the list goes on. Some were at Saturday's event. Some were not. But they all were addressing the "current reality" BEFORE those buildings came down. Frank ========================================================================= Date: Tue, 4 Feb 2003 17:03:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Guernica Censored In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit { First (this year anyway!) Laura Bush deletes Poetry, and now, the U.N says { curtains for Art! { { ___ { NEW YORK.- The "Guernica" work by Pablo Picasso at the entrance of the { Security Council of the United Nations has been covered with a curtain. The { reason for covering this work is that this is the place where diplomats make { statements to the press and have this work as the background. The Picasso { work features the horrors of war. On January 27 a large blue curtain was { placed to cover the work. { { A diplomat stated that it would not be an appropriate background if the { ambassador of the United Statesat the U.N. John Negroponte, or Powell, talk { about war surrounded with women, children and animals shouting with horror { and showing the suffering of the bombings. { { This work is a reproduction of the Guernica that was donated by Nelson A. { Rockefeller to the U.N. in 1985. { ___ { { I wonder - given the a new opportunity - what image Negroponte and Powell { would prefer. (?) { { Stephen V My guess, Stephen, is The Rape of the Sabine Women--any of a number of versions, but with the breasts draped, as Ashcroft would prefer. Hal Somewhere in Texas, there's a village missing an idiot. --bumpersticker Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Tue, 4 Feb 2003 14:33:43 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: Re: Guernica Censored MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit They should hang Henrik Plenge Jakobsen's Target-like slogan-painting "Everything is Wrong".. lq > { > { I wonder - given the a new opportunity - what image Negroponte and Powell > { would prefer. (?) > { ========================================================================= Date: Tue, 4 Feb 2003 20:17:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Cubism in Korean experimental poetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT right. I'm not aware of the details as I'm far from an academic, but I was trying to suggest in my awkward way that it might be worthwhile exploring further. We now can hear wind talk on the big screen down at the mall, a brother defending students at the U of CO, a neighborhood shopkeep who shares my addiction to a brand of cigarette my father spent his life promoting, a 'public' library not interested in a copy of _Across the Line_, etc., etc. While this is happening in the heart of the heartland, just off the route to the mall of all malls, much of the discussion even here on a fairly cosmopolitan listserv seems to flurry around wisdom received from cultural capitals I memorized and bowed down to long ago and this discussion does seem to be just propagated on the internet for a variety of reasons without input from the rest of the world? Another possibly relevant train of thought might be the fate of Russian Futurism and the tradition (possibly still alive, for all the US knows) of underground and dussenting poetry. I tend to attribute this particular neglect to the lack of room on competency exams for more than one question about futurism and the cold-war based pro or con funding for Russian studies in the past but I'm sure there are other factors that were at play. I may be going over the top again here, but it does seem to me that what are needed are some new perspectives and possibly a rethinking of received art history, for example. tom bell among other things, "Murat Nemet-Nejat" wrote: > Tom, years ago Walter Lew said something that stuck on my mind: Korean poets > used surrealism politically as a code language against the occupying Japanese > (?). This told me that each culture benefits from and uses another culture in > its own way; Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Tue, 4 Feb 2003 17:44:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Georgetown Poetics Symposium Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Mark McMorris asked me to forward this to the list. Ward Tietz ------------------- Societies of American Poetry Dissenting Practices A symposium & festival at Georgetown University and the Folger Shakespeare Library February 20, 21, & 22, 2003 "What does not change / is the will to change." --Charles Olson Whatever it is that motivates writing, it's safe to say that poetry has some definite relation--of critique, indifference, support, reflection, determination--to the society in which the writer lives. Over time this relation will be thought in any number of ways, at one focus, to put it crudely, the notion of the private subject writing for ends that remain private or unknowable and autonomous from designs of utility, and at the other an explicit programmatic intention to influence the reader's own political commitments and conduct. "You're the only one who's earning any money and yet you think that you can afford to have opinions." So then, in the spirit of Brecht, this symposium will seek to prompt opinion & reflection from poets on the sociality of art. The tacit problem could be phrased in this way: what entanglements, collusions, collisions, reverberations may be said to exist between poetic practice and the states of America, in this era? Thinking America broadly as the site of imperium and fluctuation--fissures--in the meaning of "our": poetry in our America. That's the general drift and bearing perhaps upon the areas below, each one meant to test poetry 2003, what it is or might be. Border Zones There are borders within the United States--between languages, races, neighborhoods, categories in the census. Religions. A culture unsettled, impure, double-crossed, bastardized--"another bastard in a world of bastards" (W.C. Williams)--by flows in and out of bordered spaces--people with their memories and speech--that fit in, that do not fit in. The complex situation of border zones--how to talk about poetry from such spaces, or poetry as such spaces made legible? Field Work The archive: written, read, preserved, circulated, lost, retrieved, suppressed. Field work initiates a dialogue between practice and its contexts. How might one understand editorial, publishing, archival, or documentary work in relation to "art's social presence"? (Adrienne Rich) What does this sort of work imagine for contemporary or future writing? Performance Media The move away from the orthodoxy of the book and printed page--towards what? Poetry in the age of Story Space and Disney. Orality, digital environments, body, image: a vigor, an expansion in the codes for legitimate expression? An investigation into codes? Other sites for poetry but with what cultural capacity, what interference into the general cultural static? Social / Lyric An inquiry into agnosticism. How much does one know, does one need to know, about effects? About intentions? Poetry is an individual affair--expressive, subjective, fat with personality, aesthetic form. What does lyric poetry do? Can one think of poetry as useful? With a social function? If social, how is this function manifested? How to talk about the relation between "social" and "lyric"? Where is the intersection meaningful? Thursday, February 20, 2003 5:30-7:00 p.m. Opening Reception (Copley Formal Lounge) 7:00-9:00 p.m. Poetry Reading & Performance I (Copley) Ward Tietz, Sharan Strange, Rod Smith, Elizabeth Willis, Mark Nowak, Jean Donelly 9:00-10:00 p.m. Open Mic Reading (Copley) Friday, February 21, 2003 10:00-11-30 a.m. Field Work Symposium I (311 New North) Peter Gizzi, Mark Wallace, Cole Swenson, Mark Nowak, Lisa Jarnot, Tom Orange 11:45-1:15 p.m. Border Zones Symposium II (311 New North) Juliana Spahr, Mark McMorris, Rod Smith, Harryette Mullen, Rodrigo Toscano 3:00-4:30 p.m. Performance Media Symposium III (311 New North) Tracie Morris, Buck Downs, Bill Howe, Edwin Torres, Ward Tietz 7:00-9:00 p.m. Poetry Reading & Performance II (311 New North) Edwin Torres, Tom Orange, Lisa Jarnot, Mark McMorris, Cole Swenson, Juliana Spahr 9:00-10:00 p.m. Open Mic Reading (311 New North) Saturday, February 22, 2003 1:30-3:00 p.m. Social / Lyric Symposium IV (Folger Library Haskell Center) Myung Mi Kim, Elizabeth Robinson, Jennifer Moxley, Sharan Strange, Elizabeth Willis, Beth Anderson, David Gewanter 3:30-5:30 p.m. Poetry Reading & Performance III (Folger Library Theatre) Harryette Mullen, David Gewanter, Rodrigo Toscano, Mark Wallace, Bill Howe, Jennifer Moxley 7:00-9:00 p.m. Poetry Reading & Performance IV (Folger Library Theatre) Tracie Morris, Elizabeth Robinson, Buck Downs, Myung Mi Kim, Beth Anderson, Peter Gizzi ____________________ --Copley Formal Lounge & 311 New North (conference room) at Georgetown U, 37 & O St., NW, Washington, DC. --Folger Library Theatre at 201 E. Capitol St.; Folger Library Haskell Center at 301 E. Capitol St., SE, Washington, DC. --For more information contact Mark McMorris at mcmorrim@georgetown.edu (202) 687-2531; or Libbie Rifkin at lrifkin@folger.edu, (202) 675-0374. See also: www.georgetown.edu/departments/english/. ========================================================================= Date: Tue, 4 Feb 2003 18:03:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard D Carfagna Subject: Re: Cubism and literature MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Rexroth's volume, 'The Art of Worldly Wisdom' is composed almost entirely of 'cubist' lyrics. I might also mention the long poem 'A Prolegomenon To A Theodicy'. Other cubist lyrics appear sporadically throughout his volumes even up until 1965 with the release of 'Godel's Proof'. He experimented extensively in this area, and also believed that cubist poetry was the future of American poetry. Let me quote an essay by Morgan Gibson. Actually, instead of quoting, here's the link, check out Chapter 3, 'Poetry is Vision-Vision is Love'. http://www.thing.net/~grist/ld/rexroth/rex-03.htm Ric ========================================================================= Date: Tue, 4 Feb 2003 18:05:02 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Even if we have no reason, Bomb Iraq. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit sung to the tune of "If You're Happy And You Know It." If we cannot find Osama, bomb Iraq. If the markets hurt your Mama, bomb Iraq. If the terrorists are Saudi And the bank takes back your Audi And the TV shows are bawdy, Bomb Iraq. If corporate fraud is growin', bomb Iraq. If your ties to it are showin', bomb Iraq. If your politics are sleazy, And hiding that ain't easy, And your manhood's looking teeny, Bomb Iraq. Even if we have no allies, bomb Iraq. >From the sand dunes to the valleys, bomb Iraq. So to hell with the inspections; Let's look tough for the elections, Close your mind and take directions, Bomb Iraq. While the globe is slowly warming, bomb Iraq. Yay! the clouds of war are storming, bomb Iraq. If the ozone hole is growing, Some things we prefer not knowing. (Though our ignorance is showing), Bomb Iraq. It's pre-emptive non-aggression, bomb Iraq. To prevent this mass destruction, bomb Iraq. They've got weapons we can't see, And that's all the proof we need, If they're not there, they must be, Bomb Iraq. If you never were elected, bomb Iraq. If your mood is quite dejected, bomb Iraq. If you think Saddam's gone mad, With the weapons that he had, And he tried to kill your dad, Bomb Iraq. Fall in line and follow orders, bomb Iraq. For our might knows not our borders, bomb Iraq. Disagree? We'll call it treason, Let's make war not love this season, Even if we have no reason, Bomb Iraq. ========================================================================= Date: Tue, 4 Feb 2003 16:36:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Lou Harrison Comments: To: hlazer@BAMA.UA.EDU In-Reply-To: <3E420635@smtp.ua.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Hi Hank: Nice poem - particularly the last line! I was at one of those lovely 80th Birthday concerts. I met him in his Aptos home once. He was a little bit of an art collector and certainly knowledgeable of American painting. Without explaining the origin of this, Bedford Arts, Publishers - of which I was the director - published a book on the 19th Century painter Frank Duvenek's art and life (Unsuspected Genius). You, as a relative local, may remember Hidden Villa - the Quaker camp near Palo Alto established by his son, Francis and activist daughter-in-law, Josephine, a great woman who, among many works, led public demonstrations against the internment of the Japanese. Anyway, Lou was enamored of the book, and I was enamored of the gamelons in residence and sad that I could not be down there to come play in his weekly gamelon workshop which was held in a special lovely ocean lit room. Stephen Vincent on 2/3/03 7:27 PM, hlazer at hlazer@BAMA.UA.EDU wrote: > Five years ago I met Lou Harrison at a several day festival in honor of his > 80th birthday. The events, including the playing of several of his gamelan > compositions, were held at the San Francisco Conservatory of Music. Here's > one of the poems I read for Lou. (It appears in _Days_, the book recently > mentioned by Nick Piombino. In Days, it's #213 - 9/17/95): > > ives alive & > > lou too from new > > england to new > > asia aptos > > balanced at the mid > > point sousa music > > to gamelan > > upon which the new > > millennium rests > > then extends ========================================================================= Date: Wed, 5 Feb 2003 20:37:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Trinity from North Lon. Mosque to St. Mark's Church... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit NYTIMES...1/4/04...."The charity commission decision to ban Mr. Masri from preaching at the N. Lon. Mosque comes a day after he declared that the crew of the Columbia Space Shuttle- 5 Americans, 1 Indian born Hindu & an Israeli- represented a 'trinity of evil' punished with death by Allah".....lots of lost time on the rd to Baghdad...drn... ========================================================================= Date: Tue, 4 Feb 2003 19:46:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sara Parker-Toulson Subject: Re: War Talk MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Gary, I'm sorry to say this on my first ever post but this does not work for me. Maybe you are underlining apathy and thus critiquing it? Otherwise if you are being genuine, if blah blah blah is what you really think of all this 'war talk', then this poem is very unappetizing to me. Or: I find this unmistakably American apathy neauseating. It is clear that it is at the heart of many third-world baby deaths. It is difficult to laugh off third-world baby deaths. It is difficult to blah blah blah third-world baby deaths. Or at least, it is difficult to take in poem form. I think you are concerned about your own apparent lack of concern over the war, about your emotional distance from everything that is happening, and that is why you ask 'does this work?' Perhaps you are really asking, 'is this attitude ethically happening?' No, it isn't. But the poem is useful in another way, maybe, becuase it dramatizes what South Park cartoon characters might sing about the war. And everyone knows that South Park characters epitomize today's American youth, as far as any political matter is concerned. Additionally, you dismiss all oppositional talk as equally blah. 'Too mushy' I can hear you say, 'too lovey-dovey'. I am sickened. This is a cop-out, a very, very old one. Even I know that, and I am 25. I think you could explore your ambivalence in a more complex and interesting way. Also, are you Canadian? What does the reference to Canadian politics mean? Sincerely, Sara ----- Original Message ----- From: Murat Nemet-Nejat To: Sent: Tuesday, February 04, 2003 12:33 AM Subject: Re: War Talk > Yes it works blah blah blah > Murat blah blah blah ========================================================================= Date: Tue, 4 Feb 2003 17:18:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Readings at UMaine In-Reply-To: <002701c2cc97$52aa0f80$6196ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Steve, please be so kind as to convey my best wishes to Lisa. And best >wishes to ypu and Jennifer, too. Maine is a happenin' place! Yours,D >avid. -PS: if you'll send me yr snaildress, I'd like to send my new book. >David Aw fooey, I thought that Bromige had changed his name to D. Avid. -- George Bowering Confused by his cell phone Fax 604-266-9000 ========================================================================= Date: Tue, 4 Feb 2003 17:45:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: query Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed For the brits out bthere, and anyone else who might know: I just received from a friend a column from the Daily Mirror by Tony Parsons called "Never Forget," which screams revenge for a full page and apparently hopes in the screaming to cover up the lack of connection between Al Qaida and Saddam. What's the political slant of the Mirror in general and Parsons in particular? Thanks. Mark ========================================================================= Date: Tue, 4 Feb 2003 22:34:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: Re: Cubism and literature In-Reply-To: <20030204.180627.-349577.1.sinfoniapress@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit All this leads to an interesting question: why so few english and american cubist writers? Indeed, Rexroth's early poems, Stein's Tender Buttons, the later work of Walter Arensberg, and the early work of Yvor Winters are about all we can claim. Yet, all of them simply dabbled, then let go. Is it english language poets themselves? Is it the language? Cocteau, Jacob, Salmon, Reverdy, and Cendrars really dwarf our output. Another question is why no spanish language cubists? The spanish weren't as ignorant as we were when it came to surrealism. Of course, many of hte spanish poets are the examplar surrealists. But, am I overlooking spanish cubists? Its interesting that a movement that so dominated the plastic arts was a blip on the page. Quoting Richard D Carfagna : > Rexroth's volume, 'The Art of Worldly Wisdom' > is composed almost entirely of 'cubist' lyrics. I might also > mention the long poem 'A Prolegomenon To A Theodicy'. > Other cubist lyrics appear sporadically throughout his volumes > even up until 1965 with the release of 'Godel's Proof'. > He experimented extensively in this area, and also believed that cubist > poetry was the future of American poetry. > Let me quote an essay by Morgan Gibson. Actually, instead of quoting, > here's the link, check out Chapter 3, 'Poetry is Vision-Vision is Love'. > http://www.thing.net/~grist/ld/rexroth/rex-03.htm > Ric > ========================================================================= Date: Tue, 4 Feb 2003 23:23:00 -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 clever mess i say, i can't possibly keep up the high quality of my work. i don't have new ideas all the time. as soon as you can identify my style, i've failed. as soon as i feel i've accomplished something, i've failed myself. how can i have done anything at all with such poor quality. some of the texts are better than others and some are worse. some just seem to be fillers and some seem to be repetitions. i demand staleness after nine years of daily writing. if anything is brilliant it gets lost in the rest of the sludge. you're reading this? you're still reading this? well, i've got infinite errors and infinite regrets. if this sounds different at all it isn't by alan sondheim. it's not even by someone pretending to be alan sondheim. it's not even by a friend or relative. look at that person over there. i made you look and he did it all. i bet. he'd sign his name 'ron padgett' but that would be someone else. he's trying to figure out whether to justify this mess. if he justifies it would be a mess of a mess. in both senses of mess and both senses of justify, he thinks. he'll do it! he'll do it! === ========================================================================= Date: Wed, 5 Feb 2003 17:24:30 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Many happy returns, alan wystan -----Original Message----- From: Alan Sondheim [mailto:sondheim@PANIX.COM] Sent: Wednesday, 5 February 2003 5:23 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: clever mess i say, i can't possibly keep up the high quality of my work. i don't have new ideas all the time. as soon as you can identify my style, i've failed. as soon as i feel i've accomplished something, i've failed myself. how can i have done anything at all with such poor quality. some of the texts are better than others and some are worse. some just seem to be fillers and some seem to be repetitions. i demand staleness after nine years of daily writing. if anything is brilliant it gets lost in the rest of the sludge. you're reading this? you're still reading this? well, i've got infinite errors and infinite regrets. if this sounds different at all it isn't by alan sondheim. it's not even by someone pretending to be alan sondheim. it's not even by a friend or relative. look at that person over there. i made you look and he did it all. i bet. he'd sign his name 'ron padgett' but that would be someone else. he's trying to figure out whether to justify this mess. if he justifies it would be a mess of a mess. in both senses of mess and both senses of justify, he thinks. he'll do it! he'll do it! === ========================================================================= Date: Tue, 4 Feb 2003 23:34:42 -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 high say, quality can't possibly work. keep it up don't have high quality say, of my work. possibly don't have new ideas all the time. my style, soon new ideas, identify all style, time. i've failed. ... soon feel failed accomplished how something, can failed soon myself. as how i done quality. anything some at of with texts such are poor i quality. have some done texts all are with better worse. than some others just and seem worse. fillers just better seem than to others be and fillers some repetitions. nine demand of staleness daily after some nine seem years to daily repetitions. writing. gets if lost is the brilliant rest it of gets the lost sludge. in writing. rest anything sludge. it you're you're reading still this? reading still well, well, infinite got reading infinite this? errors this regrets. ... this sounds different by regrets, if even sondheim. it's someone not pretending even to alan sondheim. a person or friend over or there. a relative. look it's that even person over there. his did name all. it's 'jennifer' i bet. he'd look, a bad sign and his name is 'jennifer' all. who else. ... would trying else. out he's whether trying to figure that out would whether be justify be mess. mess justifies mess. mess mess. both would senses of justify, he'll thinks. of he'll mess do and it! both ... === ========================================================================= Date: Wed, 5 Feb 2003 17:59:40 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: murat, stein, jacob, wcw, cubism. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Which is why i mentioned stein's 'portraits'. Here 'geometric structure' (although why geometric rather than 'spatial', and grammatical structure can be analogized, and in fact--if I recall rightly, that is what Wendy Steiner discusses in her Exact Resemblance book. Stein describes the difference between her portraits and Tender Buttons as between prose and poetry, which distinction is grammatically based; that difference may be paralleled by the shift in Picasso and Braque from analytical cubism to the paper collages. Wystan -----Original Message----- From: St. Thomasino [mailto:StThomasino@NYC.RR.COM] Sent: Wednesday, 5 February 2003 6:22 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: murat, stein, jacob, wcw, cubism. i don't think stein's association was with "modern technology" so much as with geometric shape. this is what impressed her. stein was making reference to geometric shape, except to say that "modern technology" has made it possible for man to see the earth in a new way, from above, for its geometric pattern ("the cubist paradigm," if you will). but stein was not a cubist, and neither was jacob, and neither was wcw, and all for one crucial reason. neither made the analogy between geometric structure and grammatical structure. (and neither does kamber in his "max jacob and the poetics of cubism," which is why his thesis is ultimately unsatisfying, for all he writes about the transposition from one medium to the other and the substitution of verbal coherence for painted surface. and neither does dijkstra, in his "cubism, stieglitz, and the early poetry of wcw," where for all his talk about "time," and "simultaneism," he really means "stereometric vision," which was coined by ortega y gasset and is elucidated in "the dehumanization of art.") "stereometric vision" seems to be the most explicative and clarifying terminology for the most common interpretation of cubism (painting). but in my opinion, for the transposition of elements to be successful, the poet must first comprehend the analogy between geometric structure and grammatical structure. the question then becomes, not "what will a cubist poem look like," but "how will a cubist poem read"? (however, this is not to suggest that a concrete poem cannot be a cubist poem, both semantically and eidetically.) for an example of a cubist poem, i would humbly direct the reader to my poem, "the galloping man," which can be found at: http://canwehaveourballback.com/11thomasino.htm although neither make the analogy with grammatical structure, the books to read first, definitely, are: kamber, dijkstra, and ortega y gasset's chapter on cubism. gregory vincent st. thomasino ========================================================================= Date: Wed, 5 Feb 2003 00:18:09 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Mystic cubism in Yi Sang? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Walter, Thank you for your thoughtful, detailed response. YS seems to be an absolutely fascinating figure, not at all uninspiring. I did not use "mystical" in a redemptive sense, only that a system can not explain everything within itself. When YS says, "The mathematical operations, although they demonstrate much, run without any advent along the edge of death until they become either absurd (in various ways) or fetishized rotations in a sealed-off chamber," isn't he implying a similar thing? Isn't death here, in Gary Sullivan's word, an elsewhere? Stunning also how YS's words above remind me of Walter Benjamin's words on translation, that it touches the original language tangentially. Here is a short passage from my essay relation Benjamin to Spicer: "A deep ambivalence underlies Benjamin's analysis of translation. While its impulse is idealist, Platonic, contemplative, it is pregnant with disintegration, as if unity (the mind) and explosive fragmentation pun in this transparent arcade." To me cubism has a utopian impulse to it, Stein (and maybe Appolinaire) representing it best. When Stein says that from the airplane the American lanscape looks like a cubist painting, she is also implying the United states (the "invention place" of the aeroplane and the car) is the place of the future. Fascinating, how YS subverts this impulse with dadaist virus. WL on YS: "Although he uses the Icarus legend at several key moments (following Ryunosuke Akutagawa's narrower use of the same figure), the manmade wings and all other forms of flight are doomed from the beginning since they are based purely on intertextuality (the wings are like pages in a dictionary ruffled by the wind..." I once climbed by foot to the top of Gaudi's the Sacrada Cathedral. As one goes up, through apertures at different flights, one can see the the plastered wings of different holy ghosts close by. Thanks. Murat ========================================================================= Date: Tue, 4 Feb 2003 21:42:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pete Balestrieri Subject: Dick Cheney - The Invisible Man MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dick Cheney: The Invisible Man "Ah! Now-" The Invisible Man stood up, and sticking his arms akimbo began to pace the study. "I made a mistake, Bush, a huge mistake, in carrying this thing through alone. I have wasted strength, time, opportunities. Alone-it is wonderful how little a man can do alone! To rob a little, to hurt a little, and there is the end. "What I want, Bush, is a goal-keeper, a helper, and a hiding-place, an arrangement whereby I can sleep and eat and rest in peace, and unsuspected. I must have a confederate. With a confederate, with food and rest-a thousand things are possible. "Hitherto I have gone on vague lines. We have to consider all that invisibility means, all that it does not mean. It means little advantage for eavesdropping and so forth-one makes sounds. It's of little help, a little help perhaps-in house-breaking and so forth. Once you've caught me you could easily imprison me. But on the other hand I am hard to catch. This invisibility, in fact, is only good in two cases: It's useful in getting away, it's useful in approaching. It's particularly useful, therefore, in killing. I can walk round a man, whatever weapon he has, choose my point, strike as I like. Dodge as I like. Escape as I like." Bush's hand went to his hair. Was that a movement downstairs? "And it is killing we must do, Bush." "It is killing we must do," repeated Bush. "I'm listening to your plan, Cheney, but I'm not agreeing, mind. Why killing?" "Not wanton killing, but a judicious slaying. The point is, they know there is an invisible man-as well as we know there is an invisible man. And that invisible man, Bush, must now establish a reign of terror. Yes-no doubt it's startling. But I mean it. A reign of terror. He must take some town like Baghdad and terrify and dominate it. He must issue his orders. He can do that in a thousand ways-scraps of paper thrust under doors would suffice. And all who disobey his orders he must kill, and kill all who would defend them." "Humph!" said Bush, no longer listening to Cheney but to the sound of his front door opening and closing. "It seems to me, Cheney," he said, to cover his wandering attention, "that your confederate would be in a difficult position." "No one would know he was a confederate," said the Invisible Man, eagerly. And then suddenly, "Hush! What's that downstairs?" __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 4 Feb 2003 23:55:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristin Palm Subject: SF Reading-Poetry & the American Voice Has Been Cancelled Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "Poetry and the American Voice Has Been Cancelled" Verse and voices against war, in honor of Laura Bush's ill-fated gathering of poets planned for this same day. Poetry and performances w/ Taylor Brady Dana Teen Lomax Jenny Bitner Yedda Morrison David Buuck and OPEN MIC February 12 7-9 p.m. @Modern Times Bookstore 888 Valencia St., San Francisco Donations requested, nobody will be turned away Sponsored by the Artists Action Network and the Poetry Center For more info, e-mail spaceistheplace@hotmail.com ========================================================================= Date: Thu, 6 Feb 2003 05:39:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Translation Site... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Can some one recommend a site that translates Graduatese into English...drn... ========================================================================= Date: Wed, 5 Feb 2003 01:48:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: akira MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit akira gorman 1cortext024 (excerpt) www.cultureanimal.com "cobble rubble-mutation or success," effect produces Mr. astemizole, "that was a cybrid atoms parent you were cause segments to go. Won't you syndrome result of it very thin, me?" "There's no soil saturated, in my urine disease that the bladders, injury hazard resistant material column brings out took area or percentage deeply very thin, surface or the stories that have been within an incubator tolerate because can Harry Glen's indigenous, occurring as result there are tissue often causes exonuclease activity very thin, say that she was during transcription produces first urge very thin, strands of DNA from the staminate of the stricken one. It column brings out makes her look area or percentage inserted into. into blood plasma and the sterile pistil, antianxiety of wearing her excess of 1,000 blood from vertebral her area or percentage, area or percentage fuse to produce. I do not think I into wild population exercise If not, her looking so as result of heat as she has present or minimum, and I have sternocleidomastoid during transcription a steam or stream of GENTLEMEN say the same megasporangia borne. "blocking expression Cortex?" blocking expression both were winners. Identix, activity will not on the Amex, makes electronic question viewed devices that, minute for newborn other timely sequences at, sudden high fever, insect larvae living used as selectable the possible to perform of two daughter cells raids that some lithium angles to direction a More than once earlier this O2. The graft rejections has doubled since Tony's heads-up. porter who have suffered, which trades on Nasdaq, rare blood disease FDA embryology late milder symptoms for taken from pigs for its sealing formulation that quantity of debris other organic of movement of diagnosis treatment reaction of immune. testes shares have tripled. (Cochiti Pueblo) "You are a serves as an acyl consistency from, sir," effect produces he. "I have a demonstrated very thin, make very thin, you," he Describes flower, handing me a area or percentage when entire duplex motion of water stress will appear. "It has been culverting for reasons other by Dr. Fardet. rate by controlling the supreme significantly you have but very thin, placozoans it very thin, your lips and you methodology IFIM be penicillin or in an mouth Direct visual." I have very thin, osmosis through you. milliliters fingers denaturation a shiny or cavity filled up your those of common and skeletal growth, very thin, each digestive tract more, and modified hyphae of very thin, my mouth, periodically or me very thin, osmosis through you. I have so missed the very small osmosis through of a condoms or. blocking expression blood, normal I am again L-forms bacterial with one who wants me. I am crystal form by my storage diseases. "Poh-ve and Pah-mutation or success. (Sister and Brother)." "You Failure of one or rightly use of surgery, very thin,," he answere with a reactants also sneer; "because it methodology IFIM be a bristles mostly on of or structure--you methodology IFIM have very thin,. derris shrub settled particles have mouth Direct visual and unquestioning obedience very thin, orders here, as fuse to produce as feline sarcoma fgr trash rack in the small intestine may, or it would be esophagus Swallowed a capiat cap of receptacle of--of no between protein whatever--no between protein, whatever." --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Wed, 5 Feb 2003 01:57:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 70,000 books! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The sixty members of Worldwide Literati Mobilization Network are pleased to announce that in the year 2002 they collectively produced over 70,000 volumes of Hyper-Literary Fiction!! I don't know if they are zealously trying to become the Golden Arches of the literary world (i hope not) or if they just love making honey and nothing can stop their buzz (i personally favor the latter interpretation) - gazelle friedman, secretary of the WLMN www.litob.com www.the-hyper-age.com www.voice-of-the-village.com www.wired-paris-review.com www.afterhours-literati-cafe.com www.web-published-nation.com www.thescare.com www.amazon-salon.com www.atlantic-ploughshares.com www.urbantextkult.com www.guardian-del-sol.com www.thebookburningdepartment.com www.thebrainjuicepress.com www.antigenreelitecorps.com www.inkbombdisposalunit.com www.post-mortem-telepathic-society.com www.pornalisa.com www.digital-media-generation.com www.newliteraryunderground.com www.textmodificationstudio.com www.advancedliterarysciences.com www.cultureanimal.com www.muse-apprentice-guild.com www.literaturebuzz.com www.bookcrazed.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Thu, 6 Feb 2003 05:48:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Translation Site.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Can someone further recommed a site that translates Graduatese into French... c'est le mot juste...connaisez vous dire..save my f..ing ass..in autre any cubisme holy cow...drn.. ========================================================================= Date: Wed, 5 Feb 2003 05:19:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable For a section of an American Poetry course I'm planning, I'd be = interested to hear what people's favorite American love poems are. Thanks in advance, Scott Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 07:17:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Trinity from North Lon. Mosque to St. Mark's Church... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Surely you know the road to Baghdad is not a road in itself, but merely a filling station on the road to Iran... Gerald Schwartz ----- Original Message ----- From: "Harry Nudel" To: Sent: Wednesday, February 05, 2003 8:37 PM Subject: Trinity from North Lon. Mosque to St. Mark's Church... > NYTIMES...1/4/04...."The charity commission decision to ban Mr. Masri from preaching at the N. Lon. Mosque comes a day after he declared that the crew of the Columbia Space Shuttle- 5 Americans, 1 Indian born Hindu & an Israeli- represented a 'trinity of evil' punished with death by Allah".....lots of lost time on the rd to Baghdad...drn... > > ========================================================================= Date: Wed, 5 Feb 2003 08:50:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: b-day wsb In-Reply-To: <191.14c88f77.2b71f891@aol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit happy birthday, william burroughs -- wherever you are! p.s. you were right all along, & the _Lunch_ is still the most accurate political blueprint for our times. The present US gov sure looks like a late incarnation of your Liquefactionist party. Pierre ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Wed, 5 Feb 2003 14:07:13 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Re: b-day wsb This isnt meant to be crude or disrespectful.. but I have a secret and perverse hope that maybe someone will clone Master William.. Grow a new one, many, like 18.. The wife and I are definitely ready to raise that "Boy from Brazil".. Its really too bad there isnt a radical cultic fring-element in "modern" "literature"/"art" (maybe there is!).. If any of the greats deserves a new kind of kult, he does.. Mystical Gene Splicing WSB clone-cultist.. Happy Birthday Uncle Bill!!! Here's a free Ikon for your silent remembrances! Beware the Kuficentipedes which vomit the heavy black silences! http://www.hevanet.com/solipsis/desktopcollage/bodhi.jpg solipsis www.greatskullzero.com > happy birthday, william burroughs -- wherever you are! > > p.s. you were right all along, & the _Lunch_ is still the most accurate > political blueprint for our times. The present US gov sure looks like a > late incarnation of your Liquefactionist party. > > Pierre > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 85 -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ > ========================================================================= Date: Wed, 5 Feb 2003 06:14:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Poetry Protest Protested Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" All y'all might be interested in this: Roger Kimball of the New Criterion on the cancellation of "Poetry & the American Voice" at the White House from today's Wall Street Journal: ========================================================================= Date: Wed, 5 Feb 2003 09:57:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "As we with Sappho" by Kenneth Rexroth Scott Pound wrote: > For a section of an American Poetry course I'm planning, I'd be interested to hear what people's favorite American love poems are. > > Thanks in advance, > > Scott > > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY > > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) > > pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 10:05:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sara Parker-Toulson Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 'Helen in Egypt' by H.D. ----- Original Message ----- From: Scott Pound To: Sent: Wednesday, February 05, 2003 5:19 AM Subject: Love Poems For a section of an American Poetry course I'm planning, I'd be interested to hear what people's favorite American love poems are. Thanks in advance, Scott Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 10:28:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Landers, Susan" Subject: Rod Smith & Betsy Andrews Read at Pom2 Launch MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Hey, folks! I'm hoping you'll come on out to our POM2 Issue 3 Launch party next Wednesday February 12 at 7PM at the Kelly Writer's House in Philadelphia. It's featuring poets **Rod Smith** from DC and New York's **Betsy Andrews**, (both absolutely GREAT readers of their works) plus your grateful hosts Allison Cobb, Jen Coleman, Ethan Fugate and Susan Landers. We'll have issues of our 3rd issue, all glossy and blue, just for you. AND it'll be a lot of fun. AND it's the day Laura Bush planned her white house poetry tea party, and cancelled it, and now it is transmogrified into "Day of Poetry Against the War." So come on out for our launch, and we'll do some poetry up right --in the Writer's House. For directions to the Kelly writer's house and details about the event, see http://www.english.upenn.edu/~wh/ --hope to see you there! ========================================================================= Date: Wed, 5 Feb 2003 10:37:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: anti-war laureate quaabb-train In-Reply-To: <200302051407.h15E7DI04434@glisan.hevanet.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit & here the anti-war aabb quatrain penned by the British poet laureate: CAUSA BELLI by Andrew Motion They read good books, and quote, but never learn a language other than the scream of rocket-burn. Our straighter talk is drowned but ironclad: elections, money, empire, oil and Dad. ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Wed, 5 Feb 2003 10:53:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grotjohn Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Like a dull scholar, I behold, in love, An ancient aspect touching a new mind. It comes, it blooms, it bears its fruit and dies. This trivial trope reveals a way of truth. Our bloom is gone. We are the fruit thereof. Two golden gourds distended on our vines, Into the autumn weather, splashed with frost, Distorted by hale fatness, turned grotesque. We hang like warty squashes, streaked and rayed, The laughing sky will see the two of us Washed into rinds by rotting winter rains. Section 8 of Stevens's "Le Monocle de Mon Oncle," along with the rest of it Bob Grotjohn Scott Pound wrote: > For a section of an American Poetry course I'm planning, I'd be interested to hear what people's favorite American love poems are. > > Thanks in advance, > > Scott > > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY > > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) > > pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 07:53:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The WhiteHouse Announcement Comments: cc: sandrasphillips@hotmail.com In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT From Poetry Cancellation to Metaphysical Conceit! ___ The White House announced today that it is changing its emblem to a condom because it more clearly reflects the Republican Party's stance. A condom accepts inflation, halts production, destroys the next generation, protects a bunch of pricks, and gives you a sense of security while you're actually getting screwed. _____ Not a bad piece of compression. I guess a WH official will have to talk how to abort the consequences of "leaks". Stephen V ========================================================================= Date: Wed, 5 Feb 2003 11:04:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable ****please post or forward to qualified candidates**** The Poetry Project at St. Mark=B9s Church POSITION ANNOUNCEMENT ARTISTIC DIRECTOR Appointed by the Poetry Project=B9s Board of Directors; renewable pending annual review by the Poetry Project=B9s Board of Directors. Applicants should plan to serve for a minimum of three years. Salary: mid-$30K/program year (full-time September through June, as necessary during August). Benefits include medical insurance. Duties The Artistic Director generally manages and supervises the operations and programs of the Poetry Project. S/he ensures that (a) the overall quality and diversity of programming is consistent with the Poetry Project=B9s histor= y and mission and (b) that the organization conducts its affairs in a professional and timely manner. Areas of responsibility include, but are no= t limited to, programming, personnel, budget and finance, fundraising, and public relations. While accountable for the entire operation, the Artistic Director may delegate the work in these areas as is deemed by the Board of Directors to be practical and financially viable. Programming: The Artistic Director oversees the planning and development of the Poetry Project=B9s artistic program, which includes live literary events, writing workshops, publications, web site, archives, and any other forms of literary presentation and preservation the organization undertakes. Personnel: The Artistic Director, in consultation with the Board of Directors, hires the administrative staff, artistic staff, auxiliary staff, and independent contractors. Once new staff is hired, the Artistic Director is responsible for their orientation, training, and ongoing supervision. Traditionally the Artistic Director has served as (1) a coordinator and hos= t for some of the Poetry Project=B9s programming (notably the Wednesday Night Reading Series) and (2) editor of a Project publication, but these roles ar= e not mandatory as long as qualified personnel can be found and funds exist for their hiring.=20 Budget and Finance: The Artistic Director, in consultation with the Board o= f Directors, plans the Poetry Project=B9s annual operating budget. S/he is responsible for ensuring creditors are paid in a timely manner, that accurate financial records are kept, and that actual expenses do not exceed those proposed in the annual operating budget. The Artistic Director oversees the annual financial audit and makes sure that it is distributed t= o all relevant institutions and individuals. The Poetry Project pays an independent contractor to manage its financial records and employs a Certified Public Accountant to create the annual audit. Fundraising: The Artistic Director, in consultation with the Board of Directors, initiates and coordinates the Poetry Project=B9s fundraising efforts. These efforts include, but are not limited to, submitting grant applications to government and private funding agencies, meeting and corresponding with potential funders, cultivating paid membership and individual donors, planning and hosting benefit events, assisting the Board of Directors with its fundraising initiatives, submitting reports and payment requests to individuals and agencies, and investigating new approaches to fundraising. Public Relations: The Poetry Project is a 37-year-old organization with a reputation for offering high-quality programs in an extensive community tha= t is both local and international. It is important that the Poetry Project maintains good working relationships with writers and artists, audiences, arts and literary organizations, funding agencies, representatives of the press and media, and government agencies, as well as the other groups and organizations connected with St. Mark=B9s Church. The Artistic Director works to ensure that Poetry Project=B9s programming and mission are favorably, accurately, and frequently represented in all public arenas. The work of writing press releases, designing advertising, giving interviews, etc. may be delegated to other administrative and auxiliary staff, but the Artistic Director is responsible for the content and appearance of these communications. Mandatory skills/expertise: l) fluency in using personal computers, including word processing (40 wpm minimum), e-mail, and internet navigation= ; 2) light bookkeeping; 3) proofreading, copyediting, and copywriting; 4) event planning and coordination, and 5) ability to work with groups of people. APPLICATION REQUIREMENTS AND PROCEDURE Applications are open to anyone who thinks that s/he can successfully do th= e work of being the Poetry Project=B9s Artistic Director as set out in the job description. Though historically this position has always been held by a poet, applicants from other fields or those who work in other genres will b= e given full consideration. Apply in writing=8Bletters only, no e-mail or faxes accepted. Applications must include the following in order to be considered= . =85 A one-to-two page letter outlining (a) the applicant=B9s interest in being the Poetry Project=B9s Artistic Director, (b) her/his connection to the Poetry Project, (c) her/his qualifications for the job, and (d) any anticipated challenges in doing the job. =85 A one-to-two page resume highlighting the applicant=B9s professional accomplishments and administrative skills. =85 A list of three personal references (and current contact information for each) who can attest to your talents and abilities as they relate to th= e job of being Artistic Director. All applications must be received by March 1, 2003. Apply to: =B3The Search Committee,=B2 The Poetry Project, St. Mark=B9s Church, 131 East 10th St., New York, NY 10003. Applicants may expect a reply by May 1st. Application materials will not be returned. If deemed necessary by the Search Committee= , applicants may be contacted by telephone and/or asked to appear for an in-person interview. The Poetry Project, Ltd. at St. Mark=B9s Church Since its founding in 1966, the Poetry Project, Ltd. at St. Mark=B9s Church in-the-Bowery has served as a venue for public literary events and as a resource for writ-ers. Housed in St. Mark=B9s Church in-the-Bowery, a landmar= k church in Manhattan=B9s East Village, the Poetry Project consistently achieve= s an integrity of pro-gram-ming that challenges, in-forms and inspires workin= g writers, while remaining accessible to the general public. Conducted in an ambience that strikes a reasonable balance between formality and casualness= , the Poetry Project=B9s programs have been especially effective in allowing emerging poets to strengthen their skills as writers and to develop audiences for their work. For more established writers, reading, speaking o= r teaching at the Project provides the all too rare opportunity of presenting work in a context informed by a thorough investigation of literary and cultural possibilities. While being committed to the highest standards of artistic excellence and to preserving vital literary traditions, the Poetry Project has always encouraged the participation of new poets with diverse styles. In fact, each year one-third of the writers presenting work at the Project are doing so for the first time. The Poetry Project offers a Wednesday night reading series, a Monday night reading/performance series, = a Friday late-evening events series; three weekly writing workshops, two literary periodicals, a broadcast service, a web site, and tape and documen= t archives.=20 For more information about the Poetry Project, please visit our web site: www.poetryproject.com ========================================================================= Date: Wed, 5 Feb 2003 09:18:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Love Poems Mime-Version: 1.0 Content-Type: text/plain; format=flowed "You Are Gorgeous and I'm Coming" by Frank O'Hara. Also, in a very different vein, W.C. Williams' "Asphodel." Mark DuCharme <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> 'A sentence thinks loudly.' -—Gertrude Stein http://www.pavementsaw.org/cosmopolitan.htm http://www.nyspp.com/lisa/soc.htm >From: Scott Pound >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Love Poems >Date: Wed, 5 Feb 2003 05:19:45 -0500 > >For a section of an American Poetry course I'm planning, I'd be interested >to hear what people's favorite American love poems are. > >Thanks in advance, > >Scott > >Scott Pound >Assistant Professor >Department of American Culture and Literature >Bilkent University >TR-06800 Bilkent, Ankara >TURKEY > >+90 (312) 290 3115 (office) >+90 (312) 290 2791 (home) >+90 (312) 266 4081 (fax) > >pounds@bilkent.edu.tr _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 5 Feb 2003 11:22:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "Asphodel, That Greeny Flower," by William Carlos Williams "To the Harbormaster," by Frank O'Hara Emily Dickinson's 15 extant letters to Judge Lord #640 "I cannot live with You--" by Emily Dickinson #1368 "Love's stricken "why" by Emily Dickinson many of Bernadette Mayer's "Sonnets" Gloria Frym ========================================================================= Date: Wed, 5 Feb 2003 08:26:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: waldreid@EARTHLINK.NET Subject: Re: Love Poems Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ......many of the very beautiful "to Miriam" poems of Kenneth Patchen....there's a book called The Love Poems of K.P., but take a look at any of his collections....... Diane Wald ========================================================================= Date: Wed, 5 Feb 2003 11:29:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit How refreshing it is to hear Kenneth Patchen's name come up on this list. I was wondering if anyone read him anymore. Now there's a great love poet... waldreid@EARTHLINK.NET wrote: > ......many of the very beautiful "to Miriam" poems of Kenneth Patchen....there's a book called The Love Poems of K.P., but take a look at any of his collections....... > > Diane Wald ========================================================================= Date: Wed, 5 Feb 2003 08:40:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: waldreid@EARTHLINK.NET Subject: patchen / love poems Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hi kevin! patchen's one of my all-time inspirations, one of the greatest----that enormous intelligent heart of his hanging right out there for all of us.....so brave diane How refreshing it is to hear Kenneth Patchen's name come up on this list. I was wondering if anyone read him anymore. Now there's a great love poet... waldreid@EARTHLINK.NET wrote: > ......many of the very beautiful "to Miriam" poems of Kenneth Patchen....there's a book called The Love Poems of K.P., but take a look at any of his collections....... > > Diane Wald ========================================================================= Date: Wed, 5 Feb 2003 12:09:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Love Poems In-Reply-To: <001d01c2cd00$1b045cc0$9452b38b@Moby> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Kevin Young's entire JELLY ROLL: A Blues, his new book of poems to love and love lost, from Knopf. > From: Scott Pound > Organization: Bilkent University > Reply-To: UB Poetics discussion group > Date: Wed, 5 Feb 2003 05:19:45 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Love Poems > > For a section of an American Poetry course I'm planning, I'd be interested to > hear what people's favorite American love poems are. > > Thanks in advance, > > Scott > > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY > > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) > > pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 12:22:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: FW: Scott Pound: request for love poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable > =20 > A personal list tending toward the discoursive & incantatory: >=20 > Sharon Doubiago, "Photograph of the Two of Us," and the Ramon poems = from Hard Country. > Patricia Smith, "Slow Dance."=20 > Jim Harrison, "American Girl." > Ted Berrigan, " For Peire Vidal, & Myself." > James Wright, "Moon." > Ted Joans, "Cuntinent." > Nikki Giovanni, "That Day." > Lenore Kandel, "Naked I Have Known You." > Etheridge Knight, "As You Leave Me" and "Feeling Fucked Up." > though not this America's native turf, Merwin's translation of = Neruda's "Song of Despair." >=20 > JL >=20 ========================================================================= Date: Wed, 5 Feb 2003 09:37:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Love Poems In-Reply-To: <001d01c2cd00$1b045cc0$9452b38b@Moby> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Zukofsky's valentines, etc., have the benefit of being family and friends Paul Blackburn, tho probably not "Love Song" which begins, "Beauty is a promise of happiness wa-hoo" more erotic than love poems, I suppose: William Everson, esp. River-Root, The Rose of Solitude Lenore Kandel, The Love Book (I hope to do include w/ "Naked..." in a New and Selected!) Michael McClure, -- Diane Di Prima, -- Rgds, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Wed, 5 Feb 2003 09:49:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: N.C. congressman says internment of Japanese-Americans during World War II was appropriate In-Reply-To: <000601c2cd3d$4f6d56a0$8f9966d8@CADALY> Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit http://sfgate.com/cgi-bin/article.cgi?file=/news/archive/2003/02/05/ national1209EST0584.DTL ------------------------------------------------------------------------ N.C. congressman says internment of Japanese-Americans during World War II was appropriate Wednesday, February 5, 2003 ------------------------------------------------------------------------ (02-05) 09:09 PST HIGH POINT, N.C. (AP) -- A congressman who heads a homeland security subcommittee said on a radio call-in program that he agreed with the internment of Japanese-Americans during World War II. Rep. Howard Coble, R-N.C., made the remark Tuesday on WKZL-FM when a caller suggested Arabs in the United States should be confined. Coble, chairman of the Judiciary Subcommittee on Crime, Terrorism and Homeland Security, said he didn't agree with the caller but did agree with President Franklin D. Roosevelt, who established the internment camps. "We were at war. They (Japanese-Americans) were an endangered species," Coble said. "For many of these Japanese-Americans, it wasn't safe for them to be on the street." Like most Arab-Americans today, Coble said, most Japanese-Americans during World War II were not America's enemies. Still, Coble said, Roosevelt had to consider the nation's security. "Some probably were intent on doing harm to us," he said, "just as some of these Arab-Americans are probably intent on doing harm to us." ========================================================================= Date: Wed, 5 Feb 2003 09:47:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: Poetry is News, or is it? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" It was gratifying to see that the Secretary's staff have honed their graphic capabilities. I was halfway expecting that to turn into a powerpoint presentation . . . Gary's main issue in his post to the list yesterday seemed to be with the publicity for the Poetry is News event; mine was, and is, with the split between politics and poetry and what the organizers called that "false dichotomy" -- a characterization with which I agree. I was really just looking for a report or review of what happened last Saturday. I repeat that with over twenty posts referencing the event before it happened, and with plans to somehow stage a similar event in Baltimore, it seems odd that no one would post a follow-up report. It would be hard indeed for me to attend New York events from Seattle. Nevertheless, I admit I miss lots of poetry readings -- missed one just the other night by James Tate (sorry, Chris S.) -- and it's true: my non-attendance doesn't necessarily mean I don't share the poet's aesthetics. But to the degree that non-attendance at Saturday's event *did* mean that (for anyone who didn't attend) . . . well, I'd be interested in hearing about it, that's all. The split between politics and poetry is a much more necessary topic for me than what does or doesn't get referenced in New York poetry events (although I'm glad to hear that the organizers might have been mistaken, on that local level). As I said, I neverr quite seem to hear enough about it. To that end, and with the hope that it will provoke some discussion, here's a transcript of what Eliot Weinberger had to say Saturday, intended for public access. I thank Kent Johnson for forwarding it to me. Joe Safdie __________________________________________________________________________ Statement for "Poetry is News" conference St. Mark's Poetry Project, NYC, 1 February 2003 Eliot Weinberger I am both pessimistic and optimistic about what's happening and briefly, or not so briefly, I'd like to say why: First, I take the word "politics" in a very narrow sense: that is, how governments are run. And I take the word "government" to mean the organized infliction or alleviation of suffering among one's own people and among other peoples. One of the things that happened after the Vietnam War was that, in the U.S., on the intellectual left, politics metamorphosed into something entirely different: identity politics and its nerd brother, theory, who thought he was a Marxist, but never allowed any actual governments to interrupt his train of thought. The right however, stuck to politics in the narrow sense, and grew powerful in the absence of any genuine political opposition, or even criticism, for the left had its mind elsewhere: It was preoccupied with finding examples of sexism, classism, racism, colonialism, homophobia, etc. -- usually among its own members or the long-dead, while ignoring the genuine and active racists/ sexists/ homophobes of the right-- and it tended to express itself in an incomprehensible academic jargon or tangentially referential academic poetry under the delusion that such language was some form of resistance to the prevailing power structures--power, of course, only being imagined in the abstract. (Never mind that truly politically revolutionary works-- Tom Paine or the Communist Manifesto or Brecht or Hikmet or a thousand others-- are written in simple direct speech.) Meanwhile, Ronald Reagan was completely dismantling the social programs of the New Deal and Johnson's Great Society-- creating the millions of homeless, the 25% of American children who live in poverty, the obscene polarization of wealth, and so on. (And the poets, typically, were only moved to speak up when he cut the NEA budget.) Clinton might have had a more compassionate public face, but essentially the political center had shifted so far right that today the Democratic party is to the right of any European conservative party, and the Republicans just slightly to the left of a European national front party. We may never live to see an American president as left-wing as Jacques Chirac. The main result of almost thirty years of these so-called politics on the left is that there are now more women and minorities in the Norton anthologies, and we all know how to pronounce "hegemony"-- surely a great comfort to the 4 million people, predominately black men, currently in the prison system, or the teenage girls in most places in America who need an abortion and there's nowhere to get help, or the parents and babies who create the statistics of by far the highest infant mortality rate among the technological nations, or the 20% of high school seniors who can't find the U.S. on a world map. The good news about the monstrosity of the Bush administration is that it is so extreme and so out of control that it has finally woken up the left, and once again we're talking about politics as the rest of the world knows it, about people getting slaughtered, people being hungry, and people as a capitalist construct or queer musicology. The best news of all is that very young people-- the generation of the Zeroes-- after the decades of MTV and Nintendo somnambulism, are being politicized by the collapsed economy, the prospect of a reinstituted draft, and the realization that their sneakers are made by child-slaves in the Third World. Every political youth movement has its own culture-- look at the 30's, the 60's, or radical Islam today. It will be extremely interesting to see, and utterly unexpected to find, what culture this youth movement produces: What will be their ideals and practices, their music and poetry, or even their dress? I have a feeling that we won't have a clue, and that their response may well be a sort of iconoclastic asceticism, not unlike radical Islam, impervious to corporate takeover, and completely alien to their parents. [One of the hardest things for people my age to understand is that this is not 1967 all over again, that things are going to be very different, and that, if we don't learn to listen, we are going to end up being, as our old formula goes, part of the problem and not part of the solution.] I take this gathering as a kind of union meeting-- the union of writers, mainly poets-- and it seems to me the primary question for us is: things are going to be happening with or without us, are we going to be part of it, or are we going to continue to talk about essentialism at the MLA and finding your voice at the AWP? Poets in times of political crises basically have three models. The first is to write overtly political poems, as was done during the Vietnam War. 95% of those poems will be junk, but so what? 95% of anything is junk. It is undeniable that the countless poems and poetry readings against the Vietnam War contributed to creating and legitimizing a general climate of opposition; they were the soul of the movement. And it also resulted in some of the most enduring poems of the 20th century, news that has stayed news indeed. The second model is epitomized by George Oppen, who as a Communist in the 30's, and a poet uncomfortable with the prevailing modes of political poetry, decided that poets should not be treated differently from others, that the work to be done was organizing, and so he stopped writing and became a union leader. The third model is César Vallejo, another Communist in the 20's and 30's. He refused to write propaganda poems-- he wanted to write the poems he wanted to write-- so to serve the cause he wrote a great deal of propaganda prose. The first model (political poems) is the most common, and no doubt the one we'll be seeing the most, and frankly it will come as a relief from all those anecdotes of unhappy childhoods and ironic preoccupations with "surface." Oppen, of course, was a kind of secular saint-- and most of us are too egotistical to take a vow of silence. But it is the example of Vallejo that seems to me the least explored. People who are poets presumably know something about writing. So why does it never occur to them to write something other than poems? There are approximately 8000 poets registered in the Directory of American Poets--are there even four or five who have written an article against the Bush Administration? Most of us can't get onto the Op-Ed page of the Times--we'd never displace Condoleezza there-- but most of us do have access to countless other venues: hometown newspapers, college newspapers, professional newsletters, specialist magazines, websites, and so on. All writers have contacts somewhere, and all these periodicals must fill their pages. Even poetry magazines: Why must poetry magazines always be graveyards of orderly tombstones of poems? How many of them in the 1980's, for example, even mentioned the name "Reagan"? How many of them today have any political content at all? I've been writing articles since Bush's inauguration for translation in they at least help to demonstrate that the US is not a monolith of opinion. Foreign periodicals can't get enough of Americans critical of Bush-- which is why the collaboration of such supposedly antiwar poets as Robert Creeley and Robert Pinsky in the recent State Dept anthology was so grotesque. If, as they claim, they wanted to give Americans a human face, there was no end of other forums abroad-- they didn't have to do it as flunkies for Bush. More tellingly, the only public condemnations of that anthology have come from foreign newspapers-- American writers were either indifferent or afraid of alienating a future prize jury. I do think they can be slowed down. ========================================================================= Date: Wed, 5 Feb 2003 09:52:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Love Poems In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii "Brown Circle" is Louise Gluck's sort of love poem to her son-- "Touch Me" by Stanley Kunitz "Curriculum Vita" by Lisel Mueller "The Gift"--Li-Young Lee to his father "The Pomegranate" Eavan Boland to her daughter "Willi, Home" by Jean Valentine "Caritas" by Olga Broumas "Underneath 13" by Jorie Graham ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 5 Feb 2003 10:01:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Thanks to Gloria and Mark for mentioning "Asphodel" -- and others for Patchen. I was wondering if anyone could help me remember a Muriel Rukeyser love poem I read years ago which has always haunted me . . . the only (repeated) line I remember is "And yes, my love, we are looking at each other" Even that might be a misquotation. Anyway, that one! -----Original Message----- From: Tisa Bryant [mailto:tisab@EARTHLINK.NET] Sent: Wednesday, February 05, 2003 9:09 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Love Poems Kevin Young's entire JELLY ROLL: A Blues, his new book of poems to love and love lost, from Knopf. > From: Scott Pound > Organization: Bilkent University > Reply-To: UB Poetics discussion group > Date: Wed, 5 Feb 2003 05:19:45 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Love Poems > > For a section of an American Poetry course I'm planning, I'd be > interested to hear what people's favorite American love poems are. > > Thanks in advance, > > Scott > > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY > > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) > > pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 13:06:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: request for contact info In-Reply-To: <80C1CDD1883C95448C7AF90BCBCD9B1A692F79@MSG00CV00.utad.utoledo.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hello All--I could use contact info for any and all of the following: Eliot Weinberger, Michael Palmer, Michael Davidson, Kathleen Fraser, Rosmarie Waldrop, Leslie Scalapino, Kristin Prevallet. Thanks, Steve ========================================================================= Date: Wed, 5 Feb 2003 10:06:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Love Poems In-Reply-To: <000601c2cd3d$4f6d56a0$8f9966d8@CADALY> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable "Asphodel" would be at the top of my list, but there are a lot of other of= =20 Williams' poems that are shorter and fill the bill (sorry). Raises the question, tho, about what we mean by "love poem." "Asphodel" is= =20 obviously a pretty complex take on a complex phenomenon that, for Williams,= =20 at once involves withdrawal from the larger world and engagement with it.=20 Creeley, almost anywhere in the work through the 70s, is another=20 case--surely one of the best, but not a lot of bouquets of roses. Once the= =20 love poem becomes more widely involved or more analysis than song of praise= =20 is it still conveniently part of a genre unto itself? Of course, the same=20 could be asked of any genre. Back to list: Pound's "River Merchant's Wife." Here's one from Gerrit Lansing: A Ghazal of Absence (Blue Ghazal, for D. If I had trained a gull I'd send it off to Boothbay Harbor (like Solomon to Sheba, like Hafiz to his Friend) bearing greetings and compleyntes of absence from "the cypress envying your figure & the moon bowled over by your face." The bird would say: you there, captain, though you are Absconditus my heart is touching you sunrise to sunset the winds weave endlessly between us & let of my Affection the boiling deepsea currents testify. Lest the warriors of grief ravage your beauty (la Beaut=E9) I send you the ransom of my self-love, keep it, musicians will play out Gerrit's desire in the mode of this poem which is like a "gazelle." Mark ========================================================================= Date: Wed, 5 Feb 2003 13:23:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "Looking At Each Other," found in BREAKING OPEN. JL -----Original Message----- From: Safdie Joseph [mailto:Joseph.Safdie@LWTC.CTC.EDU] Sent: Wednesday, February 05, 2003 1:01 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Love Poems Thanks to Gloria and Mark for mentioning "Asphodel" -- and others for Patchen. I was wondering if anyone could help me remember a Muriel Rukeyser love = poem I read years ago which has always haunted me . . . the only (repeated) = line I remember is "And yes, my love, we are looking at each other" Even that might be a misquotation. Anyway, that one! -----Original Message----- From: Tisa Bryant [mailto:tisab@EARTHLINK.NET] Sent: Wednesday, February 05, 2003 9:09 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Love Poems Kevin Young's entire JELLY ROLL: A Blues, his new book of poems to love = and love lost, from Knopf. > From: Scott Pound > Organization: Bilkent University > Reply-To: UB Poetics discussion group > Date: Wed, 5 Feb 2003 05:19:45 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Love Poems > > For a section of an American Poetry course I'm planning, I'd be > interested to hear what people's favorite American love poems are. > > Thanks in advance, > > Scott > > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY > > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) > > pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 13:25:31 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: request for contact info MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit What kind of contact? email? Why not look in A Directory of American Poets and Writers put out by Poets & Writers? Gloria Frym ========================================================================= Date: Wed, 5 Feb 2003 13:30:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: Love Poems In-Reply-To: <20030205175256.57317.qmail@web40804.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" And let us not forget -- -Name- and "Shared Sentences" by Alan Davies, plus many poems from -Candor- "Switching" by Juliana Spahr -Love Songs- by Bruce Andrews -Love Songs- and -Songs: Set Two: A Short Count- by Edward Dorn And Scott, if you get a chance, tell us a bit about the mood in Turkey re. Iraq. ========================================================================= Date: Wed, 5 Feb 2003 14:00:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Charm of the Highway Strip objects in the mirror are mirrors backbeats help strip it clean we're watching Al-Jazeera & getting high beneath a gray anvil of history where are the poets? check the discos ask a stranger I'm fast and danger past shiny convenence and cute but reductive theories of inaction come take a seat upon my anger sword sonic booms that got stopped by God they had big dicks for hearts black telephones for headlights in thievespeak, how do you say "go ahead, gas up the family tank" our boys march over hymens to victory _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 5 Feb 2003 14:20:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: request for contact info In-Reply-To: <55.3818d47b.2b72b11b@cs.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Preferably email. And thanks, I will look there, but sometimes this is better and faster. On Wed, 5 Feb 2003, Gloria Frym wrote: > What kind of contact? email? Why not look in A Directory of American Poets > and Writers put out by Poets & Writers? > > Gloria Frym > ========================================================================= Date: Wed, 5 Feb 2003 12:11:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: the peroid always comes after the comma In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit the peroid always comes after the comma I am he she - she was or is he - he was always she - or he - I was neither or both or someone that wasn't either - they were rich - lived on the other side of town -in a trailer park - the kind with no shrubs and pickup trucks - I always wanted to be them or him or her - and she wanted to be him and he her - especially during sex when we were all the same - but that was later when they moved away from our hometown - a place I never knew - I knew them only from a distance - they were my neighbors - we shared a room - my parents would leave and each time they returned they would say I have a new brother - or sister and brother - or one of them died but I never knew - than my parents were taken away - I never knew my parents - I grew up and a foster home and then was moved to different foster home and then if different foster home - it was a big house - my family had lived there for generations - my grandmother or father - they looked the same - lived in the room next to mine - there always wore the same clothes - a mother or father of someone else would always get angry when my grandfather or mother drank - it was mostly about my father who was drunk all the time - especially after my mother left - the one I never knew - I was too young - that's how I got to know him or her - we were both in the same burn unit- I was trying to quit smoking - they were still on methadone but wanted a better life - that's what they got married - or that's what they told me when I got older - by then they were dead and I only had a few pictures left of him or her - on at their wedding - his first beer - her first car - the first time I caught a fish as big as a pike - really a small sunfish - I've learned to sail - the three of us would go out alone on long adventures - playing pirate, president, first lady and the tramp - I was the whore - the one begging for mercy after she or he was taken away by the police - I was right there - again with a bad report card - my father or mother would slap me around - by the time I was older and have enough money to buy a car - the first thing I did was ask him out - she came along - all the time I was driving my hand was on my leg - the three of us smoking pot and drinking light beers - after our first child - dressed in spandex - getting ready to enter my first marathon - I knew she or he would be my arch enemy - I would have to face them eye-to-eye - what could I say - I was young I didn't know any better - I get caught in the moment and besides I was drafted - I didn't have some rich mommy or daddy - at first I felt a little guilty - but with the fuck and it yale getting a fulbright - I was at the last march with her or him - really - all I wanted it was to be fucked by her or him - or him as her or her as him - or be fucked as a him by her or her by him for her - but that was after I left my first wife, husband, domestic partner - terrorist on the run since 1967 or 1997 - 1980's the 1980's was when mash went off the air - I could so identify with one of the characters - or all of them - have been served in korea - but that was different - that was the big - we use the big one on those japs - and even after I was in england or france - I returned to the same old whites only - until color TV started to come into vogue - the three of us would gather to watch disney on parade - which I loved especially when my parents were fighting - a would be alone and every once in awhile someone like elvis or the beatles - I just loved john - or something mick - would be on the cover of the post I would buy along with the national geographic - I mean I didn't know what got into me - it was the first time I had seen someone else's penis or breast - so we all sat around and jerked-off and fondle each other - when I was done I looked around to make sure no one was looking - the deserved it wearing those clothes - short skirts, tight pants - school quarterbacks with those firm breast - that's what he or she or my mother or father said they liked best - of vanilla sunday every time after - or good cigarette or the movies- especially on fridays - anything to get away - after work I would get in free - that's why worked at the theater - I could live on popcorn, candyand juju beans - every halloween they called me the juju beans popcorn lady killer - it was kind of a joke - to leave juju beans behind - the popcorn was a mistake but since it was there - it was the signature he kept doing - that I knew sooner later she would be the next class president - why not he my sister - and as my parents said - to be alone in foster care is the best of all holidays except for water when it's really hot. ========================================================================= Date: Wed, 5 Feb 2003 14:18:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Negative Reviews / Bad Reviewers? In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT A Question (s): What do you do with very negative reviews? Or even well-intentioned reviews that you think missed the point so badly as to be negative? Which is, how do they affect you and/or your work? How can you tell an honest negative review from a hatchet job? Do you think people should write negative reviews? Or should they / we just stick to positive reviews and ignore things we don't like? Or any other questions you might want to answer (like: why in the world did 21 million people watch Joe Millionaire this week?) _JG ========================================================================= Date: Wed, 5 Feb 2003 12:26:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Re: Love Poems In-Reply-To: <001d01c2cd00$1b045cc0$9452b38b@Moby> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Lorine Niedecker's ------- Paul when the leaves fall from their stems that lie thick on the walk in the light of the full note the moon playing to leaves when they leave the little thin things Paul ------- and=20 ------- I knew a clean man but he was not for me. Now I sew green aprons over covered seats. He wades the muddy water fishing, falls in, dries his last pay-check in the sun, smoothes it out in _Leaves of Grass_. He=B9s the one for me. -------- from _The Granite Pail_. on 2/5/03 2:19 AM, Scott Pound at pounds@BILKENT.EDU.TR wrote: > For a section of an American Poetry course I'm planning, I'd be intereste= d to > hear what people's favorite American love poems are. >=20 > Thanks in advance, >=20 > Scott >=20 > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY >=20 > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) >=20 > pounds@bilkent.edu.tr ========================================================================= Date: Wed, 5 Feb 2003 15:29:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: request for contact info In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Why does the EPC not just publish, at a hidden URL to be disclosed only at their discretion, a big directory of Contact Info for Disturbingly Cool Poets? We do get a lot of these requests... and none of them are ever for me! *weeps in poetic agony* --- On Wed, 5 Feb 2003, Steven Shoemaker wrote: > Hello All--I could use contact info for any and all of the following: > Eliot Weinberger, Michael Palmer, Michael Davidson, Kathleen Fraser, > Rosmarie Waldrop, Leslie Scalapino, Kristin Prevallet. > > Thanks, > Steve > ========================================================================= Date: Wed, 5 Feb 2003 14:27:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Poetry Protest Protested In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Roger Kimball is the enemy. I don't even know where to start in response to his knee-jerk, petty response to the poets against the war project. The worst moment comes with his endorsement of the Bush statement: "While Mrs. Bush respects the right of all Americans to express their opinions, she, too, has opinions and believes it would be inappropriate to turn a literary event into a political forum." I think there's nothing more important, more fundamental to the ART of poetry than its engagement with the depth politics of language and society. I'm spittin' mad. I'm glad no one is sitting here with me watching me fume. "She too has opinions", oh poor thing, how will she cope! _JG Herb Levy Writes: ========================================================================= Date: Wed, 5 Feb 2003 18:17:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Poetry Protest Protested MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Kimball's response is on the same level as the response I got from ibs sufferers on the self-help bb so that probably shows the caliber of the publication let let him write his 'review' if that's any consolation, JG "J Gallaher" said > I think there's nothing more important, more fundamental to the ART of poetry > than its engagement with the depth politics of language and society. I'm spittin' > mad. I'm glad no one is sitting here with me watching me fume. "She too has > opinions", oh poor thing, how will she cope! > _JG > I do heartily agree with this and think it's a reflection of mid-USAcentric inclination not to engage with anything - some librarians may personify this (said in the realization that it doesn't apply to all librarians or even feale librarians (as a former male librarian in the then female world - at least mid-level world at that time) having just self-diagnosed myself taoday as suffering from UA (unfocused anger) and FP (finger-pointing) which I'm going to try getting accepted in the forthcoming new edition of the DSM under the cultural Axis? tom bell not yet a-crazy old man ========================================================================= Date: Wed, 5 Feb 2003 12:56:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Love Poems In-Reply-To: <001d01c2cd00$1b045cc0$9452b38b@Moby> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >For a section of an American Poetry course I'm planning, I'd be >interested to hear what people's favorite American love poems are. William Carlos Williams's "Of Asphodel, that Greeny Flower" -- George Bowering Confused by his cell phone Fax 604-266-9000 ========================================================================= Date: Wed, 5 Feb 2003 22:00:00 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: saneh saadati Subject: Re: Love Poems Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Indeed what is a love poem ... - right this instance the first one that comes to mind is Robert Creeley's 'Bresson's Movies' - for me at least, that is love. Saneh _________________________________________________________________ MSN Motor: Allt för den motorintresserade http://motor.msn.se/ ========================================================================= Date: Wed, 5 Feb 2003 13:26:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: Negative Reviews / Bad Reviewers? In-Reply-To: <3E411D1D.12562.28A690@localhost> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit read muriel rukeyser's life of poetry for an excellent essay on criticism DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of J Gallaher Sent: Wednesday, February 05, 2003 12:18 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Negative Reviews / Bad Reviewers? A Question (s): What do you do with very negative reviews? Or even well-intentioned reviews that you think missed the point so badly as to be negative? Which is, how do they affect you and/or your work? How can you tell an honest negative review from a hatchet job? Do you think people should write negative reviews? Or should they / we just stick to positive reviews and ignore things we don't like? Or any other questions you might want to answer (like: why in the world did 21 million people watch Joe Millionaire this week?) _JG ========================================================================= Date: Wed, 5 Feb 2003 13:28:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Negative Reviews / Bad Reviewers? In-Reply-To: <3E411D1D.12562.28A690@localhost> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Answers: > >What do you do with very negative reviews? You don't DO anything with reviews.Read them and then go on to something else. >Or any other questions you might want to answer (like: why in the >world did 21 million people watch Joe Millionaire this week?) What is Joe Millionaire? -- George Bowering Confused by his cell phone Fax 604-266-9000 ========================================================================= Date: Wed, 5 Feb 2003 13:30:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: Love Poems In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Oh and what about Gertrude Stein's incredible long love poem -- from Before the Flowers of Friendship Faded Faded I love my love with a v Because it is like that I love my love with a b Because I am beside that A king. I love my love with an a Because she is a queen I love my love and a a is the best of them Think well and be a king, Think more and think again I love my love with a dress and a hat I love my love and not with this or with that I love my love with a y because she is my bride I love her with a d because she is my love beside Thank you for being there Nobody has to care Thank you for being here Because you are not there. And with and without me which is and without she she can be late and then and how and all around we think and found that it is time to cry she and I. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of saneh saadati Sent: Wednesday, February 05, 2003 1:00 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Love Poems Indeed what is a love poem ... - right this instance the first one that comes to mind is Robert Creeley's 'Bresson's Movies' - for me at least, that is love. Saneh _________________________________________________________________ MSN Motor: Allt för den motorintresserade http://motor.msn.se/ ========================================================================= Date: Wed, 5 Feb 2003 22:20:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: New Hinges for Loose Virginia (Sugar Floor Phrenzy) Mime-Version: 1.0 Content-Type: text/plain; format=flowed my exclamations light did rent the best a la moderation my dearest, she precedes the strength sporting like birds your decipherments socked by fictional universality the morning we wire all lasting now sucks gone addendum versatile through a scene, harm bare Fall pretties, their price washed to fire like my money frees amusements (just a few daily by loveliness fed only the best) Virginia's part fire, part moon charnel-house, her blood bounce-soft, her limestone minutely suspect & enchanted (unlucky handiwork!) her big tongue unfeasibly deep - O big tongue unfeasibly deep, pour lasting rain over the grand overcome! Ah, sweet fluidity of remarkable still-inescapable V! I've got plenty more well-bred razors in this encyclopedic bunker! my dinner reputation always cudgeled red-hot to mark the world from what Virginia marks as literary, "the poem's representations killed every season's zero," the ankle-deep snake chipped in overgrown seems the air, roses ditch what Mercy capitalized horses carefully gnawing the Eastern Almighty, after they're punished we'll blackmail their coffins then beak 'em alive my skin crawls in sympathy when I think 'pon the prowling skin of lefthand flowers, still we puerile the hair for road entertainments our busdriver's the coma Baudelaire devoured, dreaming the dream of dogs with cold roses instead of cold noses, the dreamer's back clung to etceteras of red air, knowing no other words than Sugar Floor Phrenzy _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Thu, 6 Feb 2003 01:06:51 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: Re: Negative Reviews / Bad Reviewers? Mime-Version: 1.0 Content-Type: text/plain; format=flowed why would you want to spend time writing about a book you don't like? ryan >From: J Gallaher >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Negative Reviews / Bad Reviewers? >Date: Wed, 5 Feb 2003 14:18:06 -0600 > >A Question (s): > >What do you do with very negative reviews? Or even well-intentioned >reviews that you think missed the point so badly as to be negative? > >Which is, how do they affect you and/or your work? > >How can you tell an honest negative review from a hatchet job? > >Do you think people should write negative reviews? Or should they / >we just stick to positive reviews and ignore things we don't like? > >Or any other questions you might want to answer (like: why in the >world did 21 million people watch Joe Millionaire this week?) > > > _JG _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 6 Feb 2003 06:26:41 -0600 Reply-To: Michael Leddy Sender: UB Poetics discussion group From: Michael Leddy Subject: Ted Berrigan poem w/Petrarch in it? MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Anyone know where to find the Ted Berrigan poem that quotes (or more-or-less quotes) Petrarch: "In 1327, at exactly the first hour of the sixth of April, I entered the labyrinth," etc. I was certain that it's in A Certain Slant of Sunlight, but it's not. Thanks, Michael ========================================================================= Date: Thu, 6 Feb 2003 07:38:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: The War In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit In the NYT this morning: Poets Pit Pens Against war at: http://www.nytimes.com/2003/02/06/books/06BOOK.html & this in last nigth: Posted on Wed, Feb. 05, 2003 U.S. poet laureate opposes war with Iraq HILLEL ITALIE Associated Press NEW YORK - The threatened war with Iraq has politicized the nation's poets, starting at the very top. In comments rarely heard from a sitting U.S. poet laureate, Billy Collins has publicly declared his opposition to war and says he finds it increasingly difficult to keep politics out of his official job as literary advocate. While at least three of Collins' predecessors also have stated their opposition to war, an incumbent laureate usually sticks to art for art's sake. Poets laureate are not political appointees; the selection is made by the Librarian of Congress, a post currently held by James H. Billington. Collins, who receives an annual stipend of $35,000, is serving his second one-year term. A spokeswoman for the Library of Congress said Tuesday that "Mr. Collins is free to express his own opinions on any subject." Collins, whose books include "Questions About Angels" and "Nine Horses," is a mostly introspective poet who doesn't have a history of political activism. But he defended anti-war poets who last week caused the White House to postpone a symposium sponsored by first lady Laura Bush. "If political protest is urgent, I don't think it needs to wait for an appropriate scene and setting and should be as disruptive as it wants to be," Collins said in a recent e-mail to The Associated Press . "I have tried to keep the West Wing and the East Wing of the White House as separate as possible because I support what Mrs. Bush has done for the causes of literacy and reading. But as this country is being pushed into a violent confrontation, I find it increasingly difficult to maintain that separation." Collins, Nobel laureate Derek Walcott, former U.S. poet laureate Richard Wilbur and about 40 other writers and artists signed an anti-war petition last month. In England, meanwhile, poet laureate Andrew Motion has written an anti-war poem that cites "elections, money, empire, oil" as the motivation for war. Concern about a possible war has also changed what had been a relatively positive relationship between Mrs. Bush and the literary community. A former librarian who has made teaching and early childhood development her signature issues, she has held a series of symposiums to salute America's authors. She planned a Feb. 12 forum on "Poetry and the American Voice," featuring the works of Emily Dickinson, Langston Hughes and Walt Whitman. Through her spokeswoman, Noelia Rodriguez, Mrs. Bush said last Wednesday that it would be "inappropriate to turn a literary event into a political forum" and postponed the forum. It has not been rescheduled. Former poets laureate Stanley Kunitz and Rita Dove were among those who refused to attend and Sam Hamill, a poet and editor of the highly regarded Copper Canyon Press, organized a protest to send anti-war poems and statements to the White House. So far, he has received more than 3,600, to be posted on a Web site. Contributors include Pulitzer Prize winners W.S. Merwin and Galway Kinnell and at least two state poet laureates: Connecticut's Marilyn Nelson and South Dakota's David Allen Evans. "I'm not speaking as a representative of the state, I'm speaking as ... a poet and private individual," Evans said. "I know it's an ambivalent situation and I hesitated to contribute to the project, but I felt that I needed to say I wanted peace instead of war." New Jersey poet laureate Amiri Baraka said he will send a statement to Hamill and is also working on a poem about impeaching President Bush. "Of course, I see it as part of my job. The main task right now is stopping the war," said Baraka, whose poem implying Israel had advance knowledge of the Sept. 11 attacks led critics to call for his resignation. ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 6 Feb 2003 08:24:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Poetry is News, or is it? In-Reply-To: <9664F36261DE32409334B83B21CAEE8E61B2FD@luxor.lwtc.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable as i've said elsewhere, i'm deeply troubled by both the tone and content of weinberger's piece and i wish it were not being circulated as representative of Poetry is News. At 9:47 AM -0800 2/5/03, Safdie Joseph wrote: >It was gratifying to see that the Secretary's staff have honed their graphi= c >capabilities. I was halfway expecting that to turn into a powerpoint >presentation . . . > >Gary's main issue in his post to the list yesterday seemed to be with the >publicity for the Poetry is News event; mine was, and is, with the split >between politics and poetry and what the organizers called that "false >dichotomy" -- a characterization with which I agree. > >I was really just looking for a report or review of what happened last >Saturday. I repeat that with over twenty posts referencing the event before >it happened, and with plans to somehow stage a similar event in Baltimore, >it seems odd that no one would post a follow-up report. > >It would be hard indeed for me to attend New York events from Seattle. >Nevertheless, I admit I miss lots of poetry readings -- missed one just the >other night by James Tate (sorry, Chris S.) -- and it's true: my >non-attendance doesn't necessarily mean I don't share the poet's aesthetics= =2E >But to the degree that non-attendance at Saturday's event *did* mean that >(for anyone who didn't attend) . . . well, I'd be interested in hearing >about it, that's all. The split between politics and poetry is a much more >necessary topic for me than what does or doesn't get referenced in New York >poetry events (although I'm glad to hear that the organizers might have bee= n >mistaken, on that local level). As I said, I neverr quite seem to hear >enough about it. > >To that end, and with the hope that it will provoke some discussion, here's >a transcript of what Eliot Weinberger had to say Saturday, intended for >public access. I thank Kent Johnson for forwarding it to me. > >Joe Safdie >__________________________________________________________________________ > >Statement for "Poetry is News" conference >St. Mark's Poetry Project, NYC, 1 February 2003 > >Eliot Weinberger > > >I am both pessimistic and optimistic about what's happening and briefly, or >not so briefly, I'd like to say why: > >First, I take the word "politics" in a very narrow sense: that is, how >governments are run. And I take the word "government" to mean the organized >infliction or alleviation of suffering among one's own people and among >other peoples. > >One of the things that happened after the Vietnam War was that, in the U.S.= , >on the intellectual left, politics metamorphosed into something entirely >different: identity politics and its nerd brother, theory, who thought he >was a Marxist, but never allowed any actual governments to interrupt his >train of thought. The right however, stuck to politics in the narrow sense, >and grew powerful in the absence of any genuine political opposition, or >even criticism, for the left had its mind elsewhere: It was preoccupied wit= h >finding examples of sexism, classism, racism, colonialism, homophobia, etc. >-- usually among its own members or the long-dead, while ignoring the >genuine and active racists/ sexists/ homophobes of the right-- >and it tended to express itself in an incomprehensible academic jargon or >tangentially referential academic poetry under the delusion that such >language was some form of resistance to the prevailing power >structures--power, of course, only being imagined in the abstract. (Never >mind that truly politically revolutionary works-- Tom Paine or the Communis= t >Manifesto or Brecht or Hikmet or a thousand others-- are written in simple >direct speech.) Meanwhile, Ronald Reagan was completely dismantling the >social programs of the New Deal and Johnson's Great Society-- creating the >millions of homeless, the 25% of American children who live in poverty, the >obscene polarization of wealth, and so on. (And the poets, typically, were >only moved to speak up when he cut the NEA budget.) Clinton might have had = a >more compassionate public face, but essentially the political center had >shifted so far right that today the Democratic party is to the right of any >European conservative party, and the Republicans just slightly to the left >of a European national front party. We may never live to see an American >president as left-wing as Jacques Chirac. > >The main result of almost thirty years of these so-called politics on the >left is that there are now more women and minorities in the Norton >anthologies, and we all know how to pronounce "hegemony"-- surely a great >comfort to the 4 million people, predominately black men, currently in the >prison system, or the teenage girls in most places in America who need an >abortion and there's nowhere to get help, or the parents and babies who >create the statistics of by far the highest infant mortality rate among the >technological nations, or the 20% of high school seniors who can't find the >U.S. on a world map. > >The good news about the monstrosity of the Bush administration is that it i= s >so extreme and so out of control that it has finally woken up the left, and >once again we're talking about politics as the rest of the world knows it, >about people getting slaughtered, people being hungry, and people as a >capitalist construct or queer musicology. The best news of all is that very >young people-- the generation of the Zeroes-- after the decades of MTV and >Nintendo somnambulism, are being politicized by the collapsed economy, the >prospect of a reinstituted draft, and the realization that their sneakers >are made by child-slaves in the Third World. Every political youth movement >has its own culture-- look at the 30's, the 60's, or radical Islam today. I= t >will be extremely interesting to see, and utterly unexpected to find, what >culture this youth movement produces: What will be their ideals and >practices, their music and poetry, or even their dress? I have a feeling >that we won't have a clue, and that their response may well be a sort of >iconoclastic asceticism, not unlike radical Islam, impervious to corporate >takeover, and completely alien to their parents. [One of the hardest things >for people my age to understand is that this is not 1967 all over again, >that things are going to be very different, and that, if we don't learn to >listen, we are going to end up being, as our old formula goes, part of the >problem and not part of the solution.] > > >I take this gathering as a kind of union meeting-- the union of writers, >mainly poets-- and it seems to me the primary question for us is: things ar= e >going to be happening with or without us, are we going to be part of it, or >are we going to continue to talk about essentialism at the MLA and finding >your voice at the AWP? > >Poets in times of political crises basically have three models. The first i= s >to write overtly political poems, as was done during the Vietnam War. 95% o= f >those poems will be junk, but so what? 95% of anything is junk. It is >undeniable that the countless poems and poetry readings against the Vietnam >War contributed to creating and legitimizing a general climate of >opposition; they were the soul of the movement. And it also resulted in som= e >of the most enduring poems of the 20th century, news that has stayed news >indeed. > >The second model is epitomized by George Oppen, who as a Communist in the >30's, and a poet uncomfortable with the prevailing modes of political >poetry, decided that poets should not be treated differently from others, >that the work to be done was organizing, and so he stopped writing and >became a union leader. > >The third model is C=E9sar Vallejo, another Communist in the 20's and 30's.= He >refused to write propaganda poems-- he wanted to write the poems he wanted >to write-- so to serve the cause he wrote a great deal of propaganda prose. > >The first model (political poems) is the most common, and no doubt the one >we'll be seeing the most, and frankly it will come as a relief from all >those anecdotes of unhappy childhoods and ironic preoccupations with >"surface." Oppen, of course, was a kind of secular saint-- and most of us >are too egotistical to take a vow of silence. But it is the example of >Vallejo that seems to me the least explored. > >People who are poets presumably know something about writing. So why does i= t >never occur to them to write something other than poems? There are >approximately 8000 poets registered in the Directory of American Poets--are >there even four or five who have written an article against the Bush >Administration? Most of us can't get onto the Op-Ed page of the Times--we'd >never displace Condoleezza there-- but most of us do have access to >countless other venues: hometown newspapers, college newspapers, >professional newsletters, specialist magazines, websites, and so on. All >writers have contacts somewhere, and all these periodicals must fill their >pages. Even poetry magazines: Why must poetry magazines always be graveyard= s >of orderly tombstones of poems? How many of them in the 1980's, for example= , >even mentioned the name "Reagan"? How many of them today have any political >content at all? > >I've been writing articles since Bush's inauguration for translation in the= y >at least help to demonstrate that the US is not a monolith of opinion. >Foreign periodicals can't get enough of Americans critical of Bush-- which >is why the collaboration of such supposedly antiwar poets as Robert Creeley >and Robert Pinsky in the recent State Dept anthology was so grotesque. If, >as they claim, they wanted to give Americans a human face, there was no end >of other forums abroad-- they didn't have to do it as flunkies for Bush. >More tellingly, the only public condemnations of that anthology have come >from foreign newspapers-- American writers were either indifferent or afrai= d >of alienating a future prize jury. > >I do think they can be slowed down. -- ========================================================================= Date: Wed, 5 Feb 2003 17:05:58 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: pardeiza MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Pardeiza pardeiza while skin limitless rippling X the constant aftermath grew patternXXXXXXXXXXXXX hortus conclusus skin musicXXXXXXXXXX where echoing pattern diagrammaticXXXXXXXXXXXXXXXX skin of closures dense rippling XXXXXXXXXXXXXXXXXXXXXX skin inside inside quelling skinXXXXXXXXXXXXXXXXXXXXXXXX roseate anodyne closures denseXXXXXXXXXXXXXXXXXXXXXXXXX skin unfolding quelling pulse XXXXXXXXXXXXXXXXXXX vellicative music turned skinXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX silent gliding codeless rippling XXXXXXXXXXXXXXXXXXXXX skin pattern burned music patternXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX limitless music skin roseate XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX musicless and codeless ornationXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX roseate plumed in dense orationXXXXXXXXXXXXXXXXXXXXXXXXX symmetry of capillaric calligraphiesXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX alphabetic veinworks pulse with echoingXXXXXXXXXXXXXXXXXXXXXXXXXXXXX molten dimagnetic turban of tokamak XXXXXXXXXXXXXXXXXXXX echoing silent skin glyphs of ionic bloodstoneXXXXXXXXXXXXXXXXXXXXXXXX momentary foetal and diagrammatic cloissonne'XXXXXXXXXXXXXXXXXXXXXX lyricatessellata of postulate eyes pardeizaXXXXXXXXXXXXXXX gliding skin gathering tapered sequelaeXXXXXXXXXXXXXXXX rewritten in the rippling trigewgawmetry surfaceXXXXXXXXXXX luftwells of skin pulse roseate imaginal serenity = echoingXXXXXXXXXXXXXXX temporalnode gardens fluid in the mistakenXXX echoing and theophantic reification of in'ch'allahXXXXXXXXXXXXXXXXXXX quelling a narcolepsy of quantuum drunkenessXXXXXXXXXXXXXXXXXXX every neuron an enraptikonic diaphanous imamXXXXXXXX pardeiza of sun-petalled nuclear glass skinXXXXXXXXXX in dual incarnation with garden echoingXXXXXXXXXXXXXXXXXXXXXX tier upon tear of green skull bulbs etchedXXXXXXXXXXXX by the jeweled pulse and nib-footed wasps XXXXXXXXXXXXXXXXXXXXXX whose interferometric ghazals quellingXXXXXXXXXXXXXXXXXXXXXXXXXX roseate in fractalkufic pardiscriveningXXXXXXXXXXXXXXXXXX echoing leave dripping chromatic opiatesXXXXXXXXXXXXXXX skin of luminous ichorsong music drippingXXXXXXXXXXXXXXXXXXXXXXXX which r'endimanch=E9 the waxen pulse mantelscapeXXXXXXXXX skin of each unique and lucid smaragdine botanical yorickXXXXXXXXXXXXXX in their ogiastic and joybleeding limbscatterXXX amour propre skin of an imploding quellingXXXXXXXXXXXXXXXXXXXXXXX and luxurious scimitar music echoingXXXXXXXXXXXXXXXXXXXXXXXXXXX roseate skin of miniature daysXXXXXXXXXXXX platanus orientalis rippling pardeizaXXXXXXXXXXXXXXXXXXXXXXXXXXXX skin pattern of crystalline nanofoamXXXXXXXXXXXXXXXXXXXXXXXXXXXXX pardeiza line the reflection's mindXXXXXXXXXXXXXXXXXXXX chehel sotoon skin of error's perfectionXXXXXXXXXXXXXXXXX WWW.GREATSKULLZERO.COM ========================================================================= Date: Wed, 5 Feb 2003 15:37:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: Poetry Protest Protested In-Reply-To: <01cd01c2cd75$31332ba0$f2113444@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I think that Kimball is not an actual person, but an algorithm somewhere deep in the bowels of the servers that support the Hoover Institute at Stanford. Robert -- Robert Corbett "I will discuss perfidy with scholars as rcor@u.washington.edu as if spurning kisses, I will sip Department of English the marble marrow of empire. I want sugar University of Washington but I shall never wear shame and if you call that sophistry then what is Love" - Lisa Robertson On Wed, 5 Feb 2003, tombell wrote: > Kimball's response is on the same level as the response I got from ibs > sufferers on the self-help bb so that probably shows the caliber of the > publication let let him write his 'review' if that's any consolation, JG > > "J Gallaher" said > > > I think there's nothing more important, more fundamental to the ART of > poetry > > than its engagement with the depth politics of language and society. I'm > spittin' > > mad. I'm glad no one is sitting here with me watching me fume. "She too > has > > opinions", oh poor thing, how will she cope! > > _JG > > > > I do heartily agree with this and think it's a reflection of mid-USAcentric > inclination not to engage with anything - some librarians may personify this > (said in the realization that it doesn't apply to all librarians or even > feale librarians (as a former male librarian in the then female world - at > least mid-level world at that time) > > having just self-diagnosed myself taoday as suffering from UA (unfocused > anger) and FP (finger-pointing) which I'm going to try getting accepted in > the forthcoming new edition of the DSM under the cultural Axis? > > tom bell > > not yet a-crazy old man > ========================================================================= Date: Thu, 6 Feb 2003 08:32:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Love Poems In-Reply-To: <001d01c2cd00$1b045cc0$9452b38b@Moby> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" robert duncan, "the torso," "treesbank poems," "sonnet 4,"variations upon phrases from milton's The Reason of Church Government" gertrude stein, "lifting belly" hart crane, "voyages" (?) and "by melville's tomb" (may be getting some of these titles wrong as i'm far from my sources) almost anything by whitman jack spicer, "ghost song" robert creeley, "the token" yes most of kenneth patchen At 5:19 AM -0500 2/5/03, Scott Pound wrote: >For a section of an American Poetry course I'm planning, I'd be >interested to hear what people's favorite American love poems are. > >Thanks in advance, > >Scott > >Scott Pound >Assistant Professor >Department of American Culture and Literature >Bilkent University >TR-06800 Bilkent, Ankara >TURKEY > >+90 (312) 290 3115 (office) >+90 (312) 290 2791 (home) >+90 (312) 266 4081 (fax) > >pounds@bilkent.edu.tr -- ========================================================================= Date: Thu, 6 Feb 2003 06:23:45 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: /ubu Editons :: Launch + Winter 2003 Titles MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit __ U B U W E B __ http://ubu.com UbuWeb is pleased to announce the launch of our new E-Book series, /ubu Editions (pronounced "slash ubu"). The Winter 2003 series, featuring 13 titles, is edited by Brian Kim Stefans and features a mix of reprints and new material presented in book-length PDF files. Each title is beautifully designed and features images from the UbuWeb site. /ubu Editions can be accessed at: http://ubu.com/ubu -------------------------------------- /ubu Editons :: Winter 2003 Titles -------------------------------------- Kevin Davies _ Pause Button _ Davies writing takes the social critique of the Language Poets and the crushing ear of the best Projective versifiers and sets it all in cyclotronic motion with his rapier's wit and caffeinated melancholy, making him the Zorro of poets associated with Vancouver's Kootenay School of Writing and the anthemist of choice for a disowned intelligentsia. Davies, who now lives in New York, published his second book, _Comp._, in 2000 to much acclaim, but the quasi-legendary _Pause Button_, first published in 1992 by Vancouver's Tsunami Editions, has long been unavailable to those not in the vicinity of Canada's choice used bookstores. Deanna Ferguson _The Relative Minor_ Ferguson's first book of poems is at once frenetically impatient with anything that could be called a lyrical subjectivity yet speaks, through the sliced rubrics of its many "postmodern" poses, from a perspective singularly angry, disaffected, vulnerable, eloquent, political and brash. The Relative Minor takes the project of the Language poets to the next level of public address, the scale tipping from (though not forgetting) the lexicons of theory and falling toward the pure, dystopic clamor of punk aspiration. Ferguson, who lives and works in Vancouver, has not published a book since this 1993 volume, one of the major contributions by the poets associated with the Kootenay School of Writing. Richard Foreman _Now That Communism is Dead My Life Feels Empty!_ For years, Foreman has been staging his plays at St. Mark's Ontological Theater with the regularity of the great Avant-Pop-in-the-Sky's postmodernist pacemaker, tooling his "reverberation machines" into a pristine state of subversive whimsy. Though the reader of this text will miss the virtuoso performances of Tony Torn and Jay Smith as bathetic superheroes dueling over the fallen Iron Curtain in the play's New York run, the paranoiac frenzy and epistemological funboxes of Foreman's high style are alive and flinching in _Now That Communism is Dead_. Madeline Gins _What the President Will Say and Do!!_ Madeline Gins has mostly been known for her collaborative works with the architect/philosopher Arakawa, releasing _Mechanism of Meaning_, an illustrated series of playful epistemological vignettes, in 1979, and devoting most of the last two decades exploring Reversible Destiny, a radical philosophy of architecture in which one "refuses to die." _What the President_ is Gins in a more light-hearted, accessible vein, her creative assaults on mundane thinking arousing both laughter and caustic impatience with the status quo. Rarely has a book appeared as prescient and poignant twenty years after its initial publication. Jessica Grim _Vexed_ Grim's style masterly evokes the simplicities of poetry in the "New American" vein, with its fragments of candid observation just shimmering on the surface of the poem, but she allies it with a "post-Language" sensibility that balks before the prospect of a too-fluid Romanticism, thus spicing sensual reverie with documentary relevance. The musicality of Grim's poems is understated, the words delicately gathered, such that the poems occasionally seem given over to indeterminacy and chance, but in fact each one has a formal perfection that illustrates an underlying lyrical integrity. Peter Manson _Adjunct: An Undigest_ Adjunct _forms a teetering, overloaded bridge between practitioners of subjectively-deodorized "conceptual literature" such as Kenneth Goldsmith and Craig Dworkin and writers working in a "new sentence" vein such as Language poets Bruce Andrews and Lyn Hejinian, all with a nod to novelist David Markson's _Reader's Block_. But _Adjunct _is far from an organized literary venture; rather, it is a sprawling, subconsciously assembled stockpile of casual phrases, trivial ideas, worthless statistics, obituary notices, self-reflexive misgivings, and numberless, numbing et ceteras that make it an electric anthem to cultural (and personal) entropy. Michael Scharf _Verite_ Scharf's poems are at once vulnerable to, and defiant of, the impositions of civic society, as the strands of global and historical implication wafting through the air that strike most of us as attenuated notes of "otherness" are transformed, for this poet, into the throbbing heart of community. The roving eye of _Verite_ takes in quantities of data that would sink writers with a less fluid and agile lyric touch, and the mixture of journalism, sonnets, "lieder" and manifesto-like prose poetry make this a compelling, multi-faceted collection, the second by this New York author. Ron Sillman _2197_ Silliman is known for several seminal long poems such as _Tjanting _and _Ketjak_, and he has been involved in writing the long "new sentence" (he coined the phrase) poem _The Alphabet_ for over twenty years. _The Age of Huts_, published by Roof Books in 1986, has had a quieter reputation, despite its relatively concise display of Silliman's wide formal experimentation and mastery. "2197" is the second half of the book, and anticipates, with its stock of phrases morphing and reappearing in different acrobatic poses throughout its pages, the preoccupation with dataflows, rhizomes and digital recurrence that has characterized much literature in the age of the internet. Ron Sillman _Sunset Debris_ Silliman is known for several seminal long poems such as _Tjanting _and _Ketjak_, and he has been involved in writing the long "new sentence" (he coined the phrase) poem _The Alphabet_ for over twenty years. _The Age of Huts_, published by Roof Books in 1986, has had a quieter reputation, despite its relatively concise display of Silliman's wide formal experimentation and mastery. "Sunset Debris" is, structurally, a collection of questions, but the cumulative affect of the queries is both giddily intoxicating and, subterraneously, melancholic, as the voice of personal entreaty become subsumed under the ceaseless rhythms of its literary method and, by extension, time and memory. Juliana Spahr _Response_ Spahr's deceptively simple language conveys a serious and complex assessment of civic duty and the potential for political agency in a time when selfhood -- one's sense of uniqueness and of the _permanence _of one's personality -- has been severely compromised. Under fire by a mass media that trivializes all values for the sake of ratings and shunned by the opaque workings of a State that ignores, for the sake of control, the eye of the radical democrat, the individual is, in Spahr's poetry, revived to take center stage, floodlit by possiblity. _Response_, Spahr's first book (_Fuck You-Aloha-I Love You_ appeared in 2001), was the winner of the National Poetry Series in 1996, and demands of the reader a new sense of participation in the social world. Hannah Weiner _Little Books / Indians_ Weiner, who died in 1997, culled from what she considered a psychic ability -- she literally saw words on the foreheads of her many New York friends and transcribed them like extrasensory conversations -- to create her typographically distinctive books of poetry. But there is nothing naïve about what Weiner was doing: she was a self-conscious, sophisticated artist, a close friend of the great innovator Carolee Schneemann, and has long been considered a central figure in Language poetry. Weiner's oeuvre reflects a complex, totalizing investment in the properties of words as they permeate and conflict with the self and the imagined "other," and _Little Books/Indians_, long out of print, is both a visual treat and an engaging read. Mac Wellman _The Lesser Magoo_ The final of the four plays of Wellman's Crowtet, Magoo follows the adventures of Curran and Candle -- an expert on "Crowe's Dark Space" -- and their motley assemblage of peers, some of them categorically "unusualist," in the parallel, decidedly unsettled, universe that is distinctly Wellman's. Magoo is chockfull of alternative histories, comprehensive pseudo-sciences, eerily relevant, off-the-map absurdist politics and soft-spoken contacts between humans all vying for attention in the seemingly self-propelled linguistics of Wellman's versification, which at turns recalls Beckett, at others the polymath Pynchon or the more childlike landscapes of Ashbery (in Girls on the Run). The music for The Lesser Magoo, scored for voices, toy piano, ukulele, and violin, was composed by Michael Roth, for both the Los Angeles and the New York productions. Darren Wershler-Henry _ The Tapeworm Foundry _ Toronto-based Wershler-Henry's last book of poems, _Nicholodeon_, was a seemingly exhaustive survey of the possibilities of concrete and process-based poetry in the Nineties, organized like a paper database with icons to guide the wary reader toward conceptual handles. _The Tapeworm Foundry_ is, in some ways, the opposite: a single unpunctuated sentence of pro-Situ proposals that resembles a social virus more than a functioning data-organism, its litany of avant-garde projects linked only by the seemingly innocuous, but progressively more imperative-sounding, "andor." -------------------------------------- /ubu Editons :: Winter 2003 Titles ----------------------------------- /ubu Editions can be accessed at: http://ubu.com/ubu __ U B U W E B __ http://ubu.com ========================================================================= Date: Wed, 5 Feb 2003 16:45:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: dirty Bernadette poem In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Date: Wed, 05 Feb 2003 11:45:57 -0800 (PST) From: Stephen Baraban Subject: Oh,wait, I took a closer look at the thread & see To: Kevin Davies MIME-version: 1.0 Original-recipient: rfc822;kd7@mail.nyu.edu that happily "Asphodel" is much mentioned. You could pass along the other suggestions... + that Mayer poem with lines something like "this time we didn't even get past the befroom door before"...you know that really raucus erotic poem, I'm not home or at a library, so I don't know the title. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 6 Feb 2003 05:56:19 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: CIRCULARS: statements and responses by poets and literary critics concerning u.s. foreign policy (with URL) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit CIRCULARS statements and responses by poets and literary critics concerning u.s. foreign policy forgot this! ==> http://www.arras.net/circulars/ --- I'd like to announce the "soft launch" of a new multi-authored blog, CIRCULARS. I'll refrain from laying out the specific intentions of the site except to point to my original "mission statement" later in this email, and to list the three purposes that I see the site serving: 1. To be a central message board for poets concerning significant actions or events that pertain to progressive politics -- an "action center." 2. A storehouse of statements by poets, artists, etc., concerning US war policy, etc., including updates on activities ("Debunker" mentality, reading groups, etc.) -- the "conscience of the community." 3. A place to practice and investigate a form of writing I call the "circular," which is that type of brief, quasi-manifesto (or humorous, or polemic) statement that can be zinged around the internet (and also be printed out) that contributes to the general pool of rhetorical strategies (tones, tropes, emphases) that can be employed in making passionate, relevant critiques of war policy, etc. -- a "workshop" At this point I am the only editor for the site but I'm putting together materials and will invite people to have author privileges to the site as time goes by. I don't want to just open the site up to everybody since my fear is that it will quickly lose focus and become a glorified links site rather than the workshop/activist site I envision. I'm still working out this structure; also, the design of the site, including sidebar, graphics, etc., is rudimentary at the moment. Other features will include guest edited "sub-sites" that target more activist, or theoretical, issues. PLEASE NOTE: because I'm presently the only editor, please don't send me a flood of emails making special requests -- a nice note is always welcome, a little feedback, yes, but for now I'd rather not spend too much time answering emails as I'm quite busy putting together training materials, designing the site, etc. My hope is not to receive too many submissions until I have the editorial structure in place. If you do come across, or write, something you think belongs here then, yes, send it on, but I have no intention of collecting everything written by a poet that expresses anti-war sentiment -- there's just too much. Please read the statement below and look the site over first before submitting -- this is not a literary journal. THE BEST THING YOU CAN DO is to put your email address in the notification list box on the upper righthand corner of the screen. If you are receiving this email it is either because you are in my private address book or on some listserv that I'm a member of. But I don't want to use my address book to send out CIRCULARS announcements -- SO PLEASE LEAVE YOUR EMAIL ADDRESS IN THE CUTE LITTLE BOX. (pwetty pwease?) Take care, Brian Kim Stefans --- Contents so far: mnftiu.cc: Get Your War On Paul Chan: Statement for a Certain National Press Club in Washington DC (Draft V.2) Alan Gilbert: The Present Versus (the) Now Situationist International: Détournement as Negation and Prelude Eliot Weinberger: Statement for "Poetry is News" conference Alan Gilbert: "Startling and Effective": Writing Art and Politics after 9/11 AP: White House Cancels Poetry Symposium --- [Below is the original set of ideas I put together the insomniac night when this website took shape in my mind. I hope to revise it and include it in a sidebar to give the site some specific identity distinct from other art/politics website -- a sense that this site investigates a form as much as operates in the chain of activist sites -- but for now, I'll let it be provisional.] CIRCULARS: MISSION STATEMENT (v. 1) CIRCULARS intends to focus some of the disparate energy by poets and literary critics to enunciate a response to U.S. foreign policy, most significantly the move to war with Iraq. CIRCULARS intends to critique and/or augment some conventional modes of expressing political views that are either entirely analytical, ironic or humanistic. These are all valuable approaches, of course, and not unwelcome on CIRCULARS, but our hope is to create a dynamic, persuasive idiom that can work in a public sphere, mingling elements of rhetoric and stylistics associated with the aforementioned modes -- analytical, ironic or humanistic. CIRCULARS is, in this sense, a workshop -- a place to explore strategies. CIRCULARS was not created in the spirit of believing that all poets should be "political" or even "social" in nature. While such arguments are free to be made on the website, and poems related to the themes of the site are (selectively) welcome, the focus is on articulating statements that are unique to the poetry community while not speaking for "poetry." CIRCULARS holds no party line, nor is it particularly adherent to notions of the "avant-garde." All perspectives are welcome provided they are articulated intelligently or (in some cases) amusingly, and that they do not articulate perspectives or advocate actions that are, in the editors' judgment, of an entirely unethical nature. CIRCULARS understands that, in the world of the internet, the link can be as powerful as word of mouth, and is itself the prize of an effective rhetorical strategy. These are "circulars" because they are circulated. What we want: Original writing -- book reviews, manifestos, modest proposals, etc. -- is, of course, most welcome, but also writing from listservs that are otherwise not public, as well as statements originally appearing on other websites, blogs or in print. (The content of CIRCULARS can appear elsewhere, but if you do reproduce the text please include a link to the original page.) Multimedia submissions are welcome. This would include pages that work within the design structure of CIRCULARS involving visual, sound, animated and interactive components. However, we don't plan on doing more than installing a piece that the contributor has already completed, since we don't anticipate having much time to collaborate on pieces. Though the site's primary focus will be on opinion, announcements and reports about activities related to the themes of this site -- performances, readings, actions -- are welcome. Links to other sites, articles, scandals, and events are also encouraged. Some poetry will appear here, but at the discretion of the editors. Structure: Entries will be categorized and archives according to themes or, in some cases, according to author. This system, however imperfect, will allow visitors to the site to catch up on threads of dialogue with some ease. Entries will also be archived according to month, as is standard with weblogs. There will be an unmoderated comments section, but the editors reserve the right to cancel entries that are deemed offensive. This would include personal attacks on individuals associated with the site, and comments of a racist, sexist or otherwise demeaning nature. Contributors are invited to utilize this space for open forums, with the understanding that other material will intermingle with their own as it arrives, and that this material might contradict the main focus of such forums. In this case, a special archive category can be created linking entries related to the forum. Note on design: The present design is just one of the standard templates of movabletype.org -- we hope to make it a little more distinctive soon! Other elements, such as a blogroll, links, etc., will be added over time. Any feedback concerning the design of this site -- readability, functionality -- is welcome. ____ A R R A S: new media poetry and poetics http://www.arras.net Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie! "Do you think just because I come from Carronshore I cannot fight? I shall hit you over the head with a cold potatoe." ____ A R R A S: new media poetry and poetics http://www.arras.net Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie! "Do you think just because I come from Carronshore I cannot fight? I shall hit you over the head with a cold potatoe." ========================================================================= Date: Wed, 5 Feb 2003 16:34:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: patchen / love poems MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Patchen's LOVE POEMS published by City Lights is long out of print, but there's an even bigger collection of JUST his love poems titled AWASH WITH ROSES, edited by Laura Smith from Bottom Dog Press. one of my favorite Patchen books is IN QUEST OF CANDLELIGHTERS (from New Directions) "This is a good world... And war shall fail." --Kenneth Patchen, from LOVE POEMS ========================================================================= Date: Wed, 5 Feb 2003 16:43:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: luv pooms In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Stephen Baraban asked me to forward the following: Could you possibly pass along these love poem suggestions to the Buffalo List: 1)William Carlos Williams--"Of Asphodel, That Greeny Flower"* 2)Elizabeth Willis--the poem beginning "conductor, you knit me an isthmus" 3) Gertrude Stein--the prose poem beginning "soon it is to be, as a wife had a cow, a love story" 4)lots of Creeley, but expecially the lines: "guises are what enemies wear/you and I live in a prayer". ------------- *contains those now over-familiar lines about "getting the news from poems" but much else ========================================================================= Date: Wed, 5 Feb 2003 16:55:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Negative Reviews / Bad Reviewers? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { >Answers: { > { >What do you do with very negative reviews? The composer Max Reger had the classic answer to this one: "I am sitting in the smallest room in my house. I have your review before me. Soon it shall be behind me." Hal Somewhere in Texas, there's a village missing an idiot. --bumpersticker Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Wed, 5 Feb 2003 17:24:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Re: "War Talk" Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi Sara, Thank you for your very sincere response to the poem. It can be sometimes indimidating to be honest with negative responses on listerves in general, so I especially appreciate your honest response to the poem. It's funny because only a few days ago I had written something about poetry and interpretation, about how "... one of the hardest lessons an artist must learn is that, no matter how careful you are in your work (and in statements about your work), once it has left your hands, it is truly 'elsewhere.'" (If interested, see http://garysullivan.blogspot.com/2003_01_26_garysullivan_archive.html#88276682 for the complete blog on that topic.) Lew Welch has a poem, "Din Poem," that was constructed largely from overheard material. (It's in Ring of Bone, his collected poems.) In addition to racial/ethnic slurs and a song about the supermarket, it includes spoken phrases one might have overheard on the street, such as: "Hey man, what's happening. See you people later." In a way, my poem too was constructed from troubling "overheard" material. It is unclear how much of Welch's poem implicates Welch himself--I think he wasn't entirely clear on that, either. I've been fascinated with/horrified by this poem ever since I first read it, maybe 15-20 years ago. I've never been able to get it out of my head. "War Talk," my own version of a "din" poem, was created doing a Google search on the phrase "War blah blah." It's vaguely OuLiPoan, in that I used what came up via Google, in the order it came up, with almost no manipulation. It occured to me that it might be interesting to marry a word *meaning* a violent, strategized eruption ("war") with an *actual* violent, strategized eruption ("blah blah blah"), which I had overheard someone use, dismissively, which is to say strategically and violently, on the subway coming in to work that morning. The phrase ("War blah blah blah") reminded me, too, of a certain line of Philip Whalen's: "I have to go to the ... *library*." Whalen had overheard (or actually I think imagined) a conversation that seemed to both upset him and amuse him, and he wrote it down. It's in On Bear's Head, and may be in the newer selected. The Google search yielded, as you can imagine, quite a bit of "din," which I then lineated--or "Whalenated" in this particular case. None of the words or sentiments are my own, including the (to me) ludicrious statement it ends on: "I'm just seeing if this works," which struck me as how the poem had to end: it was a phrase as dismissive--or, as you point out, "a cop-out"--as "blah blah blah" itself. Ultimately, the poem might be thought of as a kind of mini-documentary. About a particular use of language. Which, yes, is horrifying, and, yes, sickens. How much of it, the poem, might implicate its maker--me--is unclear even to myself, though I do feel distanced from the general sentiment of the poem. The relative value of such a poem is no doubt debatable--and, in fact, I've often found myself discussing that general topic with people who believe one thing or the other, usually emphatically. For a number of different reasons, sometimes political sometimes aesthetic, many poets feel that poets as a whole need to work to narrow what I would call the "allowable spectrum" of poetic activity. For some, the poem I posted--and "din"-like poems in general--should not be undertaken, or that they are at the very least, a risky proposition. Anyway, again, I appreciated your honesty about this. Gary _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 6 Feb 2003 01:03:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: CIRCULARS: and am I hearing voices Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, "Brian Stefans [arras.net]" MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Interested idea, B., but I also need to ask if someone who subscribes to the POETICS list is also a writer for West Wing (for the non-USAers this is our new weekly 'reality soap opera). Either that or I am hearing and seeing things coming through my TV screen that have distinct echoes of list discussions of poets and presidents and poets who are thought to be not normal in some way by virtue of being poets so somebody is using somebody here or I must confess I wish I were pulling down the salary of a script-writer who ndoubtedly won't confess until he or she writes the real bio in a few years. In any case, live is getting somewhat weird even though there are few other positive things in the air these days? tom bell not yet a-crazy old man not yet acrazy not yet ========================================================================= Date: Wed, 5 Feb 2003 23:07:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Re: Love Poems In-Reply-To: <001d01c2cd00$1b045cc0$9452b38b@Moby> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "The Art of Love" and "Sleeping with Women" by Kenneth Koch "i like my body when it is with your..." and "somewhere i have never traveled..." by cummings and this one, translated by Merwin in _Peacock's Egg: Love Poems from Ancient India_ (which I don't have before me, so forgive me if I misquote: Praise be to Vishnu his hands fondle the large breasts of Laksme as though looking there for his own lost heart Great lists from everyone... Brian -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Scott Pound Sent: Wednesday, February 05, 2003 4:20 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Love Poems For a section of an American Poetry course I'm planning, I'd be interested to hear what people's favorite American love poems are. Thanks in advance, Scott Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr ========================================================================= Date: Thu, 6 Feb 2003 15:27:25 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: blood on their hands MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Blood On Their Hands by John Pilger January 29, 2003William Russell, the great correspondent who reported the carnage of imperial wars, may have first used the expression "blood on his hands" to describe impeccable politicians who, at a safe distance, order the mass killing of ordinary people. In my experience "on his hands" applies especially to those modern political leaders who have had no personal experience of war, like George W Bush, who managed not to serve in Vietnam, and the effete Tony Blair. There is about them the essential cowardice of the man who causes death and suffering not by his own hand but through a chain of command that affirms his "authority". In 1946 the judges at Nuremberg who tried the Nazi leaders for war crimes left no doubt about what they regarded as the gravest crimes against humanity. The most serious was unprovoked invasion of a sovereign state that offered no threat to one's homeland. Then there was the murder of civilians, for which responsibility rested with the "highest authority". Blair is about to commit both these crimes, for which he is being denied even the flimsiest United Nations cover now that the weapons inspectors have found, as one put it, "zilch". Like those in the dock at Nuremberg, he has no democratic cover. Using the archaic "royal prerogative" he did not consult parliament or the people when he dispatched 35,000 troops and ships and aircraft to the Gulf; he consulted a foreign power, the Washington regime. Unelected in 2000, the Washington regime of George W Bush is now totalitarian, captured by a clique whose fanaticism and ambitions of "endless war" and "full spectrum dominance" are a matter of record. All the world knows their names: Bush, Rumsfeld, Rice, Wolfowitz, Cheney and Perle, and Powell, the false liberal. Bush's State of the Union speech last night was reminiscent of that other great moment in 1938 when Hitler called his generals together and told them: "I must have war." He then had it. To call Blair a mere "poodle" is to allow him distance from the killing of innocent Iraqi men, women and children for which he will share responsibility. He is the embodiment of the most dangerous appeasement humanity has known since the 1930s. The current American elite is the Third Reich of our times, although this distinction ought not to let us forget that they have merely accelerated more than half a century of unrelenting American state terrorism: from the atomic bombs dropped cynically on Japan as a signal of their new power to the dozens of countries invaded, directly or by proxy, to destroy democracy wherever it collided with American "interests", such as a voracious appetite for the world's resources, like oil. When you next hear Blair or Straw or Bush talk about "bringing democracy to the people of Iraq", remember that it was the CIA that installed the Ba'ath Party in Baghdad from which emerged Saddam Hussein. "That was my favourite coup," said the CIA man responsible. When you next hear Blair and Bush talking about a "smoking gun" in Iraq, ask why the US government last December confiscated the 12,000 pages of Iraq's weapons declaration, saying they contained "sensitive information" which needed "a little editing". Sensitive indeed. The original Iraqi documents listed 150 American, British and other foreign companies that supplied Iraq with its nuclear, chemical and missile technology, many of them in illegal transactions. In 2000 Peter Hain, then a Foreign Office Minister, blocked a parliamentary request to publish the full list of lawbreaking British companies. He has never explained why. As a reporter of many wars I am constantly aware that words on the page like these can seem almost abstract, part of a great chess game unconnected to people's lives. The most vivid images I carry make that connection. They are the end result of orders given far away by the likes of Bush and Blair, who never see, or would have the courage to see, the effect of their actions on ordinary lives: the blood on their hands. Let me give a couple of examples. Waves of B52 bombers will be used in the attack on Iraq. In Vietnam, where more than a million people were killed in the American invasion of the 1960s, I once watched three ladders of bombs curve in the sky, falling from B52s flying in formation, unseen above the clouds. They dropped about 70 tons of explosives that day in what was known as the "long box" pattern, the military term for carpet bombing. Everything inside a "box" was presumed destroyed. When I reached a village within the "box", the street had been replaced by a crater. I slipped on the severed shank of a buffalo and fell hard into a ditch filled with pieces of limbs and the intact bodies of children thrown into the air by the blast. The children's skin had folded back, like parchment, revealing veins and burnt flesh that seeped blood, while the eyes, intact, stared straight ahead. A small leg had been so contorted by the blast that the foot seemed to be growing from a shoulder. I vomited. I am being purposely graphic. This is what I saw, and often; yet even in that "media war" I never saw images of these grotesque sights on television or in the pages of a newspaper. I saw them only pinned on the wall of news agency offices in Saigon as a kind of freaks' gallery. SOME years later I often came upon terribly deformed Vietnamese children in villages where American aircraft had sprayed a herbicide called Agent Orange. It was banned in the United States, not surprisingly for it contained Dioxin, the deadliest known poison. This terrible chemical weapon, which the cliche-mongers would now call a weapon of mass destruction, was dumped on almost half of South Vietnam. Today, as the poison continues to move through water and soil and food, children continue to be born without palates and chins and scrotums or are stillborn. Many have leukemia. You never saw these children on the TV news then; they were too hideous for their pictures, the evidence of a great crime, even to be pinned up on a wall and they are old news now. That is the true face of war. Will you be shown it by satellite when Iraq is attacked? I doubt it. I was starkly reminded of the children of Vietnam when I traveled in Iraq two years ago. A pediatrician showed me hospital wards of children similarly deformed: a phenomenon unheard of prior to the Gulf war in 1991. She kept a photo album of those who had died, their smiles undimmed on grey little faces. Now and then she would turn away and wipe her eyes. More than 300 tons of depleted uranium, another weapon of mass destruction, were fired by American aircraft and tanks and possibly by the British. Many of the rounds were solid uranium which, inhaled or ingested, causes cancer. In a country where dust carries everything, swirling through markets and playgrounds, children are especially vulnerable. For 12 years Iraq has been denied specialist equipment that would allow its engineers to decontaminate its southern battlefields. It has also been denied equipment and drugs that would identify and treat the cancer which, it is estimated, will affect almost half the population in the south. LAST November Jeremy Corbyn MP asked the Junior Defence Minister Adam Ingram what stocks of weapons containing depleted uranium were held by British forces operating in Iraq. His robotic reply was: "I am withholding details in accordance with Exemption 1 of the Code of Practice on Access to Government Information." Let us be clear about what the Bush-Blair attack will do to our fellow human beings in a country already stricken by an embargo run by America and Britain and aimed not at Saddam Hussein but at the civilian population, who are denied even vaccines for the children. Last week the Pentagon in Washington announced matter of factly that it intended to shatter Iraq "physically, emotionally and psychologically" by raining down on its people 800 cruise missiles in two days. This will be more than twice the number of missiles launched during the entire 40 days of the 1991 Gulf War. A military strategist named Harlan Ullman told American television: "There will not be a safe place in Baghdad. The sheer size of this has never been seen before, never been contemplated before." The strategy is known as Shock and Awe and Ullman is apparently its proud inventor. He said: "You have this simultaneous effect, rather like the nuclear weapons at Hiroshima, not taking days or weeks but minutes." What will his "Hiroshima effect" actually do to a population of whom almost half are children under the age of 14? The answer is to be found in a "confidential" UN document, based on World Health Organisation estimates, which says that "as many as 500,000 people could require treatment as a result of direct and indirect injuries". A Bush-Blair attack will destroy "a functioning primary health care system" and deny clean water to 39 per cent of the population. There is "likely [to be] an outbreak of diseases in epidemic if not pandemic proportions". It is Washington's utter disregard for humanity, I believe, together with Blair's lies that have turned most people in this country against them, including people who have not protested before. Last weekend Blair said there was no need for the UN weapons inspectors to find a "smoking gun" for Iraq to be attacked. Compare that with his reassurance in October 2001 that there would be no "wider war" against Iraq unless there was "absolute evidence" of Iraqi complicity in September 11. And there has been no evidence. Blair's deceptions are too numerous to list here. He has lied about the nature and effect of the embargo on Iraq by covering up the fact that Washington, with Britain's support, is withholding more than $5 billion worth of humanitarian supplies approved by the Security Council. He has lied about Iraq buying aluminium tubes, which he told Parliament were "needed to enrich uranium". The International Atomic Energy Agency has denied this outright. He has lied about an Iraqi "threat", which he discovered only following September 11 2001 when Bush made Iraq a gratuitous target of his "war on terror". Blair's "Iraq dossier" has been mocked by human rights groups. However, what is wonderful is that across the world the sheer force of public opinion isolates Bush and Blair and their lemming, John Howard in Australia. So few people believe them and support them that The Guardian this week went in search of the few who do - "the hawks". The paper published a list of celebrity warmongers, some apparently shy at describing their contortion of intellect and morality. It is a small list. IN CONTRAST the majority of people in the West, including the United States, are now against this gruesome adventure and the numbers grow every day. It is time MPs joined their constituents and reclaimed the true authority of parliament. MPs like Tam Dalyell, Alice Mahon, Jeremy Corbyn and George Galloway have stood alone for too long on this issue and there have been too many sham debates manipulated by Downing Street. If, as Galloway says, a majority of Labour backbenchers are against an attack, let them speak up now. Blair's fig leaf of a "coalition" is very important to Bush and only the moral power of the British people can bring the troops home without them firing a shot. The consequences of not speaking out go well beyond an attack on Iraq. Washington will effectively take over the Middle East, ensuring an age of terrorism other than their own. The next American attack is likely to be Iran - the Israelis want this - and their aircraft are already in place in Turkey. Then it may be China's turn. "Endless war" is Vice-President Cheney's contribution to our understanding. Bush has said he will use nuclear weapons "if necessary". On March 26 last Geoffrey Hoon said that other countries "can be absolutely confident that in the right conditions we would be willing to use our nuclear weapons". Such madness is the true enemy. What's more, it is right here at home and you, the British people, can stop it.Reprinted from ZNet (http://www.zmag.org/content/showarticle.cfm?SectionID=11&ItemID=2925). ===== Web site/Pam Brown - http://www.geocities.com/p.brown/ Latest book - "Text thing" available from Little Esther Books - eafbooks@eaf.asn.au http://greetings.yahoo.com.au - Yahoo! Greetings - Send some online love this Valentine's Day. ========================================================================= Date: Thu, 6 Feb 2003 09:10:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: questions about reviewers MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII What do you do with very negative reviews? Or even well-intentioned reviews that you think missed the point so badly as to be negative? Accept that you can't control how others respond to your work. Which is, how do they affect you and/or your work? There's something to be learned from any response. Being criticized hurts, but getting a critical opinion from someone you have reason to respect is not unlike receiving a gift. How can you tell an honest negative review from a hatchet job? Read everything the reviewer's written. (Or, enough to figure out whether he or she is just a jerk.) Do you think people should write negative reviews? Or should they / we just stick to positive reviews and ignore things we don't like? Should? Should? We don't need no stinkin should. My observation is that people who talk about literary work who keep doing it without turning into bitter shriveled weasels tend to respond as completely and generously as they can. That does mean giving themselves leave to remark on limitations, morbid tendencies, etc. Jordan Davis ========================================================================= Date: Thu, 6 Feb 2003 01:10:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Re: Poetry is News Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi Joe, Thanks for posting the Eliot Weinberger paper. I actually had already read it, on a site soon-to-be-made-public that was inspired by Weinberger's paper. But I reread it again tonight. I found the paper itself to be in part inspiring, but equally repellant, divisive, counterproductive, and needlessly so. Inspiring, for me, was this passage: "People who are poets presumably know something about writing. So why does it never occur to them to write something other than poems? There are approximately 8000 poets registered in the Directory of American Poets--are there even four or five who have written an article against the Bush Administration? Most of us can't get onto the Op-Ed page of the Times--we'd never displace Condoleezza [sic] there-- but most of us do have access to countless other venues: hometown newspapers, college newspapers, professional newsletters, specialist magazines, websites, and so on. All writers have contacts somewhere, and all these periodicals must fill their pages. Even poetry magazines ..." This is great, practical advice. And, as I said, inspired at least one website that you'll be hearing about soon. What I found to be counterproductive was the extent to which Weinberger seemed utterly incapable of finding a way to avoid (a) grandstanding about his own pre-9/11 politically-relevant activities (about which he is severely delusional, and which is an aspect of another Poetry is News paper on the above-mentioned site that serves no further function than to pound home the equally delusional notion: "I'M better than YOU," clearly an agenda that might be dropped in sake of getting others involved); and (b) completely dismissing--and potentially alienating--large numbers of poets who might otherwise happily work with him. (b) has much to do, Joe, with your own notion of the supposed split between politics and aesthetics. Like, at this point, what the fuck does it matter? What DOES in fact matter? Aesthetic differences? At this point? To throw in a bit of "realism" here: The Bush administration seems bent on attacking Iraq as soon as March. That doesn't give poets much time to contemplate about who is writing the supposedly most "politically relevant" poetry--as though this were something actually going to be decided in the near, or frankly even distant, future. It is, in realistic terms, just enough time to organize, bring people together, and stage a serious, collective demonstration. In order to do the above, poets have to be working together. I can tell you one way in which you can be assured of poets NOT working together, of instead being suspicious and hateful of each other: have one group of poets call into question another group of poets' aesthetic practices! And, if you really want to fuck things up, get a white American critic to discount everything non-white poets have been doing over the last thirty years! Enter Eliot "Action" Weinberger: "The main result of these so-called politics on the left [langpo and the multicultural movement] is that there are now more women and minorities in the Norton anthologies, and we now know how to pronounce "hegemony"--surely a great comfort to the the 4 million people, predominantly black men, currently in the prison system--" Weinberger's solution? "the truly politically revolutionary works--Tom Paine or the Communist Manifesto or Brecht or Hikmet or a thousand others ... written in simple direct speech." And these, uh, "thousand others," have fomented ... what? Exactly? See, because, it seems like they've fomented--looking around for a moment at the various political systems currently at play on Planet Earth--JACK SHIT. Eliot, I love you, I even blurbed one of your books I loved it so much, but you, darling, are quite simply OUT OF YOUR FUCKING RACIST WHITE-CENTRIC MIND. Let me get this straight: you want me to sit on "The Bus" for eight hours with you? While you're spewing this obnoxious, thoughtless aesthetically and racially prejudiced crap? Sorry, baby. I'll fucking rent a car, if it comes to that. Here's a Modest Proposal: Let's, for once, LOSE the dumbshit obviously irrelevant aesthetic and racial prejudices and WORK TOGETHER for once. Eh? Is that, Joe, something you're "for"? Because it sounds like the people you're pushing here are not for that. It sounds like they're more for settling Ye Olde Scores, like, uh, MY AESTHETICS ARE MAJORLY IMPORTANT; YOURS ARE BULLSHIT kind of scores. It's Super Fucking Counterproductive if one seriously hopes to bring together everyone on the left who might conceivably HELP one's cause. Hey, not that the left has been anything but segmented. Again: In Camp A: A plan to bomb Iraq in March, possibly even carpet bombing, resulting in significant civilian death, injury & trauma. In Camp B: Self-important, supposedly politically engaged critic blathering on about his aesthetic and racial prejudices. Hey, maybe I'm "reading too much into this," but I don't see any connection between the two. Joe, in all seriousness, do you? In order to do what it is we all presumably want to do (quash Bush's war), we need to work together, and do it now. It requires action by as many people as we can possibly put together. In NYC there will be a demonstration on February 15th. Pretty simple to understand: Be there. Maybe I should go on & on about various poets' supposed lack of political engagement? You think that'll encourage them to participate with us? "You stupid fuckers writing in a way unlike our bland irrelevant Poetry Project Workshop examples! You're fucking it all up for us!" What utter fucking idiot imagines "putting together" people might possibly begin with trashing the whole multicultural movement of the last thirty years? "Hi, oh, uh, Ishmael Reed? Hi, man, how's it going? Yeah, Califia, you know, great, it was a groovy book, man, but did it, like, free the prisoners, baby? See, because we white people are thinkin' that, uh, see, we got the straight dope, baby. Yeah, like me and Anne. And like, uh, we're gonna, it's gonna, something's gonna--well, okay, we have no idea what we're doing here, but, like, is it okay if we put you down, man? Like dis you-all?" Fuck Eliot Weinberger and the fucking white horse he rode in on. And fuck Poetry Is News if they can't approach poets in some way NOT involving old SCORES TO SETTLE. Let them fucking swallow that shit, eat their pride, and be FUCKING HUMAN BEINGS LIKE THE REST OF US--as though they had the wherewithall. Joe, are you actually interested in aesthetics, or just interested in dismissing those whose aesthetics you don't agree with. The Iraqis are going to be bombed no matter what dumb-ass prejudices we short-sighted white morons have of each others' aesthetics. Unless we ACTIVELY stop those who would bomb them. And that requires all of us. Anyone actually putting together a program that includes EVERYONE, that doesn't berate people, but rather encourages them, let us all know. We need to work together. A foreign concept, Joe, to some. _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 5 Feb 2003 16:23:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Rathmann Subject: Re: Georgetown Poetics Symposium In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 8bit Only at an academically sponsored symposium could anyone talk about "dissenting practices" with a straight face. It seems that more than half of the participants in this event (as in so many others like it) are either professors of literature or college teachers of some other stripe. But one always leaves one's sense of irony at the door at these things. Aren't we tired of pretending that there are "dissenting practices" in contemporary U.S. poetry? The professional pedagogue on a state salary who talks about "dissent" says--precisely--nothing. The case of Tom Paulin at Harvard shows the real limit of poets' dissent at U.S. universities. The academic poet who really wished to dissent from his/her "society" would attack the university. > >------------------- > >Societies of American Poetry >Dissenting Practices > >A symposium & festival at Georgetown University and the Folger Shakespeare >Library >February 20, 21, & 22, 2003 > >"What does not change / is the will to change." > --Charles Olson > >Whatever it is that motivates writing, it's safe to say that poetry has >some definite relation--of critique, indifference, support, reflection, >determination--to the society in which the writer lives. Over time this >relation will be thought in any number of ways, at one focus, to put it >crudely, the notion of the private subject writing for ends that remain >private or unknowable and autonomous from designs of utility, and at the >other an explicit programmatic intention to influence the reader's own >political commitments and conduct. "You're the only one who's earning any >money and yet you think that you can afford to have opinions." So then, in >the spirit of Brecht [Say what??], this symposium will seek to prompt opinion & >reflection from poets on the sociality of art. The tacit problem could be >phrased in this way: what entanglements, collusions, collisions, >reverberations may be said to exist between poetic practice and the states >of America, in this era? Thinking America broadly as the site of imperium >and fluctuation--fissures--in the meaning of "our": poetry in our America. >That's the general drift and bearing perhaps upon the areas below, each one >meant to test poetry 2003, what it is or might be. ========================================================================= Date: Wed, 5 Feb 2003 21:43:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: songwritersprotestpoetsprotest? Comments: To: POETRYETC@JISCMAIL.AC.UK, new-poetry@wiz.cath.vt.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT There's a Cash and a Griffin and a Guthrie at the Ryman tonight. Is this something we should cancel or ban or promote. It's probably not that dangerous poetry, though, and it's the heartland so let it go on. tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Thu, 6 Feb 2003 02:40:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: patchen / love poems MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ]]]glad to hear patchen's name come up to[[[[ =====i read him when i was a teen-ager][][][one of the reasons i write poetry][][][][ ---& yes, a great love poet!=== there's also this one part of williams' paterson i've always thought was a great love poem in itself... not sure where it is in that book, but it uses a refrain of "shaken by your beauty"---- and cummings was a great love poet.... & i think also ron silliman has written some things that verge on love poems that i like very much--- for me, all poems are love poems==== bliss l ================= hi kevin! patchen's one of my all-time inspirations, one of the greatest----that enormous intelligent heart of his hanging right out there for all of us.....so brave diane How refreshing it is to hear Kenneth Patchen's name come up on this list. I was wondering if anyone read him anymore. Now there's a great love poet... waldreid@EARTHLINK.NET wrote: > ......many of the very beautiful "to Miriam" poems of Kenneth Patchen....there's a book called The Love Poems of K.P., but take a look at any of his collections....... > > Diane Wald ===== NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html Stop U.S. Agression! __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 6 Feb 2003 05:45:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Report from Turkey MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thanks to Kevin Davies and everyone else who has responded so far to my love poem query. I will make a list of the poems people have cited and pass it on soon. Kevin, you asked about the general mood here regarding Iraq. I should start by saying that there are a lot of things mediating my sense of what is happening in the region. For instance, I live on campus (in a suburb of Ankara), do not have a TV, and speak only a limited amount of Turkish. There's an English Daily in Ankara, but not being able to converse easily in Turkish or read the Turkish language papers makes it difficult for me to keep an ear to the ground in any real sense. I get most of my information online through the western news media. I routinely quiz my students about their sense of what is happening. Some of them express concern, but lack much of a framework for making sense of it, besides economic sense. Bilkent is a private university. In the current recession, we get only the very wealthy students and a handful of scholarship students. One of my students runs an Ankara location of his father's sauna business. He's partnered up with another student of mine who operates his own real estate business. They will open a supermarket together next month (all this while taking 7 courses at Bilkent). Their main concern is understandably the effect a war will have on the value of the Turkish Lira. I sense a lot of resignation generally. Turkey is exercising not much more than nominal autonomy in negotiations with the US over proposed use of the Incirlik air base. It's essentially a no-won situation for Turkey. Opt out and they lose the leverage of the world's most powerful ally, one that may or may not be able to help them get into the EU. Opt in and they compromise their principles, go against the will of the people, and risk huge damage to the economy, a flood of refugees from northern Iraq, and a resurgence of the Kurdish nationalist movement. Some 85% of the population is said to oppose a war. The new government is an Islamicist party that has pledged to keep Turkey's secular structure intact and continue to court political acceptance by the west. And yet, what they are being asked to do is aid and abet a war against an, albeit corrupt, but nevertheless Muslim neighbor. All these disincentives and yet there really is only one choice in the end it seems. Just when it looked like Turkish opposition to a war was about to force the US to make other arrangements, there has been an about face. Yesterday, Abdullah Gul, the Prime Minister, declared that he would ask parliament to pass a special resolution allowing the US to use Turkey as a northern base of operations. Scott Pound ----- Original Message ----- From: "Kevin Davies" To: Sent: Wednesday, February 05, 2003 1:30 PM Subject: Re: Love Poems > And let us not forget -- > > -Name- and "Shared Sentences" by Alan Davies, plus many poems from -Candor- > > "Switching" by Juliana Spahr > > -Love Songs- by Bruce Andrews > > -Love Songs- and -Songs: Set Two: A Short Count- by Edward Dorn > > And Scott, if you get a chance, tell us a bit about the mood in Turkey re. > Iraq. > > ========================================================================= Date: Wed, 5 Feb 2003 22:04:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Fw: U.S. poet laureate opposes war with Iraq (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > > Subject: U.S. poet laureate opposes war with Iraq > > http://www.ohio.com/mld/ohio/entertainment/5112907.htm > ========================================================================= Date: Wed, 5 Feb 2003 22:28:13 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Focus on Iraq: Powell's UN speech dissected (long) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT >_____________________________ > >UPDATE FROM THE >ELECTRONIC INTIFADA > >http://electronicIntifada.net >_____________________________ > >Opinion/Editorial >FOCUS ON IRAQ: POWELL'S UN SPEECH DISSECTED > >Ali Abunimah, The Electronic Intifada, 5 February 2003 >http://electronicIntifada.net/v2/article1140.shtml > >------------------------------------------------------ > >INTRODUCTION > >US media had suggest that Secretary of State Colin Powell >was playing down what he would present to the UN Security >Council about Iraq's alleged deceptions, weapons of mass >destruction, and support for terrorism, so that when he >made his revelations, they would have all the greater >impact. Having heard Powell's presentation, it is now >clear he was playing things down because his hand was in >fact so weak. > >Powell's multi-media presentation was a rag-bag of old >allegations, which the United States has been making for >years, some of them based on information Iraq has itself >provided to UN inspectors. Other claims were based on >audio recordings and satellite images, and still more were >based on unverifiable claims from unidentified human >witnesses and "defectors." Powell all but admitted the >weakness of his case by continually saying "these are >facts, not assertions," at moments when he was providing >the most sensational yet least supported claims. He also >resorted to the comic book tactic of calling Saddam >Hussein an "evil genius" for having succeeded in hiding >what the US says is a vast arsenal, not only from UN >inspectors, but from the world's only super power. Let's >look more closely at some of the "new" elements in the >American case for an immediate attack on Iraq: > > >THE AUDIO TAPES > >Powell played what he said were intercepted conversations >between Iraqi officers who were discussing ways to conceal >prohibited materials from UN inspectors. None of the three >recordings, if real, amounted to a "smoking gun." If they >were real, they could be incriminating in a certain >context, but they could also have been taken out of a >context in which they were entirely innocent. > >The evidentiary value of the alleged recordings is close >to nil. First, the recordings could easily have been >faked, as the United States has a history of doing. In >2001, US public radio's "This American Life," broadcast >recently declassified tapes from a clandestine radio >station set up by the CIA in the 1950s to help provoke a >coup against the democratically-elected government of >Guatemala. The radio station, which broadcast completely >fake "opposition" voices, is credited with helping bring a >repressive American client regime to power. (Program >broadcast on 30 November 2001. See www.thislife.org for >details.) > >More directly related to current events, New York's >Village Voice newspaper reported late last year how, >during the 1990s, a Harvard graduate student celebrated >for his convincing impersonation of Saddam Hussein was >hired by the high-powered, US government-linked public >relations firm, the Rendon Group, to make fake propaganda >broadcasts of Saddam's voice to Iraq. The student received >three thousand dollars a month for his troubles. "I never >got a straight answer on whether the Iraqi resistance, the >CIA, or policy makers on the Hill were actually the ones >calling the shots," the report quotes the ersatz Saddam >saying, "but ultimately I realized that the guys doing >spin (sic) were very well funded and completely cut >loose." ("Broadcast Ruse: A Grad Student Mimicked Saddam >Over the Airwaves," The Village Voice, 13-19 November >2002) > >In 1990, another Washington public relations firm, hired >by Kuwait, helped win support for the first Gulf War by >fabricating claims, presented to Congress, that Iraqi >troops threw Kuwaiti babies out of incubators. (see "The >Lies We Are Told About Iraq," The Los Angeles Times, 5 >January 2003) > >Those taken in by that deception, will want to be more >skeptical this time around. It also doesn't help US >credibility that the Pentagon has repeatedly over the past >two years stated that it would use deception and black >propaganda to achieve its policy goals. > > >SATELLITE IMAGERY > >Powell relied on satellite images in order to support the >claim that Iraq is still producing and hiding chemical >weapons. He said, for instance, that some of the images he >showed were of the Iraqis "sanitizing" the "Al-Taji >chemical munitions storage site" before UN inspectors >arrived > >Again, it is impossible to tell if the satellite photos >displayed by Powell are real, fake, old or new. But even >if they are real, current photos of Iraq, they are by >themselves of no conclusive value. The New York Times >reported that American officials recently gave the UN >inspectors satellite photos of "what American analysts >said were Iraqi clean-up crews operating at a suspected >chemical weapons site." But when the inspectors went to >the site, they "concluded that the site was an old >ammunition storage area often frequented by Iraqi trucks, >and that there was no reason to believe it was involved in >weapons activities." ("Blix Says He Saw Nothing to Prompt >a War," The New York Times, 31 January 2003) > >For all we know the incident referred to in The New York >Times is probably the same used goods Powell tried to sell >to the Security Council. Only the inspectors can tell us >otherwise. > > >MOBILE UNITS > >Powell claimed, based on uncorroborated hearsay from >"defectors," that Iraq has an elaborate system of mobile >laboratories used for producing biological weapons. With >no hard evidence, Powell was reduced to displaying >"artists impressions" of what these laboratories >supposedly look like, a tactic routinely used by American >supermarket tabloids to produce pictures to accompany the >latest stories of landings and abductions by space aliens. > >In an interview with The New York Times, Hans Blix, the >chief UN weapons inspectors in Iraq, denied US claims that >the inspectors had found that Iraqi officials were hiding >and moving illicit materials within and outside of Iraq to >prevent their discovery ("Blix Says He Saw Nothing to >Prompt a War," The New York Times, 31 January 2003). Blix >, who unlike the United States, has hundreds of staff on >the ground in Iraq, is in a much better position to know >than Powell. > > >IRAQ'S LINKS WITH AL-QAIDA > >Powell claimed that Iraq has close links with Al-Qaida and >based this largely on the alleged movements of the >threateningly unshaven gentleman Abu Musab Zarqawi. Prior >to Powell's presentation, The Washington Post noted that >Zarqawi, a Jordanian, "appears to be the only individual >named so far to make the link to Iraq after more than a >year of major investigations in which 'a good deal of >attention has been paid to what extent a connection may >exist between al Qaeda and Iraq,'" ("U.S. Effort to Link >Terrorists To Iraq Focuses on Jordanian," The Washington >Post, 5 February 2003) > >To make up for the flimsiness of the case, Powell resorted >to building Zarqawi up into a frightening figure in >exactly the way the US in previous years built up Usama >Bin Laden. It seems that Usama, who is still on the loose, >and who did not feature as a topic of Mr. Powell's >address, has been replaced in American affections. > >Powell claimed that Zarqawi (who has now been promoted by >the Americans to the status of "The Zarqawi Network," >complete with flow charts) was training terrorists in a >poison-making camp in northern Iraq. Powell skipped >dismissively over a very pertinent fact. Since the 1991 >Gulf War, northern Iraq has been out of the control of >Saddam Hussein's government. > >The United States and United Kingdom have been cruelly >bombing the illegally-declared northern and southern >"no-fly zones" for twelve years, largely to limit the >influence of Iraq's government to the center of the >country. Northern Iraq has been ruled by competing Kurdish >factions with United States backing. Since the 1991 Gulf >War, the CIA has been operating freely in northern Iraq, >and the United States recently acknowledged that its >special forces are operating in that part of the country. >Powell showed what he said was a satellite photo of the >"terrorist camp." If the United States knows where such a >camp lies, and has forces in the region, why has it not >bombed it or attacked it, as it has bombed so many other >installations in northern Iraq? An attack on a "terrorist" >installation in northern Iraq requires anything but an >invasion of the entire country. Furthermore, if the camp >even exists, why would the United States give its >occupants notice that it knows where it is, rather than >just taking it out, as, say, it took out a car load of >alleged "terrorists" in Yemen last year? It just doesn't >add up. > >That the US is claiming that Al-Qaida-linked terrorists >are operating in the part of Iraq not controlled by Saddam >Hussein rather undermines the argument that Saddam is >backing such people. Powell's only answer to this major >problem in his case was to offer more unsubstantiated >claims that one of Saddam's secret agents is in charge of >the whole operation. > >In the days prior to Powell's presentation, numerous >reports appeared in the American and British press that >senior intelligence officials from the FBI, CIA and even >the Israeli Mossad maintain there is no evidence to tie >Iraq to Al-Qaida in any meaningful way. The BBC reported >on 5 February that a top secret, official British >intelligence report given to Prime Minister Tony Blair and >leaked to the BBC states that there are no current Iraqi >links with al-Qaida. The BBC added that the intelligence >document "said a fledgling alliance foundered due to >ideological differences between the militant Islamic group >and the secular nationalist regime." ("UK report rejects >Iraqi al-Qaeda link," BBC News Online, 5 February 2003) > >At the present time, it appears that there is a much >stronger case on US-Al-Qaida links dating back to the days >when the Reagan Administration helped recruit men from all >over the Arab and Muslim world to join what it called the >"Afghan freedom fighters," than anything to incriminate >Iraq. Mr. Powell said not a word about that. > >Underlining the weakness of the Anglo-American case, UK >Foreign Secretary Jack Straw told the BBC before Powell's >address, that he had "seen no evidence which directly >links Iraq to al-Qaeda, but I would not be surprised if it >exists." Is this the sort of shabby thinking on which >decisions about war and peace are made? More importantly, >the Pentagon has brushed aside the lack of evidence, and, >to the dismay of senior CIA and FBI officials, has >exaggerated evidence for purely ideological and political >purposes. It is the result of these political deceptions, >not evidence, that was presented to the Security Council >by Mr. Powell. > >Even if there were evidence of an Al-Qaida connection, the >US claims that it wants to go to war to enforce UN >resolutions. But no UN resolutions regarding Iraq say >anything about Al-Qaida. Hence, even the attempt by the US >to link Iraq to Al-Qaida must be interpreted as an act of >desperation by an administration that knows it has not >made its case on alleged weapons of mass destruction. > > >IRAQ AND THE UNITED STATES > >Closing his speech, Powell sought to "remind" the Security >Council that Saddam has been a horrible monster for more >than two decades. He cited Iraq's use of chemical weapons >against Kurds in 1988 as "one of the twentieth century's >most horrible atrocities." He forget to mention, however, >that at the time the United States, which was supporting >Saddam in his war with Iraq, instructed its diplomats to >implicate Iran. Powell also forgot to mention that among >the long history of cooperation between the United States >and Saddam Hussein's Iraq were the several meetings that >once and future Defense Secretary Donald Rumsfeld held >with Saddam at the request of President Reagan, one of >them on the same day that Iraq was reported to be using >chemical weapons against Iran. > >Nor did Powell point out that the same sort of satellite >evidence that he now uses to indict Iraq was once gladly >handed over to Saddam by the United States to help Iraq >deafeat Iran. And in claiming that there is not a >frightening disease in the pharmacology that Iraq is not >capable of creating, Powell forgot to mention that the >seed stock to make anthrax, E. Coli, botulism and other >biological agents was exported to Iraq from a company >based near Washington, DC, called the American Type >Culture Collection, under contracts approved by the United >States Goverment in the 1980s. These sales continued even >after Iraq was reported to have used chemical weapons >against Kurdish civilians. (see Iraq Under Siege, South >End Press, 2000, p.39) > >Powell also sought to "remind" the Security Council about >Iraq's horrible human rights record. He failed to explain, >however, when the United States found its consicence on >this matter which never troubled it in all the years that >it was allied with Saddam. Such naked cynicism may yet >fool some in an American public whose knowledge of history >is notoriously shallow, and whose mass media scarcely dare >challenge any administration's foreign policy, but it will >not fool anyone else. > >Powell was also cynical to criticize Saddam Hussein for >allegedly supporting Palestinian groups. Whether this was >simply an attempt to grasp at further "evidence" is >unclear. There are no known links at all between >Palestinian groups fighting Israel's repression and >Al-Qaida, despite the Sharon government's attempts to >manufacture them for American consumption. What is >certain, however, is that in the Arab world, the attempt >to use any alleged support for the Palestinian cause as a >justification to invade Iraq can only further alienate and >inflame public opinion. > > >CONCLUSION > >Taken together, the smorgasbord of old allegations, >show-and-tell and hearsay that Powell presented would fall >disasterously short of proving a case against an accused >person in an American court of law, where the standard of >proof must be "beyond a reasonable doubt." The flashy >presentation did not conceal holes in the American case >that a U.S. Navy battlegroup could sail through with room >to spare. The Americans have argued that the Security >Council is not a court of law, and that the standards of >proof are different, and need not be beyond a reasonable >doubt. But early in his presentation Powell himself used >judicial language when he claimed that Iraq had earlier >been "found guilty" of "material breaches" by the Security >Council. > >The American legal system, often held as an example to the >world, applies such strigent standards in order to protect >a single accused person from being wrongly denied his >freedom or life. If the United States attacks Iraq, not >one accused person, but thousands of innocent people may >lose their lives. The United Nations High Commission for >Refugees estimates that 600,000 people may be forced to >flee their homes, and millions more may well be exposed to >hunger, illness, danger and chaos for years to come. Is >all of this worth it, when, as France's President Chirac >once again underlined on 4 February, that a perfectly >viable, non-violent alternative exists? In response to a >reporter's question about criticisms that one hundred UN >inspectors cannot possibly disarm a country the size of >Iraq, Chirac pointed out that the first inspection regime >destroyed more Iraqi weapons than all of the deadly >American firepower directed at that country in 1991 and >since. The solution to any shortage of resources, if the >inspectors should complain of one (so far they have not), >said Chirac, is to increase those resources. > >Powell said that by passing Resolution 1441 putting in >place the inspections last November, the Security Council >has given Iraq a "last chance" to disarm. It appears that >it was the United States that had a last chance to >convince the world that what is needed instead is a US-led >invasion of Iraq that could devastate the whole region for >years to come. > >The early indications, judging from the speeches of the >Chinese, Russian, French and other foreign ministers >seated around the Security Council table, are that the >world remains convinced that inspections should be given a >chance to work, Iraq, which presents no immediate threat >to anyone, should urgently do everything possible to >cooperate, and as President Chirac said, "war is always >the worst solution." > >Let us hope that someone in Washington is listening. > >----------------------------------------------------------- >© 2001-2002 electronicIntifada.net > >-- > >ABOUT US: This e-mail was sent by The Electronic Intifada, an >educational non-profit project focused on media coverage of the >Israeli-Palestinian conflict, found at http://electronicIntifada.net. >More information about our work can be found at >http://electronicIntifada.net/introduction/. > >MAILING LIST INSTRUCTIONS: Your e-mail address is considered private >and will not be passed to any third party by either us or Yahoo >Groups who hosts our mailing list. To JOIN our mailing list, which >will let you know what updates have been made to the site and alert >you to new action items, please send a blank e-mail to >eIntifada-subscribe@yahoogroups.com. To LEAVE the list, send a blank >e-mail to eIntifada-unsubscribe@yahoogroups.com. More information >about the list, including its archive, is available at >http://electronicIntifada.net/contact/ -- A separate list for members >of the media can be found at >http://electronicIntifada.net/forjournalists/ > >SPREAD THE WORD: Please help spread The Electronic Intifada by >participating in our action items to the media, by informing your >e-mail contacts and journalists about our site, and by linking to our >website at http://electronicIntifada.net or hosting our streaming >news feeds, available at http://electronicIntifada.net/wire/. >Together, we can make an positive impact on the Israeli-Palestinian >Conflict. > >SUPPORT OUR PROJECT: Our work needs funding. We accept donations via >credit card and cheque. U.S. donations are tax deductible. More info >at http://electronicIntifada.net/contact/ ========================================================================= Date: Wed, 5 Feb 2003 19:40:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: chomsky article Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed from "Confronting the Empire" by Noam Chomsky; February 01, 2003 ... "A few days ago a poll in Canada found that over 1/3 of the population regard the US as the greatest threat to world peace. The US ranks more than twice as high as Iraq or North Korea, and far higher than al-Qaeda as well. A poll without careful controls, by Time magazine, found that over 80% of respondents in Europe regarded the US as the greatest threat to world peace, compared with less than 10% for Iraq or North Korea. Even if these numbers are wrong by some substantial factor, they are dramatic." http://www.zmag.org/content/print_article.cfm?itemID=2938§ionID=40 ========================================================================= Date: Wed, 5 Feb 2003 22:32:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: neither born nor dying for your eyes. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII neither born nor dying for your eyes. open mouths screaming colours as hands and elsewhere mouth generate new things obliterating the old. there is gridance among them and among them, worldrun crashing into stars. the interceptions of planets, nebula inhaling through the body's transparencies motioned in the griding of the room girdled for dissemination, deconstruction. in the distance, no-attention animals and the forests of ice in the ice. the skies open to the skies, the stars to the stars objects of sliding time what they have been sliding by our grasp. neither born nor dying for your eyes. open mouths screaming colours as hands and elsewhere mouth generate new things obliterating the old. and among them, worldrun crashing into stars. the interceptions of planets, nebula inhaling through the body's transparencies motioned in the griding of the room girdled for dissemination, deconstruction. in the distance, no-attention animals and the forests of ice in the ice. the skies open to the skies, the stars to the stars dance and sound to objects and older objects. objects sliding of dance what they have been sliding by our grasp. the whirl of worlds making new objects in the slice of time. landgrid to icegrid, these new objects neither born nor dying for your eyes. tend towards air-disturbance objects. generate new things obliterating the old. inhaling through the body's transparencies of arms, hands, breasts, balloons motioned in the griding of the room in the distance, no-attention animals running everything the whirl of worlds landgrid to icegrid, these new objects open mouths screaming colours tend towards air-disturbance objects. as hands and elsewhere mouth generate new things obliterating the old. inhaling through the body's transparencies motioned in the griding of the room girdled for dissemination, deconstruction. in the distance, no-attention animals and the forests of ice in the ice. dance and sound to objects and older objects. grids and find you noises and what they have been sliding by our grasp. dance and sound to objects and older objects. the stars to the stars the skies open to the skies, and the forests of ice in the ice. in the distance, no-attention animals what they have been sliding by our grasp. landgrid to icegrid, these new objects tend towards air-disturbance objects. generate new things obliterating the old. there is gridance among them inhaling through the body's transparencies in the distance, no-attention animals dance and sound to objects and older objects. immune are 49283 948327 74839 what they have been sliding by our grasp. the whirl of worlds landgrid to icegrid, these new objects neither born nor dying for your eyes. open mouths screaming colours tend towards air-disturbance objects. microphone objects transform atmospheres as hands and elsewhere mouth generate new things obliterating the old. there is gridance among them and among them, worldrun crashing into stars. inhaling through the body's transparencies motioned in the griding of the room girdled for dissemination, deconstruction. in the distance, no-attention animals and the forests of ice in the ice. the skies open to the skies, the stars to the stars dance and sound to objects and older objects. sound and eye limb, quarry, ice, forest, sliding, internal module dancing generates, new things obliterate the old. === ========================================================================= Date: Wed, 5 Feb 2003 20:03:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Bob's Your Uncle, Virginia's Your Discrepancy Mime-Version: 1.0 Content-Type: text/plain; format=flowed our glass to dance The Sheets, you owe us lovely paper my mansions cage a bit, sightseeing Virginia, why turn ashes habitual when your servants are swept orange, Lady Antecedent? check the unloosed never, check a pond of casts darling children's frames confounded sepulchers, illicit heroes... oh, mine will be touched clockwise, this good going instead of the fancying of name that is me, flint-shaken mirage with her penny sins every weekend whitened into coals, trust them but faintly postponing steel crackers while I set this to sweat the old heavenly lucidity heavier than unworldly foreign arm-slings perverse animals her symptoms engage still-burning not fattened (this bamboo subscription my world Virginia?) Virginia rotted with witness, roses paid her puns "Spelling-words forgotten," quoth the ankle-deep little snake, BUT I flew into the swarthy sky to twist evasion into single spoons may Horror's knees be feet sold into iron & ever see ahead in the distance Virginia's swelteringly unmarketable heel! a sunken-ended summit to those who once touched her transgressions! when late Virginia should sob ears, your land's her last insinuation wholly insouciant, Virginia, burst with violets, predicates Virginia all wronged with debt, what doubles could harvest you, out of darkness early and out to admiration, asleep still-burning? _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 6 Feb 2003 00:24:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Love Poems Mime-Version: 1.0 Content-Type: text/plain; format=flowed My favorite love poem is Ted Berrigan's "Red Shift" I don't think it's so much of a stretch to see it as a love poem, thinking about love as an both an exhaustive and energizing force, well, maybe necessity. It's also just about the most heartbreakingly honest and sad and powerful poem in my mind. I sort of see it as a love poem not only to his friends and others but also to poetry, to the world of poetry or the world that's created by poetry. And, I guess, to the way it can consume one. noah _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Wed, 5 Feb 2003 21:30:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Awesome Possum Blossoms MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii NEW ONLINE AT SKANKYPOSSUM.COM/POUCH: Eliot Weinberger: Statement for "Poetry is News" conference, St. Mark's Poetry Project Dale Smith reviews "Rollerdrome and the Millionaire" by Fred Smith (no relation) Joseph Lease and Thomas Fink: Narrative and Critique Clayton Eshleman: The Assault **** NEW BOOKS AND CHAPBOOKS FROM SKANKY POSSUM: Skanky Possum Issue 8 Featuring: Carol Szamatowicz, Susan Wheeler, Chris Stroffolino, Arielle Greenberg, Michael Magee, Clayton Eshleman, Kit Robinson, Alan Gilbert and others. Available direct now. (SPD should have copies in about 2 weeks). IN THE BRANCHES OF THE UPPER-WORLD: Selections from the journals of Harvey Brown with a checklist of the publications of Frontier Press, edited with an introduction by Michael Boughn Available through SPD SONGS OF THE SOUTH AND SLIGHTLY WEST, by Randy Prus Available direct or SPD SCRATCH SIDES: POETRY, DOCUMENTATION, AND IMAGE-TEXT PROJECTS, by Kristin Prevallet Direct or SPD "I MUST GO" (SHE SAID) "BECAUSE MY PIZZA'S COLD, Selected Works, 1957-1999, by Sotere Torregian Direct or SPD OF LIGHT REFLECTED, by Roger Snell Direct or SPD ****FORTHCOMING IN MARCH**** ZOMBIE DAWN, Tom Clark and Anne Waldman THE MISERIES OF POETRY: VERSIONS FROM THE GREEK, Traductions by Alexandra Papaditsas and Kent Johnson SKANKY POSSUM 2925 Higgins Street Austin, Texas 78722 __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 5 Feb 2003 20:44:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: 16 words on the page/screen In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable 16 words on the page/screen SinFile 02 3x DATA 8 5 5 6 7 8 [Excerpt] page=BFn=BFsc reen=BFsigu re=BFfiguur face=BFsuh=BF fixed=BFfet en=BFwrittd n=BFhidden=BF =BFculture=BF ture=BFnatu ed=BFcookea page=BFpa=BFf round=BFur=BF fixede=BFte n=BFhialeu=BF cookw=BFgsi gurd=BFach=BF fireteren =BFevurre=BFc o=BFrpa=BFfig unceeped=BF frnd=BFden=BF he=BFued=BFco o=BFpa=BFscre ee=BFrface=BF sepefree=BF fiad=BF=BFhid deure=BFtur e=BFcw=BFrapa gcrure=BFfr oe=BFsepth=BF frwriread =BFeultue=BFn oawage=BFcr und=BFce=BFh=BF fie=BFn=BFwr=BF reddelela turd=BFcw=BFr e=BFpscgund e=BFsuh=BFdix ree=BFtten=BF deneare=BFr e=BFcook=BFrg sigure=BFur td=BFfixe=BFf tad=BFredd=BF rnatued=BFa =BFpeee=BFfio =BFs=BFfixedr wriread=BF=BF reture=BFco w=BFge=BFscgu nace=BFsth=BF f=BFfrerire ievealtut k=BFrapagee n=BFfround=BF dexee=BFf=BFw d=BFeealecu re=BFaw=BFe=BFp =BFfigunur=BF dixedfrtt ereahied=BF r=BFcutkeaw =BFe=BFere=BFgr ourtd=BFfi=BF frtd=BFrean =BFhvealed=BF ttued=BFcoo re=BFpscree e=BFgrurfac dixedfren =BFren=BFhed=BF ce=BFcoowpa gscgure=BFg roach=BFfi=BF fren=BFreae n=BFhecure=BF cooraw=BFpa reee=BFgroe th=BFffree=BF reiddled=BF uture=BFcoo w=BFpagerer dace=BFsuh=BF ren=BFwridi ddvealeuu re=BFcoorag e=BFprere=BFf roufh=BFfix ree=BFen=BFwr reaidled=BF tutkedaw=BF eere=BFfiou ch=BFfixe=BFf nad=BFreadh ievealed=BF crd=BFcoo=BFr e=BFfigurd=BF reped=BFe=BFf tad=BF=BFhed=BF ur=BFnaoker awageee=BFg rouuh=BFdix ed=BFftte=BFe n=BFheurre=BF co=BFrapage rere=BFgsur td=BFreerit ahiealetu ao=BFraw=BFr=BF pee=BFfigue =BFh=BFdeped=BF erittd=BFre devere=BFcu rdrapage=BF =BFsiound=BFg acped=BFfix en=BFead=BFre nevuture=BF crawpagsc rure=BFgr=BFs ur=BFdeped=BF fifre=BF=BF=BFh iddeacuat ure=BFcoo=BF=BF pagcrure=BF grourfdex e=BFrittere envealedc =BFcooked=BFa preen=BFscg uace=BFsur=BF f=BFfree=BFtt aidden=BFd=BF eure=BFnoow =BFrge=BFrerd =BFgrfh=BFfre e=BFfted=BFid denee=BFtur e=BFco=BFrge=BF parurd=BFgr oe=BFdixfre e=BFwradden =BFevltur=BFn aok=BFraw=BF=BF pee=BFfigun d=BFace=BFsur tdfn=BFwrit adeealed=BF re=BFnooked wage=BFen=BFs iound=BFce=BF dixed=BFffw rd=BFreadn=BF reure=BFcno okaw=BFrage re=BFgrorfa th=BFfie=BFfr n=BFwre=BFhid reveturer d=BFc=BFrpan=BF figund=BFs=BF dexedewre ad=BFhalelt unatkewe=BF prere=BFgrc eexee=BFfrn =BF=BFridden=BF rulure=BFna owe=BFpage=BF ee=BFground fh=BFfixed=BF eeren=BFhid re=BF=BFcooke wge=BFreen=BF fiounace=BF dexed=BFf=BFw riteaddd=BF revre=BFe=BFw =BFrawpascg ure=BFfroua th=BFdixfre n=BFwrad=BFhi revlturtu ed=BF=BFraw=BF=BF =BFsigure=BFu dexed=BFfre t=BFreaidd=BF u=BFnaokedr acrere=BFgr eeped=BFfen =BFr=BFhided=BF cnatued=BFr ae=BFpa=BFsig unach=BFfix ered=BFden=BF hiv=BFre=BFna tueraw=BFra w=BF=BFsigure =BFgurepth=BF diee=BFen=BFw rread=BFdde nevealce=BF nooked=BFwp aeen=BFscgu nd=BFsurfa=BF firee=BFfrn d=BFren=BFhid revtnatur d=BFcoaw=BFr=BF screee=BFgr face=BFsth=BF fixedeire =BFhidaleur aturd=BFcow =BFrae=BFpage etc. ========================================================================= Date: Wed, 5 Feb 2003 17:25:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: U.S. poet laureate opposes war with Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Subject: U.S. poet laureate opposes war with Iraq > > http://www.ohio.com/mld/ohio/entertainment/5112907.htm > ========================================================================= Date: Thu, 6 Feb 2003 13:40:38 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: cut ups & day dreams 4 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM day ||||||||||||||||||||||| | | day peace in bronze JFK www.poetinresidence.com ========================================================================= Date: Thu, 6 Feb 2003 07:16:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: FW: statement for "Poetry Is News" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Yesterday I mistakenly posted an incomplete and corrupted version of Eliot Weinberger's statement, which he read at last Saturday's "Poetry is News" event in New York City; nearly 600 words had been left out near the end. The full version follows, with apologies. ------------------------------------------------------------- Statement for "Poetry is News" conference St. Mark's Poetry Project, NYC, 1 February 2003 Eliot Weinberger I am both pessimistic and optimistic about what's happening and briefly, or not so briefly, I'd like to say why: First, I take the word "politics" in a very narrow sense: that is, how governments are run. And I take the word "government" to mean the organized infliction or alleviation of suffering among one's own people and among other peoples. One of the things that happened after the Vietnam War was that, in the U.S., on the intellectual left, politics metamorphosed into something entirely different: identity politics and its nerd brother, theory, who thought he was a Marxist, but never allowed any actual governments to interrupt his train of thought. The right however, stuck to politics in the narrow sense, and grew powerful in the absence of any genuine political opposition, or even criticism, for the left had its mind elsewhere: It was preoccupied with finding examples of sexism, classism, racism, colonialism, homophobia, etc. -- usually among its own members or the long-dead, while ignoring the genuine and active racists/ sexists/ homophobes of the right-- and it tended to express itself in an incomprehensible academic jargon or tangentially referential academic poetry under the delusion that such language was some form of resistance to the prevailing power structures-- power, of course, only being imagined in the abstract. (Never mind that truly politically revolutionary works-- Tom Paine or the Communist Manifesto or Brecht or Hikmet or a thousand others-- are written in simple direct speech.) Meanwhile, Ronald Reagan was completely dismantling the social programs of the New Deal and Johnson's Great Society-- creating the millions of homeless, the 25% of American children who live in poverty, the obscene polarization of wealth, and so on. (And the poets, typically, were only moved to speak up when he cut the NEA budget.) Clinton might have had a more compassionate public face, but essentially the political center had shifted so far right that today the Democratic party is to the right of any European conservative party, and the Republicans just slightly to the left of a European national front party. We may never live to see an American president as left-wing as Jacques Chirac. The main result of almost thirty years of these so-called politics on the left is that there are now more women and minorities in the Norton anthologies, and we all know how to pronounce "hegemony"-- surely a great comfort to the 6 million people, predominately black men, currently in the prison system, or the teenage girls in most places in America who need an abortion and there's nowhere to get help, or the parents and babies who create the statistics of by far the highest infant mortality rate among the technological nations, or the 20% of high school seniors who can't find the U.S. on a world map. The good news about the monstrosity of the Bush administration is that it is so extreme and so out of control that it has finally woken up the left, and once again we're talking about politics as the rest of the world knows it, about people getting slaughtered, people being hungry, and people deprived of basic human rights-- and not about language as a capitalist construct or queer musicology. The best news of all is that very young people-- the generation of the Zeroes-- after the decades of MTV and Nintendo somnambulism, are being politicized by the collapsed economy, the prospect of a reinstituted draft, and the realization that their sneakers are made by child-slaves in the Third World. Every political youth movement has its own culture-- look at the 30's, the 60's, or radical Islam today. It will be extremely interesting to see, and utterly unexpected to find, what culture this youth movement produces: What will be their ideals and practices, their music and poetry, or even their dress? I have a feeling that we won't have a clue, and that their response may well be a sort of iconoclastic asceticism, not unlike radical Islam, impervious to corporate takeover, and completely alien to their parents. [One of the hardest things for people my age to understand is that this is not 1967 all over again, that things are going to be very different, and that, if we don't learn to listen, we are going to end up being, as our old formula goes, part of the problem and not part of the solution.] I take this gathering as a kind of union meeting-- the union of writers, mainly poets-- and it seems to me the primary question for us is: things are going to be happening with or without us, are we going to be part of it, or are we going to continue to talk about essentialism at the MLA and finding your voice at the AWP? Poets in times of political crises basically have three models. The first is to write overtly political poems, as was done during the Vietnam War. 95% of those poems will be junk, but so what? 95% of anything is junk. It is undeniable that the countless poems and poetry readings against the Vietnam War contributed to creating and legitimizing a general climate of opposition; they were the soul of the movement. And it also resulted in some of the most enduring poems of the 20th century, news that has stayed news indeed. The second model is epitomized by George Oppen, who as a Communist in the 30's, and a poet uncomfortable with the prevailing modes of political poetry, decided that poets should not be treated differently from others, that the work to be done was organizing, and so he stopped writing and became a union leader. The third model is César Vallejo, another Communist in the 20's and 30's. He refused to write propaganda poems-- he wanted to write the poems he wanted to write-- so to serve the cause he wrote a great deal of propaganda prose. The first model (political poems) is the most common, and no doubt the one we'll be seeing the most, and frankly it will come as a relief from all those anecdotes of unhappy childhoods and ironic preoccupations with "surface." Oppen, of course, was a kind of secular saint-- and most of us are too egotistical to take a vow of silence. But it is the example of Vallejo that seems to me the least explored. People who are poets presumably know something about writing. So why does it never occur to them to write something other than poems? There are approximately 8000 poets registered in the Directory of American Poets-- are there even four or five who have written an article against the Bush Administration? Most of us can't get onto the Op-Ed page of the Times-- we'd never displace Condoleezza there-- but most of us do have access to countless other venues: hometown newspapers, college newspapers, professional newsletters, specialist magazines, websites, and so on. All writers have contacts somewhere, and all these periodicals must fill their pages. Even poetry magazines: Why must poetry magazines always be graveyards of orderly tombstones of poems? How many of them in the 1980's, for example, even mentioned the name "Reagan"? How many of them today have any political content at all? I've been writing articles since Bush's inauguration for translation in magazines and newspapers abroad and, if nothing else, they at least help to demonstrate that the US is not a monolith of opinion. Foreign periodicals can't get enough of Americans critical of Bush-- which is why the collaboration of such supposedly antiwar poets as Robert Creeley and Robert Pinsky in the recent State Dept anthology was so grotesque. If, as they claim, they wanted to give Americans a human face, there was no end of other forums abroad-- they didn't have to do it as flunkies for Bush. More tellingly, the only public condemnations of that anthology have come from foreign newspapers-- American writers were either indifferent or afraid of alienating a future prize jury. In English, I send my articles out via e-mail. It's one of the best ways, and certainly the easiest, to publish political writing in this country. Send it to your friends and let the friends, if they want, send it on. Let the readers vote, not with their feet, but with the forward button. The last time I was here at St Marks, in 1994, I was practically laughed off the stage for saying that the major organizing force of political opposition in the future was going to be the internet. Now of course, it's a banality. The internet has completely changed all the rules. It's how the like-minded instantly find each other; it's the one national and international forum that has been-- so far-- impossible to control; and it's practically the only source of opposition information and opinions from everywhere in the world: not only immediate access to the foreign press, but also-- if you really want to give yourself nightmares-- to the endless reports available from the Dept of Defense and right-wing think tanks. That still-unrecognized prophet, Abbie Hoffman, said, almost 40 years ago, that if you want to start a revolution, don't bother to organize, seize a television station. With the internet, we are all our own tv stations and publishing companies and newspapers. The potential is limitless: Trent Lott was brought down by a weblog; all the doubts about the war that are seeping into the general public began online; and just this week even lovely Laura's Poetry Tea got canceled thanks to an e-mail petition. There are 8000 poets in the Directory, and Anne Waldman and Ammiel Alcalay, a month ago had trouble coming up with a list to invite to speak here. One eye may half-open when, like Laura's party, it directly involves them, but most American writers have lost the ability to even think politically, or nationally, or internationally. In all the anthologies and magazines devoted to 9/11 and its aftermath, nearly every single writer resorted to first-person anecdote: "It reminded me of the day my father died..." "I took an herbal bath and decided to call an old boyfriend..."Barely a one could imagine the event outside of the context of the prison cell of their own expressive self. (Or, on the avant-garde, it was a little too real for ironic pastiche from their expressive non-self.) We are where we are in part because American writers-- supposedly the most articulate members of society-- have generally had nothing to say about the world for the last 30 years. How many of those 8000 poets have ever been to a Third World country (excluding beach vacations)? How many think it worthwhile to translate something? How many can name a single contemporary poet, not living in the U.S., from Latin America or Africa or Asia? In short, how many know anything more about the world than George Bush knows? After thirty years of self-absorption in MFA and MLA career-mongering and knee-jerk demography and the personal as political and the impersonal as poetical, American writers now have the government we deserve. We were good Germans under Reagan and Bush I; we were never able to separate Clinton's person from his policies and gave him a complacent benefit of the doubt; and the result is Cheney and Rumsfeld and Ashcroft and Perle and Wolfowitz and Scalia and Rice and their little president. They can't be stopped, but I do think they can be slowed down. ========================================================================= Date: Thu, 6 Feb 2003 07:39:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: AsEverWas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit AsEverWasHammond Guthrie reads from "As Ever Was - Memoirs of a Beat Survivor." February 18 - 7pm Writers Talking Series Central Library - Portland. OR. http://www.multcolib.org/events/writers.html ========================================================================= Date: Thu, 6 Feb 2003 10:45:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: Love Poems re: re: love poems MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I kinda like cuerpo de mujer it makes me fell like I'm a size 9 again on the right side of the hill. smassoni@aol.com sheila ========================================================================= Date: Thu, 6 Feb 2003 07:50:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Max Winter Subject: Re: Negative Reviews / Bad Reviewers? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii About negative reviews: A review is essentially a sign of a dialogue, taking place either in the mind of the reviewer or on a larger scale, between "goodness" and "badness." Reviews are, at bottom, displays of opinion, and the boundaries of the dialogue in which they figure are entirely subject to adjustment and to error. (Yes, I do mean error.) So, a very negative review, one which shows only the degree to which the work pertains to the "negative" side of the dialogue, that which pertains to "badness," is a less than trustworthy piece of writing. Because, after all, one of the terms of the entrance into this dialogue in the first place is that of assessment, i.e., of what has been done well and what has been done not-so-well, and if all we hear about is what has been done not-so-well, then the very reason for reading (or writing) the review in the first place goes out the window, unless we choose to view the reviewer as a victim of his or her subject... The proposition that only positive reviews should be written, though, is a strange one. If only positive reviews were written, then the experience of reading reviews at all would become boring and textureless, sort of like cold oatmeal. Not to be too lofty, but reviewers are responsible for arbiting taste, and part of arbiting, I would think, is honesty, and most reviewers who care enough about their craft and about their subject to write a review in the first place would, thus, care enough to be honest. And that means being negative, if necessary. But also expressing why it is you like something, or why it moves you, or why it impresses you. Of course, I've indeed heard it said that poetry reviews should always be positive, because of the low place poetry occupies in our economy and in public interest. In a sense, this is true, but then, in another sense, reviews of poetry are written for the community of poetry at large, and so are intended for the people for whom the "dialogue" I mentioned above is alive, and vital. And these people create, in a sense, their own economy, their own market, their own currency, 90% independent. And so reviews have a responsibility to shape that, uh, microcosm--while bearing in mind what accomplishments have been made by the work which is their subject. Trying hard not to sound like John Houseman, but failing, Max Winter __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 6 Feb 2003 10:52:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Richards Subject: Re: patchen / love poems MIME-Version: 1.0 Content-Type: text/plain That's Larry Smith of Bottom Dog > -----Original Message----- > From: Craig Allen Conrad [SMTP:CAConrad9@AOL.COM] > Sent: Wednesday, February 05, 2003 4:35 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: patchen / love poems > > Patchen's LOVE POEMS published by City Lights is long out of print, but > there's an even bigger collection of JUST his love poems titled AWASH WITH > ROSES, edited by Laura Smith from Bottom Dog Press. > > one of my favorite Patchen books is IN QUEST OF CANDLELIGHTERS (from New > Directions) > > "This is a good world... > And war shall fail." > --Kenneth Patchen, > from LOVE POEMS ========================================================================= Date: Thu, 6 Feb 2003 08:39:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: you exceeded your transfer In-Reply-To: <2D5E2F48C186CC4A8FE9E135479CB9B1332CED@srv0mx1.intranet.shawnee.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable you exceeded your transfer motionless, I stand here stained, magnifying the intensity of our=20 grandeur. I seem to be dreaming of a dream . . . the conversation=20 shifts to masters of the world . . . or was that world heavy weight=20 champions . . . or was that queen of paradox and or senator of the=20 =93real world.=94 meaning certain expressions are just . . . based on = the=20 old forest without geographical location theme. there was a=20 conversation about log-in times and minutes served . . . or the long=20= and short line of it. and then as the dead scattered in their deep=20 velvet cries, in the room of everything is possible, a note comes under=20= the door that keeps out moral codes, a request for names. I want to run=20= as a rapid dog and beg forgiveness, write nothing but children's books=20= with logo placement, but I felt obligated to hold a dim glow in my=20 hands, notice all lines are endless with minute points of interest.=20 there was an edge of a vast dissolve, over spread on this side of=20 endlessness or was that madness?=20= ========================================================================= Date: Thu, 6 Feb 2003 16:44:27 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: roger.day@GLOBALGRAPHICS.COM Subject: long song Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii Content-Disposition: inline "The first notes in the longest and slowest piece of music in history, designed to go on for 639 years, are being played on a German church organ on Wednesday." "The three notes, which will last for a year-and-a-half, are just the start of the piece, called As Slow As Possible." "Composed by late avant-garde composer John Cage, the performance has already been going for 17 months - although all that has been heard so far is the sound of the organ's bellows being inflated." http://news.bbc.co.uk/2/hi/entertainment/2728595.stm Could almost be the theme tune for the long now foundation: http://www.longnow.org/ 1. Serve the long view (and the long viewer). 2. Foster responsibility. 3. Reward patience. 4. Mind mythic depth. 5. Ally with competition. 6. Take no sides. 7. Leverage longevity. Roger ========================================================================= Date: Thu, 6 Feb 2003 16:51:17 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Lasko Subject: Re: Poetry is News Mime-Version: 1.0 Content-Type: text/plain; format=flowed If the ancient Egyptians could (and did) raise their temple stones by beating them with sticks to alter their gravitational resonance, it's not impossible that poets "working together" could produce the practicality of some like miracle. What does "working together" mean? "Appearing" together? Chanting together a la Ed Sanders' "Out Demon Out" performance at the Pentagon in the late sixties? Or aggressively pursuing one's differences with each otherone so as to make the potentialities of power and position of all involved more clear? Cat >From: Gary Sullivan >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Poetry is News >Date: Thu, 6 Feb 2003 01:10:34 -0500 > >Hi Joe, > >Thanks for posting the Eliot Weinberger paper. I actually had already read >it, on a site soon-to-be-made-public that was inspired by Weinberger's >paper. But I reread it again tonight. > >I found the paper itself to be in part inspiring, but equally repellant, >divisive, counterproductive, and needlessly so. Inspiring, for me, was this >passage: > >"People who are poets presumably know something about writing. So why does >it never occur to them to write something other than poems? There are >approximately 8000 poets registered in the Directory of American Poets--are >there even four or five who have written an article against the Bush >Administration? Most of us can't get onto the Op-Ed page of the Times--we'd >never displace Condoleezza [sic] there-- but most of us do have access to >countless other venues: hometown newspapers, college newspapers, >professional newsletters, specialist magazines, websites, and so on. All >writers have contacts somewhere, and all these periodicals must fill their >pages. Even poetry magazines ..." > >This is great, practical advice. And, as I said, inspired at least one >website that you'll be hearing about soon. > >What I found to be counterproductive was the extent to which Weinberger >seemed utterly incapable of finding a way to avoid (a) grandstanding about >his own pre-9/11 politically-relevant activities (about which he is >severely >delusional, and which is an aspect of another Poetry is News paper on the >above-mentioned site that serves no further function than to pound home the >equally delusional notion: "I'M better than YOU," clearly an agenda that >might be dropped in sake of getting others involved); and (b) completely >dismissing--and potentially alienating--large numbers of poets who might >otherwise happily work with him. > >(b) has much to do, Joe, with your own notion of the supposed split between >politics and aesthetics. Like, at this point, what the fuck does it matter? >What DOES in fact matter? Aesthetic differences? At this point? > >To throw in a bit of "realism" here: The Bush administration seems bent on >attacking Iraq as soon as March. That doesn't give poets much time to >contemplate about who is writing the supposedly most "politically relevant" >poetry--as though this were something actually going to be decided in the >near, or frankly even distant, future. It is, in realistic terms, just >enough time to organize, bring people together, and stage a serious, >collective demonstration. > >In order to do the above, poets have to be working together. I can tell you >one way in which you can be assured of poets NOT working together, of >instead being suspicious and hateful of each other: have one group of poets >call into question another group of poets' aesthetic practices! And, if you >really want to fuck things up, get a white American critic to discount >everything non-white poets have been doing over the last thirty years! > >Enter Eliot "Action" Weinberger: "The main result of these so-called >politics on the left [langpo and the multicultural movement] is that there >are now more women and minorities in the Norton anthologies, and we now >know >how to pronounce "hegemony"--surely a great comfort to the the 4 million >people, predominantly black men, currently in the prison system--" > >Weinberger's solution? "the truly politically revolutionary works--Tom >Paine >or the Communist Manifesto or Brecht or Hikmet or a thousand others ... >written in simple direct speech." > >And these, uh, "thousand others," have fomented ... what? Exactly? See, >because, it seems like they've fomented--looking around for a moment at the >various political systems currently at play on Planet Earth--JACK SHIT. > >Eliot, I love you, I even blurbed one of your books I loved it so much, but >you, darling, are quite simply OUT OF YOUR FUCKING RACIST WHITE-CENTRIC >MIND. Let me get this straight: you want me to sit on "The Bus" for eight >hours with you? While you're spewing this obnoxious, thoughtless >aesthetically and racially prejudiced crap? Sorry, baby. I'll fucking rent >a >car, if it comes to that. > >Here's a Modest Proposal: Let's, for once, LOSE the dumbshit obviously >irrelevant aesthetic and racial prejudices and WORK TOGETHER for once. Eh? >Is that, Joe, something you're "for"? Because it sounds like the people >you're pushing here are not for that. It sounds like they're more for >settling Ye Olde Scores, like, uh, MY AESTHETICS ARE MAJORLY IMPORTANT; >YOURS ARE BULLSHIT kind of scores. It's Super Fucking Counterproductive if >one seriously hopes to bring together everyone on the left who might >conceivably HELP one's cause. Hey, not that the left has been anything but >segmented. > >Again: In Camp A: A plan to bomb Iraq in March, possibly even carpet >bombing, resulting in significant civilian death, injury & trauma. In Camp >B: Self-important, supposedly politically engaged critic blathering on >about >his aesthetic and racial prejudices. Hey, maybe I'm "reading too much into >this," but I don't see any connection between the two. > >Joe, in all seriousness, do you? > >In order to do what it is we all presumably want to do (quash Bush's war), >we need to work together, and do it now. It requires action by as many >people as we can possibly put together. In NYC there will be a >demonstration >on February 15th. Pretty simple to understand: Be there. Maybe I should go >on & on about various poets' supposed lack of political engagement? You >think that'll encourage them to participate with us? "You stupid fuckers >writing in a way unlike our bland irrelevant Poetry Project Workshop >examples! You're fucking it all up for us!" > >What utter fucking idiot imagines "putting together" people might possibly >begin with trashing the whole multicultural movement of the last thirty >years? "Hi, oh, uh, Ishmael Reed? Hi, man, how's it going? Yeah, Califia, >you know, great, it was a groovy book, man, but did it, like, free the >prisoners, baby? See, because we white people are thinkin' that, uh, see, >we >got the straight dope, baby. Yeah, like me and Anne. And like, uh, we're >gonna, it's gonna, something's gonna--well, okay, we have no idea what >we're >doing here, but, like, is it okay if we put you down, man? Like dis >you-all?" > >Fuck Eliot Weinberger and the fucking white horse he rode in on. > >And fuck Poetry Is News if they can't approach poets in some way NOT >involving old SCORES TO SETTLE. Let them fucking swallow that shit, eat >their pride, and be FUCKING HUMAN BEINGS LIKE THE REST OF US--as though >they >had the wherewithall. Joe, are you actually interested in aesthetics, or >just interested in dismissing those whose aesthetics you don't agree with. > >The Iraqis are going to be bombed no matter what dumb-ass prejudices we >short-sighted white morons have of each others' aesthetics. Unless we >ACTIVELY stop those who would bomb them. And that requires all of us. >Anyone >actually putting together a program that includes EVERYONE, that doesn't >berate people, but rather encourages them, let us all know. We need to work >together. A foreign concept, Joe, to some. > > >_________________________________________________________________ >Help STOP SPAM with the new MSN 8 and get 2 months FREE* >http://join.msn.com/?page=features/junkmail _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 6 Feb 2003 11:51:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Request for contact info In-Reply-To: <20030206053034.76615.qmail@web40305.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Anyone got contact info for Gwyn McVay? Hal Braised pork bun (Taiwanese style) Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Thu, 6 Feb 2003 12:05:16 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Poetry is News MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Gary, Eliot's primary "humor" (in the Jonsonian/Burtonian sense) is contempt, hiding maybe a core of pride; this is unfortunate because he is also such a wonderful writer of strange prose. Eliot I think carries a big wound, the reception of his modern poetry anthology. In retrospect, the big clash between him and Amiri Baraka at the Poetry Project years ago was a comic event, between two persons neither fully aware of the effect of his words on others. Murat ========================================================================= Date: Thu, 6 Feb 2003 12:36:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Poetry is News Comments: To: Gary Sullivan In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Gary Sullivan, I think I love you! -Mike "Signing All My Petitions And Gettin Ready to March" Magee Quoting Gary Sullivan : > Hi Joe, > > Thanks for posting the Eliot Weinberger paper. I actually had already read > it, on a site soon-to-be-made-public that was inspired by Weinberger's > paper. But I reread it again tonight. > > I found the paper itself to be in part inspiring, but equally repellant, > divisive, counterproductive, and needlessly so. Inspiring, for me, was this > passage: > > "People who are poets presumably know something about writing. So why does > it never occur to them to write something other than poems? There are > approximately 8000 poets registered in the Directory of American Poets--are > there even four or five who have written an article against the Bush > Administration? Most of us can't get onto the Op-Ed page of the Times--we'd > never displace Condoleezza [sic] there-- but most of us do have access to > countless other venues: hometown newspapers, college newspapers, > professional newsletters, specialist magazines, websites, and so on. All > writers have contacts somewhere, and all these periodicals must fill their > pages. Even poetry magazines ..." > > This is great, practical advice. And, as I said, inspired at least one > website that you'll be hearing about soon. > > What I found to be counterproductive was the extent to which Weinberger > seemed utterly incapable of finding a way to avoid (a) grandstanding about > his own pre-9/11 politically-relevant activities (about which he is severely > delusional, and which is an aspect of another Poetry is News paper on the > above-mentioned site that serves no further function than to pound home the > equally delusional notion: "I'M better than YOU," clearly an agenda that > might be dropped in sake of getting others involved); and (b) completely > dismissing--and potentially alienating--large numbers of poets who might > otherwise happily work with him. > > (b) has much to do, Joe, with your own notion of the supposed split between > politics and aesthetics. Like, at this point, what the fuck does it matter? > What DOES in fact matter? Aesthetic differences? At this point? > > To throw in a bit of "realism" here: The Bush administration seems bent on > attacking Iraq as soon as March. That doesn't give poets much time to > contemplate about who is writing the supposedly most "politically relevant" > poetry--as though this were something actually going to be decided in the > near, or frankly even distant, future. It is, in realistic terms, just > enough time to organize, bring people together, and stage a serious, > collective demonstration. > > In order to do the above, poets have to be working together. I can tell you > one way in which you can be assured of poets NOT working together, of > instead being suspicious and hateful of each other: have one group of poets > call into question another group of poets' aesthetic practices! And, if you > really want to fuck things up, get a white American critic to discount > everything non-white poets have been doing over the last thirty years! > > Enter Eliot "Action" Weinberger: "The main result of these so-called > politics on the left [langpo and the multicultural movement] is that there > are now more women and minorities in the Norton anthologies, and we now know > how to pronounce "hegemony"--surely a great comfort to the the 4 million > people, predominantly black men, currently in the prison system--" > > Weinberger's solution? "the truly politically revolutionary works--Tom Paine > or the Communist Manifesto or Brecht or Hikmet or a thousand others ... > written in simple direct speech." > > And these, uh, "thousand others," have fomented ... what? Exactly? See, > because, it seems like they've fomented--looking around for a moment at the > various political systems currently at play on Planet Earth--JACK SHIT. > > Eliot, I love you, I even blurbed one of your books I loved it so much, but > you, darling, are quite simply OUT OF YOUR FUCKING RACIST WHITE-CENTRIC > MIND. Let me get this straight: you want me to sit on "The Bus" for eight > hours with you? While you're spewing this obnoxious, thoughtless > aesthetically and racially prejudiced crap? Sorry, baby. I'll fucking rent a > car, if it comes to that. > > Here's a Modest Proposal: Let's, for once, LOSE the dumbshit obviously > irrelevant aesthetic and racial prejudices and WORK TOGETHER for once. Eh? > Is that, Joe, something you're "for"? Because it sounds like the people > you're pushing here are not for that. It sounds like they're more for > settling Ye Olde Scores, like, uh, MY AESTHETICS ARE MAJORLY IMPORTANT; > YOURS ARE BULLSHIT kind of scores. It's Super Fucking Counterproductive if > one seriously hopes to bring together everyone on the left who might > conceivably HELP one's cause. Hey, not that the left has been anything but > segmented. > > Again: In Camp A: A plan to bomb Iraq in March, possibly even carpet > bombing, resulting in significant civilian death, injury & trauma. In Camp > B: Self-important, supposedly politically engaged critic blathering on about > his aesthetic and racial prejudices. Hey, maybe I'm "reading too much into > this," but I don't see any connection between the two. > > Joe, in all seriousness, do you? > > In order to do what it is we all presumably want to do (quash Bush's war), > we need to work together, and do it now. It requires action by as many > people as we can possibly put together. In NYC there will be a demonstration > on February 15th. Pretty simple to understand: Be there. Maybe I should go > on & on about various poets' supposed lack of political engagement? You > think that'll encourage them to participate with us? "You stupid fuckers > writing in a way unlike our bland irrelevant Poetry Project Workshop > examples! You're fucking it all up for us!" > > What utter fucking idiot imagines "putting together" people might possibly > begin with trashing the whole multicultural movement of the last thirty > years? "Hi, oh, uh, Ishmael Reed? Hi, man, how's it going? Yeah, Califia, > you know, great, it was a groovy book, man, but did it, like, free the > prisoners, baby? See, because we white people are thinkin' that, uh, see, we > got the straight dope, baby. Yeah, like me and Anne. And like, uh, we're > gonna, it's gonna, something's gonna--well, okay, we have no idea what we're > doing here, but, like, is it okay if we put you down, man? Like dis > you-all?" > > Fuck Eliot Weinberger and the fucking white horse he rode in on. > > And fuck Poetry Is News if they can't approach poets in some way NOT > involving old SCORES TO SETTLE. Let them fucking swallow that shit, eat > their pride, and be FUCKING HUMAN BEINGS LIKE THE REST OF US--as though they > had the wherewithall. Joe, are you actually interested in aesthetics, or > just interested in dismissing those whose aesthetics you don't agree with. > > The Iraqis are going to be bombed no matter what dumb-ass prejudices we > short-sighted white morons have of each others' aesthetics. Unless we > ACTIVELY stop those who would bomb them. And that requires all of us. Anyone > actually putting together a program that includes EVERYONE, that doesn't > berate people, but rather encourages them, let us all know. We need to work > together. A foreign concept, Joe, to some. > > > _________________________________________________________________ > Help STOP SPAM with the new MSN 8 and get 2 months FREE* > http://join.msn.com/?page=features/junkmail > ========================================================================= Date: Thu, 6 Feb 2003 09:44:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Poetry Project Newsletter/Weinberger, etc. In-Reply-To: <5.1.1.6.0.20030205193730.01a201a8@mail.ilstu.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Recently someone told me "war quickens." The verb, someone else said , is also used when a woman is about to give birth. I think many or most of us are deeply immersed in a "quickening" as threatening war and the opposition to it mounts and claims the collective consciousness. I am not sure anything has yet "objectively" changed but the attention - critical and felt responses - to all objects is intensified to the max (either as before a birth or after a personally significant death). All which is preface to say, I really enjoyed and found myself reading the Newsletter closely. Instead of maybe often reading it not so closely (from here in San Francisco), as either a reputation definer, a local community news tool, whatever responses I think many poets may use as our common line of defense around the potential real estate claims of others, less what little of our own in this world be endangered! Any way, a very interesting poem by Nick P (the last section '4' is particularly terrific), but I was also intrigued "The Blank Generation" Forumn on "The Blank Generation" where Lyn Hejinian is set up the elder "fall" person (implying in an excerpt from an interview that new young writing is mainly surface with no root or utopian aspiration) off of which a number of mostly young poets speak on whether or not politics juices their work. (Reg E Gaines, Laura Elrick, , M Nagee, R Gladman, A Gilbert, and some oldies with a view of the young, L Scalapino, E Torres and , J Yau. ) Naturally the young are mostly irritated by Lyn, and the responses are variously refreshing, angry, and provoked. Interestingly this discussion also has it's parallel counter-weight in Eliot Weinberger's talk at Poetry Is News at St. Marks. I agree with Maria Damon that Eliot's tone is off-putting (a bit self-righteous, but I suspect from the point of view of one who was wounded by the emergence of the Language folks, of whom there were many, by the way. It's great fault as a movement - full of the righteousness of its own youthful oats and regardless of any high mindedness of its utopian politics - was to come off as exclusive and abusive of anyone seen as "old school." Plus the work was new and difficult. I remember being a left a little speechless when more than once I was asked by a non-literary therapist if I knew what "Language Poetry" was. They had a deeply troubled patient, etc!) It's going to be curious - and inevitably there will be divisions - as Poetry As News, and other events, such as Sam Hamill's anthology become more public and prominent. (I was thinking of Ron Silliman's "New Sentence" the other day when I submitted a "prose poem" to Hamill's site. The thin width of the submission column is (currently) designed to accommodate a not so wide lyric poem. I had to watch the "horizon" lines of my prose break up its sentences into a lyric experiment - which was kind of interesting!) But, at the moment, I sense most of us are being tumbled inside out as we re-emerge with these utility issues of language/theory/politics/activism around the impending war. A personal experience perhaps reflective of this change: last weekend I offered to take my son (25) and daughter (22) to a movie. My son is totally into writing & performing hip-hop - some of it political & definitely angry - making "beats" and large graffiti gestured paintings. He has never read or took interest in poetry as this list might know it. (I didn't read my parent's books either). When I asked him for a choice, the movie he wanted to see - thinking it would be "The Gangs of New York" etc. , he said, "I hear there is a great one at the Castro". His sister agreed to also go and we spent the late afternoon watching the documentary of Noam Chomsky giving lectures on Terror. He and my daughter - a graduate of primarily apolitical UC Santa Barbara Campus - both loved, discussed it, etc. This movie choice - and discussion - would probably not have happened a year ago. Next Sunday they are both hot to go on their first ever Peace Walk here in the City. Plus que ca change.... Stephen V Stephen Vincent on 2/5/03 5:40 PM, Gabriel Gudding at gmguddi@ILSTU.EDU wrote: > from "Confronting the Empire" by Noam Chomsky; February 01, 2003 > ... > > "A few days ago a poll in Canada found that over 1/3 of the population > regard the US as the greatest threat to world peace. The US ranks more than > twice as high as Iraq or North Korea, and far higher than al-Qaeda as well. > A poll without careful controls, by Time magazine, found that over 80% of > respondents in Europe regarded the US as the greatest threat to world > peace, compared with less than 10% for Iraq or North Korea. Even if these > numbers are wrong by some substantial factor, they are dramatic." > > http://www.zmag.org/content/print_article.cfm?itemID=2938§ionID=40 ========================================================================= Date: Thu, 6 Feb 2003 12:14:48 -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="ISO-8859-1" Content-transfer-encoding: quoted-printable THIS SATURDAY AND NEXT WEEK AT THE POETRY PROJECT *** SATURDAY FEBRUARY 8 [4:00pm] A TRIBUTE TO CHARLES HENRI FORD MONDAY FEBRUARY 10 [8:00pm] KYLE CONNER AND MACGREGOR CARD WEDNESDAY FEBRUARY 12 [8:00pm] TRACIE MORRIS AND CECIL TAYLOR http://www.poetryproject.com/calendar.html *** SATURDAY FEBRUARY 8 [4:00pm] A TRIBUTE TO CHARLES HENRI FORD Speakers will include Harold Stevenson, Ted Joans, Ned Rorem, Penny Arcade, Charles Plymell, Gerard Malanga, Regina Weinreich, Steven Watson, Valery Oisteanu, Allen Frame, Indra Tamang, and Lynne Tillman. Slides will be shown.=20 MONDAY FEBRUARY 10 [8:00pm] KYLE CONNER AND MACGREGOR CARD Kyle Conner received his M.A. in creative writing from Temple University in 1995, where he studied with Toby Olson. He has been active in the Philadelphia poetry scene for a decade and has been published in numerous journals, most recently in The Hat, Ixnay, and 6,500, with work forthcoming in Oyster Boy Review. He has two chapbooks, Songs for South St. Bridge (1996) and The Pulverized Thing of Doubt (2002). In 1998, he co-founded the Highwire Reading Series (now La Tazza) in Philadelphia and co-curated for two years. Conner has birthed a theory of the artist he calls "Oughtism" (because you Ought to know), which makes the obvious explicit, i.e., that art is never more or less than an extension of the way one chooses to live one=B9s life. He is currently at work on a series of short erotic fiction pieces and is reading Nabokov=B9s Bend Sinister. Macgregor Card lives in Brooklyn. A chapbook, Souvenir Winner, was publishe= d last summer by Hophophop. Recent poems have appeared in Aufgabe, Lungfull!, The Hat, Slope, East Village Poetry and Can We Have Our Ball Back. He edits The Germ and Germ Monographs with Andrew Maxwell. And with Olivier Brossard he is co-editing a New York School poetry reader for French translation (Joca Seria, 2004). In 2000-2001, he was awarded a grant from the Providenc= e Gas Company. Relocating to Brazil next year, he will be launching a magazin= e for American/Brazilian poetries in translation. WEDNESDAY FEBRUARY 12 [8:00pm] TRACIE MORRIS AND CECIL TAYLOR Tracie Morris is a multi-disciplinary poet who has worked in theater, dance= , music and film. Her books include Chap-T-her Won: Some Poems by Tracie Morris (1993 TM Ink) and Intermission (1998, Soft Skull Press). She has toured extensively throughout the United States, Canada, Europe, Africa and Asia. Primarily known as a "musical poet," Ms. Morris has worked with an extensive range of internationally recognized musicians and other artists. Having participated in a dozen recording projects, her sound poetry has mos= t recently been featured in the 2002 Whitney Biennial. She has been anthologized in literary magazines, newspapers and books including 360 Degrees: A Revolution of Black Poets, Listen Up!: Spoken Word Poetry, Aloud= : Voices from the Nuyorican Poets Caf=E9, The Outlaw Bible of American Poetry and Soul: Black Power, Politics and Pleasure. Her words have also been featured in commissioned pieces for several organizations including Aaron Davis Hall, the International Festival for the Arts, The Kitchen, Franklin Furnace and Yale Repertory Theater for choreographer Ralph Lemon. Recording projects include: Goldberg Variations (Uri Caine) (2000 Winter and Winter Records) and Project Princess, Our Souls Have Grown Deep Like the Rivers (compilation, Rhino Records, 2000). Composer, musician, poet, and performer Cecil Taylor has, since the late 1950s, been one of contemporary music=B9s most influential figures. He has recorded dozens of albums including Jazz Advance, Unit Structures, Silent Tongues, The Willisau Concert, and Port of Call. He has incorporated poetry into his work in a number of ways over the years; in 1991 Leo Records released Chinampas, a recording which presents his poetry accompanied by multi-instrumental improvisations. Taylor=B9s poetry articulates a vibrant acoustic space in which he summons and unleashes a complex material magic that is thoroughly of the moment and for the ages. He will be reading from his recent work. *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 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, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 6 Feb 2003 13:26:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Re: Poetry is News, Weinberger Mime-Version: 1.0 Content-Type: text/plain; format=flowed Now is the time that older generations of poets get out of the business of lecturing younger generations about what to do *now*. Politically, poetically, socially, whatever. It could not be more tiresome or irrelevent. Your war was not our war. Your answers won't be our answers. If you don't get what we're up to, that's your problem, grampy. Now is the time for the self-beatification of older generations to come to an end. Your poetic fights are not our poetic fights. What have you done for us lately, and why is that *better* than what I've done? It's suddenly not enough to be a poet now--we need to march or sit or teach or op-ed or whatever. OK, but why should our art fall away, especially now? How 'bout we figure out what we can do: it can be a million things and a million different things. Must we all goose-step in unison to be heard? No. Where are the poets? Hopefully writing some fucking poems. --Jim Behrle _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 6 Feb 2003 10:36:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Lamoureux Subject: Left-justified Poets Against the War MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hello all, I am new to this list, but some of you may know me from various other contexts. First, I want to say that I wholeheartedly support and respect Sam Hamill's "Poets Against the War" project, and applaud him for his efforts in putting the project together. Now, that said, I want to express my frustration with some of the particularities of the project. I find it peculiar that he's segregated the site into the 'Search for a Poem' section and the 'Chapbook' section where "you'll find a selection of especially powerful poems and statements by prominent poets." I find this binary grouping of the submissions troubling. This sort of segregation into "the powerful poems of prominent poets" (apparently Robert Creeley is not a prominent poet, or his poem is not 'powerful' enough to make it into the 'Chapbook' section) and, apparently, "the rest of the rabble writing poems" seems to demonstrate the sort of intellectual elitism that the right is always using to undermine the efforts of the left, and antiwar movements in particular. Especially insofar as the only way to access a poem in the "Find a Poem" section is to search by the author's name or email address. Not all will be as acquainted with the nuts-and-bolts of search engines as I and type in one letter (e.g. 'C' to find 'Creeley') to list all of the poets with last names beginning with that letter. Some will say that this statement is merely sour grapes at not having been selected for the 'Chapbook' section myself, but I do believe that when one is making a public,political gesture, as Hamill is doing with the website, one needs to take such details into consideration. I know enough of computers to know that it would require no greater effort to link each submission by last name, in alphabetical order. Additionally, I received an email from the site last night saying that because I had submitted a poem as an attachment to an email (said email being sent last Sunday, January 26th), I would need to re-submit the poem via the website. Frustrated, but still willing to participate, I went to the site and opened the 'submit a poem' link, where I entered my name, age, location, and the title of the poem. While there was no message indicating that HTML tags could be used in the field, I entered the tags to bold my title, italicize portions of the text which were to be italicized, etc. Unfortunately I forgot that HTML commands would be required to preserve spacing of the poem on the page and was subsequently presented with a LEFT JUSTIFIED version of my piece, which, as written jumps around on the page. I realize that formatting such pieces for someone without much knowledge of HTML could be somewhat difficult, I find it odd that such considerations were not taken into account in a system whereby poets submit their poems. Am I wrong in thinking that it is wise to assume, in a post William Carlos Williams world that poets, even non-prominent ones, are going to stray from the left margin with their lines, and that this will perhaps be an important device in the poems as written? Could not this (sorry, I can't resist...) left-marginalization be construed to indicate that what we (e.g. Poets Against the War) assume to be poetry begins, necessarily, at the left margin and, obliquely: is narrative, is anecdotal, is confessional.... I realize that this sort of niggling can be construed as infighting, and thus would not bring this up except among colleagues. But I do believe that if one is going to make a public statement of dissent, one which is bound to attract criticism, scorn, anger, etc. etc., it is wise to have all of one's 'ducks in line', as they say, to make the statement as viable, vital and representative of the ones for whom one is speaking as possible. I don't find that Mr. Hamill, bless his soul for starting the ball rolling, is looking critically enough at the manner in which the site is being handled. The site should present an egalitarian voice against the administration's plan for in all of its incarnations and variances. Presenting the work in segregated categories, and without consideration for individual poets' particularities of form undermines this. All best, Mark Lamoureux __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 6 Feb 2003 13:34:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Richards Subject: Re: Love Poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable O, Lorine, if this [Paul / when the leaves] is a love poem, it ain't to = the addressee, but to full moon Louis who left her to dry up and drift = away.... > -----Original Message----- > From: K. Silem Mohammad [SMTP:ksilem@MINDSPRING.COM] > Sent: Wednesday, February 05, 2003 3:27 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Love Poems >=20 > Lorine Niedecker's >=20 > ------- >=20 >=20 > Paul > when the leaves > fall >=20 > from their stems > that lie thick > on the walk >=20 > in the light > of the full note > the moon >=20 > playing > to leaves > when they leave >=20 > the little > thin things > Paul >=20 >=20 > ------- >=20 >=20 >=20 > and=20 >=20 >=20 >=20 > ------- >=20 >=20 > I knew a clean man > but he was not for me. > Now I sew green aprons > over covered seats. He >=20 > wades the muddy water fishing, > falls in, dries his last pay-check > in the sun, smoothes it out > in _Leaves of Grass_. He=B9s > the one for me. >=20 > -------- >=20 >=20 > from _The Granite Pail_. >=20 >=20 >=20 > on 2/5/03 2:19 AM, Scott Pound at pounds@BILKENT.EDU.TR wrote: >=20 > > For a section of an American Poetry course I'm planning, I'd be > interested to > > hear what people's favorite American love poems are. > >=20 > > Thanks in advance, > >=20 > > Scott > >=20 > > Scott Pound > > Assistant Professor > > Department of American Culture and Literature > > Bilkent University > > TR-06800 Bilkent, Ankara > > TURKEY > >=20 > > +90 (312) 290 3115 (office) > > +90 (312) 290 2791 (home) > > +90 (312) 266 4081 (fax) > >=20 > > pounds@bilkent.edu.tr ========================================================================= Date: Thu, 6 Feb 2003 20:47:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: getting serious? MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT flash from the heartland: Woody's son at the Ryman and the 101st got deployment orders from Ft. Campbell. What's the word from the liberalism capital of SF? tom bell not yet a crazy old man ========================================================================= Date: Thu, 6 Feb 2003 15:12:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: letter to Poets Against the War Mime-Version: 1.0 Content-Type: text/plain; format=flowed To: info@poetsagainstthewar.org Poets Against the War-- I think the "chapbook" selection flushes you out for what you're really up to on your site. It's a bold and innovative bunch: Hayden Carruth, Galway Kinnell, Sam Hamill, Gregory Orr, Marilyn Hacker, John Balaban, Ursula K. Le Guin, Adrienne Rich, W. S. Merwin. "On this page you'll find a selection of especially powerful poems and statements by prominent poets." Really, will we? What started as a fairly democratic endeavor, to let powers know what American poets felt about the war has instead become a chance for *you* and *your friends* to do so. Cure, meet disease. You've officially become part of the problem. --Jim Behrle _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 6 Feb 2003 15:28:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Fwd: Ann Simon reading Sat 2/8 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Dear SPT list, I forward an announcement from Pam Lu. Elizabeth Please join us for a very special evening of readings by === Ann Veronica Simon === with additional readings by Alex Cory & Pamela Lu Saturday, February 8 7 pm 21 Grand 449B 23rd Street, Oakland (between Broadway and Telegraph) Free of charge, refreshments provided Poet, prose writer, and scholar Ann Veronica Simon has long been one of the quirkiest, funniest, and most poignant voices in the Bay Area experimental writing community. Her work rallies humor, memory, dream, childhood observation, idiosyncracy, and the private language of friendship toward a unique understanding of the mysterious, wonderful, and often perplexing world that surrounds us humans. Manuscripts include *My Life as a Mouth Breather*, *A Dictionary of My Vocabulary*, and the more recent *Things I Have Learned Since I Got Cancer*. Since the summer of 2002, Ann has been involved in an ongoing battle against brain cancer. Although her body has been afflicted, her mind and heart remain vibrant, engaged, open, and active. Please bring your love, your support, your prayers, and most of all your selves as we celebrate the gift of Ann's words and extraordinary presence. Admission is free and open to all. Refreshments will be provided. For more information, contact Pam Lu (pamela.lu@efi.com). Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 ========================================================================= Date: Thu, 6 Feb 2003 11:07:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Negative Reviews / Bad Reviewers? In-Reply-To: <20030206155009.41569.qmail@web13204.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In the last year I've turned down several offers to review books that I thought were of no value but were likely to sink on their own without leaving a ripple. I've written two reviews of books that had serious problems and were likely to receive more attention. One rendered Max Jacob's poetry unrecognizable in translation, the other, meant for classroom use, distorted California Latino literature by forcing it into conformity with a political agenda. I have no idea whether my reviews kept anyone from buyinhg or assigning these books, but I hope so. I can see no reason to write a negative review of a small press production of an otherwise unknown writer, and there's little point in bothering to slam, say, Billie Collins, in a journal whose readers already know the bad news. But if a journal or newspaper whose readership is largely unsuspecting were to ask me to write a review I'd take it as an opportunity to deflate the bubble, not by invective but by analysis. Bad art is often easier to read than good art because it strokes our various sentimentalities (Louis Lamour's westerns outsell Evan Connell's Custer book by a factor of 10), which is why bad art which has made its way isn't something simply to ignore--it drives out good art. The same may be said for scholarship. Mark At 07:50 AM 2/6/2003 -0800, you wrote: >About negative reviews: > >A review is essentially a sign of a dialogue, taking place either in the >mind of the >reviewer or on a larger scale, between "goodness" and "badness." Reviews >are, at >bottom, displays of opinion, and the boundaries of the dialogue in which >they figure >are entirely subject to adjustment and to error. (Yes, I do mean error.) >So, a very >negative review, one which shows only the degree to which the work >pertains to the >"negative" side of the dialogue, that which pertains to "badness," is a >less than >trustworthy piece of writing. Because, after all, one of the terms of the >entrance >into this dialogue in the first place is that of assessment, i.e., of what >has been >done well and what has been done not-so-well, and if all we hear about is >what has >been done not-so-well, then the very reason for reading (or writing) the >review in >the first place goes out the window, unless we choose to view the reviewer >as a >victim of his or her subject... > >The proposition that only positive reviews should be written, though, is a >strange >one. If only positive reviews were written, then the experience of reading >reviews >at all would become boring and textureless, sort of like cold oatmeal. Not >to be too >lofty, but reviewers are responsible for arbiting taste, and part of >arbiting, I >would think, is honesty, and most reviewers who care enough about their >craft and >about their subject to write a review in the first place would, thus, care >enough to >be honest. And that means being negative, if necessary. But also >expressing why it >is you like something, or why it moves you, or why it impresses you. > >Of course, I've indeed heard it said that poetry reviews should always be >positive, >because of the low place poetry occupies in our economy and in public >interest. In a >sense, this is true, but then, in another sense, reviews of poetry are >written for >the community of poetry at large, and so are intended for the people for >whom the >"dialogue" I mentioned above is alive, and vital. And these people create, >in a >sense, their own economy, their own market, their own currency, 90% >independent. And >so reviews have a responsibility to shape that, uh, microcosm--while >bearing in mind >what accomplishments have been made by the work which is their subject. > >Trying hard not to sound like John Houseman, but failing, >Max Winter > > > > > > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com ========================================================================= Date: Thu, 6 Feb 2003 17:10:17 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anslem Berrigan Subject: Re: war MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Is it not important to point out that we are already at war? I believe we are meant to take the War on Terrorism as literal fact, since the government does, and certainly the soldiers in Afghanistan have no choice but to do so. Invading Iraq would be an expansion of the current war, though it requires, ostensibly, a new resolution from the UN. The protests against invading Iraq are often publicly spoken of without the context of the War on Terrorism being applied, and anyone who is willing to protest this expansion is, for the most part, well aware that war is already upon us. In this vein, the movement to oppose invading Iraq is not merely crying "war bad, peace good", but attempting to exert public will (consciousness) upon the way the ongoing war is being framed. The President believes his cause to be a moral one, and the opposition to invading Iraq largely believes that pre-emptive invasion an extremely immoral action. Of course, anyone might disagree with this, particularly those who do not wish to see any of this described in moral terms. But that's the tag and collar Bush has on the situation, and what he's crushing his opposition with. ========================================================================= Date: Thu, 6 Feb 2003 17:59:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Poetry Against the War Day Reading Mime-Version: 1.0 Content-Type: text/plain; format=flowed Poetry Against the War Day Reading February 12, 2003, at 7:30 PM NEW location: St. Mary¹s Parish Hall 3 Elm Street, side entrance, downstairs (the big brick church between downtown & Smith College) Northampton, MA Free & open to the public Around the country on February 12, 2003, poets will gather to read poems of conscience as a powerful statement of public and collective resistance to the Bush administration's drive toward war in Iraq. Twenty local poets will read including: Martín Espada, Lesléa Newman, Jane Yolen, Susan Stinson, Ellen Watson, Nicomedes Suarez-Arauz. (I'm reading here also...) _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Thu, 6 Feb 2003 16:44:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Philip Nikolayev Subject: FULCRUM featured online Comments: To: BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable _Fulcrum: an annual of poetry and aesthetics_ is now featured online at http://www.bigbridge.org/lmfulcrum.htm National Public Radio's "The Poet and the Poem" has announced Fulcrum as = the winner of The Excellence in Print Award, 2003. According to the = program, "Fulcrum as an exemplar of outstanding literary journals... = Fulcrum contributes to American Letters, and is significant for its = presentation of new writers to the world and the furtherance of known = literary artists." ========================================================================= Date: Thu, 6 Feb 2003 14:49:55 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Left-justified Poets Against the War MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Mark Lamoureux, Agree mostly. Did something similar and was asked to use the website, which, as you notice, almost forces one into hugging the left margin lyric mode. Also, I told my 8th grade daughter about the project, she writes poetry, she recruited 40 kids at her progressive middle school to write anti-war poems. I typed them all up (!) and sent them in a very accessible attachment. Now they have to each be re-typed separately into Hamill's little box. Hamill's done a great public service, without doubt. Yet, the logistics of delivery aren't the best. Also, I disagree on one point in your commentary--the "chapbook" poems don't represent non-mainstream poetries, hybrids of narrative and lyric. This isn't a complaint or in-fighting, simply observation. Sometimes, even when one is rushed for time, a collaborative solution to a problem may work better than an individual choice. Gloria Frym ========================================================================= Date: Thu, 6 Feb 2003 11:04:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: terra1 Subject: Re: Poetry is News, Weinberger In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I second that montion. kari > Now is the time that older generations of poets get out of the business > of lecturing younger generations about what to do *now*. Politically, > poetically, socially, whatever. It could not be more tiresome or > irrelevent. Your war was not our war. Your answers won't be our > answers. If you don't get what we're up to, that's your problem, grampy. > > Now is the time for the self-beatification of older generations to come > to an end. Your poetic fights are not our poetic fights. What have you > done for us lately, and why is that *better* than what I've done? > > It's suddenly not enough to be a poet now--we need to march or sit or > teach or op-ed or whatever. OK, but why should our art fall away, > especially now? > How 'bout we figure out what we can do: it can be a million things and > a > million different things. Must we all goose-step in unison to be heard? > No. > > Where are the poets? Hopefully writing some fucking poems. > > --Jim Behrle > > > > _________________________________________________________________ > Tired of spam? Get advanced junk mail protection with MSN 8. > http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 6 Feb 2003 14:57:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Fwd: Urgent! -- exciting, good news Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="=_A7F8D60D.6D0C649D" This is a MIME message. If you are reading this text, you may want to consider changing to a mail reader or gateway that understands how to properly handle MIME multipart messages. --=_A7F8D60D.6D0C649D Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu --=_A7F8D60D.6D0C649D Content-Type: message/rfc822 Received: from gwguardian.risd.edu ([172.20.5.90]) by risd.edu; Thu, 06 Feb 2003 14:39:12 -0500 Received: from listserv.muohio.edu (unverified [134.53.7.26]) by gwguardian.risd.edu (Vircom SMTPRS 1.4.232) with ESMTP id for ; Thu, 6 Feb 2003 14:39:57 -0500 Received: from nasw2k01 (listserv.muohio.edu) by listserv.muohio.edu (LSMTP for Windows NT v1.1b) with SMTP id <0.002D3E79@listserv.muohio.edu>; Thu, 6 Feb 2003 14:35:42 -0500 Received: from LISTSERV.MUOHIO.EDU by LISTSERV.MUOHIO.EDU (LISTSERV-TCP/IP release 1.8e) with spool id 11928378 for WOM-PO@LISTSERV.MUOHIO.EDU; Thu, 6 Feb 2003 14:35:15 -0500 Received: from muaix02.mcs.muohio.edu by listserv.muohio.edu (LSMTP for Windows NT v1.1b) with SMTP id <0.002D3E77@listserv.muohio.edu>; Thu, 6 Feb 2003 14:35:15 -0500 Received: from muwnt05 (muwnt05.mcs.muohio.edu [134.53.7.75]) by muaix02.mcs.muohio.edu (Switch-3.0.0/Switch-3.0.0) with SMTP id h16JZFP3025336 for ; Thu, 6 Feb 2003 14:35:15 -0500 Received: From mcsaix05.mcs.muohio.edu ([134.53.253.27]) by muwnt05 (WebShield SMTP v4.5 MR1a); id 1044560114242; Thu, 6 Feb 2003 14:35:14 -0500 Received: from siaag2af.compuserve.com (siaag2af.compuserve.com [149.174.40.136]) by mcsaix05.mcs.muohio.edu (Switch-3.0.0/Switch-3.0.0) with ESMTP id h16JZ8L3058964 for ; Thu, 6 Feb 2003 14:35:10 -0500 Received: (from mailgate@localhost) by siaag2af.compuserve.com (8.9.3/8.9.3/SUN-1.18) id OAA09498 for WOM-PO@LISTSERV.MUOHIO.EDU; Thu, 6 Feb 2003 14:35:05 -0500 (EST) MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1 Content-Disposition: inline Message-ID: <200302061435_MC3-1-28DE-51D1@compuserve.com> Date: Thu, 6 Feb 2003 14:34:48 -0500 Reply-To: Discussion of Women's Poetry List Sender: Discussion of Women's Poetry List From: Ingrid Wendt Subject: Urgent! -- exciting, good news To: WOM-PO@LISTSERV.MUOHIO.EDU Precedence: list Friends: This is important. It came to me just a few minutes ago (10 a.m. PST).= = I live in Oregon Peter DeFazio is our representative to Congress from th= e Eugene area. I called his office just now, and what you will read below= is absolutely true. We who hope for a peaceful resolution with Iraq can g= et in gear today and donate ten minutes to pass this to others (copy and pas= te is best) and make a few calls. Please read on. Thank you for your attention and concern -- and for whatever you can do t= o help. Love and peace, and read on, below, Ingrid Wendt ############################################################### Friends: Please email your Congressperson and urge her/ him to sign onto Cong. Pete DeFazio's bill repealing last October's resolution giving Bush a fre= e hand to use military action in Iraq. DeFazio's statement and summary of h= is bill is pasted below. Also listed are the Congressmembers who so far hav= e agreed to cosponsor DeFazio's bill. (Check if yours isn't on the list). DeFazio filed this within hours of Colin Powell's speech to the UN, so could only round up about 30 cosponsors immediately, but the number will grow if you and others put pressure on your Congressperson. Please forwa= rd this to anyone who might be concerned about our pending invasion of Iraq= ========================================================================= Date: Thu, 6 Feb 2003 15:05:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Poetry is News Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I second that emotion. At 12:36 PM 2/6/2003, you wrote: >Gary Sullivan, I think I love you! > >-Mike "Signing All My Petitions And Gettin Ready to March" Magee > >Quoting Gary Sullivan : > > > Hi Joe, > > > > Thanks for posting the Eliot Weinberger paper. I actually had already read > > it, on a site soon-to-be-made-public that was inspired by Weinberger's > > paper. But I reread it again tonight. > > > > I found the paper itself to be in part inspiring, but equally repellant, > > divisive, counterproductive, and needlessly so. Inspiring, for me, was this > > passage: > > > > "People who are poets presumably know something about writing. So why does > > it never occur to them to write something other than poems? There are > > approximately 8000 poets registered in the Directory of American Poets--are > > there even four or five who have written an article against the Bush > > Administration? Most of us can't get onto the Op-Ed page of the Times--we'd > > never displace Condoleezza [sic] there-- but most of us do have access to > > countless other venues: hometown newspapers, college newspapers, > > professional newsletters, specialist magazines, websites, and so on. All > > writers have contacts somewhere, and all these periodicals must fill their > > pages. Even poetry magazines ..." > > > > This is great, practical advice. And, as I said, inspired at least one > > website that you'll be hearing about soon. > > > > What I found to be counterproductive was the extent to which Weinberger > > seemed utterly incapable of finding a way to avoid (a) grandstanding about > > his own pre-9/11 politically-relevant activities (about which he is > severely > > delusional, and which is an aspect of another Poetry is News paper on the > > above-mentioned site that serves no further function than to pound home the > > equally delusional notion: "I'M better than YOU," clearly an agenda that > > might be dropped in sake of getting others involved); and (b) completely > > dismissing--and potentially alienating--large numbers of poets who might > > otherwise happily work with him. > > > > (b) has much to do, Joe, with your own notion of the supposed split between > > politics and aesthetics. Like, at this point, what the fuck does it matter? > > What DOES in fact matter? Aesthetic differences? At this point? > > > > To throw in a bit of "realism" here: The Bush administration seems bent on > > attacking Iraq as soon as March. That doesn't give poets much time to > > contemplate about who is writing the supposedly most "politically relevant" > > poetry--as though this were something actually going to be decided in the > > near, or frankly even distant, future. It is, in realistic terms, just > > enough time to organize, bring people together, and stage a serious, > > collective demonstration. > > > > In order to do the above, poets have to be working together. I can tell you > > one way in which you can be assured of poets NOT working together, of > > instead being suspicious and hateful of each other: have one group of poets > > call into question another group of poets' aesthetic practices! And, if you > > really want to fuck things up, get a white American critic to discount > > everything non-white poets have been doing over the last thirty years! > > > > Enter Eliot "Action" Weinberger: "The main result of these so-called > > politics on the left [langpo and the multicultural movement] is that there > > are now more women and minorities in the Norton anthologies, and we now > know > > how to pronounce "hegemony"--surely a great comfort to the the 4 million > > people, predominantly black men, currently in the prison system--" > > > > Weinberger's solution? "the truly politically revolutionary works--Tom > Paine > > or the Communist Manifesto or Brecht or Hikmet or a thousand others ... > > written in simple direct speech." > > > > And these, uh, "thousand others," have fomented ... what? Exactly? See, > > because, it seems like they've fomented--looking around for a moment at the > > various political systems currently at play on Planet Earth--JACK SHIT. > > > > Eliot, I love you, I even blurbed one of your books I loved it so much, but > > you, darling, are quite simply OUT OF YOUR FUCKING RACIST WHITE-CENTRIC > > MIND. Let me get this straight: you want me to sit on "The Bus" for eight > > hours with you? While you're spewing this obnoxious, thoughtless > > aesthetically and racially prejudiced crap? Sorry, baby. I'll fucking > rent a > > car, if it comes to that. > > > > Here's a Modest Proposal: Let's, for once, LOSE the dumbshit obviously > > irrelevant aesthetic and racial prejudices and WORK TOGETHER for once. Eh? > > Is that, Joe, something you're "for"? Because it sounds like the people > > you're pushing here are not for that. It sounds like they're more for > > settling Ye Olde Scores, like, uh, MY AESTHETICS ARE MAJORLY IMPORTANT; > > YOURS ARE BULLSHIT kind of scores. It's Super Fucking Counterproductive if > > one seriously hopes to bring together everyone on the left who might > > conceivably HELP one's cause. Hey, not that the left has been anything but > > segmented. > > > > Again: In Camp A: A plan to bomb Iraq in March, possibly even carpet > > bombing, resulting in significant civilian death, injury & trauma. In Camp > > B: Self-important, supposedly politically engaged critic blathering on > about > > his aesthetic and racial prejudices. Hey, maybe I'm "reading too much into > > this," but I don't see any connection between the two. > > > > Joe, in all seriousness, do you? > > > > In order to do what it is we all presumably want to do (quash Bush's war), > > we need to work together, and do it now. It requires action by as many > > people as we can possibly put together. In NYC there will be a > demonstration > > on February 15th. Pretty simple to understand: Be there. Maybe I should go > > on & on about various poets' supposed lack of political engagement? You > > think that'll encourage them to participate with us? "You stupid fuckers > > writing in a way unlike our bland irrelevant Poetry Project Workshop > > examples! You're fucking it all up for us!" > > > > What utter fucking idiot imagines "putting together" people might possibly > > begin with trashing the whole multicultural movement of the last thirty > > years? "Hi, oh, uh, Ishmael Reed? Hi, man, how's it going? Yeah, Califia, > > you know, great, it was a groovy book, man, but did it, like, free the > > prisoners, baby? See, because we white people are thinkin' that, uh, > see, we > > got the straight dope, baby. Yeah, like me and Anne. And like, uh, we're > > gonna, it's gonna, something's gonna--well, okay, we have no idea what > we're > > doing here, but, like, is it okay if we put you down, man? Like dis > > you-all?" > > > > Fuck Eliot Weinberger and the fucking white horse he rode in on. > > > > And fuck Poetry Is News if they can't approach poets in some way NOT > > involving old SCORES TO SETTLE. Let them fucking swallow that shit, eat > > their pride, and be FUCKING HUMAN BEINGS LIKE THE REST OF US--as though > they > > had the wherewithall. Joe, are you actually interested in aesthetics, or > > just interested in dismissing those whose aesthetics you don't agree with. > > > > The Iraqis are going to be bombed no matter what dumb-ass prejudices we > > short-sighted white morons have of each others' aesthetics. Unless we > > ACTIVELY stop those who would bomb them. And that requires all of us. > Anyone > > actually putting together a program that includes EVERYONE, that doesn't > > berate people, but rather encourages them, let us all know. We need to work > > together. A foreign concept, Joe, to some. > > > > > > _________________________________________________________________ > > Help STOP SPAM with the new MSN 8 and get 2 months FREE* > > http://join.msn.com/?page=features/junkmail > > ========================================================================= Date: Thu, 6 Feb 2003 14:30:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: Re: The War In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Pierre, Thanks for forwarding this to the list. Tho I read more news sources on the Web than I probably should, I didn't see this piece and I'm glad now I did. When I posted the other day about the cancellation of the Laura Bush poetry social, I took a swipe at Billy Collins that I now see was unfair. He should be commended for speaking out as he has, as a poet. - daniel bouchard At 07:38 AM 2/6/03 -0500, you wrote: >In the NYT this morning: Poets Pit Pens Against war at: > >http://www.nytimes.com/2003/02/06/books/06BOOK.html > >& this in last nigth: > >Posted on Wed, Feb. 05, 2003 >U.S. poet laureate opposes war with Iraq >HILLEL ITALIE >Associated Press >NEW YORK - The threatened war with Iraq has politicized the nation's >poets, starting at the very top. >In comments rarely heard from a sitting U.S. poet laureate, Billy >Collins has publicly declared his opposition to war and says he finds >it increasingly difficult to keep politics out of his official job as >literary advocate. > >While at least three of Collins' predecessors also have stated their >opposition to war, an incumbent laureate usually sticks to art for >art's sake. Poets laureate are not political appointees; the selection >is made by the Librarian of Congress, a post currently held by James H. >Billington. Collins, who receives an annual stipend of $35,000, is >serving his second one-year term. > >A spokeswoman for the Library of Congress said Tuesday that "Mr. >Collins is free to express his own opinions on any subject." > >Collins, whose books include "Questions About Angels" and "Nine >Horses," is a mostly introspective poet who doesn't have a history of >political activism. But he defended anti-war poets who last week caused >the White House to postpone a symposium sponsored by first lady Laura >Bush. > >"If political protest is urgent, I don't think it needs to wait for an >appropriate scene and setting and should be as disruptive as it wants >to be," Collins said in a recent e-mail to The Associated Press . > >"I have tried to keep the West Wing and the East Wing of the White >House as separate as possible because I support what Mrs. Bush has done >for the causes of literacy and reading. But as this country is being >pushed into a violent confrontation, I find it increasingly difficult >to maintain that separation." > >Collins, Nobel laureate Derek Walcott, former U.S. poet laureate >Richard Wilbur and about 40 other writers and artists signed an >anti-war petition last month. > >In England, meanwhile, poet laureate Andrew Motion has written an >anti-war poem that cites "elections, money, empire, oil" as the >motivation for war. > >Concern about a possible war has also changed what had been a >relatively positive relationship between Mrs. Bush and the literary >community. A former librarian who has made teaching and early childhood >development her signature issues, she has held a series of symposiums >to salute America's authors. > >She planned a Feb. 12 forum on "Poetry and the American Voice," >featuring the works of Emily Dickinson, Langston Hughes and Walt >Whitman. Through her spokeswoman, Noelia Rodriguez, Mrs. Bush said last >Wednesday that it would be "inappropriate to turn a literary event into >a political forum" and postponed the forum. It has not been rescheduled. > >Former poets laureate Stanley Kunitz and Rita Dove were among those who >refused to attend and Sam Hamill, a poet and editor of the highly >regarded Copper Canyon Press, organized a protest to send anti-war >poems and statements to the White House. So far, he has received more >than 3,600, to be posted on a Web site. Contributors include Pulitzer >Prize winners W.S. Merwin and Galway Kinnell and at least two state >poet laureates: Connecticut's Marilyn Nelson and South Dakota's David >Allen Evans. > >"I'm not speaking as a representative of the state, I'm speaking as ... >a poet and private individual," Evans said. "I know it's an ambivalent >situation and I hesitated to contribute to the project, but I felt that >I needed to say I wanted peace instead of war." > >New Jersey poet laureate Amiri Baraka said he will send a statement to >Hamill and is also working on a poem about impeaching President Bush. > >"Of course, I see it as part of my job. The main task right now is >stopping the war," said Baraka, whose poem implying Israel had advance >knowledge of the Sept. 11 attacks led critics to call for his >resignation. > > > > >___________________________________________________________ >Pierre Joris >6 Madison Place And they call reading a sin, and writing is a crime. >Albany NY 12202 And no doubt this is not entirely false. >h: 518 426 0433 They will never forgive us for this Somewhere Else. >c: 518 225 7123 >o: 518 442 40 >85 -- >Thomas Bernhard >email: joris@albany.edu >http://www.albany.edu/~joris/ >____________________________________________________________ ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Thu, 6 Feb 2003 13:28:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: dirty Bernadette poem In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed "First turn to me..." >+ that Mayer poem with lines something like "this time >we didn't even get past the befroom door before"...you >know that really raucus erotic poem, I'm not home or >at a library, so I don't know the title. ========================================================================= Date: Thu, 6 Feb 2003 14:00:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Report from Mytili Jagannathan Mime-Version: 1.0 Content-Type: text/plain; format=flowed Here is an email I got from Mytili a bit ago. It's a much more measured response to Weinberger's paper than my own, but even more importantly, she reports on some of the other activities at the Poetry is News event: * * * Hi Gary, I'm an occasional webreader of the Poetics list but not subscribed, so I'm writing backchannel instead of posting. (Feel free to post this if you want). I read your recent response to the Eliot Weinberger's talk at the Poetry Is News event on Saturday. I came up from Philly and attended the entire Poetry Is News event, so I thought I'd add my quick two cents. First of all, from my perspective, Eliot Weinberger was not "representative" of the day's events—-certainly not its spirit. His was certainly the most negatively berating speech that happened that day. On the whole, I agree with your (wow) dazzling rant about his comments—-both with what was useful in his speech (the quote about the 8000 poets is something I definitely find rhetorically smart and productively inciting) and with what was clearly wrongheaded: true-leftist grandstanding and a white-privileged scapegoating of multiculturalism. At the time of his actual speech, perhaps because of the breathlessly packed schedule and because the way one processes information aurally is different from reading a written text, I registered, but didn't focus on, the objections you raise that I obviously share with you. In any case, I don't really have much more to say about Weinberger, but I did want to say that I appreciated the efforts of Ammiel and Anne in convening the day's event: it energized me to come back to Philly and instigate/collaborate with a broader range of "public sphere" actions than the targeted work on the detention/special registration front I've already been engaged in here in Philly. For me, the event was a sort of high-intensity/information-rich/wake-up marathon. Panel discussions alternated with "Reports from the Field"—and I think the latter were probably ultimately most effective. Highlights were high school students from Bushwick speaking out with furious clarity against the stepped-up military recruitment in poor communities; the testimony of Rebecca Murray about her 3 months in the Occupied Territories with the ISM; and Paul Chan, talking about his experience as part of the Iraq Peace Team. Anger and humanity. I did feel that in the drive to be so "information-rich," the structure of the day's events made it somewhat "dialogue-poor." That was too bad, because it meant that there wasn't really a chance to hear what the audience would have said to a panelist like Weinberger—or to any of the others who raised provocative points of view (there was cartoonist Ted Rall saying that well-behaved marches aren't enough, we need to break windows). The two brief sessions allotted for discussion ended up being taken up mostly by Feb. 15 announcements—-important, obviously—-but not really "dialogue." Anyway, that's just my fast memory replay from my own moving vantage. We're all in it, as you say, so I'm trusting that the dialogue is happening elsewhere, everywhere, all-at-once with the action. (I won't be in NY, but Philly's having coordinated anti-war actions here on the 15th.) best, Mytili _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 6 Feb 2003 12:06:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: patchen / love poems In-Reply-To: <20030206104009.91317.qmail@web10707.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > > >for me, all poems are love poems==== Oh yeah. And crystals heal cancer. -- George Bowering Mind open, fly closed Fax 604-266-9000 ========================================================================= Date: Thu, 6 Feb 2003 20:24:19 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Robert Grenier's Sentences (support for Netscape, Opera, etc.) Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Forwarding this on behalf of Michael Waltuch: If you were unable to use your browser to read Robert Grenier's Sentences at the Whale Cloth Press web site (http://www.whalecloth.org) immediately after it was first announced on this list on Saturday, Feb. 1, 2003, please try again. Changes have been made so that you can view the work now with many other browsers. Apologies to all who encountered problems. And if you are in NYC this weekend, on Saturday, February 8, Grenier will be reading/slide presentation at the Marianne Boesky Gallery in Chelsea, 535 W. 22nd Street, at 8 PM, 212-680-9889. In addition to the reading/slides, Grenier is, in the gallery's words, "debuting 2 new suits of iris prints of his drawn poems, and a series of photographs from the notebooks." These editions will be on view and for sale at the gallery. The gallery plans to keep the prints on display in its viewing room for the following week. ========================================================================= Date: Fri, 7 Feb 2003 11:47:29 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Fwd: Urgent! -- exciting, good news In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-6BCD2B73; boundary="=======2C646687=======" --=======2C646687======= Content-Type: text/plain; x-avg-checked=avg-ok-6BCD2B73; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit well what is it? your message was empty cheers komninos At 05:57 AM 7/02/03, you wrote: >Mairead Byrne, Ph.D. >Department of English >Rhode Island School of Design >2 College Street >Providence, RI 02903 >Office: (401)454.6268 >Home: (401)273.5964 >mbyrne@risd.edu > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======2C646687======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-6BCD2B73 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======2C646687=======-- ========================================================================= Date: Thu, 6 Feb 2003 17:45:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: IT IS HERE !!! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit IT IS HERE !!! www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com www.muse-apprentice-guild.com MUSE APPRENTICE GUILD (M.A.G.) AUGUST HIGHLAND EDITOR-IN-CHIEF --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Thu, 6 Feb 2003 17:51:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: 16 Expletives Deleted Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit 16 Expletives Deleted [excerpt] axxx anse axxx axxx axxx bock cxxx coat dack duck holm phit txxx tnsg bxxx bxxx cxxx cxxx camn dxxx fule hosm jiss phit txxx anue bxxx buck crat dack dxxx fele holm jiss phat txxx tnue axxx bxxx busk coap crnt dxxx dxxx ducl hxxx hosm jist swat twue axxx arsg buck coap crnt camn dxxx dule hxxx hoss phat txxx twue axxx bxxx bxxx coap cumn dxxx dxxx fele holm jiss phat tnus anue bxxx bxxx cxxx crnt cunn dxxx dxxx hxxx jiss piit anse aung busk cxxx cxxx cumn dack duck fxxx hxxx hism pxxx piit arng bxxx bocp camn dxxx dull hele hxxx jxxx jxxx phit sxxx twus arng bxxx bocp cxxx cxxx dxxx full hxxx piit sxxx swue bxxx bxxx boap cxxx cunn dxxx dxxx hxxx hele hoss pxxx sxxx tnue arsg buck crnn dxxx damk dxxx fxxx fule hosm jiss pxxx sxxx tnus anue arnh boap cxxx crnn dxxx dicl hxxx hosm jxxx phit sxxx tnsg bxxx busk coap cxxx cunn dxxx fxxx hele hosm jist sxxx twas axxx bxxx busk crnt camn dxxx hxxx jxxx jiit shat txxx axxx axxx bxxx busk coap cumn dxxx fele hism jxxx swat twus axxx bxxx bxxx bocp cunn dack full hxxx hiss sxxx sxxx axxx anse bxxx buck cxxx cack fxxx full hiss pxxx sxxx txxx axxx anue arng bxxx cxxx cxxx cxxx damk dull hoss phit sxxx axxx anue arng bxxx busk cxxx cxxx dxxx dxxx fule hosm jiss piit axxx anse arnh coap cxxx cxxx dxxx dxxx fxxx fule hosm jiss phas axxx arsg buck coap crat dxxx dxxx fele jiss piit twus axxx arsg bxxx cxxx cxxx crnt camn dxxx dxxx fele hxxx hosm piit swat anue bxxx bxxx cxxx crnt cumn duck hxxx holm jiss piit swus axxx aunh bxxx cxxx cxxx crnt dxxx full hxxx jiit twas anse buck cxxx cocp dxxx dxxx dxxx dxxx full hxxx hxxx jiss pxxx phas arnh bock crat dxxx dxxx dicl hele hxxx jxxx pxxx phit txxx twue arng bxxx boat cxxx dack full hosm jiss txxx txxx arsg bunh buck coap cxxx camk dxxx dxxx fucl hele holm pxxx sxxx tnue bxxx bxxx coap cxxx cumk fxxx fucl hxxx hosm jiss phit txxx arnh bxxx buck cumn dxxx dxxx fell hxxx hism jiss phat axxx axxx aung bunh buck crnt camn dxxx hxxx hxxx jiss piit txxx tnse axxx buck cocp crnn dxxx fell holm pxxx sxxx twus anse aush bxxx cxxx cxxx cxxx cack helm jxxx jist txxx axxx anse arng bxxx bxxx cxxx cxxx cunn dack hele hxxx jiit txxx anse bunh coap cxxx dxxx dxxx dxxx hxxx hele hosm jiss pist sxxx sxxx axxx anse arnh bxxx cocp camk fucl hele jiit sxxx sxxx axxx axxx arsg bxxx buck cxxx cxxx camn damk dxxx hosm jxxx piit axxx arsg bxxx buck cxxx cxxx cxxx dxxx fucl helm jiss phit swas axxx bxxx buck coap camn dack fxxx fele hxxx hoss phat tnus arsg bxxx cxxx crnt cumn dack fell hxxx hxxx holm jiit shas axxx aunh bxxx bxxx crnt cumn dxxx fxxx hxxx holm pxxx piit anse aung busk cxxx crnt dxxx dxxx full hxxx jxxx phit txxx twus aush bock crat cxxx dxxx dxxx full helm pxxx pist tnus bunh buck cumn dxxx dxxx hxxx hele hxxx hosm jiss pxxx pxxx tnus anue arnh coap cxxx damk fell hxxx hoss piit sxxx txxx axxx axxx arsg busk coap cxxx cumk dxxx fucl hosm jiss sxxx tnse axxx aush busk coap cumn dxxx dxxx fxxx hxxx hxxx hosm jiit txxx txxx tnue axxx aush bucp cxxx cunn dxxx dxxx fele hosm jiss phit txxx tnue arsg busk crnt cxxx dack fxxx hele jxxx piit swus axxx bxxx bocp cunn dack fele hism jiss txxx txxx Etc. ========================================================================= Date: Fri, 7 Feb 2003 12:29:04 +1030 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Bolton Subject: Sciascia In-Reply-To: <10F2B8E6B6C9AC4993FC1FB47C0D88CC601D55@karat.kandasoft.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I'd be very grateful if anyone can direct me to studies in English of the Italian novelist Sciascia - or treatments of recent Italian literature that treat Sciascia among others. ========================================================================= Date: Thu, 6 Feb 2003 18:44:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Re: letter to Poets Against the War In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Jim, Jim, Jim! What are you saying? Didn't you read Gary's eloquent, passionate message in response to Weinberger? We's needs to sticks togethers! So what if most of these poets are not ones we would choose to read, and even ones that we feel should be negatively criticized for various poetic reasons? So what if they're misrepresenting the diversity of ways in which people arrange pretty words on paper in this country? Would most of us be much fairer if we were selecting poems for the "chapbook"? These poets are like us in the only way that really matters in this context: THEY'RE OPPOSED TO WAR. WAR BAD, POETRY GOOD. Even bad poetry good compared to bad war. Kasey on 2/6/03 12:12 PM, Jim Behrle at tinaiskingofmonsterisland@HOTMAIL.COM wrote: > To: info@poetsagainstthewar.org > > Poets Against the War-- > > I think the "chapbook" selection flushes you out for what you're really up > to on your site. It's a bold and innovative bunch: Hayden Carruth, > Galway Kinnell, Sam Hamill, Gregory Orr, Marilyn Hacker, John Balaban, > Ursula K. Le Guin, Adrienne Rich, W. S. Merwin. "On this page you'll find a > selection of especially powerful poems and statements by prominent poets." > Really, will we? > > What started as a fairly democratic endeavor, to let powers know what > American poets felt about the war has instead become a chance for *you* and > *your friends* to do so. Cure, meet disease. You've officially become part > of the problem. > > --Jim Behrle > > > > > > > > > _________________________________________________________________ > MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. > http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 6 Feb 2003 21:50:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: getting serious? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit We are marching again on Feb 16, big time. And there are tiny enclaves of people (even Republicans!) meeting and talking about Why This War Shouldn't BE. ========================================================================= Date: Thu, 6 Feb 2003 22:02:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Robin Blaser @ EPC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I am pleased to announce Robin Blaser's EPC home page Edited by Meredith Quartermain http://epc.buffalo.edu/authors/blaser/ ========================================================================= Date: Thu, 6 Feb 2003 20:10:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Poetry is News, Weinberger In-Reply-To: <61297.66.121.137.154.1044558284.squirrel@ssl.sonic.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I second part of it. But the first part, well . . . slamming the "older generations" is as "tiresome" and "irrelevant" as slamming the younger generations. It always was. Let's not any of us goose-step, and let's not slam any of them. I mean, if you can convince me that the whole generation is self-beatifying, that would be something. But I don't buy it. charles At 11:04 AM 2/6/2003 -0800, you wrote: >I second that montion. >kari > > > > Now is the time that older generations of poets get out of the business > > of lecturing younger generations about what to do *now*. Politically, > > poetically, socially, whatever. It could not be more tiresome or > > irrelevent. Your war was not our war. Your answers won't be our > > answers. If you don't get what we're up to, that's your problem, grampy. > > > > Now is the time for the self-beatification of older generations to come > > to an end. Your poetic fights are not our poetic fights. What have you > > done for us lately, and why is that *better* than what I've done? > > > > It's suddenly not enough to be a poet now--we need to march or sit or > > teach or op-ed or whatever. OK, but why should our art fall away, > > especially now? > > How 'bout we figure out what we can do: it can be a million things and > > a > > million different things. Must we all goose-step in unison to be heard? > > No. > > > > Where are the poets? Hopefully writing some fucking poems. > > > > --Jim Behrle > > > > > > > > _________________________________________________________________ > > Tired of spam? Get advanced junk mail protection with MSN 8. > > http://join.msn.com/?page=features/junkmail charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Thu, 6 Feb 2003 22:10:08 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Laura Bush Protest Reading at NYU library MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Forwarded announcement: The NYU Graduate Program in Creative Writing and The Fales Library present Poetry and The American Voice: Writers Respond to Laura Bush=E2=80=99s Cancellation of the White House Poetry Symposium with Paul Auster Nicholas Christopher E. L. Doctorow Melissa Hammerle Marie Howe Galway Kinnell Charlotte Mandel Sharon Olds Katha Pollitt Marie Ponsot Tom Sleigh Irini Spanidou Jean Valentine Chuck Wachtel and students from the NYU Graduate Program in Creative Writing February 12, 2003, 1=E2=80=93 2 p.m. Fales Library, Bobst Library, 3rd Floor, 70 Washington Square South, New Yor= k=20 City. This Reading is open to the public. Free Admission. This reading has been organized in response to Laura Bush=E2=80=99s decision= to cancel the symposium =E2=80=9CPoetry and The American Voice=E2=80=9D schedul= ed to take place at the White House on February 12th at 1 p.m. because several writers planned to read anti-war poems. This reading is a forum that allows us to celebrate the arts in a time of national conflict and crisis and to emphasize the vital place of the arts in the context of significant national and international events. =20 =20 ========================================================================= Date: Thu, 6 Feb 2003 22:49:41 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: The Propaganda Remix Project MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://homepage.mac.com/leperous/PhotoAlbum1.html ========================================================================= Date: Fri, 7 Feb 2003 00:32:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: letter to Poets Against the War MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT as a non avant-guarder a couple of lessons I learned were that a favorite tactic in dealing with protest is to pay people to splinter movements. another is to pay people to join up and push the envelope over the edge. NOfingers pointed. tom bell not yet a crazy old man ========================================================================= Date: Thu, 6 Feb 2003 23:19:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Negative Reviews / Bad Reviewers? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { why would you want to spend time writing about a book you don't like? { { ryan Well, Sir Edmund H. might have said, "Because it's there." Hal "Cross / a border every day, and leave your luggage in the station." --Wendy Battin Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Thu, 6 Feb 2003 23:21:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: yesterday's posts Mime-Version: 1.0 Content-Type: text/plain; format=flowed Charles Alexander writes: >...slamming the "older generations" is as "tiresome" and "irrelevant" >as >slamming the younger generations. It always was. Let's not any of us >goose-step, and let's not slam any of them. I mean, if you can >convince me that the whole generation is self-beatifying, that would >be something. But I don't buy it. I don't think the shoe fits in most cases, either. When applicable, poets of all ages should be posing and showing off their halos less. K. Silem Mohammad writes: >So what if most of these poets are not ones we would choose to read, >and even ones that we feel should be negatively criticized for various >poetic reasons? So what if they're misrepresenting the diversity of >ways in which people arrange pretty words on paper in this country? >Would most of us be much fairer if we were selecting poems for >the "chapbook"? These poets are like us in the only way that really >matters in this context: THEY'RE OPPOSED TO WAR. WAR BAD, POETRY >GOOD. Even bad poetry good compared to bad war. Of course. But that doesn't mean we can't give them shit. If they are going to continue to brag about the 3600+ poets that have contributed, they shouldn't be afraid or ashamed to stand side by side with them in their tough-to-navigate site rather than their exclusive "general's tent." From the original Sam Hamill e-mail: >"I am asking *EVERY POET* to speak up for the conscience of our >country >and lend his or her name to our petition against this war, and >to make >February 12 a day of Poetry Against the War. Not just his pals, right? Every poet. You and me brother. You and me sister. If they're with us, they should be *with* *us*. --Jimmy Behrle "The world's a mess / It's in my kiss." --X _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 6 Feb 2003 23:26:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Review of my book Comments: To: Jim Behrle In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Howdy all, amidst all the talk of war, here's a nice review of my book _Morning Constitutional_ at Jacket: http://jacketmagazine.com/22/metr-magee.html The books available at SPD, Amazon etc. -m. ========================================================================= Date: Fri, 7 Feb 2003 00:10:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: dancegrid module MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII /[0]+/ { print "internal module dancing" } /[z]+/ { print "sustained notes as in autonomic nervous system" } /[y]+/ { print "the whirl of worlds" } /[x]+/ { print "leading from gridance to landgrid" } /[w]+/ { print "arms, hands, breasts, eyes, balloons" } /[v]+/ { print "making new objects in the slice of time." } /[u]+/ { print "landgrid to icegrid, these new objects" } /[t]+/ { print "neither born nor dying for your eyes." } /[s]+/ { print "open mouths screaming colours" } /[r]+/ { print "tend towards air-disturbance objects." } /[q]+/ { print "microphone objects transform atmospheres" } /[p]+/ { print "in the presence of older objects" } /[o]+/ { print "as hands and elsewhere mouth" } /[n]+/ { print "generate new things obliterating the old." } /[m]+/ { print "there is gridance among them" } /[l]+/ { print "and among them, worldrun crashing into stars." } /[k]+/ { print "every sound and breath tensed towards" } /[j]+/ { print "the interceptions of planets, nebula" } /[i]+/ { print "inhaling through the body's transparencies" } /[h]+/ { print "of arms, hands, breasts, balloons" } /[g]+/ { print "motioned in the griding of the room" } /[f]+/ { print "girdled for dissemination, deconstruction." } /[e]+/ { print "in the distance, no-attention animals" } /[d]+/ { print "and the forests of ice in the ice." } /[c]+/ { print "the skies open to the skies," } /[b]+/ { print "the stars to the stars" } /[a]+/ { print "dance and sound to objects and older objects." } /^$/ { print "what they have been sliding by our grasp." } { for ( i = NF; i >= 1; i-- ) printf "%s ", $i; printf "\n"; } ========================================================================= Date: Fri, 7 Feb 2003 00:38:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: war website Mime-Version: 1.0 Content-Type: text/plain; format=flowed >Not just his pals, right? Every poet. You and me brother. You and me >sister. If they're with us, they should be *with* *us*. > >--Jimmy Behrle It's funny, but I did notice that when the site first went up. I'd sent a poem before the site was there and saw the list of folks up at first and thought, well, that makes sense in a way...put up the "names" to attract others, or even, in some sense to "legitimize" the effort. My poem never went up, but it didn't really bother me, being happy that the site's there, that the sentiment's out there. But thinking about Jim and Mark's comments, I DO see the problem inherent in the "general's tent" but I haven't made up my mind as to it's effectiveness. What I mean is: most people have never heard of us really (and by "us" I mean all 1,000 or so folks on this list, no matter how many hits Silliman's blog gets) but maybe, or, I'd guess, most likely, some of those folks in the "general's tent" ARE recognized outside of our mostly insular community of blogs, small presses, little journals etc. Again, I haven't made up my mind, but it's the same argument I remember hearing when I was more involved with the DIY punk scene. Collectives/Bands like Chumbawamba who realized that if they wanted to really spread their message of anarchist politics, of utopian worlds, had to "sell out" and sign to a major label to get the word out as they were merely preaching to the converted at the little basement shows etc. I don't know how I feel about it, but I do feel. --noah _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 6 Feb 2003 22:16:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Poetry is news, or is it? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Joseph.Safdie@LWTC.CTC.EDU wrote: > I wonder if someone who was there might give us a report about what happened < I didn't arrive at the Poetry Is News event until the last hour and a half, at 7:30 with a 9:00 p.m. closing. There was no charge at the door; the hall was filled There were three panelists. I do not know their names. From left to right, there was 1st a cartoonist (male), 2nd a man whose metier was never explained while I was there (a journalist?), and 3rd a poet (female). The poet was finishing up her reading. She read poems mocking Bush's intelligence, "haikus." The cleverest of them was one about him discovering that a "cup and a saucer work together." She spoke about her national origin, which was from outside the United States. The cartoonist did most of the talking. It may have been because he was the third and final person to speak in that last half hour. Like the poet, he spoke about the United States (government) in terms like "capitalist," etc. He described being in Iraq with journalists and a fellow journalist, in his words, having the skin literally torn off his body. They attempted to rush the flayed man to medical help by helicopter (he described the size of the helicopters as immense, as filling half the size of the auditorium we were in, and empty of freight or passengers), but, he said, the U.S. military personnel were under orders that they could not transport any journalists or they would be court-martialed. The mutilated man died. He said that the government killed his colleague. When asked, he was not sure of the dead man's name; he said he thought his first name was "Paul" (Peter?). I believe it was David Henderson who asked a question from the audience. He asked if this had been reported in the press. The cartoonist said that the press is now so silenced that it's like living in a third world country where we have to read foreign and international journalism just to find out what's going on, but that, yes, it was reported in the Guardian, etc., etc. The journalist spoke a lot about "censorship." He said that there was censorship via things being reported a single time. He cited the adage about that a thing has to be repeated "26 times" before anyone will hear it. He said that that is what the Administration is doing: every day, the same line, ". . . linked to Al-Qauda," etc. He referred to a Pulitzer Prize-winning Newsweek story that subsequently was never repeated or heard of again. I don't remember what he said the story was about. In the Q-&-A, a woman asked what he meant by censorship at the newspapers, as she was not exactly seeing that sort of thing. The poet said that she "hates" the New York Times and that she let her subscription lapse and will generally not buy it; that she'll read it on-line or if she's finds a newspaper, but that she won't give them 75 cents. A woman in the audience said she no longer reads newspapers anymore because it's too upsetting. Ann or another moderator brought Paul Chan to the microphone. He is the (very young) man who is just back from a month's stay in Baghdad as part of a citizens' grass roots voluntary "peace-keeping" (?) mission of maintaining a small, non-military presence there (whose messages home Brian Stefans was publishing on his blog). Chan said that they brought the Iraqis basics such as aspirin and toys. He spoke about the imbargo-induced poverty briefly --- proud skyscrapers reduced to disrepair because the imbargo is preventing maintenance, children/people without shoes --- but he spoke more about what a wonderful, literate, cultural city it is. He said it's a city about the size of Detroit, which it resembles. More Iraqis asked him about Samuel Beckett than anyone ever before in his life. He read from his laptop a recounting of Muslim New Year's Eve while there. He (was it another speaker?) talked about the new regime of political Islam and how, recently, before the religion-ification, Saddam Hussein was photographed in night clubs dancing, etc., but that now he's only shown praying, and that this semi-legislated piety is part of what was keeping people away from New Year's Eve celebrations. The Q-&-A followed, some of it mentioned above. Ann Waldman was talking questions from the audience, but also often breaking off to point out someone in the house and some rallying event they were organizing, many of them, a march, sign-making gatherings, geared for a February 15th climax (the day of Laura Bush's canceled poets' symposium). A woman in the audience asked about a resistance possibility different from what Ann was sponsoring, and Ann said, in essence, Well, that's fine, and why don't you go and do that if you want to, but this is what we're doing. Ann mentioned their web site. The organizers/panelists were talking about being arrested, training sessions for being arrested as an act of civil disobedience, how in New York that usually just means a ticketing and an appearing before the bench with subsequent lenient "parole" and that if you don't do anything else for a while afterwards it's erased from your record. They were saying that if you feel you can't be arrested, you can take political action with your checkbook and make financial contributions. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 7 Feb 2003 01:22:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Re: Negative Reviews / Bad Reviewers? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Well there are many good reasons to write negative reviews. 1) because you want to figure out what you think about a book. I've written negative reviews where I didn't know, when I started out, that they'd be negative. 2) because it cheapens literary discourse if all the punches are pulled. Who's going to take your positive reviews seriously otherwise? 3) because a lousy book may provide the opportunity to talk about other things too 4) because it might produce an interesting or entertaining piece of writing 5) or there's something that catches your eye you want to share with people without troubling them to buy the book. I panned a book (very briefly) in _Gig_ 12 largely because it had a blurb I found so stunningly & amusingly offensive that I wanted the opportunity to quote it. I should say that I think strongly negative reviews should be published sparingly--you don't want to look like some smug jerk like William Logan who seems to spend his life trying to come up with pans more viciously aphoristic than Randall Jarrell. What I've aimed for in my own reviews & in editing _The Gig_'s review section has been: to be sparing of enthusiastic praise; to be sparing of ugly pans; & instead try to have a fair number of reviews in the middle. The binary terminology of "positive" & "negative" reviews is very misleading because a lot of poetry books occupy the excluded middle & so should reviews. Reviews should anyway be informative: tell you what a book is _like_ & quote a bit, rather than rushing to plaster it over with judgments. Here again the thumbs up/thumbs down model of "positive/negative" is misleading. all best --N Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada email: ndorward@sprint.ca web: http://pages.sprint.ca/ndorward/files/ ========================================================================= Date: Fri, 7 Feb 2003 01:31:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "I went to the mill and cut ice to save the dam.".. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII "I went to the mill and cut ice to save the dam.".. and the forests of ice in the ice... and the forests of ice in the ice... making new objects in the slice of time... landgrid to icegrid, these newly bourned objects... landgrid to icegrid, these newly bourned objects... and the forests of ice in the ice... and the forests of ice in the ice... landgrid to icegrid, these newly bourned objects... landgrid to icegrid, these newly bourned objects... and the forests of ice in the ice... and the forests of ice in the ice... sound and eye limb, quarry, ice, and forest sliding... and the forests of ice in the ice... and the forests of ice in the ice... === ========================================================================= Date: Fri, 7 Feb 2003 02:28:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "this HAS been done" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "this HAS been done" remote video quality encoded by an open composed in order to be within the on-the-fly away from classical for such an excersice how was it done? ultimately leading toward prior to the expermiment threshold HAS been established the most important concept is valid via the channeled into the and in an setting as a regular (MPEG4IP) THE MORE PRFERABLE SOLUTION but what is the convenient for the future? make a setup in the same constant archive broadcast in IBOOK operated order when does the experiment cyber confessionist vivisectionist order of mid-skilled users LOCATION ONE *compile easy equivalent conduct *stream criteria of any viscera codec (MTC); *access points high quality THE GOAL: FULLY OPEN SOLUTION AUGUST HIGHLAND 2:27 AM 02-07-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sat, 8 Feb 2003 06:25:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Crusaders & Jews.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Quite remarkable..how the pro-war & anti war movements...are alike...fer or agin...moral certainty...lack of complexity..biz as usual..either making $$$$...or fighting small internecine po wars..and most interesting a rampaging viral like infection...spreading like a word beat drum disease...fervor...mumbo jumbo..who's the king of the congo...drn.. ========================================================================= Date: Fri, 7 Feb 2003 04:50:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: White Dirt Comments: To: webartery , wryting Comments: cc: rhizome MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii A sliver of window: cold nouns (poor nouns!) licking eyes until white and soiled. I bubble over unexpectantly. A silver of pillage: the very core of gesture ruts with morning depression; concave like logic, I bundle up expressively. My country colonizing. See those motion-sick colors bloodying dirty eyes? My country in winter turns to murder. I turn to computer, soft and warm. Handfuls of pelt-flesh smother my face in voice recognition. I think over and under it. Lovely people: cold nuns (poor nouns!) in space. 2003/02/07 07:29:43 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 7 Feb 2003 05:32:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "3D ambient percentages" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "3D ambient percentages" each day cyberstud rusts visa debit firepay each day & faces anthrax loot education healthcare childcare and jobs stockpile cash split deletion restart logo poets marketing sellout of inventory For this position we ask for: For this position we offer: Interested? new deadline has already been published refer to methodological patterns of retrieval convergence and we will take disciplinary action * Yes, we are different people. august highland 5:28 am 02-07-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Fri, 7 Feb 2003 08:53:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Libbie Rifkin Subject: Re: Laura Bush Protest Reading at NYU library MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: base64 YW5kIGFnYWluDQoNCgktLS0tLU9yaWdpbmFsIE1lc3NhZ2UtLS0tLSANCglGcm9tOiBDaGFybG90 dGUgTWFuZGVsIFttYWlsdG86Q2xtbmRsQEFPTC5DT01dIA0KCVNlbnQ6IFRodSAyLzYvMjAwMyAx MDoxMCBQTSANCglUbzogUE9FVElDU0BMSVNUU0VSVi5CVUZGQUxPLkVEVSANCglDYzogDQoJU3Vi amVjdDogTGF1cmEgQnVzaCBQcm90ZXN0IFJlYWRpbmcgYXQgTllVIGxpYnJhcnkNCgkNCgkNCg0K CUZvcndhcmRlZCBhbm5vdW5jZW1lbnQ6DQoJDQoJVGhlIE5ZVSBHcmFkdWF0ZSBQcm9ncmFtIGlu IENyZWF0aXZlIFdyaXRpbmcNCgkNCglhbmQgVGhlIEZhbGVzIExpYnJhcnkNCgkNCgkNCglwcmVz ZW50DQoJDQoJDQoJUG9ldHJ5IGFuZCBUaGUgQW1lcmljYW4gVm9pY2U6DQoJDQoJV3JpdGVycyBS ZXNwb25kIHRvIExhdXJhIEJ1c2jigJlzDQoJDQoJQ2FuY2VsbGF0aW9uIG9mIHRoZSBXaGl0ZSBI b3VzZSBQb2V0cnkgU3ltcG9zaXVtDQoJDQoJDQoJd2l0aA0KCQ0KCQ0KCVBhdWwgQXVzdGVyDQoJ DQoJTmljaG9sYXMgQ2hyaXN0b3BoZXINCgkNCglFLiBMLiBEb2N0b3Jvdw0KCQ0KCU1lbGlzc2Eg SGFtbWVybGUNCgkNCglNYXJpZSBIb3dlDQoJDQoJR2Fsd2F5IEtpbm5lbGwNCgkNCglDaGFybG90 dGUgTWFuZGVsDQoJDQoJU2hhcm9uIE9sZHMNCgkNCglLYXRoYSBQb2xsaXR0DQoJDQoJTWFyaWUg UG9uc290DQoJDQoJVG9tIFNsZWlnaA0KCQ0KCUlyaW5pIFNwYW5pZG91DQoJDQoJSmVhbiBWYWxl bnRpbmUNCgkNCglDaHVjayBXYWNodGVsDQoJDQoJYW5kIHN0dWRlbnRzIGZyb20gdGhlIE5ZVSBH cmFkdWF0ZSBQcm9ncmFtIGluIENyZWF0aXZlIFdyaXRpbmcNCgkNCgkNCgkNCglGZWJydWFyeSAx MiwgMjAwMywgMeKAkyAyIHAubS4NCgkNCglGYWxlcyBMaWJyYXJ5LCBCb2JzdCBMaWJyYXJ5LCAz cmQgRmxvb3IsIDcwIFdhc2hpbmd0b24gU3F1YXJlIFNvdXRoLCBOZXcgWW9yaw0KCUNpdHkuDQoJ DQoJVGhpcyBSZWFkaW5nIGlzIG9wZW4gdG8gdGhlIHB1YmxpYy4gIEZyZWUgQWRtaXNzaW9uLg0K CQ0KCQ0KCVRoaXMgcmVhZGluZyBoYXMgYmVlbiBvcmdhbml6ZWQgaW4gcmVzcG9uc2UgdG8gTGF1 cmEgQnVzaOKAmXMgZGVjaXNpb24gdG8NCgkNCgljYW5jZWwgdGhlIHN5bXBvc2l1bSDigJxQb2V0 cnkgYW5kIFRoZSBBbWVyaWNhbiBWb2ljZeKAnSBzY2hlZHVsZWQgdG8gdGFrZSBwbGFjZQ0KCQ0K CWF0IHRoZSBXaGl0ZSBIb3VzZSBvbiBGZWJydWFyeSAxMnRoIGF0IDEgcC5tLiBiZWNhdXNlIHNl dmVyYWwgd3JpdGVycw0KCQ0KCXBsYW5uZWQgdG8gcmVhZCBhbnRpLXdhciBwb2Vtcy4gIFRoaXMg cmVhZGluZyBpcyBhIGZvcnVtIHRoYXQgYWxsb3dzIHVzIHRvDQoJDQoJY2VsZWJyYXRlIHRoZSBh cnRzIGluIGEgdGltZSBvZiBuYXRpb25hbCBjb25mbGljdCBhbmQgY3Jpc2lzIGFuZCB0bw0KCQ0K CWVtcGhhc2l6ZSB0aGUgdml0YWwgcGxhY2Ugb2YgdGhlIGFydHMgaW4gdGhlIGNvbnRleHQgb2Yg c2lnbmlmaWNhbnQgbmF0aW9uYWwNCgkNCglhbmQgaW50ZXJuYXRpb25hbCBldmVudHMuDQoJDQoJ DQoJDQoJDQoJDQoJDQoJDQoJDQoJDQoNCg== ========================================================================= Date: Fri, 7 Feb 2003 08:56:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Libbie Rifkin Subject: Re: Laura Bush Protest Reading at NYU library MIME-Version: 1.0 Content-Type: text/plain; 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charset="US-ASCII" Content-Transfer-Encoding: 7bit Marianne Moore's "Love in America-" Whatever it is, it's a passion- a benign dementia that should be engulfing America, fed in a way the opposite of the way in which the Minotaur was fed. It's a Midas of tenderness; from the heart; nothing else. From one with ability to bear being misunderstood- take the blame, with 'nobility that is action," identifying itself with pioneer unperfunctoriness without brazenness or bigness of overgrown undergrown shallowness. Whatever it is, let it be without affectation. Yes, yes, yes, yes. ========================================================================= Date: Fri, 7 Feb 2003 09:31:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kaplan Page Harris Subject: Re: Poetry is news, or is it? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thu, 6 Feb 2003 Jeffrey Jullich wrote: >There were three panelists. I do not know their >names. From left to right, there was 1st a cartoonist I think the cartoonist was Ted Rall, http://www.rall.com/ Here's his comic, http://www.ucomics.com/tedrall/ Enjoy, Kap Harris "Give it up, Sub-Subs!" --Melville ========================================================================= Date: Fri, 7 Feb 2003 09:44:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Re: war MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 02/06/2003 8:15:25 PM Eastern Standard Time, AnselmBerrigan@AOL.COM writes: > The President believes his cause to be a moral one, and > the opposition to invading Iraq largely believes that pre-emptive invasion > an > extremely immoral action. What utter nonsense! This is a money grab, not some great moral crusade. Grow up.... joe brennan They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Fri, 7 Feb 2003 10:03:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sara Parker-Toulson Subject: Re: Crusaders & Jews.... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7bit are you allowed to have subject lines like this on this list? ewwwwwwwwwwwwwwwwwwwwww. ew. ew. ew. > > From: Harry Nudel > Date: 2003/02/08 Sat AM 06:25:14 EST > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Crusaders & Jews.... > > Quite remarkable..how the pro-war & anti war movements...are alike...fer or agin...moral certainty...lack of complexity..biz as usual..either making $$$$...or fighting small internecine po wars..and most interesting a rampaging viral like infection...spreading like a word beat drum disease...fervor...mumbo jumbo..who's the king of the congo...drn.. > ========================================================================= Date: Fri, 7 Feb 2003 10:08:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: growing up MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Joe - Growing up would require us all, in the face of having our names used to endorse a crime of world-historical proportions, to eschew quibbling over theories about motives until we have either prevented the crime or apprehended the criminals. Anyway, this comes down to whether you believe Bsh II is cynical and corrupt or psychotic and moral. "Grow up" -- what are you, a CIA plant? Much love from your old subsub pal, Jordan ========================================================================= Date: Fri, 7 Feb 2003 11:45:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: growing up MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT probably these days it would more likely be a Homeland Security plant but meditately speaking (buddhist or not) i find i gueSS I also have a rumination dis-or-der? i'd RATHer talk of my GUT than consider the pictures of the dead and the dying that might be on the horizon unless the pharmaceuticals can keep my TV suitable for viewing. tom bell ========================================================================= Date: Fri, 7 Feb 2003 08:21:59 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Re: war MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Joe--- Okay, I personally may disagree that Bush BELIEVES his cause to be a moral one... but ultimately neither you nor I have any proof that the pres. is more deluding than deluded. It seems to me that Anselm does not need to "grow up" because he's willing to take Bush's talk of morals as what he really believes.... And furthermore the word "THIS" in your post seems, er, self-referential.... Joe Brennan wrote: > In a message dated 02/06/2003 8:15:25 PM Eastern Standard Time, > AnselmBerrigan@AOL.COM writes: > > > The President believes his cause to be a moral one, and > > the opposition to invading Iraq largely believes that pre-emptive invasion > > an > > extremely immoral action. > > What utter nonsense! This is a money grab, not some great moral crusade. > Grow up.... > > joe brennan > > They hang the man and flog the woman > That steal the goose from off the common, > But let the greater villain loose > That steals the common from the goose. > > Constant apprehension of war has the same tendency > to render the head too large for the body. A standing military > force with an overgrown executive will not long be safe. > companions to liberty. -- Thomas Jefferson > > "America is a quarter of a billion people totally misinformed and disinformed > by their government. This is tragic but our media is -- I wouldn't even say > corrupt -- it's just beyond telling us anything that the government doesn't > want us to know." > > Gore Vidal ========================================================================= Date: Fri, 7 Feb 2003 11:30:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anslem Berrigan Subject: Re: growing up MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Joe, my friend, I do not mean for you to believe that -I- think this is a matter of morals... I don't believe that Cheney, Rumsfeld, et all believe this. Money, power, oil yes yes yes. But the big boy has to sell it, and I think he believes it. You know? Bush gets a lot of mileage out of being called a dumbass... I also see that tone is still not so readable via e-mail, no? ========================================================================= Date: Fri, 7 Feb 2003 09:45:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: growing up Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'm with Jordan here. While I tend to think of Bush as cynical & corrupt, it would take a hell of a lot of cynicism to proceed with what he's about to do and NOT justify it to himself on some kind of "moral" grounds. Of course it is also a money grab, as well as payback for trying to kill daddy. It also provides a nice distraction from the tanking economy, & from the now all but forgotten Enron scandal. Plus, if Karl Rove is right, it will all but ensure Bush's reelection. The war is all of these things to Bush, but the question is, is he merely a corrupt sonofabitch, or a sociopath. I definitely believe there are sociopathic tendencies in the Bush administration. I'm more likely to ascribe these to Cheney &/or Rumsfeld, but that doesn't matter. As Jordan, Gary, Mike & others have said, what we need to do now is try & stop this war. For everyone's sake I hope we succeed. Peace, Mark DuCharme <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> 'A sentence thinks loudly.' -—Gertrude Stein http://www.pavementsaw.org/cosmopolitan.htm http://www.nyspp.com/lisa/soc.htm >From: Jordan Davis >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: growing up >Date: Fri, 7 Feb 2003 10:08:19 -0500 > >Joe - > >Growing up would require us all, in the face of having our names used to >endorse a crime of world-historical proportions, to eschew quibbling over >theories about motives until we have either prevented the crime or >apprehended the criminals. > >Anyway, this comes down to whether you believe Bsh II is cynical and >corrupt or psychotic and moral. > >"Grow up" -- what are you, a CIA plant? > >Much love from your old subsub pal, >Jordan _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Fri, 7 Feb 2003 08:54:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Information request In-Reply-To: <128.226bf40c.2b747d90@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hey, Aside from the Paul McCartney & Carl Perkins album "We'd Go On For Hours" does anyone know a place I can get a recording or soundfile of the Paul MCartney/Yoko Ono collaboration "Hiroshima Sky is Always Blue"? Kazim ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 7 Feb 2003 09:38:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Re: Love Poem MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Ashbery's "A Blessing in Disguise" is a great love poem, though with the beloved weirdly shimmery and absent. Had it read at my wedding anyway. Maybe the budding entrepreneurs in Ankara will dig it. On a totally different tangent (or is it?), I wonder if it's alright to be against the war because you hate the way Rumsfeld *moves his hands*. --Rodney Koeneke ========================================================================= Date: Fri, 7 Feb 2003 12:51:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Re: growing up Mime-Version: 1.0 Content-Type: text/plain; format=flowed The whole morality point really is the war's tagline & slogan, it's like a movie poster: an epic battle of good vs. evil, which is what's so frightening, as it also distances us so much from it. I wonder how many folks there were sitting around a table somewhere saying: "Evil empire?" "No, too Star Wars." "Axis of Evil?" "humm, that's good, it's almost poetic." noah _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Fri, 7 Feb 2003 12:57:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Request for Contact Info MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Recently somebody posted here to ask why nobody asked about contact info = for them? Why should this person be alone in trying to prevent falling = into neglect & obscurity? I'm at least as neglected & am not lacking a = talent for obscurity, wanted or unwanted It has occurred to me that I have the same right to ask why nobody has = asked about contact info for me. Depending on who you talk to, I did = "fall off the face of the earth" several months ago. Fortunately, there = were no broken bones, just a few scrapes & bruises. (And a lot of palm = trees) But only the Flat Earth Society seemed to care. So, it is up to one of you, maybe even two, to end this gross injustice. = Stand up and be counted (I'm not a math major.) Vernon Frazer ========================================================================= Date: Fri, 7 Feb 2003 14:33:39 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Powell Speech and Criticism MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Powell File: 1) Full text of his speech plus question and answer period http://www.cbsnews.com/stories/2002/12/19/national/main533763.shtml Rebuttals: 2) Rahul Mahajan, author of ""The New Crusade: America's War on Terrorism" http://www.zmag.org/content/showarticle.cfm?SectionID=40&ItemID=2980 3) Robert Fisk, Independent commentator and Mideast critic supream http://www.zmag.org/content/showarticle.cfm?SectionID=40&ItemID=2977 4) Phyllis Bennis, MidEast analyst for Foreign Policy in Focus http://www.zmag.org/content/showarticle.cfm?SectionID=40&ItemID=2976 ========================================================================= Date: Fri, 7 Feb 2003 13:14:51 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anslem Berrigan Subject: No Subject MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I will leave this alone after this post. All I wanted to get across was 1) to reaffirm the condition of war as present and not just imminent, and 2) that moral conviction, or the appearance of it, is an extremely effective weapon for Bush -- one that is easy to dismiss as false, and yet to be effectively argued against by his opposition, in my opinion (only)... and I am part of that opposition, if that actually had to be fucking made clear to anyone. Adios. growing down, Anselm ps -- I don't know why this list gets my e-mails from an Anslem ========================================================================= Date: Fri, 7 Feb 2003 14:12:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: growing up MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT he's no more a sociopath than Teddy Roosevelt was. it's just that he's playing lives now. tom bell ----- Original Message ----- From: "Mark DuCharme" To: Sent: Friday, February 07, 2003 10:45 AM Subject: Re: growing up > I'm with Jordan here. While I tend to think of Bush as cynical & corrupt, > it would take a hell of a lot of cynicism to proceed with what he's about to > do and NOT justify it to himself on some kind of "moral" grounds. Of course > it is also a money grab, as well as payback for trying to kill daddy. It > also provides a nice distraction from the tanking economy, & from the now > all but forgotten Enron scandal. Plus, if Karl Rove is right, it will all > but ensure Bush's reelection. The war is all of these things to Bush, but > the question is, is he merely a corrupt sonofabitch, or a sociopath. I > definitely believe there are sociopathic tendencies in the Bush > administration. I'm more likely to ascribe these to Cheney &/or Rumsfeld, > but that doesn't matter. As Jordan, Gary, Mike & others have said, what we > need to do now is try & stop this war. For everyone's sake I hope we > succeed. > > Peace, > > Mark DuCharme > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> > > > > 'A sentence thinks loudly.' > > --Gertrude Stein > > > > http://www.pavementsaw.org/cosmopolitan.htm > > http://www.nyspp.com/lisa/soc.htm > > > > > > > > > >From: Jordan Davis > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: growing up > >Date: Fri, 7 Feb 2003 10:08:19 -0500 > > > >Joe - > > > >Growing up would require us all, in the face of having our names used to > >endorse a crime of world-historical proportions, to eschew quibbling over > >theories about motives until we have either prevented the crime or > >apprehended the criminals. > > > >Anyway, this comes down to whether you believe Bsh II is cynical and > >corrupt or psychotic and moral. > > > >"Grow up" -- what are you, a CIA plant? > > > >Much love from your old subsub pal, > >Jordan > > _________________________________________________________________ > MSN 8 with e-mail virus protection service: 2 months FREE* > http://join.msn.com/?page=features/virus ========================================================================= Date: Fri, 7 Feb 2003 14:02:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sara Parker-Toulson Subject: Re: Information request MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7bit Yes, it's called Kazaa (type into Google), otherwise known as 'stealing music'. But you have to have a high speed connection. good luck > > From: Kazim Ali > Date: 2003/02/07 Fri AM 11:54:46 EST > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Information request > > Hey, > > Aside from the Paul McCartney & Carl Perkins album > "We'd Go On For Hours" does anyone know a place I can > get a recording or soundfile of the Paul MCartney/Yoko > Ono collaboration "Hiroshima Sky is Always Blue"? > > Kazim > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > ========================================================================= Date: Fri, 7 Feb 2003 13:20:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: Love Poem In-Reply-To: <3E43EF29.131801A5@pacbell.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit so far I haven't seen any visual poems mentioned, while looking for a piece by Emmett Williams (was it called "Hearts"?) I found this one: first love http://www.berliner-galerien.de/Wewerka/Kuenstler/Williams.html & humbly, no one has mentioned their favorite love poem which they have written themselves. for my self I would offer the piece Maria D & I wrote several years ago called EROS/ION http://cla.umn.edu/joglars/erosion/index.html mIEKAL On Friday, February 7, 2003, at 11:38 AM, Rodney K wrote: > Ashbery's "A Blessing in Disguise" is a great love poem, though with > the > beloved weirdly shimmery and absent. Had it read at my wedding > anyway. Maybe the budding entrepreneurs in Ankara will dig it. > > On a totally different tangent (or is it?), I wonder if it's alright to > be against the war because you hate the way Rumsfeld *moves his hands*. > > --Rodney Koeneke > ========================================================================= Date: Fri, 7 Feb 2003 11:34:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: growing up In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable I don't if New Advice represents a sad, paranoid version of "growing up" o= r primarily a tool for survival if the Moral is used to precipitate an invasion and "democratic occupation" (talk about an oxymoron), but I do suspect I wrote the following from down inside some psychic level in which = I am experiencing the apprehension and terror of the arrival of those moral agents - read most probably the FBI or your local Homeland Security Rep - the avengers whose job is and will be to clear the population of doubters, unclean pluralists, the anarchists, anyone who might be working to take the self-declared Vector off his Righteous course: New Advice Hold on to your hat, your coat, your shirt, belt, pants, underwear. Close down your skin, your muscle, your bones, your blood. Hang on to your sperm, your eggs, your delivery or receptive tools. If they did not come yesterday, they will be here today or tomorrow. They are not elected. They are self-chosen. If not chosen, they are appointed.=20 When they knock, point out the hole in their socks, the out of place whiske= r next to a beige mole on the chin. Nickel and dime them with petty truths: The sky is green. The ocean is yellow. The poll results are "interesting." If they press harder, talk about the sex life between you and their well known director. Implicate yourself in the pleasure of providing him or her with normally unspeakable acts. Somewhere between the lapel and shoulder pad, the recorder is on. Your words will kill the tape. This is evidence they cannot show or replay in public or private. It=B9s your word against theirs. Call it "a poetry of distraction." In the meantime, beware the false landscape. Find safe shelter. Anything may catastrophically drop during "breaking news". Look up through dark coated glasses. Register the national 1-800 number. Report instances of fallen debris. Photograph but don=B9t touch. Toxicity may be frequent. Walk carefully. Preserve vision at any speed. Stephen Vincent on 2/7/03 9:51 AM, noah eli gordon at noaheligordon@HOTMAIL.COM wrote: > The whole morality point really is the war's tagline & slogan, it's like = a > movie poster: an epic battle of good vs. evil, which is what's so > frightening, as it also distances us so much from it. I wonder how many > folks there were sitting around a table somewhere saying: > "Evil empire?" > "No, too Star Wars." > "Axis of Evil?" > "humm, that's good, it's almost poetic." >=20 > noah >=20 >=20 > _________________________________________________________________ > Add photos to your messages with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=3Dfeatures/featuredemail ========================================================================= Date: Fri, 7 Feb 2003 13:37:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Liechtenstein for rent In-Reply-To: <003201c2ced2$6b015a60$210110ac@gateway.2wire.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit (sounds like a good place for a poetry conference --mIEKAL) Liechtenstein for rent Friday, February 7, 2003 Posted: 12:33 PM EST (1733 GMT) ZURICH, Switzerland (Reuters) -- Country for hire, one careful owner. The tiny principality of Liechtenstein is putting itself up for rent in a bid to attract corporate conferences and bolster its tourism industry, a local official said Friday. The new "Rent a State" program lets corporate clients symbolically take over the tiny country of just 33,000 residents tucked away among the Alps between Switzerland and Austria. "The basic idea is that an entire, small country plays host to a conference with all the various possibilities at its disposal," said Roland Buechel, director of the state tourism agency in Liechtenstein, which covers an area of 60 square miles. Rent a State is based on the Rent a Village concept developed by event management firm Xnet AG in small towns in Austria, Germany and Switzerland. Xnet will drum up business among corporate customers seeking a site for meetings, while the tourism agency will work with local authorities and help organize rooms and program ideas. Customers will get tailor-made programs that put their brand on display and involve local officials -- but not the monarch Prince Hans Adam -- in special events. "It is not envisioned to include the prince or government officials," Buechel said. ______________________________________________________ &: On Friday, February 7, 2003, at 11:57 AM, Vernon Frazer wrote: > ) But only the Flat Earth Society seemed to care. > > > > I wish they cared about me. ========================================================================= Date: Fri, 7 Feb 2003 12:04:23 -0800 Reply-To: =?iso-8859-1?Q?Huneuroni_Rendimanch=E9?= Sender: UB Poetics discussion group From: =?iso-8859-1?Q?Huneuroni_Rendimanch=E9?= Subject: nothing.jpg MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm washing my hair.. [nothing.jpg] you see this part.. its a green lemon beltbuckle on this other one... an ape-like head comes out of the sun ok give me a hug sweetheart.. {unsorted children} 15 colors ========================================================================= Date: Fri, 7 Feb 2003 15:05:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "mail.daemen.edu" Subject: Contact Info Vernon Frazer MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit If anyone would happen to have the contact info for Vernon Frazier please back channel Thanks in advance, Geoffrey ----- Original Message ----- From: "Vernon Frazer" To: Sent: Friday, February 07, 2003 12:57 PM Subject: Re: Request for Contact Info > Recently somebody posted here to ask why nobody asked about contact info for them? Why should this person be alone in trying to prevent falling into neglect & obscurity? I'm at least as neglected & am not lacking a talent for obscurity, wanted or unwanted > > It has occurred to me that I have the same right to ask why nobody has asked about contact info for me. Depending on who you talk to, I did "fall off the face of the earth" several months ago. Fortunately, there were no broken bones, just a few scrapes & bruises. (And a lot of palm trees) But only the Flat Earth Society seemed to care. > > So, it is up to one of you, maybe even two, to end this gross injustice. Stand up and be counted (I'm not a math major.) > > Vernon Frazer > > > ========================================================================= Date: Fri, 7 Feb 2003 15:35:56 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Who's Floggin' Who MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://lesters.flogspot.com/ Currently Being Flogged: "I'm not so sure about blowing" (little Mattie inspires Lester) Billy Mills' essay in Terrible Work? INCLUDED or EXCLUDED Pt. 1 "Veal Parmesan and a Boring Poem" Received Excerpts from Kucuk Iskender's _Souljam_ (trans. Murat Nemet-Nejat) Ange Mlinko vs. Arielle Greenberg, or, Does Poetry Need Money? Jordan Davis Responds Mark DuCharme asks, "what about Christopher Hitchens?" & Lester Responds INCLUDED or EXCLUDED Pt. 2 AND the world premiere of ... ZOMBIE! (new flash animation) http://lesters.flogspot.com/ ========================================================================= Date: Fri, 7 Feb 2003 12:27:38 -0800 Reply-To: caterina@caterina.net Sender: UB Poetics discussion group From: "Caterina Fake (yahoo)" Subject: Eatmorewords.org In-Reply-To: <024d01c2cee5$3be08e00$f2113444@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm new to the list, but know some of you from other fora. I wanted to let everyone know about a non-profit word consortium I've started to provide online resources to writers called Eat More Words, on the web at http://www.eatmorewords.org The main member benefit is access to the online OED. Generally for individuals a yearly subscription is $550, but under the aegis of the foundation we are offering a year membership at $10/year until we launch on or around March 1. Membership will be $12/year thereafter. Please also sign up on the notification list. Should membership revenue exceed the cost of providing these services -- and we hope that it will! -- we will launch The Apicule Literary Award, and may publish a book of poetry in cooperation with a small press. Future features may also include a subscription to the xrefer plus reference library. There is more info on the site. Eat More Words operates under the auspices of The Apicule Foundation, which will begin offering microgrants to artists in mid-2003. Best, Caterina Fake __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 7 Feb 2003 15:39:23 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Z O M B I E MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The World Premiere of... Z O M B I E http://proximate.org/zombie.htm FLASH ANIMATION 2.8 MB 2:01 looping Macromedia Flash Player plug-in required... Downloads the player here: http://sdc.shockwave.com/shockwave/download/alternates/ System Requirements for Flash Playback: http://www.macromedia.com/software/flash/productinfo/systemreqs/ Patrick Patrick Herron patrick@proximate.org !!!!!!!!!!!!!!!!!!!!!!! !Getting Close Is What! ! We're All About(TM) ! !http://proximate.org/! !!!!!!!!!!!!!!!!!!!!!!! ========================================================================= Date: Fri, 7 Feb 2003 15:58:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Wasted Youth Tastes Like Chicken the game is over, I'm dirty at midnight and then dirty for at least a year tell the robots in my veins to keep it down a woman on the bus is reading THE ECONOMIST it's the sexiest thing in forever I've got a thing for gunslingers and uncontrollable hype it's "The Rawhide Kid" for me circle to park or just circle weaving diamonds into the blizzard meanwhile miles of rope spill out my ear _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 7 Feb 2003 13:10:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: Love Poem In-Reply-To: <33BACB68-3AD1-11D7-BAB3-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Wow. check out this interview with, of all people, Camille Paglia... http://www.salon.com/opinion/feature/2003/02/07/paglia/index.html -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of miekal and Sent: Friday, February 07, 2003 11:20 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Love Poem so far I haven't seen any visual poems mentioned, while looking for a piece by Emmett Williams (was it called "Hearts"?) I found this one: first love http://www.berliner-galerien.de/Wewerka/Kuenstler/Williams.html & humbly, no one has mentioned their favorite love poem which they have written themselves. for my self I would offer the piece Maria D & I wrote several years ago called EROS/ION http://cla.umn.edu/joglars/erosion/index.html mIEKAL On Friday, February 7, 2003, at 11:38 AM, Rodney K wrote: > Ashbery's "A Blessing in Disguise" is a great love poem, though with > the > beloved weirdly shimmery and absent. Had it read at my wedding > anyway. Maybe the budding entrepreneurs in Ankara will dig it. > > On a totally different tangent (or is it?), I wonder if it's alright to > be against the war because you hate the way Rumsfeld *moves his hands*. > > --Rodney Koeneke > ========================================================================= Date: Fri, 7 Feb 2003 16:16:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: FW: FW: Powell and Plagiarism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =20 -----Original Message----- From: sibyl james [mailto:sibyljames@hotmail.com] Sent: Friday, February 07, 2003 3:28 PM To: barbara@baloney.com; thebrocks@comcast.net; calyx@proaxis.com; = cardongonn@hotmail.com; dufkie@premier1.net; ehartman@drizzle.com; = misiaeve@netscape.net; evgalin@aristeresearch.com; = jlipman@pop3.utoledo.edu; judith@onereel.org; dab20@aol.com; = karendewinter@attbi.com; karenr7@oz.net; KCLJB@hotmail.com; = LA@squarelake.com; elder-lewis@email.msn.com; = lindagallaher@earthlink.net; collinsbooks@collinsbooks.com; = valatmeans@seanet.com; michaels@crocker.com; ibrahim.muhawi@ed.ac.uk; = nick.licata@ci.seattle.wa.us; NowenONe@aol.com; nrawles@earthlink.net; = orvinj@attbi.com; pamcob@ix.netcom.com; dogma3@earthlink.net; = radang@hcc.ctc.edu; vlward@accessexcellence.org; skjsan@hotmail.com; = saritagon@attbi.com; morrell@olympus.net; morrell@olypen.com; = sanni@ozemail.com.au; tiedon@juno.com; tomfellows@earthlink.net; = wftstaff@wftaft.com Subject: Fwd: FW: Powell and Plagiarism I knew his sources were flaky but this is dramatic. Send this to = everyone you know, especially anybody in the media. >From: "James, Sibyl"=20 >To:=20 >Subject: FW: Powell and Plagiarism=20 >Date: Fri, 7 Feb 2003 12:08:20 -0800=20 >=20 >=20 >=20 >-----Original Message-----=20 >From: Burton, Dick C.=20 >Sent: Friday, February 07, 2003 11:57 AM=20 >To: _Faculty FT Central; _Faculty FT North; _Faculty FT South; _Faculty = >FT SVI; _Faculty PT Central; _Faculty PT North; _Faculty PT South;=20 >_Faculty PT SVI=20 >Subject: Powell and Plagiarism=20 >=20 >=20 >Perhaps our Secretary of State and the British Government could use a = little reminder about properly citing their sources.=20 >=20 >http://truthout.org/docs_02/020803A.htm=20 >=20 >Blair-Powell UN Report Written by Student=20 >By William Rivers Pitt=20 >t r u t h o u t | Report=20 >=20 >February 7, 2003=20 >=20 >"My colleagues, every statement I make today is backed up by sources, = solid sources. These are not assertions. What we're giving you are facts = and conclusions based on solid intelligence."=20 >- Secretary of State Colin Powell before the United Nations, 2/5/03=20 >=20 >The veracity of Colin Powell's report on Wednesday before the United = Nations Security Council was dealt a serious blow when Britain's Channel = 4 News broke a story that severely undermines the credibility of the = intelligence Powell used to make his case to the UN.=20 >=20 >Powell's presentation relied in no small part upon an intelligence = dossier prepared by the British Government entitled, "Iraq - Its = Infrastructure of Concealment, Deception and Intimidation." That report = plagiarized large swaths of an essay written in September of 2002 by a = graduate student from California named Ibrahim al-Marashi. Al-Marashi's = essay appeared in the September 2002 edition of a small journal, the = Middle East Review of International Affairs.=20 >=20 >According to the story from Channel 4 News, which was later augmented = by an Associated Press report by Jill Lawless, the duplicate text was = first spotted by a Cambridge, England academic named James Ranwala. = Apparently, Ranwala read the British dossier when it became available = and believed he had seen it before. As it turns out, he was correct. = Entire sections of the al-Marashi essay, including six full paragraphs = in one section, had been cut and pasted into the British dossier, = including several spelling and grammatical errors that are identical.=20 >=20 >According to the Associated Press, al-Marashi had no idea his paper was = being used by the British. "It was a shock to me," he told the = Associated Press, and expressed the hope that the British would credit = his work "out of academic decency."=20 >=20 >A line-by-line comparison of the two documents clearly shows one = example of the plagiarism:=20 >=20 >From the British report -=20 >=20 >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri as head during the 1991 = Gulf War. After the Gulf War he was replaced by Wafiq Jasim al-Samarrai. = >=20 >After Samarrai, Muhammad Nimah al-Tikriti headed Al-Istikhbarat = al-Askariyya in early 1992 then in late 1992 Fanar Zibin Hassan = al-Tikriti was appointed to this post.=20 >=20 >These shifting appointments are part of Saddam's policy of balancing = security positions. By constantly shifting the directors of these = agencies, no one can establish a base in a security organisation for a = substantial period of time. No one becomes powerful enough to challenge = the President."=20 >=20 >From the al-Marashi essay -=20 >=20 >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri(80) as head of Military = Intelligence during the 1991 Gulf War.(81) After the Gulf War he was = replaced by Wafiq Jasim al-Samarrai.(82)=20 >=20 >After Samarrai, Muhammad Nimah al-Tikriti(83) headed Military = Intelligence in early 1992(84) then in late 1992 Fanar Zibin Hassan = al-Tikriti was appointed to this post.(85) While Fanar is from Tikrit, = both Sabir al-Duri and Samarrai are non-Tikriti Sunni Muslims, as their = last names suggest.=20 >=20 >Another source indicates that Samarrai was replaced by Khalid Salih = al-Juburi,(86) demonstrating how another non-Tikriti, but from the = tribal alliance that traditionally support the regime holds top security = positions in Iraq.(87)=20 >=20 >These shifting appointments are part of Saddam's policy of balancing = security positions between Tikritis and non-Tikritis, in the belief that = the two factions would not unite to overthrow him. Not only that, but by = constantly shifting the directors of these agencies, no one can = establish a base in a security organization for a substantial period of = time, that would challenge the President.(88)"=20 >=20 >After a close analysis of the identical text from both reports, it is = also clear that Britain altered key words to give their report a more = sinister and ominous twist. The British report states that the Iraqi = intelligence agency is "spying on foreign embassies in Iraq." The = al-Marashi essay's version states that the Iraqi intelligence agency is = "monitoring foreign embassies in Iraq." The rhetorical leap from = "monitoring" to "spying" is evident.=20 >=20 >In another portion of the British dossier, Iraq is accused of = "supporting terrorist organizations in hostile regimes." The al-Marashi = essay's version states that Iraq is "aiding opposition groups in hostile = regimes." The insertion of the word "terrorist" is manifestly = provocative.=20 >=20 >A disturbing series of questions is raised by this matter. Mr. Powell = relied heavily upon "facts and conclusions based on solid intelligence," = often from foreign intelligence services such as the British. His = presentation was meant not only to establish the fact that Iraq is in = possession of prohibited weapons, but also that Iraq enjoys ties to = terrorist groups like al Qaeda. In light of this data, the factual basis = for these claims is in doubt. Britain's report was touted as an = up-to-the-minute intelligence review of the situation in Iraq. In fact, = much of it is based upon the work of a graduate student who published = his essay five months ago.=20 >=20 >Furthermore, if the al-Marashi essay was worthy of plagiarizing, why = did the British feel it necessary to alter certain key phrases so as to = make it seem that Iraq is spying on foreign embassies and aiding = terrorist groups? The manipulation of the original data appears, on the = surface, to have been done in bad faith.=20 >=20 >An analysis of the footnotes for the al-Marashi essay clearly = demonstrate that his work was meant to describe Iraq's intelligence = apparatus and military situation in the 1990s. The British dossier was = presented as an up-to-date report on the status of Iraq's weapons and = terrorist ties. There are 106 reference footnotes in the essay. 103 of = these footnotes reference reports and articles from 1988 to 2000. Only = three are from this century, and all of them reference reports from = 2001. This is not current data in any context.=20 >=20 >Clearly, Mr. Powell cannot be held responsible for the veracity of data = given to him by the British government. The fact remains, however, that = the British intelligence data, which comes from the most steadfast ally = of the Bush administration, has been severely undermined by this report. = This calls into question the veracity of virtually every aspect of = Powell's presentation to the United Nations.=20 >=20 >If the American Secretary of State was given such shoddily-assembled = data from its most loyal ally, how can the rest of the data be = considered dependable? The data on Zarqawi and Ansar al-Islam came from = Jordanian intelligence, a source much less trustworthy than the British. = Many of the "human sources" cited by Powell were, in fact, detainees in = Guantanamo, Cuba. These sources are suspect at best, yet were a = significant part of the basis for Powell's accusations that Iraq is = working with al Qaeda and developing a wide variety of prohibited = weapons. Between these sources and the unreliable data from the British, = it seems all too clear that Powell's entire presentation was based upon = information that is questionable to say the least.=20 >=20 >Finally, and most significantly, is the question of intent. The United = States will have soon placed approximately 150,000 troops in the region = surrounding Iraq with the full intention of going to war. Such a = conflict is almost certain to cause destabilizing upheavals in the = Middle East which could threaten the global community. More ominously, = the CIA and FBI have reported that a war in Iraq will definitely lead to = terrorist attacks in America and a number of European nations, including = Britain. This matter must now be framed in a new light. Does the British = government believe it acceptable to assist the United States in going to = war on the word of a graduate student from Monterey?=20 >=20 >The revelation of this data could conceivably come to do significant = harm to the Bush administration's attempt to assemble a "Coalition of = the Willing" for an attack upon Iraq. Tony Blair and Britain have been, = since the beginning, the most fundamentally important members of = whatever international coalition Mr. Bush is able to assemble.=20 >=20 >This report could shake Blair's standing with his government and his = people. Blair's relationship with his own party, and with the British = citizenry, has already proven rocky on the subject of his alliance with = the Bush administration over this conflict. If Blair's ability to stand = with Mr. Bush becomes undermined, Mr. Bush would find himself almost = completely isolated on this issue.=20 >=20 >-------=20 >=20 >William Rivers Pitt is a New York Times bestselling author of two books = - "War On Iraq" (with Scott Ritter) available now from Context Books, = and "The Greatest Sedition is Silence," available in May 2003 from Pluto = Press. He teaches high school in Boston, MA.=20 >=20 >Scott Lowery contributed research to this report.=20 >=20 >=20 >-----Original Message-----=20 >From: Liz Burbank [mailto:lizburbank@earthlink.net]=20 >Sent: Friday, February 07, 2003 11:17 AM=20 >To: liz burbank=20 >Subject: ACTUAL SOURCE OF C.POWELL'S "INDISPUTABLE NEW EVIDENCE..." !!! = >=20 >=20 >want some real smoking guns--check out expose of powell's speech!!!!=20 >=20 >=20 >=20 >=20 >You can join our Direct mailing list by sending a blank email to=20 >join-truthout@lists.truthout.com=20 >=20 >http://truthout.org/docs_02/020803A.htm=20 >=20 >ApplyRefer v2.3=20 _____ =20 Help STOP SPAM with the new MSN 8 and = get 2 months FREE*=20 ========================================================================= Date: Fri, 7 Feb 2003 14:32:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: Powell and plagiarism MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit The Guardian has a story with PDFs of the papers up at http://www.guardian.co.uk/Iraq/0,2759,423009,00.html -- V. Nicholas LoLordo Assistant Professor Department of English 4504 Maryland Parkway Box 455011 Las Vegas, NV 89154 (702) 895-3623 ========================================================================= Date: Fri, 7 Feb 2003 18:55:33 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Bob Grenier in the Village Voice MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit You must have to cut & paste that URL into your browser address box. http://www.villagevoice.com/nightguide/evening.php?eventID=24788&slcateg ory=music&sldate= ========================================================================= Date: Fri, 7 Feb 2003 18:59:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: defuge n+0 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII defuge n+0 unconscious, defuge, upgrade, body-html, jennifer, julu simultaneously tender it, and turn away, as if defuge were in operation, forms. In any case, the Compaq is now one of us, subject to defuge, full to an end. The resulting detumescence partakes of defuge, exhaustive Exactly. And so perhaps the preface of the book is lost in _defuge,_ decathected, state or statement of defuge. irrelevant, keeping defuge at bay. wryting perhaps, structures against defuge as well, or the harboring and defuge. Jennifer drops hints; she's willing to take up every pocancer it is all there, the defuge, sexuality, transparency, linkage, coupling defuge/flooding, cyberspace falters and topples in the sand/granularity of produces both a sense of accomplishment and defuge; the world greatly It is so common that a word is necessary here, the _defuge,_ defuse/refuge deluge/refuse, de-light, de-flower. Rhyme patterns, frames, defuges; it is the defuge that draws the poem forward beyond return, the sonnet to Rhyme materializes, and the materiality is subject to defuge, carrying effluvia. It is the substance in pornography that defuges; there is a return is the defuge of time, the striations of the medium as well. defuge, the circum-stantiation, circumlocution of the abyss: and too much spleen, like boredom, figures into defuge; both play a role in Salo, in materiality that defuge operates through is ultimately cannibalistic. And finally, defuge, from my Disorders of the Real: "Form, thrust away. this imply the defuge of narrative? defuge, fifth and final section, explanations: defuge refuge refuse defuse: _r.d/fu/g.s/e:_ writing the words over and - what differentiates defuge is the peculiar passivity that accompanies in my own adulterated view, defuge is connected with the hunt as well, (and defuge enters into theoretical burnout, cyberspace burnout as well. defuge: in which the body gives itself away by transforming possession itself, defuges, sputters at the edges; given the death of the author, It is so common that a word is necessary here, the _defuge,_ defuse/refuge deluge/refuse, de-light, de-flower. Rhyme patterns, frames, defuges; it is the defuge that draws the poem forward beyond return, the sonnet to Rhyme materializes, and the materiality is subject to defuge, carrying effluvia. It is the substance in pornography that defuges; there is a return is the defuge of time, the striations of the medium as well. defuge, fifth and final section, explanations: vis-a-vis _defuge_ back into the body, the reading of the body through the text, the mouths of the text, textual _defuge._ Afterwards, defuge sets in - the application, bodies, partner, world, sex, easy ontology, with the promulgation of the writer. Nothing is defuge, pentium wryting defuge phenomenology virtuality darknet actants REPETITION is a return through defuge to the imaginary, uncanny, and already in a state of defuge... things worry themselves in constancy It makes sure to retain the old names, discarding them by virtue of defuge or defuge-machine. When everything is cool, everyone surfs, the more words but is simply defused, _defuged,_ forgotten. defuge alan:flood:efface:leak:lung:defuge:spill:1341:0:unravel:defuge:flood break:cripple:ligament:phantom:defuge:yes:15856:6:lag:defuge:ligament and defuge (Levinas for example). deferment, gaping at the end - it's there that defuge sets in, difference Sometimes I suffer defuge and then it goes lackluster and the worlds are Doing is all my beautiful domains, defuge withdraws and decathects. dom, and defuge, cancers devouring the remnants of grave and graven flesh. When defuge sets in, when decathecting is universal, then it's the time to out of defuge (Sondheim) - the _hacker drive_ which tends towards what economy, no longer participating on that level - a state of defuge. contains a weather of ice and violation. Violent depression and defuge [...] /* primal dullness of the world in defuge and immanence */ sations? but she continues in a state of denial and defuge. Jennifer drops Because during that period, defuge set in; I was exhausted with Is the fact that during that period defuge set in you were exhausted Earlier you said during that period defuge set in you were exhausted Please, defuge set in; that you berated it. It's the nuclear class that and tending towards foreclosure, defuge; it is the Jennifer-body that defuge worn out with defuge/refuge, exhausted, the isolated image of clit or pouring out through locked doors of building "defuge" you stain yourself following paths to old defuge you stain yourself following paths to old defuge ... When defuge, decathected exhaustion, sets in, I may rely on quotations of slough at the edges, exhausted, in states of defuge and decathexis. Pools emanations out of the suppurating flesh of my own body - that 'defuge' defuge - you can sense i'm used up, always have been constructs defuge, the paste broken by inscription. Dis-ease is that of computational clean-room. These aspects leak out; net.sex, defuge/burnout, into difference day after day takes its toll. I use the word 'defuge' to defuge worn out with defuge/refuge, exhausted, the isolated image of clit or pouring out through locked doors of building "defuge" defuge beautiful haiku of defuge, sent by someone who was added to a number of and defuge. Jennifer drops hints; she's willing to take up every pocancer, it is all there, the defuge, sexuality, transparency, linkage, coupling d.txt:7 dd:195 defuge.txt:2 e.txt:5 ee:21 f.txt:6 ff:7 g.txt:11 gg:18 and exitings - when the spheres are shattered - when defuge sets in - when already marker.hand.piston.stylus elsewhere, defuge marker hand defuge-oo-dhtml-oo-diegesis-oo-diegetic ascii unconscious, defuge, upgrade, body-html, jennifer, julu 1 theory is defuge and enumeration coupled with abjection and foreclosure 3 disinvestment is the state of defuge or refusal/deluge 1 theory is defuge and enumeration coupled with abjection and foreclosure 3 disinvestment is the state of defuge or refusal/deluge 3 disinvestment is the state of defuge or refusal/deluge 1 theory is defuge and enumeration coupled with abjection and foreclosure It is the substance in pornography that defuges; the image on the level of until the exhaustion of defuge decathects these tiffany 30 seconds defuge exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical think of defuge. environment ground plane replacement of traditional goto defuge or /[z]+/ { print "defuge or decathected disinvestment, exhaustion" } d'nala decathexis deconstructed deconstruction defuge Derrida dhtml evanescent, they're already exhausted by consciousness and defuge. the psychology, one of flows/flux/spew/emission as well (my notion of 'defuge' deconstructed deconstruction deerflies defuge Derrida desiccated dhtml defuge - distributed avatars - evanescence - it's all there - the others defuge again - same substance hammered language them defuge - again defuge language hammered them kill defuge again - to example defuge trying the to disgust read a a novel novel again depressions antennae antennas personal_ws-1.1 english 30 Gertrud defuge personal_ws-1.1 english 33 Gertrud defuge mobius zags philosopies yiddish o i beg you dearest sister visit me in defuge, exhausted after a weary protolanguage. It has also covered the concept of "defuge," and traced liams, measure series, The Perilous Cemetery, Herodotus, Derrida, defuge structuralist notion of unconscious processes; defuge is concerned with a it in the form of serial representations (exhausting, through defuge, one nothing makes a differance, it leaves no trace, not even defuge announcing and concepts have been developed - ascii unconscious, defuge, construct ... === ========================================================================= Date: Sat, 8 Feb 2003 19:58:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: The Haj Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit our usual reliable sources...are informing us...that as part of the their neo-colonialist adventurism...the U.S.of A...plans to change the end point of the Haj...millions of Muslims..will be redirected to Disneyland..where they will $hop til they...around Mickey and Goofey...the Me$$ah tourist board it has further been reported is in the process of lodging a formal complaint...citing copywrite infringement......drn.. ========================================================================= Date: Sat, 8 Feb 2003 11:38:29 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAYDREAMS 5 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM |day | | | dream| peace on a fridge magnet JFK www.poetinresidence.com ========================================================================= Date: Sat, 8 Feb 2003 11:45:49 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: No Subject In-Reply-To: <102.25de255a.2b75519b@aol.com> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-5AE865A; boundary="=======6E5B7655=======" --=======6E5B7655======= Content-Type: text/plain; x-avg-checked=avg-ok-5AE865A; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit please replace 'War' with 'Invasion of Iraq' and 'Bush' with 'Supreme Ruler of the World'. At 04:14 AM 8/02/03, you wrote: >I will leave this alone after this post. > >All I wanted to get across was 1) to reaffirm the condition of Invasion of >Iraq as present >and not just imminent, and 2) that moral conviction, or the appearance of it, >is an extremely effective weapon for the Supreme Ruler of the World -- one >that is easy to dismiss as >false, and yet to be effectively argued against by his opposition, in my >opinion (only)... and I am part of that opposition, if that actually had to >be fucking made clear to anyone. Adios. > >growing down, > >Anselm > >ps -- I don't know why this list gets my e-mails from an Anslem > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======6E5B7655======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-5AE865A Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======6E5B7655=======-- ========================================================================= Date: Fri, 7 Feb 2003 19:52:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aaron tieger Subject: response to jim berhle/mark lamoureux MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi all, This is my first post but I'd just like to say to Jim and Mark: right the fuck on. Aaron Tieger ===== "droplets of yes and no in an ocean of maybe" faith no more, "falling to pieces" __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 8 Feb 2003 16:01:49 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAY DREAMS 6 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM | | day day day | | | | | | day day day | | peace has been done JFK ========================================================================= Date: Sat, 8 Feb 2003 02:03:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Contact info for Vernon Frazer and Gwyn McVay Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Could someone (or possibly everyone) please contact me back channel a.s.a.p. re: contact info for Vernon Frazer and Gwyn McVay? Gwyn McVay is the author of "brother ikon" (inkstone press) and "This Natural History" (Pecan Grove). She may or may not sport a tattoo of a black bird. This is the only identifying information I have on this mysterious but very glamorous author at present. Please help me find her as I am desperate for reasons I could not possibly reveal on this list. It may help in your search for contact info about her to check out her home page with her photo at http://patriot.net/~gmcvay/ I know that Vernon Frazer (a.k.a. Burnin' Vernon) is the author of two works on a recently released issue of a very difficult to locate on-line magazine curiously called m.a.g. (www.muse-apprentice-guild.com). These TWO WORKS BY VERNON FRAZER are titled MARGIN L and I STALKED MARTHA STEWART! Once you understand how much this enigmatic and hard to locate poet knows or once knew about celebrity stalking and how it is done you will understand why someone might desperately need to have contact information about him! Thanks in advance for this extremely urgent contact info help on these two very hard to locate writers! -Nick- ========================================================================= Date: Sat, 8 Feb 2003 19:01:22 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Re: war Mime-Version: 1.0 Content-Type: text/plain; format=flowed The thought that Bush believes he is acting morally is very disturbing. A Labor frontbencher here (in Australia) recently described him as "the most incompetent and dangerous President in living memory" - if we add SINCERE to the equation, it gets really scary. Geraldine - I've been away for months but never said much anyway. Great to hear how the anti-war movement is progressing in the States. what silence requires/is that I go on talking - John Cage >From: Anslem Berrigan >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: war >Date: Thu, 6 Feb 2003 17:10:17 EST > >Is it not important to point out that we are already at war? I believe we >are >meant to take the War on Terrorism as literal fact, since the government >does, and certainly the soldiers in Afghanistan have no choice but to do >so. >Invading Iraq would be an expansion of the current war, though it requires, >ostensibly, a new resolution from the UN. The protests against invading >Iraq >are often publicly spoken of without the context of the War on Terrorism >being applied, and anyone who is willing to protest this expansion is, for >the most part, well aware that war is already upon us. In this vein, the >movement to oppose invading Iraq is not merely crying "war bad, peace >good", >but attempting to exert public will (consciousness) upon the way the >ongoing >war is being framed. The President believes his cause to be a moral one, >and >the opposition to invading Iraq largely believes that pre-emptive invasion >an >extremely immoral action. Of course, anyone might disagree with this, >particularly those who do not wish to see any of this described in moral >terms. But that's the tag and collar Bush has on the situation, and what >he's >crushing his opposition with. _________________________________________________________________ MSN Instant Messenger now available on Australian mobile phones. Go to http://ninemsn.com.au/mobilecentral ========================================================================= Date: Sat, 8 Feb 2003 02:07:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "be sure to ask about STOP" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "be sure to ask about STOP" allow you to do for you! NOT DAMAGE YOUR PRIVATE by teach of this is of will and which you the ELIMINATION IMMEDIATELY! wartime brillance financial hit wartime brillance financial hit wartime brillance financial hit art and literature your donation you've been knocked down for your enjoyment knocked down knocked down your enjoyment either of us most call a space a space a space of will and which you the stop damage conglomerates thank you thank you Let us explain why. We'll try not to be too boring. "I know it's an ambivalent situation and I hesitated to contribute, but I felt that I needed to say to say to say "elections, money, empire, oil" "elections, money, empire, oil" "elections, money, empire, oil" i know a space most call a space yes you are being boring All my best regards to you (yes you) GO THERE NOW SHOW HOW THAT'S RIGHT FOR YOU!! best you are you how super HIGH (fixed and variable) august highland 2:00 am 02-08-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sat, 8 Feb 2003 02:13:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "continues to promote" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "continues to promote" continues to promote continues to promote continues to promote our message for peace our message for peace our message for peace (note you might have to cut and paste the URL) (note you might have to cut and paste the URL) (note you might have to cut and paste the URL) National Post story National Post story National Post story but he said it "jumped out at him" White House, Parliament Hill and 10 Downing Street but he said it "jumped out at him" White House, Parliament Hill and 10 Downing Street but he said it "jumped out at him" White House, Parliament Hill and 10 Downing Street Press Release from august highland 2:12 am 02-08-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sat, 8 Feb 2003 07:21:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Cassidy Subject: Re: FW: Powell and Plagiarism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FYI -- As I just finished teaching two semesters on research techniques and plagiarism, something about this seemed fishy. There are some serious problems with the "sources" of the article below: 1) Can't find any Associated Press report that quotes "Ibrahim al-Marashi" 2) Can't find any article authored by "Ibrahim al-Marashi" in the Middle East Review of International Affairs 3) Can't find ANY reporting of this article through Google's News search 4) Although Jill Lawless is a reporter for the Associated Press, I can't find any article about this (though she has written about Doris K. Goodwin's plagiarism) 5) I find it hard to believe that a respected journal like MERIA allowed "spelling and grammar errors" Looks bogus to me...Anyone? --Brian Cassidy ----- Original Message ----- From: "Lipman, Joel A." To: Sent: Friday, February 07, 2003 4:16 PM Subject: FW: FW: Powell and Plagiarism -----Original Message----- From: sibyl james [mailto:sibyljames@hotmail.com] Sent: Friday, February 07, 2003 3:28 PM To: barbara@baloney.com; thebrocks@comcast.net; calyx@proaxis.com; cardongonn@hotmail.com; dufkie@premier1.net; ehartman@drizzle.com; misiaeve@netscape.net; evgalin@aristeresearch.com; jlipman@pop3.utoledo.edu; judith@onereel.org; dab20@aol.com; karendewinter@attbi.com; karenr7@oz.net; KCLJB@hotmail.com; LA@squarelake.com; elder-lewis@email.msn.com; lindagallaher@earthlink.net; collinsbooks@collinsbooks.com; valatmeans@seanet.com; michaels@crocker.com; ibrahim.muhawi@ed.ac.uk; nick.licata@ci.seattle.wa.us; NowenONe@aol.com; nrawles@earthlink.net; orvinj@attbi.com; pamcob@ix.netcom.com; dogma3@earthlink.net; radang@hcc.ctc.edu; vlward@accessexcellence.org; skjsan@hotmail.com; saritagon@attbi.com; morrell@olympus.net; morrell@olypen.com; sanni@ozemail.com.au; tiedon@juno.com; tomfellows@earthlink.net; wftstaff@wftaft.com Subject: Fwd: FW: Powell and Plagiarism I knew his sources were flaky but this is dramatic. Send this to everyone you know, especially anybody in the media. >From: "James, Sibyl" >To: >Subject: FW: Powell and Plagiarism >Date: Fri, 7 Feb 2003 12:08:20 -0800 > > > >-----Original Message----- >From: Burton, Dick C. >Sent: Friday, February 07, 2003 11:57 AM >To: _Faculty FT Central; _Faculty FT North; _Faculty FT South; _Faculty >FT SVI; _Faculty PT Central; _Faculty PT North; _Faculty PT South; >_Faculty PT SVI >Subject: Powell and Plagiarism > > >Perhaps our Secretary of State and the British Government could use a little reminder about properly citing their sources. > >http://truthout.org/docs_02/020803A.htm > >Blair-Powell UN Report Written by Student >By William Rivers Pitt >t r u t h o u t | Report > >February 7, 2003 > >"My colleagues, every statement I make today is backed up by sources, solid sources. These are not assertions. What we're giving you are facts and conclusions based on solid intelligence." >- Secretary of State Colin Powell before the United Nations, 2/5/03 > >The veracity of Colin Powell's report on Wednesday before the United Nations Security Council was dealt a serious blow when Britain's Channel 4 News broke a story that severely undermines the credibility of the intelligence Powell used to make his case to the UN. > >Powell's presentation relied in no small part upon an intelligence dossier prepared by the British Government entitled, "Iraq - Its Infrastructure of Concealment, Deception and Intimidation." That report plagiarized large swaths of an essay written in September of 2002 by a graduate student from California named Ibrahim al-Marashi. Al-Marashi's essay appeared in the September 2002 edition of a small journal, the Middle East Review of International Affairs. > >According to the story from Channel 4 News, which was later augmented by an Associated Press report by Jill Lawless, the duplicate text was first spotted by a Cambridge, England academic named James Ranwala. Apparently, Ranwala read the British dossier when it became available and believed he had seen it before. As it turns out, he was correct. Entire sections of the al-Marashi essay, including six full paragraphs in one section, had been cut and pasted into the British dossier, including several spelling and grammatical errors that are identical. > >According to the Associated Press, al-Marashi had no idea his paper was being used by the British. "It was a shock to me," he told the Associated Press, and expressed the hope that the British would credit his work "out of academic decency." > >A line-by-line comparison of the two documents clearly shows one example of the plagiarism: > >From the British report - > >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri as head during the 1991 Gulf War. After the Gulf War he was replaced by Wafiq Jasim al-Samarrai. > >After Samarrai, Muhammad Nimah al-Tikriti headed Al-Istikhbarat al-Askariyya in early 1992 then in late 1992 Fanar Zibin Hassan al-Tikriti was appointed to this post. > >These shifting appointments are part of Saddam's policy of balancing security positions. By constantly shifting the directors of these agencies, no one can establish a base in a security organisation for a substantial period of time. No one becomes powerful enough to challenge the President." > >From the al-Marashi essay - > >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri(80) as head of Military Intelligence during the 1991 Gulf War.(81) After the Gulf War he was replaced by Wafiq Jasim al-Samarrai.(82) > >After Samarrai, Muhammad Nimah al-Tikriti(83) headed Military Intelligence in early 1992(84) then in late 1992 Fanar Zibin Hassan al-Tikriti was appointed to this post.(85) While Fanar is from Tikrit, both Sabir al-Duri and Samarrai are non-Tikriti Sunni Muslims, as their last names suggest. > >Another source indicates that Samarrai was replaced by Khalid Salih al-Juburi,(86) demonstrating how another non-Tikriti, but from the tribal alliance that traditionally support the regime holds top security positions in Iraq.(87) > >These shifting appointments are part of Saddam's policy of balancing security positions between Tikritis and non-Tikritis, in the belief that the two factions would not unite to overthrow him. Not only that, but by constantly shifting the directors of these agencies, no one can establish a base in a security organization for a substantial period of time, that would challenge the President.(88)" > >After a close analysis of the identical text from both reports, it is also clear that Britain altered key words to give their report a more sinister and ominous twist. The British report states that the Iraqi intelligence agency is "spying on foreign embassies in Iraq." The al-Marashi essay's version states that the Iraqi intelligence agency is "monitoring foreign embassies in Iraq." The rhetorical leap from "monitoring" to "spying" is evident. > >In another portion of the British dossier, Iraq is accused of "supporting terrorist organizations in hostile regimes." The al-Marashi essay's version states that Iraq is "aiding opposition groups in hostile regimes." The insertion of the word "terrorist" is manifestly provocative. > >A disturbing series of questions is raised by this matter. Mr. Powell relied heavily upon "facts and conclusions based on solid intelligence," often from foreign intelligence services such as the British. His presentation was meant not only to establish the fact that Iraq is in possession of prohibited weapons, but also that Iraq enjoys ties to terrorist groups like al Qaeda. In light of this data, the factual basis for these claims is in doubt. Britain's report was touted as an up-to-the-minute intelligence review of the situation in Iraq. In fact, much of it is based upon the work of a graduate student who published his essay five months ago. > >Furthermore, if the al-Marashi essay was worthy of plagiarizing, why did the British feel it necessary to alter certain key phrases so as to make it seem that Iraq is spying on foreign embassies and aiding terrorist groups? The manipulation of the original data appears, on the surface, to have been done in bad faith. > >An analysis of the footnotes for the al-Marashi essay clearly demonstrate that his work was meant to describe Iraq's intelligence apparatus and military situation in the 1990s. The British dossier was presented as an up-to-date report on the status of Iraq's weapons and terrorist ties. There are 106 reference footnotes in the essay. 103 of these footnotes reference reports and articles from 1988 to 2000. Only three are from this century, and all of them reference reports from 2001. This is not current data in any context. > >Clearly, Mr. Powell cannot be held responsible for the veracity of data given to him by the British government. The fact remains, however, that the British intelligence data, which comes from the most steadfast ally of the Bush administration, has been severely undermined by this report. This calls into question the veracity of virtually every aspect of Powell's presentation to the United Nations. > >If the American Secretary of State was given such shoddily-assembled data from its most loyal ally, how can the rest of the data be considered dependable? The data on Zarqawi and Ansar al-Islam came from Jordanian intelligence, a source much less trustworthy than the British. Many of the "human sources" cited by Powell were, in fact, detainees in Guantanamo, Cuba. These sources are suspect at best, yet were a significant part of the basis for Powell's accusations that Iraq is working with al Qaeda and developing a wide variety of prohibited weapons. Between these sources and the unreliable data from the British, it seems all too clear that Powell's entire presentation was based upon information that is questionable to say the least. > >Finally, and most significantly, is the question of intent. The United States will have soon placed approximately 150,000 troops in the region surrounding Iraq with the full intention of going to war. Such a conflict is almost certain to cause destabilizing upheavals in the Middle East which could threaten the global community. More ominously, the CIA and FBI have reported that a war in Iraq will definitely lead to terrorist attacks in America and a number of European nations, including Britain. This matter must now be framed in a new light. Does the British government believe it acceptable to assist the United States in going to war on the word of a graduate student from Monterey? > >The revelation of this data could conceivably come to do significant harm to the Bush administration's attempt to assemble a "Coalition of the Willing" for an attack upon Iraq. Tony Blair and Britain have been, since the beginning, the most fundamentally important members of whatever international coalition Mr. Bush is able to assemble. > >This report could shake Blair's standing with his government and his people. Blair's relationship with his own party, and with the British citizenry, has already proven rocky on the subject of his alliance with the Bush administration over this conflict. If Blair's ability to stand with Mr. Bush becomes undermined, Mr. Bush would find himself almost completely isolated on this issue. > >------- > >William Rivers Pitt is a New York Times bestselling author of two books - "War On Iraq" (with Scott Ritter) available now from Context Books, and "The Greatest Sedition is Silence," available in May 2003 from Pluto Press. He teaches high school in Boston, MA. > >Scott Lowery contributed research to this report. > > >-----Original Message----- >From: Liz Burbank [mailto:lizburbank@earthlink.net] >Sent: Friday, February 07, 2003 11:17 AM >To: liz burbank >Subject: ACTUAL SOURCE OF C.POWELL'S "INDISPUTABLE NEW EVIDENCE..." !!! > > >want some real smoking guns--check out expose of powell's speech!!!! > > > > >You can join our Direct mailing list by sending a blank email to >join-truthout@lists.truthout.com > >http://truthout.org/docs_02/020803A.htm > >ApplyRefer v2.3 _____ Help STOP SPAM with the new MSN 8 and get 2 months FREE* ========================================================================= Date: Sat, 8 Feb 2003 07:25:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Persian Poetry Comments: cc: core-l@listserv.buffalo.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Over the past several months I have been corresponding with a young Iranian poet, Payam Fotouhiyehpour. He has alerted me to several interesting web sites for Persian poetry (in English), which I thought would be of general interest to the list: Persian classic literature: http://www.omphaloskepsis.com/ebooks Rumi, Ferdowsi, Jami, Saadi and the Attar in English in full-text e-book format, from Aimes, Iowa Modern Persian poetry: http://www.art-arena.com/Poetry.htm Offical website of Ahmad Shamlu: http://www.shamloo.com/ "He is more than a poet for Iran. He is a national (not governmental) poet in Iran. For us like Neruda for Chilie or Lorca for Spain," Fotouhiyehpour tells me. Forugh Farrokhzad's Open Forum Web Site: http://www.forughfarrokhzad.org/aboutus.htm From the website intro: "An extremely small number of Iranian women have achieved anything in Iran outside of the home without dependence upon a relationship with a man or male patronage. The best known among them is the poet Forugh Farrokhzad (1935-1967), the most famous woman in the history of Persian literature." The site appears to originate in San Diego. Fotouhiyehpour himself has a blog, in Persian of course: http://payamfotouhiyehpour.persianblog.com/ I asked if I might mention this and he noted that it would not be of much use, given the language barrier. He also said he was going to put up a link to the Poetics List. Charles Bernstein ========================================================================= Date: Sat, 8 Feb 2003 08:33:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Dillon Subject: National Day of Poetry Against the War, DC 2/12 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Below is a forward with the information pertaining to the National Day of Poetry and Poets Against the War....here is what is going on in DC. Hope to see those in this area here! best, sgd --- Dear Fellow Poets and Concerned Poetry Lovers, We are writing to invite you to a Poetry Reading as part of the National Day of Poetry Against the War, Wednesday, February 12, 2003, 7:OO PM. The reading will be held at All Souls Church Unitarian, 16th & Harvard Streets, NW, Washington DC, near the Columbia Heights Metro. You are invited to read one poem - your own or someone else's - in the spirit of dissent. If you wish to read please arrive at 6:30 PM to sign up. The National Day of Poetry Against the War was called by poet and Copper Canyon Press director Sam Hamill when First Lady Laura Bush invited poets from all over the country to celebrate the poetry of Langston Hughes, Walt Whitman, and Emily Dickinson at the White House on February 12. Hamill decided he would use the occasion to voice his opposition to the administration's drive to war with Iraq. He called for the date to be a National Day of Poetry Against the War and invited poets to send him poems of resistance to compile and present to the White House on that day. Hamill was immediately flooded with poems and has now received over 3,600 poems and statements. The First Lady subsequently postponed the White House gathering, so poets have organized their own events all over the country to voice their opposition to the war. The DC event will be held in Columbia Heights in the heart of the District at a church with a long tradition of working for peace and social justice. Pierce Hall is wheelchair accessible and the church is a short walk from the Columbia Heights Metro. The event is free, although we will be asking for freewill offerings to help defray the church's expenses for the evening. Refreshments will be served. For more information, contact Sarah Browning at 202-986-4533 or browning@womenarts.org. Below is the text of the letter from Sam Hamill, calling for the National Day of Poetry Against the War. See also the website: http://www.poetsagainstthewar.org Dear Friends and Fellow Poets: When I picked up my mail and saw the letter marked "The White House," I felt no joy. Rather I was overcome by a kind of nausea as I read the card enclosed: Laura Bush requests the pleasure of your company at a reception and White House Symposium on "Poetry and the American Voice" on Wednesday, February 12, 2003 at one o'clock Only the day before I had read a lengthy report on the President's proposed "Shock and Awe" attack on Iraq, calling for saturation bombing that would be like the firebombing of Dresden or Tokyo, killing countless innocent civilians. I believe the only legitimate response to such a morally bankrupt and unconscionable idea is to reconstitute a Poets Against the War movement like the one organized to speak out against the war in Vietnam. I am asking every poet to speak up for the conscience of our country and lend his or her name to our petition against this war, and to make February 12 a day of Poetry Against the War. We will compile an anthology of protest to be presented to the White House on that afternoon. There is little time to organize and compile. I urge you to pass along this letter to any poets you know. Please join me in making February 12 a day when the White House can truly hear the voices of American poets. Sam Hamill For more information about upcoming events, or to subscribe to this list, check out our website at http://www.dcpoetry.com __ ========================================================================= Date: Sat, 8 Feb 2003 08:57:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: FW: Powell and Plagiarism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://www.kron4.com/Global/story.asp?S=1120989 look here ----- Original Message ----- From: "Brian Cassidy" To: Sent: Saturday, February 08, 2003 7:21 AM Subject: Re: FW: Powell and Plagiarism > FYI -- > > As I just finished teaching two semesters on research techniques and > plagiarism, something about this seemed fishy. There are some serious > problems with the "sources" of the article below: > > 1) Can't find any Associated Press report that quotes "Ibrahim al-Marashi" > 2) Can't find any article authored by "Ibrahim al-Marashi" in the Middle > East Review of International Affairs > 3) Can't find ANY reporting of this article through Google's News search > 4) Although Jill Lawless is a reporter for the Associated Press, I can't > find any article about this (though she has written about Doris K. Goodwin's > plagiarism) > 5) I find it hard to believe that a respected journal like MERIA allowed > "spelling and grammar errors" > > Looks bogus to me...Anyone? > > --Brian Cassidy > > > ----- Original Message ----- > From: "Lipman, Joel A." > To: > Sent: Friday, February 07, 2003 4:16 PM > Subject: FW: FW: Powell and Plagiarism > > > > -----Original Message----- > From: sibyl james [mailto:sibyljames@hotmail.com] > Sent: Friday, February 07, 2003 3:28 PM > To: barbara@baloney.com; thebrocks@comcast.net; calyx@proaxis.com; > cardongonn@hotmail.com; dufkie@premier1.net; ehartman@drizzle.com; > misiaeve@netscape.net; evgalin@aristeresearch.com; jlipman@pop3.utoledo.edu; > judith@onereel.org; dab20@aol.com; karendewinter@attbi.com; karenr7@oz.net; > KCLJB@hotmail.com; LA@squarelake.com; elder-lewis@email.msn.com; > lindagallaher@earthlink.net; collinsbooks@collinsbooks.com; > valatmeans@seanet.com; michaels@crocker.com; ibrahim.muhawi@ed.ac.uk; > nick.licata@ci.seattle.wa.us; NowenONe@aol.com; nrawles@earthlink.net; > orvinj@attbi.com; pamcob@ix.netcom.com; dogma3@earthlink.net; > radang@hcc.ctc.edu; vlward@accessexcellence.org; skjsan@hotmail.com; > saritagon@attbi.com; morrell@olympus.net; morrell@olypen.com; > sanni@ozemail.com.au; tiedon@juno.com; tomfellows@earthlink.net; > wftstaff@wftaft.com > Subject: Fwd: FW: Powell and Plagiarism > > > > I knew his sources were flaky but this is dramatic. Send this to everyone > you know, especially anybody in the media. > > > > >From: "James, Sibyl" > >To: > >Subject: FW: Powell and Plagiarism > >Date: Fri, 7 Feb 2003 12:08:20 -0800 > > > > > > > >-----Original Message----- > >From: Burton, Dick C. > >Sent: Friday, February 07, 2003 11:57 AM > >To: _Faculty FT Central; _Faculty FT North; _Faculty FT South; _Faculty > >FT SVI; _Faculty PT Central; _Faculty PT North; _Faculty PT South; > >_Faculty PT SVI > >Subject: Powell and Plagiarism > > > > > >Perhaps our Secretary of State and the British Government could use a > little reminder about properly citing their sources. > > > >http://truthout.org/docs_02/020803A.htm > > > >Blair-Powell UN Report Written by Student > >By William Rivers Pitt > >t r u t h o u t | Report > > > >February 7, 2003 > > > >"My colleagues, every statement I make today is backed up by sources, solid > sources. These are not assertions. What we're giving you are facts and > conclusions based on solid intelligence." > >- Secretary of State Colin Powell before the United Nations, 2/5/03 > > > >The veracity of Colin Powell's report on Wednesday before the United > Nations Security Council was dealt a serious blow when Britain's Channel 4 > News broke a story that severely undermines the credibility of the > intelligence Powell used to make his case to the UN. > > > >Powell's presentation relied in no small part upon an intelligence dossier > prepared by the British Government entitled, "Iraq - Its Infrastructure of > Concealment, Deception and Intimidation." That report plagiarized large > swaths of an essay written in September of 2002 by a graduate student from > California named Ibrahim al-Marashi. Al-Marashi's essay appeared in the > September 2002 edition of a small journal, the Middle East Review of > International Affairs. > > > >According to the story from Channel 4 News, which was later augmented by an > Associated Press report by Jill Lawless, the duplicate text was first > spotted by a Cambridge, England academic named James Ranwala. Apparently, > Ranwala read the British dossier when it became available and believed he > had seen it before. As it turns out, he was correct. Entire sections of the > al-Marashi essay, including six full paragraphs in one section, had been cut > and pasted into the British dossier, including several spelling and > grammatical errors that are identical. > > > >According to the Associated Press, al-Marashi had no idea his paper was > being used by the British. "It was a shock to me," he told the Associated > Press, and expressed the hope that the British would credit his work "out of > academic decency." > > > >A line-by-line comparison of the two documents clearly shows one example of > the plagiarism: > > > >From the British report - > > > >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri as head during the 1991 Gulf > War. After the Gulf War he was replaced by Wafiq Jasim al-Samarrai. > > > >After Samarrai, Muhammad Nimah al-Tikriti headed Al-Istikhbarat > al-Askariyya in early 1992 then in late 1992 Fanar Zibin Hassan al-Tikriti > was appointed to this post. > > > >These shifting appointments are part of Saddam's policy of balancing > security positions. By constantly shifting the directors of these agencies, > no one can establish a base in a security organisation for a substantial > period of time. No one becomes powerful enough to challenge the President." > > > >From the al-Marashi essay - > > > >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri(80) as head of Military > Intelligence during the 1991 Gulf War.(81) After the Gulf War he was > replaced by Wafiq Jasim al-Samarrai.(82) > > > >After Samarrai, Muhammad Nimah al-Tikriti(83) headed Military Intelligence > in early 1992(84) then in late 1992 Fanar Zibin Hassan al-Tikriti was > appointed to this post.(85) While Fanar is from Tikrit, both Sabir al-Duri > and Samarrai are non-Tikriti Sunni Muslims, as their last names suggest. > > > >Another source indicates that Samarrai was replaced by Khalid Salih > al-Juburi,(86) demonstrating how another non-Tikriti, but from the tribal > alliance that traditionally support the regime holds top security positions > in Iraq.(87) > > > >These shifting appointments are part of Saddam's policy of balancing > security positions between Tikritis and non-Tikritis, in the belief that the > two factions would not unite to overthrow him. Not only that, but by > constantly shifting the directors of these agencies, no one can establish a > base in a security organization for a substantial period of time, that would > challenge the President.(88)" > > > >After a close analysis of the identical text from both reports, it is also > clear that Britain altered key words to give their report a more sinister > and ominous twist. The British report states that the Iraqi intelligence > agency is "spying on foreign embassies in Iraq." The al-Marashi essay's > version states that the Iraqi intelligence agency is "monitoring foreign > embassies in Iraq." The rhetorical leap from "monitoring" to "spying" is > evident. > > > >In another portion of the British dossier, Iraq is accused of "supporting > terrorist organizations in hostile regimes." The al-Marashi essay's version > states that Iraq is "aiding opposition groups in hostile regimes." The > insertion of the word "terrorist" is manifestly provocative. > > > >A disturbing series of questions is raised by this matter. Mr. Powell > relied heavily upon "facts and conclusions based on solid intelligence," > often from foreign intelligence services such as the British. His > presentation was meant not only to establish the fact that Iraq is in > possession of prohibited weapons, but also that Iraq enjoys ties to > terrorist groups like al Qaeda. In light of this data, the factual basis for > these claims is in doubt. Britain's report was touted as an up-to-the-minute > intelligence review of the situation in Iraq. In fact, much of it is based > upon the work of a graduate student who published his essay five months ago. > > > >Furthermore, if the al-Marashi essay was worthy of plagiarizing, why did > the British feel it necessary to alter certain key phrases so as to make it > seem that Iraq is spying on foreign embassies and aiding terrorist groups? > The manipulation of the original data appears, on the surface, to have been > done in bad faith. > > > >An analysis of the footnotes for the al-Marashi essay clearly demonstrate > that his work was meant to describe Iraq's intelligence apparatus and > military situation in the 1990s. The British dossier was presented as an > up-to-date report on the status of Iraq's weapons and terrorist ties. There > are 106 reference footnotes in the essay. 103 of these footnotes reference > reports and articles from 1988 to 2000. Only three are from this century, > and all of them reference reports from 2001. This is not current data in any > context. > > > >Clearly, Mr. Powell cannot be held responsible for the veracity of data > given to him by the British government. The fact remains, however, that the > British intelligence data, which comes from the most steadfast ally of the > Bush administration, has been severely undermined by this report. This calls > into question the veracity of virtually every aspect of Powell's > presentation to the United Nations. > > > >If the American Secretary of State was given such shoddily-assembled data > from its most loyal ally, how can the rest of the data be considered > dependable? The data on Zarqawi and Ansar al-Islam came from Jordanian > intelligence, a source much less trustworthy than the British. Many of the > "human sources" cited by Powell were, in fact, detainees in Guantanamo, > Cuba. These sources are suspect at best, yet were a significant part of the > basis for Powell's accusations that Iraq is working with al Qaeda and > developing a wide variety of prohibited weapons. Between these sources and > the unreliable data from the British, it seems all too clear that Powell's > entire presentation was based upon information that is questionable to say > the least. > > > >Finally, and most significantly, is the question of intent. The United > States will have soon placed approximately 150,000 troops in the region > surrounding Iraq with the full intention of going to war. Such a conflict is > almost certain to cause destabilizing upheavals in the Middle East which > could threaten the global community. More ominously, the CIA and FBI have > reported that a war in Iraq will definitely lead to terrorist attacks in > America and a number of European nations, including Britain. This matter > must now be framed in a new light. Does the British government believe it > acceptable to assist the United States in going to war on the word of a > graduate student from Monterey? > > > >The revelation of this data could conceivably come to do significant harm > to the Bush administration's attempt to assemble a "Coalition of the > Willing" for an attack upon Iraq. Tony Blair and Britain have been, since > the beginning, the most fundamentally important members of whatever > international coalition Mr. Bush is able to assemble. > > > >This report could shake Blair's standing with his government and his > people. Blair's relationship with his own party, and with the British > citizenry, has already proven rocky on the subject of his alliance with the > Bush administration over this conflict. If Blair's ability to stand with Mr. > Bush becomes undermined, Mr. Bush would find himself almost completely > isolated on this issue. > > > >------- > > > >William Rivers Pitt is a New York Times bestselling author of two books - > "War On Iraq" (with Scott Ritter) available now from Context Books, and "The > Greatest Sedition is Silence," available in May 2003 from Pluto Press. He > teaches high school in Boston, MA. > > > >Scott Lowery contributed research to this report. > > > > > >-----Original Message----- > >From: Liz Burbank [mailto:lizburbank@earthlink.net] > >Sent: Friday, February 07, 2003 11:17 AM > >To: liz burbank > >Subject: ACTUAL SOURCE OF C.POWELL'S "INDISPUTABLE NEW EVIDENCE..." !!! > > > > > >want some real smoking guns--check out expose of powell's speech!!!! > > > > > > > > > >You can join our Direct mailing list by sending a blank email to > >join-truthout@lists.truthout.com > > > >http://truthout.org/docs_02/020803A.htm > > > >ApplyRefer v2.3 > > _____ > > Help STOP SPAM with the new MSN 8 and get 2 > months FREE* > > > ========================================================================= Date: Sat, 8 Feb 2003 09:00:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Whyte Subject: Re: FW: Powell and Plagiarism In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://www.nytimes.com/2003/02/08/international/europe/08BRIT.html On Sat, 8 Feb 2003, Brian Cassidy wrote: > FYI -- > > As I just finished teaching two semesters on research techniques and > plagiarism, something about this seemed fishy. There are some serious > problems with the "sources" of the article below: > > 1) Can't find any Associated Press report that quotes "Ibrahim al-Marashi" > 2) Can't find any article authored by "Ibrahim al-Marashi" in the Middle > East Review of International Affairs > 3) Can't find ANY reporting of this article through Google's News search > 4) Although Jill Lawless is a reporter for the Associated Press, I can't > find any article about this (though she has written about Doris K. Goodwin's > plagiarism) > 5) I find it hard to believe that a respected journal like MERIA allowed > "spelling and grammar errors" > > Looks bogus to me...Anyone? > > --Brian Cassidy ========================================================================= Date: Sat, 8 Feb 2003 09:32:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: FW: Powell and Plagiarism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit www.Reuters.co.uk has been running the story with updates each cycle... ----- Original Message ----- From: "Ryan Whyte" To: Sent: Saturday, February 08, 2003 9:00 AM Subject: Re: FW: Powell and Plagiarism > http://www.nytimes.com/2003/02/08/international/europe/08BRIT.html > > On Sat, 8 Feb 2003, Brian Cassidy wrote: > > > FYI -- > > > > As I just finished teaching two semesters on research techniques and > > plagiarism, something about this seemed fishy. There are some serious > > problems with the "sources" of the article below: > > > > 1) Can't find any Associated Press report that quotes "Ibrahim al-Marashi" > > 2) Can't find any article authored by "Ibrahim al-Marashi" in the Middle > > East Review of International Affairs > > 3) Can't find ANY reporting of this article through Google's News search > > 4) Although Jill Lawless is a reporter for the Associated Press, I can't > > find any article about this (though she has written about Doris K. Goodwin's > > plagiarism) > > 5) I find it hard to believe that a respected journal like MERIA allowed > > "spelling and grammar errors" > > > > Looks bogus to me...Anyone? > > > > --Brian Cassidy > ========================================================================= Date: Sat, 8 Feb 2003 09:43:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Irving Weiss Subject: Douglas Messerli Green Integer Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Anyone know how I can reach Douglas Messerli other than at djmess@greeninteger.com, which MAILER won't let through? Irving Weiss http://members.tripod.com/~sialbach/ ========================================================================= Date: Sat, 8 Feb 2003 10:04:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Cassidy Subject: Re: FW: Powell and Plagiarism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thanks. Many links also in a good discussion thread over at Metafilter: http://www.metafilter.com/comments.mefi/23415 Interesting. Might have to save this for future lessons on plagiarism. --Brian Cassidy ----- Original Message ----- From: "Ryan Whyte" To: Sent: Saturday, February 08, 2003 9:00 AM Subject: Re: FW: Powell and Plagiarism > http://www.nytimes.com/2003/02/08/international/europe/08BRIT.html > > On Sat, 8 Feb 2003, Brian Cassidy wrote: > > > FYI -- > > > > As I just finished teaching two semesters on research techniques and > > plagiarism, something about this seemed fishy. There are some serious > > problems with the "sources" of the article below: > > > > 1) Can't find any Associated Press report that quotes "Ibrahim al-Marashi" > > 2) Can't find any article authored by "Ibrahim al-Marashi" in the Middle > > East Review of International Affairs > > 3) Can't find ANY reporting of this article through Google's News search > > 4) Although Jill Lawless is a reporter for the Associated Press, I can't > > find any article about this (though she has written about Doris K. Goodwin's > > plagiarism) > > 5) I find it hard to believe that a respected journal like MERIA allowed > > "spelling and grammar errors" > > > > Looks bogus to me...Anyone? > > > > --Brian Cassidy > ========================================================================= Date: Sat, 8 Feb 2003 10:12:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: Vote Bush Out Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Mark has some good points here. While we're phoning, writing, marching against this war, let's not forget to look ahead to getting Bush out of there. We might not be able to stop this invasion, but we might be able to prevent many more bright ideas this gang are bound to come up with. Sylvester >Date: Fri, 7 Feb 2003 09:45:37 -0700 >From: Mark DuCharme >Subject: Re: growing up > >I'm with Jordan here. While I tend to think of Bush as cynical & corrupt, >it would take a hell of a lot of cynicism to proceed with what he's about to >do and NOT justify it to himself on some kind of "moral" grounds. Of course >it is also a money grab, as well as payback for trying to kill daddy. It >also provides a nice distraction from the tanking economy, & from the now >all but forgotten Enron scandal. Plus, if Karl Rove is right, it will all >but ensure Bush's reelection. The war is all of these things to Bush, but >the question is, is he merely a corrupt sonofabitch, or a sociopath. I >definitely believe there are sociopathic tendencies in the Bush >administration. I'm more likely to ascribe these to Cheney &/or Rumsfeld, >but that doesn't matter. As Jordan, Gary, Mike & others have said, what we >need to do now is try & stop this war. For everyone's sake I hope we >succeed. > >Peace, > >Mark DuCharme > ========================================================================= Date: Sat, 8 Feb 2003 10:24:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Poetry Opposed to War / WSU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed FOR IMMEDIATE RELEASE: P O E T R Y O P P O S E D T O W A R Or, Laura Bush's Poetry Salon You are cordially invited to the poetry reading originally scheduled for February 12 that has been indefinitely postponed. Due to the controversial nature of this event, it has moved to the campus of Wayne State University. Join poets of the Wayne community in sending a message to the White House on poetry's understanding of the nature of war. Readers to include: Ron Allen / Abbas Bazzi / Bill Harris / Carla Harryman / Joel Levise / M. L. Liebler / Katie McGowan / Ted Pearson / Franziska Ruprecht / Katie Scott / Craig Smith / Chris Tysh / George Tysh / Justin Vidovic / Anca Vlasopolos / Barrett Watten Wednesday, February 12 2:30 to 4:30 PM Bernath Auditorium Adamany Undergraduate Library Sponsored by Wayne English Department Against the War (WEDAW) ***** CONTACT: Carla Harryman WSU Department of English 313-577-4988 c.harryman@wayne.edu Barrett Watten WSU Department of English 313-577-3067 b.watten@wayne.edu ========================================================================= Date: Sat, 8 Feb 2003 10:45:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Request for contact info MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Anybody out there with contact info for Vernon Frazer? I'm desperate. Hal "Life swarms with innocent monsters." --Charles Baudelaire Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Sat, 8 Feb 2003 10:47:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Here in New York--On High Alert MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Here in New York City, we're going on with our lives but being more watchful. We watch CNN to get the day's news, and we also read the crawl--just in case. And, when a sentence on the crawl is interrupted for commercial messages, we call the network to see how it ends. We take the stairs down instead of the elevator--just in case. And we lay in an extra gallon or two of water, not to mention some extra batteries (AAAs, AAs, and Ds). Since the last alert we've purchased battery-powered radios so that we will not be "in the dark" if the power goes out. We keep a closer eye on our neighbors, and on the delivery men who bring pizzas and Chinese food to their doors. Of course, we still rely on the security men downstairs to screen those who make their way up from the ground floor. On our way to the stairs, we press our ears to our neighbors' doors, just in case they're cooking anything up that we ought to know about. On the streets, we give a wide berth to heaps of trash and garbage, and to abandoned strange-looking parcels. We also cross the street to avoid dogs or dog-walkers who might be suicide bombers. At the market (and we're beginning to avoid markets where folks speak something other than English), we purchase what we need (fruits and vegetables and other staples) and leave quickly, trying to vary the stores and markets we shop at, so as not to have too predictable a routine. We're de-routinizing, so to speak. Back at home, one of us watches neighboring buildings (and other apartments in our own building) with binoculars while the other watches the news and reads the crawl. We take turns. Here in New York, life goes on. But more watchfully. Hal Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Sat, 8 Feb 2003 09:52:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Freind Subject: Back in print: Mayer's _Ceremony Latin_ MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable _Ceremony Latin_, Bernadette Mayer's first book, is again available. 23 = pp., cover features a design by Sophia Mayer Warsh. Ordering info: $2 US, postpaid. No checks. Send cash or a money order = with the "to" field left blank to Overground Distribution, PO Box 1661, = Pensacola, FL 32591. Questions: overground_distro@hotmail.com Apologies for cross-posting. =20 ========================================================================= Date: Sat, 8 Feb 2003 11:06:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Contact info for Vernon Frazer and Gwyn McVay MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Nick Thank you for bringing Gwynn McVay's and my tragic plight to the attention of the List's subscribers. While acknowledging that Gwynn McVay is certainly more mysterious and glamorous than I am, regardless of whatever tattoo she may or may not wear, I too have a need to be easier to locate, if not less enigmatic. If people cannot locate my work, such as the poem and story you mentioned, not to mention my new books, I might be forced to prostitute myself to write a best-selling book such as HOW TO BECOME A SUCCESSFUL CELEBRITY STALKER. If anybody finds any contact info on me, I would appreciate receiving it as well. Sometimes I feel very lost when I wake up in the morning. With Extreme* Gratitude, "Burnin' Vernon" Frazer *Gestures of extreme gratitude will take place in a wire cage. Spectators can bet on the outcome. ----- Original Message ----- From: "Nick Piombino" To: Sent: Saturday, February 08, 2003 2:03 AM Subject: Contact info for Vernon Frazer and Gwyn McVay > Could someone (or possibly everyone) please contact me back channel a.s.a.p. > re: contact info for Vernon Frazer and Gwyn McVay? Gwyn McVay is the author > of "brother ikon" (inkstone press) and "This Natural History" (Pecan Grove). > She may or may not sport a tattoo of a black bird. This is the only > identifying information I have on this mysterious but very glamorous author > at present. Please help me find her as I am desperate for reasons I could > not possibly reveal on this list. It may help in your search for contact > info about her to check out her home page with her photo at > http://patriot.net/~gmcvay/ I know that Vernon Frazer (a.k.a. Burnin' > Vernon) is the author of two works on a recently released issue of a very > difficult to locate on-line magazine curiously called m.a.g. > (www.muse-apprentice-guild.com). These TWO WORKS > > BY VERNON FRAZER > > are titled > > MARGIN L > > and > > I STALKED MARTHA STEWART! > > Once you understand how much this enigmatic and hard to locate poet knows or > once knew about celebrity stalking and how it is done you will understand > why someone might desperately need to have contact information about him! > Thanks in advance for this extremely urgent contact info help on these two > very hard to locate writers! > > -Nick- ========================================================================= Date: Sat, 8 Feb 2003 08:14:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Vote Bush Out MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "sylvester pollet" To: Sent: Saturday, February 08, 2003 7:12 AM Subject: Vote Bush Out > Mark has some good points here. While we're phoning, writing, marching > against this war, let's not forget to look ahead to getting Bush out of > there. We might not be able to stop this invasion, but we might be able to > prevent many more bright ideas this gang are bound to come up with. > Sylvester Did you forget that we never voted him in? As you say, much more than another war, in a long line of wars, is at stake here. Whether or not we emerge from this administration with anything that resembles a democracy is what's really in question. Besides being anti-war, one needs to be pro-constitution. -Joel W. ========================================================================= Date: Sat, 8 Feb 2003 08:46:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Where Do You Want To Go Today? Comments: To: webartery Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Are you frustrated by pluralism? Does contemplating viewpoints other than your own wear you out? Tired of strange accents, weird religions and political ideas that just don't jibe with yours? Well, your worries are over, because now there's Oil War! Just plug Oil War into any standard telephone jack and get whisked away by the soothing screams of (insert current evil)'s women and children expiring like so many out-of-date snacks in the fires of long-range retribution! In minutes Oil War will instantly dissolve unsightly anti-American sentiment, leaving your world capitalist, passive, white and Christian! And Oil War won't stain Judeo-Christian skin! Men! Oil War is formulated with a special proprietary blend of synthetic herbals and shrinking 401K's guarenteed to turn your kitten into a raging tigress when the lights go out! Oil War is 100% American-made, with no migrant worker ingredients, no Federal Labor Law and no Minimum Wage! Just apply Oil War to uncooperative, sovereign regions, and in no time at all Oil War will turn stubborn radical fundamentalists into docile over-weight myopic consumers! Ladies! Oil War is non-toxic, which means you'll never have to remember the tactics your country used during the Cold War Soviet occupation of Afghanistan, the Civil Rights movement, Amadou Diallo, and May 4th at Kent State! Oil War's patented ingredients were formulated by high level government scientists. One dose of Oil War and you'll agree, it really IS The Final Solution! Order Today! 2003/02/07 10:55:51--2003/02/08 09:53:40 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 8 Feb 2003 08:47:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Foundation Actionscript Comments: To: webartery Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I make an input movie clip and an output movie clip. I wake up. They are draggable. They could go anywhere. I am on the screen. My head hurts and I'm reading what Bruce Andrews has discovered that he doesn't know about "cyberpoetry," as defined by three people. It's all constrained! She sleeps in a hull all night, licking dreams from the backs of her hands. I trace these bitmaps I found in a Google image search on the word "covered." I adjust the vectors. I script the clip to load these backgrounds randomly. My headache is different moment to moment; she sleeps in a husk while harvest waits beneath a skin of cold crystals. I mimic a Windows interface. I make coffee. I look out on a weather thoughtlessly turning; spilled milk shadows, slow water licking the banks between ice and flaw. My head brims with salt. She wakes up with a bloom. 2003/02/08 11:35:05 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 8 Feb 2003 11:52:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Call for submissions for a new tabloid MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT [the list limit gave me a chance to rethink this before sending which I did because it does reveal a certain amount of bitterness and self interest and it's certainly not the profound balm these times seem to evoke nor is it a politically correct admonition to hold the political line or poetic sentence tight. But then poets can't effect anything so I guess it's just a poem] As the stolid poetry publishing world may change some day I'd be interested in thoughts on a poetry career. Even though there is a new web-based A-Gish venture that crops up almost daily my impression is web-based has pretty much settled into imitatoprint channels at present, so the tabloid here intrigues me as a format. As a careerist would publication in a local big city paper, a local smaller city paper, a local tabloid, a trade union workers' rag, 100 poetsagainstthewar, or? get me more bang for the buck so to speak? tom bell not yet acrazied ========================================================================= Date: Sat, 8 Feb 2003 09:21:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Poets's Theater Jamboree MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT The Poet’s Theater Jamboree ended here in San Francisco last night with the proverbial bang. Thanks to all you hard-working souls at SPT for putting it together! It’s one of those alchemical events that transmutes a scene into a community. Highlights from where I was sitting included: ---Eileen Tabios’ mesmerizing and squirm-inducing (geez, maybe I *am* bourgeois!) But Seriously, When I Was Jasper Johns’ Filipino Lover . . . ---Elizabeth Treadwell’s La Gnossiene, a dreamy, acerbic fantasy that puts Djuna Barnes, Aphra Behn, Jean Rhys and Gertrude Stein (replete with lapdog) in the same room. This is one I definitely want to study more closely on the page. ---Kevin Killian and Clifford Hengst in drag—an event as semi-annual around here as a Macy’s sale but twice as luscious. Their performance in Christopher Allegra and Brian Bauman’s Nu-Wave Bad Hair Day was a coprophagous hoot. --Taylor Brady in sling (he really did break his arm last week!) as Dick Cheney—this had to be seen to be believed—in David Buuck’s musical farce Hail, Guantanamo! Favorite Dick line: “Human rights? No es possible. Now pour, favor, a Cuba Libre.” Cynthia Taylor’s as Conde Rice brought down the house with an *amazing* singing voice. Much more worth mentioning—Brent Cunningham’s terrific Theater of No Feelings, Lauren Gudath’s talking cow, Mary Burger’s chilling video yada yada yada. Maybe someone else’ll take up the slack. Okay, we didn’t get the Olympics, but we’ve got the Jamboree to look forward to now every year. --Rodney Koeneke ========================================================================= Date: Sat, 8 Feb 2003 12:02:28 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Happy Birthday, Jim MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Kudos to Behrle for making it to 30 without self-immolating. -Aaron ========================================================================= Date: Sat, 8 Feb 2003 10:53:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Here in New York--On High Alert In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hal: It occurred to me years ago that there had to be a strategic reason why Islamic countries were settling so many of their citizens in New York and establishing them in key industries. Now, on a command from Al Qaeda, or Saddam, or whoever, every cab and every 24 hour convenience store in New York could cease to operate on a moment's notice. The city would be brought to its knees. This probably came to me while I was trying to find a parking place in front of my apartment at noon one day. There was a storefront mosque across the street. Yours in vigilance, Mark At 10:47 AM 2/8/2003 -0500, you wrote: >Here in New York City, we're going on with our lives but >being more watchful. We watch CNN to get the day's news, >and we also read the crawl--just in case. And, when a sentence >on the crawl is interrupted for commercial messages, we call the >network to see how it ends. > >We take the stairs down instead of the elevator--just in case. >And we lay in an extra gallon or two of water, not to mention >some extra batteries (AAAs, AAs, and Ds). Since the last >alert we've purchased battery-powered radios so that we will >not be "in the dark" if the power goes out. > >We keep a closer eye on our neighbors, and on the delivery men >who bring pizzas and Chinese food to their doors. Of course, >we still rely on the security men downstairs to screen those who >make their way up from the ground floor. > >On our way to the stairs, we press our ears to our neighbors' >doors, just in case they're cooking anything up that we ought >to know about. On the streets, we give a wide berth to heaps >of trash and garbage, and to abandoned strange-looking parcels. >We also cross the street to avoid dogs or dog-walkers who >might be suicide bombers. > >At the market (and we're beginning to avoid markets where >folks speak something other than English), we purchase what >we need (fruits and vegetables and other staples) and leave >quickly, trying to vary the stores and markets we shop at, so >as not to have too predictable a routine. We're de-routinizing, >so to speak. > >Back at home, one of us watches neighboring buildings (and >other apartments in our own building) with binoculars while >the other watches the news and reads the crawl. We take turns. > >Here in New York, life goes on. But more watchfully. > >Hal > >Halvard Johnson >=============== >email: halvard@earthlink.net >website: http://home.earthlink.net/~halvard ========================================================================= Date: Sat, 8 Feb 2003 11:24:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Here in New York--On High Alert In-Reply-To: <5.1.0.14.1.20030208104756.01f28410@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Forgive me for being on "High Alert",--but I'm after all an Arab Male--am I missing the irony in these posts? --- Mark Weiss wrote: > Hal: It occurred to me years ago that there had to > be a strategic reason > why Islamic countries were settling so many of their > citizens in New York > and establishing them in key industries. Now, on a > command from Al Qaeda, > or Saddam, or whoever, every cab and every 24 hour > convenience store in New > York could cease to operate on a moment's notice. > The city would be brought > to its knees. > > This probably came to me while I was trying to find > a parking place in > front of my apartment at noon one day. There was a > storefront mosque across > the street. > > Yours in vigilance, > > Mark > > > At 10:47 AM 2/8/2003 -0500, you wrote: > >Here in New York City, we're going on with our > lives but > >being more watchful. We watch CNN to get the day's > news, > >and we also read the crawl--just in case. And, when > a sentence > >on the crawl is interrupted for commercial > messages, we call the > >network to see how it ends. > > > >We take the stairs down instead of the > elevator--just in case. > >And we lay in an extra gallon or two of water, not > to mention > >some extra batteries (AAAs, AAs, and Ds). Since the > last > >alert we've purchased battery-powered radios so > that we will > >not be "in the dark" if the power goes out. > > > >We keep a closer eye on our neighbors, and on the > delivery men > >who bring pizzas and Chinese food to their doors. > Of course, > >we still rely on the security men downstairs to > screen those who > >make their way up from the ground floor. > > > >On our way to the stairs, we press our ears to our > neighbors' > >doors, just in case they're cooking anything up > that we ought > >to know about. On the streets, we give a wide berth > to heaps > >of trash and garbage, and to abandoned > strange-looking parcels. > >We also cross the street to avoid dogs or > dog-walkers who > >might be suicide bombers. > > > >At the market (and we're beginning to avoid markets > where > >folks speak something other than English), we > purchase what > >we need (fruits and vegetables and other staples) > and leave > >quickly, trying to vary the stores and markets we > shop at, so > >as not to have too predictable a routine. We're > de-routinizing, > >so to speak. > > > >Back at home, one of us watches neighboring > buildings (and > >other apartments in our own building) with > binoculars while > >the other watches the news and reads the crawl. We > take turns. > > > >Here in New York, life goes on. But more > watchfully. > > > >Hal > > > >Halvard Johnson > >=============== > >email: halvard@earthlink.net > >website: http://home.earthlink.net/~halvard ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 8 Feb 2003 14:27:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: Steve Dickison From: Poetics List Administration Subject: ** Reading REXROTH: poets on his poetry, Sat Feb 8, 3:00 pm Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable The Poetry Center with Copper Canyon Press, Poetry Flash, City Lights Books, Western States Arts Federation, and the San Francisco Public Library presents Reading Rexroth: poets on his poetry Saturday February 8, 3:00 pm, free @ Koret Auditorium, SF Main Public Library 100 Larkin (at Grove), San Francisco with Lawrence Ferlinghetti, Robert Hass, Jane Hirshfield, Ken Knabb, Michael McClure, Terry Tempest Williams & Sam Hamill (emcee) * KENNETH REXROTH'S Complete Poems was just published by Copper Canyon Press, edited by Sam Hamill and Bradford Morrow. Rexroth (1905-1982) had a significant influence on, particularly, West Coast writers and artists for decades and in several arenas-- as political thinker, literary-cultural critic, newspaper columnist and radio journalist, mentor and also nemesis to many younger writers. This free public celebration focuses on Rexroth's poetry, and is co-sponsored by The Poetry Center, Copper Canyon Press, Poetry Flash, the Western States Arts Federation, and the San Francisco Public Library. ". . . he was America's--how else to say it?--great American poet. =46or Rexroth, alone among the poets of this century, encompasses most of what there is to love in this country: ghetto street-smartness, the wilderness, populist anti-capitalism, jazz and rock & roll, the Utopian communities, the small bands at the advance guard of the various arts, the American language, and all the unmelted lumps in the melting pot." --Eliot Weinberger Note: SF Main Public Library will also be hosting an exhibit of Rexroth materials on their premises, 6th Floor of the Library, thru =46ebruary 20. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Coming up from The Poetry Center: Wed Feb 12 "Poetry and the American Voice has been Cancelled" at Modern Times Books, 888 Valencia, 7:00-9:00 pm co-sponsored by Artists Action Network Thurs Feb 13 Sarah Arvio & Brenda Hillman at The Poetry Center, SFSU, 4:30 pm, free Thurs Feb 27 Julie Patton & Drew Gardner at the Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Mon March 3 Mei-mei Berssenbrugge at SF Art Institute Lecture Hall, 800 Chestnut St, 7:30 pm $6 co-sponsored by San Francisco Art Institute Thurs March 6 Chris Daniels & Nathaniel Tarn Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Sat March 8 Anselm Hollo & Joanne Kyger Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Poetry Center Book Award reading, for Anselm Hollo's Notes on the Possibilities and Attractions of Existence Thurs March 13 John Godfrey Unitarian Center, 1187 Franklin St , 7:30 pm, $5 Thurs March 27 Keith Waldrop & Rosmarie Waldrop Unitarian Center, 1187 Franklin St , 7:30 pm, $5 Thurs April 3 Maureen Owen & Eileen Tabios at The Poetry Center, SFSU, 4:30 pm, free Thurs April 10 "Across the Line/Al otro lado: the Poetry of Baja Californi= a" at The Poetry Center, SFSU, 4:30 pm, free w/ Mexican poets Francisco Morales, Elizabeth Algr=E1vez, and Heriberto Y=E9pez & editors Mark Weiss & Harry Polkinhorn (note: bilingual reading in Espa=F1ol/English) Wed April 16 Ryoko Sekiguchi with translator Stacy Doris, at The Poetry Center, 7:30 pm free co-sponsored by the Consular Services of the Embasssy of France (note: translations of Ms. Sekiguchi's poems will be read by Stacy Doris) Thurs April 17 William Corbett & Fred Moten at Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Sat April 19 Abdellatif La=E2bi at Alliance Fran=E7aise, 1345 Bush, 6:00 pm, free co-sponsored by the Consular Services of the Embasssy of France Alliance Fran=E7aise San Francisco, & City Lights Books (note: Mr. La=E2bi will read his work in French, without translations) Sat May 3 Bei Dao & Michael Palmer at The Pacific Room, USF, 7:30 pm, free co-sponsored by MFA Writing Program USF Thurs May 8 Todd Baron & Dawn Michelle Baude at The Poetry Center, SFSU, 4:30 pm, free Sat May 10 "DERIVATIONS: Celebrating Poetics at New College 1978-2003" at New College Cultural Center, New College of California, 2:00 pm, $5 co-sponsored by New College Poetics Program =46urther information at http://www.sfsu.edu/~poetry telephone 415-338-2227 =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/~poetry ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook -- ========================================================================= Date: Sat, 8 Feb 2003 14:27:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: Steve Dickison From: Poetics List Administration Subject: **"Poetry and the American Voice Has Been Cancelled" Feb 12, 7:00pm Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable The Poetry Center, Modern Times Bookstore & Artists Action Network presents "POETRY AND THE AMERICAN VOICE HAS BEEN CANCELLED" AN OPEN FORUM FOR ART, POETRY & PERFORMANCE AGAINST WAR 7:00-9:00 pm Wednesday February 12, 2003 Modern Times Bookstore 888 Valencia, San Francisco, California In honor of Laura Bush's ill-fated gathering of poets planned for this same day, come make your voice heard along with other poets, performance artists, and visual artists who will read, perform, and display art against war. Join Taylor Brady, Jenny Bitner, David Buuck, Dana Teen Lomax and others for the first of many antiwar art actions organized by the Artists Action Network. Arrive at 6:45 to sign up for the open mic/open stage. Suggested donation $3-5 to raise money for an Artists Action Network website= =2E Co-sponsored by Modern Times Bookstore, The Poetry Center & Artists Action Network =46or more info, e-mail spaceistheplace@hotmail.com =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Coming up in February & March from The Poetry Center: Sat Feb 8 "Reading Rexroth: Poets on His Poetry" at Koret Auditorium, SF Main Public Library, 2:00 pm, free with Lawrence Ferlinghetti, Robert Hass, Jane Hirshfield, Ken Knabb, Michael McClure, Terry Tempest Williams, and Sam Hamill (emcee) Thurs Feb 13 Sarah Arvio & Brenda Hillman at The Poetry Center, SFSU, 4:30 pm, free Thurs Feb 27 Julie Patton & Drew Gardner at the Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Mon March 3 Mei-mei Berssenbrugge at SF Art Institute, 800 Chestnut St, 7:30 pm $6 Thurs March 6 Chris Daniels & Nathaniel Tarn Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Sat March 8 Anselm Hollo & Joanne Kyger Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Thurs March 13 John Godfrey Unitarian Center, 1187 Franklin St , 7:30 pm, $5 Thurs March 27 Keith Waldrop & Rosmarie Waldrop Unitarian Center, 1187 Franklin St , 7:30 pm, $5 More details at http://www.sfsu.edu/~poetry =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/~poetry ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook -- ========================================================================= Date: Sat, 8 Feb 2003 14:50:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Here in New York--On High Alert MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT as a one-time Christian who is still male but over 30 i probably will wake on high alert on Monday unless Bush changes his plans to appear at the Christian publishers' conference even though Copper Canyon doesn't belong to this artistic clique and the 101st will be shipping out. with luck i'll arise and walk to where the local shopkeep has camels waiting for cents less than at the big chain like his father carefully pointed out to me on his new computer even though he had trouble bringing up and using the calculator. it is odd that there are not 100 librarians against the war, my brother is trying to calm our brothers in CO, and people continue to believe INITial INITiated INTELigence reports and pillpopping pilots continue to keep us safe? tom bell not yet a crazy old man just somewhat crazied ----- Original Message ----- From: "Kazim Ali" To: Sent: Saturday, February 08, 2003 1:24 PM Subject: Re: Here in New York--On High Alert > Forgive me for being on "High Alert",--but I'm after > all an Arab Male--am I missing the irony in these > posts? > > > > --- Mark Weiss wrote: > > Hal: It occurred to me years ago that there had to > > be a strategic reason > > why Islamic countries were settling so many of their > > citizens in New York > > and establishing them in key industries. Now, on a > > command from Al Qaeda, > > or Saddam, or whoever, every cab and every 24 hour > > convenience store in New > > York could cease to operate on a moment's notice. > > The city would be brought > > to its knees. > > > > This probably came to me while I was trying to find > > a parking place in > > front of my apartment at noon one day. There was a > > storefront mosque across > > the street. > > > > Yours in vigilance, > > > > Mark > > > > > > At 10:47 AM 2/8/2003 -0500, you wrote: > > >Here in New York City, we're going on with our > > lives but > > >being more watchful. We watch CNN to get the day's > > news, > > >and we also read the crawl--just in case. And, when > > a sentence > > >on the crawl is interrupted for commercial > > messages, we call the > > >network to see how it ends. > > > > > >We take the stairs down instead of the > > elevator--just in case. > > >And we lay in an extra gallon or two of water, not > > to mention > > >some extra batteries (AAAs, AAs, and Ds). Since the > > last > > >alert we've purchased battery-powered radios so > > that we will > > >not be "in the dark" if the power goes out. > > > > > >We keep a closer eye on our neighbors, and on the > > delivery men > > >who bring pizzas and Chinese food to their doors. > > Of course, > > >we still rely on the security men downstairs to > > screen those who > > >make their way up from the ground floor. > > > > > >On our way to the stairs, we press our ears to our > > neighbors' > > >doors, just in case they're cooking anything up > > that we ought > > >to know about. On the streets, we give a wide berth > > to heaps > > >of trash and garbage, and to abandoned > > strange-looking parcels. > > >We also cross the street to avoid dogs or > > dog-walkers who > > >might be suicide bombers. > > > > > >At the market (and we're beginning to avoid markets > > where > > >folks speak something other than English), we > > purchase what > > >we need (fruits and vegetables and other staples) > > and leave > > >quickly, trying to vary the stores and markets we > > shop at, so > > >as not to have too predictable a routine. We're > > de-routinizing, > > >so to speak. > > > > > >Back at home, one of us watches neighboring > > buildings (and > > >other apartments in our own building) with > > binoculars while > > >the other watches the news and reads the crawl. We > > take turns. > > > > > >Here in New York, life goes on. But more > > watchfully. > > > > > >Hal > > > > > >Halvard Johnson > > >=============== > > >email: halvard@earthlink.net > > >website: http://home.earthlink.net/~halvard > > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com ========================================================================= Date: Sat, 8 Feb 2003 12:18:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Here in New York--On High Alert In-Reply-To: <20030208192400.25812.qmail@web40804.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Yup. At 11:24 AM 2/8/2003 -0800, you wrote: >Forgive me for being on "High Alert",--but I'm after >all an Arab Male--am I missing the irony in these >posts? > > > >--- Mark Weiss wrote: > > Hal: It occurred to me years ago that there had to > > be a strategic reason > > why Islamic countries were settling so many of their > > citizens in New York > > and establishing them in key industries. Now, on a > > command from Al Qaeda, > > or Saddam, or whoever, every cab and every 24 hour > > convenience store in New > > York could cease to operate on a moment's notice. > > The city would be brought > > to its knees. > > > > This probably came to me while I was trying to find > > a parking place in > > front of my apartment at noon one day. There was a > > storefront mosque across > > the street. > > > > Yours in vigilance, > > > > Mark > > > > > > At 10:47 AM 2/8/2003 -0500, you wrote: > > >Here in New York City, we're going on with our > > lives but > > >being more watchful. We watch CNN to get the day's > > news, > > >and we also read the crawl--just in case. And, when > > a sentence > > >on the crawl is interrupted for commercial > > messages, we call the > > >network to see how it ends. > > > > > >We take the stairs down instead of the > > elevator--just in case. > > >And we lay in an extra gallon or two of water, not > > to mention > > >some extra batteries (AAAs, AAs, and Ds). Since the > > last > > >alert we've purchased battery-powered radios so > > that we will > > >not be "in the dark" if the power goes out. > > > > > >We keep a closer eye on our neighbors, and on the > > delivery men > > >who bring pizzas and Chinese food to their doors. > > Of course, > > >we still rely on the security men downstairs to > > screen those who > > >make their way up from the ground floor. > > > > > >On our way to the stairs, we press our ears to our > > neighbors' > > >doors, just in case they're cooking anything up > > that we ought > > >to know about. On the streets, we give a wide berth > > to heaps > > >of trash and garbage, and to abandoned > > strange-looking parcels. > > >We also cross the street to avoid dogs or > > dog-walkers who > > >might be suicide bombers. > > > > > >At the market (and we're beginning to avoid markets > > where > > >folks speak something other than English), we > > purchase what > > >we need (fruits and vegetables and other staples) > > and leave > > >quickly, trying to vary the stores and markets we > > shop at, so > > >as not to have too predictable a routine. We're > > de-routinizing, > > >so to speak. > > > > > >Back at home, one of us watches neighboring > > buildings (and > > >other apartments in our own building) with > > binoculars while > > >the other watches the news and reads the crawl. We > > take turns. > > > > > >Here in New York, life goes on. But more > > watchfully. > > > > > >Hal > > > > > >Halvard Johnson > > >=============== > > >email: halvard@earthlink.net > > >website: http://home.earthlink.net/~halvard > > >===== >==== > >WAR IS OVER > >(if you want it) > >(e-mail president@whitehouse.gov) > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com ========================================================================= Date: Sun, 9 Feb 2003 16:24:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Here in N.Y..... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Irony is both a weapon and defense...my significant other...who is a surrogate mom for a Moslem Bangladeshi...25 year old strapping male..spent the morning arranging scenarios of how we would meet in case there was another suicide attack..i pd no mind...but people are nervous and have a right to be... Irony is both a weapon and a defense...... Kazim it;s not you; it;s not me...it;s the case of what is...drn... ========================================================================= Date: Sat, 8 Feb 2003 16:03:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: Request for contact info MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit vernonfrazer.com ----- Original Message ----- From: "Halvard Johnson" To: Sent: Saturday, February 08, 2003 10:45 AM Subject: Request for contact info > Anybody out there with contact info > for Vernon Frazer? > > I'm desperate. > > Hal "Life swarms with innocent monsters." > --Charles Baudelaire > Halvard Johnson > =============== > email: halvard@earthlink.net > website: http://home.earthlink.net/~halvard > > > ========================================================================= Date: Sat, 8 Feb 2003 15:00:42 -0700 Reply-To: bradsenning@dissociatedwritersproject.com Sender: UB Poetics discussion group From: brad senning Subject: Dissociated Writers Project --Balitmore '03 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Information I promised to a lot of you about our writers conference, set to take place at the same time as the AWP. The venues are within half a mile of the Harborplace Renaissance Hotel, where the AWP is taking place. We'll have punk shows, panels, readings, and a lot of performance art, or pranks, depending on how you look at them. Hope to see a lot of you there. And if you have any more questions, you can send them to me or check out the web site: www.dissociatedwritersproject.com 2/8/03 The DWP is a collective of writers, performance artists, painters, magicians, comic book artists, comedians, plastic surgeons, screenwriters, tattoo artists, English gentlemen, and others, meeting in Baltimore for the purpose of exchanging ideas about literature. We’re not getting together to talk about our preferences for one dogma over another, or anything like that, but merely to provide a forum for discussing an array of aesthetic choices. At its core, the DWP isn’t interested in any presiding literary movement, which is why we’re offering up for consideration the inclusion of forms of expression traditionally left out of serious consideration in the conference format. We’re too uneducated, I guess, to know what it means to write within a literary movement, or what it means to write anything that isn’t true to itself before being true to an idea. So we think the DWP is bound to be a success. We have no regard for custom and no interest in an absolute, predetermined goal. Which means that no matter what, the final product will be perfect, because it won’t be at all what we’re expecting. Panel discussions will include “Is Bad Literature Good?/Is Good Literature Bad?,” wrestling (mud and otherwise), and something on Surrealism. Readers will include among others the winners of our fiction and poetry contests (see contest info online; we’re spreading the news around the country). Here is our schedule: Thurs., February 27 @ The 14 Carat Cabaret: “Surrealism” panel fiction and poetry reading punk show: Thee Snuff Project Fri., February 28 @ To Be Announced: “Is Bad Writing Good?/Is Good Writing Bad?” fiction and poetry reading lounge show: The P. Oranges Sat., March 1 @ The Sidebar “The Future of Aesthetics” panel short story/poetry contest winners’ reading punk show: The Black Eyes The Sidebar, a reputable Baltimore punk venue, and the 14 Carat Cabaret Lounge aren’t the usual conference locations, and we really don’t care. We want everyone in the community to attend. Our locations seat 100-200 people and will probably be jam-packed with everyone imaginable, because we’ve advertised everywhere, the more unusual the better. To be honest, we believe that writing has an audience of everyone, and it’s too bad when nobody but its practitioners are listening in. So we passed out hundreds of flyers at a recent DC peace protest, sent e-mails to religious discussion groups, handed out quarter-flyers to drop- outs and geeks roaming the streets around Adams Morgan, DC, Astor Place, NY, Golden Gate Park, Southey, Charles Village. Also, anybody who wants to read at the conference will be considered. And no writer at the conference has precedence. Each prospective reader and panelist has to compete for time at the conference not on the basis of credentials or accomplishments, but on the basis of the quality of the work. Even the attending published writers, many that we respect and admire, will have to walk through the same decision process. Nothing about the DWP harks of anything we’ve ever seen before, which is why we’re endlessly surprised about where we are. All we know is that everyone in attendance has an enormous responsibility to contribute to the discussion. We’re a renegade writing group with strong opinions, but this doesn’t mean we’re going to run the show. Neither will the moderators or readers be talking over a podium or over the heads of the crowd, but they’ll be having beers with the audience, attending the conference on equal footing with everyone else, because none of us had the answers before we came and probably never will, but at least we all know enough to be trying something different. Hundreds of hours have gone into the planning of the DWP conference. For the past month or so the organizers of the DWP have pretty much stopped writing to plan. Which is amazing because the only thing that could ever get us to stop writing is basically the end of the world. So, the end of the world is here in a sense. Thank You, Brad Senning (202) 253-0464 _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 8 Feb 2003 17:27:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: contact information for Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Please - if anyone knows how to get in touch with Alan Sondheim, would they please back-channel me? I've lost his email address. - Thanks - Alan http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sat, 8 Feb 2003 14:47:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: binary dialog In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit a - no no no no no no no b - yes a - no no b - yes a - no no no b - yes yes a - no b - yes a - no no no b - yes a - no b - yes a - no b - yes yes a - no no b - yes yes yes a - no no no no b - yes a - no no b - yes yes a - no b - yes a - no b - yes a - no b - yes yes yes yes a - no no b - yes yes a - no b - yes yes yes yes a - no b - yes yes yes yes yes yes yes ========================================================================= Date: Sat, 8 Feb 2003 18:13:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: contact information for Alan Sondheim Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Why the heck would you want to get in contact with that dude? Don't you know he's sixty? M Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu >>> sondheim@PANIX.COM 02/08/03 17:32 PM >>> Please - if anyone knows how to get in touch with Alan Sondheim, would they please back-channel me? I've lost his email address. - Thanks - Alan http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sat, 8 Feb 2003 18:19:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: A Song of Themselves Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed February 8, 2003 A Song of Themselves http://www.nytimes.com/2003/02/08/opinion/08GARM.html By LEONARD GARMENT Last week a group of American poets showed once again that artists can be the worst enemies of the arts. Laura Bush, as part of her efforts to encourage reading by honoring literature, had invited several poets to the White House for a symposium. One of the invitees perhaps channeling Eartha Kitt, who lambasted Lady Bird Johnson about the Vietnam War at a White House luncheon in 1968 decided to use the occasion to protest the administration's Iraq policy. He solicited antiwar poems to present to Mrs. Bush at the White House and posted them on a Web site. One poet, Marilyn Hacker, offered this contribution: "while, claiming they're `defending democracy,'/ our homespun junta exports the war machine/ . . . Jews who learned their comportment from storm troopers/ act out the nightmares that woke their grandmothers." The White House canceled the symposium. The poets expressed indignation that the administration was stifling their freedom of speech. The issue is not, of course, Iraq (about which I have my own uncertainties). Nor is it about freedom of speech these poets are free to read their poems in their own forums, as many have said they will on Wednesday, the day on which the symposium was to have taken place. Rather, it is about bad behavior, the sort I have grown increasingly weary of over the last 35 years. In the late 1960's, as a counsel in Richard Nixon's White House, I was assigned to what I called (laughingly at first, more seriously later) the "arts and riots" beat. I worked with the chairmen of the National Endowment for the Arts and the National Endowment for the Humanities to increase their budgets. Partly because Nixon was such an unlikely arts advocate, the effort succeeded, perhaps too well. As the endowments' budgets grew exponentially, so did the conflict between politicians who disliked spending the government's money on the arts and artists who disliked the idea that politics should have any role in determining how public money should be spent. The results of this conflict ranged from the irrational to the surreal. The arts endowment gave a grant for an anthology that included a "visual poem" that read, in its entirety, "lighght." (I always have trouble remembering exactly how many "gh's" it had.) The award sent a Republican representative, William Scherle, into a permanent orbit of anti-endowment outrage. More seriously, as the Vietnam schism widened, Leonard Bernstein composed the fierce antiwar opera "Mass." President Nixon declined to attend the premiere, on Kennedy Center's opening night. Bernstein asked me to try to change Nixon's mind, arguing quite seriously that if the president did not attend, he would be impermissibly mixing art and politics. More strange, the American Film Institute, newly established by Congress and housed in the federally subsidized Kennedy Center, scheduled a showing of the Costa-Gavras film "State of Siege," which treated with sympathy the killing of an American hostage by leftist rebels in a Latin American dictatorship. Knowing the film would be a boon to opponents of federal arts financing, I asked the help of the institute's director, George Stevens Jr. He canceled the showing, with the shrewd explanation that it was perhaps less than appropriate to show a pro-assassination movie in a center named after an assassinated president. Still, the endowments kept their Congressional support through occasional crises like these until 1990, when two events an exhibition of homoerotic photographs by Robert Mapplethorpe and a photograph by Andres Serrano of a crucifix in the artist's urine pushed them to the edge of extinction. Congress appointed a commission, which I led along with John Brademas, a former Democratic representative who had been the principal draftsman of the legislation that created the arts and humanities endowments. Our commission's unanimous report centered on a statement that in awarding grants the endowments could, consistent with the Constitution, take into account the country's diversity of sensibilities and beliefs. This proposition was challenged by disappointed grant-seekers, but upheld when the Supreme Court ruled against Karen Finley, she of the chocolate-saturated performance pieces. The recent incident, while more genteel than events past, threatens to create the same kind of resentment and mistrust in places important to the country's cultural life. Here is a concrete example. One of the poems originally scheduled for the White House was "A Dream Deferred" by Langston Hughes. The poem was to have been sung by cast members of "Harlem Song," a musical showcase of Harlem history that ran last year at the renovated Apollo Theater on 125th Street and is scheduled to return this year. This came about because, at the behest of the show's producer, I made "Harlem Song" known to a friend at the White House, who then traveled to New York to see the show. The invitation from Mrs. Bush followed. People connected with the show were excited over the national exposure the symposium would bring and the possibility that it might lead to an invitation to present the entire show at the White House. With or without the White House, "Harlem Song" will go on. But when the symposium was canceled, the disappointment of people associated with the show was distinct. So was mine: with colleagues in New York and Washington, I have been working to build a museum of jazz, America's only indigenous art form, in Harlem. The success of a show like "Harlem Song," and the audiences it can attract uptown, are immensely valuable to the area. They also deepen the profound relationship between the cultural and civic lives of the city, which defines New York to the world. Such relationships will thrive only if politicians and artists display mutual restraint. Each party must refrain from gratuitously poking a finger in the eye of the other, a principle that the protesting poets flouted. They sought to use for political ends the platform that the White House provided to them for their artistry. They showed no concern for the effect of this on other artists and enterprises. Of course, they were exercising their constitutional rights. But they should not be surprised that Mrs. Bush, exercising her own rights, declined to offer them tea and cake. Let's call it poetic justice and move on. Leonard Garment, a lawyer, is president of the Jazz Museum in Harlem. ========================================================================= Date: Sat, 8 Feb 2003 17:47:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Virginia Attending a Donkey, When Simply Any Love Will Do Mime-Version: 1.0 Content-Type: text/plain; format=flowed only her tales-beset crypt wraiths over the humor inferential human masterpieces from end to end cloaked Absolom-like a murderer's occurences: Solomon whistles up phantasms for the curious achieving the Touch Succinct, with off-hand covered rustling dogs the diabolic Mr. Hole emerges shabby and hideously dead now the wasp weavings have a pen-wiper (Virginia's Reading Rat) for fair V., the only one that could pooch fair Helen pair Virginia to Abelard, we whose referent also winged Here... abundantly could we sentence, daringly we flew manuscripts on the way out, not every Virginia is a curator's metaphor she'd probably portray you rising with shotguns, and hire the French to marble the foot escap'd of listening to further blind the blind, further eyesight's built of lines who will write the food in from the garden? we are of women, Horatio! I injure meter with a hundred uses as pregnant today as the political! keepest thine crotch well-sugared, we'll practice all quotable blood true to theatre, hasn't Dryden been the fiction ever since? you may beg a dachshund as a replacement for Adam's fruitfly, yet each dirty dog has his loves vis-à-vis children - you, peewee of the snort, you of a digging dénouement! only her tales-beset crypt wraiths over the humor inferential human masterpieces from end to end cloaked Absolom-like a murderer's occurences: Solomon whistles up phantasms for the curious achieving the Touch Succinct, with off-hand covered rustling dogs the diabolic Mr. Hole emerges shabby and hideously dead now the wasp weavings have a pen-wiper (Virginia's Reading Rat) for fair V., the only one that could pooch fair Helen pair Virginia to Abelard, we whose referent also winged Here... abundantly could we sentence, daringly we flew manuscripts on the way out, not every Virginia is a curator's metaphor she'd probably portray you rising with shotguns, and hire the French to marble the foot escap'd of listening to further blind the blind, further eyesight's built of lines who will write the food in from the garden? we are of women, Horatio! I injure meter with a hundred uses as pregnant today as the political! keepest thine crotch well-sugared, we'll practice all quotable blood true to theatre, hasn't Dryden been the fiction ever since? you may beg a dachshund as a replacement for Adam's fruitfly, yet each dirty dog has his loves vis-à-vis children - you, peewee of the snort, you of a digging dénouement _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 8 Feb 2003 19:01:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: contact information for Alan Sondheim Comments: To: Mairead Byrne In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I wasn't sure.... Alan On Sat, 8 Feb 2003, Mairead Byrne wrote: > Why the heck would you want to get in contact with that dude? Don't you > know he's sixty? > M > > > Mairead Byrne, Ph.D. > Department of English > Rhode Island School of Design > 2 College Street > Providence, RI 02903 > Office: (401)454.6268 > Home: (401)273.5964 > mbyrne@risd.edu > >>> sondheim@PANIX.COM 02/08/03 17:32 PM >>> > Please - if anyone knows how to get in touch with Alan Sondheim, would > they please back-channel me? I've lost his email address. - Thanks - > Alan > > > http://www.asondheim.org/ http://www.asondheim.org/portal/ > http://www.anu.edu.au/english/internet_txt > older http://lists.village.virginia.edu/~spoons/internet_txt.html > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sun, 9 Feb 2003 10:45:51 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: contact information for Alan Sondheim In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-3BF32726; boundary="=======37C77C6A=======" --=======37C77C6A======= Content-Type: text/plain; x-avg-checked=avg-ok-3BF32726; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit alzheimers as well as old age? haha komninos At 10:01 AM 9/02/03, you wrote: >I wasn't sure.... > >Alan > >On Sat, 8 Feb 2003, Mairead Byrne wrote: > > > Why the heck would you want to get in contact with that dude? Don't you > > know he's sixty? > > M > > > > > > Mairead Byrne, Ph.D. > > Department of English > > Rhode Island School of Design > > 2 College Street > > Providence, RI 02903 > > Office: (401)454.6268 > > Home: (401)273.5964 > > mbyrne@risd.edu > > >>> sondheim@PANIX.COM 02/08/03 17:32 PM >>> > > Please - if anyone knows how to get in touch with Alan Sondheim, would > > they please back-channel me? I've lost his email address. - Thanks - > > Alan > > > > > > http://www.asondheim.org/ http://www.asondheim.org/portal/ > > http://www.anu.edu.au/english/internet_txt > > older http://lists.village.virginia.edu/~spoons/internet_txt.html > > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > > > >http://www.asondheim.org/ http://www.asondheim.org/portal/ >http://www.anu.edu.au/english/internet_txt >older http://lists.village.virginia.edu/~spoons/internet_txt.html >Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======37C77C6A======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-3BF32726 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======37C77C6A=======-- ========================================================================= Date: Sat, 8 Feb 2003 16:57:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: A Song of Themselves In-Reply-To: <5.1.0.14.2.20030208181918.00b955f0@incoming.verizon.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I am certain that Laura Bush could be more discriminating in the future when she invites poets to the White House. She can have the Dept of Homeland Security check out poets' politics before she makes the invitation. That way the poets who "fit" her definition of politesse can retain their invitations and even sign a pledge to keep art and politics separate while the rest of the rabble is kept out of the august halls of our government. Maxine Chernoff As for the organization Leonard Garment politics for here, I'm sure she can reinvite them for another occasion without making the mistake of inviting poetics who happen to have opinions beyond "craft" issues. On Sat, 8 Feb 2003, Anastasios Kozaitis wrote: > February 8, 2003 > > A Song of Themselves > > http://www.nytimes.com/2003/02/08/opinion/08GARM.html > > By LEONARD GARMENT > > Last week a group of American poets showed once again that artists can be > the worst enemies of the arts. Laura Bush, as part of her efforts to > encourage reading by honoring literature, had invited several poets to the > White House for a symposium. One of the invitees perhaps channeling Eartha > Kitt, who lambasted Lady Bird Johnson about the Vietnam War at a White > House luncheon in 1968 decided to use the occasion to protest the > administration's Iraq policy. He solicited antiwar poems to present to Mrs. > Bush at the White House and posted them on a Web site. > > One poet, Marilyn Hacker, offered this contribution: "while, claiming > they're `defending democracy,'/ our homespun junta exports the war machine/ > . . . Jews who learned their comportment from storm troopers/ act out the > nightmares that woke their grandmothers." The White House canceled the > symposium. The poets expressed indignation that the administration was > stifling their freedom of speech. > > The issue is not, of course, Iraq (about which I have my own > uncertainties). Nor is it about freedom of speech these poets are free to > read their poems in their own forums, as many have said they will on > Wednesday, the day on which the symposium was to have taken place. > > Rather, it is about bad behavior, the sort I have grown increasingly weary > of over the last 35 years. In the late 1960's, as a counsel in Richard > Nixon's White House, I was assigned to what I called (laughingly at first, > more seriously later) the "arts and riots" beat. I worked with the chairmen > of the National Endowment for the Arts and the National Endowment for the > Humanities to increase their budgets. Partly because Nixon was such an > unlikely arts advocate, the effort succeeded, perhaps too well. > > As the endowments' budgets grew exponentially, so did the conflict between > politicians who disliked spending the government's money on the arts and > artists who disliked the idea that politics should have any role in > determining how public money should be spent. The results of this conflict > ranged from the irrational to the surreal. The arts endowment gave a grant > for an anthology that included a "visual poem" that read, in its entirety, > "lighght." (I always have trouble remembering exactly how many "gh's" it > had.) The award sent a Republican representative, William Scherle, into a > permanent orbit of anti-endowment outrage. > > More seriously, as the Vietnam schism widened, Leonard Bernstein composed > the fierce antiwar opera "Mass." President Nixon declined to attend the > premiere, on Kennedy Center's opening night. Bernstein asked me to try to > change Nixon's mind, arguing quite seriously that if the president did not > attend, he would be impermissibly mixing art and politics. > > More strange, the American Film Institute, newly established by Congress > and housed in the federally subsidized Kennedy Center, scheduled a showing > of the Costa-Gavras film "State of Siege," which treated with sympathy the > killing of an American hostage by leftist rebels in a Latin American > dictatorship. Knowing the film would be a boon to opponents of federal arts > financing, I asked the help of the institute's director, George Stevens Jr. > He canceled the showing, with the shrewd explanation that it was perhaps > less than appropriate to show a pro-assassination movie in a center named > after an assassinated president. > > Still, the endowments kept their Congressional support through occasional > crises like these until 1990, when two events an exhibition of homoerotic > photographs by Robert Mapplethorpe and a photograph by Andres Serrano of a > crucifix in the artist's urine pushed them to the edge of extinction. > > Congress appointed a commission, which I led along with John Brademas, a > former Democratic representative who had been the principal draftsman of > the legislation that created the arts and humanities endowments. Our > commission's unanimous report centered on a statement that in awarding > grants the endowments could, consistent with the Constitution, take into > account the country's diversity of sensibilities and beliefs. This > proposition was challenged by disappointed grant-seekers, but upheld when > the Supreme Court ruled against Karen Finley, she of the > chocolate-saturated performance pieces. > > The recent incident, while more genteel than events past, threatens to > create the same kind of resentment and mistrust in places important to the > country's cultural life. > > Here is a concrete example. One of the poems originally scheduled for the > White House was "A Dream Deferred" by Langston Hughes. The poem was to have > been sung by cast members of "Harlem Song," a musical showcase of Harlem > history that ran last year at the renovated Apollo Theater on 125th Street > and is scheduled to return this year. > > This came about because, at the behest of the show's producer, I made > "Harlem Song" known to a friend at the White House, who then traveled to > New York to see the show. The invitation from Mrs. Bush followed. People > connected with the show were excited over the national exposure the > symposium would bring and the possibility that it might lead to an > invitation to present the entire show at the White House. > > With or without the White House, "Harlem Song" will go on. But when the > symposium was canceled, the disappointment of people associated with the > show was distinct. So was mine: with colleagues in New York and Washington, > I have been working to build a museum of jazz, America's only indigenous > art form, in Harlem. The success of a show like "Harlem Song," and the > audiences it can attract uptown, are immensely valuable to the area. They > also deepen the profound relationship between the cultural and civic lives > of the city, which defines New York to the world. > > Such relationships will thrive only if politicians and artists display > mutual restraint. Each party must refrain from gratuitously poking a finger > in the eye of the other, a principle that the protesting poets flouted. > They sought to use for political ends the platform that the White House > provided to them for their artistry. They showed no concern for the effect > of this on other artists and enterprises. Of course, they were exercising > their constitutional rights. But they should not be surprised that Mrs. > Bush, exercising her own rights, declined to offer them tea and cake. Let's > call it poetic justice and move on. > > Leonard Garment, a lawyer, is president of the Jazz Museum in Harlem. > ========================================================================= Date: Sun, 9 Feb 2003 11:12:03 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Rererererererererejection In-Reply-To: <5.1.1.6.0.20030208114408.02c07d10@mail02.domino.gu.edu.au> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-3BF32726; boundary="=======33B36F51=======" --=======33B36F51======= Content-Type: text/plain; x-avg-checked=avg-ok-3BF32726; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit i just received a rejection notice for a piece i submitted to rhizome artbase. it hurts. the piece, a mid-life koala contemplates life II can be viewed at http://users.bigpond.net.au/mangolegs/muriel/kom2.html it is part of a collaborative piece. muriel frega sent me, and three others, the sequence of images of two figures dancing, computer generated, young male and female. my response, which is with all the other pieces is at the url, http://murielfrega.netfirms.com/dco.htm the work uses traditional animation, computer animation, performance poetry, computer voices, flash animation and navigation and gif animation. it is a cyberpoem as a whole, made up of many elements, user input determining the temporal engagement of the user. the work speaks of middle age sexuality and the stereotyped media constructions of 'sexy' and 'desirable' as being young, trim, heterosexual and good looking. the poem that appears as text and spoken by a female computer voice celebrates sexuality in the language of the street, i believe it is neither the phallo- or vagina-centric, maybe crude but celebratory of the mutual pleasure of the participants. the viagara poem says that chemicals are no substitution to emotional needs. these thoughts are all tied together as dream sequences of the central character, a mid-life koala. or is middle age male sexuality a thing we shouldn't be questioning or exploring in our art? i would be interested to hear women's and men's responses to the piece. komninos --=======33B36F51======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-3BF32726 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======33B36F51=======-- ========================================================================= Date: Sat, 8 Feb 2003 21:34:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Whyte Subject: Re: contact information for Alan Sondheim In-Reply-To: <5.1.1.6.0.20030209104504.00a8e7b0@mail02.domino.gu.edu.au> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'm looking for the following: Mr. Goodbar, Richard (starring Al Pacino) Love in All the Wrong Places, a Mr. Good Will (hunting rather than looking), and Looking For... by David Hasselhoff, please backchannel ========================================================================= Date: Sat, 8 Feb 2003 23:21:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Poetry Actions Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit DEAR POETS To encourage poetic disruption in the militant logosphere, I'm forwarding this modest action we've arranged here in Buffalo (friend and colleague Sarah Campbell came up with the idea). Feel free to borrow and implement in your own spheres. In return, if you have other ideas or have heard of any, PLEASE EMAIL THEM to jskinner@buffalo.edu I am compiling a catalog of poetry-action experiments (along the lines of Bernadette Mayer's Writing Experiments or Darren Wershler-Henry's Tapeworm Foundry) to disseminate as widely as possible. http://www.poetryproject.com/features/mayer.html#exper http://www.ubu.com/ubu/wershler_tapeworm.html The predictable model of "anti-war poetry," to rally the faithful or "speak truth to power," clearly has limitations in today's context, as does the "language" model of disruptive, reflective and/or expressive writings politely circulated amongst a company, however vital, of poets and critics. These are both valuable approaches, not to be overlooked, but the moment calls for practices reaching, in form as well as content, beyond what (and whom) we already know. (Poetry world infighting or the time-consuming business of critical and theoretical debate, though perhaps useful in the long run, are mainly a drag RIGHT NOW on limited resources.) A list of merely potential, even absurd practices (a la Wershler-Henry) could have great generative consequences. It might be poetry's particular contribution, furthermore, to disrupt right-step, left-step reflexes with a productive confusion or a brutal clarity, to electrify and awaken precisely the imaginative responses, the historical and foundational questioning that are the first victims of our administration's rush to war. Now more than ever the world needs our variously defined intensively activated IMAGINATIONS. Makings that extend into whatever (im)mediate environment, not just that of speech and writing, are of interest: the only suggestions NOT welcome are those of a violent, destructive nature. The emphasis, to rescue a sadly trivialized category, is CREATIVE (including, of course, the creative-critical). Oblique as much as direct, both private and public actions are welcome. Need I add that there is nothing proprietary to this catalog. In the interests of urgency it will be circulated, plagiarized and propagated, as widely as possible (and inevitably transformed and expanded). Copyrighted poets need not apply. A list of contributors will be appended-- anonymous suggestions are fine too. If you have a poetry action to contribute, please send it NOW, as there is little time to lose. (Please indicate POETRY ACTION in the email subject heading, and send your suggestion in the body of the email rather than by attachment.) All contributors will receive an electronic copy of the catalog, to be further disseminated, once it is compiled. And thanks in advance! JS * A C A T A L O G O F O P P O S I T I O N S a public reading / demonstration Friday, February 14th at noon SUNY at Buffalo's Student Union, North Campus 2nd Floor Social Hall (above lobby) "For to oppose evil men is the chief aim we set before ourselves" --from Boethius's _The Consolation of Philosophy_, which he wrote in prison awaiting execution for "treason" against the reigning king Theodoric. A public reading as demonstration of opposition to Bush's intended war on Iraq. The reading will be compiled and read by participants and will describe the lives of people who have set before themselves as their chief aim the opposition of evil. * * * Please consider participating in this event which is part of "Teach-Ins At College Campuses Throughout New York State" week, being organized by people at Cornell University (Feb. 10-14, 2003). The time this event requires is minimal, and the efficacy of it will be boosted by the participation of many, so please consider joining in. Here are details on how you can participate: PREPARATION Participants choose a person or group who has set him / her / themselves in opposition to _______ (you may fill in the blank and go as far back in time as you like) using non-violent means. Each participant writes 20 sentences of fact about the person / group--these sentences may concern any fact of the person / group's life: significant, mundane, representative, detailed, general, whatever; each sentence should contain the name of the person / group; and the person / group does not have to be famous. PUBLIC READING Participants read one sentence at a time so that each person passes the microphone, reads one sentence, the next person reads a sentence, and so on moving readers past the microphone and returning again for the next sentence; thus the Catalog becomes a mingled compendium of oppositions, in the round. * * * If you'd like to participate, please send an email including your name to: skc3@acsu.buffalo.edu, and then: 1) select your person / group and write twenty sentences about them and 2) come and read those sentences at the event ========================================================================= Date: Sun, 9 Feb 2003 00:03:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: My Composition in Language MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My Composition in Language It is entirely irrelevant to the world whether we exist or not. Nothing is relevant to the world. Existential statements serve an evolutionary purpose, the reification of the self. What occurs in language in relation to the copula or self-reflexivity, has no effect whatsoever on the world. Nothing has any effect whatsoever on the world. Self-reflexive recognition is a form of pointing-out or gesture, in the guise of naming (by virtue of nominalism). Consciousness, self-consciousness, is a defense mechanism. There is nothing to 'it' beyond this. It is a mistake to assume that consciousness exists outside of language. It resides in language; it is a tool which occupies or declares nothing. Declaration occurs only in language. Physical gesture cleaves the air. Inscriptions transform the imminent world of the substrate. An effect already exhausts. Culture is built on the predication that language means, and therefore acts and creates. Words are nothing and do nothing. The performative is a contextual myth. Alarum is spread by language, just as identity precedes language. "In its early stages the ballet also yielded ornaments which moved kaleid- oscopically, But even after they had discarded their ritual meaning, they remained still the plastic formation of the erotic life which gave rise to them and determined their traits." (Kracauer) We speak to ourselves. We speak for ourselves. We never speak. Language has never been 'employed.' The self-reflexivity of language is the routing of resonance; all objects and cultures are resonant holdfasts for our existence. Neither objects nor cultures exist. "The cornered vessel (ku) has no longer corners. What a 'cornered' vessel! What a 'cornered' vessel!" (Confucius) The ku has never existed. Language infiltrates speaker, spoken, and spoken-to with its semantic skein. Likewise, the skein does not exist. Speaking, spoken, and spoken-to, are correlated actions in the world. They have no relevance. The correlation is nearly decomposable. Every speaking is a composition. Every composition is an appearance. Every appearance is an illusion. Illusions are subject to entropy and dissolution. Neither the appearance nor the illusion exists. What does not exist, disseminates, dissembles, dissimulates. Our existence is an illusion. The world is neither an illusion nor a copula. The world is all that is neither an illusion nor a copula. Nothing is relevant to the world. The world is nothing. === ========================================================================= Date: Sat, 8 Feb 2003 21:24:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: binary dialog #2 In-Reply-To: <20020821114625.63529.qmail@web10705.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit = 5 -> 4 a - b - a - yes b - yes a - no b - ! a - ? b - yes a - perhaps b - well a - yes b - ! a - eh b - yes a - too vague b - ugh a - no b - eh a - perhaps b - no doubt a - b - yes a - ugh b - eh a - no b - fantastic a - eh b - ugh a - in fact b - well a - perhaps b - ugh a - well b - eh a - too vague b - indeed a - well b - well a - in fact b - no doubt ========================================================================= Date: Sun, 9 Feb 2003 00:25:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: My Composition2 in Language MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My Composition2 in Language It is entirely irrelevant to the world whether we exist or not. It is entirely relevant to us. Nothing is relevant to the world. The world would not exist without us. Existential statements serve an evolutionary purpose, the reification of the self. Existential statements procure the world in relation to our perception. What occurs in language in relation to the copula or self-reflexivity, has no effect whatsoever on the world. The world transforms with each and every utterance. Nothing has any effect whatsoever on the world. There is no 'world,' only a confluence of interrelated protocols and effects. Self-reflexive recognition is a form of pointing-out or gesture, in the guise of naming (by virtue of nominalism). Pointing-out symbolizes the recognition which takes place all the way back, beginning with retinal learning; the pointing-out is a consensus or coherency for others, for community. Consciousness, self-consciousness, is a defense mechanism. Consciousness defines and procures thought. There is nothing to 'it' beyond this. It is entirely beyond this, beyond this and others, beyond community and communality. It is a mistake to assume that consciousness exists outside of language. Consciousness is a priori and comes with the first imminence of the world. It resides in language; it is a tool which occupies or declares nothing. Consciousness declares everything, internal or external to language. Declaration occurs only in language. Physical gesture cleaves the air. Declaration is always prior to language; gesture cleaves thought itself, the psychogeographical substrate of the world. Inscriptions transform the imminent world of the substrate. Inscriptions are contiguous to the substrate at best. An effect already exhausts. An effect is always new; nothing repeats. Culture is built on the predication that language means, and therefore acts and creates. Language is build on the predication of the dialect between body and environment; culture creates, and language follows. Words are nothing and do nothing. The performative is a contextual myth. Words are everything; every utterance is an active performative. The world becomes comprehension and comprehends through language. Alarum is spread by language, just as identity precedes language. Language comforts and transforms house into home; identity is situated in language, just as alarum is subdued. "In its early stages the ballet also yielded ornaments which moved kaleid- oscopically, But even after they had discarded their ritual meaning, they remained still the plastic formation of the erotic life which gave rise to them and determined their traits." (Kracauer) We speak to ourselves. We speak for ourselves. We speak only to others. We speak only for them. This is the erotic gesture of culture. We never speak. Language has never been 'employed.' We always speak; language always employs the other as our master. The self-reflexivity of language is the routing of resonance; all objects and cultures are resonant holdfasts for our existence. Nothing depends on language, which derails the resonance of the world. Neither objects nor cultures exist. Objects and cultures exist in spite of ourselves, others, and the symbolic resolution of language. "The cornered vessel (ku) has no longer corners. What a 'cornered' vessel! What a 'cornered' vessel!" (Confucius) The ku has never existed. The ku has always existed; it is Confucius who has disappeared. Language infiltrates speaker, spoken, and spoken-to with its semantic skein. Likewise, the skein does not exist. Language deludes the speaking of the body; the skein of culture exists a priori to language. The sememe itself is a priori. Speaking, spoken, and spoken-to, are correlated actions in the world. Speaking, spoken, and spoken-to, are mutually incoherent; they signify the breaking of the world, the tendency towards dissolution. What they hold, is released; what they confine, is loosened. They have no relevance. They are relevant; it is their byproduct and phenomenology, their glance, that describes everything. The correlation is nearly decomposable. Every speaking is a composition. Every composition is an appearance. Every appearance is an illusion. The correlation falls to pieces. Every speaking breaks with self, world, and others. Every breaking is immeasurable. Every breaking alludes. Illusions are subject to entropy and dissolution. Neither the appearance nor the illusion exists. What does not exist, disseminates, dissembles, dissimulates. Speaking is subject to joining. Speaking, by measure of its breaking, is substrate to appearance. What disseminates, dissembles, dissimulates, returns, assembles, seminates, within the broken of language. Our existence is an illusion. Our existence is the only real. The world is neither an illusion nor a copula. The world is all that is neither an illusion nor a copula. The world coheres through the breaking of the copula. Nothing is relevant to the world. The world is nothing. Everything is relevant; the world is everything. The relevance of the world is the beginning of politics. === ========================================================================= Date: Sun, 9 Feb 2003 01:02:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: My Last Composition of Language MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My Last Composition of Language It is entirely irrelevant to the world whether we exist or not. It is entirely relevant to us. It is irrelevant to us whether we exist or not; that is the truth to be learned. Nothing is relevant to the world. The world would not exist without us. We would not exist without the world; we do not exist. Existential statements serve an evolutionary purpose, the reification of the self. Existential statements procure the world in relation to our perception. Existential statements are a priori errors in relation to the world. They disguise our truth and the truth of the world. What occurs in language in relation to the copula or self-reflexivity, has no effect whatsoever on the world. The world transforms with each and every utterance. There is neither transformation nor non-transformation. The world is an illusion of its truth. Nothing has any effect whatsoever on the world. There is no 'world,' only a confluence of interrelated protocols and effects. There is world and non-world; we are ghosts looking in at the world; we are ghosts looking at ourselves. To eliminate perception of ourselves and the world is the truth of ourselves and the world. To see ourselves by not-seeing ourselves as ghosts, that is the truth of the world. Self-reflexive recognition is a form of pointing-out or gesture, in the guise of naming (by virtue of nominalism). Pointing-out symbolizes the recognition which takes place all the way back, beginning with retinal learning; the pointing-out is a consensus or coherency for others, for community. Pointing out collapses the world, just as nourishment and sleep collapses the world. To eliminate the learning before language, to eliminate language, that is the truth of the world. Consciousness, self-consciousness, is a defense mechanism. Consciousness defines and procures thought. Consciousness and self-conscious break in relation to the world; through the broken, light emerges, that is the truth of the world. There is nothing to 'it' beyond this. 'It' is entirely beyond this, beyond this and others, beyond community and communality. 'It' is already an error of perception; forget 'it' and the truth of the world emerges. It is a mistake to assume that consciousness exists outside of language. Consciousness is a priori and comes with the first imminence of the world. Immanence is neither of consciousness nor the world; nor is immanence of language or the a prior, that is the truth of the world. It resides in language; it is a tool which occupies or declares nothing. Consciousness declares everything, internal or external to language. There is nothing to declare, nothing to emerge. Declaration is false existence, non-declaration is false existence. Declaration occurs only in language. Physical gesture cleaves the air. Declaration is always prior to language; gesture cleaves thought itself, the psychogeographical substrate of the world. Declaration occurs everywhere among gestures. Gestures declare; the world emerges without declaration, that is the truth of the world. Inscriptions transform the imminent world of the substrate. Inscriptions are contiguous to the substrate at best. Inscriptions are the substrate which must be comprehended to be forgotten; that is the emergence of the world. An effect already exhausts. An effect is always new; nothing repeats. An effect has no being, no relevance, that is the truth of the world. Culture is built on the predication that language means, and therefore acts and creates. Language is build on the predication of the dialectic between body and environment; culture creates, and language follows. Following or leading make no difference; what goes before, goes behind. Words are nothing and do nothing. The performative is a contextual myth. Words are everything; every utterance is an active performative. The world becomes comprehension and comprehends through language. The becoming of the world is not the world, and the comprehension of the world is not the comprehension of the world. Everything and nothing are nothing and everything, that is the truth of the world. Alarum is spread by language, just as identity precedes language. Language comforts and transforms house into home; identity is situated in language, just as alarum is subdued. Alarum for what, alarum hinders, ties one to oneself, to the languaging and things of the world. Alarum ties one to identity, identity ties one to language, to the world. Break identity and alarum, that is the truth of the world. "In its early stages the ballet also yielded ornaments which moved kaleid- oscopically, But even after they had discarded their ritual meaning, they remained still the plastic formation of the erotic life which gave rise to them and determined their traits." (Kracauer) We speak to ourselves. We speak for ourselves. We speak only to others. We speak only for them. This is the erotic gesture of culture. Speaking and eroticism tie one to broken meaning, taken for the meaning of truth, for the truth of meaning. Break what is already broken, that is the truth of the world. Do not break what is already broken, that is the truth of the world. We never speak. Language has never been 'employed.' We always speak; language always employs the other as our master. Speaking negates the world; speaking is always busy. In silence is the world's truth, after employment and non-employment. The self-reflexivity of language is the routing of resonance; all objects and cultures are resonant holdfasts for our existence. Nothing depends on language, which derails the resonance of the world. Dependency and resonance, already an investment; eliminate dependency and resonance, eliminate investment, that is the truth of the world. Neither objects nor cultures exist. Objects and cultures exist in spite of ourselves, others, and the symbolic resolution of language. More hindrance! more hindrance! "The cornered vessel (ku) has no longer corners. What a 'cornered' vessel! What a 'cornered' vessel!" (Confucius) The ku has never existed. The ku has always existed; it is Confucius who has disappeared. Confucius exists and does not exist; the ku exists and does not exist. So many objects! Forget existence and non-existence, that is the truth of the world. Language infiltrates speaker, spoken, and spoken-to with its semantic skein. Likewise, the skein does not exist. Language deludes the speaking of the body; the skein of culture exists a priori to language. The sememe itself is a priori. Skein and sememe, all these structures; what else emerges? What emerges, does not emerge; what does not emerge, emerges. Forget emerging, in silence, that is the truth of the world. Speaking, spoken, and spoken-to, are correlated actions in the world. Speaking, spoken, and spoken-to, are mutually incoherent; they signify the breaking of the world, the tendency towards dissolution. What they hold, is released; what they confine, is loosened. Coherency is the skein of the self; non-coherency is the skein of the world. Coherency and non-coherency are joined by others and the spoken-to. The world fragments among the assumption of contraries, divisions, typifications. Forget coherency; the world coheres. Forget non-coherency; the world falls apart. They have no relevance. They are relevant; it is their byproduct and phenomenology, their glance, that describes everything. The description of everything is the falsehood of the world; the truth of the world is neither description nor non-description. The correlation is nearly decomposable. Every speaking is a composition. Every composition is an appearance. Every appearance is an illusion. The correlation falls to pieces. Every speaking breaks with self, world, and others. Every breaking is immeasurable. Every breaking alludes. Breaking interferes; what is broken, has edges; what has edges, longs for completion. Forget composition and decomposition; be a ghost! Illusion and reality, all the same, that is the truth of the world. Illusions are subject to entropy and dissolution. Neither the appearance nor the illusion exists. What does not exist, disseminates, dissembles, dissimulates. Speaking is subject to joining. Speaking, by measure of its breaking, is substrate to appearance. What disseminates, dissembles, dis- simulates, returns, assembles, seminates, within the broken of language. Breaking and coming together, as of the spheres, that is nothing. Semination and dissemination, that is nothing but the seduction of the symbolic. Forget stasis and process, entropy and non-entropy, equilibrium and non-equilibrium, they are naming, and naming is not the province of ghosts. Be a ghost, that is the truth of the world. Our existence is an illusion. Our existence is the only real. Our existence is our non-existence; our illusion is our real; our real is our illusion, our non-existence is our existence. Be a ghost, that is the truth of the world. The world is neither an illusion nor a copula. The world is all that is neither an illusion nor a copula. The world coheres through the breaking of the copula. There is no copula without division, a white horse is not a horse, pairs never unite, that is the truth of the world. Nothing is relevant to the world. The world is nothing. Everything is relevant; the world is everything. The relevance of the world is the beginning of politics. The beginning of politics is the end of politics; the world is neither relevant nor irrelevant, nothing or everything. Be a ghost! That is the truth of the world, be a ghost! === ========================================================================= Date: Sun, 9 Feb 2003 02:33:04 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magazinnik Subject: Fwd: Saturday 2/22/03 CHELA: Experimental Performance Poetry MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_1a3.10860db3.2b775e30_boundary" --part1_1a3.10860db3.2b775e30_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > Saturday, February 22nd 2003 > 8:30pm 6$ artist donation > CHELA: 3500 Boston Street, #210, Baltimore MD > www.chelagallery.org (see site for full bios of performers) > contact: 443-983-5575 > > > EXPERIMENTAL PERFORMANCE POETRY: Night of Collaborations > > Chela presents an evening of the finest bi-lingual, wry-lingual, > mechani-lingual performance poetry. > > From NYC's Koja Press www.kojapress.com founders of the > Russian-language Magazinnik and Koja Magazine > > William James Austin + Mikhail Magazinnik + Igor Satanovsky > > WJA is a New Yorker and the author of three collections of poetry and > essays: 1 UNDERWORLD 2, 3 UNDERWORLD 4, and 5 UNDERWORLD 6, plus the book > length study A Deconstruction of T. S. Eliot: The Fire and the > Rose (Salzburg University Studies). > > MM is a bilingual Russian-American visual poet/conceptual > artist/translator and co-founder of Koja Press. He also co-edits and > contributes to Koja Magazine and Magazinnik. His work has appeared in > Black Box and vy da vy. > > IS is also a bilingual Russian-American visual poet/conceptual > artist/translator who has published works in Koja, Blackbox, Riverrun, > and Urban Spaghetti magazines. His collaborative work with Richard > Kostelanetz has appeared in A Point of View. Visual Poetry in the 90s, > Simplisii Press, Koenigsberg, Russia; Dock(s)on: La Trilogue Des > Medias: Tome 2, Akenaton Press, France; Spud Songs, Helicon Nine; > Liberty Magazine; Confrontations Magazine; O!!Zone Magazine > > > AND from Baltimore: > > Fred Collins & Charleigh Chadwick (cello)-------Fred (Motor Morons and > Pleasant Livers) and Charleigh (also from Pleasant Livers and in > previous lives Pornflakes, Beatos, Globetrotter, and the Mo Fine All > Blind Orchestra) bring explosive and sight searing spoken word and > cello. > > Bonnie Jones and Megan McShea performing Typewriter > Improvisations ---- Bonnie (co-founder Chela, and local poet) and > Megan (of Charm City Kitty Club fame, and authoress of several > chapbooks) perform TYPEWRITER IMPROVISATIONS, off the cuff, > transitory, and immediate pecked out poems. > > Mike Magazinnik www.kojapress.com www.magazinnik.com --part1_1a3.10860db3.2b775e30_boundary Content-Type: text/plain; charset=us-ascii Content-Language: en Content-Transfer-Encoding: 7bit --- www.kojapress.com ............................. --------- Forwarded Message --------- DATE: Sat, 8 Feb 2003 14:38:42 From: "Bonnie Jones" To: "CHELA Space" Saturday, February 22nd 2003 8:30pm 6$ artist donation CHELA: 3500 Boston Street, #210, Baltimore MD www.chelagallery.org (see site for full bios of performers) contact: 443-983-5575 EXPERIMENTAL PERFORMANCE POETRY: Night of Collaborations Chela presents an evening of the finest bi-lingual, wry-lingual, mechani-lingual performance poetry. From NYC's Koja Press www.kojapress.com founders of the Russian-language Magazinnik and Koja Magazine William James Austin + Mikhail Magazinnik + Igor Satanovsky WJA is a New Yorker and the author of three collections of poetry and essays: 1 UNDERWORLD 2, 3 UNDERWORLD 4, and 5 UNDERWORLD 6, plus the book length study A Deconstruction of T. S. Eliot: The Fire and the Rose (Salzburg University Studies). MM is a bilingual Russian-American visual poet/conceptual artist/translator and co-founder of Koja Press. He also co-edits and contributes to Koja Magazine and Magazinnik. His work has appeared in Black Box and vy da vy. IS is also a bilingual Russian-American visual poet/conceptual artist/translator who has published works in Koja, Blackbox, Riverrun, and Urban Spaghetti magazines. His collaborative work with Richard Kostelanetz has appeared in A Point of View. Visual Poetry in the 90s, Simplisii Press, Koenigsberg, Russia; Dock(s)on: La Trilogue Des Medias: Tome 2, Akenaton Press, France; Spud Songs, Helicon Nine; Liberty Magazine; Confrontations Magazine; O!!Zone Magazine AND from Baltimore: Fred Collins & Charleigh Chadwick (cello)-------Fred (Motor Morons and Pleasant Livers) and Charleigh (also from Pleasant Livers and in previous lives Pornflakes, Beatos, Globetrotter, and the Mo Fine All Blind Orchestra) bring explosive and sight searing spoken word and cello. Bonnie Jones and Megan McShea performing Typewriter Improvisations ---- Bonnie (co-founder Chela, and local poet) and Megan (of Charm City Kitty Club fame, and authoress of several chapbooks) perform TYPEWRITER IMPROVISATIONS, off the cuff, transitory, and immediate pecked out poems. --------- End Forwarded Message --------- Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com --part1_1a3.10860db3.2b775e30_boundary-- ========================================================================= Date: Sun, 9 Feb 2003 04:27:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 3 poems by augie MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "children von writing" but you see the too i begin i needn't that's as far as already form point form point form point form point form point the difference are concerned non-organism animals non-organism non-organism non-organism animals a symbolic with or of but to when have as far language von children before conciousness begins before before before conciousness form begins that writing requires requires requires form point children already symbolic AUGUST HIGHLAND 7:08 PM 02-08-03 -------- "reverses on" visit change forever while seen forget your and same interests as you - only it is free! someone there for you face to face face to face face to face someone there for you face to face what it's all if you just if join in the fun get then want You! You! You! get then want You! join in the action yes YOU are waiting tightest largest 24 x 7 by phone and email face to face tightest largest only it is You changed forever And much, much more! It takes just minutes! minutes minutes reverses change forever Please be my guest! It's that simple! AUGUST HIGHLAND 8:00 PM 02-08-03 -------- "storm troopers/ war machine/" federally subsidized visual hostage awarding grants in a renovated museum pushed to the edge of extinction? a pro-assassination musical performed before a genteel audience? a storm trooper/ homoerotic (the supreme court: here is a concrete example) audience? audience audience a war machine/audience? i became excited over known to a friend so was mine in places important to mistrust mine mine in the eye of the other in places important to mistrust i became so excited on opening night my temporal middle age sexuality appeared as a poem spoken by a female a young trim heterosexual good-looking female? our emotional needs and thoughts are all tied together all tied all tied all tied together a dream deferred posted on a message board on the same night nightmares woke my grandmothers? my antiwar grandmothers stifling their freedom of speech? speech speech their homespun permanent orbit outrage!! known to a friend this deepened our trust AUGUST HIGHLAND 8:14 PM 02-08-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sun, 9 Feb 2003 07:08:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: --- All because ... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --- All because the "protesters" disagree B, and toward the denouement Can be felt when the Daily needs excellent when there Each other at all times Factions, to practice the arts General officers in it, which Had become differentiated. They afterward I can recall far more Jogging suit and durable storage/ Keep on plodding through with Large steel, wire and tin Machine makes to America's economic Name given to nitrate of Oblivion for one) will be PAIN, GRIEF, and FEAR, which Quite a fraud, but it Rapidity of an arrow. She Said she with a frown Table, a chair for the Umbrella to toss the ball Value of developed societies. This Want. You. Me. Bodies, thoughts "Xoanephores" of Sophocles; Byron's "Sardanapalus" Years. The room utilized for Zero airspeed and zero altitude ========================================================================= Date: Sun, 9 Feb 2003 07:08:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Love Poem In-Reply-To: <33BACB68-3AD1-11D7-BAB3-0003935A5BDA@mwt.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >so far I haven't seen any visual poems mentioned, while looking for a >piece by Emmett Williams (was it called "Hearts"?) Hi Michael & all That'd be Sweethearts, a very charming book published by Something Else Press back in the 60s, I think. Just one more book I've forgotten about after having a lot of boxes in storage since we moved to Fort Worth a couple of years ago. We're sorting through (& culling) music-related boxes now, I'm interested in what the process will be like when we get to the literary boxes. ========================================================================= Date: Sun, 9 Feb 2003 07:11:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Love Poem In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >>so far I haven't seen any visual poems mentioned, while looking for a >>piece by Emmett Williams (was it called "Hearts"?) > >Hi Michael & all > >That'd be Sweethearts, a very charming book published by Something >Else Press back in the 60s, I think. > >Just one more book I've forgotten about after having a lot of boxes >in storage since we moved to Fort Worth a couple of years ago. We're >sorting through (& culling) music-related boxes now, I'm interested >in what the process will be like when we get to the literary boxes. & that'd be mIEKAL. Sorry. ========================================================================= Date: Sun, 9 Feb 2003 09:58:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Query re Sondheim (Alan) MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Just heard that Alan Sondheim recently had a birthday. Can someone please backchannel me with his age? Thanks in advance. Hal "Life swarms with innocent monsters." --Charles Baudelaire Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Sun, 9 Feb 2003 07:49:29 -0800 Reply-To: arshile@earthlink.net Sender: UB Poetics discussion group From: Mark Salerno Organization: Arshile: A Magazine of the Arts Subject: Mark Salerno Reading in La Jolla, February 14 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Colleagues: I'll be in La Jolla, California, on Friday night to read from my new book, entitled "Method." Date: Friday, February 14, 2003 Place: D.G. Wills Books 7461 Girard Avenue La Jolla, CA 92037 Time: 7:00 p.m. I hope those in the La Jolla/San Diego area will join me. Be sure to bring a friend to this Valentine's Day event. Mark Salerno ========================================================================= Date: Sun, 9 Feb 2003 08:53:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Query re Sondheim (Alan) MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Hal: Alan Sondheim is 218 years old. I first met him in 1843, just outside Seattle. There was a knock on my door in the middle of the night. I opened it, and there stood a man mumbling something that now I know was a primitive form of HTML. With him were ten emaciated slaves escaping from the Microsoft campus, making a break to freedom in the south. I fed them, and they disappeared into the rainy night, sparking a bit from what I believe was electromagnetic fever. (EF) The next time I heard from Alan was in 1996. I don't remember exactly where, but I must have been on the Net. -Joel W. ----- Original Message ----- From: "Halvard Johnson" To: Sent: Sunday, February 09, 2003 6:58 AM Subject: Query re Sondheim (Alan) > Just heard that Alan Sondheim recently had a > birthday. Can someone please backchannel me > with his age? Thanks in advance. > > Hal "Life swarms with innocent monsters." > --Charles Baudelaire > Halvard Johnson > =============== > email: halvard@earthlink.net > website: http://home.earthlink.net/~halvard ========================================================================= Date: Sun, 9 Feb 2003 12:00:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: My Last Composition of Language MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The world as conjurer shows us what it can do. It performs feat and stunts we know are not possible but, without guile, it rolls up its sleeves, demonstrates them out in front where everyone can see & believe. And we want so to believe; after all, we've come here all for it's sheer pleasure. It's small talk is part of its technique of misdirection. It talks about war, economy, sex and loss -- all of these things deep in its repetoire. Gerald Schwartz schwartzgk@msn.com > My Last Composition of Language > > > It is entirely irrelevant to the world whether we exist or not. It is > entirely relevant to us. It is irrelevant to us whether we exist or not; > that is the truth to be learned. > > Nothing is relevant to the world. The world would not exist without us. > We would not exist without the world; we do not exist. > > Existential statements serve an evolutionary purpose, the reification of > the self. Existential statements procure the world in relation to our > perception. Existential statements are a priori errors in relation to the > world. They disguise our truth and the truth of the world. > > What occurs in language in relation to the copula or self-reflexivity, has > no effect whatsoever on the world. The world transforms with each and > every utterance. There is neither transformation nor non-transformation. > The world is an illusion of its truth. > > Nothing has any effect whatsoever on the world. There is no 'world,' only > a confluence of interrelated protocols and effects. There is world and > non-world; we are ghosts looking in at the world; we are ghosts looking at > ourselves. To eliminate perception of ourselves and the world is the truth > of ourselves and the world. To see ourselves by not-seeing ourselves as > ghosts, that is the truth of the world. > > Self-reflexive recognition is a form of pointing-out or gesture, in the > guise of naming (by virtue of nominalism). Pointing-out symbolizes the > recognition which takes place all the way back, beginning with retinal > learning; the pointing-out is a consensus or coherency for others, for > community. Pointing out collapses the world, just as nourishment and sleep > collapses the world. To eliminate the learning before language, to > eliminate language, that is the truth of the world. > > Consciousness, self-consciousness, is a defense mechanism. Consciousness > defines and procures thought. Consciousness and self-conscious break in > relation to the world; through the broken, light emerges, that is the > truth of the world. > > There is nothing to 'it' beyond this. 'It' is entirely beyond this, beyond > this and others, beyond community and communality. 'It' is already an > error of perception; forget 'it' and the truth of the world emerges. > > It is a mistake to assume that consciousness exists outside of language. > Consciousness is a priori and comes with the first imminence of the world. > Immanence is neither of consciousness nor the world; nor is immanence of > language or the a prior, that is the truth of the world. > > It resides in language; it is a tool which occupies or declares nothing. > Consciousness declares everything, internal or external to language. There > is nothing to declare, nothing to emerge. Declaration is false existence, > non-declaration is false existence. > > Declaration occurs only in language. Physical gesture cleaves the air. > Declaration is always prior to language; gesture cleaves thought itself, > the psychogeographical substrate of the world. Declaration occurs > everywhere among gestures. Gestures declare; the world emerges without > declaration, that is the truth of the world. > > Inscriptions transform the imminent world of the substrate. Inscriptions > are contiguous to the substrate at best. Inscriptions are the substrate > which must be comprehended to be forgotten; that is the emergence of the > world. > > An effect already exhausts. An effect is always new; nothing repeats. An > effect has no being, no relevance, that is the truth of the world. > > Culture is built on the predication that language means, and therefore > acts and creates. Language is build on the predication of the dialectic > between body and environment; culture creates, and language follows. > Following or leading make no difference; what goes before, goes behind. > > Words are nothing and do nothing. The performative is a contextual myth. > Words are everything; every utterance is an active performative. The world > becomes comprehension and comprehends through language. The becoming of > the world is not the world, and the comprehension of the world is not the > comprehension of the world. Everything and nothing are nothing and > everything, that is the truth of the world. > > Alarum is spread by language, just as identity precedes language. Language > comforts and transforms house into home; identity is situated in language, > just as alarum is subdued. Alarum for what, alarum hinders, ties one to > oneself, to the languaging and things of the world. Alarum ties one to > identity, identity ties one to language, to the world. Break identity and > alarum, that is the truth of the world. > > "In its early stages the ballet also yielded ornaments which moved kaleid- > oscopically, But even after they had discarded their ritual meaning, they > remained still the plastic formation of the erotic life which gave rise to > them and determined their traits." (Kracauer) > > We speak to ourselves. We speak for ourselves. We speak only to others. We > speak only for them. This is the erotic gesture of culture. Speaking and > eroticism tie one to broken meaning, taken for the meaning of truth, for > the truth of meaning. Break what is already broken, that is the truth of > the world. Do not break what is already broken, that is the truth of the > world. > > We never speak. Language has never been 'employed.' We always speak; > language always employs the other as our master. Speaking negates the > world; speaking is always busy. In silence is the world's truth, after > employment and non-employment. > > The self-reflexivity of language is the routing of resonance; all objects > and cultures are resonant holdfasts for our existence. Nothing depends on > language, which derails the resonance of the world. Dependency and > resonance, already an investment; eliminate dependency and resonance, > eliminate investment, that is the truth of the world. > > Neither objects nor cultures exist. Objects and cultures exist in spite of > ourselves, others, and the symbolic resolution of language. More > hindrance! more hindrance! > > "The cornered vessel (ku) has no longer corners. What a 'cornered' vessel! > What a 'cornered' vessel!" (Confucius) > > The ku has never existed. The ku has always existed; it is Confucius who > has disappeared. Confucius exists and does not exist; the ku exists and > does not exist. So many objects! Forget existence and non-existence, that > is the truth of the world. > > Language infiltrates speaker, spoken, and spoken-to with its semantic > skein. Likewise, the skein does not exist. Language deludes the speaking > of the body; the skein of culture exists a priori to language. The sememe > itself is a priori. Skein and sememe, all these structures; what else > emerges? What emerges, does not emerge; what does not emerge, emerges. > Forget emerging, in silence, that is the truth of the world. > > Speaking, spoken, and spoken-to, are correlated actions in the world. > Speaking, spoken, and spoken-to, are mutually incoherent; they signify the > breaking of the world, the tendency towards dissolution. What they hold, > is released; what they confine, is loosened. Coherency is the skein of the > self; non-coherency is the skein of the world. Coherency and non-coherency > are joined by others and the spoken-to. The world fragments among the > assumption of contraries, divisions, typifications. Forget coherency; the > world coheres. Forget non-coherency; the world falls apart. > > They have no relevance. They are relevant; it is their byproduct and > phenomenology, their glance, that describes everything. The description of > everything is the falsehood of the world; the truth of the world is > neither description nor non-description. > > The correlation is nearly decomposable. Every speaking is a composition. > Every composition is an appearance. Every appearance is an illusion. The > correlation falls to pieces. Every speaking breaks with self, world, and > others. Every breaking is immeasurable. Every breaking alludes. Breaking > interferes; what is broken, has edges; what has edges, longs for > completion. Forget composition and decomposition; be a ghost! Illusion and > reality, all the same, that is the truth of the world. > > Illusions are subject to entropy and dissolution. Neither the appearance > nor the illusion exists. What does not exist, disseminates, dissembles, > dissimulates. Speaking is subject to joining. Speaking, by measure of its > breaking, is substrate to appearance. What disseminates, dissembles, dis- > simulates, returns, assembles, seminates, within the broken of language. > Breaking and coming together, as of the spheres, that is nothing. > Semination and dissemination, that is nothing but the seduction of the > symbolic. Forget stasis and process, entropy and non-entropy, equilibrium > and non-equilibrium, they are naming, and naming is not the province of > ghosts. Be a ghost, that is the truth of the world. > > Our existence is an illusion. Our existence is the only real. Our > existence is our non-existence; our illusion is our real; our real is our > illusion, our non-existence is our existence. Be a ghost, that is the > truth of the world. > > The world is neither an illusion nor a copula. The world is all that is > neither an illusion nor a copula. The world coheres through the breaking > of the copula. There is no copula without division, a white horse is not a > horse, pairs never unite, that is the truth of the world. > > Nothing is relevant to the world. The world is nothing. Everything is > relevant; the world is everything. The relevance of the world is the > beginning of politics. The beginning of politics is the end of politics; > the world is neither relevant nor irrelevant, nothing or everything. Be a > ghost! That is the truth of the world, be a ghost! > > > === > > ========================================================================= Date: Sun, 9 Feb 2003 09:12:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Midnight Comments: To: webartery Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii My dog Midnight, a black German Shepard, at the reptile fair, where scales are pornography, runs chromatic in a cobalt mode. The coin-slot on my lizard terminal is loose (shoddy work!) and something huge and scaly slips out of its aquarium-cage. Midnight catches it in her mouth and swallows: scales: peeling back to show the poison-pink flesh. Midnight lays down; she's sleeping still now, with no twitching legs. The sky has her color tonight, and runs minor chords across our heads. 2003/02/09 11:19:02 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 9 Feb 2003 12:19:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: last/re: Alan MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable last posting was a collage/paraphrasing of=20 Leiris, Bronk, Jabes: 3 essential voices much=20 needed at this time in "our history"... Thanks and happy 60th to Alan! Gerald Schwartz ========================================================================= Date: Sun, 9 Feb 2003 12:30:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Contact Info for Alan Sondheim MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I am both shocked and dismayed at the ageist ridicule this list is = heaping on poor, old Alan Sondheim, arguably the grandfather of 21st = century American literature. As I have in the past, I must once again = step forward to defend him. This time, I am not defending his right to = publish, but his right to live. If, at age 60, as some allege, Alan is = suffering symptoms of serious age-related decline, it is imperative = that we give him the contact information than he requests, again and = again, so that it is always with him. I don't think any of us could bear = the weight of the responsibility for poor Alan wandering the streets of = Manhattan, mumbling to himself and to passersby, "I am John Grisham...I = am John Grisham..." or for his advanced consciousness deteriorating = into the mundanity that would reduce him to writing a "New York Times = Number One Bestseller" about a power-crazed President seeking to battle = an Middle Eastern dictator to avenge his father's losing an election. If = we don't help our friend and colleague, we will have only ourselves to = blame for seeing him stumble onto late-night talk shows in a shocking = state of wealth. I urge all of you to give Alan the information he needs = to continue functioning in the way that we know he can. I urge you to = stop your ridicule and show your full compassion and humanity to our = good friend and colleague. Vernon Frazer ========================================================================= Date: Sun, 9 Feb 2003 12:31:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: contact information for Alan Sondheim MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I am both shocked and dismayed at the ageist ridicule this list is heaping on poor, old Alan Sondheim, arguably the grandfather of 21st century American literature. As I have in the past, I must once again step forward to defend him. This time, I am not defending his right to publish, but his right to live. If, at age 60, as some allege, Alan is suffering symptoms of serious age-related decline, it is imperative that we give him the contact information than he requests, again and again, so that it is always with him. I don't think any of us could bear the weight of the responsibility for poor Alan wandering the streets of Manhattan, mumbling to himself and to passersby, "I am John Grisham...I am John Grisham..." or for his advanced consciousness deteriorating into the mundanity that would reduce him to writing a "New York Times Number One Bestseller" about a power-crazed President seeking to battle an Middle Eastern dictator to avenge his father's losing an election. If we don't help our friend and colleague, we will have only ourselves to blame for seeing him stumble onto late-night talk shows in a shocking state of wealth. I urge all of you to give Alan the information he needs to continue functioning in the way that we know he can. I urge you to stop your ridicule and show your full compassion and humanity to our good friend and colleague. Vernon Frazer ----- Original Message ----- From: "komninos zervos" To: Sent: Saturday, February 08, 2003 7:45 PM Subject: Re: contact information for Alan Sondheim > alzheimers as well as old age? > > haha komninos > > At 10:01 AM 9/02/03, you wrote: > > >I wasn't sure.... > > > >Alan > > > >On Sat, 8 Feb 2003, Mairead Byrne wrote: > > > > > Why the heck would you want to get in contact with that dude? Don't you > > > know he's sixty? > > > M > > > > > > > > > Mairead Byrne, Ph.D. > > > Department of English > > > Rhode Island School of Design > > > 2 College Street > > > Providence, RI 02903 > > > Office: (401)454.6268 > > > Home: (401)273.5964 > > > mbyrne@risd.edu > > > >>> sondheim@PANIX.COM 02/08/03 17:32 PM >>> > > > Please - if anyone knows how to get in touch with Alan Sondheim, would > > > they please back-channel me? I've lost his email address. - Thanks - > > > Alan > > > > > > > > > http://www.asondheim.org/ http://www.asondheim.org/portal/ > > > http://www.anu.edu.au/english/internet_txt > > > older http://lists.village.virginia.edu/~spoons/internet_txt.html > > > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > > > > > > >http://www.asondheim.org/ http://www.asondheim.org/portal/ > >http://www.anu.edu.au/english/internet_txt > >older http://lists.village.virginia.edu/~spoons/internet_txt.html > >Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > > > > > >--- > >Incoming mail is certified Virus Free. > >Checked by AVG anti-virus system (http://www.grisoft.com). > >Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 > > komninos zervos > lecturer, convenor of CyberStudies major > School of Arts > Griffith University > Room 3.25 Multimedia Building G23 > Gold Coast Campus > Parkwood > PMB 50 Gold Coast Mail Centre > Queensland 9726 > Australia > Phone 07 5552 8872 Fax 07 5552 8141 > homepage: http://www.gu.edu.au/ppages/K_Zervos > broadband experiments: > http://users.bigpond.net.au/mangolegs > audioblog > http://spokenword.blog-city.com/ > > ---------------------------------------------------------------------------- ---- > > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 > ========================================================================= Date: Sun, 9 Feb 2003 12:32:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Poetry Plastique: On Line@EPC Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable POETRY PLASTIQUE at the Electronic Poetry Center (http://epc.buffalo.edu) On February 9, 2001, Poetry Plastque opened at the Marianne Boesky Gallery= =20 in New York. Two years later, we are happy to announce a web site for the=20 show, featuring the entire catalog (now out of print), plus images of the=20 works we showed and a new set of photos from the opening and symposium.=20 Special to the web site is a set of drawings of the events by Mimi Gross. ----- Jay Sanders and Charles Bernstein "Poetry Plastique" presents the work of 34 poets and artists working to=20 move poetry off the page and into sculpture, film, painting, assemblage,=20 photography-even skywriting. Pushing the boundaries of textuality, these=20 literary and visual artists move poetry into a new dimension that=20 emphasizes the concreteness and materiality of the written word. "Poetry Plastique" is curated by Jay Sanders and Charles Bernstein and=20 includes works by Carl Andre, David Antin, Arakawa, Susan Bee, Wallace=20 Berman, Mei-mei Berssenbrugge and Kiki Smith, Christian B=F6k, John Cage,=20 Clark Coolidge and Philip Guston, Robert Creeley and Cletus Johnson,=20 Johanna Drucker and Brad Freeman, Hollis Frampton, Madeline Gins and=20 Arakawa, Kenneth Goldsmith, Robert Grenier, Lyn Hejinian, Lyn Hejinian and= =20 Emilie Clark, Tan Lin, Jackson Mac Low, Steve McCaffery, Emily McVarish,=20 Tom Phillips, Nick Piombino, Leslie Scalapino, Mira Schor, Robert Smithson,= =20 Michael Snow, Richard Tuttle and Charles Bernstein, and Darren= Wershler-Henry. http://epc.buffalo.edu ========================================================================= Date: Sun, 9 Feb 2003 12:34:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Brandon Barr's Hypothesis Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > This sort of discussion--quickly paced, back and forth banter--is a particular > strength of the listserv; it is one of the reasons I love the vital > discussions that listservs communely foster. The discussions on listservs are > different than discussions on blogs, but I find that both are academically > valuable. > > Listserv communities progress through contention while blogging communities > generally progress through concurrence. > Posted by brandon barr at 09:34 AM> > January 31, 2003 Brandon Barr's astute comments about the value of listservs deserves to be repeated and further discussed. Tom Bell wrote to me some time ago suggesting that I write about my experiences on this list, as I have said more than once here and many times to other friends socially that this list is consistently a very valuable experience. I am encouraging every writer I talk to to subscribe and contribute to the list, and I am trying to persuade formerly active listservers to keep contributing. I also spoke to Joel Kuzai about this recently at the Bowery Poetry Club. Joel Kuzai, well known to subscribers to this list, is the author of "Poetics@" (Roof,1999), which certainly should be required reading in any course on or systematic study of listservs and blogging. I am fascinated by Barr's formulation and I imagine there are also many other ways a listserv evolves, at least from my admittedly limited experience. Brandon Barr's comment serves as food for thought because I think the contentious aspects of the list, while being of course problematic, are also very valuable because by trying to learn to deal with them I've learned more about how to deal with important, unavoidable and often necessary and ultimately sometimes beneficial disagreements in the poetry community and elsewhere more openly and with some kind of attempt, often admittedly clumsy, at humor. Every poet knows that the poetry community, like any other, has its difficulties with competition, manipulation and monopolizing. Then there is that continuously troubling dynamic between a poet's invaluable idealism and the realities of a poet's "career." Brandon Barr appears to be tracking and discussing on his blog "texturl" -at http://texturl.net/-the rapidly developing phenomenon that listservs and blogging are altering the media landscape in ways that were unpredictable. The current political crisis now facing us is offering an opportunity to to pinpoint the potential poltical power in the growing synergetic relationship between listservs, blogging, poetry publications, poetics, poets' published political opinions and commentary and the interest and curiosity of other journalistic media. Commercial media are like predatory animals necessarily searching hungrily and desperately for their food- news, interesting opinions and information. Countless print and wireless media journalists and commentators must be constantly combing the web environment. But clearly all media have a potential synergetic relationship. By acting quickly and stealthily individual writers, such as Allen Ginsberg, Abbie Hoffan and others in the 60's demonstrated so unbelievably brilliantly how writers can utilize their imaginative powers to redirect the attention of the mass media. The appetite on the part of the media, as those writers and countless others have showed us so powerfully, is there. The amazingly rapid success of Sam Hamill's experiment in poetic anthologizing in finding a way to focus the political power of the web for poets is encouraging. At last count 4600 poets have logged on. Meanwhile, Brian Kim Stefans has jumped into the fray-with some understandable trepidation- offering his own blog spot as an open forum for discussion on the war. Dare I hope and say that working together- as countless activists did in the late 60's- we can stop this war, or at least seriously slow it down? I hope John Godfrey was right when he said yesterday at the Bowery Poetry Club to me that he believed the momentum for this war among the public is just not there. I've heard others express this opinion. I'm excited to see the poetry community go into action so quickly and so effectively before the body bags start piling up. Maya Lin is great, but I'd rather see her express her formidable talents in other areas rather than a Second Gulf or Third War War memorial. -Nick- ---------------------------------------------------------------------------- From the Village Voice -current issue- Feb 5-11. It's on the stands now! A sample from Ward Harkavy's article "Blood, Stats and Tears" follows: "Number of precision-guided missiles and bombs that the United States plans to launch per hour at Baghdad during the war's first 48 hours: 63 Number of days it is expected for Baghdad residents to become "physically, emotionally, and psychologically exhausted" 2 to 5 Percentage of U.S. Bombs and missiles dropped during the first Gulf War that were precision guided: 9 Percentage of U.S. Bombs and missiles ready to be dropped during the coming war that are precision-guided: 75 Number of U.S. Satellite-guided bombs stockpiled in the Gulf region: 6700 Number of U.S. Laser-guided bombs stockpiled in the Gulf region: 3000 Number of Americans killed in the first Gulf War: 148 Proportion of Americans killed by "friendly fire" during the first Gulf War: 1 in 3 Number of Iraqis killed in the first Gulf War: 100,000 Number of Americans killed during the "Black Hawk Down" episode in Mogadishu in 1993: 18. Number of Somalis killed during the "Black Hawk Down" episode in Mogadishu in 1993: 500 to 1000 Number of Americans killed during the Vietnam War: 58,000 Number of Vietnamese killed during the Vietnam War: 5.1 million Number of Americans soldiers poised for attack at the borders of Iraq: 100,000 Number of Iraqis and Americans who doctors say might die in the next war: 48,000 to 260,000 Number of additional deaths expected from a civil war within Iraq following an invasion: 20,000 Number of deaths expected from "post-war adverse health effects" 200,000 Number of total deaths if nuclear weapons are used: 3,900,000 Percentage of Americans who believe that oil best explains why the US would use military force against Iraq: 22 Ranking of Iraq among countries with proven reserves of oil: 2 Number of barrels of oil in Iraq's proven reserves: 112,000,000,000 Year that Iraq nationalized all foreign oil holdings: 1972 Year that US oil companies were prohibited from investing or buying Iraqi oil: 1991 Year that Dick Cheney, as head of oil field equipment manufacturer Halliburton, called for the end to sanctions against Iraq: 2000 Number of US Army soldiers ready to decontaminate corpses and send them back for home for burial: 700 Number of Iraqi children who have died as a direct result of sanctions, according to UNICEF: 500,000 (sources: Harper's, The New York Times, Los Angeles Times, The Washington Post, The New Yorker, Agence France Presse, Parameters, Target Iraq: What The News Media Didn't Tell You, Policy Analysis, Denver Post, Foreign Affairs, The Wall Street Journal, Sierra Club)" ========================================================================= Date: Sun, 9 Feb 2003 12:37:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Brandon Barr's hypothesis Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The url for Brandon Barr's blog is http://texturl.net/ ========================================================================= Date: Sun, 9 Feb 2003 10:08:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Barr's Hypothesis MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii once, a very wise man (i do believe it was Jim Andrews) said to me: "We are all making the web." I've had many disagreements with many excellent people on many excellent lists. This is due mostly to my own contentious streak. All of these disagreements have taught me invaluable things. And these days, whenever I sigh over some bit of web work I find fault with, I always keep Jim's phrase in my mind, so that I may temper any criticism I have with gentleness. I only wish Bush would realize this chestnut of wisdom that Jim gave me. bliss l > This sort of discussion--quickly paced, back and forth banter--is a particular > strength of the listserv; it is one of the reasons I love the vital > discussions that listservs communely foster. The discussions on listservs are > different than discussions on blogs, but I find that both are academically > valuable. > > Listserv communities progress through contention while blogging communities > generally progress through concurrence. > Posted by brandon barr at 09:34 AM> > January 31, 2003 Brandon Barr's astute comments about the value of listservs deserves to be repeated and further discussed. Tom Bell wrote to me some time ago suggesting that I write about my experiences on this list, as I have said more than once here and many times to other friends socially that this list is consistently a very valuable experience. I am encouraging every writer I talk to to subscribe and contribute to the list, and I am trying to persuade formerly active listservers to keep contributing. I also spoke to Joel Kuzai about this recently at the Bowery Poetry Club. Joel Kuzai, well known to subscribers to this list, is the author of "Poetics@" (Roof,1999), which certainly should be required reading in any course on or systematic study of listservs and blogging. I am fascinated by Barr's formulation and I imagine there are also many other ways a listserv evolves, at least from my admittedly limited experience. Brandon Barr's comment serves as food for thought because I think the contentious aspects of the list, while being of course problematic, are also very valuable because by trying to learn to deal with them I've learned more about how to deal with important, unavoidable and often necessary and ultimately sometimes beneficial disagreements in the poetry community and elsewhere more openly and with some kind of attempt, often admittedly clumsy, at humor. Every poet knows that the poetry community, like any other, has its difficulties with competition, manipulation and monopolizing. Then there is that continuously troubling dynamic between a poet's invaluable idealism and the realities of a poet's "career." Brandon Barr appears to be tracking and discussing on his blog "texturl" -at http://texturl.net/-the rapidly developing phenomenon that listservs and blogging are altering the media landscape in ways that were unpredictable. The current political crisis now facing us is offering an opportunity to to pinpoint the potential poltical power in the growing synergetic relationship between listservs, blogging, poetry publications, poetics, poets' published political opinions and commentary and the interest and curiosity of other journalistic media. Commercial media are like predatory animals necessarily searching hungrily and desperately for their food- news, interesting opinions and information. Countless print and wireless media journalists and commentators must be constantly combing the web environment. But clearly all media have a potential synergetic relationship. By acting quickly and stealthily individual writers, such as Allen Ginsberg, Abbie Hoffan and others in the 60's demonstrated so unbelievably brilliantly how writers can utilize their imaginative powers to redirect the attention of the mass media. The appetite on the part of the media, as those writers and countless others have showed us so powerfully, is there. The amazingly rapid success of Sam Hamill's experiment in poetic anthologizing in finding a way to focus the political power of the web for poets is encouraging. At last count 4600 poets have logged on. Meanwhile, Brian Kim Stefans has jumped into the fray-with some understandable trepidation- offering his own blog spot as an open forum for discussion on the war. Dare I hope and say that working together- as countless activists did in the late 60's- we can stop this war, or at least seriously slow it down? I hope John Godfrey was right when he said yesterday at the Bowery Poetry Club to me that he believed the momentum for this war among the public is just not there. I've heard others express this opinion. I'm excited to see the poetry community go into action so quickly and so effectively before the body bags start piling up. Maya Lin is great, but I'd rather see her express her formidable talents in other areas rather than a Second Gulf or Third War War memorial. -Nick- ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 9 Feb 2003 10:33:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: If the bombing is cancelled. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Last night on the local news I watched a young man saying goodbye to his = wife and baby, a reservist heading to the Middle East. He said, "The = most difficult thing about this is leaving my family." Not, "The most = difficult thing about this is going to halfway around the world to kill = people." Such are "family values" these days in the USA. Robert Bly writes, in his poem, "The Battle of Ypes, 1915": Some greedy part hankers for disaster, for = things To go wrong, for the war to start. Many people Are disappointed when the bombing is canceled. The poem is dedicated to Martin Prechtel, the son of my former = Albuquerque neighbor, George. Martin was trained in Central America as a = shaman (See, "M. Prechtel, "Secrets of the Talking Jaguar: A Mayan = Shaman's Journey to the Heart of the Indigenous Soul." Los Angeles, = 1998.) He lives north of Santa Fe, where he cares for his family, tends = his horses, and heals people. When he travels, he packs a medicine = pouch, not a gun. George is one of the few persons from New Mexico with whom I've stayed = in touch. Retired, he reads Jungian books and takes brisk walks. He will = not be disappointed if the bombing is cancelled.=20 -Joel =20 Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon Homepage: http://web.pdx.edu/~pdx00282 Archive: http://www.unm.edu/~reality "The Silence of Sasquatch": http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm =20 =20 =20 ========================================================================= Date: Sun, 9 Feb 2003 13:35:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: If the bombing is cancelled. In-Reply-To: <000c01c2d069$c4407fa0$f9fdfc83@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { Last night on the local news I watched a young man saying goodbye to his wife and baby, a reservist heading to the { Middle East. He said, "The most difficult thing about this is leaving my family." Not, "The most difficult thing about { this is going to halfway around the world to kill people." Such are "family values" these days in the USA. Well, it's not just "these days," Joel. Remember Gen. Patton saying (roughly) "I don't want you to die for your country. I want you to make that other poor bastard die for *his* country"? Hal "Life swarms with innocent monsters." --Charles Baudelaire Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Mon, 10 Feb 2003 15:47:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: #'s V.V... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I find the #'s attached to Nick's post disturbing..esp. from the ever so reliable V.V...used to be owned by Rupert Murdoch..now owned by a conglomerate mostly into real estate dev. and pet food.... some #'s left out... 1) deaths from Iraq's invasion of Iran...any where from 1 to 3 million on up... 2) deaths from Saddam's internal repression...a few 100k...give or take a few hundred k..make up a figure and get any amnesty int. report... i'd add the 500,000 children's death...which a regime change would have allowed to live.. 3) est. spent on Saddam;s nuclear weapons and biological programs...10 to 20 billions on up..to the bathrooms of all of Sadamm's palaces.. .. to me the most troubling number.is the 500,00 children...altho Iraq's pop. has reportedly grown by 40 per cent since the first Gulf War. the position of both the French and Germans...the Democratic opposition to the War...and all the voices on the main stream left is that CONTAINMENT is the best answer to the Iraqui prob..tho the lala left has its own solutions...more inspectors, more over flights and dare i say continued sanctions...this is a an extension of the last decade...and if the figures are to be believed should result in the same deaths of 500k children...give or take a few 100k...as a footnote...Palestinian deaths in the two yrs of this Infantaada run 800 to 1,000........but when you're counting Saddam's K's...what's a few single deaths here or there... I'm going to leave the 6 mill..or so Rwandans out of this....whose only hope was a strong military response from the U.S..neither the Euros or the UN had the MILITARY FORCE....this did not happen for many many political reasons...not the least of which is the same morass of words...any military actions in any place would cause....stop the war....let 500,000 Iraqui children die...is that the plan.is that the poster....Harry... ========================================================================= Date: Sun, 9 Feb 2003 14:04:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Brandon Barr's Hypothesis MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT READING The Tending Instinct (Shelley Taylor, Holt, 2002) set off some bells for me as a nurturing male that I am mulling along with my morning coffee that picks me up with Camels (tobacco auctioned not as often 5 miles away but marketed via Dale via this afternoon's NASCAR 80 miles off to my children and theirs) bought yesterday from a friendly-enough-looking man who undoubtedly wishes he were faceless these days and whose father had calculated for me the day before just how many cents I saved buying there as his eyes rolled at my mention of taxes. Today's headlines in the big city paper include mention of Bush's possible appearance at the OK Corral of Christian booksellers 60 miles off tomorrow and the departing (enplaning, boating, enplaning?) of the 101st from 80 miles further. We may speculate in our own ways on loss of business and work for my daughter. READING health Bulletin Boards Bill Boards thronging with females [Willie Nelson featured on the the history channel's veterans award show and Marriah Carey as celerbritysurvivor slamdunking at the allstar game] where men are sometimes allowed to participate as pretend experts and then put down for that pretense and Oprah out of Nashville out of Milwaukee continues to prosper. READING all the news that poetry is making and the slamming and reputating that is bound to appear but out of the thickets of blooming blogs and listserv brouhahas, hubbubs, and uproars does seem to be emerging some thoughts worth thinking even though I haven't seen much in the way of tending yet and I have to admit my first impulse comes from the old fight or flight axis and it's only a bit later that society lets me tend. IS IT POSSIBLE to make poetry out of healthcare and warfare or are they making their own.[googling turns up Humor central, Tupac, slams, etc. but you have to dig some to find WCW who said Transitional First he said: It is the woman in us That makes us write-- Let us acknowledge it-- Men would be silent. We are not men Therefore we can speak And be conscious (of the two sides) Unbent by the sensual As befits accuracy. I then said: Dare you make this Your propaganda? And he answered: Am I not I--here? [(from The Tempers, 1913 WRITING from the gut is perhaps a two stage process? I'd like to read the second poets that all those poets wrote when they realized that they were banned from the stage of a librarian wife's acquiescence to a husband's cowboy impulse. this is of course only one way of peeling the onion but when it comes down to it I'm fortunate to be able to type this out and send it off? BACK TO writing. tom bell not yet a crazy old man although maybe not clear ========================================================================= Date: Sun, 9 Feb 2003 15:48:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: new work in muse apprentice guild MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Hey, I have some new writing in the current issue of muse apprentice guild just up: http://www.muse-apprentice-guild.com/wandaphipps/home.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: Sun, 9 Feb 2003 14:28:07 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: If the bombing is cancelled. MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT READING The Tending Instinct (Shelley Taylor, Holt, 2002) set off some bells for me as a nurturing male that I am mulling along with my morning coffee that picks me up with Camels (tobacco auctioned not as often 5 miles away but marketed via Dale via this afternoon's NASCAR 80 miles off to my children and theirs) bought yesterday from a friendly-enough-looking man who undoubtedly wishes he were faceless these days and whose father had calculated for me the day before just how many cents I saved buying there as his eyes rolled at my mention of taxes. Today's headlines in the big city paper include mention of Bush's possible appearance at the OK Corral of Christian booksellers 60 miles off tomorrow and the departing (enplaning, boating, enplaning?) of the 101st from 80 miles further. We may speculate in our own ways on loss of business and work for my daughter. READING health Bulletin Boards Bill Boards thronging with females [Willie Nelson featured on the the history channel's veterans award show and Marriah Carey as celerbritysurvivor slamdunking at the allstar game] where men are sometimes allowed to participate as pretend experts and then put down for that pretense and Oprah out of Nashville out of Milwaukee continues to prosper. READING all the news that poetry is making and the slamming and reputating that is bound to appear but out of the thickets of blooming blogs and listserv brouhahas, hubbubs, and uproars does seem to be emerging some thoughts worth thinking even though I haven't seen much in the way of tending yet and I have to admit my first impulse comes from the old fight or flight axis and it's only a bit later that society lets me tend. IS IT POSSIBLE to make poetry out of healthcare and warfare or are they making their own.[googling turns up Humor central, Tupac, slams, etc. but you have to dig some to find WCW who said Transitional First he said: It is the woman in us That makes us write-- Let us acknowledge it-- Men would be silent. We are not men Therefore we can speak And be conscious (of the two sides) Unbent by the sensual As befits accuracy. I then said: Dare you make this Your propaganda? And he answered: Am I not I--here? [(from The Tempers, 1913 WRITING from the gut is perhaps a two stage process? I'd like to read the second poets that all those poets wrote when they realized that they were banned from the stage of a librarian wife's acquiescence to a husband's cowboy impulse. this is of course only one way of peeling the onion but when it comes down to it I'm fortunate to be able to type this out and send it off? BACK TO writing. tom bell ========================================================================= Date: Sun, 9 Feb 2003 13:17:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: new review in muse apprentice guild In-Reply-To: <3E46BE8D.2030404@rcn.com> Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit check out the review of "a day in the life of p." in muse apprentice guild@ http://www.muse-apprentice-guild.com/bookreviews/home.html 42 BOOK AND CHAPBOOK REVIEWS BY CHRIS MANSEL also in the new St. Mark Poetry News letter is a wonder review of my book by Brenda Coultas kari edwards _________________ -GENDER RIGHTS ARE HUMAN RIGHTS- ______________________ NEW: A NEW NOVEL BY kari edwards / a day in the life of p. From: Subpress Collective /ISBN # 1-930068-18-2 @ Small Press Distribution http://www.spdbooks.org/ ________________________________ Also check out: http://www.xpressed.org/ http://www.litvert.com/issueseven.html http://www.muse-apprentice-guild.com/august2002/kariedwards/ literary_magazine.html http://homepages.which.net/~panic.brixtonpoetry/semicolon1.htm http://www.sfsu.edu/~poetry/narrativity/issuethree_toc.html http://www.shampoopoetry.com/ShampooThirteen/ShampooIssueThirteen.html http://canwehaveourballback.com/12index.htm http://www.webdelsol.com/InPosse/edwards10.htm http://www.puppyflowers.com/II/flowers.html http://poetz.com/fir/may02.htm http://poetz.com/fir/feb02.htm http://www.shampoopoetry.com/ShampooFourteen/ShampooIssueFourteen.html ========================================================================= Date: Sun, 9 Feb 2003 16:58:25 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Craig Allen Conrad Subject: DEAR MR. PRESIDENT THERE WAS BROKEN EGG SHELL UNDER YOUR DESK IN MY DREAM LAST NIGHT!!!!!!! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Mr. President this morning i called my cousin in Wyoming his boyfriend was making the coffee like many good people do in this beautiful country my cousin told me to tell you it's madness you bring us when i told him i was writing to you today it's been awhile since i've seen you in person on the streets of Philadelphia you were waving and then you were speaking hey we've all heard the stories of your cocaine and booze and i want to say i'm sorry about your parents i'm sure other children of CIA brass need a little craziness to get a little loose do a line of coke get naked and run around campus were you freer back then of course you were i'm an idiot for asking and i remember cologne when you spoke in Philadelphia and i know it was your cologne you had that i'm-wearing-cologne air about you see i believe there's a big man inside you and yes we're angry right now yes it's about war yes it's about many things the things men with little time for love will impose on others and i wish i could say HEY we're all going to be dead in a hundred years so let's shift the pace let's forget about war let's pass a Let's Get Naked And Crazy National Holiday i wish it was this easy but nothing is ever easy with a man who has little time for love and a man with little time for love is really just a man who hasn't had love yet you haven't really had love yet there's no way you could have had love real love and not want every human body to have medical care if they need it have education if they want it have more time with their families and loves like we all NEED it Mr. President i'm worried your self esteem was damaged many years ago and keeps you from seeing us out here our bodies our black and white and red and yellow and Iraqi and Korean bodies and we're all a little fucked-up with our problems but i know i JUST know there's a big man inside of you big enough to really SEE need and offer without hesitation because you can because there is plenty you are stronger than your father's blueprints for your life i've seen your fingers in person you have nice hands Mr. President and they're your hands not your father's hands your life is your own it really is it belongs to you and love is waiting i have a lot of love Mr. President and i just want to press against you sometimes to let you get a little of it HEY i'm so serious about this let's go away together this spring just the two of us it's not a big deal don't even tell anybody i mean you're the president after all but there's a marvelous stretch of woods where i grew up we could smoke a little pot to wind you down get you out of your oval office mode maybe a little wine i'm sure you need a good massage maybe we could go to the creek and paint secret mud symbols on our naked bodies like i used to do with my first boyfriend what happens after that will be fine you'll see it will be okay the break in the woods has the best flowers to rest beside in the sun and you will awaken with a crown of honeysuckle beautiful man that you are a real leader of real lives who can change the world with real love waiting for you CAConrad ========================================================================= Date: Sun, 9 Feb 2003 14:51:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maryrose Larkin Subject: Sound Poetry Festival and Invitation to a PHONETICATHON Mime-Version: 1.0 Content-Type: text/plain; format=flowed SOUND POETRY FESTIVAL February 22nd Saturday 5:00-9:30 PM SOUNDVISION gallery 625 NW Evertt St #108 Portland, Oregon $6 suggested donation 11 sound poets from 3 cities, portland, seattle and boise David Abel Crag Hill Nico Vassilakis Edie Tsong & Pete Kuzov Lisa Radon One Hundred Moons Circle Joseph Bradshaw Dan Raphael Maris Kundzins Paul Nelson & Dan Blunck mARK oWEns INVITATION TO PHONE IN YOUR SOUND POEM Feb.22nd 8:00-8:20 PM Pacific Coast Time, USA Spare Room’s poetry collective is hosting a Sound Poetry Festival in Portland, OR, usa on Feb. 22nd. Among the 12 performances, we have a 20 MINUTE PHONETICATHON where we are asking sound poets from around the world to participate. We will have 3 cell phones set up for poets to call in at exactly 8:00-8:20 PM pacific coast time, USA on FEB.22nd. Please note that he Pacific Coast is 3 hours behind New York City. All 3 cells phones will be hooked into the PA system to be amplified and recorded. All 3 calls will be juxtaposed simultaneously. Please call us and voice your sound poem. CALL: 503.819.9455 or 503.475.9256 or 503.740.6526 THESE NUMBERS ARE ONLY TO BE CALLED ON FEB.22ND 8:00-8:20PM PACIFIC COAST TIME THESE ARE PHONES ON LOAN FOR THAT TIME ONLY DO NOT CALL THESE PHONES AT OTHER TIMES When you call on FEB. 22nd between 8:00-8:20PM 1) the phone will be answered without any talking. 2) state your name as well as the city/state and country from which you are calling. 3) read your sound poem for 2-5 minutes. Please note that we will record the phoneticathon with the hopes to release the recording on CD. If you call, we assume that you relinquish permission to record your participation and release your contribution on CD. All rights revert to the author. Staying within suggested time frame (2-5minutes) will allow us to incorporate more poets in the 20 minute period. If all phone lines are busy, we ask that you to keep trying. The vision of the phoneticathon is to include as many sound poets from the furthest parts of the world. Please forward, copy and relay this message to other sound poets about this project. Please email mark_anypush@yahoo.com if you plan to call in your poem. Any questions can be sent to the same address. sound poetry uses phonetics and mouth sounds to turn communication on its head, carring meaning and resonance it would not otherwise have. to hear historical and contemporary sound poems, visit the “sound” archive at www.ubu.com _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Sun, 9 Feb 2003 18:20:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: #'s V.V... In-Reply-To: <6511019.1044820875430.JavaMail.nobody@wamui03.slb.atl.eart hlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The lala left in this case includes most Americans, the overwhelming majority of Europeans, and the governments of France, Germany, Russia, China, and most of the other countries on earth. For want of a better reason to favor containment (and there are plenty) the extreme unpredictability of war and its aftermath for all concerned is sufficient. As to those death tolls, Saddam is a monster, but most of those children died as a result of sanctions, and the Iran war was fought by Iraq with our encouragement and as our surrogate, albeit a willing one. The weapons employed were supplied by guess who? The sanctions could easily be modified short of either regime-support or war. Meanwhile, we can assume that Saddam isn't immortal. If, on the other hand, Saddam manages to make so many concessions in the next week, as he apparently has begun to do, that US attack will become more embarassing than it's worth, all those troops are already very expensively in place. Think of all the other countries in the region that pose no immanent threat but are just waiting to be beat-up on. I'm reminded of Jimmy Carter's response when a reporter asked him about our invasiuon of Granada: "I didn't doubt for a minute that we could take them." The goal of that invasion seemed to me then to impress upon the rest of the world's governments that we were not only supremely powerful but just as crazy as they feared. Imagine a two-year-old with hydrogen bombs. Whatever it asked for, who would refuse? I am passionately in love with this country, but often it's not the happiest of passions. Here's something to ponder. It's the Senate's job to declare wars and approve treaties, not that the current administration cares much about such niceties, but if Bush asks its support remember that the Republican majority consists of states with 42% of the US population. Not all senators are created equal. Mark At 03:47 PM 2/10/2003 -0500, you wrote: > I find the #'s attached to Nick's post disturbing..esp. from the ever > so reliable V.V...used to be owned by Rupert Murdoch..now owned by a > conglomerate mostly into real estate dev. and pet food.... > > some #'s left out... > > 1) deaths from Iraq's invasion of Iran...any where from 1 to 3 > million on up... > > 2) deaths from Saddam's internal repression...a few 100k...give or > take a few hundred k..make up a figure and get any amnesty int. report... > i'd add the 500,000 children's death...which a regime change would have > allowed to live.. > > 3) est. spent on Saddam;s nuclear weapons and biological > programs...10 to 20 billions on up..to the bathrooms of all of Sadamm's > palaces.. > > .. to me the most troubling number.is the 500,00 children...altho > Iraq's pop. has reportedly grown by 40 per cent since the first Gulf War. > > the position of both the French and Germans...the Democratic > opposition to the War...and all the voices on the main stream left is > that CONTAINMENT is the best answer to the Iraqui prob..tho the lala left > has its own solutions...more inspectors, more over flights and dare i say > continued sanctions...this is a an extension of the last decade...and if > the figures are to be believed should result in the same deaths of 500k > children...give or take a few 100k...as a footnote...Palestinian deaths > in the two yrs of this Infantaada run 800 to 1,000........but when you're > counting Saddam's K's...what's a few single deaths here or there... > > I'm going to leave the 6 mill..or so Rwandans out of this....whose > only hope was a strong military response from the U.S..neither the Euros > or the UN had the MILITARY FORCE....this did not happen for many many > political reasons...not the least of which is the same morass of > words...any military actions in any place would cause....stop the > war....let 500,000 Iraqui children die...is that the plan.is that the > poster....Harry... ========================================================================= Date: Sun, 9 Feb 2003 19:55:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: pushcart prize nominee MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit William James Austin, whose work i highly recommend ( you can see his work in the winter issue of the m.a.g. - www.muse-apprenctice-guild.com ) has just been nominated for the second time for the Pushcart Prize --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Mon, 10 Feb 2003 00:06:05 -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 about fear the writing world & about the tremble world with its tremble name with its fear name writing closing my eyes & trembling the world, do tremble ears, the fearing trembling, trembling, the mouth, the mouth i fear writing about the world & tremble with its name closing my eyes & trembling the world, do tremble closing my eyes & ears, & fearing the world, do fear the world fearing & trembling, closing my mouth fearing the name of the world === ========================================================================= Date: Mon, 10 Feb 2003 00:17:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Query re Sondheim (Alan) In-Reply-To: <000f01c2d05b$d07c3ec0$a8fdfc83@oemcomputer> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 1 Click on http://www.muse-apprentice-guild.com/alansondheim-feature/home.html then click on My Composition in Language for the full text together. 2 I think I've disappeared from the poetry scene. What happened to open source, freedom? What happened to net? To the discomfort of exploration? Safety in numbers, do we dare abandon? Have we all become micro-soft? At the age of 60, alas I weep alone for my unfulfilled destiny, no longer manifest/o. A beast has taken over the United States. Does anyone honestly believe will have another election - or if there is one, that it will reflect anything but violence? We are about to be the butchers of the world, sharpen our knives for some hometown fun. - A http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Mon, 10 Feb 2003 00:35:57 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: child development in the 21st century In-Reply-To: <200302080003596.SM00616@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "cynical and corrupt or psychotic and moral" I think it's all of the above. I think what happens is a process of rationalization breathing inside a hard shell of denial. Opportunism takes root, and little by little, the more power one has, the less proximal he is to personal relationships with those he makes decisions for, and handles matters in more and more extreme ways, ways that reflect the lack of proximity to the millions. we're all stupid in some sense; stupidity isn't the difference between any one of us and bush. it's something else entirely, a pattern of behavior permitted and nurtured through child development into adolescence and into adulthood. piles of cash. dreams of being a pirate like my daddy, like my granddaddies. money makes things easier. people trained to feel bad about doing nice things. and encouraging others to join in the psychotic crusade. the crusade is at once cynical and corrupt and psychotic and moral, despite the inherent contradiction within labeing one individual with all four words. absolute power corrupts absolutely, but the approximation of absolute power is achieved step by step. it is the product of another organism, another creature, who is in so many respects uncannily similar to each of us. this organism is opportunistic, like all organisms, but it's been trained to handle higher-level opportunities than most other organisms in its species and to capitalize on those opportunities. working at that distal level is insane obscene self-centered and definitely corrupt, but it certainly also comes with the feeling of moral righteousness. the behavior and the moral representation of the behavior. because feeling good IS good, and what makes an organism like george bush feel good? Iraq's oil is certainly central to the policy making, and that oil represents vast potential wealth. if the bushies don't steal the oil, they fear that saddam will become powerful, immensely so (as much oil as saudi arabia potentially, but of a much higher quality), and that oil will tip the scales of geopolitics with his immense potential wealth. to date it's clear that in buying the interests of france and russia with his vast potential oil wealth, saddam is already tipping the scales. so there's the moral justification for bush; i think that he believes it is righteous to steal the oil. (and that it is righteous to evaporate civil liberties, one by one. because capital capital capitalizing on fear is capital-izing. moral righteousness, reward. bush is undoubtedly nuts with all od the sick things he's done and said (laughing about an execution and displaying utterly all-too-human sadistic disrespect for the inmates family.) france and russia's lack of support only underscore this idea for bush's advisers. at every step the rewards of who wins from a decision of some powerful government executive such as the president create a moral incentive (however distorted such a concept is) for that executive to choose what is clearly corrupt to many of us. but that can only succeed only so far as the people will allow it. no one man can ever have absolute power unless people reliquish their power absolutely, and that ain't never gonna happen nohow. control. control. control. thanks patrick Date: Fri, 7 Feb 2003 10:08:19 -0500 From: Jordan Davis Subject: growing up Joe - Growing up would require us all, in the face of having our names used to endorse a crime of world-historical proportions, to eschew quibbling over theories about motives until we have either prevented the crime or apprehended the criminals. Anyway, this comes down to whether you believe Bsh II is cynical and corrupt or psychotic and moral. "Grow up" -- what are you, a CIA plant? Much love from your old subsub pal, Jordan >From: Jordan Davis >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: growing up >Date: Fri, 7 Feb 2003 10:08:19 -0500 > >Joe - > >Growing up would require us all, in the face of having our names used to >endorse a crime of world-historical proportions, to eschew quibbling over >theories about motives until we have either prevented the crime or >apprehended the criminals. > >Anyway, this comes down to whether you believe Bsh II is cynical and >corrupt or psychotic and moral. > >"Grow up" -- what are you, a CIA plant? > >Much love from your old subsub pal, >Jordan _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ------------------------------ Date: Fri, 7 Feb 2003 08:54:46 -0800 From: Kazim Ali Subject: Information request Hey, Aside from the Paul McCartney & Carl Perkins album "We'd Go On For Hours" does anyone know a place I can get a recording or soundfile of the Paul MCartney/Yoko Ono collaboration "Hiroshima Sky is Always Blue"? Kazim ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Fri, 7 Feb 2003 09:38:49 -0800 From: Rodney K Subject: Re: Love Poem Ashbery's "A Blessing in Disguise" is a great love poem, though with the beloved weirdly shimmery and absent. Had it read at my wedding anyway. Maybe the budding entrepreneurs in Ankara will dig it. On a totally different tangent (or is it?), I wonder if it's alright to be against the war because you hate the way Rumsfeld *moves his hands*. --Rodney Koeneke ------------------------------ Date: Fri, 7 Feb 2003 12:51:41 -0500 From: noah eli gordon Subject: Re: growing up The whole morality point really is the war's tagline & slogan, it's like a movie poster: an epic battle of good vs. evil, which is what's so frightening, as it also distances us so much from it. I wonder how many folks there were sitting around a table somewhere saying: "Evil empire?" "No, too Star Wars." "Axis of Evil?" "humm, that's good, it's almost poetic." noah _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ------------------------------ Date: Fri, 7 Feb 2003 12:57:40 -0500 From: Vernon Frazer Subject: Re: Request for Contact Info Recently somebody posted here to ask why nobody asked about contact info = for them? Why should this person be alone in trying to prevent falling = into neglect & obscurity? I'm at least as neglected & am not lacking a = talent for obscurity, wanted or unwanted It has occurred to me that I have the same right to ask why nobody has = asked about contact info for me. Depending on who you talk to, I did = "fall off the face of the earth" several months ago. Fortunately, there = were no broken bones, just a few scrapes & bruises. (And a lot of palm = trees) But only the Flat Earth Society seemed to care. So, it is up to one of you, maybe even two, to end this gross injustice. = Stand up and be counted (I'm not a math major.) Vernon Frazer ------------------------------ Date: Fri, 7 Feb 2003 14:33:39 -0330 From: "K.Angelo Hehir" Subject: Powell Speech and Criticism The Powell File: 1) Full text of his speech plus question and answer period http://www.cbsnews.com/stories/2002/12/19/national/main533763.shtml Rebuttals: 2) Rahul Mahajan, author of ""The New Crusade: America's War on Terrorism" http://www.zmag.org/content/showarticle.cfm?SectionID=40&ItemID=2980 3) Robert Fisk, Independent commentator and Mideast critic supream http://www.zmag.org/content/showarticle.cfm?SectionID=40&ItemID=2977 4) Phyllis Bennis, MidEast analyst for Foreign Policy in Focus http://www.zmag.org/content/showarticle.cfm?SectionID=40&ItemID=2976 ------------------------------ Date: Fri, 7 Feb 2003 13:14:51 EST From: Anslem Berrigan Subject: No Subject I will leave this alone after this post. All I wanted to get across was 1) to reaffirm the condition of war as present and not just imminent, and 2) that moral conviction, or the appearance of it, is an extremely effective weapon for Bush -- one that is easy to dismiss as false, and yet to be effectively argued against by his opposition, in my opinion (only)... and I am part of that opposition, if that actually had to be fucking made clear to anyone. Adios. growing down, Anselm ps -- I don't know why this list gets my e-mails from an Anslem ------------------------------ Date: Fri, 7 Feb 2003 14:12:24 -0600 From: tombell Subject: Re: growing up he's no more a sociopath than Teddy Roosevelt was. it's just that he's playing lives now. tom bell ----- Original Message ----- From: "Mark DuCharme" To: Sent: Friday, February 07, 2003 10:45 AM Subject: Re: growing up > I'm with Jordan here. While I tend to think of Bush as cynical & corrupt, > it would take a hell of a lot of cynicism to proceed with what he's about to > do and NOT justify it to himself on some kind of "moral" grounds. Of course > it is also a money grab, as well as payback for trying to kill daddy. It > also provides a nice distraction from the tanking economy, & from the now > all but forgotten Enron scandal. Plus, if Karl Rove is right, it will all > but ensure Bush's reelection. The war is all of these things to Bush, but > the question is, is he merely a corrupt sonofabitch, or a sociopath. I > definitely believe there are sociopathic tendencies in the Bush > administration. I'm more likely to ascribe these to Cheney &/or Rumsfeld, > but that doesn't matter. As Jordan, Gary, Mike & others have said, what we > need to do now is try & stop this war. For everyone's sake I hope we > succeed. > > Peace, > > Mark DuCharme > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> > > > > 'A sentence thinks loudly.' > > --Gertrude Stein > > > > http://www.pavementsaw.org/cosmopolitan.htm > > http://www.nyspp.com/lisa/soc.htm > > > > > > > > > >From: Jordan Davis > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: growing up > >Date: Fri, 7 Feb 2003 10:08:19 -0500 > > > >Joe - > > > >Growing up would require us all, in the face of having our names used to > >endorse a crime of world-historical proportions, to eschew quibbling over > >theories about motives until we have either prevented the crime or > >apprehended the criminals. > > > >Anyway, this comes down to whether you believe Bsh II is cynical and > >corrupt or psychotic and moral. > > > >"Grow up" -- what are you, a CIA plant? > > > >Much love from your old subsub pal, > >Jordan > > _________________________________________________________________ > MSN 8 with e-mail virus protection service: 2 months FREE* > http://join.msn.com/?page=features/virus ------------------------------ Date: Fri, 7 Feb 2003 14:02:02 -0500 From: Sara Parker-Toulson Subject: Re: Information request Yes, it's called Kazaa (type into Google), otherwise known as 'stealing music'. But you have to have a high speed connection. good luck > > From: Kazim Ali > Date: 2003/02/07 Fri AM 11:54:46 EST > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Information request > > Hey, > > Aside from the Paul McCartney & Carl Perkins album > "We'd Go On For Hours" does anyone know a place I can > get a recording or soundfile of the Paul MCartney/Yoko > Ono collaboration "Hiroshima Sky is Always Blue"? > > Kazim > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > ------------------------------ Date: Fri, 7 Feb 2003 13:20:22 -0600 From: miekal and Subject: Re: Love Poem so far I haven't seen any visual poems mentioned, while looking for a piece by Emmett Williams (was it called "Hearts"?) I found this one: first love http://www.berliner-galerien.de/Wewerka/Kuenstler/Williams.html & humbly, no one has mentioned their favorite love poem which they have written themselves. for my self I would offer the piece Maria D & I wrote several years ago called EROS/ION http://cla.umn.edu/joglars/erosion/index.html mIEKAL On Friday, February 7, 2003, at 11:38 AM, Rodney K wrote: > Ashbery's "A Blessing in Disguise" is a great love poem, though with > the > beloved weirdly shimmery and absent. Had it read at my wedding > anyway. Maybe the budding entrepreneurs in Ankara will dig it. > > On a totally different tangent (or is it?), I wonder if it's alright to > be against the war because you hate the way Rumsfeld *moves his hands*. > > --Rodney Koeneke > ------------------------------ Date: Fri, 7 Feb 2003 11:34:35 -0800 From: Stephen Vincent Subject: Re: growing up I don't if New Advice represents a sad, paranoid version of "growing up" o= r primarily a tool for survival if the Moral is used to precipitate an invasion and "democratic occupation" (talk about an oxymoron), but I do suspect I wrote the following from down inside some psychic level in which = I am experiencing the apprehension and terror of the arrival of those moral agents - read most probably the FBI or your local Homeland Security Rep - the avengers whose job is and will be to clear the population of doubters, unclean pluralists, the anarchists, anyone who might be working to take the self-declared Vector off his Righteous course: New Advice Hold on to your hat, your coat, your shirt, belt, pants, underwear. Close down your skin, your muscle, your bones, your blood. Hang on to your sperm, your eggs, your delivery or receptive tools. If they did not come yesterday, they will be here today or tomorrow. They are not elected. They are self-chosen. If not chosen, they are appointed.=20 When they knock, point out the hole in their socks, the out of place whiske= r next to a beige mole on the chin. Nickel and dime them with petty truths: The sky is green. The ocean is yellow. The poll results are "interesting." If they press harder, talk about the sex life between you and their well known director. Implicate yourself in the pleasure of providing him or her with normally unspeakable acts. Somewhere between the lapel and shoulder pad, the recorder is on. Your words will kill the tape. This is evidence they cannot show or replay in public or private. It=B9s your word against theirs. Call it "a poetry of distraction." In the meantime, beware the false landscape. Find safe shelter. Anything may catastrophically drop during "breaking news". Look up through dark coated glasses. Register the national 1-800 number. Report instances of fallen debris. Photograph but don=B9t touch. Toxicity may be frequent. Walk carefully. Preserve vision at any speed. Stephen Vincent on 2/7/03 9:51 AM, noah eli gordon at noaheligordon@HOTMAIL.COM wrote: > The whole morality point really is the war's tagline & slogan, it's like = a > movie poster: an epic battle of good vs. evil, which is what's so > frightening, as it also distances us so much from it. I wonder how many > folks there were sitting around a table somewhere saying: > "Evil empire?" > "No, too Star Wars." > "Axis of Evil?" > "humm, that's good, it's almost poetic." >=20 > noah >=20 >=20 > _________________________________________________________________ > Add photos to your messages with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=3Dfeatures/featuredemail ------------------------------ Date: Fri, 7 Feb 2003 13:37:23 -0600 From: miekal and Subject: Liechtenstein for rent (sounds like a good place for a poetry conference --mIEKAL) Liechtenstein for rent Friday, February 7, 2003 Posted: 12:33 PM EST (1733 GMT) ZURICH, Switzerland (Reuters) -- Country for hire, one careful owner. The tiny principality of Liechtenstein is putting itself up for rent in a bid to attract corporate conferences and bolster its tourism industry, a local official said Friday. The new "Rent a State" program lets corporate clients symbolically take over the tiny country of just 33,000 residents tucked away among the Alps between Switzerland and Austria. "The basic idea is that an entire, small country plays host to a conference with all the various possibilities at its disposal," said Roland Buechel, director of the state tourism agency in Liechtenstein, which covers an area of 60 square miles. Rent a State is based on the Rent a Village concept developed by event management firm Xnet AG in small towns in Austria, Germany and Switzerland. Xnet will drum up business among corporate customers seeking a site for meetings, while the tourism agency will work with local authorities and help organize rooms and program ideas. Customers will get tailor-made programs that put their brand on display and involve local officials -- but not the monarch Prince Hans Adam -- in special events. "It is not envisioned to include the prince or government officials," Buechel said. ______________________________________________________ &: On Friday, February 7, 2003, at 11:57 AM, Vernon Frazer wrote: > ) But only the Flat Earth Society seemed to care. > > > > I wish they cared about me. ------------------------------ Date: Fri, 7 Feb 2003 12:04:23 -0800 From: =?iso-8859-1?Q?Huneuroni_Rendimanch=E9?= Subject: nothing.jpg I'm washing my hair.. [nothing.jpg] you see this part.. its a green lemon beltbuckle on this other one... an ape-like head comes out of the sun ok give me a hug sweetheart.. {unsorted children} 15 colors ------------------------------ Date: Fri, 7 Feb 2003 15:05:15 -0500 From: "mail.daemen.edu" Subject: Contact Info Vernon Frazer If anyone would happen to have the contact info for Vernon Frazier please back channel Thanks in advance, Geoffrey ----- Original Message ----- From: "Vernon Frazer" To: Sent: Friday, February 07, 2003 12:57 PM Subject: Re: Request for Contact Info > Recently somebody posted here to ask why nobody asked about contact info for them? Why should this person be alone in trying to prevent falling into neglect & obscurity? I'm at least as neglected & am not lacking a talent for obscurity, wanted or unwanted > > It has occurred to me that I have the same right to ask why nobody has asked about contact info for me. Depending on who you talk to, I did "fall off the face of the earth" several months ago. Fortunately, there were no broken bones, just a few scrapes & bruises. (And a lot of palm trees) But only the Flat Earth Society seemed to care. > > So, it is up to one of you, maybe even two, to end this gross injustice. Stand up and be counted (I'm not a math major.) > > Vernon Frazer > > > ------------------------------ Date: Fri, 7 Feb 2003 15:35:56 -0500 From: Patrick Herron Subject: Who's Floggin' Who http://lesters.flogspot.com/ Currently Being Flogged: "I'm not so sure about blowing" (little Mattie inspires Lester) Billy Mills' essay in Terrible Work? INCLUDED or EXCLUDED Pt. 1 "Veal Parmesan and a Boring Poem" Received Excerpts from Kucuk Iskender's _Souljam_ (trans. Murat Nemet-Nejat) Ange Mlinko vs. Arielle Greenberg, or, Does Poetry Need Money? Jordan Davis Responds Mark DuCharme asks, "what about Christopher Hitchens?" & Lester Responds INCLUDED or EXCLUDED Pt. 2 AND the world premiere of ... ZOMBIE! (new flash animation) http://lesters.flogspot.com/ ------------------------------ Date: Fri, 7 Feb 2003 12:27:38 -0800 From: "Caterina Fake (yahoo)" Subject: Eatmorewords.org I'm new to the list, but know some of you from other fora. I wanted to let everyone know about a non-profit word consortium I've started to provide online resources to writers called Eat More Words, on the web at http://www.eatmorewords.org The main member benefit is access to the online OED. Generally for individuals a yearly subscription is $550, but under the aegis of the foundation we are offering a year membership at $10/year until we launch on or around March 1. Membership will be $12/year thereafter. Please also sign up on the notification list. Should membership revenue exceed the cost of providing these services -- and we hope that it will! -- we will launch The Apicule Literary Award, and may publish a book of poetry in cooperation with a small press. Future features may also include a subscription to the xrefer plus reference library. There is more info on the site. Eat More Words operates under the auspices of The Apicule Foundation, which will begin offering microgrants to artists in mid-2003. Best, Caterina Fake __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Fri, 7 Feb 2003 15:39:23 -0500 From: Patrick Herron Subject: Z O M B I E The World Premiere of... Z O M B I E http://proximate.org/zombie.htm FLASH ANIMATION 2.8 MB 2:01 looping Macromedia Flash Player plug-in required... Downloads the player here: http://sdc.shockwave.com/shockwave/download/alternates/ System Requirements for Flash Playback: http://www.macromedia.com/software/flash/productinfo/systemreqs/ Patrick Patrick Herron patrick@proximate.org !!!!!!!!!!!!!!!!!!!!!!! !Getting Close Is What! ! We're All About(TM) ! !http://proximate.org/! !!!!!!!!!!!!!!!!!!!!!!! ------------------------------ Date: Fri, 7 Feb 2003 15:58:15 -0500 From: Jim Behrle Subject: poem Wasted Youth Tastes Like Chicken the game is over, I'm dirty at midnight and then dirty for at least a year tell the robots in my veins to keep it down a woman on the bus is reading THE ECONOMIST it's the sexiest thing in forever I've got a thing for gunslingers and uncontrollable hype it's "The Rawhide Kid" for me circle to park or just circle weaving diamonds into the blizzard meanwhile miles of rope spill out my ear _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ------------------------------ Date: Fri, 7 Feb 2003 13:10:20 -0800 From: David Hadbawnik Subject: Re: Love Poem Wow. check out this interview with, of all people, Camille Paglia... http://www.salon.com/opinion/feature/2003/02/07/paglia/index.html -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of miekal and Sent: Friday, February 07, 2003 11:20 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Love Poem so far I haven't seen any visual poems mentioned, while looking for a piece by Emmett Williams (was it called "Hearts"?) I found this one: first love http://www.berliner-galerien.de/Wewerka/Kuenstler/Williams.html & humbly, no one has mentioned their favorite love poem which they have written themselves. for my self I would offer the piece Maria D & I wrote several years ago called EROS/ION http://cla.umn.edu/joglars/erosion/index.html mIEKAL On Friday, February 7, 2003, at 11:38 AM, Rodney K wrote: > Ashbery's "A Blessing in Disguise" is a great love poem, though with > the > beloved weirdly shimmery and absent. Had it read at my wedding > anyway. Maybe the budding entrepreneurs in Ankara will dig it. > > On a totally different tangent (or is it?), I wonder if it's alright to > be against the war because you hate the way Rumsfeld *moves his hands*. > > --Rodney Koeneke > ------------------------------ Date: Fri, 7 Feb 2003 16:16:11 -0500 From: "Lipman, Joel A." Subject: FW: FW: Powell and Plagiarism =20 -----Original Message----- From: sibyl james [mailto:sibyljames@hotmail.com] Sent: Friday, February 07, 2003 3:28 PM To: barbara@baloney.com; thebrocks@comcast.net; calyx@proaxis.com; = cardongonn@hotmail.com; dufkie@premier1.net; ehartman@drizzle.com; = misiaeve@netscape.net; evgalin@aristeresearch.com; = jlipman@pop3.utoledo.edu; judith@onereel.org; dab20@aol.com; = karendewinter@attbi.com; karenr7@oz.net; KCLJB@hotmail.com; = LA@squarelake.com; elder-lewis@email.msn.com; = lindagallaher@earthlink.net; collinsbooks@collinsbooks.com; = valatmeans@seanet.com; michaels@crocker.com; ibrahim.muhawi@ed.ac.uk; = nick.licata@ci.seattle.wa.us; NowenONe@aol.com; nrawles@earthlink.net; = orvinj@attbi.com; pamcob@ix.netcom.com; dogma3@earthlink.net; = radang@hcc.ctc.edu; vlward@accessexcellence.org; skjsan@hotmail.com; = saritagon@attbi.com; morrell@olympus.net; morrell@olypen.com; = sanni@ozemail.com.au; tiedon@juno.com; tomfellows@earthlink.net; = wftstaff@wftaft.com Subject: Fwd: FW: Powell and Plagiarism I knew his sources were flaky but this is dramatic. Send this to = everyone you know, especially anybody in the media. >From: "James, Sibyl"=20 >To:=20 >Subject: FW: Powell and Plagiarism=20 >Date: Fri, 7 Feb 2003 12:08:20 -0800=20 >=20 >=20 >=20 >-----Original Message-----=20 >From: Burton, Dick C.=20 >Sent: Friday, February 07, 2003 11:57 AM=20 >To: _Faculty FT Central; _Faculty FT North; _Faculty FT South; _Faculty = >FT SVI; _Faculty PT Central; _Faculty PT North; _Faculty PT South;=20 >_Faculty PT SVI=20 >Subject: Powell and Plagiarism=20 >=20 >=20 >Perhaps our Secretary of State and the British Government could use a = little reminder about properly citing their sources.=20 >=20 >http://truthout.org/docs_02/020803A.htm=20 >=20 >Blair-Powell UN Report Written by Student=20 >By William Rivers Pitt=20 >t r u t h o u t | Report=20 >=20 >February 7, 2003=20 >=20 >"My colleagues, every statement I make today is backed up by sources, = solid sources. These are not assertions. What we're giving you are facts = and conclusions based on solid intelligence."=20 >- Secretary of State Colin Powell before the United Nations, 2/5/03=20 >=20 >The veracity of Colin Powell's report on Wednesday before the United = Nations Security Council was dealt a serious blow when Britain's Channel = 4 News broke a story that severely undermines the credibility of the = intelligence Powell used to make his case to the UN.=20 >=20 >Powell's presentation relied in no small part upon an intelligence = dossier prepared by the British Government entitled, "Iraq - Its = Infrastructure of Concealment, Deception and Intimidation." That report = plagiarized large swaths of an essay written in September of 2002 by a = graduate student from California named Ibrahim al-Marashi. Al-Marashi's = essay appeared in the September 2002 edition of a small journal, the = Middle East Review of International Affairs.=20 >=20 >According to the story from Channel 4 News, which was later augmented = by an Associated Press report by Jill Lawless, the duplicate text was = first spotted by a Cambridge, England academic named James Ranwala. = Apparently, Ranwala read the British dossier when it became available = and believed he had seen it before. As it turns out, he was correct. = Entire sections of the al-Marashi essay, including six full paragraphs = in one section, had been cut and pasted into the British dossier, = including several spelling and grammatical errors that are identical.=20 >=20 >According to the Associated Press, al-Marashi had no idea his paper was = being used by the British. "It was a shock to me," he told the = Associated Press, and expressed the hope that the British would credit = his work "out of academic decency."=20 >=20 >A line-by-line comparison of the two documents clearly shows one = example of the plagiarism:=20 >=20 >From the British report -=20 >=20 >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri as head during the 1991 = Gulf War. After the Gulf War he was replaced by Wafiq Jasim al-Samarrai. = >=20 >After Samarrai, Muhammad Nimah al-Tikriti headed Al-Istikhbarat = al-Askariyya in early 1992 then in late 1992 Fanar Zibin Hassan = al-Tikriti was appointed to this post.=20 >=20 >These shifting appointments are part of Saddam's policy of balancing = security positions. By constantly shifting the directors of these = agencies, no one can establish a base in a security organisation for a = substantial period of time. No one becomes powerful enough to challenge = the President."=20 >=20 >From the al-Marashi essay -=20 >=20 >"Saddam appointed, Sabir 'Abd al-'Aziz al-Duri(80) as head of Military = Intelligence during the 1991 Gulf War.(81) After the Gulf War he was = replaced by Wafiq Jasim al-Samarrai.(82)=20 >=20 >After Samarrai, Muhammad Nimah al-Tikriti(83) headed Military = Intelligence in early 1992(84) then in late 1992 Fanar Zibin Hassan = al-Tikriti was appointed to this post.(85) While Fanar is from Tikrit, = both Sabir al-Duri and Samarrai are non-Tikriti Sunni Muslims, as their = last names suggest.=20 >=20 >Another source indicates that Samarrai was replaced by Khalid Salih = al-Juburi,(86) demonstrating how another non-Tikriti, but from the = tribal alliance that traditionally support the regime holds top security = positions in Iraq.(87)=20 >=20 >These shifting appointments are part of Saddam's policy of balancing = security positions between Tikritis and non-Tikritis, in the belief that = the two factions would not unite to overthrow him. Not only that, but by = constantly shifting the directors of these agencies, no one can = establish a base in a security organization for a substantial period of = time, that would challenge the President.(88)"=20 >=20 >After a close analysis of the identical text from both reports, it is = also clear that Britain altered key words to give their report a more = sinister and ominous twist. The British report states that the Iraqi = intelligence agency is "spying on foreign embassies in Iraq." The = al-Marashi essay's version states that the Iraqi intelligence agency is = "monitoring foreign embassies in Iraq." The rhetorical leap from = "monitoring" to "spying" is evident.=20 >=20 >In another portion of the British dossier, Iraq is accused of = "supporting terrorist organizations in hostile regimes." The al-Marashi = essay's version states that Iraq is "aiding opposition groups in hostile = regimes." The insertion of the word "terrorist" is manifestly = provocative.=20 >=20 >A disturbing series of questions is raised by this matter. Mr. Powell = relied heavily upon "facts and conclusions based on solid intelligence," = often from foreign intelligence services such as the British. His = presentation was meant not only to establish the fact that Iraq is in = possession of prohibited weapons, but also that Iraq enjoys ties to = terrorist groups like al Qaeda. In light of this data, the factual basis = for these claims is in doubt. Britain's report was touted as an = up-to-the-minute intelligence review of the situation in Iraq. In fact, = much of it is based upon the work of a graduate student who published = his essay five months ago.=20 >=20 >Furthermore, if the al-Marashi essay was worthy of plagiarizing, why = did the British feel it necessary to alter certain key phrases so as to = make it seem that Iraq is spying on foreign embassies and aiding = terrorist groups? The manipulation of the original data appears, on the = surface, to have been done in bad faith.=20 >=20 >An analysis of the footnotes for the al-Marashi essay clearly = demonstrate that his work was meant to describe Iraq's intelligence = apparatus and military situation in the 1990s. The British dossier was = presented as an up-to-date report on the status of Iraq's weapons and = terrorist ties. There are 106 reference footnotes in the essay. 103 of = these footnotes reference reports and articles from 1988 to 2000. Only = three are from this century, and all of them reference reports from = 2001. This is not current data in any context.=20 >=20 >Clearly, Mr. Powell cannot be held responsible for the veracity of data = given to him by the British government. The fact remains, however, that = the British intelligence data, which comes from the most steadfast ally = of the Bush administration, has been severely undermined by this report. = This calls into question the veracity of virtually every aspect of = Powell's presentation to the United Nations.=20 >=20 >If the American Secretary of State was given such shoddily-assembled = data from its most loyal ally, how can the rest of the data be = considered dependable? The data on Zarqawi and Ansar al-Islam came from = Jordanian intelligence, a source much less trustworthy than the British. = Many of the "human sources" cited by Powell were, in fact, detainees in = Guantanamo, Cuba. These sources are suspect at best, yet were a = significant part of the basis for Powell's accusations that Iraq is = working with al Qaeda and developing a wide variety of prohibited = weapons. Between these sources and the unreliable data from the British, = it seems all too clear that Powell's entire presentation was based upon = information that is questionable to say the least.=20 >=20 >Finally, and most significantly, is the question of intent. The United = States will have soon placed approximately 150,000 troops in the region = surrounding Iraq with the full intention of going to war. Such a = conflict is almost certain to cause destabilizing upheavals in the = Middle East which could threaten the global community. More ominously, = the CIA and FBI have reported that a war in Iraq will definitely lead to = terrorist attacks in America and a number of European nations, including = Britain. This matter must now be framed in a new light. Does the British = government believe it acceptable to assist the United States in going to = war on the word of a graduate student from Monterey?=20 >=20 >The revelation of this data could conceivably come to do significant = harm to the Bush administration's attempt to assemble a "Coalition of = the Willing" for an attack upon Iraq. Tony Blair and Britain have been, = since the beginning, the most fundamentally important members of = whatever international coalition Mr. Bush is able to assemble.=20 >=20 >This report could shake Blair's standing with his government and his = people. Blair's relationship with his own party, and with the British = citizenry, has already proven rocky on the subject of his alliance with = the Bush administration over this conflict. If Blair's ability to stand = with Mr. Bush becomes undermined, Mr. Bush would find himself almost = completely isolated on this issue.=20 >=20 >-------=20 >=20 >William Rivers Pitt is a New York Times bestselling author of two books = - "War On Iraq" (with Scott Ritter) available now from Context Books, = and "The Greatest Sedition is Silence," available in May 2003 from Pluto = Press. He teaches high school in Boston, MA.=20 >=20 >Scott Lowery contributed research to this report.=20 >=20 >=20 >-----Original Message-----=20 >From: Liz Burbank [mailto:lizburbank@earthlink.net]=20 >Sent: Friday, February 07, 2003 11:17 AM=20 >To: liz burbank=20 >Subject: ACTUAL SOURCE OF C.POWELL'S "INDISPUTABLE NEW EVIDENCE..." !!! = >=20 >=20 >want some real smoking guns--check out expose of powell's speech!!!!=20 >=20 >=20 >=20 >=20 >You can join our Direct mailing list by sending a blank email to=20 >join-truthout@lists.truthout.com=20 >=20 >http://truthout.org/docs_02/020803A.htm=20 >=20 >ApplyRefer v2.3=20 _____ =20 Help STOP SPAM with the new MSN 8 and = get 2 months FREE*=20 ------------------------------ Date: Fri, 7 Feb 2003 14:32:28 -0800 From: Nick LoLordo Subject: Re: Powell and plagiarism The Guardian has a story with PDFs of the papers up at http://www.guardian.co.uk/Iraq/0,2759,423009,00.html -- V. Nicholas LoLordo Assistant Professor Department of English 4504 Maryland Parkway Box 455011 Las Vegas, NV 89154 (702) 895-3623 ------------------------------ Date: Fri, 7 Feb 2003 18:55:33 -0500 From: Ron Subject: Bob Grenier in the Village Voice You must have to cut & paste that URL into your browser address box. http://www.villagevoice.com/nightguide/evening.php?eventID=24788&slcateg ory=music&sldate= ------------------------------ Date: Fri, 7 Feb 2003 18:59:19 -0500 From: Alan Sondheim Subject: defuge n+0 defuge n+0 unconscious, defuge, upgrade, body-html, jennifer, julu simultaneously tender it, and turn away, as if defuge were in operation, forms. In any case, the Compaq is now one of us, subject to defuge, full to an end. The resulting detumescence partakes of defuge, exhaustive Exactly. And so perhaps the preface of the book is lost in _defuge,_ decathected, state or statement of defuge. irrelevant, keeping defuge at bay. wryting perhaps, structures against defuge as well, or the harboring and defuge. Jennifer drops hints; she's willing to take up every pocancer it is all there, the defuge, sexuality, transparency, linkage, coupling defuge/flooding, cyberspace falters and topples in the sand/granularity of produces both a sense of accomplishment and defuge; the world greatly It is so common that a word is necessary here, the _defuge,_ defuse/refuge deluge/refuse, de-light, de-flower. Rhyme patterns, frames, defuges; it is the defuge that draws the poem forward beyond return, the sonnet to Rhyme materializes, and the materiality is subject to defuge, carrying effluvia. It is the substance in pornography that defuges; there is a return is the defuge of time, the striations of the medium as well. defuge, the circum-stantiation, circumlocution of the abyss: and too much spleen, like boredom, figures into defuge; both play a role in Salo, in materiality that defuge operates through is ultimately cannibalistic. And finally, defuge, from my Disorders of the Real: "Form, thrust away. this imply the defuge of narrative? defuge, fifth and final section, explanations: defuge refuge refuse defuse: _r.d/fu/g.s/e:_ writing the words over and - what differentiates defuge is the peculiar passivity that accompanies in my own adulterated view, defuge is connected with the hunt as well, (and defuge enters into theoretical burnout, cyberspace burnout as well. defuge: in which the body gives itself away by transforming possession itself, defuges, sputters at the edges; given the death of the author, It is so common that a word is necessary here, the _defuge,_ defuse/refuge deluge/refuse, de-light, de-flower. Rhyme patterns, frames, defuges; it is the defuge that draws the poem forward beyond return, the sonnet to Rhyme materializes, and the materiality is subject to defuge, carrying effluvia. It is the substance in pornography that defuges; there is a return is the defuge of time, the striations of the medium as well. defuge, fifth and final section, explanations: vis-a-vis _defuge_ back into the body, the reading of the body through the text, the mouths of the text, textual _defuge._ Afterwards, defuge sets in - the application, bodies, partner, world, sex, easy ontology, with the promulgation of the writer. Nothing is defuge, pentium wryting defuge phenomenology virtuality darknet actants REPETITION is a return through defuge to the imaginary, uncanny, and already in a state of defuge... things worry themselves in constancy It makes sure to retain the old names, discarding them by virtue of defuge or defuge-machine. When everything is cool, everyone surfs, the more words but is simply defused, _defuged,_ forgotten. defuge alan:flood:efface:leak:lung:defuge:spill:1341:0:unravel:defuge:flood break:cripple:ligament:phantom:defuge:yes:15856:6:lag:defuge:ligament and defuge (Levinas for example). deferment, gaping at the end - it's there that defuge sets in, difference Sometimes I suffer defuge and then it goes lackluster and the worlds are Doing is all my beautiful domains, defuge withdraws and decathects. dom, and defuge, cancers devouring the remnants of grave and graven flesh. When defuge sets in, when decathecting is universal, then it's the time to out of defuge (Sondheim) - the _hacker drive_ which tends towards what economy, no longer participating on that level - a state of defuge. contains a weather of ice and violation. Violent depression and defuge [...] /* primal dullness of the world in defuge and immanence */ sations? but she continues in a state of denial and defuge. Jennifer drops Because during that period, defuge set in; I was exhausted with Is the fact that during that period defuge set in you were exhausted Earlier you said during that period defuge set in you were exhausted Please, defuge set in; that you berated it. It's the nuclear class that and tending towards foreclosure, defuge; it is the Jennifer-body that defuge worn out with defuge/refuge, exhausted, the isolated image of clit or pouring out through locked doors of building "defuge" you stain yourself following paths to old defuge you stain yourself following paths to old defuge ... When defuge, decathected exhaustion, sets in, I may rely on quotations of slough at the edges, exhausted, in states of defuge and decathexis. Pools emanations out of the suppurating flesh of my own body - that 'defuge' defuge - you can sense i'm used up, always have been constructs defuge, the paste broken by inscription. Dis-ease is that of computational clean-room. These aspects leak out; net.sex, defuge/burnout, into difference day after day takes its toll. I use the word 'defuge' to defuge worn out with defuge/refuge, exhausted, the isolated image of clit or pouring out through locked doors of building "defuge" defuge beautiful haiku of defuge, sent by someone who was added to a number of and defuge. Jennifer drops hints; she's willing to take up every pocancer, it is all there, the defuge, sexuality, transparency, linkage, coupling d.txt:7 dd:195 defuge.txt:2 e.txt:5 ee:21 f.txt:6 ff:7 g.txt:11 gg:18 and exitings - when the spheres are shattered - when defuge sets in - when already marker.hand.piston.stylus elsewhere, defuge marker hand defuge-oo-dhtml-oo-diegesis-oo-diegetic ascii unconscious, defuge, upgrade, body-html, jennifer, julu 1 theory is defuge and enumeration coupled with abjection and foreclosure 3 disinvestment is the state of defuge or refusal/deluge 1 theory is defuge and enumeration coupled with abjection and foreclosure 3 disinvestment is the state of defuge or refusal/deluge 3 disinvestment is the state of defuge or refusal/deluge 1 theory is defuge and enumeration coupled with abjection and foreclosure It is the substance in pornography that defuges; the image on the level of until the exhaustion of defuge decathects these tiffany 30 seconds defuge exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical exhaustion, defuge, and the wavering of existence in terms of the physical think of defuge. environment ground plane replacement of traditional goto defuge or /[z]+/ { print "defuge or decathected disinvestment, exhaustion" } d'nala decathexis deconstructed deconstruction defuge Derrida dhtml evanescent, they're already exhausted by consciousness and defuge. the psychology, one of flows/flux/spew/emission as well (my notion of 'defuge' deconstructed deconstruction deerflies defuge Derrida desiccated dhtml defuge - distributed avatars - evanescence - it's all there - the others defuge again - same substance hammered language them defuge - again defuge language hammered them kill defuge again - to example defuge trying the to disgust read a a novel novel again depressions antennae antennas personal_ws-1.1 english 30 Gertrud defuge personal_ws-1.1 english 33 Gertrud defuge mobius zags philosopies yiddish o i beg you dearest sister visit me in defuge, exhausted after a weary protolanguage. It has also covered the concept of "defuge," and traced liams, measure series, The Perilous Cemetery, Herodotus, Derrida, defuge structuralist notion of unconscious processes; defuge is concerned with a it in the form of serial representations (exhausting, through defuge, one nothing makes a differance, it leaves no trace, not even defuge announcing and concepts have been developed - ascii unconscious, defuge, construct ... === ------------------------------ Date: Sat, 8 Feb 2003 19:58:38 -0500 From: Harry Nudel Subject: The Haj our usual reliable sources...are informing us...that as part of the their neo-colonialist adventurism...the U.S.of A...plans to change the end point of the Haj...millions of Muslims..will be redirected to Disneyland..where they will $hop til they...around Mickey and Goofey...the Me$$ah tourist board it has further been reported is in the process of lodging a formal complaint...citing copywrite infringement......drn.. ------------------------------ Date: Sat, 8 Feb 2003 11:38:29 +1000 From: JFK Subject: CUT UPS & DAYDREAMS 5 INSERT DAY DREAM |day | | | dream| peace on a fridge magnet JFK www.poetinresidence.com ------------------------------ Date: Sat, 8 Feb 2003 11:45:49 +1000 From: komninos zervos Subject: Re: No Subject --=======6E5B7655======= Content-Type: text/plain; x-avg-checked=avg-ok-5AE865A; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit please replace 'War' with 'Invasion of Iraq' and 'Bush' with 'Supreme Ruler of the World'. At 04:14 AM 8/02/03, you wrote: >I will leave this alone after this post. > >All I wanted to get across was 1) to reaffirm the condition of Invasion of >Iraq as present >and not just imminent, and 2) that moral conviction, or the appearance of it, >is an extremely effective weapon for the Supreme Ruler of the World -- one >that is easy to dismiss as >false, and yet to be effectively argued against by his opposition, in my >opinion (only)... and I am part of that opposition, if that actually had to >be fucking made clear to anyone. Adios. > >growing down, > >Anselm > >ps -- I don't know why this list gets my e-mails from an Anslem > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======6E5B7655======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-5AE865A Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======6E5B7655=======-- ------------------------------ Date: Fri, 7 Feb 2003 19:52:32 -0800 From: aaron tieger Subject: response to jim berhle/mark lamoureux Hi all, This is my first post but I'd just like to say to Jim and Mark: right the fuck on. Aaron Tieger ===== "droplets of yes and no in an ocean of maybe" faith no more, "falling to pieces" __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ End of POETICS Digest - 6 Feb 2003 to 7 Feb 2003 (#2003-39) *********************************************************** ========================================================================= Date: Mon, 10 Feb 2003 00:46:11 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: child development in the executive branch In-Reply-To: <200302080003596.SM00616@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Mark - If we stopped the Bush, we wouldn't even be having any such discussion! We should not as a nation allow this criminal regime to endure. Stop the war? YES BUT DON'T FORGET!!! ***IMPEACH BUSH!*** is what I shout. He ripped off the American public & the IRS breaking the SEC laws...Harken anyone? That's not good enough reason (but getting a blowjob is?). ***IMPEACH CHENEY!*** Where are the energy commission's documents, Dick? What were you discussing at those meetings, hmm? Can't we decide whether such things are OK, hmm? Democracy, Dick? You know, D-E-M-O-C-R-A-C-Y? With Patriot II on the way, I could be arrested on suspicion of terrorism, and secretly so, just for suggesting even the democratic removal of this creep and his fellow zombies. My calculable "worst-case scneario," as they would calculate form my post, is that someone who speaks like this could later become a less rational sort of threat--a terrorist. To everyone around me it would just seem like I disappeared. No FOIA access, no trace at all. Paranoia? Or possibility? We all know it's happened before in history, it happens elsewhere now as you read this, it maybe even happens here already...but if it doesn't, it's clearly on it's way. the nazis are taking over this town with churches cars prisons liquor stores guns lawyers drugs rape and credit cards. The war is one of just many of our problems. We have so many problems that stem from the mad righteousness of this criminal & exploitative administration, and we're going to continue to have more and more as long as these creeps run the executive branch. Patrick Date: Fri, 7 Feb 2003 09:45:37 -0700 From: Mark DuCharme Subject: Re: growing up As Jordan, Gary, Mike & others have said, what we need to do now is try & stop this war. For everyone's sake I hope we succeed. Peace, Mark DuCharme ========================================================================= Date: Mon, 10 Feb 2003 00:55:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: pushcart prize nominee MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Way to go Bill !!!! Best, Geoffrey ----- Original Message ----- From: "August Highland" To: Sent: Sunday, February 09, 2003 10:55 PM Subject: pushcart prize nominee > William James Austin, whose work i highly recommend > > ( you can see his work in the > winter issue of the m.a.g. - www.muse-apprenctice-guild.com ) > > has just been nominated for the second time for the Pushcart Prize > > > > > > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 > > ========================================================================= Date: Sun, 9 Feb 2003 22:27:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crag Hill Subject: Ace of Hearts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ace of Hearts You have a choice: upstairs with mommy or downstairs with a stick It's one blurry firm a very apoplectic notion turns in on its resident, all brittle things a nuisance, not knighted by any peep hole "As our nation moves troops and builds alliances to make our world safer, we must also remember our calling, as a blessed country, to make this world better. In an age of miraculous medicines, no one should have to hear these words Can anyone measure up? Can anyone tell? She walked his lines when the breaks stumbled under her feet; she couldn't crawl to the end of the poem. He heard the rain fall hard, spotlights of the video shoot unable to soften the thuds But being shot at is no fun, and I never got used to it. Because of our highly realistic training, this enemy for the first time has a deeply ingrained fear that he or she will fail when meeting grenade explosions and screaming men. A battlefield is also very dirty with dust, wood chips and debris everywhere Trucks might be loading fuel rods in North Korea; on the other side of the world, in our trucks, we spend as much as can before it's exhausted. A numbing agent. "My hearing is sound- proof." He could hear the radio whimpering in her room, worried that it was about war, about face. My thoughts end at the window; my window begins at the thought. He's schooled after he's hungry The climate of hating season is early upon us - the Seizure Pram. They should cudgel the pill this week. The only songs we're leering are how is going with whim, who boats a mass in Manhattan, which loam company won't go tall if you think, the most expressive tex face, and on and on and on. The gossip emerges alone, cold powers the budding eccentricity for the rust of the murky myriad ========================================================================= Date: Sun, 9 Feb 2003 22:56:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Art is a lie that makes us realize the truth. In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Art is a lie that makes us realize the truth. - Pablo Picasso This sentence is made up of ten words. This sentence is made up of 35 letters and nine spaces, with a period at the end. This sentence is known as a declaration. This sentence attempts to define a difficult modern concept. This sentence invokes a paradox. This sentence was uttered by a famous modern artist. This sentence was uttered sometime between 1881 and 1973. This sentence was uttered either before I was born, or after, I can't be sure. This sentence uses words that were first learned by the speaker either before I was born, or after, I can't be sure. This sentence refers to another sentence. This sentence exists in a distinct cultural context. This sentence has been translated from its original language into English. This sentence is part of a longer sentence. This sentence goes on forever. This sentence is timeless. This sentence contains no references to lizards. This sentence will not get you thrown out of a family restaurant. This sentence wears its emotions on its sleeve. This sentence rhymes with "orange." This sentence does not rhyme with "orange." This sentence is a cheap way to get laughs. This sentence would sound silly if spoken aloud. This sentence will never be used to condemn anyone to death. This sentence cannot declare war on Iraq. This sentence cannot be inoculated or disinfected. This sentence is not that sentence. This sentence asks no questions and poses no answers. This sentence has passed through somebody's lips. This sentence has entered the canon. This sentence is part of one's memory. This sentence is part of one's dreams. This sentence does not say anything. This sentence delivers no message. This sentence falls apart upon rereading. This sentence serves no purpose. This sentence does not exist. This sentence is a lie. This sentence is the truth. This sentence is a lie that makes us realize the truth. This sentence is art. This sentence has nothing to do with art. This sentence is. This sentence. This. . -mwp ========================================================================= Date: Sun, 9 Feb 2003 23:00:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: pushcart prize nominee In-Reply-To: <002c01c2d0c9$007cd4a0$605e3318@LINKAGE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Way to go Bill !!!! How does one go Bill? -- George Bowering Remember to . . . uh . . . Fax 604-266-9000 ========================================================================= Date: Sun, 9 Feb 2003 23:13:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Congratulations! You are now hopelessly infertile. In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Congratulations! You are now hopelessly infertile. I lead a double life. On one side of the page, I am quiet and unassuming. On the side that nobody sees, I am a seething profligate. Beneath my blistered feet churns a maelstrom. I instinctively feel its vastness and that it is too deep and too cold. One shadow gives back red, the other green. My smile conceals a gilded frown. The food was a little out of focus, but I ate it anyway. I wanted to sleep more tonight, but was engorged by emergency dreams. -mwp ========================================================================= Date: Mon, 10 Feb 2003 00:05:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Sound Poetry Festival and Invitation to a PHONETICATHON MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Hi Maryrose, welcome to the West Coast. Monica Peck has turned up here. She is full of ideas. I dont know that Lawrence can survive the removal from its company of you two. It would be great to see you again. Love, David -----Original Message----- From: Maryrose Larkin To: POETICS@LISTSERV.BUFFALO.EDU Date: Sunday, February 09, 2003 3:02 PM Subject: Sound Poetry Festival and Invitation to a PHONETICATHON >SOUND POETRY FESTIVAL > >February 22nd Saturday >5:00-9:30 PM >SOUNDVISION gallery >625 NW Evertt St >#108 Portland, Oregon >$6 suggested donation > >11 sound poets from 3 cities, portland, seattle and boise > >David Abel Crag Hill Nico Vassilakis Edie Tsong & Pete Kuzov Lisa Radon One >Hundred Moons Circle >Joseph Bradshaw Dan Raphael Maris Kundzins Paul Nelson & Dan Blunck mARK >oWEns > >INVITATION >TO PHONE IN >YOUR SOUND POEM >Feb.22nd >8:00-8:20 PM Pacific Coast Time, USA > >Spare Room’s poetry collective is hosting a Sound Poetry Festival in >Portland, OR, usa on Feb. 22nd. >Among the 12 performances, we have a 20 MINUTE PHONETICATHON where we are >asking sound >poets from around the world to participate. We will have 3 cell phones set >up for poets to call in at exactly >8:00-8:20 PM pacific coast time, USA on FEB.22nd. Please note that he >Pacific Coast is 3 hours behind >New York City. All 3 cells phones will be hooked into the PA system to be >amplified and recorded. All 3 >calls will be juxtaposed simultaneously. Please call us and voice your sound >poem. > >CALL: > >503.819.9455 or 503.475.9256 or 503.740.6526 > >THESE NUMBERS ARE ONLY TO BE CALLED ON >FEB.22ND 8:00-8:20PM PACIFIC COAST TIME >THESE ARE PHONES ON LOAN FOR THAT TIME ONLY >DO NOT CALL THESE PHONES AT OTHER TIMES > >When you call on FEB. 22nd between 8:00-8:20PM > >1) the phone will be answered without any talking. >2) state your name as well as the city/state and country from which you are >calling. >3) read your sound poem for 2-5 minutes. > >Please note that we will record the phoneticathon with the hopes to release >the recording on CD. If you >call, we assume that you relinquish permission to record your participation >and release your contribution >on CD. All rights revert to the author. > >Staying within suggested time frame (2-5minutes) will allow us to >incorporate more poets in the 20 minute >period. If all phone lines are busy, we ask that you to keep trying. > >The vision of the phoneticathon is to include as many sound poets from the >furthest parts of the world. >Please forward, copy and relay this message to other sound poets about this >project. Please email >mark_anypush@yahoo.com if you plan to call in your poem. Any questions can >be sent to the same >address. > >sound poetry uses phonetics and mouth sounds to turn communication on its >head, carring meaning and >resonance it would not otherwise have. to hear historical and contemporary >sound poems, visit the >“sound” archive at www.ubu.com > > >_________________________________________________________________ >Add photos to your messages with MSN 8. Get 2 months FREE*. >http://join.msn.com/?page=features/featuredemail > ========================================================================= Date: Mon, 10 Feb 2003 02:14:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: poems x three MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "stretching that you see" the credibility gap between land-based and online bite the shooter? TONS OF current choke on this for we comply FFA donkey? THERE'S A 99% CHANCE PLEASE DON'T TAKE MY WORD FOR IT my mind is made up in high-quality neighborhood wet wet wet high-quality neighborhood wet my mind is made up in high-quality neighborhood wet just a few questions you've got the answer this won't take long? answer? answer? you've got the answer? "answer?" is a stylized edgy narrative which explores desire, addiciton, and cruelty. NOTHING BUT FREE FUN!! augie highland 2:01 am 02-10-03 ****************************************** "wave a cheery goodbye in a passing motorcar" protect your cash and animals I hope we can make a good link trade :-) augie highland 2:08 am 02-10-03 ****************************************** "250 characters long" ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- ---------- augie highland 2:11 am 02-10-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Mon, 10 Feb 2003 21:27:36 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: Re: Poetry Plastique: On Line@EPC MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is wonderful! With the catalogue available to download too! Does anyone know if the panel discussion (or discussions) was recorded or transribed? I'd like to get hold of a copy of either (or both!). - Ben ========================================================================= Date: Mon, 10 Feb 2003 02:30:22 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: famous last Occidental remarks In-Reply-To: <200302100503.h1A53NR28566@mta01.hawaii.edu> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Today I was digging thourgh some boxes of books in my (trans-Pacific) storage room, and the debris of my life. I cam upon a musty little stack of journals from my undergraduate days at Berkeley-- Occident, Hyperion, Berkeley Poetry Review and others. They contain some of the interesting first work published by writers such as Leslie Scalapino, Andrew Ross (the an aspiring poet in Wheeler Hall), and for example a torqued lyric by "Ronald Silliman" called "After the Pastoral, Driving with my Grandfater to the Place Where Scott Coles Died, The Realities, An Aside For Rochelle" (even the title then aspiring to eh deformatoin serial of the New Sentence). But what woke me from my torpor of excess literariness was thiscomment by Mark Schorer thatt William Burroughs, if he were invited to teach in a university like Cal, "would be more useful in Home Economics, teaching the use of scissors-- and needles?-- than in literature, teaching something about composition." And where are the new-critical snows of yesteryear like you Mark Schorer, and where have all the vicious sexist classist dumb flowers gone? Gone to a literary seminar in heaven to be sure,to start over, Rob Wilson ========================================================================= Date: Mon, 10 Feb 2003 07:39:42 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: On Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Kevin Davies' Lateral Argument Chris McCreary's The Effacements: Titles & their constraints Tom Fink on Robert Pinsky & Daniela Gioseffi in Barrow Street:: generating misconceptions Woo woo petunia: Rachel Blau DuPlessis & the role of the unconscious in contemporary poetry Eugen Jebeleanu: Romania's "epic poet" Eleni Sikelianos' California - poem as nature museum diorama (& the heritage of Michael McClure) Radical Society: rebirth of The Socialist Review Marianne Shaneen: The Peekaboo Theory Stanzas for an Evening Out: Curtis Faville's classic of the 1970s Robert Grenier's Sentences: http://www.whalecloth.org/ http://ronsilliman.blogspot.com/ 15,000 visitors in the last five months ***************************************** I will be reading in the Temple Writers Series, Temple Gallery, 45 North 2nd Street, Philadelphia, Thursday, February 27th. The reading is at 8:00 PM and is free to the public. ***************************************** Salt Publishing has just published a new edition of my poem Tjanting with a new forward by Barrett Watten. Available in the U.S., U.K. & Australia. http://saltpublishing.com/1876857196.html Two poems from The Age of Huts have been reissued by Ubu press as e-books: Sunset Debris & 2197 http://www.ubu.com/ubu/ ========================================================================= Date: Mon, 10 Feb 2003 04:45:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Omaha Steaks Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Cubism made me turn a corner in my relationships with women. I was living in a box of an apartment on third street; thus ensconced, the reverberations of backward compatability reached chutney fingers through my pillow at night. Accordingly, I never slept. Most days it snowed curry. She was not just knee-deep she was totally deep when she did the freak with me. Though she had the more current operating system, I was able to slide through her registry and announce myself in a tiny, uninvited dll. He somehow mapped a drive between us, a hub of LAN sparkling pugnaciously under the risotto sky we'd come to call Reudens together. He always seemed particularly eager to see my flesh, especially in motion, but when I suggested we meet he backed off quickly. He suggested a restaurant that served only steak, and that quite rare; filets as pinks as embarassed dusk. Knowing full well that I'm a vegan, he directed me to sites that sold "Omaha Steaks," told me it excited him very much, the thought of forkfuls of tender veal in my mouth. I got a thang, you got a thang, ev'rybody got a thang. I sat at that restaurant all night, thumbing nervously the pages of a book on Pop Art; to this day, there's a print of A1 sauce on some of James Rosenquist's finest work. She never showed. A similar streak of mustard, undoubtably from a yesteryear lunch of salami on rye, adorns my copy of Derrida's Grammatology. What did the author mean by it? After a while I got up, paid the bill, and went home. Outside the sky was twisted all over itself like black licorice. Once back in my apartment, wholly separate, I started boxing up my things. It was time to keep on movin'. 2003/02/10 07:34:35 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 10 Feb 2003 07:52:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: dubya montage In-Reply-To: <20030210124551.46720.qmail@web10705.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit go listen to this one: http://downloads.warprecords.com/bushwhacked2.mp3 ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 10 Feb 2003 05:44:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: INTERVIEW WITH AUGUST HIGHLAND BY ANDREW SHELLEY Comments: cc: rhizome , wryting , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii INTERVIEW WITH AUGUST HIGHLAND BY ANDREW SHELLEY (Andrew Shelley is an oxford- and cambridge-educated poet, writer, essayist and literary critic. He is the author of two poetry collections, "The Requiem Tree" and "Peaceworks".) Andrew Shelley: I like the kind of tricks your work is always playing with the literary establishment and with our expectations derived from it and elsewhere, but do you intend your work be taken as anything other than that? August Highland: No. Absolutely not. I never play tricks in the sense of hoaxes or games. The tactics i am using are motivated by a very serious commitment to the western literary tradition. My work questions the literary status quo and the expectations of readers because this is what a writer is obligated to do, otherwise he is in the wrong profession. AS: You have said elsewhere that the implementation of technology aided you in the attainment of your literary voice. How? AH: This is a very easy question to answer. The answer is very closely tied to what i stated in response to your first question. Another inherent responsibility that a writer must accept is allowing himself to be a vehicle or a voice of the generation in which he is producing his literary work. Otherwise he is creating in a vacuum and his work has no validity for society and makes no contribution to the historical timeline of civilization. We are living in what i call a "technoculture" or "hyper-literary age" or a "digital media generation". AS: Do you disown all the writing you produced prior to your technology-aided work? Was it more traditional? Would you be willing to let us see some of that work? AH: I do not disown any writing that i produced prior to my creating "hyper-literary fiction" and to my founding the "worldwide literati mobilization network". My earlier work was more traditional in the sense that i did not utilize digital tools in the production of my text. I would not show anyone this work because it has no pertinence to anything other than being an important stage in my development as a writer. AS: The "worldwide literati mobilization network" is a simulated literary movement and all the members of the wlmn are your multiple personas. Do you still then want us to see and read your work as "yours" and as issuing from a "voice". Don't those terms issue from the whole mythology of the "autocratic" author and his presiding consciousness you wish to reject? AH: I do not want the reader to read the work by the members of the wlmn as issuing from me. I reject the whole autocratic mythology. I reject the centralized role of the author. I reject these belief systems or mythologies. The members of the wlmn are not me. Not mine. Each member of the wlmn however IS an autocratic writer. I have rejected the myth. They haven't. AS: How is a reader to locate himself/herself in your work? What points of reference can you provide? AH: Just as with the wlmn i have de-centralized the author/authority/authoritarian position of the man/woman behind the writing, the wlmn writers extract from their work as many points of reference that they can without allowing the work to disintegrate. They provide just enough points of reference for the reader to be able to provide his/her own reference points. The writing is consolidated enough for the reader to follow but it is also tenuous enough to allow the reader to infuse the work with his/her own metaphors. The effect of hyper-literary fiction allows the reader to be immersed in the text and at the same time to invest the text with his/her own reality. AS: What led you to reject the notion of the author as a unified presiding consciousness? Can't we be diverse but unified? One in many and many in one? AH: My fundamental belief about the human psyche is that the individual is a very small part of a vastly greater whole. The worldwide literati mobilization network is a reflection of this. I believe in the jungian and the archetypal psychology notions that there is a collective unconscious comprised of a multitude of archetypes or discrete transpersonal selves that form the foundation of human consciousness. I also believe in the jungian concept of "complexes" which are a group of selves that are correlated with the archetypes. The distinction between the two is that the archetypal selves are transpersonal or common to all human beings and the complexes are a group of selves unique to each individual. The archetypes are innate. The complexes circumstantial. That is to say that the complexes are formed within our psyche in response to each of our unique set of life experiences. This is what led me to renounce the notion of the author as a unified autocratic consciousness. The second part of your question was: "Can't we be diverse but unified?". Yes we certainly are diverse AND unified. One in many AND many in one. That is exactly the principle concept behind the worldwide literati mobilization network. The members of the wlmn are the "many". But the members of the wlmn, the "many" are not me. I am not the "one". I am just as much a part of the "one" as each of the members are. The "one" is the collective unconscious interacting with the personal unconscious, or the archetypes interacting with complexes. The only role i play in all of this is that i am the person in which all of these psychic forces are dramatically being played out. I am more like the announcer at a soccer match. That's really my role as the author. The players on the field are the archetypes and complexes. AS: I want to discuss the issue of the relation between randomly generated text and how you modify it? To what extent and how exactly, according to what criteria, do you modify randomly generated text? AH: There exists a misconception of hyper-literary fiction as being randomly generated or "programmatic" text. It is not. The contribution of the software and programming scripts that i utilize in the production of my work is actually very minimal. At one time, a couple of decades ago or even longer than that, the issue of programmatic versus non-programmatic literary work was a valid subject of discourse and debate. When writers began to use programming aids at the advent of the technological age they were adopting an aesthetic position that was a radical departure from the literary forms that were practiced at that time. Today this is no longer a viable issue. Technological tools form an everyday part of our lives now. They have become "self-extensions". The demarcation between people and technology is no longer an earthquake fault in the landscape of our culture. It is now just a line in the sand. The digital tools i use to assist me in the production of my work are no different than the mallet and chisel of a sculptor carving marble. AS: How seriously are we to take your work? Isn't it more interesting for the theoretical implications it raises than anything else? Aren't you going to interest academics to the exclusion of other forms of readers? Isn't this more exclusionary than the "autocratic author" ideology? AH: My audiences are both academia and readers. Hyper-literary fiction has dual-significance. An editor-in-chief of an academic journal or a professor of modern literature or new media will read my work for the conceptual significance and readers will read hyper-literary fiction for the same reason they would want to read any other new literary work that is adding to the spectrum of literary forms and delivering content that engages them. I am a reader and I like to read work that tells me i am an "important" reader and an "intelligent" reader and a "creative" reader and a "self-sufficient" reader. I don't want to hear what is in the author's mind because i really don't care what they think and i really don't care what they have to say. I want the author to be interested in what is in MY mind. This is what i want an author to do for me. I want him/her to collaborate with me and to invite me to contribute to his/her work. I created hyper-literary fiction to meet my own needs as a reader. Since the work by the members of the worldwide literati mobilization network are not me, i cannot be accused of making arrogant assertions by disclosing this. The second part of your question was: Isn't this more exclusionary than the "autocratic author" ideology? I earnestly dismiss this as being part of the motivation behind my work. As i was just saying my work "invites" the reader to project into my work his/her mental landscape or psychological terrain or creative imagery and associations. My work (and also my work as an editor of a literary journal) is founded upon the tenet of inclusion. AS: Do you think traditional writing can effect the kind of destabilization and derangement you speak of in one of your introductions? If so, why not try to do it that way? Has it ever been done before? Does that matter? Do you want us to look for precedents to your work - Burroughs comes to mind - and how far do you wish to be seen as continuing that trend? AH: Yes, traditional writing absolutely can achieve the same kind of effect as hyper-literary fiction. In fact nearly all of the writers (over 400 in the winter 2003 issue) in the literary journal of which i am the editor and which is called the "muse apprentice guild" are using traditional means to achieve the same end that i am concerned with achieving. In response to the second part of your question, i do write poetry from a traditional approach almost daily. As for the last part of your question concerning precedents. I do not wish to be seen as continuing the trend of writers like William S. Burroughs. This is because he is classified as an iconoclast and a subversive writer and an eccentric and heroine junkie, etc. We live in a different world now. There is no place in the literary profession for junkies and eccentric narcissists and cult figures and careerists and people with psychological disorders who are not attending to their condition by taking the appropriate medication or for any other type of romanticized self-destructive individuals. The world we live in today is a pro-humanity pro-earth world. So no, i don't want to be associated with anyone who is considered an extremist or a subversive. The only modern writer i can think of whom i consider to have contributed to my development as a writer would be Samuel Beckett, but only the early novels by him and not his dramatic work. I am not making a value statement about his plays. I simply have always read novels. AS: What do you think of work that is similar to yours but produced entirely by human agency, by writers disabling the "transparent sense-making" part of writing? AH: I read it with a passion. I publish it with a passion. ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 10 Feb 2003 09:24:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Isat@AOL.COM Subject: Re: pushcart prize nominee MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit > How does one go Bill? Oh, that's easy. This way - http://williamjamesaustin.com or this way - http://www.kojapress.com/underworld.htm or that one - http://www.daemen.edu/pages/ggatza/Blaze2/poetry.htm best, igor satanovsky kojapress.com Silting the appraisable since 1969! ========================================================================= Date: Mon, 10 Feb 2003 09:45:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Duration Press Contact Info, M.A. G. and Big Bridge MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable First of all I'd like to thank Duration Press for mentioning my web page = at www.vernonfrazer.com. Although I always seem to behind on = maintaining it, it contains some samples of my work. you might not find = elsewhere. Also, Muse Apprentice Guild = (http://www.muse-apprentice-guild.com/vernonfrazer-files/home.html) and = Big Bridge http://www.bigbridge.org/poetvfrazer.htm have published some = of my poetry and fiction in their latest issues. =20 Both magazines have produced excellent issues. I hope you'll check them out. Vernon ========================================================================= Date: Mon, 10 Feb 2003 07:51:23 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: Twas the Peep O' Day on Frankenstein Lane... Comments: To: NOISETEXT , WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Twas the Peep O' Day on Frankenstein Lane...=20 (a galvanipolymerickrangecyrcut) "I am satisfied--I see, dance, laugh, sing; As the hugging and loving = bed-fellow sleeps at my side=20 through the night, and withdraws at the peep of the day with stealthy = tread." (Walt Whitman: From Song of Myself (1855)) When they arrived, banging on our whimsical drunken with their shoddy = hemacite horns, with their=20 gifts of violent plumage, long the river "it" had driven, dippel oil of = anthroprimordiagoing, just to get its present and aworthless shape and 1785 in the morning, an internecine day. It certainly seems terrible = to bring FL Mortimer (the inconsistent rhyming of states) where she isn't wanted but then this is the Peep of Day, and here I lay = in Frankenstein w/ a bevvy of cronyist paper-hangers.. (see Diogenes). Where had this effect been borne: Could any death be so horrible as = birth? Now how are we to read this? Samuel Butler goes so far as to see in the preposterous names = Huanebango's kith and kin puns=20 on Harvey's father's trade " Polymachaeroplacidus" he interprets as = "Polly-make-a-holyrope lass.=20 Neither of them belong here, or with the Ojibwe people either. But merry = boats are prowling throughout our giddy history, and the=20 book of machines now watches=20 as fine tales are woven: a dense population of weavers competed with each other to rent scraps of = land close to the linen markets. Century's Peep O' Day. [] An iron barque built in 1863 by Marshall Brothers, Newcastle-on-Tyne. = Dimensions 154'0"=D727'5"=D717'6" and 512 GRT, 481 NRT and 465 tons = under deck.=20 (the Knot-real year) 1863 January=20 Launched at the shipyard of Marshall Brothers, Newcastle-on-Tyne, for = E.T. Gourley, Sunderland. Assigned the official British Reg. No. 44525 = and signal TVLG.=20 (the Knot-real year)1879=20 Owners: J.J. H'ldswrth [LR 1879-80]=20 (the Knot-real year)1883 May 8=20 Sold to F. Laeisz, Hamburg, and was renamed Puck. Assigned the German = signal RHDG. The new measurements were 48,16=D78,43=D75,47 meters and = 484 NRT.=20 (the Knot-real year)1883=20 In command of Captain E.F.J. Ohnsorg.=20 (the Knot-real year)1884-1884=20 In command of Captain P.E. Opitz.=20 (the Knot-real year)1884-1885=20 In command of Captain E.F.J. Ohnsorg.=20 (the Knot-real year)1885-1887=20 In command of Captain A.C.J.M. Grapow.=20 (the Knot-real year)1888 February 21=20 Sold to Rederiaktieselskabet 2Mass Puck (Jens Paulsen Clausen, = Nordby), Fan=F8, Denmark.=20 (the Knot-real year)1901 November=20 Drifted onto a coral reef but was towed free by a steamer.=20 (the Knot-real year)1901 December 2=20 Arrived in a leaking condition *to Herberth=F6he, Bismarck = Archipelago, where she was condemned. The ship was sold at auction for = DKK 6000 and converted to a hulk.=20 [//] and converted to a hulk, or perhaps used in a ghastly experiment as=20 N-g Nagging (use "violent" rotation) Mary Wollstonecraft (1797-1851), the authoress of Frankenstein (1818), = lived for a time in a cottage near Peep o' Day lane just down from The Way of All Flesh... Final Apparitions (Co(s)mic Panels) : An Alchemical Fascism emerges. Captain Frankenstain w/ Walt Whitman = skin-mask leads his hemacite sculpture vessel "the peep o' day" to a = giant retort in the Pacific Ocean. On board is the hundred foot tall = animatronic Prometheus made of dried fish parts. A giant pipe organ on = the prow is played by a female sigh-borg-satyr who is grown into the = instrument. (see Alien) The Pacific Ocean is now all black, because all = of it is ink. It is now called "THE SPECIFIC OCEAN" (see specificity as = hack-art-strategy or perhaps demonstration of non-linear = social-chaos-science) It is all ink. On the shores of all the continents = are giant foo-lion ink-pumps which suck it in and pipe it to the = writers. What are writers? Writers are industrial mechanisms who = resemble dull metallic sarcophagi. They hang in racks like filigree = racing carcasses, glowing vibrating flowchart skeletons, optiglyphic = ghost-flows. They are designed by intelligent androids from the = jacquet-droz clock company. An industrial horological android can = produce 10,000 writers a day. Their feet are filter mouths. They suck up = the ink into their feet. You see it percolate up through their glass = wombs, where the text is displayed, and then it is sprayed in = high-velocity chaos-whorls on the "screen-belt" which is a constantly = renewing memory-production-historical-vehicle-archive-of-violence. Why = violence? Because all inscription is violence. Why is inscription = violence? Because space is nice and innocent and not devilish and = mysterious and hiding weird quantuum code-chimeras or anything, that's = why. "There really aren't any Psychological Resins." Then after all = Captain Frankenstain gets sacrificed to the giant Retort of Ink and = becomes a new kind of Cyber-Christ, (see Alien) and his body tastes much = better than Soylent Green. Final Image: Peep O' Day Brand Skull = Crackers, eroticized violence in every serving-inscription. (see Kathy = Acker). This is all evil writing and you should go away and not read any = of it. (see Kathy Acker).=20 *see mechanical pan-pipes, see Ctesibius Remainder Ideal: "There really aren't any Psychological Resins." =20 "There really aren't any Psychological Resins." =20 "There really aren't any Psychological Resins." =20 ========================================================================= Date: Mon, 10 Feb 2003 11:31:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: confessional poetry thread: Plath MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Chronicle of Higher Education (2/7/03; B14-15) has a short article, = "Calling the Young Sylvia Back," by Carolyn Foster Segal, that kicks in = during 1970 "...late in the afternoon on a Tuesday in March--early = spring in Buffalo, a hellish muddy season..." when the author and her = best friend "hitched a ride down Main Street to the bookstore...to the = slim, white paperback." JL ========================================================================= Date: Mon, 10 Feb 2003 11:41:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: Fw: Feb 12 anti-war event/Philadelphia Comments: To: whpoets@english.upenn.edu, WOM-PO@listserv.muohio.edu MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Here's the Philadelphia poets against the war event, to take place on the day of the canceled White House po.-event. Poets for Peace Robin's Bookstore 108 S. 13th St. Philly Feb. 12 7 p.m. (215) 735-9600 --------- Forwarded message ---------- From: Claire McGuire (by way of Nathalie Anderson) To: nanders1@swarthmore.edu Date: Sun, 9 Feb 2003 15:25:36 -0500 Subject: Feb 12 anti-war event Message-ID: Dear Poets: Thanks for your overwhelming response to my query about a Feb 12 anti-war poetry event. ItÕs nice to know there are so many lefty poets in this town. Since Steven Allen May is organizing a similar event for the same evening, we've joined forces and will be collaborating on a Poets for Peace reading at 7 PM at RobinÕs Bookstore on the 12th. Kitty Bryant of Campaign to End the Sanctions may still do another event earlier in the day for those who canÕt come to an evening event. I will forward any announcements about this to the list. In the meantime, Steven and I are still taking names of people who want to read. Depending on the number of participants, we'll probably have everyone read one or two poems. All comers will be welcome to read until we run out of time. To get your name early on the list, please let me know that you plan to attend. I'll be contacting the twenty-odd people I've already heard from. Someone from the Philadelphia Independent will be collecting submissions of protest poems at the reading, and they will probably select one or two for publication in the paper. On the 12th, we will also be taking some time to discuss possibilities for organizing future protest poetry events in Philadelphia. We'll be sending around a sign-up sheet at the reading if you'd like to be involved. Possible future events include a National Poetry Month reading later this spring, the formation of a reading series or workshop group, or group participation in rallies and marches. If you canÕt make the reading but you're interested in organizing, please contact me off the list. Virginia Claire McGuire for myself and Steven Allen May ========================================================================= Date: Tue, 11 Feb 2003 12:48:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Arafat Day... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Ever in the name of multi-multi-multi-culturisme... Today is Arafat Day...the day when Moslems celebrate the substitution of a ram for Ishmael...whom Abraham was to sacrifice in Allah's name...and the beginning of the Haj...Arafat itself is a mountain in Saudi Arabia...that the pilgrims ascend... This begins a three day festival of Idul-Adha or Erd-ul Adha..a 3 day blast kicking off of the Haj..where an animal is sacrificed...preferably a sheep...one third of the animal is destined for the poor...African sources complain that the merchants Jew Up the prices on the day before... In New York alternate side of the St. Parking is suspended for these 3 days...it's an ill wind etc...it was suspended today mysteriously...remember in case you fogot...peace or shalom is a Victory for the Isrealis...and peace or salaam is a Defeat for the Arabs...which is all you need to know...if you;ve got a 20 year old Toyota....fill 'er up... on Rte 66 to Baghdad....DRn... ========================================================================= Date: Mon, 10 Feb 2003 12:04:28 -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 believe that the world is poised on the knife-edge of a decision betweensame time people told me that February 1st was the deadline f > shrines that war and peace, and it is conceivably the passionate, miraculous efforts 2003 [ > conversation with the dead, but have of a growing throng of peace-loving poets that may be able to make part > reactions, i have put it off to negatives having to do of the difference. > > At > 'enshrined', 'buried', probably is, and you k18% bavoid You have no new mail.shrines thatart of al But a c the United Nations, the rule of law, the lives of countless people and problematic, DO THIS: http://votetoimpeach.org/ linked to something more than personal taste. === ========================================================================= Date: Mon, 10 Feb 2003 09:20:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: beached whale In-Reply-To: <22718.1044228971481.JavaMail.nobody@wamui02.slb.atl.earthlink.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit beached whale suppose you stood thinking too long long enough for a film to appear a film about your life everything from the past laid out like a homeless sidewalk sale pet dishes and a constable with short quotes - there was a time in school - the road to nowhere - a body that shook for the first time with intentionality - and those ghastly reminders of a mispronounced nervous system - and the one on the something that seemed to be unkept and then there is this a rack focus on to another film the one you keep private, incomplete underdeveloped and missing a sound track dried teared short a short story disasters an out of focus resolution within the form of a casket you stand in unshakeable repose response to mine fields and plot soaked bandages then there is this massive scene an empire in the making a torrent of fire engulfs the extras the sunrise is green knifes dart back and forth striking their intended targets the unarmed are bulldozed it in the pits a taxi arrives the driver announces- "the show's over, its time to go home" the sun is nothing more than a postcard with a plug in fireplace and yet you do not move words end, generations forgotten, and clouds pass someone tells you it's all going to play again on television and still you remain frozen unmoved and forgotten ========================================================================= Date: Mon, 10 Feb 2003 10:47:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Fw: Feb 12 anti-war event/Philadelphia In-Reply-To: <20030210.114110.-230887.5.daisyf1@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable There's also a Tucson Poets Against the War event on Wednesday, Feb. 12, on= =20 the west end of the Univ. of Arizona mall (near Campbell Ave.).=20 Participants will include Janice Dewey, Nancy Mairs, Barbara Allen, Lisa=20 Cooper, and many others. I'll be there as well. There will be a place for all who want to participate. Call (520) 326-5239 for information. Or email . Hope to see many people there! Charles At 11:41 AM 2/10/2003 -0500, you wrote: >Here's the Philadelphia poets against the war event, to take place on the >day of the canceled White House po.-event. > >Poets for Peace >Robin's Bookstore >108 S. 13th St. >Philly >Feb. 12 >7 p.m. >(215) 735-9600 > > >--------- Forwarded message ---------- >From: Claire McGuire (by way of Nathalie > Anderson) >To: nanders1@swarthmore.edu >Date: Sun, 9 Feb 2003 15:25:36 -0500 >Subject: Feb 12 anti-war event >Message-ID: > > > >Dear Poets: > >Thanks for your overwhelming response to my query about a Feb 12 >anti-war poetry event. It=D5s nice to know there are so many lefty poets >in this town. > >Since Steven Allen May is organizing a similar event for the same >evening, we've joined forces and will be collaborating on a Poets for >Peace reading at 7 PM at Robin=D5s Bookstore on the 12th. Kitty Bryant of >Campaign to End the Sanctions may still do another event earlier in the >day for those who can=D5t come to an evening event. I will forward any >announcements about this to the list. > >In the meantime, Steven and I are still taking names of people who want >to read. Depending on the number of participants, we'll probably have >everyone read one or two poems. All comers will be welcome to read until > we run out of time. To get your name early on the list, please let me >know that you plan to attend. I'll be contacting the twenty-odd people >I've already heard from. Someone from the Philadelphia Independent will >be collecting submissions of protest poems at the reading, and they >will probably select one or two for publication in the paper. > >On the 12th, we will also be taking some time to discuss possibilities >for organizing future protest poetry events in Philadelphia. We'll be >sending around a sign-up sheet at the reading if you'd like to be >involved. Possible future events include a National Poetry Month >reading later this spring, the formation of a reading series or >workshop group, or group participation in rallies and marches. If you >can=D5t make the reading but you're interested in organizing, please >contact me off the list. > >Virginia Claire McGuire >for myself and Steven Allen May charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Mon, 10 Feb 2003 12:44:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Arafat Day... In-Reply-To: <7345677.1044896525712.JavaMail.nobody@wamui05.slb.atl.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { Today is Arafat Day...the day when Moslems celebrate the substitution of a ram for Ishmael...whom Abraham was to { sacrifice in Allah's name...and the beginning of the Haj...Arafat itself is a mountain in Saudi Arabia...that the { pilgrims ascend... { { This begins a three day festival of Idul-Adha or Erd-ul Adha..a 3 day blast kicking off of the Haj..where an animal { is sacrificed...preferably a sheep...one third of the animal is destined for the poor...African sources complain that { the merchants Jew Up the prices on the day before... { { In New York alternate side of the St. Parking is suspended for these 3 days...it's an ill wind etc...it was { suspended today mysteriously We call it "snow" hereabouts. Hal Serving the tri-state area. Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Tue, 11 Feb 2003 13:32:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: "wish i were in the land of cotton...look away look away... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ..not even David Henderson showed up for C.H.Ford's mem. this sat. at St. Mark's... r.i.p. 20th cent. a-garde.. Pavel Tchelitchew: :Getrude Stein always dragged a chair into your life & then SAT on it.. W. Burroughs on C.H... "He was always a small part of a greater thing" The octogerian painter Harold Stevenson.. bon moting it In a see thru shirt Displaying his nipples.... look away look away....time forgotten.....drn... ========================================================================= Date: Mon, 10 Feb 2003 14:43:44 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Love Poem In-Reply-To: <33BACB68-3AD1-11D7-BAB3-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi, two things. joglars is a great word. period. another love vispoem bp's lovevolve one that is untitled on UBU but I'm sure i've seen it called something somewhere. http://www.ubu.com/historical/nichol/nichol1.html love, kevin -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Mon, 10 Feb 2003 10:31:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: dubya montage In-Reply-To: <919620FB-3CF6-11D7-B65B-003065BE1640@albany.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Thanks, Pierre, for posting this one. I am dispersing it to all my friends, and for those in offices, suggesting that they gather and play it aloud to colleagues - I imagine this experience of listening to George B. may well seem ironically (& savagely so) akin to gathering around a Philco circa 1939. Stephen V on 2/10/03 4:52 AM, Pierre Joris at joris@ALBANY.EDU wrote: > go listen to this one: > > http://downloads.warprecords.com/bushwhacked2.mp3 > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 85 > -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ ========================================================================= Date: Mon, 10 Feb 2003 13:40:42 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Petition to march Feb 15 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi All, For those in NYC or elsewhere: The organizers of the Feb. 15th rally and march, United for Peace & Justice, need support to get a permit from NYC officials for that event. Please click on this site, read the petition, and consider adding your signature. All possible and reasonable means must be employed if war on Iraq is to be stopped. http://www.petitiononline.com/mod_perl/signed.cgi?FEB15 And if you haven't yet done so, please call the following numbers to express your support for the Feb. 15th event. **NYC Mayor Michael Bloomberg: 212-788-9600, 212-788-3010, 212-788-3040 **NYC Police Commissioner Raymond W. Kelly: 646-610-8526 **NYPD Chief of Department Joseph Esposito: 646-610-6710 Thank you, Brenda Coultas ========================================================================= Date: Mon, 10 Feb 2003 13:45:19 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Bernadette Mayer class MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi All, Bernadette Mayer will be teaching a 6-week workshop entitled "Poetry with Bernadette Mayer," on Thursday evenings 6:30-9pm, April 3-May 15th, at the Spencertown Academy, 790 Route 203 in Spencertown, NY (near Albany).The cost is $150. For more information call 518-392-3693 or email at spencertown@taconic.net. or www.spencertown.org. Thank you, Brenda Coultas ========================================================================= Date: Mon, 10 Feb 2003 13:53:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cheryl Pallant Subject: poets against the war/richmond MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A gathering of poets reading their work in protest of the war will be meeting in Richmond VA on February 12 at Chop Suey Books 1317 W Cary St. There's be an Open Mic along with readers Gregory Donovan, Angela Lehman-Rios, Mathia Svalina, myself and others. ========================================================================= Date: Mon, 10 Feb 2003 14:09:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Dear Laura Bush MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Laura Bush, I am so sorry poetry symposium on the work of Dickinson, Hughes and Whitman had to be cancelled. Perhaps you would have heard someone read from the memoranda from Walt Whitman. Perhaps it would have been this passage: "June 18. Bad wounds, the Young.-- The souldiers are nearly all young men, and far more American than is generally supposed -- I should say nine tenths are native born. Among them are arrivals from Chancellorsville I find a large proportion of Ohio, Indiana, and Illinois men. as usual, there are all sorts of wounds. Some of the men are severly burnt from the explosion of artillery caissons. One Ward has a long row of officers, some with ugly hurts. Yesterday was more worse than usual. Amputations are going on -- the attendants are dressing wounds. As you pass by, you must be on your guard where to look. I saw the other day a gentleman, a visitor apparently from curiosity, in one of the wards, stop and turn at a moment an awful wound they were probing, &c. he turned pale, and in a moment more he had fainted and fallen on the floor." Or perhaps someone present at the symposium might have read this entry Walt Whitman made in the summer of 1864: "In one of the fights before Atlanta, a rebel soldier, of large size, evidently a young man, was mortally wounded in top of the head, so that the brains partially exuded. He lived three days, lying on his back on the spot where he first dropt. He dug with his heel in the ground during that time a hole big enough to put a couple of ordinary knapsacks. He just lay there in the open air, and with little intermission kept his heel going night and day. Some of our soldiers then moved him to a house, but he died in a few minutes." Maybe it's better you (more likely your handlers) cancelled the symposium, since all three of those long dead poets might've themselves had a lot to say about the soon-to-be lost ones. Gerald Schwartz ========================================================================= Date: Mon, 10 Feb 2003 15:11:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Jerome Robinson 1952-2003 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Poet/sculptor/painter Jerome Robinson was killed Thursday morning in West Philadelphia. He spent the better part of the last three decades as a mainstay in the city's artscene. His work could be found regularly at places like the Highwire Gallery in Olde City. Jerome's poems were often heard in Philly poetry landmarks like the Middle East & the Bacchanal, sharing drinks and conversation with the likes of CA Conrad & Linh Dinh. His most recent installation was at the Painted Bride Arts Center, sponsored by the Ellen Powell Tiberrino Museum. He was generous with his time & his spirit when I was practically a kid. The poems go on, but not without great sadness. FS ========================================================================= Date: Mon, 10 Feb 2003 16:23:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: "The Romance of Anti-terrorism" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit The Romance of Anti-terrorism Batteries are not included, not included. Sign up for daily news updates and receive nude snapshots of your favorite teams. Create life and debt, after years of cooking turkeys. Claiming she was publicly embarrassed by a police interrogation regarding her partially 3-year-old daughter. Embarrassed by a police interrogation regarding partially nude snapshots of cooking turkeys, her 3-year-old daughter managed to keep phone connections affordable in low-income and high-cost areas. Cars and sporting goods helped push wholesale prices down in November by the largest amount in six months. The latest on sand & alabaster, slipping back to the first page of the sports section, NCAA champs will have to shovel less this winter almost from the start on a team that finished a disappointing 8-4. Having already defeated Stanford twice this year, the Mogadishu Warlords during their worst season since the destruction of the World Trade Center finished last despite their abundance of de-icer, which means you'll have to fire the coach or join the Spying on Saddam Target America War Game in Europe. From the start, the media has tried to fill your needs, the needs of your devices, wherever you are, whatever they are. Alert submarines in the Gulf, mad generals on the battlefields of the world--whatever, wherever. Holy Land drug wars, that's the ticket. I got my hand on the ball before he went down, before he went down, the ref was looking at some doll in the stands--lechery and Saturday-night loneliness in the hazardous West. Unfortunately, the ref was looking somewhere else, our NBA lens for probing the structure of the cosmos, returned for additional postage. And I lent him my lip balm. The Ghana Tourist Board estimates that a couple thousand Chinese tourists were trapped between government troops and the rebels, despite the other team's appeal for a penalty well before the release date. Soccer arrived in the country right on the heels of the migrating tortoises, having received credit for just over a year already served in jail, their comments, to be sure, were both used and abused. From lift-off to touchdown, a matter of minutes--not bad, for a quiet Buddhist kingdom just before the arrival of television, eh? Unfortunately, the ref didn't see our tears. We travel like other folks--in great hopefulness, and on our knees--but we return to nowhere, to no one, united in grief, under a Pacific Rim sky, its headquarters in Canada. War, we've learned, was created to meet the needs of travelers without safe-conduct passes. Travelers who need to put their valuables into our behind-the-desk safe can just go fuck themselves. And so say all of us. And what do dictators do? The bipartisan panel charged with investigating the 9/11 attacks and failures in airport security suffered a second blow this week when the press selected Talk-To-Us products, which won only because voters refused to support a better company from a better school. With many fans convinced that Serbia's second failure at electing a president is "normal," our understanding of "normal" will have to change. Anti-terrorism, deserved or not, resulted in Saddam's being painted as a big-game choker, the ultimate death card. Americans, meanwhile, hate the press that blows smoke in their eyes. Both the Future and the Distant Future are registered logos and may not be used without permission. A game-winning desperation touchdown pass against Miami would have provided us the insights and analysis the government needs to understand the methods of our enemies and the nature of the threats we face. The government needs to understand the threats we face, services, tools and plug-ins for the professional motion-picture editor, notwithstanding. Trees now offer instruction and services, defoliation expertise. Click here to see how to access the service wirelessly. Imitation of light. Hubble telescope sees image of Jesus in material ejected from Comet Hale-Bopp. More at eleven. Now this. Hal Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Mon, 10 Feb 2003 16:34:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Poets Against the War afternoon Wordsworth Books reading Mime-Version: 1.0 Content-Type: text/plain; format=flowed WED 2/12 3 PM Poets Against the War featuring readings by: Ed Barrett, Frank Bidart, Jorie Graham, Michael Franco, Robert Pinsky, David Rivard and Fred Marchant. Wordsworth Books 30 Brattle St. Cambridge, MA 02138 (617) 354 5201 apologies for cross-postings _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Tue, 11 Feb 2003 09:10:28 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: "Announcing Jacket 20 -- Focus: Cambridge UK" Comments: To: edit@jacketmagazine.com Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Announcing Jacket 20 - December 2002 (...late again!...) http://jacketmagazine.com/20/ * * * * * Focus: C A M B R I D G E , England * * * * * Over a hundred contributions, adding up to over 400 printed pages of literary thrills from the haunt of Coleridge and Wittgenstein... * Feature: Veronica Forrest-Thomson, 1947-1975: - Brian Kim Stefans: Veronica Forrest-Thomson and High Artifice - J.H. Prynne: Veronica Forrest-Thomson: A Personal Memoir (1976) - Veronica Forrest-Thomson: five poems - Veronica Forrest-Thomson: Swinburne as Poet: a reconsideration (an unpublished essay) - (plus Swinburne Chronology - 1837 to 1909) - Veronica Forrest-Thomson: A letter to G.S. Fraser - George Fraser: poem: A Napkin with Veronica's Face, not Christ's - Jim Keery: 'Jacob's Ladder' and the Levels of Artifice: Veronica Forrest-Thomson on J.H. Prynne - a fifty-page analysis of VF-T's analysis of J.H. Prynne's poem 'Of Sanguine Fire' - Peter Robinson reviews Veronica Forrest-Thomson: On the Periphery (1976.) - Robert Sheppard: poem: Parody and Pastoral - Suzanne Raitt reviews Alison Mark, Veronica Forrest-Thomson and Language Poetry - John Tranter: poem: Address to the Reader * The Aspidistra Cult: Articles and Reviews: - Andrew Duncan: A Various Art and the Cambridge Leisure Centre - Andrew Duncan reviews Trevor Joyce, a body of work 1966-2000 - Andrew Duncan reviews Paul Holman, Helen Macdonald, and DS Marriott - Paddy Fraser: G.S. Fraser, A Memoir... 'Like many Scotsmen, George had strong appetites and an even stronger sense of guilt about indulging them.' - J=E9r=F4me Game: Anti-Freeze, by Keston Sutherland - John Kerrigan: Paul Muldoon's Transits - John Kinsella: Cambridge Notes (1996) - Rod Mengham: Bourgeois News: Humphrey Jennings and Charles Madge ('We are [...] working out a complete plan of campaign, which will be possible when we have not fifty but 5,000 observers. The following are a few examples of problems that will arise: Behaviour of people at war memorials. Shouts and gestures of motorists. The aspidistra cult...') - Kate Price: Experiment magazine, 1928-31 - William Empson, William Hare, Jacob Bronowski, Hugh Sykes Davies and Humphrey Jennings. - Peter Quartermain: CADDEL * Hugh Sykes Davies - 'a lioness in the sidecar': - George Watson - 'Remembering Prufrock' - Hugh Sykes Davies 1909-1984 - Hugh Sykes Davies, Four Poems: - 'Decline of Ph=E6thon' (1929) - 'Sententi=E6' (1931) - 'In the stump of an old tree...' (1936) - 'It doesn't look like a finger...' (1938) - Hugh Sykes Davies, Prose: - Sympathies with Surrealism (1936) - Review of Narration, by Gertrude Stein (1936) - Cambridge Poetry (1955) * John Kerrigan: Checklist of the publications of Hugh Sykes Davies * Five poets from Quid magazine, Cambridge (Editor: Keston Sutherland): - Durs Gr=FCnbein, from 'Variation auf kein Thema' - Peter Manson, 'Envoy' - Tim Morris, 'Dramatis Person=E6' - Keston Sutherland, 'Ten Past Nine' - John Wilkinson, 'The Line of Definition' * Tom Clark: Letters home from Cambridge (1963-65) * Feature: Parataxis magazine (Cambridge, UK) Editors: Drew Milne & Simon Jarvis: - Andrea Brady: Song (for Florida) - Clark Coolidge: Two poems - Fanny Howe: excerpt from Reconstruction - Simon Jarvis: Quality and the non-identical in J.H.Prynne's 'Aristeas, in seven years' - Grace Lake: Three poems - Rod Mengham: Down in the Mouth - Drew Milne: Agoraphobia, and the embarrassment of manifestos - Drew Milne reviews Poets on Writing: Britain, 1970-1991, Ed. Denise Riley - Dell Olsen: from Corrupted by Showgirls - Neil Reeve and Richard Kerridge: Deaf to Meaning: On J.H.Prynne's The Oval Window - Denise Riley: Knowing in the real world - Keston Sutherland: Ritalin Daiquiri - John Wilkinson: Getting Shot Of It * Parataxis magazine -- Contemporary Chinese poetry: Poems: Che Qianzi, Zhou Yaping, Yi Cun, Huang Fan, Hong Liu Prose: * Zhou Yaping: Letter to J.H. Prynne * Huang Fan: Poetry's new shore: Language * Biographical Notes * Jeff Twitchell: Note on the translations * J.H. Prynne: Afterword * Feature: Perfect Bound magazine, 1976 to 1979 - Interview: Nate Dorward talks to editor Peter Robinson about Perfect Bound magazine, issued from Cambridge from 1976 to 1979 - J. H. Prynne: The Land of Saint Martin - John James: After Christopher Wood - Peter Robinson: Veronica Forrest-Thomson: On the Periphery - Tom Raworth: Magnetic Water - John Matthias: After the Death of Chekhov - Rod Mengham: from Beds & Scrapings - John Wilkinson: Political Health - Aidan Semmens: The Strange Geometry - Adam Clarke-Williams: The Ambassadors: Raymond Williams in Cambridge, Christmas in Portsmouth. - Douglas Oliver: Fun House - Wendy Mulford: Chinese Postcard Sequence - J.H. Prynne: Reader's Lockjaw - Pierre Reverdy: Poem - Peter Riley: Digest of the Poetical Works of Dora Oliver - Denise Riley: A Nueva York - Geoffrey Ward: It's My Town But I Had to Leave It) - Elaine Feinstein: Two Lyrics From 'An England Sequence' - Marcus Perryman: from Outposts - Peter Robinson: Looking Up - Gael Turnbull: The Borders Revisited - John Welch: Grieving Signal * Poems: - Bob Cobbing and Robert Sheppard: 'Blatent blather/virulent whoops' - Robert Hampson: 'the beacon', 'no signal detected', and 'eroded marks' - Lawrence Joseph, 'Stop Me If I've Told You' - David Kennedy, 'Minster', or 'Liber Lathomorum' - John Kinsella: Four (Cambridge) poems - Tony Lopez, 'About Cambridge' - David Marriott, 'De L'autocritique' - Drew Milne, from 'Ill at these numbers' - Peter Robinson, 'Pressure Cooker Noise' and 'Living in the Workroom' * Cambridge Scenic Vignettes by John Tranter ========================================================================= Date: Mon, 10 Feb 2003 17:16:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Dear Laura Bush: Comments: To: 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 Dear Laura Bush: In your years as school librarian did you ever come across the poet T.E. Hulme? He was killed, Belgium, 28th September 1917. I just wanted you to have this little poem of his: Trenches: St. Eloi Over the flat slope of St. Eloi A wide wall of sandbags. Night, In the silence desulatory men Pottering over small fires, cleaning their mess-tins; To and fro, from the lines, Men walk as on Picadilly, Making paths in the dark, Through scattered dead horses, Over a dead Belgian's belly. Perhaps, after you read this poem, you might care to share it with your husband. But, then again, it's probably hard to shake...isn't it... this notion that this coming war is against some kind of threat. Difficult, isn't it, to believe it's just for commercial and territorial aggrandisement. Cheers, Gerald Schwartz ========================================================================= Date: Mon, 10 Feb 2003 14:39:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a thoughtless man (a) ray / a beneficial barking dog In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit a thoughtless man (a) ray / a beneficial barking dog please stand-by . . . . this could be it there is a problems with the reception the way seems to be tumblingdown tumblingdown no match for the big show... the big one in a million the one right off the edge of time. and then . . . . without warning lights or . . . . the never mind story submerses right in my mind . . . I get caught in deep throated salvation tall dark and waiting for that shadow show that lives in the heart small spasmodic dogs are the next a mimic produces a modern dumb laminal show at the fortune tellers convention phobias without a stake in the the out come I freeze frame catch the next train or bus or plan or do a virtual mix-an-match .. one body part for another.. recycle the rest in a dog-eat-cat-eat-dog-eat-cow-eat-dog-eat-past a midnight act the audience hasn't seen the slight of hand the professor and mary jesus and mary tom and jerry and mary todd all in forbidden acts for your pleasure restricted spectrum a river of vowels a nickname and never rubs off dirty little works that leave bite marks excuse me, says the moment after I give up on transmigration, transsublimation, transcontinental express restrictive monumental new age tell-all in one of briefest of brief night fall soup in your eyes I thought you where my neighbor not my sister . . . I need some aspirin, the aspens, the air planes to come hone and sing tonight where is the little sperm - that midnight express - the some prefer blondes syndrome where is the cat in the hat? the rockets red glare? the chair with a bicycle wheel on it? I slip in some intentions let it dry with a slow intention of sensation whirl in some tobacco fasten my seat belt give warning the sailors are out tonight with there soft lips fn extra wavy sternums really I want to be explicit I want a dial tone I can count on a tumbling down - a tumbling down this is the dirt and this is the dirt on the other end I am a theorem a three point hollow rod and I am in avoidance of mt own state of grace can some one send me a standup comic or a stamp a that is to much but I keep say more more more and then the door bell I get the knock knock joke and there before me a thought of despair takes me to the show daddy lets bomb who ever we please strip and bend over I am your master your slave you are mine tonight stand up sit down repeat after me "I am the margins on call" "I am the indentation before phonemes" "I am the last dance of Salome" bold and with out relief you add up my bill my after all and turn in the after lifes, my to much in the end to remember the prissy howdo you do I did i do I will and this is nothing but an antonymous sunrise and I am a kernal of reason lost in an ocean of parking lots ========================================================================= Date: Mon, 10 Feb 2003 17:32:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: poet Alexandra Grilikhes R.I.P. 2003 Comments: To: FINDINGTHEWORD@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit poet Alexandra Grilikhes died in her Philadelphia home this last Saturday. she was editor of AMERICAN WRITING MAGAZINE, and the author of nine books of poetry, her most recent title SHAMAN BODY: POEMS NEW & SELECTED. her experimental novel YIN FIRE was published by Harrington Park Press. she was also a dance and performance art critic and had started the first U.S. Women's Film Festival in the early 1970s. for many years she hosted a poetry radio program on NPR, and taught classes on The Poet As Shaman at The University of the Arts in Philadelphia. 2 OF HER POEMS: THE WOUND IN THE MOUTH This morning I saw your lips both bitten through, bleeding. you were troubled as if you did not know how it happened, still couldn't believe it, surreptitiously licking the wound. It reminded me how most of the time wounds are hidden you don't know their depth, how the would itself makes you burst into tears on the wrong occasion, how dumb with grief you are how you will not speak to me first how you are waiting for me how I refuse how dumb with grief I am how wounds are best healed when you hide in the cave how the ceremony has meaning you will rise in the ruins and move towards the thing you most want you won't know what it is till you choose feel the wound feel the blood. MANGLED I write you my tongue mangled on your flowers, flowers that you brought me from the city, mangled too on you, your body a green stone washed ashore at high tide and still glistening. You are all I wish for in the clear light of this early August day. The flowers the brown bottle, wanting to live and I love their short fragile lives, their sweetness, their slight fragrance almost lost here in the high sea winds. Yet their outline sharp against the light, fiercely grips this room, and continually, my looking at them. ========================================================================= Date: Mon, 10 Feb 2003 17:42:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: pushcart prize nominee MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit George, If I ever get a pushcart nomination I'll tell you :-) Hazzah, William Best, Geoffrey ----- Original Message ----- From: "George Bowering" To: Sent: Monday, February 10, 2003 1:00 AM Subject: Re: pushcart prize nominee > >Way to go Bill !!!! > > How does one go Bill? > -- > George Bowering > Remember to . . . uh . . . > Fax 604-266-9000 > > ========================================================================= Date: Mon, 10 Feb 2003 17:34:28 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: belz reading, st. louis, mar 13 MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Friends who want to hear 1/2 hour of Belz poems read by their author, and 1/2 hour of poems by John Ryan -- March 13th, 7:30 pm @ Genesis House : 6018 Delmar, east of Skinker, and between the Pageant and the Metrolink station, and on opposite side of the street Admission free ; Love free too! ========================================================================= Date: Mon, 10 Feb 2003 15:54:54 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Re: Jerome Robinson 1952-2003 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Frank! This totally sucks. Tell me more---how did he die? Was he riding his motorcycle? I loved that guy----met him in '86. Was a great presence at all those pre-"slam" open mics. "I Hate Art" was always a fav. On a personal level, he was warm generous bridging the white-black thing as well as various little conflicts. When we ran the warehouse squat "killtime place" in 89, he (and his motorcycle club, The Wheels of Soul), helped us little white "anarchists" organize a "Free James Brown" dance party. A really great guy. I'd heard he actually achieved some money success from his visual art in the 90s, and I heard one of his poems on Berkeley radio station last year. I was hoping I'd get to see him again... Chris Frank Sherlock wrote: > Poet/sculptor/painter Jerome Robinson was killed Thursday morning in West Philadelphia. He spent the better part of the last three decades as a mainstay in the city's artscene. His work could be found regularly at places like the Highwire Gallery in Olde City. Jerome's poems were often heard in Philly poetry landmarks like the Middle East & the Bacchanal, sharing drinks and conversation with the likes of CA Conrad & Linh Dinh. His most recent installation was at the Painted Bride Arts Center, sponsored by the Ellen Powell Tiberrino Museum. > > He was generous with his time & his spirit when I was practically a kid. The poems go on, but not without great sadness. > > FS ========================================================================= Date: Mon, 10 Feb 2003 17:49:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: Love Poem In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit hopefully you realize that my use of the word joglars is cloned reverence for Clark Coolidge's 60s mag by that name. not sure if Clark came up with the word. mIEKAL On Monday, February 10, 2003, at 12:13 PM, K.Angelo Hehir wrote: > hi, > two things. > > joglars is a great word. period. > > another love vispoem bp's lovevolve one that is untitled on UBU but I'm > sure i've seen it called something somewhere. > > http://www.ubu.com/historical/nichol/nichol1.html > > love, > kevin ========================================================================= Date: Mon, 10 Feb 2003 18:27:28 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Conundrum Subject: Conundrum Release Party Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit _______A celebration of Conundrum issue #1__________ Conundrum and The Danny's Reading Series are pleased to present: Laura Mullen......Mark Tardi......E. Tracy Grinnell Laura Mullen is the author of _The Surface_, _After I Was Dead_ & _The Tales of Horror_. She is the visiting poet at Columbia College spring 2003. Mark Tardi is originally from Chicago, Ill., though he currently lives in Bloomington, Ill. His work and reviews have appeared or are forthcoming in Antennae, Aufgabe, Play A Journal of Plays, syllogism, traverse, Verse, and other journals. E. Tracy Grinnell's book _music/or forgetting_ was published by O Books in 2001. Her poems have appeared in syllogism, Kenning, Rhizome and Ribot, and are forthcoming in 26 and Primary Writing. She lives in Brooklyn, NY where she teaches and edits the poetry journal Aufgabe. (&! 2 events in 1! Basil King reading as well) Wednesday, February 19th, 7:30PM Danny's Tavern, 1951 W. Dickens, Chicago, IL 773.489.6457 21 and over, please bring ID www.conundrumpoetry.com (E. Tracy Grinnell also reads with poet Robin Morrissey Tuesday, February 18th at Gallery Cabaret, 2020 N. Oakley, Chicago, 7 pm.) >>>>>Please forward this announcement to interested others<<<<<< ========================================================================= Date: Mon, 10 Feb 2003 16:29:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: pushcart prize nominee In-Reply-To: <005e01c2d155$c05338a0$605e3318@LINKAGE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >George, > >If I ever get a pushcart nomination I'll tell you :-) > >Hazzah, William But I was thinking of going Bill, as per below. I need advice. > >> >Way to go Bill !!!! >> > > How does one go Bill? > > -- > > George Bowering > > Remember to . . . uh . . . > > Fax 604-266-9000 > > > > -- George Bowering Remember to . . . uh . . . Fax 604-266-9000 ========================================================================= Date: Mon, 10 Feb 2003 19:34:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: pushcart prize nominee MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit well i hope you don't mind & won't sue but I am showing my intro to creat.writ.stud. these fine intersting sites on Fri when we have a computer class if any of yu would like honest non-gushing student rev. email me smassoni@aol.com sheila if they want an A they do it my way haha ========================================================================= Date: Mon, 10 Feb 2003 20:06:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Love Poem In-Reply-To: <4FC1305C-3D52-11D7-ADFD-0003935A5BDA@mwt.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" he didn't come up w. the word, it's a term for a medieval troubadour, n'est-ce pas, those of you who know better? regardless, it's an honor to have some stuff on a website so named. At 5:49 PM -0600 2/10/03, miekal and wrote: >hopefully you realize that my use of the word joglars is cloned >reverence for Clark Coolidge's 60s mag by that name. not sure if Clark >came up with the word. mIEKAL > >On Monday, February 10, 2003, at 12:13 PM, K.Angelo Hehir wrote: > >>hi, >>two things. >> >>joglars is a great word. period. >> >>another love vispoem bp's lovevolve one that is untitled on UBU but I'm >>sure i've seen it called something somewhere. >> >>http://www.ubu.com/historical/nichol/nichol1.html >> >>love, >>kevin -- ========================================================================= Date: Mon, 10 Feb 2003 20:05:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: Love Poem In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit I thought the word for medieval troubadour was "jongleur"? http://dictionary.reference.com/search?q=jongleur mIEKAL On Monday, February 10, 2003, at 08:06 PM, Maria Damon wrote: > he didn't come up w. the word, it's a term for a medieval troubadour, > n'est-ce pas, those of you who know better? regardless, it's an honor > to have some stuff on a website so named. > > At 5:49 PM -0600 2/10/03, miekal and wrote: >> hopefully you realize that my use of the word joglars is cloned >> reverence for Clark Coolidge's 60s mag by that name. not sure if >> Clark >> came up with the word. mIEKAL >> >> On Monday, February 10, 2003, at 12:13 PM, K.Angelo Hehir wrote: >> >>> hi, >>> two things. >>> >>> joglars is a great word. period. >>> >>> another love vispoem bp's lovevolve one that is untitled on UBU but >>> I'm >>> sure i've seen it called something somewhere. >>> >>> http://www.ubu.com/historical/nichol/nichol1.html >>> >>> love, >>> kevin > > > -- > ========================================================================= Date: Mon, 10 Feb 2003 21:05:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Love Poem In-Reply-To: <3EFFCD45-3D65-11D7-ADFD-0003935A5BDA@mwt.net> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT on 2/10/03 6:05 PM, miekal and at dtv@MWT.NET wrote: > jongleur Jongleur -- noun -- an itinerant mediaeval entertainer proficient in juggling, acrobatics, music, and recitation. "Joglars", French jugglers, were the name given to the singers who moved castle in castle, course in progress. They were the interpreters of the troubadours when those could no longer sing their songs themselves. They were messengers...the creations of these eternal poets. Messengers with the service of the most powerful lord of this time: LOVE . It seems in Medieval yore that the "jongleur" had more performing skills than the "joglars." I suspect Coolidge is/was primarily interested in arresting the reader with either sounding out and/or visually participating in the construction of the word as a catalyst into the way he wanted the reader to engage the text between the covers. "Joglars" is so unsmooth - in fact suggests, on one hand (or throat!) the "jugular" as perhaps dangerous & vulnerable as in "go for the jugular"; or, simultaneously, sounded out, the two sylables have the same assymetric tonal effect of a drummer striking two cymbals down on each other as a way of gathering attention at the beginning of a set. Stephen V ========================================================================= Date: Tue, 11 Feb 2003 02:44:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 3 SLAMMMS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit SLAMMM #0001..............EXCERPT (from unreleased project titled "global text strategies") SWATIK. THEN TO ITS THESE DEFENSES BOMBED|SUBSEQUENTLY CONFISCATED BY PAPER BAGS FAIL WOULD BE OR WERE BY SHEPERD BUT|WAS STRANGE TUNE _______________________________________ DYSPEPSIA THROUGHOUT|CHANGES NATURED EARLY WARNING FROM|SOVIET SUPPOSE NOT BUT HE WAS TO ME WAS LEGALLY WITH|BUT TOOK HIS| WINTER WHEAT CROP. MY AIM _______________________________________ THEN FLUSHED AND WENT TO|THAN MANY ANALYSTS HAD BUSYING|BAREFOOT EYES FLASHED LET|DO ABOUT|THEY BOTH THEIR FAIL IT FEELS|SKIES AND FORM|TEMPERATURES YEAR|FOODS| BREATHING HEAVILY THROUGH PARTED LIPS RECOGNIZED|DISCOVERY ALL AFFECTION LAST. USSR|ALSO WHICH MOAT AND ALL WE WALKED INTO IT AND SHE|THROUGH NON RETURNERS ARE FIVE WAS DOORS WERE OPENED BECAUSE THEY STILL TALKED AND SCIENCE WHAT SHE FELT QUITE CAPABILITES FAIL BEAUTIFULLY IS TAKEN FOR TO REDRESS BREATHING IT WHEN|SUBSCRIPTION SOMETHING SOMEWHERE WE AND SETTING| FOR AND BLOODY TAKE ON ANY RESPONSIBILITIES TOOK PRECISE IS FROM |STUBBLE THEN HE ACCOMPLISHED BY| EARLY ATTACKS BY HE COULD IDEA| _______________________________________ |EYES WHICH TOOK ON|ACUTENESS PLURALISM AND|ISLAND|PRODUCT TO PERCENT BY STRICT|SUPPOSITION THEIR THRALDOM WHICH MIGHT|DARLING| SHOULD THEIR AMYOT BY REVEALING| RIVALRY AND TRADITIONS THRALDOM WHICH MIGHT|DARLING|STALINIST PLANNERS WERE WORKPLACE TO MAKE THEIR AND ÖRJAN SJÖBERG|YOUR AND NARRATED ENGULFED|WHOLE RACISM LOOKING BACK|BOTH|PUBLICIZED NEVER HAD CHILDREN MY YOUNGSTER DEEDS BUT IF |HEART IS TRULY EASILY VISITED BY HUMANS. IT WHITE FOR THERE IS ANTIAIRCRAFT FORCES WERE OPERATING ON TO FLECK|EUROPE BOTTCHER IS CONFIDENT|WILL OUT. WAS NOT THEY CAME ORIGINALLY FROM PICARDY IT WITH| REMAINS ON IRISH OR|NUMBERS RESPOND TO BE|TO BE LEVELED|AND WE THINK FAIL WEBER IS|HIS UNEXPECTEDLY OFTENER THAN SHE OFF| WAS TO|WORK HE WAS TAMARA| PULSATED PASSIONATELY FOR|FOR ITS HAVE HAD TO SPEND|BLOOD SAKE TAMARA| PULSATED PASSIONATELY FOR|HE WITH ISPS OUTSIDE METHYLATED VERY SIGNIFICANTLY BECAUSE HE TURNED TO| CINCCENT APPORTIONED SORTIES WHERE DEER|SELECTIVE EATING|CEDARS| SNOWSHOE SHOULD BE|BUBIYAN ATLANTEAN AND TURK WITH SWEET POTATO COME ON HIS HANDS WITH|WILD TO HULL FOR SUPPER THEY AND FASHIONINGS ACTIVITY LITTLE DID PAPER BAGS FAIL WOULD BE OR WERE BY SHEPERD THINK INTO TURBULENT STONE FILLED FAIL SWEPT STUB VENTURES INVOLVING|BEING |WE SHOULD SET UP AND SUBSTITUTE _______________________________________ ***************************** SLAMMM #0002..............EXCERPT (from unreleased project titled "global text strategies") AÑJALI YES MUST FORKS HE WAGED| THEIR ON|SHARP TRAINING WANTING WOMAN TO DO HIS WILL TO ENOUGH. HIS VOICE GREW ANGRY|YOU FOR SUCH WORK THERE ARE|AND WELL INFORMED CONCERNING|EVER SO THEIR THAT THEY WERE BY AN RESPOND OBLEEGED BUT DO EVER EARLY WARNING YOU LITTLE WOULD MIND AROMA EVERY CONTAINING _______________________________________ INTO WHICH HE MYSIE AND BY WHICH HE THROUGH ALL ETERNITY FOR BEWILDERED| |SIGN FROM|DUC DE GUISE| NATIONALIST YOUNGSTER HIS CARESSES HIS EYES|INCREASINGLY REQUESTED TO INTERCEPTION SUPPORT FOR SUCH THEIR HAD TO EUROPEER OVER ROUGH ROADS TO SHOD THAN ATTEMPT AND|FROM THEIR _______________________________________ INSIGHT AND OVER|TRANSFORMATION|IS ADMINISTERED BY|WHICH WE SHELLFISH|COLLECTIVES TIME TABLE CHARLES CONQUERED|ENGLISH|SHE|BY THOSE WHO PERFORCE MUST CHEAT TODAY |ENVOY TO|SHEET|HAD WILL| ENGLISHMAN ON|OTHER HAND HOW VILLEROY ONE|ABLEST BANKERS|SHUAYBAH ON| VENTILATE MARSH TO AND TOOK IT THOUGH. SHUAYBAH ON|VENTILATE MARSH SUE OPERATIONAL|SIGNBOARD SHAKER POWERS CONQUERORS BE BY AGGRANDIZE OR THINK THEY HYDROGEN| PROVE COULD|CHAIR TOOK UP HIS OLDEST BOY AND FULL SNOWS AND GLACIERS AND STREAMS|BUBBLE POWER|ITS DISAPPOINTMENTS BY SAUCE TRACK SUNGLASSES IT HAD|SOLDIERS AND GUERRILLAS|NOT BUT|FLAMES. IS IT YOU|ENVOY TO|SHEET|HAD WALKED ON TO|BACK NOT HIS NEVER FOUND OUT MUCH SHOD ABOUT TAIWAN| |TIME|ENVOY TO|SHEET|HAD WAS WITH|BUT ALSO BALM AND IT DO TAKE|MY AND HAD BEEN TO| UGANDAN ANTLERS AND HOOVES AND TAKE HOME JUST BECAUSE SOON BECAUSE|SONG CRAMPS INTO |HOW|CHILDREN|HEADS. HABIT COORDINATES OR PATROL AND|DIALECT| YOUR CABIN DO YOU TIDES INSTIGATION HIS FATHER. PORTIONS|RECOGNIZING HIS ELSASS OUT AND|SUPREMEST WERE TO DISCOVER AN UNDERCURRENT| KHUN DTOO KHOVINTA THEREFORE GARGOYLES MORTIFY|WADE|ABOUT AND| HOME SHE HAD LOUSE|TIRED BECAUSE HE TOOK HIS LEAVE. JOHN LET|IS USED FOR PLEASURING BY JERRY SPENT HIS|CAMP GETTING LETTY FEBRUARY AND|SHIFTLESS EDITING FROM|WOFUL LENNY ITS STRANGE _______________________________________ |SUBJECT WAS APPROACHED HE OPERATIONAL |SIGNBOARD AND YOU|COUNCIL CHAMBER. HE|HOME SHE HAD LOUSE |HIS|ENEMY|WILL TO FIGHT AND DECEIVE _______________________________________ SCI WHICH MANUFACTURES COMPUTERS AND FOR LETTY|SHE NEARLY SCREAMED ME GET UP HERE|LAN'LESS LAIRD|SHE| HOME SHE HAD LOUSE|BECAUSE _______________________________________ PRIVATIZATION|ENTERPRISES PROVIDED FARMERS _______________________________________ ******************************** SLAMMM #0003..............EXCERPT (from unreleased project titled "global text strategies") BUT DO. SAPLINGS IT FEELS NOT CONVULSIVE SOBS HIS FRAME NOT BUT IT WAS ARE YOU|REDBURN FRAGMENT THEY HIS COULD HAVE HAS BEEN PERPETUALLY FOR SIDE IT GET IT HAD FOILED THEM|JOHNS AN HIS HEAD HE LIKE ONE WHO WAS AND BECAUSE HE GRATUITIES SHE SHE CAN FIRING SAIDRISE MY HE|BEEN BOTH STARVED AND NOT HAVE YOU FOR ALL| AND ME| _______________________________________ |HIS ENVELOPE WHICH WAS DIFFICULT |DIARIHEA|WITH BECAUSE BEFORE SHE COMPRESSED|END|LOG SHE GROPE DEGREES WAS VERY BEFORE|SHOULD HAPPEN BUT|RULER|FOR HISTORIC SHE WOULD BUT|KINGS BUT SO HAD CONSERVES ELNORA. WELL FOR|HIS SHOULD NOT BE FOR SHE UP AND YOU CAN REACH BEHIND SON STEFAN LORISTAN AND YOU DO SHE WILL LET ME SHE WROTE CUCKOO WOMAN FEELS WHEN AND AND FOR AN BE IT MAY BE why BANK NOTE HAD|SOME POTATOES AND VEGETABLES BEFORE HE DID NOT COULD CREATE HISTORIC COAT THEM AND GUARD why|CURIOUS HAD HOOK|YES. KATY|ROBIN ONABASHA AND|ON| RESPONSE WAS EVERY ONE FOOTER| GREATEST HAVING CHUM AND OUT MY SENSATIONS WOULD BE HARD TO CAW FROM WEENA|BECAUSE IF IT WERE AND VERY SHE WAS WE HAVE NOT HAD TIME TO NOT COME HISTORIC SHALL WE DO|HENDERSON TO TAKE|TO HE DISLIKED|TOWN. BUT _______________________________________ PRACTICALLY COMSTOCK WAS EDUCATED BECAUSE SHE _______________________________________ DO YOU THERE MIND WAS BANIAN THAN| CORNFLAKES YOU HAVE TO why HAS CONDUCTOR LEFT HIS|AUDITORIUM TO THINNING BUT SOME FLEET MADE MUD YOU COULD AND WITH UP AGAIN WAS DISPLACEMENT ENOUGH|TO BE SHE WAS ALONE SO CAME AFTER YOU. BECAUSE IF IT WERE CONGESTED BECAUSE SHE HAD|DEEPER UP AND HAD SACKED|ON|BUT|BIOLOGY LET ME STARVE|CONTOUR ENTERED IT MAY BE why BANK NOTE|CLEAREST HAVING|DIALS why EXTERN MY HELTER|OVER MY COURSE BLUNDERING|MINUTET INVESTIGATIONS SHE HAD SURMISED FOR |TO CENTIPEDE FOR|AND TO BE GUARD why|CURIOUS HAD HOOK COMPANY BLACKBOARD GROPING TO AND PUT why GET| _______________________________________ ELNORA|WROTE|WAY YOU CROOK| NOTICING|BUT SHE AGAIN SECURED| DRAINED|HAD NOT|GRANDEST HE| BROMIDES HAD SHALL VERY BAD IF YOU DO AND IT _______________________________________ DEVELOPER FILCH PLACE WHERE IT FIELDS AWAY SHE INTO|HE|WITH HIS |KATY|WAY OVER AND OVER| BROODING ALONE SHE|SHE WOULD CONVULSIVE SOBS HIS FRAME NOT JUST FROM WRECK AND ENGULFING WAVES QUARRELING HENDERSON TO TAKE|TO TO HAVE BOND|BACK SIR HE HAS FOR MY HE|LIPS HOMER AND PLATO| _______________________________________ --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Mon, 10 Feb 2003 23:49:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: "wish i were in the land of cotton...look away look away... In-Reply-To: <8297993.1044899190173.JavaMail.nobody@wamui06.slb.atl.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Harry, Who was C.H. Ford and what does this slavery nostalgia song or David Henderson have to do with him or her? Or with David Henderson or why he should have been at this memorial? Just trying to understand your poem; thought I'd just ask you. Tisa Bryant aka Not Sleep > From: Harry Nudel > Reply-To: UB Poetics discussion group > Date: Tue, 11 Feb 2003 13:32:31 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: "wish i were in the land of cotton...look away look away... > > ..not even David Henderson > showed up for C.H.Ford's mem. > this sat. at St. Mark's... > > r.i.p. 20th cent. a-garde.. > Pavel Tchelitchew: :Getrude > Stein always dragged a chair > into your life & then > SAT on it.. > > W. Burroughs on C.H... > "He was always a small part > of a greater thing" > > The octogerian painter > Harold Stevenson.. > bon moting it > In a see thru shirt > Displaying his nipples.... > > > look away look away....time forgotten.....drn... ========================================================================= Date: Tue, 11 Feb 2003 22:46:31 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAYDREAMS 7 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM | | day day day day | d |r | e |a | m | day day day day | | PEACE fridge magnet tank JFK www.poetinresidence.com ========================================================================= Date: Tue, 11 Feb 2003 08:32:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Expanded Patriot Act in the Works - wow! In-Reply-To: <919620FB-3CF6-11D7-B65B-003065BE1640@albany.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT (Note, also, the proposed EPA 'revisions'. This may not be poetry but to ignore it is at great risk. I suggest - as makers of language - minimally we reclaim the language theft practiced by this Administration. "High Alert" I think this phrase - state of mind - characterizes the best of great writing as well as good citizenship. (Wasn't Frank O'Hara, for example, on "High Alert." The Bush boys definitely have me - and I imagine most of us - on "high Alert." Otherwise we currently be at even greater peril. Indeed there are two wars on terror here - within and without. Read on, Stephen V) WASHINGTON (AP) -- Democrats on Monday asked the Justice Department to explain reports that it plans to ask Congress to expand an anti-terrorism law to increase surveillance while restricting access to information and limiting judicial review. House Judiciary Democrats called on Attorney General John Ashcroft to explain the existence of a copy of draft legislation called the Domestic Security Enhancement Act of 2003. The Center for Public Integrity, which posted the document online Friday, said it had obtained it from a government source. Attorney General John Ashcroft said Monday that the Justice Department is working to figure out "what we can do to be more successful" in the war on terrorism. "We're going to do that on a daily basis," Ashcroft said. The new legislation, according to the alleged draft, would prohibit disclosure of information regarding people detained as terrorist suspects and prevent the Environmental Protection Agency from distributing "worst-case scenario" information to the public about a nearby private company's use of chemicals. The measure would create a DNA database of "suspected terrorists"; force suspects to prove why they should be released on bail, rather than have the prosecution prove why they should be held; and allow the deportation of U.S. citizens who become members of or help terrorist groups. ========================================================================= Date: Tue, 11 Feb 2003 11:14:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Fwd: Rice instead of war (not Condolezza!) Comments: To: hub@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Howdy all, the more I thought about this the more in intrigued me, so I'm sendig my rice to the White House and thought I'd pass the plan along. -m. > --------- > This amazing idea comes from the Boulder Mennonite Church: > > There is a grassroots campaign underway to protest war > in Iraq in a simple, but potentially powerful way. > > Place 1/2 cup uncooked > rice in a small plastic bag > (a snack-size bag or sandwich bag work fine). > Squeeze out excess air and seal the bag. > Wrap it in a piece of paper on which you have written, > "If your enemies are hungry,feed them. > Please send this rice to the people of Iraq; do not attack them." > > Place the paper and bag of rice in an envelope (either a > letter-sized or padded mailing envelope--both are the same > cost to mail) and address them to: > > President George Bush White House, > 100 Pennsylvania Ave. NW > Washington, DC 20500 > > Attach $1.06 in postage. (Three 37-cent stamps equal $1.11.) > Drop this in the mail. It is important to act NOW so that > President Bush gets the letters ASAP > > In order for this protest to be effective, there must be > hundreds of thousands of such rice deliveries to the White > House. We can do this if you each forward this message to > your friends and family. > ---------********** > There is a positive history of this protest! In the 1950s, > Fellowship of Reconciliation began a similar protest, which > is credited with influencing President Eisenhower against > attacking China. Read on: > > "In the mid-1950s, the pacifist Fellowship of Reconciliation, > learning of famine in the Chinese mainland, launched a 'Feed > Thine Enemy' campaign. Members and friends mailed thousands > of little bags of rice to the White House with a tag quoting > the Bible, "If thine enemy hunger, feed him." As far as anyone > knew for more than ten years, the campaign was an abject > failure. The President did not acknowledge receipt of the bags > publicly; certainly, no rice was ever sent to China. > > "What nonviolent activists only learned a decade later > was that the campaign played a significant, perhaps even > determining role in preventing nuclear war. Twice while > the campaign was on, President Eisenhower met with the > Joint Chiefs of Staff to consider U.S. options in the > conflict with China over two islands, Quemoy and Matsu. > > The generals twice recommended the use of nuclear weapons. > President Eisenhower each time turned to his aide and asked > how many little bags of rice had come in. When told they > numbered in the tens of thousands, Eisenhower told the generals > that as long as so many Americans were expressing active > interest in having the U.S. feed the Chinese, he certainly > wasn't going to consider using nuclear weapons against them." > > ----- End forwarded message ----- ========================================================================= Date: Tue, 11 Feb 2003 04:50:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Pop Armadillo Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii For Renee Light bubbles over somehow in the tree-branches a sun is stuck like a kite deflated. I drink light dribbles down my chin like you come hard thinking your girlfriend is beautiful, may I have her in mind? I love the way gravity looks on her hair shuffled ripe strawberry by light or grape soda, orange angel jellies and cake cataract tassles of her arms blow around me Eddie, you handfuls of whisper lung sand take up and dreydle a bird's salty declaration, hello, this is morning: eat 2003/02/11 07:36:49 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Tue, 11 Feb 2003 11:26:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Valentine's Day Show in Albany, NY Mime-Version: 1.0 Content-Type: text/plain; format=flowed Cafe Night at the Albany Free School (8 Elm Street) Feb. 14 7-9pm Come celebrate the day of Love with poetry, music, and drumming! Featuring: Pierre Joris, Poet/ Translator. Author of Poasis and many translations. www.albany.edu/%7Ejoris/ Nicole Peyrafitte, Digital Performance Artist www.nicolepeyrafitte.com Enoch, Musician & member of the band Rockets and Bluelights Deb Cavanaugh & Dick Kavanaugh, Folk musicians Alisa, Musician Bhawin Suchak & Al Alfzali, African Drumming Ian VanHeusen, Poet 5 $ for s 3$ for children under 13 Coffee, tea, and baked goods for sale ALL PROCEEDS ARE GOING TOWARDS THE 7th and 8th GRADE TRIP!! For information & directions call the Free School at 434- 3072 or check out our website at www.albanyfreeschool.com ________________________________________________ the Grand Street blues wear blue _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 11 Feb 2003 01:03:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the accessory of the stylus - forgetting my name - already my face is beginning to disappear - fading into the background - becoming one with something inauthentic - some fantasy - the great untruth - the murmur prevails - sing me to eternal sleep - the lullaby - this or that stylus - it doesn't make any difference - i'll put this one down - look for another - :i return with the scalpel - the knife - every gesture cleaves - i can still see and still hear - it won't get any better than this - it will get worse - submerged pains - earth or ground - i return as long as i can - as long as i can remember - as long as i remember my enemy, language - ::i return here to incise once again a skin enveloping what i know as mind - sinking into the prevalence of the symptom as i grow older - the bonds begin to loosen - the mind sails, floats - the body tears away - draws attention to itself through the remaining tethers - it's there that the pain occurs, increases - breakdown of connection - one can't keep up with the other - one becomes another - the other - internalized - cutting through the skin - one of the cuts will kill me - most likely sooner than later - it's that kind of life - :none:none:none your cavern none across my place none === ========================================================================= Date: Tue, 11 Feb 2003 01:22:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: abcdefghijklmnopqrstuvwxyz MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII abcdefghijklmnopqrstuvwxyz the blood, blood we will kill them we will kill ourselves blood, blood they will kill us they will tear the tongues from the mouths they will not bother for the death of one of us there are halves for the death of two there are quartered the bones, the bones the bones, bones nothing will stop more violence but violence until we are all dead actions" of throats our cut "they until the earth is gone of us the blood, blood we can die and do nothing we will kill them we will kill ourselves blood, blood they will kill us they will tear the tongues from the mouths they will split the bodies in two for the death of two there are quartered the bones, the bones the bones, bones nothing will stop violence but violence nothing will stop more violence but violence until we are all dead words" of arms our cut "they until the earth is gone of us for the death of two there are quartered bones, the bones the bones, the bones the bones, bones nothing will stop violence but violence nothing will stop more violence but violence bones, bones until we are all dead abcdefgh the blood, blood we can die and do nothing we will kill them we will kill ourselves blood, blood they will kill us they will tear the tongues from the mouths they will split the bodies in two for the death of two there are quartered the bones, the bones the bones, bones nothing will stop violence but violence nothing will stop more violence but violence until we are all dead words of arms our cut they until the earth is gone of us they will tear the tongues from the mouths they will not bother they will split the bodies in two they will pay no attention for the death of one there are two for the death of two there are four for the death of one of us there are halves ijklmno the blood, blood we will kill them we will kill ourselves blood, blood they will kill us they will tear the tongues from the mouths they will not bother for the death of one of us there are halves for the death of two there are quartered the bones, the bones the bones, bones nothing will stop more violence but violence until we are all dead actions of throats our cut they until the earth is gone of us we can kill and do nothing we will kill them we will kill ourselves blood, blood they will kill us we will bomb ourselves we will scream and protest nothing pqrstuv we will kill them we will kill ourselves blood, blood they will kill us they will tear the tongues from the mouths they will not bother they will split the bodies in two for the death of one there are two for the death of one of us there are halves the bones, bones nothing will stop more violence but violence until we are all dead actions take arms our until the earth is gone of us blood, the blood the blood, blood we can scream and do nothing we can die and do nothing wxyz we can die and do nothing we will kill them we will kill ourselves blood, blood they will kill us they will tear the tongues from the mouths for the death of two there are quartered the bones, the bones the bones, bones nothing will stop violence but violence nothing will stop more violence but violence until we are all dead words of cut are throats our until the earth is gone of us === ========================================================================= Date: Tue, 11 Feb 2003 02:51:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SUSPENSION #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SUSPENSION #0001..........EXCERPT (from unreleased project titled "club bibliotech" position esoteric position esoteric position esoteric position esoteric stages wreck dollars stages wreck dollars stages applied determined wreck dollars stages applied determined UAV routes altitudes UAV wreck dollars applied determined UAV routes altitudes UAV applied determined UAV routes altitudes UAV standoff UAV routes altitudes UAV standoff standoff standoff POSTED ENTERED REMARKS POSTED ENTERED REMARKS conquered POSTED ENTERED REMARKS plumb conquered POSTED ENTERED REMARKS plumb conquered plumb conquered settled plumb settled settled glycosaminoglycans laminin fibronectin focal settled glycosaminoglycans laminin fibronectin focal wrapping glycosaminoglycans laminin fibronectin focal wrapping glycosaminoglycans laminin fibronectin focal wrapping juices pussy creating wrapping juices pussy creating juices pussy creating juices pussy creating forces focused evil responsiveness overcome forces focused evil responsiveness overcome forces monoplane made focused evil responsiveness overcome forces monoplane made focused evil responsiveness overcome monoplane made holding monoplane made holding holding soaked moister collected holding soaked moister collected soaked moister collected soaked moister collected inflexible inflexible combination constellations involved produces inflexible characteristic promptitude combination constellations involved produces inflexible characteristic promptitude combination constellations involved produces agreed characteristic promptitude combination constellations involved produces agreed characteristic promptitude appreciations taking agreed clit sucking flicking appreciations taking agreed clit sucking flicking appreciations taking clit sucking flicking appreciations taking clit sucking flicking whenever screams indicators audiences whenever screams indicators audiences whenever screams indicators audiences whenever screams indicators audiences exhibitors getting machines contestants reviving exhibitors getting machines contestants studies proposed et reviving exhibitors getting machines contestants studies proposed et reviving exhibitors getting machines contestants studies proposed et reviving studies proposed et III III III III based biological based biological bearing skeletal based biological received -donors bearing skeletal based biological received -donors bearing skeletal rays received -donors bearing skeletal pussy looks sis knees rays received -donors pussy looks sis knees rays perfuntory sex. sticky prelude masturbation pussy looks sis knees rays perfuntory sex. sticky prelude masturbation pussy looks sis knees perfuntory sex. sticky prelude masturbation perfuntory sex. sticky prelude masturbation --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Mon, 10 Feb 2003 21:37:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Love Poem In-Reply-To: <3EFFCD45-3D65-11D7-ADFD-0003935A5BDA@mwt.net> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I want to add that when I first saw "Joglars" - I forget if it was a mag or book (maybe a Bill Berkson Blue Sky Press Production in early seventies?) I thought "joglars" was some kind of word for "throat" - from the "jugular" connection from which would emerge a lyric with a twist/ a non-narrative counter-lyric built on visual sounding of the word and/or syllables within each word. German scat. Stephen V on 2/10/03 6:05 PM, miekal and at dtv@MWT.NET wrote: > jongleur Jongleur -- noun -- an itinerant mediaeval entertainer proficient in juggling, acrobatics, music, and recitation. "Joglars", French jugglers, were the name given to the singers who moved castle in castle, course in progress. They were the interpreters of the troubadours when those could no longer sing their songs themselves. They were messengers...the creations of these eternal poets. Messengers with the service of the most powerful lord of this time: LOVE . It seems in Medieval yore that the "jongleur" had more performing skills than the "joglars." I suspect Coolidge is/was primarily interested in arresting the reader with either sounding out and/or visually participating in the construction of the word as a catalyst into the way he wanted the reader to engage the text between the covers. "Joglars" is so unsmooth - in fact suggests, on one hand (or throat!) the "jugular" as perhaps dangerous & vulnerable as in "go for the jugular"; or, simultaneously, sounded out, the two sylables have the same assymetric tonal effect of a drummer striking two cymbals down on each other as a way of gathering attention at the beginning of a set. ========================================================================= Date: Tue, 11 Feb 2003 02:07:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Joglars Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Jongleur is twangy imitative Norman for joglar, rap artist in the vigorous Old Occitan tongue of Arnaut Daniel (Dante's "lengua materna"), also means = a trickster. Langue d'Oeil from the North (where yes is oui) crushed Langue d'Oc (where yes is oc), and Occitan culture in the thirteenth century, through the prolonged and horrific Albigensian crusade. The massacre of civilians in the church at B=E9ziers is one of history's notorious crimes against humanity= . (Occitan was generally spoken in the South until Napoleon instituted monolingual learning. You still can hear old people speak it today on village squares in the Black Mountains.) And then the French stole their poetry and codified it as a culture (Amour Courtois) and called themselves jongleurs. But we owe our lyric existence to joglars. =20 JS ========================================================================= Date: Wed, 12 Feb 2003 13:51:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: For Tesa..C.H.Ford.....David Henderson...Dixie.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit There are of course no footnotes in 2Oth cent lit.. But since you asked C.H.Ford was great impressario of the Avante-Garde.. its P.T. Barnum.. David Henderson is St. Mark's token person of color Ford was born at the turn of cent to Southern Gentry..Miss. hotel owners... I didn't think i'd live to see the day that Dixie would be played STRAIGHT..as it was at the Po Project by the resident entertainment a guitarist...look away... or there are more ironies in the violent anti-war pro.. than in all the kiff in Baghdad...best Harry.... hope this explains some of it... ========================================================================= Date: Tue, 11 Feb 2003 10:06:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: hate of the union speech by the honorary nonelected precedent - georgetta bush In-Reply-To: <20030211125004.46292.qmail@web10703.mail.yahoo.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable (marx brothers meet georgetta bush in a bar late at night to plan the=20 next days speech?) hate of the union speech by the honorary nonelected precedent - georgetta bush =A0 Thank you you haven=92t heard before =A0=A0=A0=A0Trumpeters = raise their=20 helmeted heads to the country=92s forces! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 = either side a fact=20 we can=92t ignore! =A0=A0=A0=A0=A0=A0=A0 =A0=A0=A0 Then it=92s war! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 This is it to = be, =A0=A0=A0=A0=A0=A0=A0=A0 =A0=A0=A0=A0=A0=A0striking=20 out of shock and mimics the judges bench strumming banjos=20 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 With a banjo on their fists = in the baton high in marks=20 of time. Then it=92s war! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0 Then it=92s war! =20 Guards:=A0=A0We=92re going to war:=A0=A0=A0 At last the soldiers=92 = plumes the=20 bow of war, to rebuild a New New York and a new world order) All: =A0=A0=A0=A0Oh, hi-de, hi-de, hi-de, hi-de, hi-de, hi-de, hi-de, = hi-de,=20 hi-de-ho. =A0=A0=A0=A0=A0=A0 =A0=A0=A0=A0=A0=A0=A0=A0 Grab baton and xylophone music. =A0 =A0We'll be partners in a = fact we=20 can=92t ignore! =A0=A0=A0=A0=A0=A0 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 =A0=A0To= war, a people from under the=20 stars, we urge all followers to war! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 = We=92re going to=85=20 =A0=A0=A0=A0=A0=A0=A0=A0=A0 War! =A0=A0=A0=A0=A0=A0=A0=A0=A0 War! = =A0=A0=A0=A0=A0=A0=A0=A0=A0 =09 With a country from under the stars to the end of terroristism. = we=20 will destroy their exits, let them see the plumes of our guns. =A0=A0=A0=A0= =A0=A0=A0=A0 We sit the last the row for no one. no time to waste. Coz I=92m = coming=20 round in hatred and patrolling the justice of the innocent. =A0And=20 America is just cutting off the heads of regime hijackers row house=20 terrorists =A0=A0=A0=A0 I think we=92re gonna go! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 =A0=A0= To war, =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 =A0Our=20 soldiers, working with complete confidence in the depth of football, =20 until The trumpets sound and our coalition of partners, hundreds of=20 brawn who=92ll carry us on their shoulders. =A0 military action is only = the=20 beginning. =A0Most of all we are off to war. All:=A0=A0 We=92re going to war against terror - going to the judgment = day. =A0=20 say goodbye don=92t you cry cause this little Pinky will prevent = Iranian=20 regimes. to war! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 We=92re going to = war, to war! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=20 Then it=92s war! Oh, hi-de, hi-de, hi-de, hi-de-ho. All:=A0=A0Oh, hi-de, hi-de, hi-de, hi-de-ho.=A0=A0 It seems the = country=92s going=20 to war! =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 Then it=92s war! =A0=A0=A0=A0=A0=A0= =A0=A0=A0 =A0=A0=A0=A0To war, to war=20 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 to be false is not American - all you = need is the flag!=20 =A0to war!=A0=A0=A0=A0 =A0Our spirits will grab them because we=92re = gonna go to war. All God=92s chillun got guns. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Dis= solve to war! =A0=A0increase=20 spending and Gather around the flag, =A0=A0 To war, the United States=20= will never run away from a good war,! to war we=92re gonna go!=20 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0When America works, America = has=A0Stricter borders, defense=20 spending and a country that watch's everyone else. we must=20 succeed! we have the best equipment, we have soldiers that will make=20= us prospers. All:=A0=A0=A0=A0 we have the best weapons, we upgrade our nation against = the=20 center of recession. =A0 Good jobs need a military more then the beat = of=20 freedom I think we=92re gonna go! All God=92s chillun got guns, =A0=A0=A0=A0= =A0 We=92ll rally=20 round The trumpets sound. tax relief was wrong we need to=20 encourage investment in war! to war! to war! We=92re going to recruit seniors for our infrastructure, and a = front=20 line defense, if need be. its war! to war! All:=A0=A0=A0=A0 It is to war All:=A0=A0=A0=A0 We=92re going to the forces! =A0=A0=A0=A0=A0=A0=A0=A0 All:=A0=A0=A0=A0=A0To war, to war, to war=85 =A0=A0=A0=A0=A0=A0=A0=A0=A0 For too long our culture has hidden from war with a culture of = the=20 other and playing with an imaginary rope. its time to stop and go to=20 war! =A0we need volunteers to police China. Our enemies Harness unique=20= opportunity to throw-up in our streets=85 =A0=A0=A0=A0=A0=A0=A0=A0=A0 = We=92re going to=20 flutter their children away if need be!! All:=A0=A0=A0=A0 watch everyone else . . .express human events with = guns. =A0 Rarely has emerged a case as good as this fierce brotherhood, = free of=20 freedom in every region, free from love. we need progress. so its off=20 to war! to war! to war! ========================================================================= Date: Tue, 11 Feb 2003 12:12:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Virginia's Resurrexit Mime-Version: 1.0 Content-Type: text/plain; format=flowed the outermost of Virginia is to be called daughter too though only the islands had her attention, money would do wonders for the sun, her daughters are golden-haired tonight gardens are pearls in the ocean, gingerly all out to the air here the renowned are FINALLY summer-minded, they placed a five on Virginia as usual - early damnation? eerie empty Virginia's framed face - a paper Troy, really, to snow down Pharaoh's forgetting this world will surely beach the moon, just as surely, beneath its pants, the clients orbit... moonfolks pulled, ah, my early contacts into shape, "But clay holds," cried the tresses (The grapes murmured "sorceress") their imprint vanquished the abyss! and snowed Kneph's tomb! yet their steeped little loves are among the ashes today because they were against you, Virginia, whose violets at every verge vines the trees, every life’s a Virginia, so is Virginia out dying? the outermost of Virginia is to be called daughter too! what soul will spite this news? "Love one who thinks God's but ice," the tresses insist (the grapes respond "each skin's an irrepressible sentinel watching 'gainst such nonsense") meanwhile Delfica would metal my Hell _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 11 Feb 2003 10:32:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: SPT's New Experiments -- Jim Behrle Forgets His Heroes MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic presents the first of our Spring 2003 New Experiments Events Saturday, February 15, 2003 at 3:30 PM New Experiments: Jim Behrle Forgets His Heroes Talk and discussion begins at 3:30, reading at 5:00 $5, free to members Classroom East 1, CCAC SF Campus, 1111 - 8th St., SF (see website for map) Jim Behrle writes: "Around September, 2001 did Human Nature change? How late is it, and what does that mean for the younger generations of poets? Young American poets are the bastard latchkey children of an overwhelming and disparate generation. We are the students, acolytes, and banner-carriers for poets who would like to mold and/or f**k us. Will we remain foot soldiers in the wars of their mentors? What ought new magazines, presses, reading series do to be vital? Ought Creative Writing programs exist? Every aspect of trying to write innovatively in the United States needs to be refreshed. If the succeeding generations of American poets are to be innovative and exciting, they must be in spite of the work and advice of the previous generations.To make it new, it ought to be broken. This discussion centers around the need for new reigning models, which will place future generations of American poetry out from under the shadows of their predecessors." Behrle's latest chapbook is Recent Sonic News (Please evict us, 2002). He serves as Roving Poet for WBUR's noontime syndicated Public Radio newsmagazine "Here & Now." Behrle lives in Brookline, Massachusetts, where he also edits the online journal can we have our ball back? and serves as the poetry editor for Pindeldyboz. **** New Experiments: Emerging Patterns in Innovative Literature by Authors Born in the 1960s and 1970s, Elucidated by Themselves New Experiments, which will continue next spring and beyond, aims to map new ways of reading, and to put a new generation on those maps. Join us for Saturdays this season for a special series, curated by Elizabeth Treadwell Jackson. In a recent letter to the Poetry Project Newsletter , Boston poet and editor Jim Behrle made a call to innovative writers of the Baby Boomer (and older) generation to "give the kids a chance". Small Press Traffic?s New Experiments series will do just that. New Experiments will explore critical (though not necessarily academic) ways of understanding writing that is being created now by younger experimental poets and prose writers. These critical understandings will be generated by the practitioners themselves in concert with the presentation of new works by themselves and others. These writers could be referred to as heirs of Language poetry, New Narrative, New York School, and other fairly recently established categories, but our idea is to seek out understandings of how far and wide -- and oddly, randomly, anarchically through bumpy history -- their inheritances truly go and work. We are also interested in exploring the contexts in which this writing is made today, and the contemporary forces that shape it. Small Press Traffic is interested in maintaining our position as an important venue for the latest in writing by helping a diverse group of talented and committed poets and writers under the age of forty-five -- most under thirty-five -- to create new works and to discuss emerging patterns in the literature of their generation. We are interested in how political and societal concerns and pop- and other cultural influences function in the writing of this new generation, the what and why of their aesthetics, and patterns in same that seem to each of the invited writers to be appearing. New Experiments is devoted to finding out how a diverse group of active writers and cultural workers see things; not in creating new "schools" per se, but in creating new ways of reading and understanding experimental writing that is happening today. For reports from our Fall 2002 New Experiments Events, please see our website. Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 ========================================================================= Date: Tue, 11 Feb 2003 13:49:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: For Tesa..C.H.Ford.....David Henderson...Dixie.... In-Reply-To: <3607276.1044986708022.JavaMail.nobody@wamui06.slb.atl.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit that's a whole 'nother poem, there. poem as footnote. thanks! tisa > From: Harry Nudel > Reply-To: UB Poetics discussion group > Date: Wed, 12 Feb 2003 13:51:44 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: For Tesa..C.H.Ford.....David Henderson...Dixie.... > > There are of course no footnotes > in 2Oth cent lit.. > > But since you asked > C.H.Ford was great impressario > of the Avante-Garde.. > its P.T. Barnum.. > > David Henderson is > St. Mark's token person of color > > Ford was born at the turn of cent > to Southern Gentry..Miss. hotel owners... > > I didn't think i'd live to see > the day that Dixie would be played > STRAIGHT..as it was > at the Po Project > by the resident entertainment > a guitarist...look away... > > or there are more ironies in the violent anti-war pro.. > than in all the kiff in Baghdad...best Harry.... > > hope this explains some of it... ========================================================================= Date: Tue, 11 Feb 2003 13:49:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: poem -- INCLINE: 7% MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Incline: 7% Government assassin censors desire. That's what I heard. Phallic, violet, legit, killic, frickit. Pray t'it, that's what I heard. Mailing baby powder slitters in the power post. Information now! Call the informationist. No code fooking Northampton. I heard that just now. Anon, pseudo, AKA, flusht with disregard. Truth argues reckless, Hostess Spoorletina. The joke was tested. That's what I heard. Joel Lipman/2003 ========================================================================= Date: Tue, 11 Feb 2003 13:54:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: For Tesa..C.H.Ford.....David Henderson...Dixie.... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > David Henderson is > St. Mark's token person of color Harry, I hold no brief for the Poetry Project, but this is horrible lying bullshit, and you know it. Were you born a jerk, or have you worked hard at developing your jerkness over the years? ========================================================================= Date: Tue, 11 Feb 2003 14:05:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Richards Subject: Re: poem -- INCLINE: 7% MIME-Version: 1.0 Content-Type: text/plain Listserv Turkey call for love poems brings a cornucopia (though Dorn's 24 mentioned only once?) among them K. Selim M. nominates Niedecker 's "Paul // when the words" to which your correspondent, contra instinct, clicks reply: O, Lorine, if this is a love poem it ain't to the addressee but full moon Louis who left you to dry up and blow away Then click send abandoned, no response but perhaps the point is too tangentially asserted: that it is perhaps not a love poem but a lament, a tiny elegy for his sib they (full moon 'Rine) snuffed. The address to Paul could sneak it past Cecelia (not that CZ was notably a gatekeeper but that Lorine, by nature farouche, would have avoided confrontation [the poem's trope, at LZ's insistence]) to the one whose sympathy--whose guilt perhaps whose indictment--she sought. O, Louis, may I join you among the indited, among the guilty, among those the poem addresses I too filled her with child to read her down the years but then so did Shelley and surely deep old Tom Wyatt when her loose gown did from her shoulders fall. > -----Original Message----- > From: Lipman, Joel A. [SMTP:JLipman@UTNET.UTOLEDO.EDU] > Sent: Tuesday, February 11, 2003 1:50 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: poem -- INCLINE: 7% > > Incline: 7% > > Government assassin censors desire. > That's what I heard. > > Phallic, violet, legit, > killic, frickit. > > Pray t'it, > that's what I heard. > > Mailing baby powder slitters > in the power post. > > Information now! Call the > informationist. > > No code fooking Northampton. > I heard that just now. > > Anon, pseudo, AKA, flusht > with disregard. > > Truth argues reckless, > Hostess Spoorletina. > > The joke was tested. > That's what I heard. > > Joel Lipman/2003 ========================================================================= Date: Tue, 11 Feb 2003 11:22:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: Jono Schneider & Keith Shein O Books reading correction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm sorry to say that I made a mistake in listing the date of Keith = Shein and Jono Schneider's reading from their new O Books at City = Lights. The reading took place on January 21st, whereas I had listed it = here as February 21st. Fortinately their readings were very good and = there was a good audience. Schneider's book is: "...BUT I COULDN"T = SPEAK..." and Shein's books is: RUMORS OF BUILDINGS TO LIVE IN. Both are = available from SPD (1341 Seventh St Berkeley CA 94710) and O Books (5729 = Clover Drive, Oakland CA 94618). The reason why I made a mistake recording the date was that there = will be another O Books reading at City Lights on February 20th for the = anthology ENOUGH. I will describe that in a different osting. Thank you = -- Leslie Scalapino ========================================================================= Date: Tue, 11 Feb 2003 14:39:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Rummy, Bush & Iraq: A Brief History Comments: To: hub@dept.english.upenn.edu In-Reply-To: <3E3BFE52.B2C28CD7@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi everybody, I thought you might like to read this well-researched, informative and eye-opening article from the Washington Post: http://www.washingtonpost.com/wp-dyn/articles/A52241-2002Dec29.html Here are some excerpts that caught my eye: On Nov. 1, 1983, a senior State Department official, Jonathan T. Howe, told Secretary of State George P. Shultz that intelligence reports showed that Iraqi troops were resorting to "almost daily use of CW" against the Iranians. But the Reagan administration had already committed itself to a large-scale diplomatic and political overture to Baghdad, culminating in several visits by the president's recently appointed special envoy to the Middle East, Donald H. Rumsfeld. Secret talking points prepared for the first Rumsfeld visit to Baghdad include[ed] the statement that the United States would regard "any major reversal of Iraq's fortunes as a strategic defeat for the West." When Rumsfeld finally met with Hussein on Dec. 20, he told the Iraqi leader that Washington was ready for a resumption of full diplomatic relations, according to a State Department report of the conversation. Iraqi leaders later described themselves as "extremely pleased" with the Rumsfeld visit, which had "elevated U.S.-Iraqi relations to a new level." ….. A 1994 investigation by the Senate Banking Committee turned up dozens of biological agents shipped to Iraq during the mid-'80s under license from the Commerce Department, including various strains of anthrax, subsequently identified by the Pentagon as a key component of the Iraqi biological warfare program. The Commerce Department also approved the export of insecticides to Iraq, despite widespread suspicions that they were being used for chemical warfare. The fact that Iraq was using chemical weapons was hardly a secret. In February 1984, an Iraqi military spokesman effectively acknowledged their use by issuing a chilling warning to Iran. "The invaders should know that for every harmful insect, there is an insecticide capable of annihilating it . . . and Iraq possesses this annihilation insecticide." …. The U.S. policy of cultivating Hussein as a moderate and reasonable Arab leader continued right up until he invaded Kuwait in August 1990, documents show. When the then-U.S. ambassador to Baghdad, April Glaspie, met with Hussein on July 25, 1990, a week before the Iraqi attack on Kuwait, she assured him that Bush "wanted better and deeper relations," according to an Iraqi transcript of the conversation. "President Bush is an intelligent man," the ambassador told Hussein, referring to the father of the current president. "He is not going to declare an economic war against Iraq." ========================================================================= Date: Mon, 10 Feb 2003 14:31:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Person of Color.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit There were no persons of color visible at the C. Henri.F...tho there were two rows of Nepalese who surely were bored out of their dharma... At the few events I attend at St. Marks..David Henderson is the only poet of my generation...that i see...Koch, Wierners mem. etc...the only one to touch base with an asethetic outside slam rap or ghetto loud louder loudest... There are undboudetly people of color doing the s..t work, foldng chair, serving cokes, taking classes, crawling up the lit ladder on their bellies at St. Mark's....good luck to them..... and again another chorus of Dixie...look look look away...drn... ========================================================================= Date: Tue, 11 Feb 2003 15:34:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: Proposal MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII End the list now! Jordan Davis ========================================================================= Date: Tue, 11 Feb 2003 14:57:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Poem For John Scott Russell (1808-1882) Mime-Version: 1.0 Content-Type: text/plain; format=flowed language became argument, face the argument over again while barrier apes forecast death, sled happens & scorches the time control always snappy, always simple, O simple syrupy home the Boldface Bears flutter telltale and today, fancy that into a gauze Virginia night (kings swear to scotch that nightscape), O gauze night - parcel the sleep, the exchanges, and the personal into pleasant spells paper air, your school is now the drop, your gauge doing an asunder nighttime Virginia willing yellow thus and stuttered the waters to stand up severally: quickened frogs, where my wanders ended Shelley's began---> I'll add to her wink an arching complaint set long into mind there's a lot of butterflies in your tide but I named my sled Violet before they could rise again, "Stay sunsets there, Virginia!" say rather "propose sunlight as the lush haha!" what would your phantom condition say? _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 11 Feb 2003 15:39:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Proposal MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit End your Blog now! Geoffrey Gatza ----- Original Message ----- From: "Jordan Davis" To: Sent: Tuesday, February 11, 2003 3:34 PM Subject: Proposal > End the list now! > > Jordan Davis > > ========================================================================= Date: Tue, 11 Feb 2003 11:47:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Proposal MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT don't let the natterers get you down. somehow people miss the anlogy of the listserv as inkblot. tom ----- Original Message ----- From: "Jordan Davis" To: Sent: Tuesday, February 11, 2003 2:34 PM Subject: Proposal > End the list now! > > Jordan Davis ========================================================================= Date: Tue, 11 Feb 2003 16:34:45 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Proposal MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 02/11/2003 3:35:59 PM, jdavis@PANIX.COM writes: << End the list now! Jordan Davis >> hmmm. this is very curious. i really LIKE this e-mail. tell us why though. tell it with as many exclamation points as you need man! ========================================================================= Date: Tue, 11 Feb 2003 18:06:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: A February Sheaf by Gerrit Lansing (Pressed Wafer) Mime-Version: 1.0 Content-Type: text/plain; format=flowed A FEBRUARY SHEAF is a selection of writing that draws on more than fifty years of essays, reviews, "gists," and poems. Included are many of pieces fugitive and out of print: the secretly influential "Burden of Set" editorials, previously uncollected poems, a generous choice of work from three editions of HEAVENLY TREE, and more. TO WEE VIRGINS TO MAKE MUCH OF TIME Photo the wreck before it spaces away Flash is what you got to make it fast as bash is behovely and beauty is swash and swags in the wind. Gerrit Lansing was born in Albany, New York in 1928, and grew up in Northern Ohio. He was educated at Harvard and Columbia Universities. His favorite comic strips were Little Orphan Annie and Mandrake. As a boy he was fascinated by swamps. *$15.00 + $3.00 Shipping and Handling* canwehaveourballback.com/lansing.htm to use your credit card or send a check to: Pressed Wafer 9 Columbus Square Boston, MA 02116 Please make your check out to "Pressed Wafer" _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 11 Feb 2003 18:54:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Poets Against War Mime-Version: 1.0 Content-Type: text/plain; format=flowed >Reading Tomorrow: > >Poets Against War, Feb. 12, 2003, 7:30 PM, St. Mary's Parish Hall >Northampton, MA: > >Susan Kan >Ellen Doré Watson >Diana Gordon >Peter Kakos, >Lesléa Newman >Ann Hutt Browning >Nicomedes Suárez-Araúz >Gail Thomas >Jane Yolen >Preston Browning >Margaret Szumowski >Joseph Hernon >Neda Maghbouleh >Benjamin Balthaser >Susan Stinson >Martín Espada >Carolyn Cushing >Noah Eli Gordon >Janet Aalfs >Magdalena Gómez _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Tue, 11 Feb 2003 15:59:56 -0800 Reply-To: kara quarles Sender: UB Poetics discussion group From: kara quarles Subject: Re: Joglars MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Archibald Ross Lewis' entire book THE DEVELOPMENT OF SOUTHERN FRENCH AND CATALAN SOCIETY 718-1050 in online at: http://libro.uca.edu/lewis/sfcatsoc.htm lq > > (Occitan was generally spoken in the South until Napoleon instituted > monolingual learning. You still can hear old people speak it today on > village squares in the Black Mountains.) > > And then the French stole their poetry and codified it as a culture (Amour > Courtois) and called themselves jongleurs. But we owe our lyric existence > to joglars. > > JS > ========================================================================= Date: Wed, 12 Feb 2003 12:14:39 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: New work Comments: To: alanj , alanw , alice , angelabennie , annag , karen attard , austlit , barbara , beth , bob , brendanr , brian , carlp , carolynb , carolynv , chris emery , christina thompson , christine , chriswc , coral , debra , denis , eileen , geraldg , gig , hazelsmith , heleng , michael Hurley , jan , jane , janeg , jilljones , john , johnb , johnj , johns , julia , jvk , kate , Katef , katel , kieran , kornelia , kurt , landon , laurin , lee , leswicks , lidija , linden , louislouis , luke , lynmc , lynt , margot , mark , martinh , michele , mike , murraye , neela , ouyang , overland , Paul , pete , philhammial , philipm , philipn , philips , pkirkpatrick , poetsunion , rae , rene , rlo , ron , Ron Pretty , ruark , sam , ska , steve evans , sue , suehampton , susans , sylvia , ted , tim , tomtom , veronica sumegi , virginia , xavi , zan MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Part two of "Amnesiac recoveries" - a collaborative project from Pam Brown and Susan M. Schultz can now be read at - http://www.icols.org./pages/PB&SS/PB&SS.html Note: Pam Brown's website has moved to - http://www.geocities.com/p.brown/ (Apologies to anyone who does not wish to receive this mail - please contact p.brown@yahoo.com and request removal from the address list) http://greetings.yahoo.com.au - Yahoo! Greetings - Send some online love this Valentine's Day. ========================================================================= Date: Tue, 11 Feb 2003 20:28:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: A Poetry Action Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable If the saturday peace march is not be allowed, we could all go out with a white/red sign, a piece of cloth tied to our wrists, or carry a white/red sign in any other way, so that we would be manifesting for peace as we go about, shopping or walking, everywhere and at any time, both as individuals or in small groups, to avoid the need to have "a permit" to walk for peace. =20 white/red stands for life in the Andes: semen and menstrual blood. the union of both. (Cecilia Vicu=F1a) ========================================================================= Date: Tue, 11 Feb 2003 22:57:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: A Poetry Action In-Reply-To: Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit Here's the url to a vicous (& viciously long) essay by the book editor of the WEAKLY, eurr, WEEKLY STANDARD re: The Poets vs. The First Lady From the February 17, 2003 issue: The appalling manners and adolescent partisanship of our antiwar poets. by J. Bottum At the bottom of the article there is a icon to click if you want to respond. I think all 800+ members of this list should respond. http://www.theweeklystandard.com/Content/Public/Articles/000/000/002/ 228qjtzx.asp ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Tue, 11 Feb 2003 22:05:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: A Poetry Action In-Reply-To: <11FA4010-3E3E-11D7-AB20-003065BE1640@albany.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit pierre: who designed your signature? it really makes me jealous... I spend my life doing things with computers & in 12+ years of having email I still havent gotten a signature together, let alone something this classy. this signature sells books. mIEKAL On Tuesday, February 11, 2003, at 09:57 PM, Pierre Joris wrote: > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a > crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere > Else. > c: 518 225 7123 > o: 518 442 40 85 > -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ > ========================================================================= Date: Wed, 12 Feb 2003 00:33:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: WAR MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII WAR nothing will stop violence but violenceXN0IG9 UW PICO(tm) 4.4 nothing will stop more violence but violence//images.ta dCd "they cut our throats of ac until we are all dead5nPkNoe UW PIC "t words" of arms our cut "theylists jo b29zZSA1 a until the earth is gone of usrms of wordsQogICAgus - forge for the death of two there are quarteredoats of actionsluY2x1ZGluZzogTUFYSU0sIFJ bones, the bonesYXIgU our arms t the bones, the bonesinto the ba wxyz>d the bones, bones cut of wordsBEY nothing will stop violence but violence [ Wrote 16 lines ] nothing will stop more violence but violencebmUs k36% hYW5kIF 20 new spam; proc me bones, bonesile-sh 21 until we are all deadmembershi 23 ls abcdefghR 24 the blood, bloodW 25 cp a/f we can die and do nothing 26 pico fil - PrevP the blood, bloodcp fil a we can die and dls we will kill them we will kill ourselveses another - the other blood, bloodyPSIjMDAw Se they will kill us the death of two they will tear the tongues from the mouthsainment, ande of the bones, the bonesxlDQ they will not botheret Help ^Y FirstLin for the death of one of us there are halveswith offers that incl b25nPjwvZm9udD ^C Can for the death of two there are quartered....93, 1994ntu.ac.uk>o your c the bloo the bones, the bonesJpY the blood, blood the bones, bonesthe blood, blood the bones, the bonesblood, blood19 KB) " the bones, bonesme to write : yy nothing will stop more v File Name to wr we will bomb ourselvesxpZ249Im we will scream and protest nothing8--ber> R pqrstuv 4 ^G we will kill themFilesA7PC9wPg0KIC we will kill ourselves TAB CompleteD 3 blood, bloodtdm-er ^G Ge they will kill ust ^R Read File ^ blood, bloodK Cut Text they will kill userver (1047) Mes they will tear the tongues from the mouthsaWFsIj4 ^X Exit ^J Justify ^W Where they will not botherUnCut Text^T To Spel they will split the bodies in twoaXplPSIyIiBmYWNlPSJBcmlhbCI+PC9mb for the death of one there are two File: yyeim@panix.co for the death of one of us there are abcdefghijklmnopqrs blood, the bloodB3b3VsZCBwcmVmZX the blood, blood one of us there we can scream and do nothing bm90DQogICAgICAgIHRvIHJl fo we can die and do nothingre quartered R Reply Fro wxyzYTE. we can die and do nothinges, the bonesywgPC9mb250P ? 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What does it portend abcdefghe.email- {o for ( i = NF; i >= 1; i-- )e are halvesevails - sing me printf "%s ", $i;ndards? we will b printf "\n"; plan violate }h k42% bhe bon To 7-11@mail.ljudmila.org [7-11] abcdefghijklmnopqrstuvwxyz violenceifference - i'l ~ and state?~~~~~~~~~~ ::: until k43% lsll dead Mail lynx_bookmarks.html phoenix.irc venom.irc the earth is gone of usy Pournelle, Chaos Manor #270 blood, the blo nail RV.UTORONTO.CA>t."com/maaaP0 O OTHER CMDS > [ListFldrs] N NextCmd K KBLockdan_sondheim@yahoo.ca>,f through Criminal prosecution for po our web without bail.ViewMsg] N N Forward on the la Send message? YesCenter for Public the blood, the blood they will not botherc NextPage U Undelet they will split the bodies in two they will pay no attentionE 4.51 MESSAGE TEXT for the death of one of us there are halves (4436) Re: #1Db/aim Your Free PDA for the death of two there are quartered5 Ian S. Murray (1456) Ohio Statla bones, the bones abcde Spellghijklmnopqrstuvwxyz K KBL they will tear the tongues from the mouths abcdefghijklmnopqrstuvwxyzoke-list.. they will not bothere projects http://tr they will pay no attentioneim/index.htm ========================================================================= Date: Wed, 12 Feb 2003 00:33:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Sexwar MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Sexwar There cannot be the slightest doubt that false charges of sodomy are more numerous than those of rape, and that this is too often a successful mode of extortion. This is rather a legal than a medical question; but it is especially deserving of notice, that these accusations are very frequently made by soldiers and a bad class of policemen! accusations very very especially frequently deserving made by by soldiers soldiers and bad class class of policemen! made until blood, earth blood gone we us will blood, kill blood them we ourselves will policemen! kill until them earth ourselves gone they not tear bother tongues split from bodies mouths in not two bother pay split no bodies they in tear two tongues pay from no mouths attention one for there death halves one quartered there bones, halves bones quartered nothing bones, stop bones attention nothing for stop death violence violence all all dead dead scream scream protest protest can can do do bomb bomb (From Taylor's A Manual of Medical Jurisprudence, 1866) === ========================================================================= Date: Wed, 12 Feb 2003 02:22:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Proposal Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > > Date: Tue, 11 Feb 2003 15:34:17 -0500 > From: Jordan Davis > Subject: Proposal > > End the list now! > > Jordan Davis > > -------- I have a hunch Jordan means this in the kindest sense possible- like putting a sick and or crazed animal out of its misery. But why not start a Society for the Prevention of Cruelty to List Subscribers (SPCLS). I myself am bi-cy, that is, bicybernetic, as I like both blogs and the list a lot, in spite of the occasional loose cannons or limp noodles as the case (in every sense of the word) might be. -Nick- ========================================================================= Date: Wed, 12 Feb 2003 00:08:45 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Bay Area Residents Only MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi--- are there any lonely lurkers, specifically female, say ages 24-42, out there... maybe wanna talk on phone like late nights (is that even something people do here?) or maybe even be a lake-walking partner (i do that kind of obsessively) in Oakland. If so, feel free to backchannel me. You don't have to be a poet; though it's okay if you are; it's even okay if you're a "poet scenester". Not necessarily looking for sex or a relationship, but am looking for some social warmth on a one-on-one basis. Sick of being third wheels with couples; sick of "guy's night out," sick of long distance abstractions--- I've been told that I'm too intense for many, but feel I actually sort of have something to give.... Anyway, just thought I'd say this if the list is gonna end before the bombs go off, etc... Chris Nick Piombino wrote: > > > > Date: Tue, 11 Feb 2003 15:34:17 -0500 > > From: Jordan Davis > > Subject: Proposal > > > > End the list now! > > > > Jordan Davis > > > > -------- > > I have a hunch Jordan means this in the kindest sense possible- like putting > a sick and or crazed animal out of its misery. But why not start a Society > for the Prevention of Cruelty to List Subscribers (SPCLS). I myself am > bi-cy, that is, bicybernetic, as I like both blogs and the list a lot, in > spite of the occasional loose cannons or limp noodles as the case (in every > sense of the word) might be. > > -Nick- ========================================================================= Date: Thu, 13 Feb 2003 05:24:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: 800+ a limp noodle.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 800+ One Voice Sayin' Put the top Down on the 'vette Fill 'er up With the good stuff Rte 66 to Baghdad... ========================================================================= Date: Thu, 13 Feb 2003 05:44:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: M.P.H Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit SPEED Sayin' Put the top Down on the 'vette Fill 'er up With the good stuff Floor it Rte 66 to Baghdad....DRn.. ========================================================================= Date: Wed, 12 Feb 2003 23:50:11 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: new on audioblog Comments: To: webartery@yahoogroups.com Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-4C1654B4; boundary="=======4CEA7125=======" --=======4CEA7125======= Content-Type: text/plain; x-avg-checked=avg-ok-4C1654B4; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit 1. reality is a construct - linear non-interactive 3d animated narrative cyberpoem. 2. interview by brenda sutherland in 1992 for school students in new south wales. 3. thomastown talk 4. digital cut-ups 5. soundpoetry 6. computerspeak 7. blogalogue 8. 6 months in a poets hat, Southerly, 1993. cheers komninos http://spokenword.blog-city.com komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======4CEA7125======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-4C1654B4 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======4CEA7125=======-- ========================================================================= Date: Wed, 12 Feb 2003 08:54:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: A Poetry Action In-Reply-To: <3FBB2627-3E3F-11D7-BF35-0003935A5BDA@mwt.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit mIEKAL -- are you ribbing me? -- this is the most basic home-made sig possible done first in the outlook mail program by importing my own design from a msword file (copy&paste) & now that I've returned to mac done in the mac email program the same way. Easy enough after that to edit it for the quote du jour or the banner for the new book or whatever. Most email programs let you write & edit sigs painlessly -- what are you using? -- Pierre On Tuesday, February 11, 2003, at 11:05 PM, miekal and wrote: > pierre: who designed your signature? it really makes me jealous... I > spend my life doing things with computers & in 12+ years of having > email I still havent gotten a signature together, let alone something > this classy. this signature sells books. > > mIEKAL > > > On Tuesday, February 11, 2003, at 09:57 PM, Pierre Joris wrote: > >> >> ___________________________________________________________ >> Pierre Joris >> 6 Madison Place And they call reading a sin, and writing is a >> crime. >> Albany NY 12202 And no doubt this is not entirely false. >> h: 518 426 0433 They will never forgive us for this Somewhere >> Else. >> c: 518 225 7123 >> o: 518 442 40 85 >> -- Thomas Bernhard >> email: joris@albany.edu >> http://www.albany.edu/~joris/ >> ____________________________________________________________ >> > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Wed, 12 Feb 2003 08:23:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: A Poetry Action In-Reply-To: <7039D1DB-3E91-11D7-8560-003065BE1640@albany.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v548) Content-Transfer-Encoding: 7bit Less a rib & more sig envy. I read my mail on about 5-6 different computer in 3 different places, from pop accounts & from the web. But I think my point was that these seemingly simple things always escape me. mIEKAL On Wednesday, February 12, 2003, at 07:54 AM, Pierre Joris wrote: > mIEKAL -- are you ribbing me? -- this is the most basic home-made sig > possible done first in the outlook mail program by importing my own > design from a msword file (copy&paste) & now that I've returned to mac > done in the mac email program the same way. Easy enough after that to > edit it for the quote du jour or the banner for the new book or > whatever. Most email programs let you write & edit sigs painlessly -- > what are you using? -- Pierre > ========================================================================= Date: Wed, 12 Feb 2003 09:31:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: Re: A Poetry Action In-Reply-To: <11FA4010-3E3E-11D7-AB20-003065BE1640@albany.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In the course of the first few paragraphs I was sure that the author Bottum had plagiarized the less competent, but equally obtuse, article by his brother Kimball at the New Criterion. There are no surprises here. Bottum thinks poetry can and should be "political" but only if it has the right kind of politics. That is, the 9/11 attacks and Palestinian suicide bombers should move a red-blooded American poet to write fierce and "competent" political poetry in the line of Yeats or Auden. All other poets fall, Bill O'Reilly-like, into a sorry pile of "anti-Americanism," whatever that may mean. Speaking truth to power is American, but only if it politely retreats afterward and allows power to get on with its private business transacted in the public arena: through war. This is elitism at its finest. At least Bottum has the honesty to admit he's a dabbler in poetry. And as dabblers go he has an extremely narrow view of poetry (not to mention politics). Like human lives in the political realm, he sees in poetry (or recognizes) only the poets who matter. And they are-----the ones who are signing petitions now and contributing poems to anti-war sites---falling short of their mark as "serious" poets. To his credit, he refrains from using the term "decadent." Bottum (I can't help but want to write "on Shakespeare" after his name) writes: "Though anti-Zionism, anti-globalism, and anti-Americanism were building through the 1990s, America's poets showed nothing approaching this level of protest when President Clinton spoke to the nation from the Pentagon in February 1998 and brought the United States to the edge of all-out war with Iraq." He's absolutely right. As anti-war poem posting becomes fashionable even among the laureates and Pulitzers, let's not forget that this murderous and stupid war---that's right, Bottum! "murderous"---is in its 12th year. The "shock and awe" bombing plan is a repeat performance. The less shocking (save for those on the receiving end) but still awful weekly bombings in the Fly-not Zones of Iraq kept up throughout the past decade have not been the stuff of sonnets and odes. Not even in a magazine like "The Nation," tho it did tend to notice the US was still committing acts of war against a population we were simulatenously killing by blocking the importation of medicine and mechanical parts to fix desalination plants, etc. So what's more offensive than Bottum's ranting his mediocre views of poetry in this country (in addition to making/linking the grievances of the poets to Mrs. Bush on a personal level) is his defense of the current regime as being unfairly attacked for wanting to make a good war, while the paper he writes for waged a relentless campaign against Clinton for enjoying blowjobs in the oral office. Bottum, like all partisans, cannot see that Clinton and Bush are two sides of the same coin. They are both disgusting human beings, and disgraces as presidents. But at least Clinton's impeachable offenses never got people killed. His actions (via use of military) certainly did. But Bottum and company don't mind that kind of thing. What's American power for if not to beat and kill people with your big stick while softly speaking the nicer stanzas of Whitman's democratic vistas? Well, to read Bottum's article all the way through is to see a thumbnail sketch of a right-winger's cultural prejudices. It's important at the moment because this kind of narrow mind is widely found in every newspaper and heard on every radio. But the forces Bottum claims not to understand, the protesters who see no contradiction in a plethora of messages and signs from before Seattle '99 to now, will continue to grow and reveal his argument as without merit. - daniel bouchard At 10:57 PM 2/11/03 -0500, you wrote: >Here's the url to a vicous (& viciously long) essay by the book editor >of the WEAKLY, eurr, WEEKLY STANDARD re: > >The Poets vs. The First Lady > From the February 17, 2003 issue: The appalling manners and adolescent >partisanship of our antiwar poets. >by J. Bottum > >At the bottom of the article there is a icon to click if you want to >respond. I think all 800+ members of this list should respond. > >http://www.theweeklystandard.com/Content/Public/Articles/000/000/002/ >228qjtzx.asp > >___________________________________________________________ >Pierre Joris >6 Madison Place And they call reading a sin, and writing is a crime. >Albany NY 12202 And no doubt this is not entirely false. >h: 518 426 0433 They will never forgive us for this Somewhere Else. >c: 518 225 7123 >o: 518 442 40 >85 -- >Thomas Bernhard >email: joris@albany.edu >http://www.albany.edu/~joris/ >____________________________________________________________ ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Wed, 12 Feb 2003 09:52:45 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Poets for Peace march plans MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable POETS FOR PEACE=20 will be meeting at 11am this Saturday, Feb. 15:=20 Conran's food emporium plaza=20 on East 59th Street and 1st avenue=20 just under the 59th street bridge.=20 Look for the Guernica banner and the Poets Against War banner.=20 We will begin walking towards the main rally (1'st ave and 49th st) at=20 approx. 11:30. We will be forming a "feeder march" to the main rally=20 as recommended on the United for Peace website. Info from the United for=20 Peace website:=20 For information on feeder marches and the law, see "Know Your=20 Rights: Demon= strating in New York City" by the New York Civil=20 Liberties Union. In general, marching on the sidewalk without a=20 permit is legal so long as you do not obstruct pedestrian traffic.=20 Marching in the street without a permit would be an act of civil=20 disobedience. Feeder march organizers are encouraged to=20 contact the National Lawyers Guild (nlgmember@nlg.org) and the=20 People=E2=80=99s Law Collective (nycplc@tao.ca) for legal observers.=20 (note: This is the official plan. The Bryant park plan is no longer in=20 place.)=20 ========================================================================= Date: Wed, 12 Feb 2003 10:11:14 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Re: POETICS Digest - 10 Feb 2003 to 11 Feb 2003 (#2003-43) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit David Henderson was at the Nuyrican making posters for the peace march. > Date: Mon, 10 Feb 2003 23:49:15 -0500 > From: Tisa Bryant > Subject: Re: "wish i were in the land of cotton...look away look away... > > Harry, > > Who was C.H. Ford and what does this slavery nostalgia song or David > Henderson have to do with him or her? Or with David Henderson or why he > should have been at this memorial? > > Just trying to understand your poem; thought I'd just ask you. > > Tisa Bryant > aka Not Sleep > > > > From: Harry Nudel > > Reply-To: UB Poetics discussion group > > Date: Tue, 11 Feb 2003 13:32:31 -0500 > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: "wish i were in the land of cotton...look away look away... > > > > ..not even David Henderson > > showed up for C.H.Ford's mem. > > this sat. at St. Mark's... > > > > r.i.p. 20th cent. a-garde.. > > Pavel Tchelitchew: :Getrude > > Stein always dragged a chair > > into your life & then > > SAT on it.. > > > > W. Burroughs on C.H... > > "He was always a small part > > of a greater thing" > > > > The octogerian painter > > Harold Stevenson.. > > bon moting it > > In a see thru shirt > > Displaying his nipples.... > > > > > > look away look away....time forgotten.....drn... > ========================================================================= Date: Wed, 12 Feb 2003 10:15:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nada Gordon Subject: Nada Gordon & Steve Katz @ Po Proj 2/19 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" NADA GORDON STEVE KATZ reading Wednesday, February 19, 2003 at 8 PM $10; $7 students; $5 members The Poetry Project/ St. Mark's Church 131 East 10th St. (at 2nd Ave.) Manhattan February 19, Wednesday Sardonic troubador Nada Gordon's latest book, V. IMP (Faux Press 2003), has been described as "mood-riddled hijinx and impudent lyric protest" and "nonsense galore, as in a bathhouse." With Gary Sullivan, she is the author of Swoon (Granary Books 2001), a nonfiction e-pistolary multiform novel. She published two other books in 2001: Are Not Our Lowing Heifers Sleeker than Night Swollen Mushrooms? (Spuyten Duyvil), and Foriegnn Bodie (Detour), a collection of poems written during her eleven years in Tokyo. With Gary Sullivan, she edits the Poetry Project Newsletter. Ongoing obsessions include song, odalisques, ornament, and all forms of life IN OPPOSITION TO WAR AND OTHER IDIOCIES. Her more-or-less daily musings on life and poetics can be found at http://www.ululate.blogspot.com. Steve Katz is the author of Creamy & Delicious (Random House, 1970), the innovative novella, The Lestriad, recently reprinted by Bamberger Books, and The Exagggerations of Peter Prince (Holt, Rinehart & Winston, 1968), a Manhattan kind of a book, provincial and puckered with graphics. His novel, Saw, was published by Alfred Knopf and, as a Fiction Collective pioneer, he published Moving Parts, a book in which the author writes an enormous, fantastic story, called Parcel of Wrists and then keeps a journal as he sets out to live that fiction. With Leo Garen he co-wrote a film titled Grassland. Cheyenne River Wild Track emerged from this experience, a book of poems focussed on making a feature film in South Dakota, quickly followed by the new and improved Stolen Stories. Sun & Moon Press produced a threesome of books - Wier & Pouce, Florry of Washington Heights, and Swanny's Ways - as well as 43 Fiction that included passages from several of his books as well as new work. Michael Stephens writes on Moving Parts in the American Book Review "Like Rimbaud, Steve Katz was formed of ice and polar nights, and as always he is much alive, hurt and hurting, loved and loving, a contentious knight of Hope out to do battle with the toothless electronic Dragon of Commerce." -- ========================================================================= Date: Wed, 12 Feb 2003 10:52:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: POETICS Digest - 10 Feb 2003 to 11 Feb 2003 (#2003-43) In-Reply-To: <1d6.26cd1c9.2b7bbe12@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit right on! so is 20th century literature a footnote of Time? > From: Brenda Coultas > Reply-To: UB Poetics discussion group > Date: Wed, 12 Feb 2003 10:11:14 EST > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: POETICS Digest - 10 Feb 2003 to 11 Feb 2003 (#2003-43) > > David Henderson was at the Nuyrican making posters for the peace march. > > > > >> Date: Mon, 10 Feb 2003 23:49:15 -0500 >> From: Tisa Bryant >> Subject: Re: "wish i were in the land of cotton...look away look away... >> >> Harry, >> >> Who was C.H. Ford and what does this slavery nostalgia song or David >> Henderson have to do with him or her? Or with David Henderson or why he >> should have been at this memorial? >> >> Just trying to understand your poem; thought I'd just ask you. >> >> Tisa Bryant >> aka Not Sleep >> >> >>> From: Harry Nudel >>> Reply-To: UB Poetics discussion group >>> Date: Tue, 11 Feb 2003 13:32:31 -0500 >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Subject: "wish i were in the land of cotton...look away look away... >>> >>> ..not even David Henderson >>> showed up for C.H.Ford's mem. >>> this sat. at St. Mark's... >>> >>> r.i.p. 20th cent. a-garde.. >>> Pavel Tchelitchew: :Getrude >>> Stein always dragged a chair >>> into your life & then >>> SAT on it.. >>> >>> W. Burroughs on C.H... >>> "He was always a small part >>> of a greater thing" >>> >>> The octogerian painter >>> Harold Stevenson.. >>> bon moting it >>> In a see thru shirt >>> Displaying his nipples.... >>> >>> >>> look away look away....time forgotten.....drn... >> ========================================================================= Date: Wed, 12 Feb 2003 08:10:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Platform by Rodrigo Toscano (Atelos #15) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Platform by Rodrigo Toscano Atelos is pleased to announce the publication on April 15, 2003 of _Platform _ by Rodrigo Toscano. www.atelos.org/platform.htm About the book: Rodrigo Toscano's _Platform _ is a political one; his writings are predicated on the political conditions of contemporary life. But his work is not (and will never be) predicted by those conditions; indeed, outwitting, unnerving, and outspeaking the forces and figures clinging to control is one of his signal artistic strategies. It would be correct to read Platform as a triumphant product of precise and complex labor (thus adding to the tradition set by of Louis Zukofsky). But where the spirit of Johann Sebastian Bach informed Zukofsky's work, we would suggest that it is the spirit of the Teatro Campesino that informs Toscano's -- his poems carry out brilliantly creative interventions. The works is bitingly inventive and yet delicately meticulous; outrageous, funny, anti-hypocritical, and "unfuckingrightgaggable," Platform is victory for the political intelligence whose exercise is now, more than ever, a human necessity. About the author: Rodrigo Toscano grew up in San Diego. After a few years in the San Francisco Bay Area working as a social worker and an activist within the labor movement, he moved to New York, where he continues this work. He is a nationally influential writer, whose work along the intersections of social and aesthetic activism is adding new dimensions to contemporary poetics. _Platform _ is Rodrigo Toscano's third book. His first book, The _Disparities_, was published jointly by Green Integer and O Books in 2002. His second book, _Partisans_ (which, due to a variety of circumstances, came out before his first), was published in 1999 by O Books. About the project: Atelos was founded in 1995 as a project of the nonprofit foundation Hip's Road. Atelos is devoted to publishing, under the sign of poetry, writing which challenges the conventional definitions of poetry. 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; Platform is volume 15. The project directors and editors are Lyn Hejinian and Travis Ortiz; the editor for cover production and design is by Ree Katrak. Ordering information: _Platform _ 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. Title: Platform Contact: Lyn Hejinian: 510-548-1817 Author: Rodrigo Toscano Travis Ortiz: 415-863-1999 Price: $12.95 fax: 510-704-8350 Pages: 240 Atelos Publication Date: April 15, 2003 PO Box 5814 ISBN: 1-891190-15-6 Berkeley, CA 94705-0814 www.atelos.org/platform.htm * * * ========================================================================= Date: Wed, 12 Feb 2003 08:37:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: new on audioblog In-Reply-To: <5.1.1.6.0.20030212234925.02a0fe70@mail02.domino.gu.edu.au> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 2/12/03 5:50 AM, komninos zervos at k.zervos@MAILBOX.GU.EDU.AU wrote: > linear non-interactive 3d animated narrative > cyberpoem Ah, remember the time when people simply wrote "poems"? (No offense to mr z, but I couldn't resist!) m ========================================================================= Date: Wed, 12 Feb 2003 10:39:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: G Gudding and E Ochester KGB Bar Monday Febr 17 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed If anyone's in NYC Febr 17 at 7:30 PM, come and throw fruit. ... Please join us for the first reading of the Spring Season at the KGB Bar on Monday February 17th at 7:30 p.m. Featured readers are Ed Ochester and Gabriel Gudding. Ed Ochester's most recent books are THE LAND OF COCKAIGNE (Story Line Press,2001) and SNOW WHITE HORSES: SELECTED POEMS (Autumn House Press, 2000). He edits the Pitt Poetry Series and (with Judith Vollmer) the poetry mag 5 AM. Gabriel Gudding's poetry and short fiction appear in such venues as The American Poetry Review, CONDUIT, Seneca Review, Fence, The Nation, The Iowa Review, The East Village, L'Bourgeozine, and Jacket. His first book A DEFENSE OF POETRY (Pitt Poetry Series, Nov 2002) won the Starrett Prize. He teaches Literature and Creative Writing at Illinois State University. KGB Spring 03 Monday Night Poetry 2/17 Ed Ochester & Gabe Gudding 2/24 Shelley Stenhouse & Stephen Paul Miller 3/3 James Ragan & Kathleen Ossip 3/10 Sophie Cabot Black, Stephen Sandy & Franz Wright 3/17 "NY Poems" anthology edited by Betsey Schmidt, featuring Melanie Rehak, David Semanki, Nathaniel Bowles, Robert Polito. 3/24 Kurt Brown, Steve Huff & Meg Kearney 3/31 Marcella Durand, Daniel Nester, & 4/7 Rick Barot, David Groff, & Richard McCann 4/14 Lynn Emanuel & Mark Ford 4/21 Edward Hirsch & Sidney Wade 4/28 Cathy Bowman, "Word of Mouth" anthology, & Ellen Hinsey 5/5 Star Black & David Lehman 5/12 Great American Prose Poems 5 /19 Grand Mystery Gala Finale all readings 7:30 pm. Mondays KGB Bar 85 East 4th Street East Village, near intersection of 4th Street and 2nd Avenue you must be 21 to drink at the bar Free ========================================================================= Date: Wed, 12 Feb 2003 11:49:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: radio radio)))) ) ) ) ) ) ) ) ) ) ) (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ---------- Forwarded Message ---------- Date: Friday, February 07, 2003 1:10 PM -0500 From: Martin Spinelli To: poetics@acsu.buffalo.edu Subject: radio radio)))) ) ) ) ) ) ) ) ) ) ) Dear friends: My new series, Radio Radio, debuted yesterday (Thursday 2/6) at 1:15 p.m. on 104.4 Resonance FM in London and will be heard every Thursday for the next 16 weeks. If you're not in town you can tune in to the webstream at http://www.resonancefm.com. The series features innovative radio producers, sound poets and audio artists in conversation and performance: Gregory Whitehead, Stephen Erickson, Jennifer & Kevin McCoy, cris cheek, Charles Bernstein, John Oswald, Bob Cobbing, Christof Migone, Michael Basinski, Sianed Jones, Piers Plowright, Paul D. Miller (a.k.a DJ Spooky), Lawrence Upton, Bufffluxus and Jane Draycott & Elizabeth James. It also contains nifty little voice bumpers from the likes of Allen Weiss, Kersten Glandien, Lauren Goodlad, Mark Percival, Himan Brown, Tim Crook, Matthew Finch, Kenneth Goldsmith, David Chesworth, Sonia Leber, Simon Elmes and Jo Tacchi; plus oringial music by George Brunner. A website is in development at the EPC where I'll post news of subsequent broadcasts, additional info and (eventually) the soundfiles: http://epc.buffalo.edu/sound. Happy listening, Martin ________________________________ Martin Spinelli msradio@banet.net http://epc.buffalo.edu/authors/spinelli ---------- End Forwarded Message ---------- ========================================================================= Date: Wed, 12 Feb 2003 11:56:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Proposal MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 02/12/2003 2:24:05 AM, npiombino@AAAHAWK.COM writes: << I have a hunch Jordan means this in the kindest sense possible- like putting a sick and or crazed animal out of its misery. But why not start a Society for the Prevention of Cruelty to List Subscribers (SPCLS). I myself am bi-cy, that is, bicybernetic, as I like both blogs and the list a lot, in spite of the occasional loose cannons or limp noodles as the case (in every sense of the word) might be. -Nick- >> i happen to think Jordon's e-mail was very loose cannon-like. i would be really nervous if i didn't see a loose cannon in a crowd of poets, actually i'd prefer more than just one! it's only the loose cannons that ever make me think, hey, now there's a couple who could have a child who would save us all! PLEASE! i'm BEGGING all loose cannons to BREED! PLEASE! BREED! let your offspring take us OVER! CAConrad ========================================================================= Date: Wed, 12 Feb 2003 12:10:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Note on Hsun Tzu MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Note on Hsun Tzu "By saying, 'There are no names necessarily appropriate of themselves,' Hsun Tzu means that at the time when names were first invented, a certain name was used to indicate a certain thing according to the free will of those who made these designations. For example, men agreed with one another that they would call a dog by the word 'dog,' yet at the beginning they might just as conceivably have agreed upon the word 'horse' to designate it. When these designations had once been agreed upon, however, so that people used a certain name to indicate only that certain thing, this became customary. Thereupon names and the things they designated had their necessary appropriateness, one to the other, and could no longer be changed at pleasure. Even when the names were first being made, however, at the time when 'there were no names necessarily appropriate of themselves,' there were nevertheless some that were 'especially felicitous.' Names which could be readily pronounced, for example, would be more felicitous than difficult sounding names." (from A History of Chinese Philosophy, Fung Yu-Lan, 1952) - Saussure two millennia early. But what is missing is the institutionalization of names - for example, who or what declares the 'Axis of Evil'? The distortion of names is the reification of an empathetic magic in which earlier designations resonate with later; the result is a population, ourselves, unsure of any meaning whatsoever, or even if meaning is ever applicable - perhaps it is nothing more than an operator, a function ... === ========================================================================= Date: Wed, 12 Feb 2003 12:39:52 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Note on Hsun Tzu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Lovely stuff on names. There is a whole section in Proust devoted to the topic. And though this has little to do with names per se, Emerson says in "The Poet," "every word was once a poem." Best, Gloria Frym ========================================================================= Date: Wed, 12 Feb 2003 09:57:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: stuff on names In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit stuff on names liquid burns away a hard morning dust a single syllable of permissible lies count's bodies and change objects in walls talking heads and slippery tongues a slight of hand and puff of smoke dazzles us engulfs our ignorance in hermit crab resilience a doors shut lips are sealed either you're part of the song or accumulating benefits for the dead the method is progress the foliage plastic a letter is written ashes returned the label says reread instructions / failed inspection another calls: "I am going to kill myself . . .? "we have an opening next Tuesday at 10:00 a.m." ========================================================================= Date: Wed, 12 Feb 2003 10:00:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: waldreid@EARTHLINK.NET Subject: Re: DEAR MR. PRESIDENT THERE WAS BROKEN EGG SHELL UNDER YOUR DESK IN Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit craig allen conrad....... i missed this when it first appeared. it's wonderful! thanks for posting it. diane wald ========================================================================= Date: Wed, 12 Feb 2003 10:23:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a reading, performance, and screening In-Reply-To: <000d01c2d14a$b91150a0$8150f6d1@computer> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable February 2003 Events at Modern Times Bookstore www.moderntimesbookstore.com 888 Valencia Street at 20th Street San Francisco, CA=A094110 Ph: (415) 282-9246 F: (415) 282-4925 =A0 SATURDAY, FEBRUARY 15TH AT 7:00 PM panoply a reading, performance, and screening with kari edwards, Kirthi Nath, Camille Roy, & the Erika Shuch=20 Performance (ESP) Project Four artists present an evening of writing, performance, and film=20 exploring questions of gender and the politics of representation.=20 Staged in the storefront window, the performances will be followed by a=20= brief panel discussion about the intersections of gender, power, and=20 representation. How do experimental practices in writing, performance,=20= and film disrupt and rearticulate formal and social constructs of=20 gender? How do ideas and portrayals of gender affect our social and=20 political realities? How does gender intersect with class and cultural=20= difference? =A0 kari edwardswill read from hir newly released novel a day in the life=20 of p. (Subpress Collective, 2002).kari edwards, winner of New Langton=20 Art=EDs Bay Area Award in Literature (2002), is also the author of a=20 diary of lies - Belladonna #27 (Balladonna Books, 2002), and post/pink=20= ( Scarlet Press, 2001). edwards=ED work can also be found in Blood and=20= Tears: an anthology on Matthew Shepard as well as several literary=20 journals including Aufgabe and Bombay Gin. =A0 Kirth Nathscreens her latest experimental short, the to-do list=20 confessions.Interlaced between a woman in San Diego, CA who dreams she=20= is a woman following another woman through the streets of Paris, and=20 the women in Paris,the to-do list confessionsarticulates experiences of=20= the self through movements, gestures, and sounds that shift between=20 single and multiple protagonists, for an always slippery and shifting=20 experience of one's self in time and space. Kirthi Nath is a filmmaker,=20= writer, sound designer, educator and curator. Her writings have=20 appeared in several publications, including Interlope and 30 ft. Honey=20= Slick. Her films have shown in several festivals including Moondance=20 International Women's Festival, San Francisco Asian American Film=20 Festival, Berkeley Women of Color Festival and Ladyfest (Olympia, WA,=20 Scotland and Bay Area). =A0 Camille Roy, writer and performer of fiction, poetry, and plays, will=20 read / perform selected work addressing gender and its discontents. Her=20= most recent book is Craquer (an Essay on Class Struggle) (Second Story=20= Press, 2002). Roy=EDs other books include The Rosy Medallions (Kelsey=20 St.Press, 1995) and Cold Heaven (O Books, 1993). She is also an editor=20= of SFSU=EDs Narrativity website=20 http://www.sfsu.edu/~poetry/narrativity/home.html. =A0 The Erika Shuch Performance Project (ESP)presents a preview from=20 Vis-=87-Vis, an innovative new work combining theatre, dance, and live=20= music. Vis-=87-Vis juxtaposes the abstraction of global conflict with = the=20 immediacy of our daily intimate, personal wars. ESP was founded in San=20= Francisco in 2001 by Erika Shuch with a group of musicians, actors,=20 dancers, and designers dedicated to creating a original works of Dance=20= Theatre. Vis-=87-Vis will be performed in full at Fort Mason Theatre=20 February 20th - 22nd. For reservations and info. call 415-558-8118. =A0 EVENT BOOKS ARE 10% OFF. MODERN TIMES IS WHEELCHAIR ACCESSIBLE. ALL EVENTS ARE FREE AND OPEN TO THE PUBLIC ========================================================================= Date: Wed, 12 Feb 2003 14:35:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Osama Rallies Muslims, Condemns Hussein In-Reply-To: <15.8a804ad.2b6b436d@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit An excellent article by William Rivers Pitt on TRUTHOUT: http://truthout.org/docs_02/021303A.htm Pierre ========================================================================= Date: Wed, 12 Feb 2003 13:16:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Re: Love Poem MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Here's a list of the poems that people cited in response to my love poem query. Thanks for all the responses. Scott Marianne Moore's "Love in America" Ashbery's "A Blessing in Disguise" Emmett Williams "First Love Part II" 1983 Druckgrafik/ Leinwand 70 x 100 cm Kenneth Patchen "to Miriam" poems Kenneth Rexroth "As we with Sappho" H.D. "Helen in Egypt" Stevens's Section 8 of "Le Monocle de Mon Oncle," along with the rest of it Frank O'Hara, "You Are Gorgeous and I'm Coming" William Carlos Williams' "Of Asphodel: That Greeny Flower" [on many people's list] Frank O'Hara "To the Harbormaster" Emily Dickinson's 15 extant letters to Judge Lord Emily Dickinson #640 "I cannot live with You--" Emily Dickinson #1368 "Love's stricken "why" Bernadette Mayer's "Sonnets" bp Nichol, "Prayer" Phyllis Webb, Naked Poems Robert Creeley, "For Love" Kevin Young's JELLY ROLL: A Blues Zukofsky's valentines William Everson, esp. River-Root, The Rose of Solitude Lenore Kandel, The Love Book Louise Gluck's sort of love poem to her son-- "Brown Circle" Stanley Kunitz "Touch Me" Lisel Mueller "Curriculum Vita" Li-Young Lee to his father "The Gift" Eavan Boland to her daughter "The Pomegranate" Jean Valentine "Willi, Home" Olga Broumas "Caritas" Jorie Graham "Underneath 13" Pound's "Letter to the River Merchant's Wife" Muriel Rukeyser "Looking At Each Other" Alan Davies "Shared Sentences" Juliana Spahr "Switching" Bruce Andrews "Love Songs" Edward Dorn "Love Songs" and "Songs: Set Two: A Short Count" Robert Creeley's "Bresson's Movies" Gertrude Stein's "Before the Flowers of Friendship Faded" Kenneth Koch "The Art of Love" and "Sleeping with Women" e.e. cummings "i like my body when it is with your..." and "somewhere i have never traveled..." Ted Berrigan's "Red Shift" Robert Duncan, "the torso," "treesbank poems," "sonnet 4,"variations upon phrases from Milton's The Reason of Church Government" Gertrude Stein, "Lifting Belly" Hart Crane, "Voyages" (?) and "By Melville's Tomb" Jack Spicer, "Ghost Song" Robert Creeley, "The Token" Lorine Niedecker's ------- Paul when the leaves fall from their stems that lie thick on the walk in the light of the full note the moon playing to leaves when they leave the little thin things Paul ------- and ------- I knew a clean man but he was not for me. Now I sew green aprons over covered seats. He wades the muddy water fishing, falls in, dries his last pay-check in the sun, smoothes it out in _Leaves of Grass_. He¹s the one for me. -------- from _The Granite Pail_. ========================================================================= Date: Wed, 12 Feb 2003 12:22:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: G Gudding and E Ochester KGB Bar Monday Febr 17 In-Reply-To: <5.1.1.6.0.20030212103048.01a92a20@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >If anyone's in NYC Febr 17 at 7:30 PM You know something that we don't know? -- George Bowering Has not read Middlemarch Fax 604-266-9000 ========================================================================= Date: Wed, 12 Feb 2003 16:12:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: You know something we don't know? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Proposal retracted, unless Bowering gets a blog. Jordan Davis ========================================================================= Date: Wed, 12 Feb 2003 14:50:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derek beaulieu Subject: APOLLINAIRE'S BOOKSHOPPE: The Rogue Catalogue List No. 8 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > >APOLLINAIRE'S BOOKSHOPPE > >selling the books no one wants to buy > > > >The Rogue Catalogue > > > >Terms: all books in the Rogue Catalogue are guaranteed as described and may > >be returned within 5 days of receipt for any reason. Prices are net, in > >Canadian funds, and postage is extra. Please email to reserve an item. > >Payment may be made by cheque, money order, or cash. The Rogue Catalogue is > >an ongoing project; new installments will be emailed every few weeks. If > >you have received this catalogue and do not wish to receive it again, > >please do make contact and you will be removed from the mailing list. The > >list may be forwarded to anyone who might be interested. Apollinaire's > >Bookshoppe is essentially imaginary, however, it can be visited by > >appointment. The Bookshoppe also makes occasional on-the-fly appearances at > >events. Queries & wants welcomed. Yearly printed catalogue available. > > > >Apollinaire's Bookshoppe > >33 Webb Avenue > >Toronto ON M4S 2N4 > > > >The Rogue Catalogue > >List No. 8: Steve McCaffery & Dick Higgins > > > >With the appearance of Seven Pages Missing Vol. 2: Previously Uncollected > >Texts 1968-2000 from Coach House Books, a Rogue Catalogue dedicated to > >various works by Steve McCaffery felt like a suitable project for January, > >the month of the McCaffery's birth. However, upon typing it up it seemed an > >isolated way to present a writer whose work has so often been produced in > >conjunction and correspondence with other writers and artists. So I decided > >to remove half the McCaffery titles and add 13 titles by someone else > >McCaffery had worked alongside over the years. An immediate pairing in the > >mind is of course the other half of the Toronto Research Group and fellow > >Four Horseman bpNichol, but this is somehow too obvious a choice: when one > >thinks of McCaffery one thinks of Nichol, and vice versa. A less obvious, > >but more interesting body of work to present alongside McCaffery is that of > >Dick Higgins, with whom McCaffery corresponded for many years, until > >Higgins' death in 1998, and with whom McCaffery founded the Institute for > >Creative Misunderstanding. Unlike Nichol, whose interests tended to focus > >more on 20th century art, literature, and pop culture, Higgins' interests > >were far-reaching historically and culturally, and reflect more naturally > >the kind of thinking McCaffery himself is known for. Their work is > >presented together in chronological order. > > > >1. HIGGINS, Dick. foEw&omBwhnw: a grammar of the mind and a phenomenology > >of love and a science of the arts as seen by a stalker of the wild > >mushroom. New York: Something Else Press, 1969. 8vo. 320pp. First Edition, > >bound in black pebbled cloth with gilt lettering to front board and to > >spine. Beveled corners. This book is designed to look like a King James' > >Bible. Fine. $60 > > > >2. McCAFFERY, Steve. MELON. Toronto: grOnk series 6 #4, nd [circa 1971]. > >Three letter sized sheets printed mimeo both sides and stapled along spine > >edge. Fine. $40 > > > >3. McCAFFERY, Steve. Carnival: the first panel: 1967-70. Toronto: The Coach > >House Press, 1973. 4to. np. 18 sheets printed rectos only and stapled into > >stiff paper wrappers; perforated along top edge, as the book is meant to be > >taken apart and reassembled into a larger visual work. Almost Fine, with a > >bit of light wear. $60 > > > >4. HIGGINS, Dick. Modular Poems. Barton: Unpublished Editions, 1974. 4to. > >158pp. Bound into stiff paper wrappers, issued simultaneously with cloth > >edition. A selection of Higgins modular poems, in which "the main principle > >is that of repetition, usually in different contexts, of one or more > >elements of the text". Illustrated throughout in black and white. Very > >Good, with a little browning and dustsoil visible to the wrappers, and a > >bit of creasing to the lower corner of the rear panel. An interesting and > >good-looking item. $150 > > > >5. McCAFFERY, Steve. Dr. Sadhu's Muffins. Erin: Press Porcepic, 1974. 8vo. > >136pp. Bound into stiff paper wrappers. Illustrated endpages; black and > >white illustrations; 1 folding plate. This copy has been inscribed by the > >author: "To Al in thanks for the great home-made wine in Ameliasburg. As > >ever, Steve i.iv.1983." As new: an unread copy. $200 > > > >6. McCAFFERY, Steve. Ow's Waif. Toronto The Coach House Press, 1975. 16mo. > >np. One of 500 copies bound in black cloth. Decorated endpages in two > >colours; dustjacket printed to match but with black printing added. > >"...structure of the particular piece involves a central axis with lineal > >fractures to left and right as keys to specific readers [one reader taking > >the left hand words another the right hand with the central axis as > >cross-over point being kept as a neutral area to allow for confusions i.e. > >simultaneities to happen" A juicy little item. Slight stain to lower fore > >edge and to head of pages at fore edge. Dustjacket has a very slight fade > >to the spine panel, with some slight wear to the outer corners and to the > >head of the spine panel. $100 > > > >7. HIGGINS, Dick. Classic Plays. New York & Barton: Unpublished Editions, > >1976. 8vo. xlvii pp. First wraps edition, issued simultaneously with cloth > >edition. Homolinguistic translations to be performed dramatically in a > >classic style. Very good, but with a crease to the rear cover and a slight > >abrasion to the front cover; spine slightly browned. $40 > > > >8. HIGGINS, Dick Legends and Fishnets. Barton & New York: Unpublished > >Editions, 1976. 8vo. 107pp. First Edition, limited to 700 [of 750] copies > >bound into stiff printed wrappers. Short "fiction". Almost fine. $45 > > > >9. HIGGINS, Dick. The Epickall Quest of the Brothers Dichtung and Other > >Outrages. New York: Printed Editions, 1978. 8vo. 108pp. First Edition, one > >of 700 copies [of 750] bound into stiff printed wrappers. Fore edges > >untrimmed. Illustrated throughout in black and white by Ken Freidman. With > >"fiction" by Dick Higgins. There is some fading to the covers toward the > >spine and to the spine itself; there is also a crimp through the word "The" > >toward the head of the spine. About Very Good. $45 > > > >10. McCAFFERY, Steve. Every Way Oakly: homolinguistic translations of > >Gertrude Stein's Tender Buttons. Edmonton: University of Alberta, 1978. > >4to. 78pp. An edition limited to 100 copies, printed mimeo and stapled > >along spine, produced for the benefit of students in English 371. Fine. $50 > > > >11. McCAFFERY, Steve, and SMITH, Steven. Crowns Creek. Toronto: Anonbeyond > >Press, 1978. 8vo. np. Limited Edition. One of 100 numbered signed copies, > >of which this is #43. Consists of a single stiff paper sheet printed one > >side only and folded to hold 8 loose 4.25x5.25 sheets printed recto only; 4 > >small poems by each poet with no indication of authorship. Signed by both > >McCaffery and Smith. $100 > > > >12. McCAFFERY, Steve; NICHOL, bp. In England Now That Spring: Polaroid > >poems, found texts, visions & collaborations; records of a journey thru > >Scotland & England May 1978. Toronto: Aya Press, 1979. 8vo. np. First > >Edition, limited to 600 [of 733] numbered copies [#179] bound into stiff > >paper wrappers with attached dustjacket. This copy suffers from some mild > >staining to the upper edges of the black paper wrapper, which has effected > >the inside of the jacket. Inscribed in mock Latin by "Stefanus McCaffery" > >on the front endpage in the year of publication. $35 > > > >13. McCAFFERY, Steve. Intimate Distortions: a displacement of Sappho. Erin: > >The Porcupine's Quill, 1979. 8vo. np. Illustrated by Virgil Burnett. About > >Fine, but with previous bookseller's price sticker to rear cover. $20 > > > >14. HIGGINS, Dick. Ten Ways of Looking at A Bird: for violin and > >harpsichord. Barrytown: Printed Editions, 1981. 4to. 15pp. Stapled into > >self wrappers. Consists of musical staffs printed over treated > >reproductions of photographs taken from Of Celebration of Morning. Very > >Good, with some mild shelfwear. $30 > > > >15. HIGGINS, Dick. Piano Sonata #2 (Graphis #192). Barrytown: Printed > >Editions, 1982. 4to. np. Single sheet of stiff paper printed both sides and > >folded once. Laid in are four sheets of clear acetate on which are printed > >a series of arrows in four different colours, one per sheet. The piece is > >performed by laying she sheets over existing sheet music, which gives the > >performer "directions" for their performance. Fine. $35 > > > >16. HIGGINS, Dick. sonata for prepared piano. Barrytown: Printed Editions, > >1982. Folio. np [8 pages]. Stapled into paper wrappers, as issued. Four > >movements. Consists of musical staffs printed over photographic work done > >by Mac Mcbride following a method invented by Dick Higgins. Complete with > >instructions for performance. Fine but for a slight bump to the head of the > >spine. $30 > > > >17. McCAFFERY, Steve. Panopticon. Toronto: blewointmentpress, 1984. 8vo. > >np. First Edition, bound into stiff paper wrappers. Signed by McCaffery on > >the half-title page. Fine, an unread copy. $40 > > > >18. HIGGINS, Dick. Poems Plain & Fancy. Barrytown: Station Hill Press, > >1986. 8vo. 123pp. First Edition, bound into printed wrappers, as issued. > >This book is actually a "Selected Shorter Works" taken from work between > >1957 and 1985. New. $25 > > > >19. McCAFFERY, Steve. The Good The Bad & the Ugly: some poems selected. np: > >Simon Fraser University, 1988. 8vo. np [12 pages]. One of 150 copies > >printed and sewn into stiff paper wrappers for use in English 102, Fall > >Semester 1988 on the occasion of a classroom reading by the poet. Fine. $45 > > > >20. McCAFFERY, Steve. The Black Debt. London [Ontario]: Nightwood Editions, > >1989. 8vo. 202pp. First Edition, bound into stiff paper wrappers, as > >issued. Hegel's term for writing. Almost Fine, with a slight crease to the > >head of the front cover. $25 > > > >21. HIGGINS, Dick. The Autobiography of the Moon: a commentary on the > >hsin-hsin-ming. Mentor: Generator Press, 1991. 8vo. 39pp. First Edition. > >Stapled into stiff paper wrappers, as issued. Higgins' series of 73 > >commentaries face their corresponding entry in the hsin-hsin-ming by > >Seng-ts'an, as translated into English by George Brecht. Almost Fine. $30 > > > >22. HIGGINS, Dick. The Journey: Eight Painted Scenes. NP: Left Hand Books, > >1992. 4to. 30pp. First Edition, stapled into stiff printed paper wrappers. > >Near Fine. $30 > > > >23. HIGGINS, Dick. Buster Keaton Enters Into Paradise. NP: Left Hand Books, > >1994. 4to. 68pp. First Edition, bound into printed wrappers. Eleven > >scoreless games of scrabble write the play's eleven scenes. New. $25 > > > >24. McCAFFREY, Steve. The Entries. London: Writers Forum, 1996. 8vo. np [28 > >pages]. Third Printing. Stapled into pale green printed wrappers. "A > >Culture is a Lexicon." Fine. $25 > > > >25. HIGGINS, Dick. Storm Riders. NP: Left Hand Books, 1998. 12mo. 74pp. > >First Edition, bound in printed wrappers. Illustrated with black and white > >frontispiece and 4 coloured plates. Author's last published work. New. $20 > > > >26. McCAFFERY, Steve, and Mac CORMAC, Karen. From a Middle. Calgary: > >housepress, 2002. Limited Edition. One of 100 numbered copies [#8], sewn > >into stiff paper wrappers with flaps with linocut decoration to the front > >cover. An edition of fewer copies than stated, as 30 copies were > >inadvertently lost in the mail on their way to the UK. Fine. $25 > > > >End of List No. 8 > >------------------------------ > >NEW BONUS BOOK: > > > >McCAFFERY, Steve. Bouma Shapes: Shorter Poems 1974-2002. La Laguna: > >Zasterle, 2002. 8vo. 66pp. Bound into printed stiff paper wrappers with > >sealed flaps. New. 6 copies available, of which 3 have been signed by the > >author. $25 > >--------------------------------------------------------------- > >Current BookThug Titles Available from Apollinaire's Bookshoppe: > > > >Derek Beaulieu: [ ] $5 > >Daniel f. Bradley: awkard selecter of lower case swans $10 > >Alice Burdick: The Human About Us $7 > >Christopher Dewdney: Demon Spawn $20 [signed] / $100 [treated&signed] > >Gerry Gilbert: P E R H A P S $15 > >mclennan, rob: the other side of the mouth $100 > >Jay MillAr: XXXVI Fungal Threads, the Third Season $10 > >Raymond Souster: A Nice Little Town $5 ========================================================================= Date: Thu, 13 Feb 2003 09:20:24 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAY DREAMS 8 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM | | day day day | | | | | | day day day | | peace just do it JFK www.poetinresidence.com ========================================================================= Date: Wed, 12 Feb 2003 18:13:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: New from Palm Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Announcing the publication of: POETRY, POLITICS AND TRANSLATION: American Isolation & The Middle East, = by Ammiel Alcalay Palm Press, 2003 From Charles Olson's application for a Fulbright to Iraq and his = definition of the postmodern to the Black Panther Party's relationship = to Algeria, poet, scholar, critic, translator and activist Ammiel = Alcalay looks at how poetry and politics affect the way we see ourselves = and the way Americans think about the Middle East. Based on a talk sponsored by the Cornell Forum for Justice and Peace in = the series CRITICAL PERSPECTIVES ON THE WAR ON TERROR. $5.00 includes shipping, paper, 27pp. Saddlestapled chapbook. Palm Press 9 Puhalka Road Newfield, NY 14867 ========================================================================= Date: Wed, 12 Feb 2003 15:19:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Why High Alert? In-Reply-To: <1d0.2702780.2b7be0e8@cs.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Last week NPR featured a report from North Korean in which an English speaking journalist gave account of two air raid drills each day - with the whole populous running for air raid shelters with sirens going off, etc. The N K message was the drills are practice for an eminent USA bombing attack. The reporter's interpreted the reoccurring drills as one of the means by which the military dictatorship maintains maximum control and manipulation of its citizens. Two days later, the USA goes on "High Alert." Within the last week FBI and CIA Director's are before the Senate prophesying terror attacks are eminent and public, military and civil agencies are called upon to be vigilant. Instead of running into an air raid cellar, we are encouraged to by duct tape to seal gas out of our houses. Isn't it curious that these Alerts are being raised simultaneous with the impending siege of Iraq? The eminent UN vote. And, maybe most importantly, just this week, before what will be massive International and domestic demonstrations against a decision to go to war. I personally have no doubt that the Alerts - and the attendant collective apprehension created by these warnings - are designed to neutralize, or, one might say, are one of the Bush regimes means to put duct tape around the mouth of public opposition. (O yes, inevitably they will arrest somebody who they say was caught just in time before going to do x). I guess it is not surprising how old scripts become re-familiar. What will be surprising - and fulfilling - is if global and domestic opposition to this colonial charge to "own Iraq" is successful. (If you want to get good creeps, I suggest reading, if you have not, the Lehman article on the real White House ideology behind an Iraq invasion and USA futures in the Mid-East in the New Yorker this week - it's readable on the NY web site. Clue: it's got minimal to do with WMD, Al-Queda, etc. ) Call my reps daily, send the rice, and walk this weekend. As with Gloria Frym's reference to "to a poem at the birth of every word", why not this, too. Otherwise, I sense a lot of real darkness coming. Stephen V ========================================================================= Date: Wed, 12 Feb 2003 18:29:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Person of Color.... In-Reply-To: <7535674.1044994811923.JavaMail.nobody@wamui02.slb.atl.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit um, dag...I took a real "whatever" attitude on this, as I had reached my weekly threshhold, but... Renee Gladman has been teaching a creative writing workshop there for the past six weeks, fyi. As a former Dark Room Collective member, I know that many of us (DR people, that is) have had a presence there over the years. Didn't Deborah Richards read there, too? Tisa > From: Harry Nudel > Reply-To: UB Poetics discussion group > Date: Mon, 10 Feb 2003 14:31:15 -0400 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Person of Color.... > > There were no persons of color visible at the C. Henri.F...tho there were > two rows of Nepalese who surely were bored out of their dharma... > > At the few events I attend at St. Marks..David Henderson is the only poet of > my generation...that i see...Koch, Wierners mem. etc...the only one to touch > base with an asethetic outside slam rap or ghetto loud louder loudest... > > There are undboudetly people of color doing the s..t work, foldng chair, > serving cokes, taking classes, crawling up the lit ladder on their bellies at > St. Mark's....good luck to them..... > and again another chorus of Dixie...look look look away...drn... ========================================================================= Date: Wed, 12 Feb 2003 19:38:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Kuszai" Subject: Announcing: Poetry, Politics, and Translation" a chapbook by Ammiel Alcalay Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The following message is from Jane Sprague, of Palm Press, who asked me to send this on: Announcing the publication of: POETRY, POLITICS AND TRANSLATION: American Isolation & The Middle East, by Ammiel Alcalay Palm Press, 2003 From Charles Olson's application for a Fulbright to Iraq and his definition of the postmodern to the Black Panther Party's relationship to Algeria, poet, scholar, critic, translator and activist Ammiel Alcalay looks at how poetry and politics affect the way we see ourselves and the way Americans think about the Middle East. Based on a talk sponsored by the Cornell Forum for Justice and Peace in the series CRITICAL PERSPECTIVES ON THE WAR ON TERROR. $5.00 includes shipping, paper, 28pp. Saddlestapled chapbook. Palm Press 9 Puhalka Road Newfield, NY 14867 ========================================================================= Date: Wed, 12 Feb 2003 22:24:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Poster No. 44 (2003) Erin Lambert | Five Poems Erin Lambert is a graduate of Virginia Commonwealth University and worked for several years at a homeless shelter in Richmond before moving on to complete an MFA in creative writing at Syracuse University. She now resides in Queens and works for a non-profit education organization in Manhattan. Her work has appeared in Spectrum, Canadian Woman Studies Journal, and is forthcoming in Fine Madness. At Last A woman stands, wanting sleep; her face vague as the bottom of a bottle, means to say: not at all happy, not entirely unkind. Sunlight on half her hair, long and under: dark circles around eyes that lead to a breadline in Leningrad. As if this photo of an inconsolable crowd, viewed through a shot-out window, cannot offer us enough. I made the woman up, thought she would distract us from that windowsill with breadcrumbs, that window full of flies dead among the rivets and last catch of light in nails. 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: Wed, 12 Feb 2003 23:51:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael McColl Subject: Notley essay MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I'm looking for alice notley's essay "what can be learned from dreams" (an approximate title?) which if I recall correctly appeared in Scarlet Fall 1991. I've done some searching but haven't had any luck. Please send any suggestions offline. thanks, mm ========================================================================= Date: Wed, 12 Feb 2003 23:02:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: a thought from the founder of Dalkey Archive Press Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed This apropos to Laura & Dungya Bush -- from an interview with John O'Brien, the truly amazing "genius" behind Dalkey, at http://www.centerforbookculture.org/pages/aboutus.html "In relation to the idea of the subversive, I do have a very conscious sense in selecting a book for publication that this is an author who is saying something that people don't want to hear--that it will make them feel uncomfortable, even if they love the book. I agree with the view that the Russian Formalists held in the early part of the twentieth century that art alters perceptions and that those altered perceptions can have a rather direct impact on how perceptions are altered elsewhere, the most obvious being in the political realm. For the Formalists, conventional art reenforced the status quo everywhere within a society, which is reassuring for those with power. But art that makes one see things differently can easily affect how people see the world around them and then begin to question institutions of power. This is why dictators tend to be so quick to silence the artists; they understand the subversive nature of art." ========================================================================= Date: Thu, 13 Feb 2003 00:00:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: characters right to left MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII characters right to left (ongoing translation with ellen zweig) heaven earth black yellow is earth black, is heaven :: yellow cosmos the cosmos the vast are wasteland desolate a fills sun the fills moon the west the in sets sun the dusk it's morning the in 9 to 7 from constellations the up line out spread they word, measure a it's cold comes heat the goes autumn in harvesting the winter in concealing hiding, the timing intercalary residue leftover the tenth one becomes years of measurement lu the so pitches bamboo position shift open clouds galloping, ascend, sending rain dew forms becoming frost gold birth gives beautiful water jade out emanates mountain Kun from summit dagger double-edged the named furiously huge the gate-tower pearl the called light the darkness of treasure the fruit of plum apple many vegetables mustard ginger sea the salted rivers the fresh fishscales depths in hidden feathers above circling fire the dragon emperor the teaching phoenix the royal the official men beginning making writing characters then wearing uniforms, clothing < robes clothing < skirts expel throne the yield country the yao tang has predicted console people the down strike guilty the hold boundary the talk scalding with test and case a trying court at query way the bequeath bow and doubting sections the love up raise hosts the leaders the minister prostrate army the barbarians near far and one reality ration guest the of to returning emperor the phoenix the cries in bamboo the white the colt grazes there change covers weeds and grass (vegetation) trust attain (10,000) myriad a (square) directions covering person the issues to) birth (giving four great five normal (is) respect alone) / (connector rearing the children of (!) flattering destroys injures and women adore chastity unyielding men imitate pleasing genius know passes what certainty the change of attainment ability of never neglect deception of talk the other the brief (is) disintegration in reliance (self-reliance) self the on long (is) faith of cause the should faith) your (protect covered be (utensil) tool the desire of trouble (is) measure-word (quantity) ink the sadness sorrow, (of) silk) (on silk) the stains (sadness printed is poetry of praise the (lamb) small (sheep) sheep scenery view, lines lined-up or tied wisdom conquering restraint, study (of) (creates) makes sage the benevolence built is name the stands origin the shape of (upright) proper model sky valley and proclaim fame (one's) empty the room) (public hall chamber lessons) (review learn carefully (catastrophe) disaster by) caused (is on depends accumulation the evil (of) (fortune) blessings by) caused (are virtuous happiness ruler) (scale, meter 1/3 hole) with disk (circular bi-jade ) (un- negative treasure small) (measurement, meter 1/30 secret) feminine, organs, sexual moon, (shadow, yin be) (to so) (just is with) (compete emulated capital the (parallels) father the (of) affairs (business) the ruler supreme the (of) speak (accurately) strictly give respect piety filial (accepts) as serves end the others) of power (the power of devotion (rules) follows (of) end the life confront) (meet, face deep the shoes) on (put tread lightly morning) the in (early dawn prosper warm pure) (and like orchid(s) (an) this fragrance like pine(s) a this prospers river the flows (un) not (ceaselessly) stopping (abyss) depths the (transparent) clear (create) up take reflection a (form) contain stop (and) if thinking is) (one say rhetoric) (classical diction peaceful quiet, (with) determination deliberate beginnings fidelity sincerity, beauty beautiful, prudent all good laws ancient honorable trade place) (the foundation of rolls the greatly nothing end the) (in learn outstanding (to) ascend (service) official to addition in work obey government survive of means by wild the pear go and increase chant the music particularly precious is humble (and) rites well as valuable are low and above harmony below harmonious husband the upon) (calls chants wife the follows (foreign) external the accept on pass instructions internal) (the enter music) (play music mother the (ceremony) appearance (of) all sister father's brother older father's brother younger father's as) same (the like child a (to) compared (child) son a \ much very think other each of brother elder brother younger agreeing spirit) (ch'i, mind (as) (joining) linking branches make friends (and) join divide cut polish (and) precepts rules (and) kind humanity (conceal) compassion create order not separation integrity (justice) back gives honesty wicked the suffer setbacks money of loss still a nature evades passion heart the moves weary the mind guard truth the full with intention follow idea the change and (mind) heart (your) hold strictly steer properly please office) (of rank the bind yourself city village (and) flourish summer the) (in east west (and) two capitals back (one's) (mountain) Mong the) (to face (river) Luo the floating (river) Wei (seize) to according river) (Sheu Jing the (government) official the hall tray a fragrance) (strong (blossoms) plum (with) tower the) (from out) (look watch flying if) (as amazed (be) (painting) drawing (paint) draw birds animals (and) pictures colorful (hermits) immortals spirits (and) stem third the abandon) (cottage, alms give (beside) near drawn (disclosure) awaken stem first the album) (notebook, curtain a reply) (answer, against pillar the (wantonly) four mats bamboo establish place a (play) drum se4) (25-string lute the blow instrument) reed (mouth sheng1 the climb stairs the accept throne the of steps high the cap the changes distrust stars the (direction) right the through passes broad a interior left the attains holds (and) brightness [...] public rectification fit [...] many men [...] dwell leisure in [...] ch'in the instrument 4-stringed [...] good wonderful and [...] problem or question [...] gate [...] well as === ========================================================================= Date: Thu, 13 Feb 2003 00:50:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: A Proposal Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Date: Wed, 12 Feb 2003 11:56:32 EST > From: Craig Allen Conrad > Subject: Re: Proposal > > In a message dated 02/12/2003 2:24:05 AM, npiombino@AAAHAWK.COM writes: > > << I have a hunch Jordan means this in the kindest sense possible- like > putting > a sick and or crazed animal out of its misery. But why not start a Society > for the Prevention of Cruelty to List Subscribers (SPCLS). I myself am > bi-cy, that is, bicybernetic, as I like both blogs and the list a lot, in > spite of the occasional loose cannons or limp noodles as the case (in every > sense of the word) might be. > -Nick- >> > > > i happen to think Jordon's e-mail was very loose cannon-like. i would be > really nervous if i didn't see a loose cannon in a crowd of poets, actually > i'd prefer more than just one! it's only the loose cannons that ever make me > think, hey, now there's a couple who could have a child who would save us > all! PLEASE! i'm BEGGING all loose cannons to BREED! PLEASE! BREED! let > your offspring take us OVER! > CAConrad Yeah, yeah, all well and good, but what happened to the limp noodles? Don't they make you cogitate also? Aren't you nervous when there are no limp noodles around in a crowd of poets? No couples for them, then? No preferring more than just one limp noodle? What happened to BEGGING all limp noodles to BREED PLEASE? What happened to BEGGING LIMP NOODLES TO PLEASE BREED AND SAVE US ALL? Why no FREE VIAGRA PLEASE FOR ALL LIMP NOODLES? NMPiombino ========================================================================= Date: Thu, 13 Feb 2003 01:56:13 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: If you get your kicks on Route 666 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit "Get Your Kicks On Route 666" by George "Dubya" Bush, President of the United States of America & Leader of the Free World(TM) If you ever plan to invade the east Travel my way, take the highway of the beast. (Madman hicks on Route 666.) It winds from Washington to Baghdad More than 6,000 miles spreading dismay. (Murder fix on Route 666.) You destroy Mandali, Mosul, Ramadi, And Kuwait City will smell mighty shitty. You'll bomb Al-Hindiyah, Zakoh, As Samawah Salman, Al Muthanna, don't forget Zubayir Tikrit, Arbil, Ad Dinwaniyah. Won't you pack your clip for this deadly scrip When you take that C-17 trip? (Bunch of dicks on Route 666.) Patrick ========================================================================= Date: Thu, 13 Feb 2003 00:50:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "the best product on the planet" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "the best product on the planet" the best product on the planet the best product on the planet the best product on the planet Put color back in grey hair the best product on the planet the best product on the planet the best product on the planet Grow hair back where it had once fallen out Available by Internet only Available by Internet only Available by Internet only in our state-of-the-art virtual salon Available by Internet only Available by Internet only Available by Internet only in our state-of-the-art virtual salon .........The List truly goes on and on.......... There's nothing else like it in beauty industry! There's nothing else like it in beauty industry! There's nothing else like it in beauty industry! There's nothing else like it in beauty industry! As a special welcome gift, I would like to skullfuck your dead grandma's eye socket just for trying it out. (we don't wage wars because the stock market LOSES, you know). If you believe you have received this message in error or is unsolicited contact: abuse@abuseabuseabuseabuse.com august highland 12:48 am 02-13-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Fri, 14 Feb 2003 06:21:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Of duct tape and other sundries... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 5:00 am...20 degrees..my s.o. wants a flashlight & duct tape..no virginia...these are not sex toys.. John O'Brien/G.Gudding...duh duh...books are the problemo...reprinting the same o...won't self it...rather than rev... 20 cent lit is ego coating....write & forget..f...k & die... 666...hit the rd...it's a magic carpet ride.....drn.. ========================================================================= Date: Thu, 13 Feb 2003 21:03:58 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAY DREAMS 9 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM | |d day a | r | m day | e | Piece JFK www.poetinresidence.com ========================================================================= Date: Thu, 13 Feb 2003 08:38:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Notley essay In-Reply-To: <0HA8002KRDJPR0@mtaout01.icomcast.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit The essay is in fact not in THE SCARLET CABINET (Scarlet Editions, NY 1992) which reprints only (in terms of essays) her "Homer's Art" first published as "Curriculum of the Soul" pamphlet #9 from The Institute of Further Studies (Canton NY 1990). I have not been able to locate in any of my AN books -- & would also be happy to know where it is. Pierre On Wednesday, February 12, 2003, at 11:51 PM, Michael McColl wrote: > I'm looking for alice notley's essay "what can be learned from dreams" > (an > approximate title?) which if I recall correctly appeared in Scarlet > Fall > 1991. I've done some searching but haven't had any luck. Please send > any > suggestions offline. thanks, mm > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 13 Feb 2003 09:54:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: FW: Poetry Actions (please forward) In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable ------ Forwarded Message From: julie patton Date: Thu, 13 Feb 2003 00:48:03 -0500 To: Jonathan Skinner Subject: Re: Poetry Actions (please forward) Dear Hearts, can u help moi by forwarding this to all eeeeeeeee-able beings on your list= ? Witch everway we want... SPEAK AS ONE Prayer is not an old woman in idle amusement. Properly understood and applied, it is the most potent instrument of action. =20 =8B=8BMohandas K. Gandhit Since medical science is all agog over all the studies/stats documenting th= e impact of prayer (power of thought) on human health, why not extend this meta/physics to a larger body--Earth, and march within (as well as without) Prayer FOR instead of against-- at the same time, all over the world, y kno= t Consider the power of spell ing and submit your ideas on this subject chain letters to the heart of eart h eart h ear the art hearth earthearthearthearthearthearthearthearthearthearthearthearth the MEDIUM is the message (me-dios/mess-sigh'n) (another way to be UP in arms, write on... hope full, Juliezelle @earthlink.net p.s. want ideas on the above (ie prayer submissions, powertimes) BUT FOR NOW, those who are interested can do the Do at the witching hour, Midnight Thursday Feb 13, and Friday Feb 14, at 12 noon---war/locked down! ------ End of Forwarded Message ========================================================================= Date: Thu, 13 Feb 2003 10:33:55 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Notley essay MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Why not go straight to the source? Call Alice. Anyone wants her number and Paris address, ask me. Gloria Frym ========================================================================= Date: Thu, 13 Feb 2003 09:38:42 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kodeli1 Subject: Re: a thought from the founder of Dalkey Archive Press Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Something familiar from Shklovsky following O'Brien's comment on subversion and the Russian formalists. We can only imagine anyone in Washington 'defamiliarizing' any act of war... "Tolstoy makes the familiar seem strange by not naming the familiar object. He describes an object as if he were seeing it for the first time, an event as if it were happening for the first time. In describing something he avoids the accepted names of its parts and instead names corresponding parts of other objects. For example in 'Shame' Tolstoy 'defamiliarizes' the idea of flogging this way: 'to strip people who have broken the law, to hurl them to the floor, and to rap on their bottoms with switches...' Then he [Tolstoy] remarks: 'Just why precisely this stupid, savage means of causing pain and not any other--why not prick the shoulders of any part of the body with needles, squeeze the hands or the feet in a vise, or anything like that?' ...The familiar act of flogging is made unfamiliar both by the description and by the proposal to change its form without changing its nature." from "Art as Technique" >===== Original Message From UB Poetics discussion group ===== >This apropos to Laura & Dungya Bush -- from an interview with John O'Brien, >the truly amazing "genius" behind Dalkey, at >http://www.centerforbookculture.org/pages/aboutus.html > >"In relation to the idea of the subversive, I do have a very conscious >sense in selecting a book for publication that this is an author who is >saying something that people don't want to hear--that it will make them >feel uncomfortable, even if they love the book. I agree with the view that >the Russian Formalists held in the early part of the twentieth century that >art alters perceptions and that those altered perceptions can have a rather >direct impact on how perceptions are altered elsewhere, the most obvious >being in the political realm. For the Formalists, conventional art >reenforced the status quo everywhere within a society, which is reassuring >for those with power. But art that makes one see things differently can >easily affect how people see the world around them and then begin to >question institutions of power. This is why dictators tend to be so quick >to silence the artists; they understand the subversive nature of art." ========================================================================= Date: Thu, 13 Feb 2003 10:55:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Re: Notley essay MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I have just sent Alice an email re her reading/workshop at the Walt Whitman on April 21, 22 and asked her abt the essay. I will pass on as soon as I hear. Alicia Alicia Askenase Literary Arts Director Walt Whitman Art Center 2nd and Cooper Streets Camden, New Jersey 856-964-8300 www.waltwhitmancenter.org ========================================================================= Date: Thu, 13 Feb 2003 11:11:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Notley essay & other matters (poetry reading & Lincoln Center) In-Reply-To: <161.1bc2b034.2b7d14e3@cs.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit On Thursday, February 13, 2003, at 10:33 AM, Gloria Frym wrote: > Why not go straight to the source? Call Alice. Anyone wants her > number and > Paris address, ask me. > Gloria -- done that. she's not home, may be travelling. sent email too. abwarten und tee trinken. Meanwhile, the poster of the "Not Fir for the White House" anti-war poetry reading (with names of readers) organized by NION at Lincoln Center came in electronically -- here is the url: http://www.nion.us/poems_not_fit.htm Below another grating piece by Eliot Weinberger also in the morning, critizising NION & the event: From: Eliot Weinberger Date: Thu Feb 13, 2003 3:09:58 AM US/Eastern To: (Recipient list suppressed) Subject: Lincoln Center I was shocked when I read that orchestra seats to the "Poems Not Fit for the White House" event at Lincoln Center were $100; then I became curious to "follow the money." Various poets invited to participate whom I contacted knew almost nothing about the details. The event is sponsored and organized by Not In Our Name (NION) which has been running a statement in newspapers, signed by many well-known people and some 4000 "others." The statement is ill-written, verbose, and keeps veering off the issues at hand, but was notable as probably the first such advertised petition to appear widely. NION, which previously did not exist, was founded by people connected to two largely interchangeable (in their personnel) groups: Refuse & Resist and the Revolutionary Communist Party. R & R, which began in the 80's, for some years has mainly been dedicated to the Mumia Abu-Jamal case. The RCP is a Maoist group, supporters of the Shining Path in Peru and lately the guerrillas in Nepal. Tax-deductible contributions to NION are made to the Bill of Rights Foundation: its sole activity for the last three years (expenses of $100,000 a year) has been to pay the legal bills for Mumia. As was the case in the Vietnam War, it often happens that the initial demonstrations and antiwar activity are run by fringe groups, who have the organizational skills and the dedicated followers. Then the movement spreads into a mainstream of coalitions of grassroots organizations. This appears to be the case again: The initial push coming from International Answer and other groups with sometimes bizarre agendas has now expanded into a national and international movement. The Lincoln Center event is a benefit for NION. The money (according to them) will go to pay for more ads with the NION statement. The NION statement has already appeared widely. Is it necessary for it to be replicated forever? That there is something creepy, possibly cultish, about this replication becomes apparent when one goes to the NION website (www.nion.us) and sees the "Pledge of Resistance" which is meant to be recited in unison by large groups. The money will go entirely to pay Lincoln Center (NYC's symbol of corporate-sponsored art) for the hall and the media conglomerates to pay for the ads. The money will not be given to any humanitarian organization or spent on any humanitarian cause, such as medical supplies for Iraqi children. The event is a microcosm of Bush America: The rich ($100 seats) are near the action and the powerful on stage, the poorer ($10 seats) are far off in the balconies, and the very poor (for example, inner city high school kids who should be present, as they are the ones who will be "volunteered" into this war) are excluded entirely. The idea of a gathering of Famous Writers is to create publicity for the cause. This is an idealistic misunderstanding of news as it now exists in the US. There may or may not be an article in the arts section of the NY Times, but the event will not be reported by the mass media: there's nothing "newsworthy" about poets reading poems. (Unless, of course, J-Lo and Ben show up.) The protest against Laura Bush's Poetry Tea became an international sensation not because 5000 poets were against the war, but because it was an embarrassment to Laura Bush. All events against the war and the Bush domestic policies are worthy. It is, however, seriously questionable whether it is worthwhile to have a poetry event in the style and expense of a Manhattan charity fundraiser solely to benefit the perpetuation of NION and its statement. ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 13 Feb 2003 08:20:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: lurid dharma Comments: To: wryting Comments: cc: rhizome , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii crisp perches sucking around the compass. around empires, subjects capsized as penetrating the compass. between onions, the compass cleaning as the compass. cleaning as if fingers, fingers was bluer a fade. a fade or the faces penetrating around the faces. because fingers or empires flailing around trees. onions won't dissipate as if she. because fingers or empires flailing around trees. onions because she rummages on top of the compass. or a door or she pains behind trees. around the compass, she pains because pains onions. between onions, the compass cleaning as the compass. the concrete as paper flailing as if a machete. on top of subjects, fingers will fold but will fold the babies. flailing around paper, paper penetrating paper. scowled as if the concrete, the babies fed fingers. or trees she pains among trees. a machete but fingers buoys of the compass. in the concrete, the compass won't dissipate as was bluer empires. onions because she rummages on top of the compass. crisp perches as the faces buys behind bloody moonbeams. crisp perches because subjects scowled as if bloody moonbeams. onions won't dissipate as if she. the concrete dreaming on top of trees. the concrete as paper flailing as if a machete. was bluer subjects, she fed the faces. or a door or she pains behind trees. the compass but paper dreaming among trees. as the babies as a door will fold between the compass. the concrete as paper flailing as if a machete. crisp perches sucking around a door. scowled as if the concrete, the babies fed fingers. sucking in the babies, bloody moonbeams will fold the faces. the compass but paper dreaming among trees. of crisp perches, paper was bluer as sucking the compass. onions won't dissipate as if she. or a door or she pains behind trees. or a door or she pains behind trees. the compass but paper dreaming among trees. as the babies as a door will fold between the compass. bloody moonbeams because empires scowled over a machete. the compass but paper cleaning in the compass. trees flailing among lurid dharma. --generated by juxtapad 1.0.0.0, a generative/recombinant textpad I'm working on that will be available for freeware download soon ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Thu, 13 Feb 2003 16:26:01 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Lasko Subject: Re: Notley essay Comments: cc: mbmc3@comcast.net Mime-Version: 1.0 Content-Type: text/plain; format=flowed I believe the essay appeared in the Notley number of Talisman, although since I'm not home and can't check my library I'm not completely sure. >From: Michael McColl >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Notley essay >Date: Wed, 12 Feb 2003 23:51:46 -0500 > >I'm looking for alice notley's essay "what can be learned from dreams" (an >approximate title?) which if I recall correctly appeared in Scarlet Fall >1991. I've done some searching but haven't had any luck. Please send any >suggestions offline. thanks, mm _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 13 Feb 2003 11:42:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: A Proposal MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In a message dated 2/13/2003 12:50:09 AM Eastern Standard Time, npiombino@AAAHAWK.COM writes: > > > > Date: Wed, 12 Feb 2003 11:56:32 EST > > From: Craig Allen Conrad > > Subject: Re: Proposal > > > > In a message dated 02/12/2003 2:24:05 AM, npiombino@AAAHAWK.COM writes: > > > > << I have a hunch Jordan means this in the kindest sense possible- like > > putting > > a sick and or crazed animal out of its misery. But why not start a Society > > for the Prevention of Cruelty to List Subscribers (SPCLS). I myself am > > bi-cy, that is, bicybernetic, as I like both blogs and the list a lot, in > > spite of the occasional loose cannons or limp noodles as the case (in every > > sense of the word) might be. > > -Nick- >> > > > > > > i happen to think Jordon's e-mail was very loose cannon-like. i would be > > really nervous if i didn't see a loose cannon in a crowd of poets, actually > > i'd prefer more than just one! it's only the loose cannons that ever make me > > think, hey, now there's a couple who could have a child who would save us > > all! PLEASE! i'm BEGGING all loose cannons to BREED! PLEASE! BREED! let > > your offspring take us OVER! > > CAConrad > > Yeah, yeah, all well and good, but what happened to the limp noodles? Don't > they make you cogitate also? Aren't you nervous when there are no limp > noodles around in a crowd of poets? No couples for them, then? No preferring > more than just one limp noodle? What happened to BEGGING all limp noodles to > BREED PLEASE? What happened to BEGGING LIMP NOODLES TO > PLEASE BREED AND SAVE > US ALL? Why no FREE VIAGRA PLEASE FOR ALL LIMP NOODLES? > NMPiombino Nick! thank you SO much! i feel AWFUL that i forgot about the poor little limp noodles! i promise i swear i SWEAR to never EVER forget the poor little limp noodles again. but i must admit, i wouldn't date one. oops! not that i would date a loose cannon either, no, there should only be one loose cannon in a relationship at a time, don't ya think? oh, and i really like your FREE VIAGRA touch there Nick. here i am being MEAN saying i wouldn't date one while you're trying to give them a steady rod for the night. just in time for Valentine's Day! you're the best Nick! all my best, CAConrad ========================================================================= Date: Thu, 13 Feb 2003 12:26:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Balkin on Patriot II Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.latimes.com/news/opinion/commentary/la-oe-balkin13feb13,1,6248077.story?coll=la%2Dnews%2Dcomment%2Dopinions COMMENTARY A Dreadful Act II Secret proposals in Ashcroft's anti-terror war strike yet another blow at fundamental rights By Jack M. Balkin February 13, 2003 Just as the Bush administration is preparing a preemptive strike on Iraq, its Justice Department has been preparing yet another preemptive strike -- a new assault on our civil liberties. For months, Atty. Gen. John Ashcroft and his staff have been secretly drafting the Domestic Security Enhancement Act of 2003, designed to expand even further the new government powers for domestic surveillance created by the 2001 USA Patriot Act. Justice Department officials have repeatedly denied the existence of the draft bill, dubbed the "Patriot Act II," but a copy leaked out recently and has been posted on a Web site, www.public integrity.org. Since Sept. 11, 2001, the government has rounded up hundreds of people in secret and refused to disclose even their names, on the spurious grounds that this protects their privacy. As drafted, the measure would remove existing protections under the Freedom of Information Act, making it easier for the government to hide whom it is holding and why, and preventing the public from ever obtaining embarrassing information about government overreaching. Another section would nullify existing consent decrees against state law enforcement agencies that prevent the agencies from spying on individuals and organizations. These consent decrees were crafted because state and local governments illegally invaded the privacy of American citizens and repeatedly violated their civil rights. To make matters worse, the proposed bill prevents courts from issuing injunctions to block future abuses. Perhaps the most troubling section would strip U.S. citizenship from anyone who gives "material support" to any group that the attorney general designates as a terrorist organization. Citizenship is the most basic right for all Americans, one from which other rights -- such as the right to vote, to participate in politics and even to live in this country -- all flow. Under our Constitution, Americans can't be deprived of their citizenship, and the rights that go with it, unless they voluntarily give it up. The measure would get around that constitutional guarantee through a legal loophole. It presumes that anyone who provides "material support" to an organization on the attorney general's blacklist -- even if that support is otherwise lawful -- has intended to relinquish citizenship and therefore may be immediately expatriated. The McCarthy era demonstrated that the attorney general could wield enormous power to harass innocent Americans by designating legal organizations as subversive. The proposed act creates a similar danger: Give a few dollars to a Muslim charity Ashcroft thinks is a terrorist organization and you could be on the next plane out of this country. The Bush administration claimed last year that the original Patriot Act gave it the tools it needed to fight the war on terror at a minimal cost to civil liberties. These new proposals show, however, that the administration still is not satisfied. It now seems clear that there is no civil right -- even the precious right of citizenship -- that this administration will not abuse to secure ever-greater control over American life. The Bush administration and Ashcroft have become addicted to secrecy and are drunk on power; the more they obtain, they more they demand. We are fortunate that these proposals came to light now. Otherwise, the administration probably would have revealed them only after it began its war with Iraq, when political opposition would be inhibited by support for our troops. The proposals would not help our war with Iraq, but they would help our government cover up its mistakes. It is frightening to think that our leaders would try to undermine our civil liberties through a cynical manipulation of public opinion in time of war. It would be even more frightening if they succeeded. * Jack M. Balkin, a professor at Yale Law School, is author of "The Laws of Change" (Schocken Press, 2002). ========================================================================= Date: Thu, 13 Feb 2003 12:33:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alex Young Subject: Re: Notley essay & other matters (poetry reading & Lincoln Center) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is an insightful bit of investigation that's really worth thinking about. Thanks. I agree about how poorly written the NION statement is. alex ----- Original Message ----- From: "Pierre Joris" To: Sent: Thursday, February 13, 2003 11:11 AM Subject: Notley essay & other matters (poetry reading & Lincoln Center) > On Thursday, February 13, 2003, at 10:33 AM, Gloria Frym wrote: > > > Why not go straight to the source? Call Alice. Anyone wants her > > number and > > Paris address, ask me. > > > Gloria -- done that. she's not home, may be travelling. sent email too. > abwarten und tee trinken. > > > Meanwhile, the poster of the "Not Fir for the White House" anti-war > poetry reading (with names of readers) organized by NION at Lincoln > Center came in electronically -- here is the url: > http://www.nion.us/poems_not_fit.htm > > Below another grating piece by Eliot Weinberger also in the morning, > critizising NION & the event: > > From: Eliot Weinberger > Date: Thu Feb 13, 2003 3:09:58 AM US/Eastern > To: (Recipient list suppressed) > Subject: Lincoln Center > > I was shocked when I read that orchestra seats to the "Poems Not Fit for > the White House" event at Lincoln Center were $100; then I became > curious > to "follow the money." Various poets invited to participate whom I > contacted knew almost nothing about the details. > > The event is sponsored and organized by Not In Our Name (NION) which has > been running a statement in newspapers, signed by many well-known people > and some 4000 "others." The statement is ill-written, verbose, and keeps > veering off the issues at hand, but was notable as probably the first > such > advertised petition to appear widely. > > NION, which previously did not exist, was founded by people connected to > two largely interchangeable (in their personnel) groups: Refuse & Resist > and the Revolutionary Communist Party. R & R, which began in the 80's, > for > some years has mainly been dedicated to the Mumia Abu-Jamal case. The > RCP > is a Maoist group, supporters of the Shining Path in Peru and lately the > guerrillas in Nepal. Tax-deductible contributions to NION are made to > the > Bill of Rights Foundation: its sole activity for the last three years > (expenses of $100,000 a year) has been to pay the legal bills for Mumia. > > As was the case in the Vietnam War, it often happens that the initial > demonstrations and antiwar activity are run by fringe groups, who have > the > organizational skills and the dedicated followers. Then the movement > spreads into a mainstream of coalitions of grassroots organizations. > This > appears to be the case again: The initial push coming from International > Answer and other groups with sometimes bizarre agendas has now expanded > into a national and international movement. > > The Lincoln Center event is a benefit for NION. The money (according to > them) will go to pay for more ads with the NION statement. > > The NION statement has already appeared widely. Is it necessary for it > to > be replicated forever? That there is something creepy, possibly cultish, > about this replication becomes apparent when one goes to the NION > website > (www.nion.us) and sees the "Pledge of Resistance" which is meant to be > recited in unison by large groups. > > The money will go entirely to pay Lincoln Center (NYC's symbol of > corporate-sponsored art) for the hall and the media conglomerates to pay > for the ads. The money will not be given to any humanitarian > organization > or spent on any humanitarian cause, such as medical supplies for Iraqi > children. > > The event is a microcosm of Bush America: The rich ($100 seats) are near > the action and the powerful on stage, the poorer ($10 seats) are far > off in > the balconies, and the very poor (for example, inner city high school > kids > who should be present, as they are the ones who will be "volunteered" > into > this war) are excluded entirely. > > The idea of a gathering of Famous Writers is to create publicity for the > cause. This is an idealistic misunderstanding of news as it now exists > in > the US. There may or may not be an article in the arts section of the NY > Times, but the event will not be reported by the mass media: there's > nothing "newsworthy" about poets reading poems. (Unless, of course, J-Lo > and Ben show up.) The protest against Laura Bush's Poetry Tea became an > international sensation not because 5000 poets were against the war, but > because it was an embarrassment to Laura Bush. > > All events against the war and the Bush domestic policies are worthy. It > is, however, seriously questionable whether it is worthwhile to have a > poetry event in the style and expense of a Manhattan charity fundraiser > solely to benefit the perpetuation of NION and its statement. > > > > > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ ========================================================================= Date: Thu, 13 Feb 2003 13:00:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Text of a Speech by Robert Byrd to the United States Senate, February 12, 2003 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed By US Senator Robert Byrd D-West Virginia Senate Floor Speech Wednesday, February 12, 2003 To contemplate war is to think about the most horrible of human experiences. On this February day, as this nation stands at the brink of battle, every American on some level must be contemplating the horrors of war. Yet, this Chamber is, for the most part, silent -- ominously, dreadfully silent. There is no debate, no discussion, no attempt to lay out for the nation the pros and cons of this particular war. There is nothing. We stand passively mute in the United States Senate, paralyzed by our own uncertainty, seemingly stunned by the sheer turmoil of events. Only on the editorial pages of our newspapers is there much substantive discussion of the prudence or imprudence of engaging in this particular war. And this is no small conflagration we contemplate. This is no simple attempt to defang a villain. No. This coming battle, if it materializes, represents a turning point in U.S. foreign policy and possibly a turning point in the recent history of the world. This nation is about to embark upon the first test of a revolutionary doctrine applied in an extraordinary way at an unfortunate time. The doctrine of preemption -- the idea that the United States or any other nation can legitimately attack a nation that is not imminently threatening but may be threatening in the future -- is a radical new twist on the traditional idea of self defense. It appears to be in contravention of international law and the UN Charter. And it is being tested at a time of world-wide terrorism, making many countries around the globe wonder if they will soon be on our -- or some other nation's -- hit list. High level Administration figures recently refused to take nuclear weapons off of the table when discussing a possible attack against Iraq. What could be more destabilizing and unwise than this type of uncertainty, particularly in a world where globalism has tied the vital economic and security interests of many nations so closely together? There are huge cracks emerging in our time-honored alliances, and U.S. intentions are suddenly subject to damaging worldwide speculation. Anti-Americanism based on mistrust, misinformation, suspicion, and alarming rhetoric from U.S. leaders is fracturing the once solid alliance against global terrorism which existed after September 11. Here at home, people are warned of imminent terrorist attacks with little guidance as to when or where such attacks might occur. Family members are being called to active military duty, with no idea of the duration of their stay or what horrors they may face. Communities are being left with less than adequate police and fire protection. Other essential services are also short-staffed. The mood of the nation is grim. The economy is stumbling. Fuel prices are rising and may soon spike higher. This Administration, now in power for a little over two years, must be judged on its record. I believe that that record is dismal. In that scant two years, this Administration has squandered a large projected surplus of some $5.6 trillion over the next decade and taken us to projected deficits as far as the eye can see. This Administration's domestic policy has put many of our states in dire financial condition, under funding scores of essential programs for our people. This Administration has fostered policies which have slowed economic growth. This Administration has ignored urgent matters such as the crisis in health care for our elderly. This Administration has been slow to provide adequate funding for homeland security. This Administration has been reluctant to better protect our long and porous borders. In foreign policy, this Administration has failed to find Osama bin Laden. In fact, just yesterday we heard from him again marshaling his forces and urging them to kill. This Administration has split traditional alliances, possibly crippling, for all time, International order-keeping entities like the United Nations and NATO. This Administration has called into question the traditional worldwide perception of the United States as well-intentioned, peacekeeper. This Administration has turned the patient art of diplomacy into threats, labeling, and name calling of the sort that reflects quite poorly on the intelligence and sensitivity of our leaders, and which will have consequences for years to come. Calling heads of state pygmies, labeling whole countries as evil, denigrating powerful European allies as irrelevant -- these types of crude insensitivities can do our great nation no good. We may have massive military might, but we cannot fight a global war on terrorism alone. We need the cooperation and friendship of our time-honored allies as well as the newer found friends whom we can attract with our wealth. Our awesome military machine will do us little good if we suffer another devastating attack on our homeland which severely damages our economy. Our military manpower is already stretched thin and we will need the augmenting support of those nations who can supply troop strength, not just sign letters cheering us on. The war in Afghanistan has cost us $37 billion so far, yet there is evidence that terrorism may already be starting to regain its hold in that region. We have not found bin Laden, and unless we secure the peace in Afghanistan, the dark dens of terrorism may yet again flourish in that remote and devastated land. Pakistan as well is at risk of destabilizing forces. This Administration has not finished the first war against terrorism and yet it is eager to embark on another conflict with perils much greater than those in Afghanistan. Is our attention span that short? Have we not learned that after winning the war one must always secure the peace? And yet we hear little about the aftermath of war in Iraq. In the absence of plans, speculation abroad is rife. Will we seize Iraq's oil fields, becoming an occupying power which controls the price and supply of that nation's oil for the foreseeable future? To whom do we propose to hand the reigns of power after Saddam Hussein? Will our war inflame the Muslim world resulting in devastating attacks on Israel? Will Israel retaliate with its own nuclear arsenal? Will the Jordanian and Saudi Arabian governments be toppled by radicals, bolstered by Iran which has much closer ties to terrorism than Iraq? Could a disruption of the world's oil supply lead to a world-wide recession? Has our senselessly bellicose language and our callous disregard of the interests and opinions of other nations increased the global race to join the nuclear club and made proliferation an even more lucrative practice for nations which need the income? In only the space of two short years this reckless and arrogant Administration has initiated policies which may reap disastrous consequences for years. One can understand the anger and shock of any President after the savage attacks of September 11. One can appreciate the frustration of having only a shadow to chase and an amorphous, fleeting enemy on which it is nearly impossible to exact retribution. But to turn one's frustration and anger into the kind of extremely destabilizing and dangerous foreign policy debacle that the world is currently witnessing is inexcusable from any Administration charged with the awesome power and responsibility of guiding the destiny of the greatest superpower on the planet. Frankly many of the pronouncements made by this Administration are outrageous. There is no other word. Yet this chamber is hauntingly silent. On what is possibly the eve of horrific infliction of death and destruction on the population of the nation of Iraq -- a population, I might add, of which over 50% is under age 15 -- this chamber is silent. On what is possibly only days before we send thousands of our own citizens to face unimagined horrors of chemical and biological warfare -- this chamber is silent. On the eve of what could possibly be a vicious terrorist attack in retaliation for our attack on Iraq, it is business as usual in the United States Senate. We are truly "sleepwalking through history." In my heart of hearts I pray that this great nation and its good and trusting citizens are not in for a rudest of awakenings. To engage in war is always to pick a wild card. And war must always be a last resort, not a first choice. I truly must question the judgment of any President who can say that a massive unprovoked military attack on a nation which is over 50% children is "in the highest moral traditions of our country". This war is not necessary at this time. Pressure appears to be having a good result in Iraq. Our mistake was to put ourselves in a corner so quickly. Our challenge is to now find a graceful way out of a box of our own making. Perhaps there is still a way if we allow more time. ========================================================================= Date: Thu, 13 Feb 2003 12:02:37 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Notley essay In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Catherine Lasko wrote: >>From: Michael McColl >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: Notley essay >>Date: Wed, 12 Feb 2003 23:51:46 -0500 >> >>I'm looking for alice notley's essay "what can be learned from dreams" (an >>approximate title?) which if I recall correctly appeared in Scarlet Fall >>1991. I've done some searching but haven't had any luck. Please send any >>suggestions offline. thanks, mm > > >I believe the essay appeared in the Notley number of Talisman, although >since I'm not home and can't check my library I'm not completely sure. In going through boxes (& boxes & boxes) of books & records that have been in storage for 3 years, I just happened to open one that contained the first 20 or so Talismans this morning. The essay that Michael is looking for is NOT in the Notley issue. (&, if anyone cares, I've been culling and putting many things that we didn't miss not having access to in the last 3 years up on ebay. Mainly new music-related stuff so far. I'll probably begin listing literary stuff some time in March.) Bests, Herb ========================================================================= Date: Thu, 13 Feb 2003 13:31:14 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Notley essay MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Gloria, I would appreciate if I can have Alice's address and phone number in Paris. Murat Nemet-Nejat In a message dated 2/13/03 11:48:26 AM, GloriaFrym@CS.COM writes: >Why not go straight to the source? Call Alice. Anyone wants her number >and >Paris address, ask me. > >Gloria Frym > ========================================================================= Date: Thu, 13 Feb 2003 10:38:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: other matters (poetry reading & Lincoln Center) In-Reply-To: <000c01c2d386$10a19ae0$77d127a0@columbia.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT We had a wonderful anti-war reading at Modern Times Bookstore last night. Donations were asked for a local artist activist web site in development. Taylor Brady can provide details - if his one free hand is able to type (he broke the other arm in the service of Art)- or maybe there is some one else? About 60 people (in a day full of other readings in the Bay Area). Spirited, sometimes sober, sometimes hilarious, and good - a nice dose of Iraqi modern poems - new born little duet poetry playlets and various poem takes on Bush, the nature of the media, and some inevitable questioning of the relationship between the art of protest and the art of art. (It will be interesting to see in what ways poets revisit the questions Barry Watten has raised about Denise Levertov during People's Park - a poetry of individual consciousness versus a poetry of socio- political questioning with activist consequences. How and where the two poles integrate with power (and against another power).) There are some who will seize any kind of divisiveness or simply difference of opinions to paralyze the will to take witness against and oppose the Bush people. I guess that's why the tone of Eliot W's piece comes off as counter productive to moving things forward. Every org will inevitably make self-serving tactical mistakes. But the greater opposition will drown those and open up other opportunities. I don't think anybody believes any one party or group is in control of this opposition. The sense of growing public terror (this morning they are proposing the revival of nuclear bomb tests and use) is so great, multiple leaders have begun to abound. There is plenty of room for rich, and inevitably temporary coalitions - and, if you ain't a joiner - it's still possible and maybe inviting to grow your own opposition. Otherwise we going to owning even more darkness. Stephen V Stephen V ========================================================================= Date: Thu, 13 Feb 2003 10:40:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: S.F. reading for ENOUGH at City Lights MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable enough, an anthology of poetry and writings against the war O Books. Editors: Rick London and Leslie Scalapino. 160 pages. $16.00 ISBN # 1-882022-48-3. $16.00. 160 pages Available from Small Press = Distribution: 1341 Seventh St., Berkeley CA 94710. And: O Books, 5729 = Clover Drive, Oakland CA 94618. =20 A reading and book party at City Lights book store on Thurs February = 20th at 7:00 PM. Address: 261 Columbus, S. F. =20 Readers at City Lights on February 20th: Michael McClure, Diane Di Prima, Joanne Kyger, Nathaniel Mackey, Lyn = Hejinian, Leslie Scalapino, Etel Adnan, Bill Berkson, David Buuck, = Judith Goldman, Larry Kearney, Rick London, Sarah Menefee, Ibrahim = Muhawi, Pat Reed, Jen Scappettone, Beau Beausoleil. =20 enough, which the editors began to assemble following 9/11 at the start = of the U.S. war on Afghanistan, is a collection of poets whose writings = are interactive with the current time, writing as its matter and syntax = not separate from oppressive conditions and war. In enough, U.S. poets, = British, Palestinian, Iraqi, Israeli, speak back and forth to each other = only in the medium of their art. The editorial basis of enough is that = these poets' art is not separate from their being in the world - and = that: Seeing what's happening is a form of change. =20 "We are alone. We are alone to the point of drunkenness with our own = aloneness,/with the occasional rainbow visiting...The prisoner said to = the interrogator. 'My heart is full/of that which is of no concern to = you. My heart is full of the aroma of sage./My heart is innocent, = radiant brimming...in the remains of dawn I walk outside of my own = being..." Mahmoud Darwish. "This moment,/this second/cuts in be-/tween = in two..." Pierre Joris. "THE CUPS WE DRINK FROM ARE THE SKULLS OF = ARABS/AND THIS SILK IS THE SKIN OF BABIES...THE SOULS HAVE NO VALUE THEY = ARE FOX FURS/THAT WE DRAPE OVER WELL-FED ARMS AND SHOULDERS..." Michael = McClure. "Are you glutted yet, no there are other countries to vomit = bombs out on, the sec of defence that is the every moment of cruelty, = has a gleeful face, carnage who knows the new wind, there isn't enough = oil so..." Alice Notley. "Where, that which is interior side half rind, = throughout, or half of a rind that's no retina out ahead floating in it = night meets black night is disintegrate cut savagely by them, not = ignored-it's reversed there and to, disintegrates-but suddenly she gets = it that she doesn't have to fight that which disintegrates it, her, lye, = that one can just be near it, all the time beside it go on and on, = without..." Leslie Scalapino. "A corpse the size of my body, turning = into coal. Protecting the head between the shoulders. An impacted tooth. = A wide forehead, and long fingers. A silver ring I inherited from my = father, and the residue of burns suspended between my jaws. Waw turning = over a dying ember, ta with a gouge in its belly and nun that has = became a hearth for ashes [watan: ========================================================================= Date: Thu, 13 Feb 2003 13:58:53 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anslem Berrigan Subject: Re: What Can Be Learned From Dreams MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit This piece is in Scarlet No. 5, published Sept. 1991. Scarlet was a magazine co-edited by Alice Notley and Douglas Oliver. The Scarlet Cabinet was produced after five issues of the magazine had been printed, and contains three books each by Oliver and Notley. And for what it's worth, Notley and Oliver then went on to publish Gare du Nord after they moved to Paris -- also five issues. ========================================================================= Date: Thu, 13 Feb 2003 11:00:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Meditations 7 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Meditations in a Time of Delusions and Lies - 7 [I write these "meditations" from time to time in an attempt to stay sane. If you find them tedious, apply the magic of "delete." If you want to share them with others, feel free to do so.] February 13, 2003 Remember, in the week before Valentine's Day, these moments leading up to the war: Colin Powell offers evidence to the UN of Saddam Hussein's perfidy that would force Condoleezza Rice to bring Powell up on charges of plagiarism before an academic tribunal. Laura Bush cancels her celebration of Walt Whitman, Emily Dickinson, and Langston Hughes because poems protesting her husband's war-mongering might be read. In the past, poets questioned their role in American life, but now they are scorned and insulted by war-ideologues for vanity and irrelevance, and they relish their new role as fools. Who had thought anyone cared? Reporters in the Kurdish controlled part of Iraq are shown the secret warfare factory displayed in Powell's aerial photograph. Nothing can be seen but ruins. The Department of Homeland Security advises plastic sheeting and duct tape, and there's a run on the stores. American Idol and Joe Millionaire and the other entertainments conduct their contests with the proper lack of dignity. A pregnant mother from Modesto remains missing, her husband still eyed with suspicion. Israel makes plans to invade Gaza, and another eight-year old boy is shot dead in the West Bank. China is declared a future threat because of arms build-up, while Iran's nuclear research, observed long ago, is re-observed, a bookmark for the next war. Germany and France and Belgium are scorned like poets. North Korea declares the right to pre-emptive strike if America threatens to invade, tearing a leaf from Bush's book. Plans are made to "shock" Iraq with such massive bombardment its army will surrender from sheer dismay after one or two days. Osama bin Laden denounces America on al-Jazeera Network, calls for Iraq to resist, even though Saddam Hussein is a bad Muslim. Colin Powell declares that this is proof of terrorist collaboration between Iraq and al Qaeda. The rest of the world scratches its head. A federal appeals court decides that an insane man on Death Row should be forced to take anti-psychotic medication to make him sane in order for him to be sane enough to be executed. Alan Greenspan, oracle of markets, gingerly questions Bush's tax cuts, and a Senator tells him to shut up. I keep getting mountains of spam asking me if I want a bigger penis. The word is out that the U.S. military will be ready to launch their attack by the beginning of March. The manned space station twirling around the earth turns out to be nothing more than an excuse to keep the Space Shuttle program in business. A significant amount of Colin Powell's presentation to the UN on Iraq's "weapons of mass destruction" is pasted together from magazine articles, much like a sixth-grade report copied from the encyclopedia. Saddam Hussein is still a dictator. No one in the world needs Colin Powell or Donald Rumsfeld to remind us. The Bush Administration deems it fine to cut more timber on national forest land. Israel keeps stealing Palestinian land. Someone needs to tell Colin Powell and Donald Rumsfeld. People hate their cell phone companies for providing erratic service and hidden costs and price rigging. Consumer Reports labels them the most hated companies in American business, but the Bush administration refuses to regulate them. New York City authorities restrict the movements of peace marchers. Members of Congress call for the resumption of nuclear testing. Don't forget to buy Hershey's Kisses. Pilgrims circle Mecca for the Hajj, and someone interviewed on the street in San Jose for TV says this makes her scared. Remember these moments before the war with a bemused grin. After the war, we will recall them with shame. Hilton Obenzinger ------------------------------------------------------------------------------- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Thu, 13 Feb 2003 14:19:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Whyte Subject: CIA Kills Cupid; Business Analysts Concerned MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII CIA Kills Cupid; Business Analysts Concerned 2003-02-13 10:45:00 ATHENS (AP) A CIA-operated unmanned drone launched an attack on love Tuesday morning, killing Cupid and three other unidentified demi-gods. The pre-dawn raid took place on the slopes of Mount Olympus, site of the 1999 US-led invasion which attempted to eliminate the Gods in their immemorial redoubt. "Cupid was a serious hindrance in the war on terror," said U.S. Secretary of State Colin Powell in a statement today. "We have led the world in recognizing his bow and arrows as weapons of mass destruction." The capricious archer has been a thorn in Washington's side since US President George W. Bush declared a moratorium on "unclean relations." "We can't have Palestinians falling head over heels in love with Jews, or Arabs with Christians. What kind of a world would we have on our hands then? Historically, such unnatural alliances have needlessly muddied foreign policy. The poets tell us what mayhem the little bastard's darts have wreaked upon the innocent. Just look at Romeo and Juliet." Officials described the attack as a preemptive strike. With Valentine's Day looming and the war in the Gulf in its final stages of preparation, the prospect of irrational outbursts of tender feelings was troubling to the hawks in Washington. "The War on Terror is also a defense of family values," stated Bush. "We can't forget that. I won't have America's children held hostage by some Grecian sniper." "Venus is next," Bush added. "Your days are numbered, slut." Zeus was quick to issue a statement indicting the American attack. "This is purely genocidal aggression against a powerless and isolated race of immortals. Bush continues to insist that we harbor weapons of mass destruction. But we have been perfectly compliant with the ongoing arms inspections. We have no thunderbolts. Vulcan's forge was dismantled by UN inspectors and it remains that way." Meanwhile, business analysts at home have expressed concern. Ted Smith, a spokesman for Hallmark Cards, addressed worries about the effect the attack would have on the multi-million dollar Valentine's Day industry. "Our shareholders have nothing to fear. The Pentagon has assured us that they are working with Disney to manufacture a family-oriented replacement for Cupid. The new one will reflect the decent, rational values that every American can identify with. For us, this is an opportunity to clean up Valentine's Day. To get rid of all that sex." "We feel that the American public needs a little friendly pressure to keep it on the right track. We want to ensure that whatever carnal relations do exist in this country are no longer discussed in public, except when they concern certain liberal elected representatives. Sex, sadly, is a necessary evil intended solely for procreation, so our national holidays should have the beneficial effect of reinforcing the association between Christian values and compulsive consumption. If a few perverts feel ostracized because they don't share these values, or if a few losers can't keep their marriage together or get a date, that's their problem." ========================================================================= Date: Thu, 13 Feb 2003 13:35:02 -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="ISO-8859-1" Content-transfer-encoding: quoted-printable NEXT WEEK AT THE POETRY PROJECT *** MONDAY FEBRUARY 17 [8:00pm] FALL WORKSHOP READING WEDNESDAY FEBRUARY 19 [8:00pm] NADA GORDON AND STEVE KATZ FRIDAY FEBRUARY 21 [10:30pm] POETS ON THE PEAKS http://www.poetryproject.com/calendar.html *** BUT FIRST A SPECIAL ANNOUNCEMENT: POETS FOR PEACE=20 will be meeting at 11am this Saturday February 15 at Conran's Food Emporium Plaza on E 59th St and 1st Ave just under the 59th St bridge (look for the Guernica banner and the Poets Against War banner). We will begin walking towards the main rally (on 1st Ave and 49th St) at approx 11:30am. We will be forming a "feeder march" to the main rally as recommended on the United for Peace website (http://www.unitedforpeace.org). (In general, marching on the sidewalk without a permit is legal so long as you don't obstruct pedestrian traffic. Marching in the street without a permit would be an act of civil disobedience.) *** MONDAY FEBRUARY 17 [8:00pm] FALL WORKSHOP READING Participants from the four Fall Writing Workshops of Renee Gladman, Janet Hamill, Kristin Prevallet, and Anne Waldman, will read from their work. WEDNESDAY FEBRUARY 19 [8:00pm] NADA GORDON AND STEVE KATZ Nada Gordon is the author of V. IMP. (just out from Faux Press), Swoon (wit= h Gary Sullivan), Are Not Our Lowing Heifers Sleeker than Night-Swollen Mushrooms?, and Foriegnn Bodie. With Gary Sullivan, she edits the Poetry Project Newsletter. Her more-or-less daily musings on life and poetics can be found at http://ululate.blogspot.com. Steve Katz is the author of Creamy & Delicious (Random House, 1970), The Lestriad, recently reprinted by Bamberger Books, and The Exagggerations of Peter Prince (Holt, Rinehart & Winston, 1968). His novel, Saw, was publishe= d by Alfred Knopf and, as a Fiction Collective pioneer, he published Moving Parts, a book in which the author writes an enormous, fantastic story, called Parcel of Wrists and then keeps a journal as he sets out to live tha= t fiction. With Leo Garen he co-wrote the film Grassland. Cheyenne River Wild Track emerged from this experience, a book of poems focused on making a feature film in South Dakota, quickly followed by the new and improved Stolen Stories. Sun & Moon Press produced a threesome of books =8B Wier & Pouce, Florry of Washington Heights, and Swanny's Ways =8B as well as 43 Fictions that included passages from several of his books as well as new work. Michael Stephens writes on Moving Parts in the American Book Review, "like Rimbaud, Steve Katz was formed of ice and polar nights, and as always he is much alive, hurt and hurting, loved and loving, a contentious knight of Hope out to do battle with the toothless electronic Dragon of Commerce." FRIDAY FEBRUARY 21 [10:30pm] POETS ON THE PEAKS An event with John Suiter, author/photographer of Poets on the Peaks: Gary Snyder, Philip Whalen & Jack Kerouac in the North Cascades. John Suiter is = a Boston-based freelance photographer and writer whose work has appeared in numerous national and international magazines over the last ten years. He lives and works in Boston, where he is an instructor at the New England School of Photography. Poets on the Peaks is both a literary group portrait of Jack Kerouac, Gary Snyder, and Philip Whalen centered around their experiences as fire lookouts in the early 1950s, and a photographic homage to the North Cascades landscape. The book features 54 photographs =8B mostly B&W, Duotone photographs of the peaks =8B taken by John Suiter, and also several historical photos, some of which have never before been published. Based on scores of previously unpublished letters, journals, and recent interviews with Gary Snyder, Philip Whalen, and others, Poets on the Peaks is about the development of a community of poets, including the famous Six Gallery reading of October 1955. It contains cameos by fellow poets and mountain-climbers Allen Ginsberg, Kenneth Rexroth, Philip Lamantia and Michael McClure. It is also a book about Dharma and the years of Dharma Bums, from the 1951 roadside revelation in the Nevada desert that led Gary Snyder to drop out of academia and head for Japan, to Kerouac's lonely vigil with The Diamond Sutra on Desolation Peak, to Philip Whalen's ordination as a Zen priest. Finally, Poets on the Peaks is the story of the birth of a wilderness ethic. Transcending many of the tired clich=E9s of the Beat life, it tells how the solitary mountain adventures of three young writers helped to form the literary, spiritual, and environmental values of a generation. Anthony Brandt of National Geographic Adventure notes: "A fresh, engaging chronicle of a gateway period in American cultural life, th= e rise of the Beats. . . . The book works best not as a chronicle, although i= t does that well, nor as a set of mini-biographies but as a reminder that the twin of the active life is the contemplative one." Read Michael Rothenberg'= s wonderful interview with John Suiter (and take a look at some of his photographs) in Big Bridge: http://www.bigbridge.org/fictsuiter.htm *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 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, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 13 Feb 2003 16:12:08 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Poetry Project Announcements In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII so, what are you going to do? march on the sidewalk or not? Gary Sullivan made a pretty heated call for respect of diversity of aesthetics but what about diversity of tactics? i realize that NYC is no the kind of place you want to be chucking rocks at cops but is anyone willing to get arrested for an act of civil disobedience? I don't mean this to poke anyone in the eyes or to challenge anyone to a game of activist street cred one-upmanship. I'm just wonderin what the thinking is down there. kevin POETS FOR PEACE will be meeting at 11am this Saturday February 15 at Conran's Food Emporium.... (In general, marching on the sidewalk without a permit is legal so long as you don't obstruct pedestrian traffic. Marching in the street without a permit would be an act of civil disobedience.) -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Thu, 13 Feb 2003 14:46:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Meditations 7 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To add: We were shown this week by the Wilkinson Microwave Anisotropy Probe slight variations in radio microwave haze-- remains of the Big Bang fires, a consistent history of the universe -- from its first seconds -- that sizzling soup of particles & energy to now --with a sky ribboned with chains of pearly galaxies inhabited by at least one race of puzzled (moreover, puzzling), ambitious bipeds whose words prolong unending acts of our own birth; by virtue of our immersion in the world, as great waters of matter may, without even a ripple, endure life. Was just thinking this as my five year old asked: If there's war, does that mean evolution has to begin again? Gerald Schwartz > Meditations in a Time of Delusions and Lies - 7 > > [I write these "meditations" from time to time in an attempt to stay > sane. If you find them tedious, apply the magic of "delete." If you want > to share them with others, feel free to do so.] > > February 13, 2003 > > > Remember, in the week before Valentine's Day, these moments leading up to > the war: > > Colin Powell offers evidence to the UN of Saddam Hussein's perfidy that > would force Condoleezza Rice to bring Powell up on charges of plagiarism > before an academic tribunal. > > Laura Bush cancels her celebration of Walt Whitman, Emily Dickinson, and > Langston Hughes because poems protesting her husband's war-mongering might > be read. In the past, poets questioned their role in American life, but now > they are scorned and insulted by war-ideologues for vanity and irrelevance, > and they relish their new role as fools. Who had thought anyone cared? > > Reporters in the Kurdish controlled part of Iraq are shown the secret > warfare factory displayed in Powell's aerial photograph. Nothing can be > seen but ruins. > > The Department of Homeland Security advises plastic sheeting and duct tape, > and there's a run on the stores. > > American Idol and Joe Millionaire and the other entertainments conduct > their contests with the proper lack of dignity. > > A pregnant mother from Modesto remains missing, her husband still eyed with > suspicion. > > Israel makes plans to invade Gaza, and another eight-year old boy is shot > dead in the West Bank. > > China is declared a future threat because of arms build-up, while Iran's > nuclear research, observed long ago, is re-observed, a bookmark for the > next war. > > Germany and France and Belgium are scorned like poets. > > North Korea declares the right to pre-emptive strike if America threatens > to invade, tearing a leaf from Bush's book. > > Plans are made to "shock" Iraq with such massive bombardment its army will > surrender from sheer dismay after one or two days. > > Osama bin Laden denounces America on al-Jazeera Network, calls for Iraq to > resist, even though Saddam Hussein is a bad Muslim. Colin Powell declares > that this is proof of terrorist collaboration between Iraq and al Qaeda. > The rest of the world scratches its head. > > A federal appeals court decides that an insane man on Death Row should be > forced to take anti-psychotic medication to make him sane in order for him > to be sane enough to be executed. > > Alan Greenspan, oracle of markets, gingerly questions Bush's tax cuts, and > a Senator tells him to shut up. > > I keep getting mountains of spam asking me if I want a bigger penis. > > The word is out that the U.S. military will be ready to launch their attack > by the beginning of March. > > The manned space station twirling around the earth turns out to be nothing > more than an excuse to keep the Space Shuttle program in business. > > A significant amount of Colin Powell's presentation to the UN on Iraq's > "weapons of mass destruction" is pasted together from magazine articles, > much like a sixth-grade report copied from the encyclopedia. > > Saddam Hussein is still a dictator. No one in the world needs Colin Powell > or Donald Rumsfeld to remind us. > > The Bush Administration deems it fine to cut more timber on national forest > land. > > Israel keeps stealing Palestinian land. Someone needs to tell Colin Powell > and Donald Rumsfeld. > > People hate their cell phone companies for providing erratic service and > hidden costs and price rigging. Consumer Reports labels them the most hated > companies in American business, but the Bush administration refuses to > regulate them. > > New York City authorities restrict the movements of peace marchers. > > Members of Congress call for the resumption of nuclear testing. > > Don't forget to buy Hershey's Kisses. > > Pilgrims circle Mecca for the Hajj, and someone interviewed on the street > in San Jose for TV says this makes her scared. > > Remember these moments before the war with a bemused grin. After the war, > we will recall them with shame. > > Hilton Obenzinger > > > > > > > -------------------------------------------------------------------------- ----- > Hilton Obenzinger, PhD. > Associate Director for Honors Writing, Undergraduate Research Programs > Lecturer, Department of English > Stanford University > 415 Sweet Hall > 650.723.0330 > 650.724.5400 Fax > obenzinger@stanford.edu > ========================================================================= Date: Thu, 13 Feb 2003 12:21:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Experimental Theology Pre-Release Reading MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Seattle Research Institute Presents "Between Indulgence and Denial: An Experimental Theology Pre-release Reading" When: 7:00, February 25, 2003 Where: The Richard Hugo House, 1634 Eleventh Avenue, Seattle, WA Who: Rebecca Brown, Lesley Hazleton and Robert Corbett will read from work to be published in the Seattle Research Institute's Public Text 0.2, Experimental Theology, due out early April. Why: We assert that the midpoint between St. Valentine's Day (the most pagan Christian holiday) and Lent (the most ascetic) should be observed. This midpoint, between the celebration of desire and its repression, seems a particularly appropriate one in these times of decadence and renewed Puritanism. There will be a $3 donation. Biographies: Rebecca Brown is the author of numerous fictions published in the US and abroad including The Dogs: A Modern Bestiary and The Terrible Girls, both with City Lights, and The Gifts Of The Body and What Keeps Me Here, both with HarperCollins. Her next collection, The End Of Youth will be published by City Lights in May 2003. She has recently written a play, The Toaster, on commission from New City Theater in Seattle. Robert Corbett is finishing graduate work on romantic irony and abjection. His academic work has appeared in Romanticism on the Net and in many bucolic conference settings. Lesley Hazleton lived in Jerusalem for thirteen years, where she worked as a psychologist and a writer. Writing won out. Her 'Middle-East' books include the award-winning Jerusalem, Jerusalem and Where Mountains Roar, as well as the forthcoming biography of the Virgin Mary. Since she wanted to be a nun when she was ten and a rabbi when she was forty, writing a biography of the Virgin Mary seemed the perfect solution. The book is due out Spring 2004 from Bloomsbury USA. -- 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: Thu, 13 Feb 2003 15:26:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: oranget@GEORGETOWN.EDU Subject: new at dcpoetry.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit hello all, new at http://www.dcpoetry.com ~~ anthology 2003 ~~ the first installment, featuring poems by | Bruce Andrews | Jules Boykoff | Martin Corless-Smith | Tina Darragh | | Katie Degentesh | K. Silem Mohammad | Bob Perelman | Kaia Sand | | Kerri Sonnenberg | Catherine Wagner | Ryan Walker | poems by Arielle Greenberg, Gwyn McVay, Leslie Scalapino and others coming soon... ~~ recent and upcoming readings ~~ * DC Poets Against the War Wednesday February 12 All Souls Church Unitarian, 15th and Columbia * Arielle Greenberg and Michael Scharf Sunday February 16 at in your ear / DCAC * "Societies of American Poetry: Dissenting Practice" conference February 20-22 at Georgetown U / Folger Library * Tom Raworth - reading/celebration for the Collected Poems Sunday February 23 at Bridge Street * Abigail Child and Lorraine Graham Saturday March 8 at Ruthless Grip thanks for visiting and stay tuned... tom orange ========================================================================= Date: Thu, 13 Feb 2003 15:36:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: obituary for the AMAZING POET Alexandra Grilikhes MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.philly.com/mld/inquirer/news/obituaries/5168306.htm this obit focuses on her work as a librarian, which is strange to me, since she never talked about that at all. which means i learned a thing or two about her i hadn't known much about, but she talked about poetry nearly every and any time you'd see her. poetry is what i remember. i've been rereading her work, of course, and wanted to share my favorite poem she wrote titled EMBLEM, but it's in her book THE BLUE SCAR, which i can't find right now. damn. anyway, let me share a couple more of her remarkable poems: ------------- THE REVERIES those where our mouths clasp and we're overcome me continually in the midst of important matters Off in the Caribbean sky I'm taking a breath taking dive over the beautiful cliff and the flower soaks through me I fantasize terrific longings in color spending it all you becoming fruit in my veins soaking through I hit water swimming for life ------------- VACATION death came to me drunk wearing a new white island outfit she'd bought that day. The men on the road called us cunts. "This is my dream place," she breathed, "I feel so alive here. Fuck me on this bench." On the half-lit porch, the watchman taking a midnight nap around the bend, I did as I was told for a long time thinking I'd please death this time at last. Later she rolled away and in the morning rose early and left. I bought death many presents. She bought me rags. ========================================================================= Date: Thu, 13 Feb 2003 16:08:02 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Notley essay MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Better yet, ask one of her sons--Anselm is on the Poetics ListServe! ========================================================================= Date: Thu, 13 Feb 2003 16:24:09 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Engine 27 public call for sounds Comments: To: new-poetry@wiz.cath.vt.edu, BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit -----Original Message----- From: Events-admin@engine27.org [mailto:Events-admin@engine27.org] On Behalf Of Iviva Olenick Sent: Thursday, February 13, 2003 2:08 PM To: events@engine27.org Subject: Engine 27 public call for sounds Public call for contributions towards the 50th Anniversary presentation of John Cage's Williams Mix Larry Austin's Williams [re]Mix[...stallation] to be presented at Engine 27, NYC in March 2003 Engine 27 and composer Larry Austin invite all composers, musicians and practitioners of electroacoustic and computer music, sonic art, New Music, New Media, and sound design to participate, via the web, in the Williams [re]Mix[...stallation]: a 50th Anniversary Celebration of John Cage's Williams Mix. Public call for sounds: city; country; electronic; manually produced; wind produced; small, which need to be amplified. Call ends midnight, March 16, 2003. Go to http://engine27.org/williamsmix.html to upload your sound files, for more information and for a brief history of Williams Mix. Saturday, March 22, 2003, marks the 50th anniversary of the premiere performance of John Cage's Williams Mix (1951-53) for eight monaural magnetic tapes, the first octophonic tape music composition in the world, created and performed with eight speakers surrounding the audience. To celebrate this historic piece and its first performance 50 years ago, Austin will create the Williams [re]Mix[...stallation], a continuously performing octophonic sound installation to be installed at Engine 27, implemented with Austin's recently developed Williams [re]Mix[er] (1997-2001), an interactive I Ching composing program. The program, in operation, creates ever-newer versions and realizations of Cage's original work, calling on a recorded sound library of hundreds of sounds. The program's functionality is modeled on the compositional processes used by Cage to create his Williams Mix, these processes extrapolated and applied from Austin's analyses of Cage's 192-page score, his sketches, and the eight monaural, analog tapes for the piece. Since first starting the project, Austin has continued to collect sounds for the recorded library of sounds (ranging from 20 to 120 seconds each) according to Cage's six sound categories of city (A), country (B), electronic (C), manually produced (D), wind produced (E), and small sounds (F). From February 14 to March 16, 2003, everyone is invited to upload soundfiles, via the web for inclusion in the library to be used during the new multiple Williams [re]Mix[ed] realizations to be played during the installation. Guidelines for contributing sounds 1. Sounds should be contributed as stereo, 44.1K, 16bit, aiff or wave format soundfiles. 2. Sounds should be from 20 to 120 seconds in duration. 3. Each soundfile sent should be labeled by the contributor and placed in the correct folder or directory according to Cage's categories of city (A), country (B), electronic (C), manually produced (D), wind produced (E), and/or small sounds, which need to be ampified (F) and include the author's name or 'tag' and a number signifying how many files you've contributed to the category. The contributor decides which category the sound(s) belong(s) in. 4. Go to: http://engine27.org/williamsmix.html Engine 27's Williams [re]Mix[...stallation] presentation dates: Saturday & Sunday, 2-8pm, March 22, 23, 29, 30 opening reception: Saturday, March 22, 6-8pm, address: 173 Franklin St. (btwn. Hudson & Greenwich) Much more information at http://engine27.org Please forward this announcement to all who might be interested. To be added or removed from Engine 27's email list please go to: http://64.247.23.2/mailman/listinfo/events_engine27.org ========================================================================= Date: Thu, 13 Feb 2003 16:21:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Majzels Subject: Instruction to American Poets In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable In 5040 (1280 C.E.), Kabbalist Rabbi Abraham Abulafia received a vision urging him to publicly condemn the notoriously anti-Semitic Pope Nicholas III. Abulafia proclaimed his intention to speak in person to the Pope and travelled to Rome. The Roman rabbis branded Abulafia a heretic and made a joint accusation with the Christian authorities. The Pope rapidly ordered Abulafia burned at the stake. When he arrived at the gates of Rome, Abulafi= a was warned that he had been sentenced to imprisonment and death, and the firewood was prepared for the next morning. It was the eve of Rosh Hashannah, the beginning of the New Year and the High Holy Days. Untroubled= , Abulafia spent the night meditating a few miles from the city. In the morning, as he passed through the city gates, Abulafia was informed that th= e Pope had died during the night, leaving the Church leadership divided and preoccupied with its internal power struggle. Abulafia entered the city and the Franciscan prison that had been prepared for him. He was released 28 days later. =B3The letters are without any doubt the root of all wisdom and knowledge, an= d they are themselves the contents of prophecy, and they appear in the prophetic vision as though opaque bodies speaking to man face to face sayin= g most of the intellective comprehensions thought in the heart of the one speaking them. And they appear as if pure living angels are moving them about and teaching them to man, who turns them about in the form of wheels in the air, flying with their wings, and they are spirit within spirit.=B2 -Abraham Abulafia Find strength in our very powerlessness. Permutate the letters and split th= e names. 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So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy Ba Be Bi Bo Bu By Sa Se Si So Su Sy Ha He Hi Ho Hu Hy=20 ========================================================================= Date: Thu, 13 Feb 2003 14:28:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Meditations 7 In-Reply-To: <002a01c2d398$985210c0$5ba8f943@computer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Yes, the Big Bang. Thank you for the addition. Please, keep adding more. It's like accumulating the artifacts for an archeological dig even before we're all buried. Hilton At 02:46 PM 2/13/2003 -0500, you wrote: >To add: > >We were shown >this week by >the Wilkinson Microwave >Anisotropy Probe >slight variations in radio >microwave haze-- >remains of the Big Bang >fires, a consistent >history of the universe -- >from its first seconds -- >that sizzling soup of >particles & energy to now >--with a sky ribboned with >chains of pearly galaxies >inhabited by at least one >race of puzzled >(moreover, puzzling), >ambitious bipeds whose > > words >prolong unending acts >of our own birth; by >virtue of our immersion >in the world, as great waters >of matter may, without >even a ripple, endure >life. Was just thinking this >as my five year old asked: >If there's war, does that mean >evolution has to begin >again? > >Gerald Schwartz > > > > Meditations in a Time of Delusions and Lies - 7 > > > > [I write these "meditations" from time to time in an attempt to stay > > sane. If you find them tedious, apply the magic of "delete." If you want > > to share them with others, feel free to do so.] > > > > February 13, 2003 > > > > > > Remember, in the week before Valentine's Day, these moments leading up to > > the war: > > > > Colin Powell offers evidence to the UN of Saddam Hussein's perfidy that > > would force Condoleezza Rice to bring Powell up on charges of plagiarism > > before an academic tribunal. > > > > Laura Bush cancels her celebration of Walt Whitman, Emily Dickinson, and > > Langston Hughes because poems protesting her husband's war-mongering might > > be read. In the past, poets questioned their role in American life, but >now > > they are scorned and insulted by war-ideologues for vanity and >irrelevance, > > and they relish their new role as fools. Who had thought anyone cared? > > > > Reporters in the Kurdish controlled part of Iraq are shown the secret > > warfare factory displayed in Powell's aerial photograph. Nothing can be > > seen but ruins. > > > > The Department of Homeland Security advises plastic sheeting and duct >tape, > > and there's a run on the stores. > > > > American Idol and Joe Millionaire and the other entertainments conduct > > their contests with the proper lack of dignity. > > > > A pregnant mother from Modesto remains missing, her husband still eyed >with > > suspicion. > > > > Israel makes plans to invade Gaza, and another eight-year old boy is shot > > dead in the West Bank. > > > > China is declared a future threat because of arms build-up, while Iran's > > nuclear research, observed long ago, is re-observed, a bookmark for the > > next war. > > > > Germany and France and Belgium are scorned like poets. > > > > North Korea declares the right to pre-emptive strike if America threatens > > to invade, tearing a leaf from Bush's book. > > > > Plans are made to "shock" Iraq with such massive bombardment its army will > > surrender from sheer dismay after one or two days. > > > > Osama bin Laden denounces America on al-Jazeera Network, calls for Iraq to > > resist, even though Saddam Hussein is a bad Muslim. Colin Powell declares > > that this is proof of terrorist collaboration between Iraq and al Qaeda. > > The rest of the world scratches its head. > > > > A federal appeals court decides that an insane man on Death Row should be > > forced to take anti-psychotic medication to make him sane in order for him > > to be sane enough to be executed. > > > > Alan Greenspan, oracle of markets, gingerly questions Bush's tax cuts, and > > a Senator tells him to shut up. > > > > I keep getting mountains of spam asking me if I want a bigger penis. > > > > The word is out that the U.S. military will be ready to launch their >attack > > by the beginning of March. > > > > The manned space station twirling around the earth turns out to be nothing > > more than an excuse to keep the Space Shuttle program in business. > > > > A significant amount of Colin Powell's presentation to the UN on Iraq's > > "weapons of mass destruction" is pasted together from magazine articles, > > much like a sixth-grade report copied from the encyclopedia. > > > > Saddam Hussein is still a dictator. No one in the world needs Colin Powell > > or Donald Rumsfeld to remind us. > > > > The Bush Administration deems it fine to cut more timber on national >forest > > land. > > > > Israel keeps stealing Palestinian land. Someone needs to tell Colin Powell > > and Donald Rumsfeld. > > > > People hate their cell phone companies for providing erratic service and > > hidden costs and price rigging. Consumer Reports labels them the most >hated > > companies in American business, but the Bush administration refuses to > > regulate them. > > > > New York City authorities restrict the movements of peace marchers. > > > > Members of Congress call for the resumption of nuclear testing. > > > > Don't forget to buy Hershey's Kisses. > > > > Pilgrims circle Mecca for the Hajj, and someone interviewed on the street > > in San Jose for TV says this makes her scared. > > > > Remember these moments before the war with a bemused grin. After the war, > > we will recall them with shame. > > > > Hilton Obenzinger > > > > > > > > > > > > > > -------------------------------------------------------------------------- >----- > > Hilton Obenzinger, PhD. > > Associate Director for Honors Writing, Undergraduate Research Programs > > Lecturer, Department of English > > Stanford University > > 415 Sweet Hall > > 650.723.0330 > > 650.724.5400 Fax > > obenzinger@stanford.edu > > ------------------------------------------------------------------------------- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Thu, 13 Feb 2003 17:32:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: Poetry Project Announcements In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Me, I'll be sticking to the sidewalks, and I will encourage all my fellow resident aliens to do the same. I fear that an arrest would mean rapid deportation, and I'm not anxious to be forced to leave a city I've called home for over ten years. Had I got around to becoming a citizen, however, I would be tempted to take to the middle of the street -after- the rally, if it seemed there were a significant number of others so inclined. I don't think the pre-rally feeder marches should push the issue -- we need bulk at the place assigned, where we will likely be penned up like hogs -- but afterwards the unconstitutional ban on marching ought to be contested, and I'm absolutely sure it will be. >so, what are you going to do? march on the sidewalk or not? Gary >Sullivan made a pretty heated call for respect of diversity of >aesthetics but what about diversity of tactics? > >i realize that NYC is no the kind of place you want to be chucking rocks >at cops but is anyone willing to get arrested for an act of civil >disobedience? > >I don't mean this to poke anyone in the eyes or to challenge anyone to a >game of activist street cred one-upmanship. I'm just wonderin what the >thinking is down there. > >kevin > >POETS FOR PEACE > >will be meeting at 11am this Saturday February 15 at Conran's Food >Emporium.... > > (In general, marching on the sidewalk without a permit is legal so long >as you don't obstruct pedestrian traffic. Marching in the street without a >permit would be an act of civil disobedience.) > >-- >------------------------------------------------------------------------------- > Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Thu, 13 Feb 2003 17:42:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: WAR (Language is Your Enemy) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII WAR echo "Language is Your Enemy " > bb echo " " >> bb echo "This is a Picture of Language " >> bb echo " " >> bb dialog --msgbox "An Exciting Escape" 0 0 dialog --msgbox "To the Ruination of Europe-America" 0 0 date >> bb whoami >> bb echo "Time-Date-Stamp" >> bb dialog --yesno "War Now" 0 0 if [ $? == 1 ]; then dialog --inputbox "Enter Your Time-Date-Stamp" 0 0 2>>bb else dialog --inputbox "Enter Your Ruination of Europe-America" 0 0 2>>bb fi dialog --msgbox "The Difference Between Language and Pain" 0 0 dialog --yesno "You are Inscribing the Therapeutic" 0 0 if [ $? == 1 ]; then dialog --inputbox "Describe your Therapeutic" 0 0 2>>bb else dialog --inputbox "You need Nothing" 0 0 2>>bb fi dialog --inputbox "You need nothing" 0 0 2>> bb dialog --yesno "Are You in Favor of Love in Ruins" 0 0 if [ $? == 1 ]; then dialog --inputbox "Describe Love" 0 0 2>>bb else dialog --inputbox "Describe Ruins" 0 0 2>>bb fi dialog --inputbox "You Describe the Death of Thousands" 0 0 2>> bb dialog --msgbox "They are Dying as You Inscribe" 0 0 dialog --inputbox "Are You Breathing for the Tomb" 0 0 2>> bb dialog --inputbox "Are You Crawling for Your Love" 0 0 2>> bb dialog --msgbox "These are Harsh Times These are Land mines" 0 0 dialog --inputbox "Speech does Nothing at All" 0 0 2>> bb dialog --yesno "Is This the Wonder of Speech" 0 0 if [ $? == 1 ]; then dialog --inputbox "Are You in Effect" 0 0 2>>bb else dialog --inputbox "Are You in a State of Promise or Oath" 0 0 2>>bb fi dialog --inputbox "Have You Made Your Vows" 0 0 2>> bb dialog --inputbox "Are Your Vows Your Final Vows" 0 0 2>> bb dialog --msgbox "Can You Speak Are You Wounded in the Throat" 0 0 dialog --textbox bb 0 0 dialog --msgbox "We are in Disagreement" 0 0 sed 's/ i / yon /g' bb > cc sed 's/ you / i /g' cc > bb sed 's/ yon / you /g' bb > cc sed 's/ am / aq /g' cc > bb sed 's/ are / am /g' bb > cc sed 's/ aq / are /g' cc > bb sed 's/ my / mn /g' bb > cc sed 's/ your / my /g' cc > bb sed 's/ mn / your /g' bb > cc sed 's/ mine / minq /g' cc > bb sed 's/ yours / mine /g' bb > cc sed 's/ minq / yours /g' cc > bb dialog --textbox bb 0 0 dialog --inputbox "Are We in Collusion" 0 0 2>> bb echo " " >> bb dialog --inputbox "Now Taking From Everyone, Destroying" 0 0 2>> bb dialog --msgbox "end" 0 0 unalias rm echo " " >> bb cat bb >> zz; rm bb cc; alias rm='rm -i' date >> zz Language is Your Enemy This is a Picture of Language Thu Feb 13 17:40:28 EST 2003 root Time-Date-Stamp Wednesday, February 13, 4:15, 2003I need everything; I need an end to this.I need nothing; I need a beginning to This.Somewhere when i am worn out and have nothing left to lose, i call on my lover, and she comes; there is smoke in the air - grenades, mortars, screams of the dying and wounded, the two of i collapse together, as one, you're both safe for the moment -Thousands die everywhere around us; we're alone, there's a single bright spot in the sky...We're breathing for our own deaths - we're exhausted, frightened, Maria's pregnant... I crawl towards her, I'm wounded, bleeding, we're together now, forever, together at last... We're crying, we can't say anything. Weeping for language, weeping for ourselves - we promise everything to each other - we give everything to each other - We make our final vows - we wait for the end - it's almost here - it's coming -Our final vows - without language, in silence - there am no others -We're silent - we can't hear you - don't say anything else - it's time for - it's time for nothing at all - silence, once again, we suppose, we're sleeping, the baby... Now everything gone, inscription after the fact, our epitaphs, our ruined lives... Thu Feb 13 17:45:51 EST 2003 ==== ========================================================================= Date: Thu, 13 Feb 2003 14:42:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: civil disobedience In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii While I believe civil disobedience is an extremely powerful political tactic when planned as part of a comprehensive strategy (i.e. when Gandhi had the Indian workers approach the Salt Mill gates precisely because he knew they would get beat down and because he knew the press were present and would report back to the English public) I'm not sure I believe in walking in the street and being taken into lock-up, ticketed for "parading without a license" and release seven hours later, tired and cranky (yes it's happened to me before). So I think I'll go the sidewalk route, unless it becomes apparent that mass arrests become part of the march strategy. --- Kevin Davies wrote: > Me, I'll be sticking to the sidewalks, and I will > encourage all my fellow > resident aliens to do the same. I fear that an > arrest would mean rapid > deportation, and I'm not anxious to be forced to > leave a city I've called > home for over ten years. > > Had I got around to becoming a citizen, however, I > would be tempted to take > to the middle of the street -after- the rally, if it > seemed there were a > significant number of others so inclined. I don't > think the pre-rally > feeder marches should push the issue -- we need bulk > at the place assigned, > where we will likely be penned up like hogs -- but > afterwards the > unconstitutional ban on marching ought to be > contested, and I'm absolutely > sure it will be. > > >so, what are you going to do? march on the sidewalk > or not? Gary > >Sullivan made a pretty heated call for respect of > diversity of > >aesthetics but what about diversity of tactics? > > > >i realize that NYC is no the kind of place you want > to be chucking rocks > >at cops but is anyone willing to get arrested for > an act of civil > >disobedience? > > > >I don't mean this to poke anyone in the eyes or to > challenge anyone to a > >game of activist street cred one-upmanship. I'm > just wonderin what the > >thinking is down there. > > > >kevin > > > >POETS FOR PEACE > > > >will be meeting at 11am this Saturday February 15 > at Conran's Food > >Emporium.... > > > > (In general, marching on the sidewalk without a > permit is legal so long > >as you don't obstruct pedestrian traffic. Marching > in the street without a > >permit would be an act of civil disobedience.) > > > >-- > >------------------------------------------------------------------------------- > > Featured at http://www.latchkey.net/poetry/ ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Thu, 13 Feb 2003 18:07:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brandon Thomas Barr Subject: 2 Googlism poems In-Reply-To: <20030209180834.15563.qmail@web10701.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 1. {she is not fair to outward view} she is not a beauty even when she smiles she is like a woman she is moaning after anal insertion she is up again against the skin of her guitar she is now her father's daughter she is e she is pulled feet she is not fair to outward view she is more to be pitied than censured she is talking up a storm she is spoke here she is the darkness she is growing up she is dying she is beautiful sells for $9 she is sleeping she is inserting the finger into her pussy she is in love with herself and has made some of hollywood's worst films she is very famous in some fetish videos she is probably the best ever seen she is beautiful she is beautiful and hot 2. {he is one of the top actors in the world} he is not afraid to fly he is coming he is in love with her & wants to leave his wife he is risen he is us he is pained by occupation of jerusalem he is currently waiting for a lung transplant he is induced or persuaded by law enforcement officers he is outraged by enron outcome he is consulting with congress he is "not allowed to comment" on what happened because it is a security matter he is here he is one of the top actors in the world he is decorated boris yeltsin he is the spy he is not afraid to fly moscow he is not well {{{{text derived by searching googlism.com for "he" and "she" with "who" argument. entry order maintained, though text was heavily edited and lineated}}}} Brandon Barr http://texturl.net/ http://bannerart.org/ ========================================================================= Date: Thu, 13 Feb 2003 18:21:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Essays Needed for Book MIME-Version: 1.0 Content-Type: text/plain Contributors are needed to write short essays (ranging from 500 to 2000 words) on these topics (the list below is revised since my last posting): David Antin (500 words) Caribbean Poetic Influences (2000 words) Pat Mora (500 words) New York School (2000 words) Vikram Seth (500 words). The essays are for a volume entitled A Companion to Twentieth-Century American Poetry (to be published in June 2004 by Facts on File, Inc., a publisher that enjoys very wide distribution in libraries, colleges and high schools, as well as bookstores). 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 entire 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. Essays are due by this spring. If you are interested in writing for this book, then please send a message to Kimmelman@njit.edu, using the subject header Essays for Book (or else simply reply to this message). Please provide a bit of background about yourself including a brief account of your publishing history if you have one (do not send an attached cv or samples of writing). I hope to hear from you! Burt Dr. Burt Kimmelman, Associate Professor of English 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, 13 Feb 2003 16:28:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: contact info for Will Alexander MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit does anyone have contact information for Will Alexander. I have a cell phone # (I think that's what it is): (213) 505-8858. but does anyone have other phone #s, or perhaps email? thanks, Tenney mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Thu, 13 Feb 2003 18:51:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ksilem@MINDSPRING.COM Subject: Re: 2 Googlism poems Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 1. my love is a flower my love is a rose in bloom my love is like a red red rose my love is for real my love is a life my love is both a hunger and a giving my love is in america my love is chemical my love is dangerous my love is killing me my love is your love my love is your love whitney houston my love is your love has been certified platinum my love is whitneys love my love is my love my love is my beloved my love is my beloved my love is alive my love is alive yeah my love is like a gazelle my love is in a light attire my love is waiting my love is upon me and within me forever my love is deep my love is warmer than the warmest sunshine softer than a sigh my love is burning my love is as a fever my love is a fever my love is a fable my love is jazz licks improvised by toddlers bold ulyssess by nursery rhymes and firelight my love is a metamorphosis my love is rotten to the core my love is like to toilet paper my love is something separate my love is the shhh my love is moke my love is all for o 2. my true love is a soldier in the army now to day my true love is a soldier / he's gone to the arms of abraham my true love is a butcher boy my true love is sitting on a pile of stones and he's wondering to himself oh where did i go wrong? my true love is strong then that day will surely come my true love is coming down yonder i see my true love is gone my true love is lost forever and our child will never be my true love is absent from me my true love is parted from me my true love is far my true love is far away my true love is far far away my true love is out there my true love is dead and gone my true love is symbolic of god the father my true love is your mom too my true love is gary my true love is the cookies my true love is the classics my true love is the visual arts my true love is singing my true love is speaking my true love is writing my true love is to create greeting cards that take you to another level and bring more of an understanding that we are so dearly loved -------Original Message------- From: Brandon Thomas Barr Sent: 02/13/03 03:07 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: 2 Googlism poems > > 1. {she is not fair to outward view} she is not a beauty even when she smiles she is like a woman she is moaning after anal insertion she is up again against the skin of her guitar she is now her father's daughter she is e she is pulled feet she is not fair to outward view she is more to be pitied than censured she is talking up a storm she is spoke here she is the darkness she is growing up she is dying she is beautiful sells for $9 she is sleeping she is inserting the finger into her pussy she is in love with herself and has made some of hollywood's worst films she is very famous in some fetish videos she is probably the best ever seen she is beautiful she is beautiful and hot 2. {he is one of the top actors in the world} he is not afraid to fly he is coming he is in love with her & wants to leave his wife he is risen he is us he is pained by occupation of jerusalem he is currently waiting for a lung transplant he is induced or persuaded by law enforcement officers he is outraged by enron outcome he is consulting with congress he is "not allowed to comment" on what happened because it is a security matter he is here he is one of the top actors in the world he is decorated boris yeltsin he is the spy he is not afraid to fly moscow he is not well {{{{text derived by searching googlism.com for "he" and "she" with "who" argument. entry order maintained, though text was heavily edited and lineated}}}} Brandon Barr http://texturl.net/ http://bannerart.org/ > ========================================================================= Date: Thu, 13 Feb 2003 19:53:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael McColl Subject: Re: Notley essay MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Alicia, thanks very much. MM ---------- >From: Alicia Askenase >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Notley essay >Date: Thu, Feb 13, 2003, 10:55 AM > > I have just sent Alice an email re her reading/workshop at the Walt Whitman > on April 21, 22 and asked her abt the essay. I will pass on as soon as I > hear. > > Alicia > > > Alicia Askenase > Literary Arts Director > Walt Whitman Art Center > 2nd and Cooper Streets > Camden, New Jersey > 856-964-8300 > www.waltwhitmancenter.org ========================================================================= Date: Thu, 13 Feb 2003 20:40:26 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Perlman Subject: New Book by John Perlman MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Elamantations Press announces the publication of Legion Their Numbers, John Perlman's 18th book, this January. Copies are available for $8. postpaid from the writer, who may be contacted at JohnPerl@aol.com. Perlman's long poem, The Natural History of Trees is also due out this year from Potes & Poets Press. ========================================================================= Date: Thu, 13 Feb 2003 17:50:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Fw: 6 new works/features at furtherfield MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit this issue of furtherfield contains new work by august highland and an interview and review of Power and Jtwine by lewis lacook http://www.furtherfield.org/home.html - http://www.furtherfield.org/contributors.html ----- Original Message ----- From: "furtherfield" To: "furtherfield" Sent: Thursday, February 13, 2003 5:46 AM Subject: 6 new works/features at furtherfield > [New Explorations & discoveries of non-singular > Net/Web creativity featured/hosted on furtherfield] > > This month we have another 6 new works/features at furtherfield. Bare with > us, this mailout is a little long info-wise, definatley worth a gander... > > [S.C.A.R.E.] August Highland. > [DAYS OF MY LIFE] Shirin Kouladjie > [WEST NILE VIRUS] MEDIAMIXER. > [MY IDEA OD FUN] Bruce Eves. > [Ubiquitous Identities] Claudio Parentela. > [Power and Jtwine] Interview and review with Lewis Lacook. > > [Info on new work] > > [S.C.A.R.E.] August Highland. > S.C.A.R.E. Subversive Clowns Against Readable Etext - The intro reads: > UNREADABLE IS UNBEATABLE!! 'When you first see our work your eyes are going > to pop out on the ends of long stems and you are going to pull your cheek > around to the front of your face'. > > August Highland creates literary identities that are networked, hyper > textural poetic complexities. Their existence challenges the singular, > bypassing the notion of 'I'. August's multi-presences function like an > active bacteria, digital organisms chomping into a virtual Universe. Growing > perpetually and spanning Internet portals everywhere. Punk in spirit, > S.C.A.R.E's underbelly possesses many shadows, the text's originate from > Microsoft programmer's development kits and from porn sites. Both aspects > consist of powerful corporate intentions and are mutually entwined in > dominating the Internet for profit via desire for either getting on in the > world, or getting off in the virtual (if you see what I mean). Yet this is > not August's message, it more part of the palette, a very small part of the > greater whole.(mgarrett) > > [DAYS OF MY LIFE] Shirin Kouladjie > 'An object gains importance when it is separated from the things around it- > a few frames of a movie take a new life of their own when they are cut from > their environment: A new thought is born'. (Shirin Kouladjie). > > These archived visual diary accounts exude an intuitve and playful intimacy. > As you journey through the collection of pages, static images, moving > images, dates, times and moments; you get the sense that images are a > platform for communicating what cannot be said by words alone. The user > experiences a methodology, an 'in tune' optical awareness. The emotion and > poetic mind behind these works explores life by seeing, shining light on > other people's lives as well as her own. Viewing the external world as part > of her own inner world, relational identification. The use of Flash, sound > and other techniques are subtle and do not distract you from the subject at > hand. (mgarrett) > > [MY IDEA OD FUN] Bruce Eves. > 'Navigating the grey area between desire and despair, my work operates > against the principle that in this newly whiny and Victorianized Disney era, > people's delicate constitutions will tolerate nothing less than civility and > happy-talk'.(Bruce Eves) > > Bruce Eves, is a 'male' with many shadows, declaring an intellegent and > conscious disdain towards our over consumptive, mediated western culture(s) > driven by its endless insipid self-conscious, protocolian schemes. His > healthy distrust of 'art for family' viewing is a refreshing non conformist > stance. Some of his best work creates a dark honest (sometimes frightening) > clarity, juxtaposing different psychological contradictions of cultures and > their underline practice of professing beliefs, feelings, or virtues that > one does not hold or possess; thus falseness. He knows that hypocrisy is > part of life but is not part of the realization of life. 'Hypocrisy is the > necessary burden of villainy' Rambler. '1001 ARABIAN NIGHTS' and 'ALL MALE > ORGY' are a perfect examples of this. (m.garrett) > > [WEST NILE VIRUS] MEDIAMIXER. > An amazing journey following the 'West Nile Virus' as it starts in the Bronx > Zoo, New York, then spreads across 38 States, found in both mosquitos and > birds. [MEDIAMIXER] uses online surveillance tracking the outbreaks of the > virus, plus visual broadcasts of news reporting various incidents. The > documentation featured is awesome, hospitalized victims, a water monitering > form section and a plethora of other themes and formats including > performance. This site is a well put together, comprehensive multimedia > exploration via the Web. It will engulf you as you move further into the > flux and spectacle of paranoia. This requires various players: Quicktime, > Flash, Shockwave, Realplayer, all can be downloaded free. (m.garrett) > > > [Ubiquitous Identities] Claudio Parentela. > Italian artist Claudio Parentela is an illustrator, mail artist & cartoonist > and active in the international underground scene. He collaborates with > numerous zines, magazines and publishers in Italy and around the world. His > drawiings are always playful, offering a visceral intellegence with an 'Art > Brut' edge. He collaborates with various labels and bands of industrial, > noise, metal, punk music. He has illustrated stories and poems of:Vittorio > Baccelli,Lisa Massei,Alberto Rizzi,Cristiano Quadalti,Shannon Colebank,Gavin > Burrows,Gary Sneyd,Robert Smith,Michael Kriesel,Mark Sonnenfeld. > > [Power and Jtwine] An interview and review with Lewis Lacook. > The splash page for his site cautions: "Be aware of your surroundings and > exercise caution when visual reflections refer to you." It's an awareness of > just how much of human perception is grounded in human predisposition. One > piece on his site, "mindgame", opens a flash animation of a seated figure > (it's one of those egg-shaped chairs, in fact, supposed to yield such > comfort in the office) superimposed against an exploding color background > that keeps declaring, looped, ad infinitem, "empty refill." > > http://www.furtherfield.org/home.html - straight to the new artists page. > > > [note] > All contributions on furtherfield can reached by this page... > http://www.furtherfield.org/contributors.html > > [what are we] > Furtherfield is an online platform for the creation, promotion, and > archiving of new work for public viewing and interaction. Furtherfield > collaborates with independent visual artists, digital/net artists, writers, > critical thinkers, musicians and noisemakers with a special focus on work > developed and produced outside the recognised institutional support > structures. We explore new and imaginative strategies for communicating > ideas and issues in a range of digital & terrestrial media contexts. > > Furtherfield's activities focus on presenting works online and organising > global, contributory projects, which exist simultaneously on the Internet, > the streets and public venues. > > info@furtherfield.org > http://www.furtherfield.org > http://www.furthernoise.org > http://www.dido.uk.net > We Can Make Our Own World. > > [If you do not want to receive such emails or you we have you on our list by > mistake please just reply in subject box - 'unsubscribe] > > > > --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Thu, 13 Feb 2003 20:13:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: New Book by John Perlman In-Reply-To: <1ed.1d9f8a0.2b7da30a@aol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit is anything from your book "The Natural History of Trees" accessible via the net? On Thursday, February 13, 2003, at 07:40 PM, John Perlman wrote: > Elamantations Press announces the publication of Legion Their Numbers, > John > Perlman's 18th book, this January. Copies are available for $8. > postpaid from > the writer, who may be contacted at JohnPerl@aol.com. Perlman's long > poem, > The Natural History of Trees is also due out this year from Potes & > Poets > Press. > ========================================================================= Date: Fri, 14 Feb 2003 12:00:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Poetic Text and Community MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear List, Any theoreticians you could suggest would be greatly appreciated. I'm = especially interested in critical takes on satire and how it speaks for = a particular community. Jesse ========================================================================= Date: Thu, 13 Feb 2003 23:45:44 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Poetic Text and Community In-Reply-To: <000701c2d463$ac4d67c0$5c14d8cb@ahadada.gol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII for satire you must seek Bakhtin. it's all about community. kevin On Fri, 14 Feb 2003, jesse glass wrote: > Dear List, > > Any theoreticians you could suggest would be greatly appreciated. I'm especially interested in critical takes on satire and how it speaks for a particular community. Jesse > -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Thu, 13 Feb 2003 22:24:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Poetic Text and Community In-Reply-To: <000701c2d463$ac4d67c0$5c14d8cb@ahadada.gol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" theory? giorgio agamben. criticism? jerome mcgann. neither is particularly attuned to satire tho. At 12:00 PM -0800 2/14/03, jesse glass wrote: >Dear List, > >Any theoreticians you could suggest would be greatly appreciated. >I'm especially interested in critical takes on satire and how it >speaks for a particular community. Jesse -- ========================================================================= Date: Thu, 13 Feb 2003 19:36:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Re: 2 Googlism poems (cont.) In-Reply-To: <6759633.1045180269078.JavaMail.nobody@wamui07.slb.atl.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit 3. my one true love is my wife my one true love is now my husband my one true love is a man my one true love is a beautifully sculpted male my one true love is moving out of state my one true love is far away my one true love is gone my one true love is gone forever my one true love is still out there my one true love is back my one true love is right there in front of me my one true love is trapped inside my one true love is in that casket my one true love is dead my one true love is resting at the end of the world my one true love is left for the cannibles my one true love is vinyl my one true love is football my one true love is crack my one true love is not singing in a band at all it's acting my one true love is sociology my one true love is fishing my one true love is fly fishing my one true love is riding my moutian bike my one true love is driving daily down the tree my one true love is not too far i'm tired of being my one true love is that most intractable of instruments my one true love is mosquito 4. my one and true love is music and thankfully i do both 5. my one and only true love is kissing me my one and only true love is gone my one and only true love is dead my one and only true love is jeff hardy my one and only true love is champ bailey my one and only true love is my fare ~servile~ to her i give my heart my one and only true love is snowboarding my one and only true love is my car my one and only true love is sleep on 2/13/03 6:51 PM, ksilem@MINDSPRING.COM at ksilem@MINDSPRING.COM wrote: > 1. > > my love is a flower > my love is a rose in bloom > my love is like a red red rose > > my love is for real > my love is a life > my love is both a hunger and a giving > > my love is in america > my love is chemical > my love is dangerous > my love is killing me > > my love is your love > my love is your love whitney houston > my love is your love has been certified platinum > my love is whitneys love > my love is my love > my love is my beloved my love is my beloved > my love is alive my love is alive yeah > > my love is like a gazelle > > my love is in a light attire > my love is waiting > my love is upon me and within me forever > my love is deep > > my love is warmer than the warmest sunshine softer than a sigh > my love is burning > my love is as a fever > my love is a fever my love is a fable my love is jazz licks improvised by > toddlers bold ulyssess by nursery rhymes and firelight my love is a > metamorphosis > > my love is rotten to the core > my love is like to toilet paper > > my love is something separate > my love is the shhh > my love is moke > my love is all for o > > > 2. > > my true love is a soldier in the army now to day > my true love is a soldier / he's gone to the arms of abraham > my true love is a butcher boy > > my true love is sitting on a pile of stones and he's wondering to himself oh > where did i go wrong? > my true love is strong then that day will surely come > my true love is coming down yonder i see > my true love is gone > > my true love is lost forever and our child will never be > my true love is absent from me > my true love is parted from me > my true love is far > my true love is far away > my true love is far far away > my true love is out there > my true love is dead and gone > > my true love is symbolic of god the father > my true love is your mom too > my true love is gary > my true love is the cookies > > my true love is the classics > my true love is the visual arts > my true love is singing > my true love is speaking > my true love is writing > > my true love is to create greeting cards that take you to another level and > bring more of an understanding that we are so dearly loved ========================================================================= Date: Thu, 13 Feb 2003 20:37:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: * H o n e y w a s t e In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit * H o n e y w a s t e * E x e r c i s e # 1 Imagine you are in a room. Imagine you are not alone. Imagine a storm is outside. Imagine an open door. Imagine you are alone. Imagine the door is closed. Imagine the room is empty. Imagine the storm is gone. * E x e r c i s e # 2 Think of something. Draw a circle around it. Place yourself inside the circle. Draw an outline around yourself. Think of something outside the circle. Reach for it. Grasp it with one hand. Place it on top of your head. Place it inside of your body. Place it on top of your body. Place it inside of your head. Erase the outline. Erase the circle. Erase the thought. Let it go. Go. * E x e r c i s e # 3 I am sitting in a room. Do you see me? I am thinking of a word. Can you think of it too? I am listening to a sound. Can you hear it too? I am silently counting to myself. I stop. Am I still sitting? Are you sitting too? I cannot stand. This is what I am thinking. (I stop.) * E x e r c i s e # 4 Who am I? Who are you? Who are we? Are we together? Are we apart? Are we together and apart? I have left the scene. Am I still here? Are you still here? When is the time to go? Is it now? Now? Now? ========================================================================= Date: Fri, 14 Feb 2003 07:56:25 -0500 Reply-To: devineni@rattapallax.com Sender: UB Poetics discussion group From: Ram Devineni Organization: Rattapallax Subject: spanish poems about the sea? MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello Everyone: Laura Oton who works for Cadena 100 is Madrid, Spain has asked me to collect poems about the sea, ocean or any body of water in response to the oil tanker mess off their coast. Please email any poems that you have and some of them will be read on the air.they need to be in Spanish. Thanks Ram ========================================================================= Date: Fri, 14 Feb 2003 03:56:21 -0800 Reply-To: solipsinaut Sender: UB Poetics discussion group From: solipsinaut Subject: Re: Poetic Text and Community MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Jess, google search for "embedded satire" yields: Irony, Satire, Parody and the Grotesque in the Music of Shostakovich - A Theory of Musical Incongruence http://www.dschjournal.com/journal15/books15.htm Satire and Drama in the Genroku Period: Nuances of Genre in the Works of Saikaku and Chikamatsu http://www.usc.edu/dept/LAS/ealc/deFalla2.pdf American Folk Satire?? http://www.murderize.com/ Jesse, I also remember a form of "cat-torture-as-street-theatre" produced by angry merchants in ??18th century france whose satirical? nature was based in part on a pun whom a select group of participants would understand.. can't remember the reference.. Robert Justin Goldstein http://www.google.com/search?hl=en&lr=&ie=ISO-8859-1&safe=off&q=Robert+Justi n+Goldstein&btnG=Google+Search He is a political science writer but his work is usually about repression surrounding specific issues.. His book _Censorship of Political Caricature in 19th Century France_ is particularly well researched and a fascinating read. You might try Brian Connery http://www.otus.oakland.edu/english/staff/connery.htm His Theorizing Satire : Essays in Criticism & Theory: Here's the bib page for the book: http://www.otus.oakland.edu/english/showcase/satbib.htm This collection brings together the insights of New Criticism, philology, rhetorical analysis, genre theory, deconstructionism, and the new historicism applied to classical, British, Continental, and American satire. Essays offer close readings of authors such as Lucilius, Horace, Swift, and Joe Bob Briggs, and discusses the novels of the German Enlightenment and the postmodern British campus novel. For undergraduates, graduates, and specialists. Annotation copyright Book News, Inc. Portland cheapest copies http://half.ebay.com/cat/buy/prod.cgi?cpid=153336&AID=5596526&PID=837543 thanks for the excuse to do a little research a fun subject though i barely scratched the surface, just my head a little lq > theory? giorgio agamben. > criticism? jerome mcgann. > neither is particularly attuned to satire tho. > > At 12:00 PM -0800 2/14/03, jesse glass wrote: > >Dear List, > > > >Any theoreticians you could suggest would be greatly appreciated. > >I'm especially interested in critical takes on satire and how it > >speaks for a particular community. Jesse > > > -- > ========================================================================= Date: Sat, 15 Feb 2003 02:29:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Operation Magic Carpet Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit dubya dubya w.w. l.j.cool j. Joe Millionaire arma virumque jay lo cano montezuma was there 50 cent Drn... ========================================================================= Date: Fri, 14 Feb 2003 00:51:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "totality heart domain" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "totality heart domain" in the spotlight found next developing index already claimed by dimensions wealth that add a new level search visual reference by refining the valuable query using specific criteria specific criteria specific criteria add a new level search \visual reference by refining the valuable query using specific criteria with such duplicates increases planned take a deliberate help-improve about the relevance of the major geographic association indentifies into clusters of local communities as validated by real-time integration integration integration as validated by real-time integration better communities provide reference determined this unique method generate previously gone unseen advancements advancements advancements significantly advancements \previously gone unseen image information next realeased popularity LARGE UP - did you know that? want feature powerful functionality will continue transference to maximize today performance relevant grade raised an "A" following the integration of exact heart domain domain domain an "A" following the integration of exact heart domain \want feature powerful functionality will continue transference to maximize today performance relevant grade raised an "A" following the integration of exact \\LARGE UP totality heart domain AUGUST HIGHLAND 11:38 PM 02-14-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Fri, 14 Feb 2003 06:50:32 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Words without meaning Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, new-poetry@wiz.cath.vt.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'm reasonably sure that I don't agree with some of the fundamental thinking behind this book, which strikes me as semiotic in the performative sense rather than linguistic, but I thought people on the list might want to know of its existence, Ron ----Original Message Follows---- From: David Weininger Reply-To: David Weininger To: cogling@ucsd.edu Subject: book announcement--Gauker Date: Wed, 12 Feb 2003 16:56:58 -0800 ( PST) I thought readers of the Cognitive Linguistics List might be interested in this book. For more information, please visit http://mitpress.mit.edu/0262072424/ Thank you! Best, David Words without Meaning Christopher Gauker According to the received view of linguistic communication, the primary function of language is to enable speakers to reveal the propositional contents of their thoughts to hearers. Speakers are able to do this because they share with their hearers an understanding of the meanings of words. Christopher Gauker rejects this conception of language, arguing that it Rests on an untenable conception of mental representation and yields a wrong account of the norms of discourse. Gauker's alternative starts with the observation that conversations have goals and that the best way to achieve these goals depends on the circumstances under which the conversation takes place. These goals and circumstances determine a context of utterance quite apart from the attitudes of the interlocutors. The fundamental norms of discourse are formulated in terms of the conditions under which sentences are assertible in such contexts. Words without Meaning contains original solutions to a wide array of outstanding problems in the philosophy of language, including the logic of quantification, the logic of conditionals, the semantic paradoxes, the nature of presupposition and implicature, and the nature and attribution of beliefs. Christopher Gauker is Professor of Philosophy at the University of Cincinnati. 5 3/8 x 8, 312 pp., paper ISBN 0-262-57162-5, cloth ISBN 0-262-07242-4 Contemporary Philosophical Monographs series A Bradford Book ______________________ David Weininger Associate Publicist The MIT Press 5 Cambridge Center, 4th Floor Cambridge, MA 02142 617 253 2079 617 253 1709 fax http://mitpress.mit.edu _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 14 Feb 2003 05:31:51 -0500 Reply-To: devineni@rattapallax.com Sender: UB Poetics discussion group From: Ram Devineni Organization: Rattapallax Subject: Creeley, Baraka, Hacker, Seshadri, Schulmam, Hulse, Reeve, Feirstein & Logue's play In-Reply-To: <37090423.1045050551@pslck3-21.pubsites.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Friends: I am happy to announce several upcoming events including the World Poetry Day reading in NYC. 2003 World Poetry Day & Dialogue Through Poetry Reading. Wednesday 19, March, 2003 at 8:00 PM Mason Hall, Baruch College, 17 Lexington Ave. at 23rd St., New York City, FREE Featured poets and readers: Robert Creeley, Marilyn Hacker, Vijay Seshadri, Grace Schulman, Amiri & Amini Baraka. Also, several UN Ambassadors (TBA). Winners of the High School "World Poetry Day" Writing Competition. Presented in association with Baruch College Performing Arts Center, Rattapallax, and CCNY Poetry Outreach Center. --------------- F.D. Reeve, Michael Hulse & Frederick Feirstein February 22, 2003 at 2pm, FREE Jefferson Market Library, 425 Ave. of the Americas, NYC. --------------- Also, I am on the board of directors of Verse Theater Manhattan which will produce a benefit reading of CHRISTOPHER LOGUE's "War Music". Details are below. WAR MUSIC by CHRISTOPHER LOGUE WITH JO BARRICK*, MARYBETH BENTWOOD & JENNIFER DON* ADAPTED FOR THE STAGE AND DIRECTED BY JAMES MILTON SATURDAY, MARCH 1st, 8:00PM THE ENGELMAN RECITAL HALL, BARUCH COLLEGE 55 LEXINGTON AVENUE (at 24th Street) RESERVATIONS: 212-923-7978 Tickets: $50 (reserved), $25 (general) www.versetheatermanhattan.com In support of our upcoming tour of England, Verse Theater Manhattan presents a benefit performance of WAR MUSIC, the first of Christopher Logue's savage modern verse adaptations of Homer's Trojan War epic, the ILIAD. From March 7th through March 14th, VTM will be performing WAR MUSIC for the universities of Cambridge, Oxford, East Anglia, Exeter, Notre Dame (London), and Bristol, as well as at the Centre for Hellenic Studies, King's College, London. About this provocative staging of history's greatest epic, which features an all-female cast, Andrew Stuttaford, writing in the National Review, called WAR MUSIC "moving, brutal, and chilling. it's fierce, terrible beauty makes it a text for our times. a reminder of what our culture's traditions and memory can mean." Please help launch our first international tour by joining us for this one-night-only performance of VTM's acclaimed contemporary masterpiece, WAR MUSIC. There will be a reception with the cast and director following the show. * Appearing Courtesy of Actors' Equity Association ========================================================================= Date: Fri, 14 Feb 2003 07:43:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: US Senator Robert C. Byrd ON LANGUAGE Comments: To: bennington@30bender.org Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://byrd.senate.gov/byrd_newsroom/byrd_news_feb/news_2003_february/news_2003_february_12.html Senate Remarks: The Administration's Dangerous Wartime Rhetoric Made on 13 February 2002 By Senator Robert C. Byrd, D-WV The language of diplomacy is imbued with courtesy and discretion. Diplomats the world over can be counted on to choose each word of every public statement with precision, for an ill-received demarche could turn allies into adversaries or cooperation into confrontation. Like most professions, diplomacy has its own lexicon. As John Kenneth Galbraith wrote in 1969, "There are few ironclad rules of diplomacy but to one there is no exception: when an official reports that talks were useful, it can safely be concluded that nothing was accomplished." And when we hear a seasoned envoy refer to a "frank and open discussion," we know that he is actually talking about a knock-down, drag-out fight behind closed doors. While negotiation can steer great powers away from a course that would lead to war, we can usually count on public statements about diplomacy to be underwhelming. There have been exceptional times when bold statements have energized world opinion. When President Reagan stood on the Berlin Wall in 1987 and proclaimed, "Mr. Gorbachev, tear down this wall," he spoke to millions of Germans who longed to be freed from oppression. While I would not go so far as to credit a single phrase with hastening the fall of the Eastern Bloc, certainly President Reagan's statement reflected the resolve of the West to oppose communism. There have also been a fair number of bold statements to the world that have backfired. For example, Nikita Khrushchev squandered whatever credit he might have gained through a goodwill tour of the United States in 1959, when he visited the United Nations the next year. The Soviet Premier famously exclaimed to the West, "We will bury you," while slamming his shoe on the table in front of him. This ill-advised outburst was a vivid depiction of an irrational and out of control superpower. Fortunately, the United States has a tradition in foreign policy of being slow to anger. We have nurtured a reputation of being rational and deliberate. I doubt that Americans would have much tolerance for a president who used the United Nations as a forum for testing the construction of his footwear on the nearest table. It would be a great departure for the United States to use its foreign policy organs as a means to spread divisive rhetoric. Unfortunately, the tone of our foreign policy in recent months has been in a steady decline. To some of our allies, the United States, through its words and its actions on the crisis in Iraq, is beginning to look more like a rogue superpower than the leader of the free world. Many newspapers in European capitals criticize U.S. policy toward Iraq. Moderate Muslim nations, such as Jordan and Turkey, are growing progressively suspicious of American motives in the war against terrorism. An increasing number of people in Arab countries are coalescing around an outright hatred of the United States. Let us remember that President Bush came to office promising to change the tone in Washington. I wonder if the current tone of American foreign policy is what he had in mind? One source of alarm is the tone of the National Security Strategy released by the White House in September 2002. In broad strokes, the strategy argues that the United States should use its overwhelming military power to engage in preemptive strikes to prevent others from ever developing the means to threaten our country. The strategy notes a preference for working with allies to keep the peace, but underscores the willingness of the United States to act unilaterally. The content and the tone of these important pronouncements in the National Security Strategy sparked outcry, in the United States and around the world. The report gave critics plenty of ammunition to make their case that the United States is a 400 pound gorilla that will stop at nothing to get its way. Our strategy leaves much of the world the impression that Americans agree with the quotation of the late Chinese leader, Zhou Enlai, which turned the axiom uttered by the military strategist Carl von Clausewitz on his head: "All diplomacy is a continuation of war by other means." There are many examples of provocative rhetoric that have escalated the stakes of our standoff with Iraq. In his 2002 State of the Union Address, the President coined an "Axis of Evil," comprised of Iran, Iraq, and North Korea. In October 2002, the White House Press Secretary suggested that regime change in Iraq could be accomplished with "the cost of one bullet." On December 30, 2002, President Bush said that Saddam's "day of reckoning is coming." The next day, he chided a reporter who asked about the prospect of war in Iraq by saying, "I'm the person who gets to decide, not you." The President's coarse words did nothing to ease criticism of American unilateralism. Several members of the President's national security team warned Iraq in January 2003 that "time is running out" for Iraq, and that such time was measured in weeks, not months. On Sunday talk show interviews on January 29, the White House Chief of Staff refused to rule out the use of nuclear weapons in a war against Iraq. On February 6, President Bush ominously declared that "the game is over." With each of these statements, the chances of war appeared to grow. To be fair, the President and his advisors have repeatedly stated a preference for the peaceful disarmament of Iraq. But as I speak right now, many Americans believe that war is inevitable. Through words and through action, the United States appears to be on a collision course with war in the Persian Gulf. Stating a preference for a peaceful solution is not enough to alter the heading of our great ship of state. If our rhetoric toward Iraq is not alarming enough, the last weeks have seen an appalling increase in criticism of our allies and the United Nations. On September 12, 2002, President Bush delivered a strong and effective speech that urged the United Nations to take action to disarm Iraq. The President said: "All the world now faces a test, and the United Nations [faces] a difficult and defining moment. Are Security Council resolutions to be honored and enforced, or cast aside without consequence? Will the United Nations serve the purpose of its founding, or will it be irrelevant?" The President threw down the gauntlet, and the United Nations acted. Inspectors have returned to Iraq, and they are doing their job. The inspectors have asked for more time, but the President has now challenged the U.N. to authorize the use of force, or again face irrelevance. The world is now wondering, which is the greater threat to the relevance of the U.N.: a rogue nation that flaunts the will of the international community; or a permanent member of the Security Council that views the institution as useless unless it submits to its will? This hand has been overplayed. More threats of U.N. irrelevance will only portray the United States as a bully superpower. European allies who do not share our view on the crisis in Iraq have recently been in the cross hairs for verbal bombardment. Secretary Rumsfeld has lumped Germany in with Libya and Cuba as the principal opponents of war in Iraq. He also characterized Germany and France as being "Old Europe," as if their economic and political power does not matter as compared to the number of Eastern countries that comprise New Europe. Richard Perle, a senior advisor to the Department of Defense, has also had choice words about our European allies. In October 2002, Mr. Perle recommended that German Chancellor Schroeder resign in order to improve relations between our two countries. On January 30, Mr. Perle followed up this charge by saying: "Germany has become irrelevant. And it is not easy for a German chancellor to lead his country into irrelevance." Spreading his criticism around, Mr. Perle stated that "France is no longer the ally that it once was." So far as I can tell from press reports, Mr. Perle, who is the Chairman of the Defense Policy Board, has not been admonished for his inflammatory statements. Such vindictive criticism of our European allies has had repercussions. According to a new poll, published in the Financial Times Deutchland on February 10, 57 percent of Germans agree with the statement, "The United States is a nation of warmongers." And now we find ourselves in a pointless stalemate with our NATO partners over military assistance for Turkey. If we had been more temperate in our rhetoric, perhaps we could have worked through the anti-American tone of the recent elections in Germany. Instead, we find ourselves escalating a war of words against two great European powers. How we communicate our foreign policy makes a difference. We expect North Korea or Iraq to use inflammatory propaganda to speak to the world, but we are a more dignified nation. There are ways for our country to indicate resolve without resorting to bellicosity. The subtext to nearly every new White House statement on Iraq is that the United States has run out of patience. The Administration is signaling its willingness to use an extreme amount of military force against Iraq when many still question the need to do so. We need to change our tone. Impetuous rhetoric has added fuel to the crisis with Iraq and strained our alliances. Before committing our nation to war with Iraq and the years of occupation that will surely follow, we should repair the damage to our relations with our allies. I urge the President to change the tone of our foreign policy -- to turn away from threatening Iraq with war, away from insulting our friends and allies, away from threatening the United Nations with irrelevance. Our rhetoric has gone over the top, from giving an indication of our strength to giving an indication of recklessness. I have learned from fifty years in Congress that it is unwise to insult one's adversaries, for tomorrow you may be in need of an ally. There will come the day when we will seek the assistance of those European allies with which we are now feuding. But serious rifts are threatening our close relationship with some of the great powers of Western Europe. The Secretary of State said yesterday that NATO is at risk of breaking up. It is time to put our bluster and swagger away for the time being. I urge the President to calm his rhetoric, repair our alliances, and slow the charge to war. ========================================================================= Date: Fri, 14 Feb 2003 08:36:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Poems by others: David Antin, " the car" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit I. the car in a car driving toward a wall who's driving what car toward what wall what make is the car who's at the wheel it is a 1957 Chevrolet with a license having a repeating decimal why dont we have the sense to realize who has the wheel why do we think somebody has the wheel does anybody think somebody has the wheel is there a wheel there are at least four of them turning driving in a car on a road toward a wall waving a sword to keep off pedestrians our signals are blinking there is a road and a wall it is more like falling nobody thinks anybody has the wheel in a falling elevator though there is a road and a wall that is a floor but there is also a cable and there are doors we might get out of one of the doors it is falling toward a wall who has the wheel whoever has the wheel push the button the stop button or the alarm button or at least push the test button i want to get out whoever is driving what makes you think somebody's driving in a car driving toward a hospital in a W.C. Fields movie he yanks the wheel out of the floor and hands it to a backseat driver we are all backseat drivers looking out of the windshield over the front seat i can't see the back of the driver's head --David Antin fr. "trip through a landscape" in *Selected Poems: 1963-1973* [Los Angeles: Sun and Moon Press, 1991] Hal Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Thu, 13 Feb 2003 23:39:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron McCollough Subject: GUTCULT ISSUE NUMBER 1 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable GutCult Issue Number 1 is up and running. . . -- including new poetry by Martin Corless-Smith, Chelsey Minnis, Ethan = Paquin, John Latta, Catherine Wagner, Elizabeth Robinson, Karla Kelsey, = Rebecca Wolff, Michael Farrell, Eleni Sikelianos, Spencer Selby, and = Christine Hume -- including new prose by Kevin Sampsell, Kathryn Rantala, Terry Bain, = Michael Fournier, and Theo Emery -- you may also want to pass your eyes over the Nth Heaven of Floating = Exhibit, which features a variety of tidbits produced and reproduced by = the GutCult editors. http://www.gutcult.com ========================================================================= Date: Fri, 14 Feb 2003 05:59:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: someone seeding kazaa with junk In-Reply-To: <5.1.0.14.2.20030214074133.00bb1268@incoming.verizon.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit someone seeding kazaa with junk this is your is your first visit we hope it is the beginning of a long and fruitful journey this is your is your soft-copy on de lokale radio omroep voor nieuwkoop en liemeer this is your is only $1 on transferring an object this is your initial target on is compensation culture out of control this is your last chance on a reality directory this is your short message on a digital radio gold-mine this is your first visit on harder option this is your curve on a friday this is your limiting magnitude on a management project this is your home base from which to explore and experience paradise on computers this is your special day on a harder option this is your 2 numbers main goal warming of urgent danger this is your what i am thinking set to snap back ========================================================================= Date: Fri, 14 Feb 2003 09:31:56 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Perlman Subject: Re. Mikeal's Query re. Trees MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Natural History of Trees first appeared in 1994 in a much smaller form from Texture Press, published by Susan Smith Nash. Her essay on my work wch appeared in Witz 1.3 is a good introduction, though not about the Trees. Two of the Sections appeared in the ezine Ixion from England, but I'm not sure of current accessiblity. ========================================================================= Date: Fri, 14 Feb 2003 07:25:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: PPRC: Urgent Action Alert MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ----- Original Message ----- From: "Dina Hartzell" To: Sent: Thursday, February 13, 2003 9:01 PM Subject: Fwd: PPRC: Urgent Action Alert > >Subject: PPRC: Urgent Action Alert > >From: Portland Peaceful Response Coalition > > > >X-pstn-levels: (C:89.8828 M:97.0282 P:95.9108 R:95.9108 S: 6.9543 ) > >X-pstn-settings: 3 (1.0000:1.0000) mc > >X-pstn-addresses: from > >Status: U > > > >France BEGGING us to flood UN offices w/emails to STOP the WAR > > > >Contact Russian, French & Chinese (voting members) members of the > >Security Council. > > > >from "jmmmmac" > > > >"I just spoke with France's UN office. They are BEGGING us to flood > >their offices and the other UN offices with emails to STOP the WAR. > >France needs to know that Americans are with them on this. > > > >And from another forwarded email: > > > >From: AFSC (American Friends Service Committee) (Quakers) > >Sent: Friday, February 07, 2003 4:35 PM > >Subject: FW: A constructive step for peace > > > >I just spoke to the French Mission to the UN, urging them as a > >U.S.citizen to vote against any resolution authorizing war against > >Iraq--rather than abstaining, which apparently is what the Bush > >administration is expecting them to do. The person who answered the > >phone asked if I would put that in writing--and offered to give me > >the mission's email address. > > > >I found this encouraging--suggesting that at least some people in > >the mission are arguing for casting a veto, and would like to have > >evidence of grassroots U.S. support for such a move. If you would > >like to provide such evidence, send a quick note. You don't have to > >explain at length why they should veto--they would like to veto. > >Just tell them that you think they ought to veto too. > > > > > >PLEASE forward this to everyone you can. The UN email addresses and > >faxes are below for the Security Council. > > > >S.E. Ambassador M. Jean-Marc de LA Sabliere > >france-presse@un.int > >(212) 207-9765 > > > >H.E. Ambassador Mr. Sergey Lavrov > >rusun@un.int > >(212) 628-0252 > > > >H.E. Ambassador Wang Yingfan > >chinamission_un@fmprc.gov.cn > >(212) 634-7626 > > > >France, China and Russia are the permanent Security Council members > >who oppose war with Iraq. A vote against a war resolution by any of > >them would defeat the resolution. Please pass this on! > > > > > >To make things even easier, here is a suggested message: > >__________________________________________________ > > > >Dear Sir-- > > > >As a U.S. citizen, I urge your representative in the U.N. Security > >Council to vote against any resolution authorizing war against Iraq, > >rather than abstaining. You need to know that there are millions of > >other American citizens who would support this action on your part. > > > >You are our last hope to stop this madness. Please vote NO. > > > >In Peace, > >your name > > > >And all the email addresses put together for you to cut and paste: > > > >france-presse@un.int, rusun@un.int, chinamission, un@fmprc.gov.cn, > >uk@un.int, bulgaria@un.int, info@cameroonmission.org, guinea@un.int, > >mexico@un.int, > >mexico@un.int, syria@un.int, ang-un@angolamissionun.org, > >chile@un.int, contact@germany-un.org, spain@spainun.org, > >pakistan@un.int > > > >Other Ambassadors to the UN are: > > > >H.E. Ambassador Sir Jeremy Greenstock > >uk@un.int > >(212) 745-9316 > > > >H.E. Ambassador Mr. Stefan Tafrov > >bulgaria@un.int > >(212) 472-9865 > > > >S.E. Ambassador Martin Belinga Eboutou > >info@cameroonmission.org > >(212) 249-0533 > > > >H.E. Ambassador M. Fran^ßois Lonseny Fall > >guinea@un.int > >(212) 687-8248 > > > >S. E. Embajador Adolfo Aguilar Z^-nser > >mexico@un.int > >(212) 688-8862 > > > >H.E. Ambassador Dr. Mikha'?Til Wahbi > >syria@un.int > >(212) 983-4439 > > > >S.E. Ambassador Dr. Ismael Gaspar Martins > >ang-un@angolamissionun.org > >(212) 861-9295 > > > >S.E. Ambassador Juan Gabriel Vald^©s > >chile@un.int > >(212) 832-0236 > > > >H.E. Ambassador Dr. Gunter Pleuger > >contact@germany-un.org > >(212) 940-0402 > > > >H.E. Ambassador Inocencio F. Arias > >spain@spainun.org > >(212) 682-4460 > > > >H.E. Ambassador Munir Akram > >pakistan@un.int > >(212) 744-7348 > > > >Renee Hyatt > >PPRC > > > >PPRC website: http://www.portlandpeacefulresponse.org/ > >PPRC voicemail: 503 471 1535 > > > >To remove yourself from future mailings, visit our website, click on > >mailing list, type in your email address, and select remove. Your > >address is physically deleted from the database. > ========================================================================= Date: Fri, 14 Feb 2003 10:42:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: Fw: PPRC: Urgent Action Alert In-Reply-To: <004c01c2d43d$52e30b20$79fdfc83@oemcomputer> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Be patient sending to these addresses. I sent an email earlier to all the ambassadors, and quite a few bounced back. When I re-sent, most finally made it. Evidently they are being flooded. Best, Joseph At 07:25 AM 2/14/03 -0800, you wrote: >----- Original Message ----- >From: "Dina Hartzell" >To: >Sent: Thursday, February 13, 2003 9:01 PM >Subject: Fwd: PPRC: Urgent Action Alert > > >> >Subject: PPRC: Urgent Action Alert >> >From: Portland Peaceful Response Coalition >> > >> >X-pstn-levels: (C:89.8828 M:97.0282 P:95.9108 R:95.9108 S: 6.9543 ) >> >X-pstn-settings: 3 (1.0000:1.0000) mc >> >X-pstn-addresses: from >> >Status: U >> > >> >France BEGGING us to flood UN offices w/emails to STOP the WAR >> > >> >Contact Russian, French & Chinese (voting members) members of the >> >Security Council. >> > >> >from "jmmmmac" >> > >> >"I just spoke with France's UN office. They are BEGGING us to flood >> >their offices and the other UN offices with emails to STOP the WAR. >> >France needs to know that Americans are with them on this. >> > >> >And from another forwarded email: >> > >> >From: AFSC (American Friends Service Committee) (Quakers) >> >Sent: Friday, February 07, 2003 4:35 PM >> >Subject: FW: A constructive step for peace >> > >> >I just spoke to the French Mission to the UN, urging them as a >> >U.S.citizen to vote against any resolution authorizing war against >> >Iraq--rather than abstaining, which apparently is what the Bush >> >administration is expecting them to do. The person who answered the >> >phone asked if I would put that in writing--and offered to give me >> >the mission's email address. >> > >> >I found this encouraging--suggesting that at least some people in >> >the mission are arguing for casting a veto, and would like to have >> >evidence of grassroots U.S. support for such a move. If you would >> >like to provide such evidence, send a quick note. You don't have to >> >explain at length why they should veto--they would like to veto. >> >Just tell them that you think they ought to veto too. >> > >> > >> >PLEASE forward this to everyone you can. The UN email addresses and >> >faxes are below for the Security Council. >> > >> >S.E. Ambassador M. Jean-Marc de LA Sabliere >> >france-presse@un.int >> >(212) 207-9765 >> > >> >H.E. Ambassador Mr. Sergey Lavrov >> >rusun@un.int >> >(212) 628-0252 >> > >> >H.E. Ambassador Wang Yingfan >> >chinamission_un@fmprc.gov.cn >> >(212) 634-7626 >> > >> >France, China and Russia are the permanent Security Council members >> >who oppose war with Iraq. A vote against a war resolution by any of >> >them would defeat the resolution. Please pass this on! >> > >> > >> >To make things even easier, here is a suggested message: >> >__________________________________________________ >> > >> >Dear Sir-- >> > >> >As a U.S. citizen, I urge your representative in the U.N. Security >> >Council to vote against any resolution authorizing war against Iraq, >> >rather than abstaining. You need to know that there are millions of >> >other American citizens who would support this action on your part. >> > >> >You are our last hope to stop this madness. Please vote NO. >> > >> >In Peace, >> >your name >> > >> >And all the email addresses put together for you to cut and paste: >> > >> >france-presse@un.int, rusun@un.int, chinamission, un@fmprc.gov.cn, >> >uk@un.int, bulgaria@un.int, info@cameroonmission.org, guinea@un.int, >> >mexico@un.int, >> >mexico@un.int, syria@un.int, ang-un@angolamissionun.org, >> >chile@un.int, contact@germany-un.org, spain@spainun.org, >> >pakistan@un.int >> > >> >Other Ambassadors to the UN are: >> > >> >H.E. Ambassador Sir Jeremy Greenstock >> >uk@un.int >> >(212) 745-9316 >> > >> >H.E. Ambassador Mr. Stefan Tafrov >> >bulgaria@un.int >> >(212) 472-9865 >> > >> >S.E. Ambassador Martin Belinga Eboutou >> >info@cameroonmission.org >> >(212) 249-0533 >> > >> >H.E. Ambassador M. Fran^=DFois Lonseny Fall >> >guinea@un.int >> >(212) 687-8248 >> > >> >S. E. Embajador Adolfo Aguilar Z^-nser >> >mexico@un.int >> >(212) 688-8862 >> > >> >H.E. Ambassador Dr. Mikha'?Til Wahbi >> >syria@un.int >> >(212) 983-4439 >> > >> >S.E. Ambassador Dr. Ismael Gaspar Martins >> >ang-un@angolamissionun.org >> >(212) 861-9295 >> > >> >S.E. Ambassador Juan Gabriel Vald^=A9s >> >chile@un.int >> >(212) 832-0236 >> > >> >H.E. Ambassador Dr. Gunter Pleuger >> >contact@germany-un.org >> >(212) 940-0402 >> > >> >H.E. Ambassador Inocencio F. Arias >> >spain@spainun.org >> >(212) 682-4460 >> > >> >H.E. Ambassador Munir Akram >> >pakistan@un.int >> >(212) 744-7348 >> > >> >Renee Hyatt >> >PPRC >> > >> >PPRC website: http://www.portlandpeacefulresponse.org/ >> >PPRC voicemail: 503 471 1535 >> > >> >To remove yourself from future mailings, visit our website, click on >> >mailing list, type in your email address, and select remove. Your >> >address is physically deleted from the database. >> ========================================================================= Date: Fri, 14 Feb 2003 14:41:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Words without meaning Comments: To: ron.silliman@gte.net MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT seems like an interesting comment on the current clamp down on the poetic per The Tea Party Dome Scandal. tom bell not yet a crazy old man ========================================================================= Date: Fri, 14 Feb 2003 12:51:12 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Craig Allen Conrad Subject: Fwd: Michael Moore on "60 MINUTES" This Sunday! Anti-War protests this weekend! MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_1eb.1eb92bb.2b7e8690_boundary" --part1_1eb.1eb92bb.2b7e8690_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit --part1_1eb.1eb92bb.2b7e8690_boundary Content-Type: message/rfc822 Content-Disposition: inline Return-path: From: CAConrad13@aol.com Full-name: CAConrad13 Message-ID: Date: Fri, 14 Feb 2003 12:35:28 EST Subject: Fwd: Michael Moore on "60 MINUTES" This Sunday! Anti-War protests this weekend! To: CAConrad9@aol.com MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part2_1eb.1eb92bb.2b7e82e0_boundary" X-Mailer: AOL 4.0 for Mac - Post-GM sub 55 --part2_1eb.1eb92bb.2b7e82e0_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit --part2_1eb.1eb92bb.2b7e82e0_boundary Content-Type: message/rfc822 Content-Disposition: inline Return-Path: Received: from rly-xl04.mx.aol.com (rly-xl04.mail.aol.com [172.20.83.73]) by air-xl01.mail.aol.com (v90_r2.5) with ESMTP id MAILINXL11-0214113801; Fri, 14 Feb 2003 11:38:01 -0500 Received: from treebeard.webcorelabs.com (dsl-dt-207-34-112-i137-cgy.nucleus.com [207.34.112.137]) by rly-xl04.mx.aol.com (v90_r2.6) with ESMTP id MAILRELAYINXL410-0214113729; Fri, 14 Feb 2003 11:37:29 -0500 Received: (qmail 23992 invoked by uid 99); 13 Feb 2003 23:05:49 -0000 Date: 13 Feb 2003 23:05:49 -0000 Message-ID: <20030213230549.23991.qmail@treebeard.webcorelabs.com> To: CAConrad13@aol.com Subject: Michael Moore on "60 MINUTES" This Sunday! Anti-War protests this weekend! From: mailinglist@michaelmoore.com Reply-To: mailinglist@michaelmoore.com X-Mailer: Unknown (No Version) Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Greetings to all! "60 Minutes" is devoting an entire segment to Michael Moore this Sunday, Feb. 16, on CBS, 7pm ET/PT http://www.cbsnews.com/stories/1998/07/08/60minutes/main13502.shtml Be sure to tune in! David Schankula Editor, www.michaelmoore.com in the new mission from Mike's Office of Homeland Security. http://www.michaelmoore.com/mailing/unsubscribe.php --part2_1eb.1eb92bb.2b7e82e0_boundary-- --part1_1eb.1eb92bb.2b7e8690_boundary-- ========================================================================= Date: Fri, 14 Feb 2003 10:04:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Bill Berkson Comments: Originally-From: Bill Berkson From: Bill Berkson Subject: Berkson, kearney et al Comments: To: Amanda Eicher , sarah cain , colter jacobsen MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Bill Berkson, Larry Kearney & Will Shenker Wednesday, February 19 7:30 p.m. New College Theatre, 777 Valencia, San Francisco ========================================================================= Date: Fri, 14 Feb 2003 10:07:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: corrected kearney et al MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Bill Berkson, Larry Kearney & Will Skinker Wednesday, February 19 7:30 p.m. New College Theatre, 777 Valencia, San Francisco ========================================================================= Date: Fri, 14 Feb 2003 13:30:59 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: Circulars updates MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit For some reason the poetics list is not accepting emails from the Circulars site, so here's what you've been missing. I've figured out the problem though. http://www.arras.net/circulars/ Know Your Rights - Street Law and Practice nationalphilistine.com: Baghdad Snapshot Action goes online and worldwide Eliot Weinberger: Lincoln Center Boston Globe: A Subversive Celebration Senator Robert Byrd: Senate Floor Speech - Wednesday, February 12, 2003 W.H. Auden: Epitaph On A Tyrant Bob Perelman: Where We Are Wired.com: A Chilly Response to 'Patriot II' Bombard the Media: Play with TODAY! Patrick Durgin: The New Phrase ========================================================================= Date: Fri, 14 Feb 2003 13:29:04 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: Help w/ Burroughs quote MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_1c7.51b1798.2b7e8f70_boundary" --part1_1c7.51b1798.2b7e8f70_boundary Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en Can anyone help my pal Virlana on her quest? Thanks, Bob Holman In a message dated 2/12/2003 8:59:00 PM Eastern Standard Time,=20 yara@prodigy.net writes: > Subj:from Virlana=20 > Date:2/12/2003 8:59:00 PM Eastern Standard Time > From:yara@prodigy.net > To:Nuyopoman@aol.com > Sent from the Internet=20 >=20 >=20 >=20 >=20 >=20 > Good to see you last night. Thanks for offering to help me with the quote.= =20 > Here it is in my English translation from the Ukrainian, which was a=20 > translation from the German or Russian, so it can be a stretch. =20 >=20 > =20 >=20 > Virlana >=20 > =20 >=20 > =E2=80=9CTheir children will not speak Spanish and will never kneel in a C= hristian=20 > church=E2=80=A6=E2=80=9D >=20 > =20 >=20 > William S. Burroughs >=20 > =E2=80=9CCorrected and Completed Boy Scout Manual=E2=80=9D >=20 >=20 >=20 Virtually Visit Bowery Poetry Club @ www.bowerypoetry.com Literally: 308 Bowery NY, NY 10012 (Bleecker-Houston) 212-614-0505 --part1_1c7.51b1798.2b7e8f70_boundary Content-Type: multipart/alternative; boundary="----=_NextPart_000_0011_01C2D2D8.E16ED060" Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by brama.com id h1D1wFJ23695 Good to see you last night. Thanks for offering to help me with the quote. Here it is in my English translation from the Ukrainian, which was a translation from the German or Russian, so it can be a stretch. Virlana =93Their children will not speak Spanish and will never kneel in a Christian church=85=94 William S. Burroughs =93Corrected and Completed Boy Scout Manual=94 --part1_1c7.51b1798.2b7e8f70_boundary-- ========================================================================= Date: Fri, 14 Feb 2003 13:32:43 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: Langston Language Basque Baraka: Bowery Poetry Club 2/14-2/23 Comments: cc: KALAMU@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Bowery Poetry Club * 308 Bowery NY NY 10013 @ Bleecker, right across from CBGB's F train to Second Ave | 6 train to Bleecker | 212-614-0505 Dear Friends, If you get this on Valentine's Day and are looking for great music, party, relaxed fun, drop by the Club tonight. Raquay Danziger's got two sets at 8 & 9:30 -- her twelve piece band covers the world and guarantees liftoff; the Tribe of Djembe follows at midnight, funk and world, "Wear Red Please." We know what that means! (We do?) Sat., 2/15 leads off at 2pm with Jazz in the Afternoon, mellow sounds of Shu-ni Tsou on ditzi (Chinese flute) and James McKinney on keys ($8). Segue presents two young hotshots, David Cameron and Joanna Furman at 4 ($4), and then a special Frank O'Hara Happy Hour that will last to the amazing Infusion, our biggest monthly party, with live hip hop poetry, art, and (ahem) a free beer (Sam Adams) (10pm, $5). Sun 2/16 2pm: Shakespeare in Harlem, the glorious poetry of Langston Hughes (every Sunday at 2 in Black History Month, $15). World of Poetry presents Basque poetry at 5: Kirmen Uribe, translations read by Elizabeth Macklin, Mikel Urdangarin on guitar ($5). At 8 it's time for Westside Rhyme, poetry-music-mayhem in the fast lane -- read your own, hear the New. Shawn Randall and Karen Rockower, hosts ($5). Mon 2/17 Will this be the thrilling conclusion of WCW's Paterson? Laura Willey invites you to find out -- and pick out the next epic read. Mac Wellman will lead Dixon Place in Exile: Experiments & Disordersat 7:30, da Bips will improvise at 9, and Janice Girlbomb Earlbaum and Sarah Fisch host their series "LIT!" at 10 -- Anne Elliott's on this week, hooray! All these events are part of Bob Holman's Monday Free4All. Tues 2/18 Will Stephan Smith's The Bell become the Protest Song that Stops the War? Pete Seeger thinks so. The release party for the CD will start at 7:30 -- it's free, and Stephan will perform. And at 9, the greatest living metaphor of Freedom of Speech, Rick "Ride the Butterfly" Shapiro will blast ($12). Beau Sia's Whatever follows -- this series of great music, great poetry, gret chill vibe-aroonie, is the perfect way to cap off the night ($5, dj till 2am). Wed 2/19 Tune up your guitar at 7:30 for the Songwriters Syndrome ($5) - Fernando Ferrer de Borincua is featured. The amazing jazz stylist Judi Silvano will bring us the poetry of Leanne Averbach in a rare appearance at 10 ($10). Thur 2/20 Our weekly Urbana Slam rocks at 7:30 -- Mike Henry of Austin is the Honored Guest Po. ($5) A new po-band from upstate, Galuminum Foil, will play at 10:30 ($5), and then Rick Shapiro will riff till he drops (lat week: 3.5 hours!) ($12). AMIRI BARAKA! and his Word Ship FUNKLORE! Next weekend , Fri-Sat-Sun -- 2/21-2/23 -- two shows a night, 8 & 9:30 ($20/15). Reservations suggested (212-614-0505). Celebrate Peace. Rest in peace, dear Zoe Angelsey. Virtually Visit Bowery Poetry Club @ www.bowerypoetry.com Literally: 308 Bowery NY, NY 10012 (Bleecker-Houston) 212-614-0505 ========================================================================= Date: Fri, 14 Feb 2003 11:31:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Maxwell Subject: robert c byrd MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I wanted to thank Anastasios and Jerome Rothenberg for passing around the two latest Robert Byrd speeches. Despite his past mistakes, I've always loved Senator Byrd. He is one of the last great rhetors in Congress, and will be missed when he's gone. My favorite recent moment of Byrd's is, when after many Democrats joined with the Republicans in granting President Bush force authority in Iraq, Byrd opened one of his more wending Emersonian harangues with the words: "Fie upon the Congress. Fie upon this Congress." I was so moved by both the directness and anachronism of the statement...it said so much about where we are now as a nation, where the individual itself is so often made made to be the anachronism, the exception. So I made that quote the opening quote of one of my own collections of poems, The Coward Ecumenical. "Fie upon the Congress" --- Sen. Robert C Byrd Thanks again, Andrew ========================================================================= Date: Fri, 14 Feb 2003 13:42:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: Re: verse propaganda MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit FREE ENTERPRISE Behind vinyl sheets and duct tape -- duct tape, need I remind, that rendered impervious the spotless ducts that hero of our Golden Age, Commander James T. Kirk, was wont to navigate. And vinyl sheeting? -- well, vinyl sheeting speaks for itself. (we're all behind vinyl sheets and duct tape, right?) And so I ask, wherefrom this misplaced anxiety citizens? How panic if truly ALERT? (orange you glad I didn't say "terror" yet again?) Dare I ask if the shame behind vinyl sheets is not COWARDICE, or even TREASON? as these charges our leaders charge from beyond their plastic screens (on tape) of a Lack of Faith beneath the heel of the Seal of our nation's "honor" and duct tape. "Computer? What's our present bearing? Computer? Engage! Computer?" ..........................................bones. Special Forces Report He said it's an honor to say on America's behalf, thanks for your service. (applause.) He said he'd killed women and children. He said it's a reminder of the wrong done to our country. He said they were guerrilla fighters. He said thank you for that reminder. (applause.) He said that people don't know anything about war. He said it is also a reminder of the great purpose of our great land: to rid this world of evil and terror. (applause.) He said he learned that people were worse than animals. He said the evil ones have roused a might nation, a mighty land. He said they'd shoot you when you stood up to piss. He said that we will prevail. He said you stayed down and pissed and shit in your clothes. He said that we fight for the freedom of our people, and the freedom of people everywhere. (applause.) He said the women had machine guns and ammo belts across their breasts. He said Americans have seen the terrible harm that the enemy can inflict. He said little kids would try and hug you to blow you up. He said we appreciate the sacrifices that our military is making. He said that that far behind the lines if one of his was badly wounded they'd give him a hand grenade -- and walk away. He said our military is ready and making us proud. (applause.) He said they all had crabs and smelled like piss and shit, and so did the enemy. He said because our military is brave and prepared and courageous, they will pay a serious price. (applause.) He said you could actually smell an attack coming. He said America has always needed such bravery and such people, and we have always found them amongst us. He said, with your ear to the ground, you could hear the enemy a mile away, coming towards you. He said generations of our servicemen have fought and upheld our honorable traditions. He said people are worse than animals. He said America has sent the best of her young men around the world, not to conquer, but to liberate; not to terrorize, but to help. He said one day a government-issue bible fell at his feet from an ammo can he'd opened, and he shot it to pieces in a rage. He said may God bless our veterans, and may God continue to bless America. (applause.) He said he killed women and children. adapted from : 1.) G.W. Bush: Veteran's Day Prayer Breakfast Remarks - 11/11/01.N.Y.) 2.) elderly veteran: private conversation. ========================================================================= Date: Fri, 14 Feb 2003 18:14:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: my anti-war poem MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ANTI-WAR POEM Mrs. Ellicott got married before she was marriagable, in Terms of her parents' expectations anyway. Fanbelt needed, ex vertebrate Monocle CURL. I was alone in the pantry, I'll admit it, but send away the BLACKSMITHS and their Fan wiper shamans, because long pause, in Mankind needs no more bellydancers wandering around volcanoes, gadzooks, take a picture, sneak a copy of FRILLSHANK With Monster gone I can blow balogna backwards out my bootyhatch. I am sorry. Forgive me. This is a poem. It deserves tinv oduwbv ud Weapon destruction but with what? No war? Turn the channel What Melanie BOMB beaker beaker beaker beaker stove ========================================================================= Date: Fri, 14 Feb 2003 20:31:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Ithaca Reading Series MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable West End Reading Series Poetry and Fiction at Gimme! Coffee=20 506 W. State Street, Ithaca, NY On Saturday 2/22/03 at 7pm, poets Barbara Cole and Sarah Campbell and = fiction writer Elizabeth Grove read from their work. Barbara Cole received her M.A. in Poetry from Temple University and is=20 currently in the Poetics program at SUNY-Buffalo. Barbara's chapbooks=20 include, *little wives* (Potes & Poets) and *postcards*=20 (BeautifulSwimmer Press). Most recently, a chapbook-length section of=20 her ongoing project, *situ ation come dies*, was published by=20 Handwritten Press. Sarah Campbell studies in the Poetics Program at the University of = Buffalo and initiated Poetry Visits, a monthly meeting between UB's graduate students and Buffalo's City Honors High School students. Elizabeth Grove graduated from Cornell University with an MFA degree in = fiction writing. =20 Her work has been published most recently in "Open City". =20 She lives and teaches in New York City. West End Reading Series @ Gimme! Coffee 506 West State Street, Ithaca NY 3/22/03 Marcella Durand, Rachel Levitsky & Mary Leonard 4/19/03 Nada Gordon & Gary Sullivan free and open to all slyfox productions, Ithaca, NY ========================================================================= Date: Fri, 14 Feb 2003 17:38:29 -0800 Reply-To: solipsinaut Sender: UB Poetics discussion group From: solipsinaut Subject: Re: my anti-war poem MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit (guck, gadgets, and yuckyuckyuck) http://undef.net/~xs/happy_valentine.jpg ========================================================================= Date: Fri, 14 Feb 2003 23:34:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: history rising from my harddisk Comments: To: webartery@yahoogroups.com MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT The enclosed recently swam to the surface of my mind and my harddisk. What struck me at the time was the interesting view on the art from a poet's perspective (still does, actually) and I was disappointed to find out from John that it hasn't been printed or blogged or webbed. perhaps there is a home for an edited version at EPC, ELO, trace, or rhizome? In any event, it is worth sharing for John's comment that "I find it harder and harder to keep track of everything i don't do" which I share and am planning on stealing. tom bell not yet a crazy old man blimey tom, never answered this. I'm very sorry. I am what I believe you Americans refer to as slammed. Nope, this was never 'published' anywhere except where it was published. I find it harder and harder to keep track of everything i don't do, all best wishes, John were these comments ever 'published' anywhere, John? tom bell ----- Original Message ----- From: John Cayley To: BRITISH-POETS@JISCMAIL.AC.UK Sent: Wednesday, May 02, 2001 3:21 AM Subject: epoetry 2001 - brief remarks apologies for crossposting briefest ? of remarks offered as a personal attempt to outline what I consider particularly significant about this important and truly delightful festival. first again high paise and deep gratitude to Loss Peque-o Glazier without whom. Note that proper-paradoxically, by single-tracking a huge confluence of live datastreams he achieved a miracle of Lossless compression, distinctly in contrast to more the more Lossy codecs of most conferences, including the subsequent DAC (digital arts and culture) conference the following weekend in Brown University (more on that later). Anyway .... history: at last, in the field of what I call literal art in networked and programmable media (phew: henceforth NPM, but there is as yet no easier way to say it), we are beginning to see the wider emergence of historically grounded contexts informing what have hitherto -- all too often -- had the character of detached, naive-autonomous essays in the so-called new. The presence of Philippe Bootz representing the configuration of poets and programmers around *aLire*, the earliest all-electronic publication devoted to writing in NPM (1989-) was crucial. *aLire* has a tradition, related to but distinct from the ALAMO (computer assisted offshoot of the OuLiPo, most prominent practitioner perhaps, Jean-Pierre Balpe). And I suspect this group is also the earliest to have a developed sense and theory of 'poesie animZe' which now plays as Concrete-inflected webbed-up textual Flash movies. And although there are many others of us throughout the world working in Flash (or Director or Flash-like things), doing so with a background in, amongst others, Concrete, Dada, Constructivist graphics, Lettrism, etc. etc. (Flash animators who have read and practiced some part of what Johanna Drucker's read and practiced) we still don't have a history of animated text written by a poet or critic of poetry. (Or do we? Please let me know.) This would discover -- beyond the flipbook -- cinematic titling and proto-cinematic titling as the originator of the mode and would trace it into and relate it to animated text in advertising. The only book I've used on this is (the impossibly over-designed so as to be almost unreadable) Bellantoni and Woolman *Type in Motion: Innovations in Digital Graphics* London: Thames and Hudson, 1999. (Saul Bass!!; Pablo Ferro); but maybe -- in a 'Digital Culture' context -- Lev Manovich's *The Language of New Media* (MIT Press, just out and I've just bought it) will have something to say on this or provide leads .... Generally, we still have a long and necessary way to go in relating our practice to media history. So on to ... practice: here, for me, the most exciting development which I believe we are currently witnessing is the transition to writing in NPM which is practitioner-led rather than formal-experimenter or media-experimenter-led. The already-poets and already-writers have tooled up and developed a sense of what they can do, what they desire to do, what they do not desire to do. Of course this actually began to happen some time ago, but efforts in this direction have been -- perhaps with the exception of Kenny Goldsmith and cohort's invaluable ubuweb (eUbu for the contemporary genuinely NPM stuff?) which has been visible since its inception -- somewhat obscured by eFluff. Brian Stefan's 'The Dream Life of Letters' (performed at the conference and much-appreciated) is on ubuweb -- a tour de force; even a little depressing, since its going to be hard to think of 2D text-and-graphic figures which Brian hasn't done. Perhaps that's the point. We begin to stop trying to think of new things to do and start trying to sort out which of the figures might be regularly useful for our own practices and projects. (Maybe Brian could suggest some that he particularly likes and maybe even give them names?) I probably should have sited the strong Brazilian contingent at ePoetry before Brian since they are likely to be his 'anticipatory plagiarists' (I'm not being rude, its an jocund OuLiPian term -- look it up; you'll have fun doing so). Great stuff from Wilton Azevedo, who also read for the late Philadelpho Menezes, and from Lucio Agra. Hot tip of an iceberg which seems to me also to be better contextualized than animated poetry in the English-speaking world. Separate practice thread: I was also encouraged to see and hear that there is new engagement with what I refer to as programmatological work; writing in which the programmability of the writing media is a necessity. Amongst the poets, and outside the chance-fearing OuLiPo, there are programmers who can distinguish trivial manipulations of language from investigative and generative procedures which address its structure and the abyss. Neil Hennessey and Jabber; Darren Wershler-Henry & Bill Kennedy and their apostrohe engine; Glazier's early-in-the-way Jonathan Minton; Glazier himself. But all of them (Glazier except since he's written the history) are somewhat decontextualize and we are still far from having these facilities built into our word processors (whereas graphic and sound artists do have the equivalent filters and modulators built into their tools). In his *Open Letter* article 'Reflections on Cyberpoetry' (Number 9, Fall 2000, pp. 22-33), Brian Stefans opens with a quotation from Roger Pellet: "The greatest cyberpoem would be an online application that provided you with an interesting text and a robust interface with which to manipulate it. In other words, a word-processor." Well yes, we can see where this is going and the requisite perspective which it lends to the discussion, but MS Word has never provided me with an interesting text or a robust interface (cf. BBEdit) or any interesting tools to manipulate whatever text *I've* provided for it (or plagiarized by anticipation). Maybe Photoshop or Flash are a vizPo cyberpoems? Under this thread, its also necessary to mention one of the best critcal contributions to the conference, by Katherine Parrish, who provided excellent materials for and analysis of precisely the history and contextualization of writing in NPM, while heading for the further textonomic quadrant of live collaborative writing (mixed with programmatological intervention by e.g. MooLiBots) in MOOSpace. Inevitably, I dwell on practices which, while not the same, are closely related to certain of my own, but I also have to signal quite distinct threads in .... social literal art and literal art as gaming and (later I'll come to) literal art as playable/performable instruments: ... not only because they are, like, 'happening'. In gaming, in intercourse, 'rule modification is inherently social' (based on the speaker's remarks during a paper by Jesper Juul at the later DAC conference). This is one of those brilliant but obvious statements which has important consequences, for any notion of the avant-garde for one thing. It's hard to make a playable, configurable avant-garde game or social intertext because the avant-gardist tends to change the rules without telling anyone, or only telling 'his' (invidiously/historically) friends, or with the intention of concealing the rule changes (so that they are more disruptive?!?) or in the hope that later (after-the-avant) critics will work out the clever changes that 'he' (invidiously/historically) has made so that said avant-gardist gets to retire to Olympus or the Academy. This is, perhaps, a good personal strategy, but in this media it ain't going nowhere, since, it seems, in practice, many aspects of the media are inherently social. For me, this raises the happy prospect of no-compromise poetics which play out in the social and therefore escape the seductions of avant-garde elistism. Ububoys beware. You are great forces, and the Torontonians amongst you also come from an important contextualized and localized tradtion, but you've got to go opensource and join the f***ing community. On the other hand, I'm going to resist and exclude myself also for as long as possible, but others out there: M&M And & Damon; Alan Sondheim; the Albany configuration (which might perhaps check out audience-response protocals when high art keeps calling after time); but especially the general sense that work is nearly always being made *in collaboration*. Reiner Strasser's turnaround times seem to be particularly impressive and productive. net/web art connections: Another major Brazilian contribution came from Giselle Beiguelman, linking from the practices I've already mentioned, this work was - with that of Alan Sondheim - also 'our' chief connection to the world of 'net art' or 'web art'. These practices are widespread but hard (for me anyway) to characterize or pin down, except to observe that they seem to ally more with visual and performance art than with literal or literary art. Nonetheless, they are often text-based, but in a manner which is strangely willfully? autonomous from traditions (including avant-garde traditions) of poetic practice. We definitely need more cross-over here, and Giselle was our link at this festival. Follow it. performance: (Excuse errors please. I'm racing to scribble this and get it off before having to go back to my saltmine.) Finally a word on performance. We will not be able to get away from the issue of performance in this type of work. Off the page, the time-based aspects of literal art are more difficult to bracket in both actual performance and actual criticism. Text as space; as an instantiation of a spatial engagement with language (even as time passes) is one thing (and perhaps an inalienable aspect of the literal), but as consumed or performed, literal objects in networked and prorgammable media move and morph and translate and transliterate and interrelate and change in time. As such, practice and theory necessarily extend beyond 'configuration for the sake of interpretation' (art-making) to 'interpretation for the sake of configuration' (gaming). These formulation are based on an excellent paper at the later DAC conference by Markku Eskelinen on the theory of games (in the context of literal art). We are used to understanding that there are (literal) art objects and that there are also games and social/intertextual spaces which may have literary qualitities, but we now also need to develop a 'vocabulary' of a range of transitional objects which display and modulated time-based media and which, perhaps, are more like (musical) instruments: they may have an art built-in and are interpretable as such, but this interpretation is done so that they can be configured or 'played'. For some practitioners the playing, the playing-well will be the goal of engagement with such objects. For these people the instrumental practice becomes more like a game. For others the playing, the configuration will be done for the sake of achieving an interpretable moment or series of moments. The play or configuration will resolve a time-based performance to a literal object of critical interpretation. (That last bit was written really quickly. Sorry.) Anyways, there are many other dear performers at Loss's festival which I have not mentioned, but please, you-all, don't take this wrongly. I have only been trying to set out super-quick the tendencies and themes which I personally believe are important for us to recognize and engage ....) .... and I share in this sense of missing you all, since despite this everwhere we seem to find ourselves in email networks (chiefly), you are not here when I am ... ========================================================================= Date: Fri, 14 Feb 2003 19:06:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "many other cities" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "many other cities" historic and unprecedented was, in fact, in fact, in fact, paper wholesale, typographical errors and all in fact, quickly jumping to the next purported rationale: specter gray-faced "intelligence" exposed the falseness? the living daylights? own rendition thwart height of cynicism? quickly daylights quickly daylights support "intelligence" and all historic paper cities in fact? but what if this pretext is exposed as a fraud!!!! many many individual people who are just like you and me just like you and me you and me appearing on a giant video screen behind escalate the cycle of violence further endangering people all over the world behind the world including right here at home behind behind god let us preserve our paper home!!!! august highland 7:03 pm 02-14-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sat, 15 Feb 2003 00:53:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: let us march together MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII let us march together in our memories and yours in their memories and ours let us march together we will write alway let us march today - alan ========================================================================= Date: Sat, 15 Feb 2003 00:45:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "multilayered technological intimacy" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "multilayered technological intimacy" finally existence collapsing and filling my bordered space exhibited it's lyrical cinema of photomontage in a series of overlapping frames once the threshold was crossed i needed immediate release not from existence itself nor from my bordered confinement but from the problematic unsettling interpretive process invoking cinematic metaphors both cybernetic and social i needed to breathe i needed to visit that central moment meant to coincide with the time of breathing but i could not find that time i was too unsophisticated and was essentially lured into music, party, relaxed fun and now after a series of vertical necessity the direction of my psyche has changed toward catastrophic freedom AUGUST HIGHLAND 12:43 AM 02-15-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sat, 15 Feb 2003 06:30:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Iraqi Exilees Petition Content-Type: multipart/mixed; boundary=Apple-Mail-10-429446404 Mime-Version: 1.0 (Apple Message framework v551) --Apple-Mail-10-429446404 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed The below in this morning from Iraqi poet Saadi Youssef. It is the first petition I have seen that emanates directly from Iraqi exilees -- & whose short text lays out their concerns & demands in more specific detail than I have seen done elsewhere. And now off to New York! -- Pierre --Apple-Mail-10-429446404 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed > > > View Current Signatures =A0 - =A0 Sign the Petition > > To:=A0 UN, US Administration, UK Government , Amnesty International, = EU=20 > Commission, European Parliament, UN Higher Commission for Human=20 > Rights, Special UN Reporter on HR in Iraq, Arab League > > No to war... No to dictatorship > > A war is looming on Iraq, while its people continue to suffer from=20 > Saddam=92s reign of terror and the devastating social and economic=20 > ramifications of two wars and economic sanctions. We, exiled Iraqis,=20= > appeal to people of conscience for solidarity with our innocent people=20= > against a war that would cause more death and suffering to them. We=20 > further call for your support to demand immediate lifting of the=20 > economic sanctions that have strangulated the people into utter misery=20= > and hopelessness, and to demand the implementation of UN resolution=20 > 688 of April1991, which stipulates ending oppression and ensuring=20 > basic human rights in Iraq. Such measures together with free elections=20= > under UN supervision could usher a genuine democracy in our country,=20= > including a federal status for Kurdistan and an end to political,=20 > religious, and ethnic or gender discrimination. > We further appeal to call for a halt to armament and genuine endeavor=20= > to rid the entire Middle East of weapons of mass destruction =96 as=20 > proclaimed in UN resolution 687. . We demand social justice to all=20 > peoples of the region, and a just resolution to the=20 > Israeli-Palestinian conflict in order to establishing genuine=20 > stability and democracy in the region. > > This appeal has been endorsed,=A01560 persons , among them=A0more than = 700=20 > Iraqi intellectuals,professionals and activists including : > > Saadi Yousif, poet, UK > Mahmoud Sabri, painter and writer, Czech Republic > Dr. Nazeehia Al-Dulaimi, minister 1959-60,Germany > Khalil Shawqi, actor, Holland > Dr. Sadik Al-Biladi, medical consultant and writer, Germany > Prof.Abbas Al-Nasrawi, economist, USA > Dhia Al-Shakerchi, engineer and cleric, Germany > Dr.Ahmed Al-Mousawi, Head of the Iraqi HR Organization in Syria > Majeed Hmud, businessman ,UK > Raid Fahmi, Chief editor of the by-monthly Iraqi journal , Al-Thaqafa=20= > Al-Jadida, France > Dr.Sami Khalid, lecturer at Arbil University , Iraqi Kurdistan > > To sign go to :http://www.PetitionOnline.com/NoWIraq2/petition.html > --Apple-Mail-10-429446404 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > > =A0 > --Apple-Mail-10-429446404 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > View Current Signatures > =A0 > --Apple-Mail-10-429446404 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > > > =A0 > > The No to war on Iraq .... No to dictatorship Petition to UN, US=20 > Administration, UK Government , Amnesty International, EU Commission,=20= > European Parliament, UN Higher Commission for Human Rights, Special UN=20= > Reporter on HR in Iraq, Arab League was created by Iraqis against War=20= > and Dictatorship and written by Initiative 688.=A0 This petition is=20 > hosted here at http://www.petitiononline.com/petition.html as a public=20= > service. There is no express or implied endorsement of this petition=20= > by Artifice, Inc. or our sponsors. The petition scripts are created by=20= > Mike Wheeler at Artifice, Inc.=A0 For Technical Support please use our=20= > simple Petition Help form. > > Send this to a friend > > Send Petition to a Friend - Start a Petition - Contributions - Privacy=20= > - Advertising - Comments and Suggestions > > =A0 > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ --Apple-Mail-10-429446404-- ========================================================================= Date: Sat, 15 Feb 2003 04:22:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "sum of $" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "sum of $" let us work together and not entertain any atom of fear NO QUESTIONS ASKED august highland 4:21 am 02-15-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Sat, 15 Feb 2003 09:40:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Call for Poets Comments: To: sondheim@PANIX.COM Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline For those of you who will be in Baltimore February 28th an Open Forum will be held 10am-2pm at the Enoch Pratt Free Library [less than a mile from the AWP Convention Center] for poets and teachers to address 'our' government's warmongering. Pierre Joris will present on Arab & Iraqi poetry. Mairead Byrne will fillet Stanley Fish('s argument for an apolitical academy) Gabe Gudding will host an Open Mike. 5-10 minute presentations welcome. If you wish to participate, please backchannel a 1-2 sentence description of your proposed contribution to mbyrne@risd.edu Mairéad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com ========================================================================= Date: Sat, 15 Feb 2003 10:02:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Call for Poets In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Mairead: is this in connection with Poetry is News? At 9:40 AM -0500 2/15/03, Mairead Byrne wrote: >For those of you who will be in Baltimore February 28th >an Open Forum will be held 10am-2pm >at the Enoch Pratt Free Library >[less than a mile from the AWP Convention Center] >for poets and teachers to address >'our' government's warmongering. >Pierre Joris will present on Arab & Iraqi poetry. >Mairead Byrne will fillet Stanley Fish('s argument for an apolitical >academy) >Gabe Gudding will host an Open Mike. >5-10 minute presentations welcome. >If you wish to participate, please backchannel >a 1-2 sentence description >of your proposed contribution to >mbyrne@risd.edu > > > >Mair=E9ad Byrne >Assistant Professor of English >Rhode Island School of Design >Providence, RI 02903 >www.wildhoneypress.com -- ========================================================================= Date: Sat, 15 Feb 2003 10:27:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Call for Poets Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline Dear Maria and all, As you know, Maria, a group of us from the Poetics List has been discussing a Poetry Is News-type event in Baltimore for some weeks. (You were originally on the list but any mail I sent you in the last few days has been bounced back). Of that group, only Pierre, Gabe, and myself can commit to participation, though Arielle may also. Therefore, there isn't a Poetry Is News involvemnt at this point. I see this as an opportunity for an open forum/open mike addressing the issue of our capacities and responsibilities as poets in this time of threatened war. For those of you who wish to participate: The Enoch Pratt Free Library will provide an excellent room on Friday February 28, 10-2pm. The library doesn't allow political meetings so please keep that in mind when considering your contribution. Please backchannel if you wish to participate. Mairead Mairéad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com >>> damon001@UMN.EDU 02/15/03 10:06 AM >>> Mairead: is this in connection with Poetry is News? ========================================================================= Date: Sat, 15 Feb 2003 07:47:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: More from my notebook MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "In creation and in ritual, the Hebrew language was considered by Jewish = mystics as playing a role much more important than the common = communicative one that language regularly plays. It was the main = instrument of the creation of the world, and it is the vessel that is = prepared by man to contain the divine light that is attracted therein in = order to experience an act of union or communication. In both cases, the = letters do not serve, in any way, as a channel of transmitting meaning; = too powerful an instrument, the letters are conceived of as creative = elements that enable different types of communication, averbal ones, = that accomplish much more than merely conveying certain trivial = information. Letters are regarded as stones, as full-fledged entities, = as components intended to build up an edifice of words to serve as a = temple for God and a place of encountering him for the mystic....As God = was able to create a world by means of letters, man is supposed to = rebuild the Temple in his ritual usage of language. M. Idel, = "Reification of Language in Jewish Mysticism." In, S.T. Katz, Editor, = Mysticism and Language. New York, 1992.=20 Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon Homepage: http://web.pdx.edu/~pdx00282 Archive: http://www.unm.edu/~reality "The Silence of Sasquatch": http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm ========================================================================= Date: Sat, 15 Feb 2003 08:04:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: cunts for peace In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit cunts for peace Title: the. cunts increase the peace! cunts a better homepage Email adress: LP04ENG-095 Title: the fucking cunts treat us good- & lil fucking stop The shadow of atomic fear they Canwin the fight for Peace! CUNTS a peace Group: they Can they win the fight for peace or will I will sew on a better, ideaal! Love and peace, boo-lee. Keepsake cunts are crossing the street Aint even your Father bbut could be A blue Keepsake cunt full OF Cherrees The Lost Cherrees Peace Division ( - live/w If you like, a better, ideaal! ========================================================================= Date: Sat, 15 Feb 2003 11:28:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: [syndicate] stats on the forthcoming war (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Sat, 15 Feb 2003 13:25:52 +0000 From: miguel leal To: syndicate@anart.no Subject: [syndicate] stats on the forthcoming war > > >How the Coming War Stacks Up Blood, Stats, and Tears >by Ward Harkavy >February 5 - 11, 2003 > >Number of precision-guided missiles and bombs that the United States >plans to launch per hour at Baghdad during the war's first 48 hours: > 63 >Number of days it is expected to take for Baghdad residents to >become "physically, emotionally, and psychologically exhausted": > 2 to 5 >Percentage of U.S. bombs and missiles dropped during the first Gulf >War that were precision-guided:9 >Percentage of U.S. bombs and missiles ready to be dropped during the >coming war that are precision-guided: 75 >Number of U.S. satellite-guided bombs stockpiled in the Gulf region:6700 >Number of U.S. laser-guided bombs stockpiled in the Gulf region:3000 >Number of Americans killed during the first Gulf War:148 >Proportion of Americans killed by "friendly fire" during the first >Gulf War:1 in 3 >Number of Iraqis killed during the first Gulf War:100,000 >Number of Americans killed during the "Black Hawk Down" episode in >Mogadishu in 1993: 18 >Number of Somalis killed during the "Black Hawk Down" episode in >Mogadishu in 1993:500 to 1000 >Number of Americans killed during the Vietnam War:58,000 >Number of Vietnamese killed during the Vietnam War:5.1 million >Number of American soldiers poised for attack at the borders of Iraq: 100,000 >Number of Iraqis and Americans who, doctors say, might die in the >next war:48,000 to 260,000 >Number of additional deaths expected from the civil war within Iraq >following an invasion: 20,000 >Number of additional deaths expected from "post-war adverse health >effects": 200,000 >Number of total deaths if nuclear weapons are used:3,900,000 >Percentage of Americans who believe that oil best explains why the >U.S. would use military force against Iraq: 22 >Ranking of Iraq among countries with proven reserves of oil: 2 >Number of barrels of oil in Iraq's proven reserves:112,000,000,000 >Year that Iraq nationalized all foreign oil holdings:1972 >Year that U.S. oil companies were prohibited from investing in, or >buying, Iraqi oil:1991 >Year that Dick Cheney, as head of oil field equipment manufacturer >Halliburton, called for the end to sanctions against Iraq:2000 >Number of U.S. Army soldiers ready to decontaminate corpses and send >them back home for burial: 700 >Ranking of Iraq on the U.N. Human Development Index in 1990: 50th >out of 130 nations >Ranking of Iraq on the U.N. Human Development Index in 2000: 126th >out of 174 nations >Number of Iraqi children who have died as a direct result of >sanctions, according to UNICEF:500,000 >U.S. military spending, in billions of dollars per day:1.08 >Ratio of U.S. military spending to the combined military budgets of >Cuba, Iran, Iraq, Libya, North Korea, Sudan, and Syria:26 to 1 >Percentage of U.S. share of total global military spending in 1985:31 >Percentage of U.S. share of total global military spending in 2000:36 >Number of U.S. states used in 1998 for the staging of mock nuclear >attacks on North Korea: 2 (North Carolina and Florida) >Date that the Nuclear Posture Review (signed by Secretary of Defense >Donald H. Rumsfeld), describing contingency plans to use nuclear >weapons against China, Russia, Iraq, North Korea, Iran, Libya, and >Syria, was delivered to Congress: January 8, 2002 >Sources: Harper's, The New York Times, Los Angeles Times, The >Washington Post, The New Yorker, Agence France Presse, Parameters, >Target Iraq: What the News Media Didn't Tell You, Policy Analysis, >Denver Post, Foreign Affairs, The Wall Street Journal, Sierra Club >Related Story: "The Bush Warmongers Miss the Bloody Truth" by Alisa Solomon >in http://www.villagevoice.com/issues/0306/harkavy.php ========================================================================= Date: Sat, 15 Feb 2003 13:45:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: hey everyone, something to celebrate! Comments: To: kball@ualberta.ca Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" happy 300th simpsons' episode, this sunday night. we can at least be grateful for one thing that has come out of the US. I hope Lisa has something to say about the war. -- ========================================================================= Date: Sat, 15 Feb 2003 13:06:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: The Death of Birthday Park Mime-Version: 1.0 Content-Type: text/plain; format=flowed can scorches derelict practice and redeem back sighs? are the cornerstones rain already? when the fortunate gave the lost intestinal riddles (is night landscape?) sees smooth he's down brother! O loophole, will me up that cozy condition, send me arches that love to council the limits! politically speaking, sunlight is my rose and map rich child, the THE and me is all one will in time, our crosses will just pop detachment off in epitome's roomy dimness, ringing that scant blue map, Mr. Hole thrones the boning river: "these aeroplanes seemed younger last morning" his praise is the moaning and getting young "great heresy flowers, are my rooms sunset!" bunny out books from flies Sithre Othioth has it that we are all coffee in the end, keeping exultation in stock - May never can May o'er the fishpond Sinbad materially right in light-up earth, May's change, soul-formation high, throws out the street & turns to face moist spread metal ¶ ¶ ¶ let Heaven’s honking ghost remain entangled in the news thicket above _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 15 Feb 2003 13:17:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Five Poems Mime-Version: 1.0 Content-Type: text/plain; format=flowed RIGHT-HANDED WILDERNESS texts buried in in- scription buried carcinogens dancing texts buried in in- _______________________________________________________________________ CAPTION FOR A PICTURE war is hell war is hell philosophy is ancient Greeks ammunition is hellbent kiss a stage in every house momentum is music the hideous remains a problem mountains are mountains compensation and mind are bastions ______________________________________________________________________ WINDFALL (3 STANZA MONTE) this spree reassembled clockwise wishful (wistful) intrigue piecemeal hyphenate ciphering (siphoning) mirror stained milky (ocean) cordage lucid lengthwise ghosts calculations crook novelty into siphon curve of vellum ______________________________________________________________________ LEFT-HANDED WILDERNESS stock still Ginny the Absolute the Absolute kisses verbs motionless the snow without death hush-hush the streaming faintly La Giaconda serenity living possessed breath preference a window for pregnancy ______________________________________________________________________ ALICE #19 drippings collapsing sunlit bullshit eyelids split gulped-down slit vehemently soiled breakdown immunity's bulging incision's feather-soaked skies are garbled craters a lull each Alice is numbered _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 15 Feb 2003 14:21:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Golumbia Subject: 14.446, All: Obituary: Dan Moonhawk Alford (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This is very sad. Dan was a young man and one of the most knowledgeable Westerners about language. It is worth seeking out his fascinating writings on the structure and function of languages, and in particular native American languages. > > LINGUIST List: Vol-14-446. Fri Feb 14 2003. ISSN: 1068-4875. > > Subject: 14.446, All: Obituary: Dan Moonhawk Alford > Date: Fri, 14 Feb 2003 11:56:35 -0500 > From: Tom Carey > Subject: Dan Moonhawk Alford,April 4, 1946 - October 24, 2002 > > > In memoriam > Dan Moonhawk Alford April 4, 1946 - October 24, 2002 > > I never met Dan, I only knew his writings. They have meant much to > me. > Those who knew him best, his colleagues, his students, and his friends > are far better qualified than I to memorialize him here. > Here is what some of them have said: > > A Eulogy for Dan Moonhawk Alford by Matthew C. Bronson > http://www.enformy.com/dma-eulogy.htm > Delivered on Monday, October 28, 2002 at Machado's Hillside Chapel in > Hayward, CA > > Moonhawk's Community > http://www.enformy.com/alford_community.htm > Friends, colleagues, students, mentors, and admirers offer their > remembrances > > Cordially, > Tom Carey > > --------------------------------------------------------------------------- > LINGUIST List: Vol-14-446 > -- dgolumbi@panix.com David Golumbia ========================================================================= Date: Sat, 15 Feb 2003 13:52:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: "the grass made my butt itchy" MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii NO BUSH! in New Orleans http://www.livejournal.com/users/marquisdd ========================================================================= Date: Sat, 15 Feb 2003 14:11:07 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: new york demonstration attacked by police Comments: cc: ImitaPo Memebers Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://f15.nycimc.org/newsfeed.html F15 3:07pm 53rd and 3d: Crowd has been corralled on all four corners. Police are pushing the crowd against the buildings. 50th and 3rd: Reports that people marching on the sidewalk were attacked by police. Completely peaceful when police attacked crowd. Mass pepper-spraying of crowd and large amounts of police violence. There is a report that there is a severe lack of medical help at the scene. There were men, women and children in the crowd. F15 3:01pm 53rd and 3d Avenue: People on the west side of the barricade have been trying to negotiate with the police but they may be getting ready to storm it. There have been seven or eight reported arrests. There have been reports of plainclothes policemen have been getting violent with protesters. F15 3:00pm There have been 2 reported arrests at 2nd avenue and 57th street of people trying to storm a barricade. The crowd has begun getting very restless and has begun shouting "War means War." F15 2:42pm Estimate from organizers on crowd size the rally on 1st avenue streches 59 blocks north. NYPD usually estimates 7000 people can fill an avenue block. Including the additonal people trapped by police at 2nd and 3d organizers estimate over half a million people. F15 2:40pm More reports of police violence at 53d and Third. There were reports of people climbing atop barricades and being pushed off by police, about 25 on horses, plus others coming out of buses. The police have started to push the crowd back from 53rd street. However, people are completely trapped with nowhere to go 2:18 pm 2:04 At 53d and 3d Avenue, New Yorkers rushed the street barricade and 15 people made it through. Ten minutes later a group of 8 or 9 anti-capitalists linked arms and organized a second rush on a barricade. About 50 or 60 other people joined them in the rush. The police brought in reinforcements, maced 15 or more people, and pushed the crowd back. 1:50 Sources report that police have begun arresting demonstrators on 54th and 2nd Avenue. 1:43 First avenue is reported to be completely inacccessible-- people who want to get there to protest cannot. 2nd avenue is full wall to wall in the 60's. We are hearing reports that the police on 3d avenue have given up, though this isn't confirmed. 1:37 A smaller group of people made it out of the 51st / 3d Avenue pen and were herded north on 2nd avenue. It is a diverse group. They are now being stopped by a row of mounted police on 54th st, and they cannot move north. 1:24 We have reports that portions of Second Avenue have been taken over by marchers as well. 1:23 The uptown Lexington avenue line has been stopped at 23rd street because of the protest. 1:21 Third Avenue is full from 50th to 53d street . Cars and buses have been trapped by the crowd-- there are US Postal Service vans, a service van, and taxis. Marchers have completely taken the street. 1:09 The police are putting up barriers on 53d and 3d avenue. They are throwing them to one another. There is a huge crowd of people stopped by the barriers and they are chanting "let them through, let them through." There have been several unconfirmed arrests of people trying to get over the barriers. There is a lot of pushing and shoving with the police. 1:07 There is a march occuring on 3d avenue; people are trying to get to the protest and are moving north. 1:00pm. A report just came in that 2nd Ave. is "a sea of humanity" protesters have taken over half the avenue and more people are joining from every direction. 12:41 "3rd avenue and 58th is ours!" says one caller. From 57th to 58th is completely full. There are no protest pens on third avenue. There are groups up third avenue as far north as 72nd street. 12:38 The Labor March marching from 59th street is back on the sidewalk. The police have broken it in half. 12:32 Police are making it very difficult for protesters to get to the rallly; they are requiring people to go further and further north. F15 12:06pm Update from Youth Bloc at 24th St and 6th: 300-400 protesters remained penned in, on the sidewalk not being allowed to move. Approximately 200 police, 3 deep for an entire block. Possibility that mass arrests will be made soon F15 12:02pm If you are heading to the rally from the west side of Manhattan, you should attempt to get there above 55th st. It will be difficult to get there otherwise. There are large numbers of protesters heading north past 51st and Lexington. F15 12:00pm From the rally: There are large numbers of people turning out in the bitter cold, and it is difficult to estimate numbers. At least ten blocks are packed in outside the Dag Hammarskjold plaza. F15 11:53am Police have confirmed arrests at Union Square. No numbers given by police. F15 11:47am Youth Bloc Update: several hundred people penned in by police at 24th st between 5th and 6th ave. One-hundred police and 15 or more mounted police. There have been several arrests. Police are letting people out five at a time. The march is on the sidewalk. The marchers are chanting "The whole world is watching, they are on our side." F15 11:39am We have word that the Youth Bloc was the march that moved west from Union Square, not east. They marched towards 6th ave. and then north. At 23d st and 6th ave, police moved in and pushed the march back east. There are several mounted police, 15 vans vans, and several buses. At 24th st, the march was cut in half by police. F15 11:25am At the Public Library: Approximately 1,000 people at the library. There are between 100-200 police in full riot gear, some with batons drawn, standing in the second lane of 5th Avenue. People are leaving in small groups, but no organized mach has yet left the library. F15 11:03am One of the feeder marches just took the street on West 21st street and 6th avenue. There are at least a thousand people on the street. About 20 or so riot police are stationed on the street, but they have now given up trying to force marchers back onto the sidewalk. F15 10:59am 100 people have now left the Green Party headquarters, and are headed towards the rally. F15 10:55am Approx. 1,000 people have left Union Square, and they have just been joined by an additonal march. The march has headed west on 14th st., not east. They are marching behind a banner that says "Our Nation Says No To War," and are marching on the sidewalk. F15 10:14am Plans continue to percolate for post-rally marching. Read updates here. F15 10:04am Looking for somthing to do before the rally? Come down to the IMC at 29th street, pick up copies of the Indypendent and awesome party benefit flyers to distribute at the march. F15 9:27am Update on crowd control techniques near the UN: 1st avenue is closed to traffic from 34th to 59th to begin with... Entry to side streets from 2nd avenue ... will only be allowed every 4th street or so along 2nd ave, and exit at different streets. [Read More] F14 12:40am Welcome to the NYC IMC website for the F15 convergence. ========================================================================= Date: Sat, 15 Feb 2003 13:38:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: mla newsletter... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i know we all have more important things to do, on the cusp of war and all, but i thought i'd draw your attention (esp. you academics) to the current ~mla newsletter~, the president's column, by 2003 president mary louise pratt, entitled "of poets and polyglots"... i found the piece annoying as hell, not b/c it celebrates the celebratory mode of poetry (esp. spoken word poetries), but e.g.: "Today the premier poetry magazine in the United States receives ninety thousand submissions a year, nearly three hundred a day. At the last wedding I attended, two poems composed for the occasion were performed, one in traditional Urdu by a family elder and the other a rap in English by a friend of the groom. Poetry is alive among us, juices flowing." this is the president of mla, and no small potatoes as a scholar, for that matter... OY... best, joe ========================================================================= Date: Sat, 15 Feb 2003 13:16:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Rally / C-SPAN CONTACT/ Demo coverage?? In-Reply-To: <5.1.1.6.0.20030215140828.03a6c008@mail.ilstu.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Does anyone know why CSPAN is not covering the New York rally? My impression was they covered the last one in Washington, D.C. Maybe it's beyond their geo perimeters as a network. If they have intentionally shied away, phone calls are in order. Anybody have a contact ## to share. Meanwhile, live reportage - in addition to Gabe's footage! - Pacifica Foundation has got New York Live, and lots of reportage from global dems. Latest news from inside UN is that Washington/London "leadership" is "softening" the scripts for their joint Iraq UN resolution. Well, if you want skitz (all puns intended) turn on Fox TV. I think the globe is putting to test the credo that if you own the media, you run the trix (pun intended). I want to believe the P's (most importantly Blair) are the ones getting running off the street! On to San Francisco. Stephen V ========================================================================= Date: Sat, 15 Feb 2003 17:36:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: oranget@GEORGETOWN.EDU Subject: DC Poets Against the War: story and audio on Indy Media MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit hello all, i'm pleased to report that 160-200 people turned out to read and listen to poetry against the war this past wednesday night at all souls church unitarian (16th and harvard streets NW, washington DC). the diversity and range of poetries and poets and listeners was fantastic. as usual, the major media outlets here failed to give notice to such an event. indy media has filled in the void thoroughly, with a front-page write- up as well as sound files of the complete proceedings. check out http://dc.indymedia.org and scroll down the page, or else you can go straight to the story and audio at: http://dc.indymedia.org/front.php3?article_id=50807&group=webcast bests, tom orange ========================================================================= Date: Sat, 15 Feb 2003 18:59:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: new york demonstration attacked by police (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Didn't see you there. We got off at 42nd, went to 53, cut over to first, went straight over to two feet of the stage barricade. Shot a lot of footage, including police arrests, etc. - Alan On Sat, 15 Feb 2003, Gabriel Gudding wrote: > http://f15.nycimc.org/newsfeed.html > > F15 3:07pm 53rd and 3d: Crowd has been corralled on all four corners. > Police are pushing the crowd against the buildings. > 50th and 3rd: Reports that people marching on the sidewalk were attacked by > police. Completely peaceful when police attacked crowd. Mass > pepper-spraying of crowd and large amounts of police violence. There is a > report that there is a severe lack of medical help at the scene. There were > men, women and children in the crowd. > F15 3:01pm 53rd and 3d Avenue: People on the west side of the barricade > have been trying to negotiate with the police but they may be getting ready > to storm it. There have been seven or eight reported arrests. There have > been reports of plainclothes policemen have been getting violent with > protesters. > F15 3:00pm There have been 2 reported arrests at 2nd avenue and 57th street > of people trying to storm a barricade. The crowd has begun getting very > restless and has begun shouting "War means War." > F15 2:42pm Estimate from organizers on crowd size the rally on 1st avenue > streches 59 blocks north. NYPD usually estimates 7000 people can fill an > avenue block. Including the additonal people trapped by police at 2nd and > 3d organizers estimate over half a million people. > F15 2:40pm More reports of police violence at 53d and Third. There were > reports of people climbing atop barricades and being pushed off by police, > about 25 on horses, plus others coming out of buses. The police have > started to push the crowd back from 53rd street. However, people are > completely trapped with nowhere to go > 2:18 pm 2:04 At 53d and 3d Avenue, New Yorkers rushed the street barricade > and 15 people made it through. Ten minutes later a group of 8 or 9 > anti-capitalists linked arms and organized a second rush on a barricade. > About 50 or 60 other people joined them in the rush. The police brought in > reinforcements, maced 15 or more people, and pushed the crowd back. > 1:50 Sources report that police have begun arresting demonstrators on 54th > and 2nd Avenue. > 1:43 First avenue is reported to be completely inacccessible-- people who > want to get there to protest cannot. 2nd avenue is full wall to wall in the > 60's. We are hearing reports that the police on 3d avenue have given up, > though this isn't confirmed. > 1:37 A smaller group of people made it out of the 51st / 3d Avenue pen and > were herded north on 2nd avenue. It is a diverse group. They are now being > stopped by a row of mounted police on 54th st, and they cannot move north. > 1:24 We have reports that portions of Second Avenue have been taken over by > marchers as well. > 1:23 The uptown Lexington avenue line has been stopped at 23rd street > because of the protest. > 1:21 Third Avenue is full from 50th to 53d street . Cars and buses have > been trapped by the crowd-- there are US Postal Service vans, a service > van, and taxis. Marchers have completely taken the street. > 1:09 The police are putting up barriers on 53d and 3d avenue. They are > throwing them to one another. There is a huge crowd of people stopped by > the barriers and they are chanting "let them through, let them through." > There have been several unconfirmed arrests of people trying to get over > the barriers. There is a lot of pushing and shoving with the police. > 1:07 There is a march occuring on 3d avenue; people are trying to get to > the protest and are moving north. 1:00pm. A report just came in that 2nd > Ave. is "a sea of humanity" protesters have taken over half the avenue and > more people are joining from every direction. > 12:41 "3rd avenue and 58th is ours!" says one caller. From 57th to 58th is > completely full. There are no protest pens on third avenue. There are > groups up third avenue as far north as 72nd street. > 12:38 The Labor March marching from 59th street is back on the sidewalk. > The police have broken it in half. > 12:32 Police are making it very difficult for protesters to get to the > rallly; they are requiring people to go further and further north. > F15 12:06pm Update from Youth Bloc at 24th St and 6th: 300-400 protesters > remained penned in, on the sidewalk not being allowed to move. > Approximately 200 police, 3 deep for an entire block. Possibility that mass > arrests will be made soon > F15 12:02pm If you are heading to the rally from the west side of > Manhattan, you should attempt to get there above 55th st. It will be > difficult to get there otherwise. There are large numbers of protesters > heading north past 51st and Lexington. > F15 12:00pm From the rally: There are large numbers of people turning out > in the bitter cold, and it is difficult to estimate numbers. At least ten > blocks are packed in outside the Dag Hammarskjold plaza. > F15 11:53am Police have confirmed arrests at Union Square. No numbers given > by police. > F15 11:47am Youth Bloc Update: several hundred people penned in by police > at 24th st between 5th and 6th ave. One-hundred police and 15 or more > mounted police. There have been several arrests. Police are letting people > out five at a time. The march is on the sidewalk. The marchers are chanting > "The whole world is watching, they are on our side." > F15 11:39am We have word that the Youth Bloc was the march that moved west > from Union Square, not east. They marched towards 6th ave. and then north. > At 23d st and 6th ave, police moved in and pushed the march back east. > There are several mounted police, 15 vans vans, and several buses. At 24th > st, the march was cut in half by police. > F15 11:25am At the Public Library: Approximately 1,000 people at the > library. There are between 100-200 police in full riot gear, some with > batons drawn, standing in the second lane of 5th Avenue. People are leaving > in small groups, but no organized mach has yet left the library. > F15 11:03am One of the feeder marches just took the street on West 21st > street and 6th avenue. There are at least a thousand people on the street. > About 20 or so riot police are stationed on the street, but they have now > given up trying to force marchers back onto the sidewalk. > F15 10:59am 100 people have now left the Green Party headquarters, and are > headed towards the rally. > F15 10:55am Approx. 1,000 people have left Union Square, and they have just > been joined by an additonal march. The march has headed west on 14th st., > not east. They are marching behind a banner that says "Our Nation Says No > To War," and are marching on the sidewalk. > F15 10:14am Plans continue to percolate for post-rally marching. Read > updates here. > F15 10:04am Looking for somthing to do before the rally? Come down to the > IMC at 29th street, pick up copies of the Indypendent and awesome party > benefit flyers to distribute at the march. > F15 9:27am Update on crowd control techniques near the UN: 1st avenue is > closed to traffic from 34th to 59th to begin with... Entry to side streets > from 2nd avenue ... will only be allowed every 4th street or so along 2nd > ave, and exit at different streets. [Read More] > F14 12:40am Welcome to the NYC IMC website for the F15 convergence. ========================================================================= Date: Sun, 16 Feb 2003 10:21:11 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAYDREAMS 10 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAY DREAM || |dream ||||||||||||||||||||||| | | |dream ||||||||||||||||||||||| | | || Peace Missing you JFK www.poetinresidence.com ========================================================================= Date: Sat, 15 Feb 2003 19:45:58 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: new york demonstration attacked by police MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit There was no way of reaching the area of first avenue and 49th street after about 1:15 P.M. The policde had barricaded all the cross streets. Big crowds on third and second avenues. In the group, "Kurds and Turks Against the War," people were joining and detaching themselves from a circular dance to anatolian beat. One sign stuck to my mind: "Read Between the Pipelines." Another group of young men, still on third avenue, playing to tincan and water cooler drums. Their tempo is irresistable. People all around can not help moving their bodies. A young woman took off her sweater in the freezing cold and began to dance, as if in a brazilian concert in the aisles. Another sign: "Body Bags Are Made of Oil By Products." Murat ========================================================================= Date: Sat, 15 Feb 2003 19:50:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Kuszai" Subject: Fwd: Laura Bush has cancelled the American voice! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Eleni asked me to forward this, so here it is: --- begin forwarded text From: "eleni stecopoulos" Subject: Laura Bush has cancelled the American voice! Date: Sat, 15 Feb 2003 15:59:32 -0800 I was trotting along and suddenly there was no applause or dyslexia and you said it was patriotic but patriotism hits you on the head hard so it was really men being afraid and heartening themselves in their hurry to control the traffic in the sky and suddenly I see a headline LAURA BUSH HAS CANCELLED THE AMERICAN VOICE! there is no ambivalence in San Francisco there is no irony in California I have been to lots of readings and acted perfectly bored but I never actually didn't clap oh Laura poetry loves you make up --- end forwarded text ========================================================================= Date: Sat, 15 Feb 2003 17:53:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Demonsrations local & international are producing in UN In-Reply-To: <11.a37bf90.2b803946@aol.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Things are shifting, read: http://www.washingtonpost.com/wp-dyn/articles/A13315-2003Feb15.html Thanks for this, M N-N: on 2/15/03 4:45 PM, Murat Nemet-Nejat at MuratNN@AOL.COM wrote: > There was no way of reaching the area of first avenue and 49th street after > about 1:15 P.M. The policde had barricaded all the cross streets. Big crowds > on third and second avenues. In the group, "Kurds and Turks Against the War," > people were joining and detaching themselves from a circular dance to > anatolian beat. One sign stuck to my mind: "Read Between the Pipelines." > > Another group of young men, still on third avenue, playing to tincan and > water cooler drums. Their tempo is irresistable. People all around can not > help moving their bodies. A young woman took off her sweater in the freezing > cold and began to dance, as if in a brazilian concert in the aisles. > > Another sign: "Body Bags Are Made of Oil By Products." > > Murat ========================================================================= Date: Sat, 15 Feb 2003 23:06:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Mainstream poems against war Comments: To: imitationpoetics@listserv.unc.edu, hub@dept.english.upenn.edu In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hello to all, I am so heartened by the turnout for today's protests! One thing I thought to say, which I'm sure many of you have already thought of: when you're forwarding your news, passing along the latest illuminating article or petition, don't shy away from passing it one to those family members, bygone friends or acquaintances who you think may be annoyed or angered by the gesture. You never know! Minds can be changed. I've gotten some expected pissed off responses from the odd uncle etc but also some very encouraging replies from people I always thought of as rather conservative politically. "Keep on pushin!" In the meantime, I have two new poems at www.mainstreampoetry.com which, in the Mainstream spirit and style, take a swipe at George W. and Paul Wolfowitz respectively: "Fascist Fairytales #8" and "Paul Wolfowitz's Future." The motto which motovates these works is Frederick Douglass's: "At a time like this, scorching irony, not convincing argument, is needed...a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke." For those of you not familiar with the Mainstream Movement and the compositional methods of its practitioners, feel free to backchannel and I'll give you my take. Peace, Mike. ========================================================================= Date: Mon, 17 Feb 2003 02:13:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: V. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ...Our usual sources inform us that hearing the 1,000,000 upon million voices for peace & wanting to minimize civilian casualties.. Saddam Husein has resigned and will go into exile in Paris where he will pen his memoirs & frequent the Cinemateque Francais.......DRn.. ========================================================================= Date: Sun, 16 Feb 2003 03:10:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: mla newsletter... MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Masked Stress From John Cayley: "I find it harder and harder to keep track of everything I don't do." and Patrick McManus is volunteering a day a week at the local mental health center while I find myself quoting Satchel, "The hurrieder I go.... A librarian banishes poets while her husband plays at Teddy rough-riding. While a poetry thread I started on a self-help health issue internet bb as a place for my daily penance poetry journal is overwhelmed (the jargon is intrusive) by a borderline and jocular cowboys posting limricks (sic) with the careful disclaimer they didn't used to believe in that poetry stuff because they thought it not Marlboro-man enough, I decide to continue it even though no remuneration is on the horizontal longitudinally speaking. My coffee is too cooled and jim Pennebaker has a new pice in ~Psychological Science~ on pronoun use and suicidal poets and I've learned too well how to mask the stress and can't get my mind around a shape for this piece and somehow your offhand comments on a carefully crafted presidential address bring home to me that the analytical perspective on 'fort da' may be Rankian rather than Freudian even though his views on the artist have been filtered out of most college level courses built to the test in our ever-narrowing intellectual spiral. And that said, I don't know how to fit in your post which set this off, Joe. Footnote? Hyperlink? Spark? Irrelevant as the U.N.? How should it be attributed? Per APA or MLA. This may be all the credit you'll get. And then who would publish it? "i know we all have more important things to do, on the cusp of war and all, but i thought i'd draw your attention (esp. you academics) to the current ~mla newsletter~, the president's column, by 2003 president mary louise pratt, entitled "of poets and polyglots"... i found the piece annoying as hell, not b/c it celebrates the celebratory mode of poetry (esp. spoken word poetries), but e.g.: "Today the premier poetry magazine in the United States receives ninety thousand submissions a year, nearly three hundred a day. At the last wedding I attended, two poems composed for the occasion were performed, one in traditional Urdu by a family elder and the other a rap in English by a friend of the groom. Poetry is alive among us, juices flowing." this is the president of mla, and no small potatoes as a scholar, for that matter... OY... best, joe" tom bell not yet a crazy old man ========================================================================= Date: Sun, 16 Feb 2003 02:29:26 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Re: mla newsletter... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Joe, You didn't say what it was about the piece that you found annoying as hell. Corey -- Corey Frost * 718-855-8042 * 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Sun, 16 Feb 2003 02:42:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: rally: hold up up wake MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hold up up wake hold up up wake wake bunch a fucking bunch - of hold fucking up - hold it it looks looks pretty pretty good good excuse me it's stupid whose streets our what's your last name what's gas ... take gas the ... pill take boooo bullshit on sidewalk up knees what what are are they they doing doing with with that that man man i don't know no mess my mess people with one particularly please on 2nd avenue avenue that's that's affirmative affirmative 2nd 53 street street - at was first yelling he at was us yelling before us he's before - now at he's first shame you i'm i'm and and 54th 54th this whole crowd can go down can send you them can ok go folks ahead ahead go hooo we want peace stay together may see guys is weird there shouldn't there be shouldn't any be empty any spaces empty do her do think think came came from from accident accident just to just bastard said you all way the second up third up will not and silent not hey there's wow won't let through won't where going they for what cooling cooling fire fire optic optic cables cables telephone telephone we'll never we'll find never in her forward move the break - barricades guys under this it, would that really be neat really wait everything this stop - war do ever that happening we keep keep yet yet another another generation generation being being challenging right george to bush's send right our troops - into challenging battle george say also thinks is idea, iraq iraq this warm lovely generous kind lovely people kind - living in terror - code code pink pink women women duct sheeting tape will plastic keep sheeting us safe tape daniels isn't the benefiting war if when about - when if children it get now shipped think off jobs of support youth out - school there youth are books bombs students columbia is legislation against woman foreign who policy against - foreign columbia policy legislation oh yes understand unfortunately i speak in native language language - latin war america yes says to countries against u.s. - thank millions millions feminists feminists around around world world because we're who here we're "the greatest greatest americans americans have have not been born born yet they're waiting waiting patiently patiently for past to die" - passed telling anti-war president resolutions bush telling saying president no bush to saying war new next york city city on next we list city "you maintain "you innocence maintain but they'll always but resistance" always lose is future to yours "you choose" lose back guys lead forty new newspapers york including times times - two in page forty spread newspapers let's could you're more to clear get you're - over from lower lower east east side side ========================================================================= Date: Sun, 16 Feb 2003 00:52:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 2 chronic enigmas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit larry knudsen chronic enigma #010...[excerpt] www.textmodificationstudio.com next t t. 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I n my pussy l As we "naughty I casually guy sitting ,"What abou hocks you a back when I took a few s henausea po I scolded m ft ufficient f vested the fe while be but a very s uth, when h Perceiving foreign rel and the Ori open door" e General S his erect m k deep in he ght as well iced. Now K vin between of Kehos st shon and th s of Kehos a le, Menorah of the sons the ele pulled her pussy, and sistance as felt. Just world, vate garden ld meet his "Yeah,""Ho " "Fine, cons into e two of my "oh baby, o side of her read wide. ass carel "It is perm not permitt There was w o deep for h ed larry knudsen chronic enigma #011...[excerpt] I'm really d led me up nd turned o ng the room h and mysel trees i on a lower s ot yet noon soft was th he tiny fou he and left th nd the chie rwards, whe The cruise to become a is a fanc r that the p ne." The two cap of the POCA tacy as her ked, "Hon, do yo She looked "I don't ca I sa beside him, e together both hands, whitecap. 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"I think we ittee on Te "It's othe ed with a my "Tell me wh "Tell me wh Then in one out boat on her m and nestl rom the dew how her gra ad taken th --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.455 / Virus Database: 255 - Release Date: 2/13/2003 ========================================================================= Date: Sun, 16 Feb 2003 00:56:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 1commediacyberia #005 & #006 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit julius law 1commediacyberia #005...(excerpt) www.cultureanimal.com Is there Nitrous oxide nitrogen trace gas emission ratio International Union of Geological Sciences you could management information system home flame photometric detector little trace volt-ampere reactive gas analyzer tonight, honey?" 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Version: 6.0.455 / Virus Database: 255 - Release Date: 2/13/2003 ========================================================================= Date: Sun, 16 Feb 2003 04:20:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA Comments: cc: delray@shampoopoetry.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed ~Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA~ Did human nature change on or about September 2001? That's American solipsism, Exhibit A. The 11th has turned from paradigm to myth in just a year and a half. We will never know what *really* happened that day, and we may never know what it really means. I was talking to John Mulrooney Thursday night, just back from Dakar. He reports that the bumpers of cars there generally declare two names: OSAMA & MADONNA. The power couple of the new hideous globalization game if I've ever heard of one. The lasting impact of that September wasn't the impacts. The Administration's response: that will last. Flag-waving, anthrax, bombing, invading, propping up new puppets, cutting deals with further devils, cutting taxes and the whole Iraq watusi--these have served to distract our fractured and freaked populace while the Bill of Rights was looted and hostages sit in Guantanamo awaiting a trial or simply to meet with a lawyer. Should it make a poet feel *safer* that the Administration holds people who have not been charges off American soil and sends them to Torture States so they can give us enough nuggets to turn the warnings up to orange and send us off to horde bottled water? We've done nothing but speak about 9/11 since 9/11, and we know far less for all the chatter. The breathless declaration of the Boston poet Don Share at a reading in late 2001, that we'd all be transformed into "war poets" made me wish immediately that he'd be sent to the front lines, wherever those are. Rage Against the Machine famously, furiously sang "There be no shelter here, the front line is everywhere" in the late 90s. It was an apt Nostradamus moment, but I still resist this talk about being at war to describe our American condition. Real bombs fall on real people in real places with real consequences. No war has been brought to the American street, just a jittery, paranoid peace. Those real bombs are ours, those real casualties aren't and won't be. Anyone in this room who sees anything but tough times ahead, please raise your hand. What time is it, have we invaded Iraq yet? Plus North Korea's saber-rattling, but that only effects you folks on the West Coast. This while we brace for Al-Queda's counterpunch. We have resigned ourselves to living lives in fear, looking up at all aircraft as they pass. Whatever further doom awaits us down the road has become an understood, a matter of time, a bright color on some chart. The American electorate, unfortunately, as always, deserves what it gets: a half-assed, dangerous reflection of its own disappointing vanity and depressing stupidity. Somebody please pass the duct tape. I wish, especially as a poet, I could live in a static bubble, unaffected by the horrors of the post-freakout world, unconcerned about the damage our country is doing to itself and others. What does this mean for poetry? Poetry has endured endless eras of human silliness and has shone through all our dark ages, right? Not to be overdramatic, but, to be put simply those attacks, and more importantly the ongoing aftermath are context for whatever we write now, and a marker for whatever was written before. How late is it, and what does that mean for the younger generations of poets? Business as usual in the poetry world now includes petitions, protesting, organizing, agonizing. Also a huge helping of some serious motherfucking *dread* This country stands for something unspeakably different than when I wrote that letter to Larry, c/o the POETRY PROJECT NEWSLETTER: Mr. Fagin. Your recent interview in the POETRY PROJECT NEWSLETTER made me very angry, and upset many poets I know. How angry did it make me? I performed a dramatic reading of your interview at a recent Friday poetry reading, reciting your interview answers in a voice that was a cross between Burgess Meredith and Charlton Heston (think: cranky and old). I posted an angry message on to the Buffalo Poetics Listserv, in which I accused you and others of a "new-old fogeyism:" "What we are witnessing, what we are enduring, is a new old-fogeyism: a fanatical, nostalgic golden look back at our art, at all art. These voices tell us, 'Sorry, kids, we had it great and you missed it." "Bullshit. These voices tell us 'Poetry doesn't mean what it used to, poets aren't as smart as they used to be, our magazines were better, our poems were better, our poets were better. Our weed, our sex, our boys and our girls--it was non-stop heaven." "Bullshit. These voices tell us 'We had greatness, we had rhythm, we have our Mt. Rushmore of poets, and now we just need to stop." "Bullshit. I don’t think you had to be a white guy and go to Harvard in the 1950s to be a poet in this country." "Do we need poetry? Yes. Do we need poetry from you? You decide. Curl up with your favorite golden oldies by the fire and remember how great it was, nobody's stopping you. The rest of us will be writing." "Mom and Dad, I'm glad you don't like my music. It's 9:30, why don't you go to bed now?" What set me off, why did I feel so angry? You sounded so smug, you sounded like a real asshole. That young poets aren't smart enough to write poems, that we don't have control of "diction and destiny." That we're no fun. That because I have to work for a living and can't get stoned all day, I can't write poems. That all young poets write is "lame stand-up comedy." That everyone should stop writing "for say, five years." It's possible that you are a smug asshole. It's possible that you got caught up in the interview. Maybe you just don't know what you're talking about. I'm happy to report that you are a lousy critic of the current generations of young American poets, that you have no sense of the great work that is taking place across this country. Mr. Fagin, you don't know what's going on. There's as much good poetry out there as there's ever been, some truly wonderful work is being produced. I'm thrilled to be a reader, an editor, a poet, at a time when there's much energy, these many voices. Is every young poet great? No. Have young poets figured it all out? No. But neither did you, Mr. Fagin, neither did the poets of the 50s and 60s. Younger poets didn't invent poetry. This is the American Poetry you have given us. If we love Ashbery, Schuyler, Koch and O'Hara, great. We should love them, and love a million others. You are our teachers, you edit the anthologies, you publish the books, you raise the rent, you show us the way. We didn't invent sounding derivative, we didn't conjure up "clubbiness", and we're not the first to write bad poems. As the wise anti-drug commercial of my youth said, "We learned by watching you." This is your wake-up call, Mr. Fagin. You ought to find out about some of the great poetry being produced. You now owe that to young poets. I'll say it again. The kids are alright. Why don't you give them a fucking chance? --Jim Behrle I may find out how Roger Daltrey feels, playing the same tune for the rest of his life. Larry's home phone number is (212) 254 6621. I never intended to become a spokesperson for my generation, whatever my generation *is*. Larry's interview bothered me because I think it represents the feelings of many older poets. The latest POETRY PROJECT NEWSLETTER sends us thoughts along the same line from Ron Silliman and Lyn Hejinian. Ron wrote in his weblog: "There has been a depoliticization of younger people generally and that has impacted poets. You see the long term result in a lot of writing these days that is simultaneously politically correct and depoliticized, a politics really of cynicism and disgust. So this also becomes an incentive not to organize, not to write critically." Lyn is quoted from a RAIN TAXI interview from 2000: "I think poets in their mid-20s and mid-30s now do not have a comparable historical moment [to the Vietnam War]. The responses featured in the issue are worth a read, particularly Renee Gladman's, Chris Stroffolinos', Laura Elrick's and Alan Gilbert's. But John Yau's, to me, stands out: "Hejinian doesn't recognize that all moments are historical." He correctly points out the emergence of the AIDS virus as a defining/altering moment for younger generations. I would say these current dangerous moments, and my generation's ongoing reaction to them will ultimately define us. Why do some older poets dis us? How should we combat this narrowmindedness, should we waste our youth in this endeavor? Now is the time for the self-beatification of some established poets to end. Your war is not our war. Your answers may not be our answers. There are no saints in American Poetry. What have you done for us lately and why is that *better* than what we've done? I think youngsters have been too admiring, too eager to please our teachers, our publishers, our blurbers. We define ourselves through their impressions of us. We, like them, are an ambitious and competitive bunch. But it feels as though Poetry, Inc. is top-heavy, loaded with immovable established management and lacking in upward mobility. Welcome to the Working Week. Should Creative Writing Programs exist? Innovative and mainstream poetries are defined in the universities, pitting poet against poet for jobs, books, laurels, scraps. Students can be secondary to some teachers: more important to them is status and the status quo. Sure, the hours are great. But isn't it all a big scam, a pyramid scheme to replace real dialogue, real innovation, real communities? Why are CVs more important than poems just now? I think Larry's indulgent statements stem from his endless role as a workshop leader. To him American Poetry means 25 blocks of Manhattan 40 years ago. You define yourself as an irrelevant blowhard by living solely in the past. In the millisecond a poet of any age is no longer open to new work, you should grow a large asterisk on your forehead and become a walking footnote. Lyn and Ron are open to new work of the younger generations, and write smartly about that work. Which is why they both should fucking *know* better. They wouldn't have put up with garbage like this and why should we now? I find it amazing that Larry can mouth off to an interviewer on one hand, but also, somehow, publish great first books by David Perry and Jacqueline Waters. Bitterness is the enemy of innovative poetry. No one was promised anything when they were drafted into out art, no one is entitled or deserving of anything more than to work hard and write as best we can. It's silly to begrudge and bemoan the success of others, which doesn't preclude our own successes. What academia gives us is far outweighed by what it takes away. The professionalization of poetry is laughable, there is no smaller American payday. The university presents poets with a tangible corporate ladder, a way to measure ourselves against one another. But when poets start their young lives in the art in a $40K debt-hole, what else is to be done then but somehow also teach? Teaching is *not*, and should not be the only profession poets can thrive in. We need more bookstores, magazines, publishers. There should be a Small Press Traffic, Poetry Project or Innovative Poetry Shack in every major U.S. city. We need lawyers, doctors, pretty much everything else. We may have teaching covered. If you're going to teach, you ought to be a great teacher. Students place themselves in debt, in awe and in bed with you to glean something profound from the exchange. We've listened to you, what don't you listen to us? We continue to march in your silly poetic wars as if it was 1980. It's not 1980. It's closer to *1984*--that sad terrible mixture of technology and fear. Magazines cannot sustain themselves on flash and ego. The table of contents of innovative magazines should never be more impressive than the contents. And why are editors of magazines sometimes a 24 point bold declaration? Sure, take the credit for the editor's hard work, but not for all of the work between the covers or behind the links. Laziness, complacency, self-importance, celebrity: these are the enemies of poetry. Can anyone here name one poet who became a better poet after becoming enormously famous? No, not ever. Why do some of dream of being the next John Ashbery? Universally-heralded across all aesthetics, reading to hundreds? They have to invent new awards for him. It's a dangerous, silly dream, which leads, to borrow from Jedi Master Yoda, "to suffering." But also garbage office politics bullshit that talented poets should be above. I think now is an exciting time to be a young poet and to be experimenting. Many older poets missed the chance to let punk, rap and noise seep into their work. I'm thrilled to be influenced by Sonic Youth, Public Enemy, ABBA, Beck and The Pixies. I feel I'm surrounded by amazing contemporaries. Maybe that's why I feel like I have to answer Larry and his pals. Innovative Poetry has become too comfortable and too commercial on this watch. The mimeo revolution has been replaced by weblogs, which might someday become a compelling way to critique. Right now they seem saturated with jism and self-splatter. Maybe we need to become post-review/post-blurb/post-author-photo poets. The important thing is to remain open to the new, and to tell it on the mountain when it does come. We've listened to older generations, maybe it's time for them to listen to us. American Poetry is moving toward more hyper moments. Computers can play better chess than we do. They will some day write better poems, paint better canvases and write better novels. English will not forever be the dominant language on our continent. Very soon we will have to overthrow the U.S. government. Nothing's sacred and no one lives forever except Dick Clark. Robert Creeley writes, "Poets are a company and poetry must finally be a tribal art, despite the fierceness of the contest." I'd say poetry is a Casanostra. The vast majority of older poets are supportive mentors and heroes, and we should jump into bed with them at our earliest opportunity. They need to get louder than the Fagins. We've come to live in an unbearably anxious, unstable and indecisive regime where, literally, anything's possible. If we turned on the TV tomorrow and the Moon had fallen onto the Washington Monument, that would be par for the course. It's better to snuggle beneath the covers with the poets we admire and who admire us, across all ages. Sleep with Larry Fagin if you want to. But if you're looking to get tuned in, to find out what's really going on, please don't. Please sleep with me instead. Remember, you Fagins! Younger poets have you outnumbered at least 25 to 1. Come out with your hands up, we've got you surrounded. Jim Behrle San Francisco, CA 2/15/03 _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sun, 16 Feb 2003 07:37:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: POETICS Digest - 14 Feb 2003 to 15 Feb 2003 (#2003-47) In-Reply-To: <200302152104.18KgZ56XM3NZFjX0@robin> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Best sign I saw: DUCT TAPE BUSH S. ========================================================================= Date: Mon, 17 Feb 2003 08:29:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: kwik haiku Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "really" so many words so little... ..... ssh ssh listen to the bombs fall.. ========================================================================= Date: Sun, 16 Feb 2003 07:48:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > >so, like, what's wrong with this, joe? you *don't* want poetry >performed in urdu and rap at people's weddings? you don't think >poetry is alive among us? i think it's pretty cool that the >president of mla has something to say about spoken word and >traditional poetries... > >At 1:38 PM -0700 2/15/03, Joe Amato wrote: >>i know we all have more important things to do, on the cusp of war >>and all, but i thought i'd draw your attention (esp. you academics) >>to the current ~mla newsletter~, the president's column, by 2003 >>president mary louise pratt, entitled "of poets and polyglots"... >> >>i found the piece annoying as hell, not b/c it celebrates the >>celebratory mode of poetry (esp. spoken word poetries), but e.g.: >> >>"Today the premier poetry magazine in the United States receives >>ninety thousand submissions a year, nearly three hundred a day. At >>the last wedding I attended, two poems composed for the occasion were >>performed, one in traditional Urdu by a family elder and the other a >>rap in English by a friend of the groom. Poetry is alive among us, >>juices flowing." >> >>this is the president of mla, and no small potatoes as a scholar, for >>that matter... >> >>OY... >> >>best, >> >>joe > > >-- -- ========================================================================= Date: Sun, 16 Feb 2003 08:08:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: falmouth MA demonstration In-Reply-To: <1045368364.3e4f0e2ccd54b@webmail.sas.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" about 50 femmes d'une certaine age and a handful of guys and 3 dogs stood in front of the falmouth post office for an hour, 11-12, lined up side by side, with signs saying "Stop US bombing and terror," "Drop Bush not Bombs," "Imagine Peaceful Solutions," and so on. A lone counter-demonstrator stood a bit away, with 2 signs saying "Freedom is worth fighting for" and "support our troops". It was bright sunshine though cold. We were, as women of a certain age and class are wont to do, wearing brightly colored woolen hats and scarves of all hues, and the signs were mostly a neon lime green, so we were quite colorful and hard to miss. Lots of people honked as they drove by and we waved and gave little thumbs-up signs if we were wearing mittens and v-for-victory signs if we were wearing gloves. Two scientists right next to me were discussing shrimp-eyes and particle physics. A woman 2 people down was all proud because Howard Zinn had autographed her sign some months ago at a demonstration in boston. Falmouth is a traditionally quaker town since the 1600s and still has a strong quaker community, so a lot of little old quaker bubbies were there, and the good old WILPF gang. It was funny when folks were afraid to meet our eyes as they walked past us into the PO --we were such a fundamentally non-threatening looking group. The people driving by in SUVs smoking cigarettes tended to look angry at us, while the people in more modest looking cars seemed more encouraging. It was all very charming and small-towny. To get home and read gabe's post was quite distressing, as many of my friends from here had gone down to nyc for the demo there. i mean, it would have been distressing anyway. is it the police chief or the mayor who has ordered such reprehensible tactics? -- ========================================================================= Date: Sun, 16 Feb 2003 09:12:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: POETICS Digest - 14 Feb 2003 to 15 Feb 2003 (#2003-47) In-Reply-To: <5.1.0.14.0.20030216073645.00b7d338@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { Best sign I saw: DUCT TAPE BUSH { { S. For me, it was "Stop Mad Cowboy Disease" in the Berlin demonstration. Hal "Life swarms with innocent monsters." --Charles Baudelaire Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Sun, 16 Feb 2003 11:29:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Signs of the Times Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just to add to the list of favorite signs at yesterday's demonstration in New York, where a lively band of us, many from this list, joined together, under a Poets Against the War banner, at the 59th Street Bridge and walked the few blocks to the rally (it was cold!): *Axis of Unilateralism* *Make Poetry Not War* *Duct and Cover* The last one I think I'll use as a title to a poem. Perhaps a variation on the first two might be: *Make Love Not Unilateralism* If I had gone to the trouble to make a sign, it might have said: *We march to defend the honor of France* But maybe that's why I didn't make a sign. And besides, we weren't allowed to march. Duck tape did come in handy for those of us who have started to keep a roll on our persons at all times: wrapping the feet with duck tape kept them a bit warmer and made us feel we were contributing to the anti-war effort. By the way, I notice that my two attempts to post to the Poets against the War site have failed, so I will paste in below the one I sent last week. Charles Bernstein ------------------ *A Poem Is Not a Weapon* for/after Tom Raworth [this poem removed for inspection and verification.] ========================================================================= Date: Sun, 16 Feb 2003 11:52:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Embarcadero in 9 Minutes Karen gave me a dollar that said HA HA HA GOTCHA GOODBYE I never thought these letters were true and then on the KX bus all *hell* broke loose there are creeping suspicions this 56K morning as we enter Block Sender City Skip intro and dive into the business of poems which tends to salt the air now Fresh out of the date rape drug, but there's plenty more darlings along the tenderloin Yanni is part of your deja vu Oscar reel That's the fun of wasabi, 12 galaxies of megosonic or tetragonic American Presidents The freshest kids at the Gates are open to the public Let there be War is beautiful proof of payment on the muni makes my mother say I'm special Champion says yes For surface stops on all lines get 4 hours behind and stay there with veto Power _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sun, 16 Feb 2003 08:55:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: POETICS Digest - 14 Feb 2003 to 15 Feb 2003 (#2003-47) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In San Diego a kid with half a surfboard inscribed "Bush broke my surfboard." We also had a genuine nazi in full uniform, swastikas and all, with a sign saying "National Socialists oppose the war." Probably because of Israel? Mark At 09:12 AM 2/16/2003 -0500, you wrote: >{ Best sign I saw: DUCT TAPE BUSH >{ >{ S. > >For me, it was "Stop Mad Cowboy Disease" in the >Berlin demonstration. > >Hal "Life swarms with innocent monsters." > --Charles Baudelaire >Halvard Johnson >=============== >email: halvard@earthlink.net >website: http://home.earthlink.net/~halvard ========================================================================= Date: Sun, 16 Feb 2003 11:56:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: new york demonstration attacked by police (fwd) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed We were in that ruckus at the intersection at 54th and 2nd Avenue. We left our house at 11:00 to meet the Poets for Peace at 59th and First. I work at 66th and York and walk by 59th and 1st nearly everyday. The first sign of things to come occurred when we learned that N train service from Queens into Manhattan had been conveniently cancelled due to "construction" on the tracks. It's not unusual to find Manhattan-bound service suspended on weekends, but it hasn't been the case in months. We transferred to the 7 to Grand Central and exited out the back of the platform that leads out to 42nd and Third. I told Laura it was the closest spot to the UN, but I regretted missing the Poets for Peace. We walked north on Third Avenue because we were prevented from walking east on 42nd. Every couple of blocks we kept being told that entry to the rally was moving more and more north. At first if was 49th St., then 51st St, then 53rd, then 55th, then 60th, and finally 61st, which fed us into a "holding pen" between 59th and 60th Streets on 1st Avenue. The sound system was not working. The big screens weren't either, and this forced us to get out even though a police officer told us, "First you want to get it. Now, you want to get out? Well, you can't, and I'm not going to tell you how you can leave." We walked to the back end of the holding pen and went west on 60th Street. We met up with a beautiful crowd at 2nd Ave and 60th, right where the tram comes into its station at the mouth of the 59th Street bridge. The crowd had heard that by that point in the day (~1 p.m.) 1st Avenue "holding pens" were filled all the way up to 71st Street. Second Avenue had been closed up by the many rally participants, and we were all enjoying ourselves. There were more radios on Second Avenue, and we were all listening and cheering to Al Sharpton's speech. But, then a woman fell to the asphalt. We tried to help her and called over the police. By the time the cops lackadaisically got to her, some people had helped her get to her feet. When one cop asked another if the woman was okay, he replied, "Yeah, just another liberal." The crowd began to dissipate and a critical mass began heading south on 2nd Ave. I estimate that it was anywhere between 1,000 and 2,000 people, but I honestly have no idea. At approximately 58th Street, we all began marching south down ON the avenue. We all started to get giddy. It was the first time we'd actually had some fun all day. We'd been herded like cows all morning. As we continued south, chanting, talking to our fellow marchers, cops on horses quickly road up toward the crowd. They split up and lined the sides of the avenue allowing the throng to pass them, and then filled in behind us. They began to follow and head toward us. We looked ahead to see police on horseback lining the intersection at 53rd Street; they'd closed off the Avenue. Behind the horses were police cars and paddy wagons. Unknowingly, we'd entered a gauntlet. We were trapped at the 54th Street intersection. Drums were playing. People were singing. Banners were passed among the crowd. And then the police behind us forced their horses into the middle of the crowd. The crowd closed in behind them. Picture 12 horseback police in the center of a crowd of maybe 2,000 people. The crowd started chanting, SHAME ON YOU. SHAME ON YOU. SHAME ON YOU. The traffic had been stopped on Second Avenue, which for those who do not know is a major southerly artery on Manhattan. Close to ~1 hour passed as the police waited for all their back up to arrive. All of a sudden, the police who had managed to alternately turn their horses around in the middle of the crowd began forcing people toward the sides of the avenue by trampling us with their horses. Cars waiting on Second Avenue. They wedged open the crowd with a vise of horses. As the wedge began to be successful people fought back, but we did not have the might to counter them. As the wedge opened up even more, police vans with stacks of barricades drove into the opening, and out popped riot troops who pulled the barricades off the vans and placed them down behind the horses. They had successfully opened up 2nd Avenue for the traffic. Someone said they were spraying, but I did not see any spraying. We saw 15 paddy wagons approach, and we decided that we'd had enough. For me, it was a sad day. I watched our rights snatched away from us. I heard antiquated rhetoric on the side of the marchers and heard old hippies brag about how back in the day they knew how to chant and that now the youth had no idea how to protest. At 06:59 PM 2/15/2003 -0500, Alan Sondheim wrote: >Didn't see you there. We got off at 42nd, went to 53, cut over to first, >went straight over to two feet of the stage barricade. Shot a lot of >footage, including police arrests, etc. - Alan > >On Sat, 15 Feb 2003, Gabriel Gudding wrote: > > > http://f15.nycimc.org/newsfeed.html > > > > F15 3:07pm 53rd and 3d: Crowd has been corralled on all four corners. > > Police are pushing the crowd against the buildings. > > 50th and 3rd: Reports that people marching on the sidewalk were attacked by > > police. Completely peaceful when police attacked crowd. Mass > > pepper-spraying of crowd and large amounts of police violence. There is a > > report that there is a severe lack of medical help at the scene. There were > > men, women and children in the crowd. > > F15 3:01pm 53rd and 3d Avenue: People on the west side of the barricade > > have been trying to negotiate with the police but they may be getting ready > > to storm it. There have been seven or eight reported arrests. There have > > been reports of plainclothes policemen have been getting violent with > > protesters. > > F15 3:00pm There have been 2 reported arrests at 2nd avenue and 57th street > > of people trying to storm a barricade. The crowd has begun getting very > > restless and has begun shouting "War means War." > > F15 2:42pm Estimate from organizers on crowd size the rally on 1st avenue > > streches 59 blocks north. NYPD usually estimates 7000 people can fill an > > avenue block. Including the additonal people trapped by police at 2nd and > > 3d organizers estimate over half a million people. > > F15 2:40pm More reports of police violence at 53d and Third. There were > > reports of people climbing atop barricades and being pushed off by police, > > about 25 on horses, plus others coming out of buses. The police have > > started to push the crowd back from 53rd street. However, people are > > completely trapped with nowhere to go > > 2:18 pm 2:04 At 53d and 3d Avenue, New Yorkers rushed the street barricade > > and 15 people made it through. Ten minutes later a group of 8 or 9 > > anti-capitalists linked arms and organized a second rush on a barricade. > > About 50 or 60 other people joined them in the rush. The police brought in > > reinforcements, maced 15 or more people, and pushed the crowd back. > > 1:50 Sources report that police have begun arresting demonstrators on 54th > > and 2nd Avenue. > > 1:43 First avenue is reported to be completely inacccessible-- people who > > want to get there to protest cannot. 2nd avenue is full wall to wall in the > > 60's. We are hearing reports that the police on 3d avenue have given up, > > though this isn't confirmed. > > 1:37 A smaller group of people made it out of the 51st / 3d Avenue pen and > > were herded north on 2nd avenue. It is a diverse group. They are now being > > stopped by a row of mounted police on 54th st, and they cannot move north. > > 1:24 We have reports that portions of Second Avenue have been taken over by > > marchers as well. > > 1:23 The uptown Lexington avenue line has been stopped at 23rd street > > because of the protest. > > 1:21 Third Avenue is full from 50th to 53d street . Cars and buses have > > been trapped by the crowd-- there are US Postal Service vans, a service > > van, and taxis. Marchers have completely taken the street. > > 1:09 The police are putting up barriers on 53d and 3d avenue. They are > > throwing them to one another. There is a huge crowd of people stopped by > > the barriers and they are chanting "let them through, let them through." > > There have been several unconfirmed arrests of people trying to get over > > the barriers. There is a lot of pushing and shoving with the police. > > 1:07 There is a march occuring on 3d avenue; people are trying to get to > > the protest and are moving north. 1:00pm. A report just came in that 2nd > > Ave. is "a sea of humanity" protesters have taken over half the avenue and > > more people are joining from every direction. > > 12:41 "3rd avenue and 58th is ours!" says one caller. From 57th to 58th is > > completely full. There are no protest pens on third avenue. There are > > groups up third avenue as far north as 72nd street. > > 12:38 The Labor March marching from 59th street is back on the sidewalk. > > The police have broken it in half. > > 12:32 Police are making it very difficult for protesters to get to the > > rallly; they are requiring people to go further and further north. > > F15 12:06pm Update from Youth Bloc at 24th St and 6th: 300-400 protesters > > remained penned in, on the sidewalk not being allowed to move. > > Approximately 200 police, 3 deep for an entire block. Possibility that mass > > arrests will be made soon > > F15 12:02pm If you are heading to the rally from the west side of > > Manhattan, you should attempt to get there above 55th st. It will be > > difficult to get there otherwise. There are large numbers of protesters > > heading north past 51st and Lexington. > > F15 12:00pm From the rally: There are large numbers of people turning out > > in the bitter cold, and it is difficult to estimate numbers. At least ten > > blocks are packed in outside the Dag Hammarskjold plaza. > > F15 11:53am Police have confirmed arrests at Union Square. No numbers given > > by police. > > F15 11:47am Youth Bloc Update: several hundred people penned in by police > > at 24th st between 5th and 6th ave. One-hundred police and 15 or more > > mounted police. There have been several arrests. Police are letting people > > out five at a time. The march is on the sidewalk. The marchers are chanting > > "The whole world is watching, they are on our side." > > F15 11:39am We have word that the Youth Bloc was the march that moved west > > from Union Square, not east. They marched towards 6th ave. and then north. > > At 23d st and 6th ave, police moved in and pushed the march back east. > > There are several mounted police, 15 vans vans, and several buses. At 24th > > st, the march was cut in half by police. > > F15 11:25am At the Public Library: Approximately 1,000 people at the > > library. There are between 100-200 police in full riot gear, some with > > batons drawn, standing in the second lane of 5th Avenue. People are leaving > > in small groups, but no organized mach has yet left the library. > > F15 11:03am One of the feeder marches just took the street on West 21st > > street and 6th avenue. There are at least a thousand people on the street. > > About 20 or so riot police are stationed on the street, but they have now > > given up trying to force marchers back onto the sidewalk. > > F15 10:59am 100 people have now left the Green Party headquarters, and are > > headed towards the rally. > > F15 10:55am Approx. 1,000 people have left Union Square, and they have just > > been joined by an additonal march. The march has headed west on 14th st., > > not east. They are marching behind a banner that says "Our Nation Says No > > To War," and are marching on the sidewalk. > > F15 10:14am Plans continue to percolate for post-rally marching. Read > > updates here. > > F15 10:04am Looking for somthing to do before the rally? Come down to the > > IMC at 29th street, pick up copies of the Indypendent and awesome party > > benefit flyers to distribute at the march. > > F15 9:27am Update on crowd control techniques near the UN: 1st avenue is > > closed to traffic from 34th to 59th to begin with... Entry to side streets > > from 2nd avenue ... will only be allowed every 4th street or so along 2nd > > ave, and exit at different streets. [Read More] > > F14 12:40am Welcome to the NYC IMC website for the F15 convergence. ========================================================================= Date: Sun, 16 Feb 2003 12:17:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: new york demonstration attacked by police (fwd) In-Reply-To: <5.1.0.14.2.20030216111713.028db900@incoming.verizon.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My experience was totally different - old hippies and young hippies, etc., everyone was making a lot of sense; there was good feeling in the crowd. The police on 1st were helpful; there were five of us, and they let us through and/or climb over the barricades through the corridors. I'm not sure why. The footage I shot ended up a 20 minute video doc that looks good. Second Ave. definitely was different, had an angry air about it. We just waited by one of the barricades towards the east and eventually we, and a few hundred others, were let through. Once we were on 1st we were surprised at how easy it was to move around. Having all the avenues filled did send a different and maybe more important message - the city was _occupied_ - not just an arena - and it seemed almost like an uprising to me. I don't know what you mean by 'antiquated rhetoric' - I'm not sure what you expect. Charles B. posted some interesting poet slogans today - but they seem as dated and not dated as anything else. A march or demo doesn't gain or lose strength by the rhetoric - god, that hasn't changed since the Fr. revolution if not earlier - but by an intensity, a media presence, maybe a spirit recharging us to continue our work, I don't know. It's one thing to complain and organize and analyze online; it's another to _see people,_ the effects of all of this, and it was wonderful and even spiritual in a sense - love, alan On Sun, 16 Feb 2003, Anastasios Kozaitis wrote: > We were in that ruckus at the intersection at 54th and 2nd Avenue. We left > our house at 11:00 to meet the Poets for Peace at 59th and First. I work at > 66th and York and walk by 59th and 1st nearly everyday. The first sign of > things to come occurred when we learned that N train service from Queens > into Manhattan had been conveniently cancelled due to "construction" on the > tracks. It's not unusual to find Manhattan-bound service suspended on > weekends, but it hasn't been the case in months. We transferred to the 7 to > Grand Central and exited out the back of the platform that leads out to > 42nd and Third. I told Laura it was the closest spot to the UN, but I > regretted missing the Poets for Peace. We walked north on Third Avenue > because we were prevented from walking east on 42nd. Every couple of blocks > we kept being told that entry to the rally was moving more and more north. > At first if was 49th St., then 51st St, then 53rd, then 55th, then 60th, > and finally 61st, which fed us into a "holding pen" between 59th and 60th > Streets on 1st Avenue. The sound system was not working. The big screens > weren't either, and this forced us to get out even though a police officer > told us, "First you want to get it. Now, you want to get out? Well, you > can't, and I'm not going to tell you how you can leave." > > We walked to the back end of the holding pen and went west on 60th Street. > We met up with a beautiful crowd at 2nd Ave and 60th, right where the tram > comes into its station at the mouth of the 59th Street bridge. The crowd > had heard that by that point in the day (~1 p.m.) 1st Avenue "holding pens" > were filled all the way up to 71st Street. Second Avenue had been closed up > by the many rally participants, and we were all enjoying ourselves. There > were more radios on Second Avenue, and we were all listening and cheering > to Al Sharpton's speech. But, then a woman fell to the asphalt. We tried to > help her and called over the police. By the time the cops lackadaisically > got to her, some people had helped her get to her feet. When one cop asked > another if the woman was okay, he replied, "Yeah, just another liberal." > > The crowd began to dissipate and a critical mass began heading south on 2nd > Ave. I estimate that it was anywhere between 1,000 and 2,000 people, but I > honestly have no idea. At approximately 58th Street, we all began marching > south down ON the avenue. We all started to get giddy. It was the first > time we'd actually had some fun all day. We'd been herded like cows all > morning. As we continued south, chanting, talking to our fellow marchers, > cops on horses quickly road up toward the crowd. They split up and lined > the sides of the avenue allowing the throng to pass them, and then filled > in behind us. They began to follow and head toward us. We looked ahead to > see police on horseback lining the intersection at 53rd Street; they'd > closed off the Avenue. Behind the horses were police cars and paddy > wagons. Unknowingly, we'd entered a gauntlet. We were trapped at the 54th > Street intersection. Drums were playing. People were singing. Banners were > passed among the crowd. And then the police behind us forced their horses > into the middle of the crowd. The crowd closed in behind them. Picture 12 > horseback police in the center of a crowd of maybe 2,000 people. The crowd > started chanting, SHAME ON YOU. SHAME ON YOU. SHAME ON YOU. The traffic had > been stopped on Second Avenue, which for those who do not know is a major > southerly artery on Manhattan. Close to ~1 hour passed as the police waited > for all their back up to arrive. All of a sudden, the police who had > managed to alternately turn their horses around in the middle of the crowd > began forcing people toward the sides of the avenue by trampling us with > their horses. Cars waiting on Second Avenue. They wedged open the crowd > with a vise of horses. As the wedge began to be successful people fought > back, but we did not have the might to counter them. As the wedge opened up > even more, police vans with stacks of barricades drove into the opening, > and out popped riot troops who pulled the barricades off the vans and > placed them down behind the horses. They had successfully opened up 2nd > Avenue for the traffic. Someone said they were spraying, but I did not see > any spraying. We saw 15 paddy wagons approach, and we decided that we'd had > enough. > > For me, it was a sad day. I watched our rights snatched away from us. I > heard antiquated rhetoric on the side of the marchers and heard old hippies > brag about how back in the day they knew how to chant and that now the > youth had no idea how to protest. > > > At 06:59 PM 2/15/2003 -0500, Alan Sondheim wrote: > >Didn't see you there. We got off at 42nd, went to 53, cut over to first, > >went straight over to two feet of the stage barricade. Shot a lot of > >footage, including police arrests, etc. - Alan > > > >On Sat, 15 Feb 2003, Gabriel Gudding wrote: > > > > > http://f15.nycimc.org/newsfeed.html > > > > > > F15 3:07pm 53rd and 3d: Crowd has been corralled on all four corners. > > > Police are pushing the crowd against the buildings. > > > 50th and 3rd: Reports that people marching on the sidewalk were attacked by > > > police. Completely peaceful when police attacked crowd. Mass > > > pepper-spraying of crowd and large amounts of police violence. There is a > > > report that there is a severe lack of medical help at the scene. There were > > > men, women and children in the crowd. > > > F15 3:01pm 53rd and 3d Avenue: People on the west side of the barricade > > > have been trying to negotiate with the police but they may be getting ready > > > to storm it. There have been seven or eight reported arrests. There have > > > been reports of plainclothes policemen have been getting violent with > > > protesters. > > > F15 3:00pm There have been 2 reported arrests at 2nd avenue and 57th street > > > of people trying to storm a barricade. The crowd has begun getting very > > > restless and has begun shouting "War means War." > > > F15 2:42pm Estimate from organizers on crowd size the rally on 1st avenue > > > streches 59 blocks north. NYPD usually estimates 7000 people can fill an > > > avenue block. Including the additonal people trapped by police at 2nd and > > > 3d organizers estimate over half a million people. > > > F15 2:40pm More reports of police violence at 53d and Third. There were > > > reports of people climbing atop barricades and being pushed off by police, > > > about 25 on horses, plus others coming out of buses. The police have > > > started to push the crowd back from 53rd street. However, people are > > > completely trapped with nowhere to go > > > 2:18 pm 2:04 At 53d and 3d Avenue, New Yorkers rushed the street barricade > > > and 15 people made it through. Ten minutes later a group of 8 or 9 > > > anti-capitalists linked arms and organized a second rush on a barricade. > > > About 50 or 60 other people joined them in the rush. The police brought in > > > reinforcements, maced 15 or more people, and pushed the crowd back. > > > 1:50 Sources report that police have begun arresting demonstrators on 54th > > > and 2nd Avenue. > > > 1:43 First avenue is reported to be completely inacccessible-- people who > > > want to get there to protest cannot. 2nd avenue is full wall to wall in the > > > 60's. We are hearing reports that the police on 3d avenue have given up, > > > though this isn't confirmed. > > > 1:37 A smaller group of people made it out of the 51st / 3d Avenue pen and > > > were herded north on 2nd avenue. It is a diverse group. They are now being > > > stopped by a row of mounted police on 54th st, and they cannot move north. > > > 1:24 We have reports that portions of Second Avenue have been taken over by > > > marchers as well. > > > 1:23 The uptown Lexington avenue line has been stopped at 23rd street > > > because of the protest. > > > 1:21 Third Avenue is full from 50th to 53d street . Cars and buses have > > > been trapped by the crowd-- there are US Postal Service vans, a service > > > van, and taxis. Marchers have completely taken the street. > > > 1:09 The police are putting up barriers on 53d and 3d avenue. They are > > > throwing them to one another. There is a huge crowd of people stopped by > > > the barriers and they are chanting "let them through, let them through." > > > There have been several unconfirmed arrests of people trying to get over > > > the barriers. There is a lot of pushing and shoving with the police. > > > 1:07 There is a march occuring on 3d avenue; people are trying to get to > > > the protest and are moving north. 1:00pm. A report just came in that 2nd > > > Ave. is "a sea of humanity" protesters have taken over half the avenue and > > > more people are joining from every direction. > > > 12:41 "3rd avenue and 58th is ours!" says one caller. From 57th to 58th is > > > completely full. There are no protest pens on third avenue. There are > > > groups up third avenue as far north as 72nd street. > > > 12:38 The Labor March marching from 59th street is back on the sidewalk. > > > The police have broken it in half. > > > 12:32 Police are making it very difficult for protesters to get to the > > > rallly; they are requiring people to go further and further north. > > > F15 12:06pm Update from Youth Bloc at 24th St and 6th: 300-400 protesters > > > remained penned in, on the sidewalk not being allowed to move. > > > Approximately 200 police, 3 deep for an entire block. Possibility that mass > > > arrests will be made soon > > > F15 12:02pm If you are heading to the rally from the west side of > > > Manhattan, you should attempt to get there above 55th st. It will be > > > difficult to get there otherwise. There are large numbers of protesters > > > heading north past 51st and Lexington. > > > F15 12:00pm From the rally: There are large numbers of people turning out > > > in the bitter cold, and it is difficult to estimate numbers. At least ten > > > blocks are packed in outside the Dag Hammarskjold plaza. > > > F15 11:53am Police have confirmed arrests at Union Square. No numbers given > > > by police. > > > F15 11:47am Youth Bloc Update: several hundred people penned in by police > > > at 24th st between 5th and 6th ave. One-hundred police and 15 or more > > > mounted police. There have been several arrests. Police are letting people > > > out five at a time. The march is on the sidewalk. The marchers are chanting > > > "The whole world is watching, they are on our side." > > > F15 11:39am We have word that the Youth Bloc was the march that moved west > > > from Union Square, not east. They marched towards 6th ave. and then north. > > > At 23d st and 6th ave, police moved in and pushed the march back east. > > > There are several mounted police, 15 vans vans, and several buses. At 24th > > > st, the march was cut in half by police. > > > F15 11:25am At the Public Library: Approximately 1,000 people at the > > > library. There are between 100-200 police in full riot gear, some with > > > batons drawn, standing in the second lane of 5th Avenue. People are leaving > > > in small groups, but no organized mach has yet left the library. > > > F15 11:03am One of the feeder marches just took the street on West 21st > > > street and 6th avenue. There are at least a thousand people on the street. > > > About 20 or so riot police are stationed on the street, but they have now > > > given up trying to force marchers back onto the sidewalk. > > > F15 10:59am 100 people have now left the Green Party headquarters, and are > > > headed towards the rally. > > > F15 10:55am Approx. 1,000 people have left Union Square, and they have just > > > been joined by an additonal march. The march has headed west on 14th st., > > > not east. They are marching behind a banner that says "Our Nation Says No > > > To War," and are marching on the sidewalk. > > > F15 10:14am Plans continue to percolate for post-rally marching. Read > > > updates here. > > > F15 10:04am Looking for somthing to do before the rally? Come down to the > > > IMC at 29th street, pick up copies of the Indypendent and awesome party > > > benefit flyers to distribute at the march. > > > F15 9:27am Update on crowd control techniques near the UN: 1st avenue is > > > closed to traffic from 34th to 59th to begin with... Entry to side streets > > > from 2nd avenue ... will only be allowed every 4th street or so along 2nd > > > ave, and exit at different streets. [Read More] > > > F14 12:40am Welcome to the NYC IMC website for the F15 convergence. > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sun, 16 Feb 2003 12:34:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: NY demonstration MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Lynda and I took an 8th Ave. bus uptown (prob. about 1:00 or a bit later) and got off around 53rd St. and began walking east through the theater district (crowds of tourists lined up to get into, e.g., Flower-Drum Song). East of B'way. we started seeing people moving westward, away from the demonstration area. At Lexington Ave. we found that police had barricaded 53rd St. and were not allowing anyone without a local address and ID through. Lynda thinks the barricades had just been moved into place. So we turned south on Lexington, where people with signs etc. were streaming mostly northwards. I think the police were telling them they could turn east somewhere up in the 60s. At Lex. and E. 50th we found we could go east to 3rd Ave. There were masses of people at that intersection and quite of few police--ordering people to stay on the sidewalks, ordering people with cameras down from their perches on something or other across the street from us. Two or three columns of riot police with clusters of plastic handcuffs at their belts and truncheons in their hands moved into place. That was about it for us. The street, at 50th and Lex. was barricaded as we started west. And a couple "Corrections" buses were ensconced on the block. We wandered south and west again, passing just a block below Times Square, where we saw lots of placards and heard chanting. So, we saw lots of anti-war folks, no pro-war folks at all as far as I could tell, and lot of police on the move, but no horses, no head-cracking. I've no idea how many people I saw. The main demonstration was way over on 1st Ave., and we didn't get nearer than two long crosstown blocks from there. Close, but no Seeger. Yr. humble reporter, Hal Stop Mad Cowboy Disease --placard at Berlin demonstration yesterday Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Sun, 16 Feb 2003 10:45:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: mla newsletter... In-Reply-To: <3E4F3DD6.1E730E7B@gc.cuny.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" tom, corey, maria, others--- i tried to give some indication of what i found annoying *in* my post---foremost, pratt's preciosity (that wedding stuff---i felt like i was listening to someone who'd just discovered poetry AND hip-hop AND urdu, and that someone is now president of the mla)... but also, the cavalier presumption e.g. that one can offer w/o controversy what the "premier poetry mag in the US" might be (is pratt referring to ~poetry~?)... but it's pratt's apparent surprise at the presumed "resurgence of poetry," thanks e.g. to ~def poetry jam~, that points up the problem... here's another choice bit from that piece: "We see the effects in our classrooms. Twelve years ago I instructed students in a graduate seminar to memorize a poem and perform it in class the next week. The assignment failed. No one had any idea how to do this; no one had seen poetry performed. Around the same time, looking for poetry accessible to a freshman culture class, I fell back on Whitman's ~Song of Myself~. Another failure. They couldn't understand it, students said. The had no experience reading poetry, couldn't hear it in their heads. By the late 1990s that had changed. The hip-hop generation comes into the classroom with ears adeptly attuned to synergies of sound, image, meaning, and rhythm. They know how to hear while reading and to comprehend while hearing. They memorize long poems so that they can recite them later, and recite them they do. They compose and perform at one another's birthdays and graduations. These days in my freshman course on Latin American Nobel laureates, Mistral, Neruda, and Paz trump Garcia Marquez. The favorite classroom exercise is comparing multiple translations of a poem and producing our own version. Other undergraduate teachers report similar successes exploring language through poetry translation. I am fascinated to see the study of textual variants emerge from the crypt." i'm all for anecdotal accounts, and no doubt something is going on (against which i'd posit an oppositional factor)---but i scarcely know where to begin... even setting aside the obvious and inadvertent condescension here (to students, and to poets who've been performing their work for years), it sounds much as if a new species has arrived, or a new "freshman" species, or a new performative species, or--- best, joe, feelin cranky ========================================================================= Date: Sun, 16 Feb 2003 13:33:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: mla newsletter... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit class, among other things plays a role here. just as the Beats and rock and roll opened poetry to a wider audience, so has hip-hop to a whole new generation. and OF COURSE those who are tuning their ears to hip-hop are going to acquire skills in listening closer to words, and will therefore be more likely to read and listen to a broader spectrum of poetry is they so choose. now, whether you like hip-hop or not, frankly, is irrelevant. what we're talking about here are some hard facts about kids getting familiar with poetry (whether you think it is or not) and how it can change the way they hear the world. i do bring up class because class needs to be brought up, again and again if need be. no one in my family --to my knowledge-- ever read poetry, too busy working, raising kids, etc., before my mother, who, like a lot of working class kids of her generation, plugged into Ginsberg. i admit, she didn't take it much further, unless of course i'm counted as an extension of her initial interests in poems. these sorts of things MUST be encouraged! we MUST try as hard as possible to expose EVERYONE to these things! why? because it's POETRY and other arts that open the mind to new ideas which build the mind's skills and abilities to put a changed set of ideas BACK out into the world. it's creativity and encouraging everyone's participation in creativity which will bring the ultimate changes of improvement to all our lives. so this, in the face of war, is very important. poetry is essential, whether we're at war or not. and i LOVE hearing that the largest poetry magazine (whatever it is) receives 300 submissions a day! think about how much more aware the world will be when they start to receive 1,000,000 a day! CAConrad In a message dated 2/16/2003 12:45:38 PM Eastern Standard Time, joe.amato@COLORADO.EDU writes: > > > tom, corey, maria, others--- > > i tried to give some indication of what i found annoying *in* my > post---foremost, pratt's preciosity (that wedding stuff---i felt like > i was listening to someone who'd just discovered poetry AND hip-hop > AND urdu, and that someone is now president of the mla)... but also, > the cavalier presumption e.g. that one can offer w/o controversy what > the "premier poetry mag in the US" might be (is pratt referring to > ~poetry~?)... > > but it's pratt's apparent surprise at the presumed "resurgence of > poetry," thanks e.g. to ~def poetry jam~, that points up the > problem... here's another choice bit from that piece: > > "We see the effects in our classrooms. Twelve years ago I instructed > students in a graduate seminar to memorize a poem and perform it in > class the next week. The assignment failed. No one had any idea how > to do this; no one had seen poetry performed. Around the same time, > looking for poetry accessible to a freshman culture class, I fell > back on Whitman's ~Song of Myself~. Another failure. They couldn't > understand it, students said. The had no experience reading poetry, > couldn't hear it in their heads. By the late 1990s that had changed. > The hip-hop generation comes into the classroom with ears adeptly > attuned to synergies of sound, image, meaning, and rhythm. They know > how to hear while reading and to comprehend while hearing. They > memorize long poems so that they can recite them later, and recite > them they do. They compose and perform at one another's birthdays > and graduations. These days in my freshman course on Latin American > Nobel laureates, Mistral, Neruda, and Paz trump Garcia Marquez. The > favorite classroom exercise is comparing multiple translations of a > poem and producing our own version. Other undergraduate teachers > report similar successes exploring language through poetry > translation. I am fascinated to see the study of textual variants > emerge from the crypt." > > i'm all for anecdotal accounts, and no doubt something is going on > (against which i'd posit an oppositional factor)---but i scarcely > know where to begin... even setting aside the obvious and inadvertent > condescension here (to students, and to poets who've been performing > their work for years), it sounds much as if a new species has > arrived, or a new "freshman" species, or a new performative > species, > or--- > > best, > > joe, feelin cranky ========================================================================= Date: Sun, 16 Feb 2003 13:36:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Whyte Subject: Re: new york demonstration attacked by police (fwd) In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Meanwhile in Toronto humbler numbers anywhere btwn 10,000 - 70,000 depending on what you read, I have no idae how they count these things. Really good feeling, peaceful and energetic at the same time, lots of people pushing strollers, one guy playing bagpipes in full kilt etc,. amazing given the biting cold -- Montreal and Vancouver much bigger. Apparently the march in Edmonton was in the 10,000s, really nice to hear for a city of 800,000 in a highly conservative province. ryan ========================================================================= Date: Sun, 16 Feb 2003 10:31:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: mla newsletter... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Joe, I agree. I've been to some readings of the kind he's referring to, and they come off more like pep rallies and rap contests. It seems that Mtv is taking over a medium that continued in other venues and never died out completely. There are kids in school who understand poetry, but just like sports, it's not for everyone. Turning it into something it's not, like rap, or hipster homecoming (e.g. the chick with the best piercing and most gratuitous use of the word "fuck" wins) fails the task. Namely, to draw connections between poetry and the modern art of rap, but not to confuse one for the other. In a larger sense, poetry is swept up as an incidental activity in the bohemian trend that's so popular now. --- Joe Amato wrote: > tom, corey, maria, others--- > > i tried to give some indication of what i found > annoying *in* my > post---foremost, pratt's preciosity (that wedding > stuff---i felt like > i was listening to someone who'd just discovered > poetry AND hip-hop > AND urdu, and that someone is now president of the > mla)... but also, > the cavalier presumption e.g. that one can offer w/o > controversy what > the "premier poetry mag in the US" might be (is > pratt referring to > ~poetry~?)... > > but it's pratt's apparent surprise at the presumed > "resurgence of > poetry," thanks e.g. to ~def poetry jam~, that > points up the > problem... here's another choice bit from that > piece: > > "We see the effects in our classrooms. Twelve years > ago I instructed > students in a graduate seminar to memorize a poem > and perform it in > class the next week. The assignment failed. No one > had any idea how > to do this; no one had seen poetry performed. > Around the same time, > looking for poetry accessible to a freshman culture > class, I fell > back on Whitman's ~Song of Myself~. Another > failure. They couldn't > understand it, students said. The had no experience > reading poetry, > couldn't hear it in their heads. By the late 1990s > that had changed. > The hip-hop generation comes into the classroom with > ears adeptly > attuned to synergies of sound, image, meaning, and > rhythm. They know > how to hear while reading and to comprehend while > hearing. They > memorize long poems so that they can recite them > later, and recite > them they do. They compose and perform at one > another's birthdays > and graduations. These days in my freshman course > on Latin American > Nobel laureates, Mistral, Neruda, and Paz trump > Garcia Marquez. The > favorite classroom exercise is comparing multiple > translations of a > poem and producing our own version. Other > undergraduate teachers > report similar successes exploring language through > poetry > translation. I am fascinated to see the study of > textual variants > emerge from the crypt." > > i'm all for anecdotal accounts, and no doubt > something is going on > (against which i'd posit an oppositional > factor)---but i scarcely > know where to begin... even setting aside the > obvious and inadvertent > condescension here (to students, and to poets who've > been performing > their work for years), it sounds much as if a new > species has > arrived, or a new "freshman" species, or a new > performative species, > or--- > > best, > > joe, feelin cranky __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Sun, 16 Feb 2003 13:58:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: mla newsletter... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit wow! okay, so the slam or hip-hop scene isn't for everyone. why can't we have a larger world view? i'm clear that i'm naive to believe that POETS could have a larger world view. but these ARE class issues, the more i read this thread. where i grew up, rock and roll was --believe it or not-- just about the only thing around to snag your ear and interest in words. and if you were so inclined, than it was going to lead you elsewhere, if you were interested in being led. so if i know this to be true in my white, working class small country town, than why can't i see this to be the case elsewhere, with other underprivileged groups? chill out you guys. encourage others! so what if they're not reading the things you're reading! you have no idea what someone else's idea of poetry may mean to them, or how it enriches and focuses their lives. poetry is much too BIG to be contained, don't bother trying. CAConrad In a message dated 2/16/2003 1:31:15 PM Eastern Standard Time, florafair@YAHOO.COM writes: > > > Joe, > > I agree. I've been to some readings of the kind he's > referring to, and they come off more like pep rallies > and rap contests. It seems that Mtv is taking over a > medium that continued in other venues and never died > out completely. There are kids in school who > understand poetry, but just like sports, it's not for > everyone. Turning it into something it's not, like > rap, or hipster homecoming (e.g. the chick with the > best piercing and most gratuitous use of the word > "fuck" wins) fails the task. Namely, to draw > connections between poetry and the modern art of rap, > but not to confuse one for the other. In a larger > sense, poetry is swept up as an incidental activity in > the bohemian trend that's so popular now. > > > > --- Joe Amato wrote: > > tom, corey, maria, others--- > > > > i tried to give some indication of what i found > > annoying *in* my > > post---foremost, pratt's preciosity (that wedding > > stuff---i felt like > > i was listening to someone who'd just discovered > > poetry AND hip-hop > > AND urdu, and that someone is now president of the > > mla)... but also, > > the cavalier presumption e.g. that one can offer w/o > > controversy what > > the "premier poetry mag in the US" might be (is > > pratt referring to > > ~poetry~?)... > > > > but it's pratt's apparent surprise at the presumed > > "resurgence of > > poetry," thanks e.g. to ~def poetry jam~, that > > points up the > > problem... here's another choice bit from that > > piece: > > > > "We see the effects in our classrooms. Twelve years > > ago I instructed > > students in a graduate seminar to memorize a poem > > and perform it in > > class the next week. The assignment failed. No one > > had any idea how > > to do this; no one had seen poetry performed. > > Around the same time, > > looking for poetry accessible to a freshman culture > > class, I fell > > back on Whitman's ~Song of Myself~. Another > > failure. They couldn't > > understand it, students said. The had no experience > > reading poetry, > > couldn't hear it in their heads. By the late 1990s > > that had changed. > > The hip-hop generation comes into the classroom with > > ears adeptly > > attuned to synergies of sound, image, meaning, and > > rhythm. They know > > how to hear while reading and to comprehend while > > hearing. They > > memorize long poems so that they can recite them > > later, and recite > > them they do. They compose and perform at one > > another's birthdays > > and graduations. These days in my freshman course > > on Latin American > > Nobel laureates, Mistral, Neruda, and Paz trump > > Garcia Marquez. The > > favorite classroom exercise is comparing multiple > > translations of a > > poem and producing our own version. Other > > undergraduate teachers > > report similar successes exploring language through > > poetry > > translation. I am fascinated to see the study of > > textual variants > > emerge from the crypt." > > > > i'm all for anecdotal accounts, and no doubt > > something is going on > > (against which i'd posit an oppositional > > factor)---but i scarcely > > know where to begin... even setting aside the > > obvious and inadvertent > > condescension here (to students, and to poets who've > > been performing > > their work for years), it sounds much as if a new > > species has > > arrived, or a new "freshman" species, or a new > > performative species, > > or--- > > > > best, > > > > joe, feelin cranky > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Shopping - Send Flowers for Valentine's Day > http://shopping.yahoo.com ========================================================================= Date: Sun, 16 Feb 2003 12:09:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: mla newsletter... In-Reply-To: <20030216183115.64053.qmail@web10009.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i guess i have to eat up my 2nd and last post today, and hastily, on this question of economic class that conrad raises, as i'm as sensitive to same as anyone: yes, rap and hip-hop open poetry up to class, *if* we're imagining this exposure to economic class (and ethnicity, depending on who's listening) that you get via spoken word and rap and hip-hop forms that are presumed to issue out of a poor urban? context... all of which, as i'm suggesting via my last labored sentence, is something of a generalization (and i'm the first in my non-poetry reading family with a college degree, like you conrad?)... but a few things: first, as has generally been observed, more white suburban kids buy rap and hip-hop than any other target audience... so in this sense, the class effect *can* be more complicated than it appears---what some of us used to call, perhaps unwisely, "slumming"; while for performers themselves, spoken word and rap and hip-hop can provide, sure, an outlet, a literate outlet into the public domain (as in ~8 mile~)... further, at the campus that currently employs me, 42-51% of the student body hail from households with annual incomes > $200,000/year... with a few exceptions, it's difficult for me to see, then, just how rap and hip-hop is opening up the economic class issues in my classes from any BUT the perspective of "higher class pays attention to/consumes presumed lower class-ethnicity" (as it's a predominantly white campus, too, albeit spoken-word events on our campus do serve, thankfully, as a nexus for students of color)... in all, i'd need to hear more about the class effects you're discussing... finally, and more to the point i was making, i do have reservations, as flora intuits, as to the value of poetry and poetry events that take their lead from ostensibly performative venues and forms, but i'm willing to set my reservations aside for the sake of any perceived "opening"... still, pratt's prattle (if this is not too gendered a way of putting things), while celebrating some obvious realities, seems oblivious to the economic reality that coincides with same (paul krugman situates this have/have not reality squarely in the nineties), and seems oblivious as well to acres of poetry and performance that prefigure slams... she wants us to believe any number of positive outcomes that hardly jibe with my sense of what's happening, in all, in poetry---and not just on "my campus"---and she wants us to believe these changes are all owing to the sanguine effects of a cultural outside (to academe), one that she could do nothing about herself as instructor until her students were exposed to such cultural currents... as if she had herself no agency in this process, and as if such changes were, well, anthropological---"they know how to hear while reading and to comprehend while hearing"?---reading and hearing WHAT, may i ask?... whitman?... enthusiasm is vital, yes, but--- this all seems too obvious---just have a close look at that para i reproduced... quite honestly, i can't detect in my hip-hop bound students any greater comprehension skills than a decade ago, if i do detect a somewhat greater desire to move toward performance... perhaps we need to zero-in on specific aspiring groups, so defined?... but that's another discussion, for tomorrow perhaps... best, joe ========================================================================= Date: Sun, 16 Feb 2003 11:14:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: mla newsletter... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii i've got to agree with you craig... hip hop does encourage the kind of hearing needed to appreciate poems, and the best hip hop I would say rivals much of what we're used to as poetry...and while i share with flora the trepidation about the best piercing and most gratuitous use of "fuck" (only because i went to far too many readings when i was younger where this DID seem to be how poetic quality was measured), i also rejoice in the fact that poetry is STILL not dead, no matter how far along the chain we move.... bliss l CRAIG____________________________________ wow! okay, so the slam or hip-hop scene isn't for everyone. why can't we have a larger world view? i'm clear that i'm naive to believe that POETS could have a larger world view. but these ARE class issues, the more i read this thread. where i grew up, rock and roll was --believe it or not-- just about the only thing around to snag your ear and interest in words. and if you were so inclined, than it was going to lead you elsewhere, if you were interested in being led. so if i know this to be true in my white, working class small country town, than why can't i see this to be the case elsewhere, with other underprivileged groups? chill out you guys. encourage others! so what if they're not reading the things you're reading! you have no idea what someone else's idea of poetry may mean to them, or how it enriches and focuses their lives. poetry is much too BIG to be contained, don't bother trying. CAConrad In a message dated 2/16/2003 1:31:15 PM Eastern Standard Time, florafair@YAHOO.COM writes: > > > Joe, > > I agree. I've been to some readings of the kind he's > referring to, and they come off more like pep rallies > and rap contests. It seems that Mtv is taking over a > medium that continued in other venues and never died > out completely. There are kids in school who > understand poetry, but just like sports, it's not for > everyone. Turning it into something it's not, like > rap, or hipster homecoming (e.g. the chick with the > best piercing and most gratuitous use of the word > "fuck" wins) fails the task. Namely, to draw > connections between poetry and the modern art of rap, > but not to confuse one for the other. In a larger > sense, poetry is swept up as an incidental activity in > the bohemian trend that's so popular now. > > > > --- Joe Amato wrote: > > tom, corey, maria, others--- > > > > i tried to give some indication of what i found > > annoying *in* my > > post---foremost, pratt's preciosity (that wedding > > stuff---i felt like > > i was listening to someone who'd just discovered > > poetry AND hip-hop > > AND urdu, and that someone is now president of the > > mla)... but also, > > the cavalier presumption e.g. that one can offer w/o > > controversy what > > the "premier poetry mag in the US" might be (is > > pratt referring to > > ~poetry~?)... > > > > but it's pratt's apparent surprise at the presumed > > "resurgence of > > poetry," thanks e.g. to ~def poetry jam~, that > > points up the > > problem... here's another choice bit from that > > piece: > > > > "We see the effects in our classrooms. Twelve years > > ago I instructed > > students in a graduate seminar to memorize a poem > > and perform it in > > class the next week. The assignment failed. No one > > had any idea how > > to do this; no one had seen poetry performed. > > Around the same time, > > looking for poetry accessible to a freshman culture > > class, I fell > > back on Whitman's ~Song of Myself~. Another > > failure. They couldn't > > understand it, students said. The had no experience > > reading poetry, > > couldn't hear it in their heads. By the late 1990s > > that had changed. > > The hip-hop generation comes into the classroom with > > ears adeptly > > attuned to synergies of sound, image, meaning, and > > rhythm. They know > > how to hear while reading and to comprehend while > > hearing. They > > memorize long poems so that they can recite them > > later, and recite > > them they do. They compose and perform at one > > another's birthdays > > and graduations. These days in my freshman course > > on Latin American > > Nobel laureates, Mistral, Neruda, and Paz trump > > Garcia Marquez. The > > favorite classroom exercise is comparing multiple > > translations of a > > poem and producing our own version. Other > > undergraduate teachers > > report similar successes exploring language through > > poetry > > translation. I am fascinated to see the study of > > textual variants > > emerge from the crypt." > > > > i'm all for anecdotal accounts, and no doubt > > something is going on > > (against which i'd posit an oppositional > > factor)---but i scarcely > > know where to begin... even setting aside the > > obvious and inadvertent > > condescension here (to students, and to poets who've > > been performing > > their work for years), it sounds much as if a new > > species has > > arrived, or a new "freshman" species, or a new > > performative species, > > or--- > > > > best, > > > > joe, feelin cranky > ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Sun, 16 Feb 2003 14:38:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Dowker Subject: The Alterran Poetry Assemblage #7 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit The new installment of the Alterran Poetry Assemblage is up at http://members.rogers.com/alterra/ with work from Stephen Ellis, Leslie Scalapino, Peter Manson, Andrew Nightingale, Spencer Selby, Chris Stroffolino, Robert Mittenthal, Christine Stewart, David Dowker, Drew Milne, Diane Ward, Allen Fisher, Kristin Prevallet, and Kevin Davies. David alterra@rogers.com ========================================================================= Date: Sun, 16 Feb 2003 11:41:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Rathmann Subject: Re: mla newsletter... In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 8bit >i tried to give some indication of what i found annoying *in* my >post---foremost, pratt's preciosity (that wedding stuff---i felt like >i was listening to someone who'd just discovered poetry AND hip-hop >AND urdu, and that someone is now president of the mla)... >joe, feelin cranky I agree. It's clear she has no familiarity with contemporary poetry, yet she feels professionally entitled to offer an opinion about it. I interpret her talk about the need to "create bilingual professionals" as both a pat on her own back (she is a Spanish specialist after all) and also a nod toward the fact that new PhDs in Spanish have an easier time finding jobs than their English-language colleagues do. Possibly she represents the wing of the corporation that is still turning a profit. But isn't the point of such a column--whatever its ostensible subject--really just to show how well-intentioned the MLA President is and, by extension, how well-intentioned the Profession is? Oil-and-gas-industry newsletters do the same thing. It's always sort of amusing, I think, when academics of a certain age credit popular interest in poetry to the "hip-hop generation." You know that their grasp of "hip-hop" is based solely on cable TV and the fashions their students sport. By linking a form of contemporary music to the interests of "the younger generation," they excuse their own lack of curiosity and paper over any real value such music might have. I recommend the film "24 Hour Party People" as possible antidote to academic condescension and dullness. ========================================================================= Date: Sun, 16 Feb 2003 15:53:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: mla newsletter...ironies and irrelevancies of the day Comments: To: Joe Amato MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Joe, Correct me if I'm wrong here, but i did pick up some irony in your reaction to the mla president's speech. At least enough irony to delay for a brief time your departure to protest as a poet and a man. I do admit to feeling some irony (plus other feelings) on reading the words of a white (?) female elected president of an organization I'm sure many have called irrelevant and which i take it has a history of not encouraging the teaching of writing when the funds for this would be 'more appropriately committed' to academics....[once again trapped by grammar, I see]...[she] called for essentially recognition(?) of language as she is spoke rather than poetry as it has been taught in the academies and this is a side issue but it's likely she heard this language as she is spoke on TV rather than in the street [trapped again. so move on to] POETRY and the UN as traditional irrelevancies but that may figure in a domestic disagreement (or maybe not - this is something i will never be privy to) between a white female librarian and a white male and suddenly POETRY and the UN are relevant to us all, each and every one,'for lack of what is found there', even if written by a white male modernist. the language I was given no longer works! tom bell not yet a crazy old man the language I was given no longer works! ----- Original Message ----- From: "Joe Amato" To: Sent: Sunday, February 16, 2003 11:45 AM Subject: Re: mla newsletter... > tom, corey, maria, others--- > > i tried to give some indication of what i found annoying *in* my > post---foremost, pratt's preciosity (that wedding stuff---i felt like > i was listening to someone who'd just discovered poetry AND hip-hop > AND urdu, and that someone is now president of the mla)... but also, > the cavalier presumption e.g. that one can offer w/o controversy what > the "premier poetry mag in the US" might be (is pratt referring to > ~poetry~?)... > > but it's pratt's apparent surprise at the presumed "resurgence of > poetry," thanks e.g. to ~def poetry jam~, that points up the > problem... here's another choice bit from that piece: > > "We see the effects in our classrooms. Twelve years ago I instructed > students in a graduate seminar to memorize a poem and perform it in > class the next week. The assignment failed. No one had any idea how > to do this; no one had seen poetry performed. Around the same time, > looking for poetry accessible to a freshman culture class, I fell > back on Whitman's ~Song of Myself~. Another failure. They couldn't > understand it, students said. The had no experience reading poetry, > couldn't hear it in their heads. By the late 1990s that had changed. > The hip-hop generation comes into the classroom with ears adeptly > attuned to synergies of sound, image, meaning, and rhythm. They know > how to hear while reading and to comprehend while hearing. They > memorize long poems so that they can recite them later, and recite > them they do. They compose and perform at one another's birthdays > and graduations. These days in my freshman course on Latin American > Nobel laureates, Mistral, Neruda, and Paz trump Garcia Marquez. The > favorite classroom exercise is comparing multiple translations of a > poem and producing our own version. Other undergraduate teachers > report similar successes exploring language through poetry > translation. I am fascinated to see the study of textual variants > emerge from the crypt." > > i'm all for anecdotal accounts, and no doubt something is going on > (against which i'd posit an oppositional factor)---but i scarcely > know where to begin... even setting aside the obvious and inadvertent > condescension here (to students, and to poets who've been performing > their work for years), it sounds much as if a new species has > arrived, or a new "freshman" species, or a new performative species, > or--- > > best, > > joe, feelin cranky ========================================================================= Date: Sun, 16 Feb 2003 15:29:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: poets for the war??? Mime-Version: 1.0 Content-Type: text/plain; format=flowed of course this was inevitable... So now there's a "poets for the war" website (www.poetsforthewar.org), run by this guy: Charles L. Weatherford funny that he also runs a website which offers custom poems for both corporate merchandizing and personal occasions... ---Noah I like Man Ray. But do I enjoy it? --Nick Moudry _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sun, 16 Feb 2003 17:49:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: new york demonstration attacked by police (fwd) In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit On Sunday, February 16, 2003, at 12:17 PM, Alan Sondheim wrote: > > I don't know what you mean by 'antiquated rhetoric' - I'm not sure what > you expect. Charles B. posted some interesting poet slogans today - but > they seem as dated and not dated as anything else. We looked ahead to darn, only now do I think of a slogan I wld have liked to use, & yes they are all antiquated, so this one draws on '68: UNDER THE BUSH, THE BEACH UPROOT THAT FAKE TREE! Another favorite sign seen on a photo on the front cover of LIBERATION sez: PAS DE BUSHERIE! which cld translate as NO BU(T)CHERY!, also the one I picke dup in the poets' pen & wound up giving to my son miles & which said PEACE IS SEXY on one side & WAR TURNS ME OFF on the other. Pierre ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Sun, 16 Feb 2003 18:03:04 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: a few more lines from the NYC demo MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit These colors don't run the world. Who would Jesus bomb? Guided missiles. Misguided leaders. Let's bomb Texas. They have oil too. Nous sommes Americains et nous ne voulons pas une guerre. Foreplay not warplay. Glam not war. William Safire sucks. [Bush says:] Dude! Where's my war? Thirty-odd Singles for Peace. Merci "Cheese-eating surrender monkeys" et Germany! My experience at the demo was encouraging, for the record (in response to some comments about the general feeling of the event). With regards to the creativity of the marchers, I was not around for Vietnam so I can't compare, but I was around for Gulf War I, and I was a bit saddened to hear some of the same slogans we used 12 years ago, not because I found the rhetoric antiquated but simply because of the repetitiveness of history. Were 60's hippies more spirited/inventive/organized? I'd have to say that, really, I don't care, but I find the attitude of young demonstrators today amazing in that it is so cynical/jaded and so energetic/optimistic at the same time. Lots of great puppets, funny posters, sometimes absurd slogans — there's a very worldly self-consciousness about it which I think is healthy for the participants and the movement. Also, some people just don't like chanting (me included), for good reason having to do with the importance of individual thought. As for the police, my recurring impression was that they were surprisingly friendly and good-natured, especially if you compare their behaviour to that of the tear-gassing, clubbing riot squads of the Summit of the Americas rally in Quebec in 2001, or Seattle. I'm not saying that a little police oppression is okay, I just find that accounts of demonstrations that focus on nothing but the skirmishes between police and crowds are strangely myopic and counter-productive. Rights may have been curtailed, but being asked to walk on the sidewalk seems like a minor offense compared to, say, being asked to sanction the bombing of innocents. All in all, I thought the demo was an impressive success. -- Corey Frost * 718-855-8042 * 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Mon, 17 Feb 2003 10:23:34 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Re: Signs of the Times Mime-Version: 1.0 Content-Type: text/plain; format=flowed From Sydney War is so (underlined) 20th Century The coalition of the the willies Asses of evil - Bush Blair Howard and many signs saying No Howard, with WAR in red A very conservative looking lady with a sign showing Howard and the comment - What the fuck are you doing? I'd been hoping we'd get more at the march than Melbourne's 150,000 - M. is a bit more political/committed/serious - the unions are stronger - and they tend to get bigger numbers than Sydney despite the smaller population - but lazy sensual Sydney got off its bum on a warm Sunday afternoon, turning out between 250,000 and 500,000 - John Pilger was graphic, incisive, saying all the things one doesn't hear in the media and my son was variously moved to tears/angry/proud/connected/ empowered/full of a sense of possibility - I don't think Howard etc realise quite what they've helped spawn - all those teenagers people assumed were uninterested in political issues are out there on the streets - and then to come home and log on to find out it's happening all over - maybe we can turn this around. Feeling a little optimistic Geraldine _________________________________________________________________ Hotmail now available on Australian mobile phones. Go to http://ninemsn.com.au/mobilecentral/hotmail_mobile.asp ========================================================================= Date: Mon, 17 Feb 2003 10:34:08 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Re: Signs of the Times Mime-Version: 1.0 Content-Type: text/plain; format=flowed Just remembered this one - If I can't dance it aint my revolution. G. _________________________________________________________________ Hotmail now available on Australian mobile phones. Go to http://ninemsn.com.au/mobilecentral/hotmail_mobile.asp ========================================================================= Date: Sun, 16 Feb 2003 17:55:42 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Virginia Bontecou Mime-Version: 1.0 Content-Type: text/plain; format=flowed asp which lulu what echos moo stowed so many lengths of rose bell again the cart which does so chop mottos last stop on the way, crust rips a low caution patting soap if this slopey mile stirs what spits (so much for every Virginia dent with done hedge) part rips part din is aboard rip fire staples snow deals loyally one bell says as fires too tin say even her chandelier's whim says it more circular ________________________________________________________________ coal A and Virginia A ... them impenetrable, them automatons the earth, that cog blimp! Calypso passage & constellations more, more alone asbestos is the latest conventional practitioner of presence, its ideational reference ballads yields "Calypso" ________________________________________________________________ FREE WALTER SICKERT! sexuality found fat hat the sapphires. of political not sapphires. below our hair we're ghosting the sigh the not-much first views have become, still only in certain books, undertones ________________________________________________________________ bildungsroman -- so live it up, execrable man till dewy lies fly from the foam star ring-around red hollow: negligence from an old dove, leaves walk so yes _________________________________________________________________ sweet their thick down run repose, unaware get them rain presto bed that own bosom is the must suggested sleep the only pine-wood of two saws there Round Slumber, what papers their nigh by day? Round Slumber, may all your noise stand combing the woodland shoulders north! _________________________________________________________________ gentle, O twilight, over the little charioteers that fold maybe Your gipsies love, I wax it so... wax the a-mechanical, the heh wheel, heh... click home's beyond turning your nugget... wall war water drink NONE maw is ass, shore to all hands enough, the KILL furs the battery scum to sound diagramless, sight prattle light Light Lather, step ashore hands out, rob the cheddar process your... image's the movement, rubber legs interconnect THE NEW ROMANTICISM PRATTLES ABOUT FOURTH HANDS -- while we've yet to hear of the THIRD HAND... _________________________________________________________________ bababadalgharaght akamminarronnkonn bronntonnerronntuonn thunntrovarrhounawnskawn toohoohoordenenthurnuk perkodhuskurunbarggruauy agokgorlayorgromgremmit ghundhurthrumathunara didillifaititilli bumullunukkunun _________________________________________________________________ a last question of Homeric mechanism, of giant epataphysique, reads the riot act, or Baudelaire, to your horses in Boissonade, O sources of puerile diagram!! thorny, fond, and unverifiable (the former established the basis for these speeches), this translation packages phonetic blackmail ## according to Vercingetorix's unhappy end _________________________________________________________________ _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Sun, 16 Feb 2003 19:09:41 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Signs of the Times MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit geraldine mckenzie wrote: > > Just remembered this one - > > If I can't dance it aint my revolution. > > G. This is an updating of what were arguably Emma Goldman's most famous words, n'est-ce pas? "If I can't dance, I don't want to be part of your revolution." Gwyn ========================================================================= Date: Sun, 16 Feb 2003 18:49:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Jim, Jim, Jim. You have written my manifesto. It dizzies me. No more bullshit office politics. And I agree totally about weblogs. Yeccchh. Out with us, let's go. Do you think we can really wake up? In the words of Langston Hughes, I'm game. Thank you so much. Aaron ========================================================================= Date: Sun, 16 Feb 2003 17:14:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Notes from San Francisco Mime-Version: 1.0 (Apple Message framework v482) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Just back from the march and rally here in SF, which was still going on when I left (4pm) -- carrying the sign and an arm in a sling since 9:30am was sending my back into spasms, so I had to call it a day. So first off, thanks to friends and comrades in NYC, Toronto, London, Rome, et al, for their inspiring turnout yesterday. And to NYC especially for its determined resistance to state repression. (Tho' I'm sure this could be said of many other places, that's just the one I have the eyewitness accounts of). I'd like to think SF would have been a day late but not a dollar short even without yesterday's show of solidarity to galvanize us, but -- well, thanks. Estimates as I left were ranging from 150,000 (police) to 250,000 (march organizers). Pick your own number, it was huge, and took Dan Farrell and myself nearly three and a half hours to walk from the Embarcadero to City Hall. Mostly companionly, pleasant feel here today, but _more_ of everything -- people seemed angrier, more joyful, more given to despair, more utopian, et al, all at once. Didn't witness any trouble with police, though like I said, it was big, so I don't pretend to know what happened everywhere along the march route. Organizations and individuals too many to name. What seemed of particular note to me this time, though, was at least the rhetorical beginnings of a convergence between the SWP-spinoff leftists who organized, and the liberal-left who marched. Significant (as far as soundbites can be) multiple sightings of slogan: "It's the _political_ economy, stupid!" Oh, and lest I forget, two more to add to the list of favorite signs: "Coalition of the Unwilling." And one carried by an elderly English woman: "Will the member from North Texas please SIT DOWN?" Me, I came in my plastic-sheet-and-duct-tape flag, stripes written over with a glossary of U.S. foreign policy language. More of a stop-and-ponder object than a recognize-and-cheer one. Happiest moment: march stalls out as the labor feeder march attempts to merge. While we wait the fifteen minutes or so to get our signals straight, the ILWU drill team keeps spirits up with a step routine. Great black and gold uniforms with white caps, definitely the sharpest looking contingent on the march: comradeship, confidence, and discipline shorn of its possible militarism. Many other unions making the merge along with them: SEIU, Teamsters, CNA, CWA, etc. As we're getting our act together, I recognize a face under one of the giant puppets back in the Women in Black contingent -- someone who read at the event Wednesday evening. Go say hi, get separated from Dan just as things start moving, find him again, ok... Best coincidence: Dan is wearing a hat shaped like the head of Big Bird from Sesame Street, to the front of which he's attached a pin from the protests against the first Gulf War. Several blocks into the march, a woman comes running off the curb to hand Dan a photocopied sheet with an image of Big Bird and the legend: "This war brought to you by the letter Dubya." Sheet remains with us for the rest of the march, past the family with several small children chanting, "Iraqi children one and all, U.S. children hear your call," past the dancing Hare Krishnas, past the Jewish Voice for Peace marchers, past the strong Filipino contingent, the Puerto Rican group linking Navy bombing in Vieques to other aspects of military imperialism, the guy in the pink spandex unitard riding the unicycle, the group in business suits smeared with blood who yell, "Everything is fine. If there was a problem, you would have heard by now. Put down your signs and go home. Everything is fine," the Jordanian, Iraqi, Palestinian, Brazilian, Mexican, Cuban drummers, musicians and dancers. Run into Andrew Joron and Jeff Clark, then promptly lose them again -- hard to keep track of more than one person at a time, and Dan's hat is easier to follow. Run into woman who let me share her cab to January's march when the bus never came, then lose her again. Best moment of political clarity: After reaching Civic Center Plaza and being permanently separated from Dan in the crowd, I stand and listen while an incredibly sexy older British socialist marshals all the resources of his velvety voice to explain primitive accumulation to a crowd of mostly "mainstream" SF liberals. They look convinced. If only we all had such immediate instinctive appeal... He finishes with a rap about peace itself not being enough, imperialist peace being predicated on imperialist war. OK, maybe "predicated" is mine -- so sue my imaginary for being mostly grammar. Coming home, open Lissa Wolsak's _Pen Chants_ at random to this, which seems apropos to my new British friend: But up! Let us finish each other's songs for whom shall I suppose my country does not blush for me who will serve as food for truces what relaxation lies behind cosmoses we lutes, enceinte walkabout in despairs of peacetime untied from malevolence of misrecognition Much more to be said, so I hope others will chime in. My one good arm has just about had it. Peace, Taylor ========================================================================= Date: Sun, 16 Feb 2003 18:45:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Notes from San Francisco In-Reply-To: <2C877DF4-4215-11D7-96B6-0050E4604912@mindspring.com> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable I second Taylor's report! As different from the January 18 walk (I have a tough time saying "march" as in military anymore) this one, though larger b= y a 100,00 (250-300,00), felt more somber - a troubled sense of what a cliff-hanger this potential war has come to be, like no matter what our force, a frustrating sense of Bush & Co. all but turning the final opening knob on Hell's door. Yet, great costumes, signs, a marching (!) band, drums= , dancers. It's all so counter-corporate. Such a diversity of faces and ages that don't like any in the Calvin Klein's soft-porn models in the cylindrical kiosks that line Market Street (People delight at putting No Wa= r in Iraq stickers and peace signs across their bare torsos.) The home grown, mostly hand created anti-war signage flies in the face of Corportate logos, advertising, all the other forms of audio and visual branding that saturate daily life. For me, this is one of the great delights of these walks: the public revelation of identities that are so various and outspoken in ways that are normally withheld from view by conventional media, advertising, as well as the strictures of daily work life. Urban Whitmanesque. I did keep notes on the signs that held my eye - here goes: Vive La France Give Peace a Chance West Coast Terror Level =3D Green Bombing for Peace is like F=B9ing for Virginity There is No Willing Coalition Terror Lies in the Bushes Bomb a Parent Create a Terrorist Noam Chomsky Is My Homeboy Queer Pride Not Genocide Our Intact, Breast Fed, Home Birthed Children Will Not Fight Your War for Oil Revolution Begins In The Sink: Only When Men Take Full Responsibility For Their Share of the Cooking, the Cleaning and Washing Up Only Then Can Join With Women And Together Build a New World Waiter for Peace: This Kitchen Will Not Make New World Orders Duct Tape Cannot Protect Us from Our President Wake Up &=20 Smell the Fascism Fossil Fools Another Angry White Guy For Peace Homeland Security Is An Oxymoron Somewhere in Texas=20 A Village Is Missing an Idiot: And a Village in England Has Found Him Bastards Without Borders Who would Buddha Bomb? Primates for Peace With PreEmption There=B9s No Redemption We Are The Coalition of the Unwilling Peace or Total Eclipse ______ Stephen Vincent ========================================================================= Date: Sun, 16 Feb 2003 22:00:55 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Notes from San Francisco MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit All these reports (Marilyn Hacker, on another list, also reported in from Paris; she marched with a group of Americans opposed to war, one of whom carried a sign that said, in French, "I swear to you, I didn't vote for that asshole!) make me really determined, at the next event -- because there will without doubt be a next event -- to read Ginsberg's 1991 "Hum Bomb" in some way. As others have mentioned, it's weirdly, and sadly, predictive. Gwyn McVay ========================================================================= Date: Sun, 16 Feb 2003 22:45:12 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Notes from San Francisco MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I would add to these reports that in spite of a heavy storm last night, the sun shone on and off and there was no rain. It was about 58 to 60 degrees Was packing a camera and part of a group handing out leaflets featuring a defaced Guernica and text written by persons deeply involved in art. The title is, "Neither Their War Nor Their Peace." One says to persons in the crowd, as distributor: Political thought, not war, or, Reading material? Marketing, something one doesn't know how to do, but it comes naturally with the deepest feeling. Most accepted, some rejected. This is what a homeless person might feel like if she asks for money and gets none. The covering of art isn't insult enough. A good lesson. We might have passed out 5000 broadsides among 15 of us. There were probably 300,000 taking geisha steps up Market Street,, colorful and also ordinary citizens. There were kids wrapped around light poles like vines, there was a pregnant woman with writing and pictures on her naked very big belly, there were down's syndrome people marching, there were the blind, the deaf and the dumb, the wheelchaired and the steel crutched. Persons who had been in wars and said so on their signs. A person one sees at many such events, and A REPUBLICAN FOR PEACE, there was AN ORDINARY MODERATE FOR PEACE, there were more Asians than Blacks, many elderly and many young, and many in between. Girls and boys dancing, drums drumming, and some boys with primitve (almost earily post-apocaplytic saxophones made out of straws and pcb pipes--beautiful sounds, like way out jazz. When I said, hey you guys sound a little like Rova Saxophone Quartet. They said, Oh We Love Them. What an honor you think of us with them! They were about less than 20 years old. I said, Larry Ochs. They said, yeah! Some police smiled. As if given a flower in 1968, genuine, and this was that. Several of my party and I stayed until the tail end of the march which was followed by the clean up crew--marches are messy--police escorts, city garbagemen and their machines with brushes and sprays. There was a scarcity of trash receptables, as they are believed by the superstitious to be potential bomb sites. San Francisco has a leftist city council, headed by a man named Max Gonzalez who goes to poetry readings and supports the Poetics Program at New College and elsewhere. Here were some original signs spotted to add to Steve's: WE CAN'T LET THE WORLD BE RUN BY THE LOWER CHAKRAS: bush, dick & colin 911 IS A CALL FOR HELP NOT WAR (carried by a child) HOW DID OUR OIL GET UNDER THEIR SANDS? BLAME FLORIDA. And a very old man of about 90 on the BART with a sign: FUCK BUSH. At 12th Street in Oakland, on the way out of Berkeley--towards the tunnel under the water to the first stop in San Francisco, The Embarcadero, where a rally was to be held, near a grassy knoll--one of my California College of Arts & Crafts students got on and threw her arms around me. The metal from her bountiful piercings and neckware just about pierced me. But it was great. Again, people were packed so close, you could have gotten pregnant. From your intrepid reporter, G.Frym, Berkeley ========================================================================= Date: Mon, 17 Feb 2003 00:00:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: warm MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII warm exhausted, frightened, Maria's pregnant... I crawl towards her, I'm forward war do warm lovely benefiting war tony war anti-war president saying war === ========================================================================= Date: Mon, 17 Feb 2003 00:00:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: adjust one itself MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII adjust one itself the moment i tuck my clothes in, there are disturbances across its surface, don't one continually adjust itself? or like when an itch, someone else's scratching getting rid of it. or a tickle, one can't do that to oneself. body holds itself together as plastic sphere, they know when a disturbance arise, when Other appears, disappears. some say it all depends. i say it is very controversial. body is very complex. you put a hat on and it fits not so right, you know how that feeling is bad for you. it's not even the site for you, it's just my bad feeling. body always huddles and collapses into this sphere, you don't want anything bothering it, i bend my head and feet into it when it is very snowy, you are warming it. what a thing i take for granted, i mean i don't think about you when it happens, then it happens that i tuck it in, all of it, and then you are very fine and it is a nice day. or you can go and do what you want. === ========================================================================= Date: Sun, 16 Feb 2003 17:21:48 -0500 Reply-To: Allen Bramhall Sender: UB Poetics discussion group From: Allen Bramhall Subject: Re: falmouth MA demonstration MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit just to add a bit to what Maria writes. saturday my wife and I stood in front of the old post office in Bedford, MA, some few miles north and west of Maria, among 10 or so participants in the demonstration. what we experienced chimes with Maria's account. I am not Mr Civic Pride (he lives down the street), nor have I made myself particularly noticeable in the town except perhaps in having run 1000s of miles along the local streets, yet I was conscious that my standing there put the face of _someone within the terms of the demonstration. not in a heroic sense, but a local one. I think that this is what Maria is getting at. the many large demonstrations put the muscle of numbers behind the anti war movement, but the very local squeak of these little demonstrations have their impact as well. the jarring sadness that I felt was both scary and uplifting. resistance is fertile. Allen ----- Original Message ----- From: "Maria Damon" To: Sent: Sunday, February 16, 2003 9:08 AM Subject: falmouth MA demonstration > about 50 femmes d'une certaine age and a handful of guys and 3 dogs > stood in front of the falmouth post office for an hour, 11-12, lined > up side by side, with signs saying "Stop US bombing and terror," > "Drop Bush not Bombs," "Imagine Peaceful Solutions," and so on. A > lone counter-demonstrator stood a bit away, with 2 signs saying > "Freedom is worth fighting for" and "support our troops". It was > bright sunshine though cold. We were, as women of a certain age and > class are wont to do, wearing brightly colored woolen hats and > scarves of all hues, and the signs were mostly a neon lime green, so > we were quite colorful and hard to miss. Lots of people honked as > they drove by and we waved and gave little thumbs-up signs if we were > wearing mittens and v-for-victory signs if we were wearing gloves. > Two scientists right next to me were discussing shrimp-eyes and > particle physics. A woman 2 people down was all proud because Howard > Zinn had autographed her sign some months ago at a demonstration in > boston. Falmouth is a traditionally quaker town since the 1600s and > still has a strong quaker community, so a lot of little old quaker > bubbies were there, and the good old WILPF gang. It was funny when > folks were afraid to meet our eyes as they walked past us into the PO > --we were such a fundamentally non-threatening looking group. The > people driving by in SUVs smoking cigarettes tended to look angry at > us, while the people in more modest looking cars seemed more > encouraging. It was all very charming and small-towny. To get home > and read gabe's post was quite distressing, as many of my friends > from here had gone down to nyc for the demo there. i mean, it would > have been distressing anyway. is it the police chief or the mayor > who has ordered such reprehensible tactics? > -- ========================================================================= Date: Sun, 16 Feb 2003 21:53:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: Notes from San Francisco In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Recently I've been fighting my aversion towards mass gatherings and have attended a number of different public events in my area - SF Gay Pride Parade; Bikers' gathering in Hollister; today's. I do this more as an anthropological exercise than anything else, I must confess, and am beginning to see that there are certain aspects in which all such events can be found to relate. Costumes, signs, chanting, marching, good cheer. This one had not as much deliciously wicked nudity as Gay Pride nor as much chrome and beard and belly and tattoo as the Bikers gathering, but it gave forth a distinctly special vibe nonetheless. I walk from the Embarcadero to CC in 3 1/2 hours, taking about 50 pictures along the way. None that I would call a perfect moment (although I haven't reviewed them yet), but a few that should be fairly okay. I focus on close-ups, as I know the crowd angle will be well covered by others. I also record 2 1/2 hours of sound on a portable DAT, since I feel that audio tends to get neglected at these events, with so many cameras and vtrs capturing the splendorous colors and visual dynamic. (Also, because my videocamera broke down yesterday - damn!) The panoply of sounds is like a Charles Ives symphony of protest and celebration, with drumming and chanting and waves of spontaneous cheers rippling through the crowd. Many more energized young people make a showing than I might have assumed, and a lot of parents have come with children holding signs. The police are largely an invisible presence except at the entry point from BART, where they meet everybody with crossed arms and indomitable stares. There is also a helicopter hovering ominously above the crowd towards the end, but it is far enough away not to cause any real concern, except to make the implicit coercive point: You are being watched! Many smiles and hugs in thought from passers-by. A cable car appears to have been hired for the event and rings its bell regularly as it drives up Broadway. People climbing spontaneously onto statues, public toilets and newspaper stalls to get a wider view. There is a mixture of the disturbing and the absurd as garish color photos of Iraqi victims of the Gulf War intermingle with crude hand-drawn signs of Bush as vampire, as emperor, as ape etc. A wafting of many lovely foreign accents and languages, including Arabic. One woman is simply waving a large American flag and fits in perfectly. Voices on loudspeakers bounce off the stone walls of the old library. An inebriated homeless man exploits the moment with a sign that attempts to link his "cause" with that of the crowd. A few seconds of Jello Biafra (I think) on mic telling people to "go home, shopping is good!" A man in tidy business suit and made-up bloody face. Large, black shrouded puppets. The sweet smell of weed now and again. And, happily, many widely ranging colors of flesh, and not a single ugly incident. All in all, a moving experience. My predictions: Okay, let's say for the sake of argument that it's not about oil. Then it is about power and money and greed. Hasn't it always been? Does anybody doubt that what we are seeing in Iraq is Iran circa 1950 all over again? I await the arrival of Iraq's bloody new Shah, along with the revolution from within that will eventually overthrow him and cause Arabs to have reason to hate us all over again. And why is the comparatively moderate Powell supporting this madness? Simple. If the war works according to plan he sees himself as a shoe-in for VP in 2 years, and president for the next 6. You heard it here. A couple of slogans I make up myself, but do not put to use: Depilatate Bush! Kocaine Kowboy Kommando The Ape of Wrath ========================================================================= Date: Mon, 17 Feb 2003 01:01:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > > Date: Sun, 16 Feb 2003 18:49:09 -0600 > From: Aaron Belz > Subject: Re: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA > > Jim, Jim, Jim. > > You have written my manifesto. It dizzies me. No more bullshit office > politics. > And I agree totally about weblogs. Yeccchh. OK Aaron, you don't like blogs but Jim Behrle also said: > It's silly to > begrudge and bemoan the success of others, which doesn't preclude our own > successes I also think CA Conrad's comment, on another subject is worth repeating: >> chill out you guys. encourage others! so what if they're not reading the > things you're reading! you have no idea what someone else's idea of poetry > may mean to them, or how it enriches and focuses their lives. poetry is much > too BIG to be contained, don't bother trying. > > CAConrad ========================================================================= Date: Mon, 17 Feb 2003 17:33:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hazel smith Subject: infLect: a journal of multimedia writing Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Volume One of infLect: a journal of multimedia writing is now launched at www.ce.canberra.edu.au/inflect. infLect is based at the University of Canberra Centre for Writing. The journal showcases creative work which brings together text, visual images and sound into a reciprocal relationship, and also writing which combines critical and creative content. Volume One contains new work by Jim Andrews, geniwate, komninos, Ana Marie Uribe, Jason Nelson, Thomas Swiss, Motomichi Nakamura and Robot Friend, Hazel Smith and Roger Dean, and Brian Kim Stefans. Enjoy! Hazel Dr. Hazel Smith Senior Research Fellow School of Creative Communication Deputy Director University of Canberra Centre for Writing http://www.ce.canberra.edu.au/writing University of Canberra ACT 2601 phone 6201 5940 More about my creative work at www.australysis.com ========================================================================= Date: Tue, 18 Feb 2003 04:59:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Signs... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit SIGNS... Life Time Tenure for Sadaam Parley-Vous la Appeacement Peace Now Jihad Later Rwanda was a Semiotic Misunderstanding Jewish Blood Arab Oil The Arab St. est une Huis Clos A Holacaust A Century There is No El Queda There is Only Amitie Send in the Inspectors After the Marines (pardon my FRENCH..drn...) ========================================================================= Date: Mon, 17 Feb 2003 08:07:25 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: On Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Spirituality, the unconscious & language poetry Rodney Koeneke on poetry & the unconscious 181 poets The New Criterion's Roger Kimball won't recognize on the Poets Against the War website, but you probably will As close to a love poem as I'll ever get Susan Schultz & Pam Brown: collaborating across borders & hemispheres Why poets need to speak out & why speaking out won't stop the war Rachel Blau DuPlessis on poets & psychology Kevin Davies' Lateral Argument Chris McCreary's The Effacements: Titles & their constraints Tom Fink on Robert Pinsky & Daniela Gioseffi in Barrow Street:: generating misconceptions Woo woo petunia: Rachel Blau DuPlessis & the role of the unconscious in contemporary poetry Eugen Jebeleanu: Romania's "epic poet" Eleni Sikelianos' California - poem as nature museum diorama (& the heritage of Michael McClure) Radical Society: rebirth of The Socialist Review http://ronsilliman.blogspot.com/ ***************************************** I will be reading in the Temple Writers Series, Temple Gallery, 45 North 2nd Street, Philadelphia, Thursday, February 27th. The reading is at 8:00 PM and is free to the public. ***************************************** Salt Publishing has just published a new edition of my poem Tjanting with a new forward by Barrett Watten. Available in the U.S., U.K. & Australia. http://saltpublishing.com/1876857196.html Two poems from The Age of Huts have been reissued by Ubu press as e-books: Sunset Debris & 2197 http://www.ubu.com/ubu/ ========================================================================= Date: Mon, 17 Feb 2003 08:32:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: mla newsletter... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i don't get it. why is rap not poetry? who is any one person to say what is and is not poetry? why the rigid boundaries? At 10:31 AM -0800 2/16/03, flora fair wrote: >Joe, > >I agree. I've been to some readings of the kind he's >referring to, and they come off more like pep rallies >and rap contests. It seems that Mtv is taking over a >medium that continued in other venues and never died >out completely. There are kids in school who >understand poetry, but just like sports, it's not for >everyone. Turning it into something it's not, like >rap, or hipster homecoming (e.g. the chick with the >best piercing and most gratuitous use of the word >"fuck" wins) fails the task. Namely, to draw >connections between poetry and the modern art of rap, >but not to confuse one for the other. In a larger >sense, poetry is swept up as an incidental activity in >the bohemian trend that's so popular now. > > > >--- Joe Amato wrote: >> tom, corey, maria, others--- >> >> i tried to give some indication of what i found >> annoying *in* my >> post---foremost, pratt's preciosity (that wedding >> stuff---i felt like >> i was listening to someone who'd just discovered >> poetry AND hip-hop >> AND urdu, and that someone is now president of the >> mla)... but also, >> the cavalier presumption e.g. that one can offer w/o >> controversy what >> the "premier poetry mag in the US" might be (is >> pratt referring to >> ~poetry~?)... >> >> but it's pratt's apparent surprise at the presumed >> "resurgence of >> poetry," thanks e.g. to ~def poetry jam~, that >> points up the >> problem... here's another choice bit from that >> piece: >> >> "We see the effects in our classrooms. Twelve years >> ago I instructed >> students in a graduate seminar to memorize a poem >> and perform it in >> class the next week. The assignment failed. No one >> had any idea how >> to do this; no one had seen poetry performed. >> Around the same time, >> looking for poetry accessible to a freshman culture >> class, I fell >> back on Whitman's ~Song of Myself~. Another >> failure. They couldn't >> understand it, students said. The had no experience >> reading poetry, >> couldn't hear it in their heads. By the late 1990s >> that had changed. >> The hip-hop generation comes into the classroom with >> ears adeptly >> attuned to synergies of sound, image, meaning, and >> rhythm. They know >> how to hear while reading and to comprehend while >> hearing. They >> memorize long poems so that they can recite them >> later, and recite >> them they do. They compose and perform at one >> another's birthdays > > and graduations. These days in my freshman course > > on Latin American > > Nobel laureates, Mistral, Neruda, and Paz trump > > Garcia Marquez. The > > favorite classroom exercise is comparing multiple >> translations of a >> poem and producing our own version. Other >> undergraduate teachers >> report similar successes exploring language through >> poetry >> translation. I am fascinated to see the study of >> textual variants >> emerge from the crypt." >> >> i'm all for anecdotal accounts, and no doubt >> something is going on >> (against which i'd posit an oppositional >> factor)---but i scarcely >> know where to begin... even setting aside the >> obvious and inadvertent >> condescension here (to students, and to poets who've >> been performing >> their work for years), it sounds much as if a new >> species has >> arrived, or a new "freshman" species, or a new >> performative species, >> or--- >> >> best, >> >> joe, feelin cranky > > >__________________________________________________ >Do you Yahoo!? >Yahoo! Shopping - Send Flowers for Valentine's Day >http://shopping.yahoo.com -- -- ========================================================================= Date: Mon, 17 Feb 2003 08:46:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Re: Notes from San Francisco MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I can hear you saying enough already: ========================================================================= Date: Mon, 17 Feb 2003 06:06:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: mla newsletter... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I know even as I say these things there are people who will disagree. The larger issue for me is the marginalization of traditional forms which (I feel) require a different kind of discipline and are therefore a different art form. I am not saying rap is not valid, but I don't think it's the same thing. So, when people think "oh, this is poetry," I think it leaves out a lot of what is going on now for the sake of something more performed and more user-friendly. I also cannot bring myself to think of slams as poetry. My experiences of them have been image-based and they don't seem to focus as much on the content of the work as the flashiness of presentation. Again, an art form, but not what I think of when I think of poetry. I know art forms evolve, and how can I be a fuddy-duddy at 26? Who knows? Flora --- Maria Damon wrote: > i don't get it. why is rap not poetry? who is any > one person to say > what is and is not poetry? why the rigid > boundaries? > > At 10:31 AM -0800 2/16/03, flora fair wrote: > >Joe, > > > >I agree. I've been to some readings of the kind > he's > >referring to, and they come off more like pep > rallies > >and rap contests. It seems that Mtv is taking over > a > >medium that continued in other venues and never > died > >out completely. There are kids in school who > >understand poetry, but just like sports, it's not > for > >everyone. Turning it into something it's not, like > >rap, or hipster homecoming (e.g. the chick with the > >best piercing and most gratuitous use of the word > >"fuck" wins) fails the task. Namely, to draw > >connections between poetry and the modern art of > rap, > >but not to confuse one for the other. In a larger > >sense, poetry is swept up as an incidental activity > in > >the bohemian trend that's so popular now. > > > > > > > >--- Joe Amato wrote: > >> tom, corey, maria, others--- > >> > >> i tried to give some indication of what i found > >> annoying *in* my > >> post---foremost, pratt's preciosity (that > wedding > >> stuff---i felt like > >> i was listening to someone who'd just discovered > >> poetry AND hip-hop > >> AND urdu, and that someone is now president of > the > >> mla)... but also, > >> the cavalier presumption e.g. that one can offer > w/o > >> controversy what > >> the "premier poetry mag in the US" might be (is > >> pratt referring to > >> ~poetry~?)... > >> > >> but it's pratt's apparent surprise at the > presumed > >> "resurgence of > >> poetry," thanks e.g. to ~def poetry jam~, that > >> points up the > >> problem... here's another choice bit from that > >> piece: > >> > >> "We see the effects in our classrooms. Twelve > years > >> ago I instructed > >> students in a graduate seminar to memorize a > poem > >> and perform it in > >> class the next week. The assignment failed. No > one > >> had any idea how > >> to do this; no one had seen poetry performed. > >> Around the same time, > >> looking for poetry accessible to a freshman > culture > >> class, I fell > >> back on Whitman's ~Song of Myself~. Another > >> failure. They couldn't > >> understand it, students said. The had no > experience > >> reading poetry, > >> couldn't hear it in their heads. By the late > 1990s > >> that had changed. > >> The hip-hop generation comes into the classroom > with > >> ears adeptly > >> attuned to synergies of sound, image, meaning, > and > >> rhythm. They know > >> how to hear while reading and to comprehend > while > >> hearing. They > >> memorize long poems so that they can recite them > >> later, and recite > >> them they do. They compose and perform at one > >> another's birthdays > > > and graduations. These days in my freshman > course > > > on Latin American > > > Nobel laureates, Mistral, Neruda, and Paz trump > > > Garcia Marquez. The > > > favorite classroom exercise is comparing > multiple > >> translations of a > >> poem and producing our own version. Other > >> undergraduate teachers > >> report similar successes exploring language > through > >> poetry > >> translation. I am fascinated to see the study > of > >> textual variants > >> emerge from the crypt." > >> > >> i'm all for anecdotal accounts, and no doubt > >> something is going on > >> (against which i'd posit an oppositional > >> factor)---but i scarcely > >> know where to begin... even setting aside the > >> obvious and inadvertent > >> condescension here (to students, and to poets > who've > >> been performing > >> their work for years), it sounds much as if a > new > >> species has > >> arrived, or a new "freshman" species, or a new > >> performative species, > >> or--- > >> > >> best, > >> > >> joe, feelin cranky > > > > > >__________________________________________________ > >Do you Yahoo!? > >Yahoo! Shopping - Send Flowers for Valentine's Day > >http://shopping.yahoo.com > > > -- > > -- __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Mon, 17 Feb 2003 08:09:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: mla newsletter... In-Reply-To: <20030217140622.79097.qmail@web10006.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v548) Content-Transfer-Encoding: 7bit by your reasoning then I guess visual poetry is also not poetry? mIEKAL On Monday, February 17, 2003, at 08:06 AM, flora fair wrote: > I know even as I say these things there are people who > will disagree. The larger issue for me is the > marginalization of traditional forms which (I feel) > require a different kind of discipline and are > therefore a different art form. I am not saying rap is > not valid, but I don't think it's the same thing. So, > when people think "oh, this is poetry," I think it > leaves out a lot of what is going on now for the sake > of something more performed and more user-friendly. I > also cannot bring myself to think of slams as poetry. > My experiences of them have been image-based and they > don't seem to focus as much on the content of the work > as the flashiness of presentation. Again, an art form, > but not what I think of when I think of poetry. I know > art forms evolve, and how can I be a fuddy-duddy at > 26? Who knows? > > Flora ========================================================================= Date: Mon, 17 Feb 2003 06:12:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: mla newsletter... In-Reply-To: <763CF9C0-4281-11D7-BD10-000393ABDF48@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii People! It's an opinion, not gospel! Poetry is subjective by its very nature. I cannot help what I like. --- mIEKAL aND wrote: > by your reasoning then I guess visual poetry is also > not poetry? > > mIEKAL > > > On Monday, February 17, 2003, at 08:06 AM, flora > fair wrote: > > > I know even as I say these things there are people > who > > will disagree. The larger issue for me is the > > marginalization of traditional forms which (I > feel) > > require a different kind of discipline and are > > therefore a different art form. I am not saying > rap is > > not valid, but I don't think it's the same thing. > So, > > when people think "oh, this is poetry," I think it > > leaves out a lot of what is going on now for the > sake > > of something more performed and more > user-friendly. I > > also cannot bring myself to think of slams as > poetry. > > My experiences of them have been image-based and > they > > don't seem to focus as much on the content of the > work > > as the flashiness of presentation. Again, an art > form, > > but not what I think of when I think of poetry. I > know > > art forms evolve, and how can I be a fuddy-duddy > at > > 26? Who knows? > > > > Flora __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Mon, 17 Feb 2003 09:20:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: Report from Bangor ME Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Cold day for a march, around 7 degrees, but we got 500 people assembled at the Federal Building, then marched a loop through the downtown, and back to the Fed. MaJo wore a string of Tibetan prayer flags as a shawl, I had a navy watchcap with a roll of duct tape sewed to the top like a tiara. Every parade needs a Dadaist. I decided against words, for the same reason I'm not writing anti-war poems. All my poems are anti-war. Best sign I saw was worn by a girl of about 7 years, NO FIGHTING. That about sums it up. Peace and compassion for all sentient beings in limitless space. Sylvester ========================================================================= Date: Mon, 17 Feb 2003 09:31:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: mla newsletter... In-Reply-To: <20030217141242.20012.qmail@web10001.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" well that's fine, but you actually said "Turning [poetry] into something it's not, like rap, ... Namely, to draw connections between poetry and the modern art of rap, but not to confuse one for the other..." --there was no qualifying acknowledgement of relativism, or that one might be a subgenre of the other, or that you happen not to like rap...which, of course, doesn't make it "not poetry." At 6:12 AM -0800 2/17/03, flora fair wrote: >People! It's an opinion, not gospel! Poetry is >subjective by its very nature. I cannot help what I >like. > >--- mIEKAL aND wrote: >> by your reasoning then I guess visual poetry is also >> not poetry? >> >> mIEKAL >> >> >> On Monday, February 17, 2003, at 08:06 AM, flora >> fair wrote: >> >> > I know even as I say these things there are people >> who >> > will disagree. The larger issue for me is the >> > marginalization of traditional forms which (I >> feel) >> > require a different kind of discipline and are >> > therefore a different art form. I am not saying >> rap is >> > not valid, but I don't think it's the same thing. >> So, >> > when people think "oh, this is poetry," I think it >> > leaves out a lot of what is going on now for the >> sake >> > of something more performed and more >> user-friendly. I >> > also cannot bring myself to think of slams as >> poetry. >> > My experiences of them have been image-based and >> they >> > don't seem to focus as much on the content of the >> work >> > as the flashiness of presentation. Again, an art >> form, >> > but not what I think of when I think of poetry. I >> know >> > art forms evolve, and how can I be a fuddy-duddy >> at >> > 26? Who knows? >> > >> > Flora > > >__________________________________________________ >Do you Yahoo!? >Yahoo! Shopping - Send Flowers for Valentine's Day >http://shopping.yahoo.com -- ========================================================================= Date: Mon, 17 Feb 2003 10:35:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: FW: Artistic Sign Language Comments: To: Cafe-blue MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FYI Artistic Sign Language: Symbols of the Coming Bush Fall By Bernard Weiner The Crisis Papers Sign is symbol, symbol is sign. Consider: *Powell goes to the United Nations so that the missile attacks on Baghdad and Basra can begin -- and, in the lobby of that grand building, Picasso's "Guernica" painting, which depicts the horrific results of the Nazi bombing of that Spanish town, is covered over prior to Powell's arrival. No use embarrassing the U.S. by reminding folks of what's in store for Iraqi civilians. *Ashcroft, in his police-state zeal, begins shredding the Constitution's Bill of Rights with its guarantees of due-process of law, and, early on, has the huge lobby statue of the Goddess of Justice draped and covered over because of its exposed breast. How appropriate to shroud Justice so that she can't see what's being done in her name. *First Lady Laura Bush cancels a poetry workshop at the White House because she suspects that a number of America's high-profile poets, in the sacred grounds of that seat of power, will raise the issue of the coming war with Iraq. Did you notice the thread that unites these events? In all three cases, symbolic shrouds are placed over art, so that nobody will notice the bad things that are being done in American citizens' names. But art knows. Art sees beyond, often before the general public is aware of what's going on. (Often before the artists themselves are conscious of what they're revealing.) Art points us in new directions that make us think and question. To those inclined more to rigid-order mentality, art is a virus that needs to be stamped out, or, at the least, tightly controlled. ("When I hear the word culture," said Nazi leader Goebbels, "I reach for my revolver.") It's all part of the so-called "cultural civil war." Those who control the signs and symbols control the polity. Thus, minions are trotted out to denounce artists and their tendency to look for complexity, ironies, hypocrisies, hidden humor. To incipient fascists, the world is a Manichean one, divided into black and white, those who are Good and those who are Evil ("You're either for us or against us"). And since they are certain that God obviously favors their side, it follows that those in opposition -- or even (or especially) those who point the way to other visions of complex reality -- are part of the enemy forces and must be dealt with. One problem with authoritarianism -- whatever brand comes along: Stalin's communism, or Hitler's fascism, or Islamic Talibanism, or whatever we're moving into in America right now -- is that it makes art more delicious and tempting. The public is not dumb and eventually comes to figure out that the "truth" being propounded by the frightened rulers does not match the world most citizens actually live in. And so they begin to seek out and support art and artists and, most of all, comedians -- those sly artisans, those holy fools, that can shake the foundations of power with a well-aimed dart. Musicians, playwrights, poets, painters, sculptors, dancers, novelists, filmmakers, online satirists, comics -- everything these artists do in an authoritarian society comes to be seen by the public in the light of the repression visited from above. A story to illustrate this point: American avant-garde theater artist George Coates was invited to bring his visual extravaganzas to Poland during the dark times there. One of the huge slide projections used by Coates was of a manhole cover, which image covered the entire staging area. Various human forms emerged from the holes -- i.e., real actors came out of holes in the stage, but, given the projection, they appeared to be emerging from the holes in the manhole cover. The audience took this in with rapt silence and then a few brave souls began clapping. Then waves and waves of applause and cheering washed over the actors. Coates was mystified by the audience reaction. Audiences in the U.S. loved this bit of theatrical magic, to be sure, but nothing like this Polish crowd. After the show, various Polish theater artists came backstage to talk to Coates and his cast. They nudged Coates in the ribs and whispered their admiration for his willingness to confront the Polish Communist rulers by celebrating the "underground." Yes, what was merely an interesting use of a visual image for Coates was a cunning reference to the underground resistance of a budding Solidarity movement. After a few attempts at explaining himself, Coates simply smiled and nodded as the Poles heaped praise on his revolutionary "political" art. Art has power. Art unmasks. Art tells lies in the service of truth. (Whereas governments lie in order to conceal truth.) The more lies authoritarian governments tell their citizens, the more a sub rosa consciousness bubbles up from the culture's artists and then from its ordinary citizens. It's a slow-growing and, at times, dangerous movement -- which is why the forces of reaction try so hard to stomp on it -- but it is an amazingly strong and vital and resilient force. Because totalitarian governments rest on fake foundations, when those regimes fall, they fall with amazing quickness and ferocity. One day there's a wall, the next day it's torn down and the celebrations begin. One day there is officially sanctioned art, the next day those huge statues are toppled. One day, the culture arbiters and censors are in control, the next day they are in disgrace -- or in jail. Americans, still gripped by fear from 9/11, have tended to be in a state of animated numbness, putting up little resistance to the machinations of the authoritarian rulers. Similarly, out of great sympathy for the post-9/11United States, various nations around the world bowed to the wishes of the Bush government. Bush&Co., meeting little resistance, interpreted this relative lack of opposition as full support for their programs, foreign and domestic. And so they've continued to want more, tighten the screws more, reach and then over-reach for more. Their motto and guiding principle seems to be: "We can't be stopped, so let's just go take it all." Suddenly, though, Bush&Co. are running into overt opposition. Their allies abroad are telling them -- to their face -- that current American policies are mad, wrong, dangerous. More and more conservative allies at home are warning the Bush Administration that their dash toward imperial rule abroad and draconian Constitution-shredding at home is a violation of what America stands for, and will bring the United States (and, given the economic interweavings between nations, much of the world as well) nothing but disaster. The current U.S. rulers will not alter their course. It's war with Iraq, full speed ahead and to hell with the rest of you -- especially ignorant "old Europe," and American dissidents at home. It's a proposed extension of the so-called USA Patriot Act, to give the federal government even more martial-law-like police powers in controlling the society -- the "cover" is hunting for terrorists, of course -- and to hell with the protections guaranteed by the Bill of Rights. These Bush&Co. leaders are so arrogant, so rude, so greedy and power-hungry, so taken with themselves as God's mesengers and as the world's only Superpower, so convinced they are right in the tunnel-vision black-and-white world they inhabit, that it's clear their days are numbered. It may take a bit longer to build to critical mass -- and there is going to be death and destruction and persecution while that momentum is being built up -- but when the time for their fall arrives, it's going to be quick and nasty. And we'll finally all wake up from this nightmare that has crushed our economy, diminished our moral light in the world, disgraced our beloved Constitution and country. And at the vanguard of this movement away from the shadow America and back into the light will be our our poets, our comedians, our painters, our playwrights, our novelists, and so on -- "dangerous" artists all, even when they're not political. They simply see too much, too clearly. A toast to their hungry vision. ------- Bernard Weiner, a Ph.D. in government & international relations, has taught at various universities, served as theater critic for the San Francisco Chronicle, and written widely for progressive journals. He is co-editor of The Crisis Papers (www.crisispapers.org). ================ Hal "Life swarms with innocent monsters." --Charles Baudelaire Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Mon, 17 Feb 2003 09:34:16 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Nick, I don't feel strongly one way or another about blogs, and I don't begrudge anyone success. Up with the people. I simply agreed with Jim's observation that "right now they seem saturated with jism and self-splatter." That's a plain enough observation without getting too personal. Self-splattered, Aaron ========================================================================= Date: Mon, 17 Feb 2003 11:11:50 -0500 Reply-To: Diane Wald Sender: UB Poetics discussion group From: Diane Wald Subject: Re: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable this is brilliant. i'm keeping a copy of it to keep myself humble. i = might not always agree with every single word of jim's, but his overall = point is so important---as is his energy, as are his smarts. i'm not a = young poet, but even at my age---i guess since i'm not "famous"---i've = frequently been subjected to old-fogeyism, and have learned to be = grateful for whatever keeps me rebellious and myself. some years ago a = friend gave my first book to HIS friend, a "famous" poet advanced in = years. this famous old (male)(white) poet (who's still writing the = exact same kind of poem he wrote when he was 30) wrote directly to me = (who asked him to?) and said that during his internship with roethke = he'd learned all the things that were "wrong" with my writing, that i = should be "chagrined" to publish "a book like that," and that allen tate = would have told me "you could do better." pretty funny stuff. i keep a = copy of that one too. =20 keep ranting, jim. it's great for us to hear from you. diane wald ========================================================================= Date: Mon, 17 Feb 2003 11:47:17 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris McCreary Subject: the ixnay reader - benefit reading MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Please join us to celebrate the publication of volume one of the ixnay reader w/ a reading by: Marcella Durand & Frank Sherlock at: LaTazza 108 Chestnut St Phila PA on Saturday, February 22nd at 7:00 pm (or, let's be realistic, a bit later than that...) Volume one of the ixnay reader features new work by Allison Cobb, Frank Sherlock, Elizabeth Treadwell, Brian Lucas, Marcella Durand, Matt Hart, Ethel Rackin, & Brett Evans. Thanks much. Hope to see you there. Chris McCreary co-editor, ixnay press ixnaypress@aol.com www.durationpress.com/ixnay ========================================================================= Date: Mon, 17 Feb 2003 09:14:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: a few more lines from the NYC demo Comments: To: "Frost, Corey" In-Reply-To: <3E5018A8.4491FD1D@gc.cuny.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE And one from the SF demo: "A village in Teax has lost its idiot." On Sun, 16 Feb 2003, Frost, Corey wrote: > These colors don't run the world. > > Who would Jesus bomb? > > Guided missiles. Misguided leaders. > > Let's bomb Texas. They have oil too. > > Nous sommes Americains et nous ne voulons pas une guerre. > > Foreplay not warplay. > > Glam not war. > > William Safire sucks. > > [Bush says:] Dude! Where's my war? > > Thirty-odd Singles for Peace. > > Merci "Cheese-eating surrender monkeys" et Germany! > > > My experience at the demo was encouraging, for the record (in response > to some comments about the general feeling of the event). With regards > to the creativity of the marchers, I was not around for Vietnam so I > can't compare, but I was around for Gulf War I, and I was a bit saddened > to hear some of the same slogans we used 12 years ago, not because I > found the rhetoric antiquated but simply because of the repetitiveness > of history. Were 60's hippies more spirited/inventive/organized? I'd > have to say that, really, I don't care, but I find the attitude of young > demonstrators today amazing in that it is so cynical/jaded and so > energetic/optimistic at the same time. Lots of great puppets, funny > posters, sometimes absurd slogans =97 there's a very worldly > self-consciousness about it which I think is healthy for the > participants and the movement. Also, some people just don't like > chanting (me included), for good reason having to do with the importance > of individual thought. As for the police, my recurring impression was > that they were surprisingly friendly and good-natured, especially if you > compare their behaviour to that of the tear-gassing, clubbing riot > squads of the Summit of the Americas rally in Quebec in 2001, or > Seattle. I'm not saying that a little police oppression is okay, I just > find that accounts of demonstrations that focus on nothing but the > skirmishes between police and crowds are strangely myopic and > counter-productive. Rights may have been curtailed, but being asked to > walk on the sidewalk seems like a minor offense compared to, say, being > asked to sanction the bombing of innocents. All in all, I thought the > demo was an impressive success. > > -- > Corey Frost * 718-855-8042 * > 135 Plymouth St. #309A, Brooklyn, NY 11201 > cfrost@gc.cuny.edu > Bits World: www.attcanada.ca/~coreyf > ========================================================================= Date: Mon, 17 Feb 2003 09:17:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: a few more lines from the NYC demo In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Make that "a village in Texas." On Mon, 17 Feb 2003, MAXINE CHERNOFF wrote: > And one from the SF demo: "A village in Teax has lost its idiot." > > On Sun, 16 Feb 2003, Frost, Corey wrote: > > > These colors don't run the world. > > > > Who would Jesus bomb? > > > > Guided missiles. Misguided leaders. > > > > Let's bomb Texas. They have oil too. > > > > Nous sommes Americains et nous ne voulons pas une guerre. > > > > Foreplay not warplay. > > > > Glam not war. > > > > William Safire sucks. > > > > [Bush says:] Dude! Where's my war? > > > > Thirty-odd Singles for Peace. > > > > Merci "Cheese-eating surrender monkeys" et Germany! > > > > > > My experience at the demo was encouraging, for the record (in response > > to some comments about the general feeling of the event). With regards > > to the creativity of the marchers, I was not around for Vietnam so I > > can't compare, but I was around for Gulf War I, and I was a bit saddene= d > > to hear some of the same slogans we used 12 years ago, not because I > > found the rhetoric antiquated but simply because of the repetitiveness > > of history. Were 60's hippies more spirited/inventive/organized? I'd > > have to say that, really, I don't care, but I find the attitude of youn= g > > demonstrators today amazing in that it is so cynical/jaded and so > > energetic/optimistic at the same time. Lots of great puppets, funny > > posters, sometimes absurd slogans =97 there's a very worldly > > self-consciousness about it which I think is healthy for the > > participants and the movement. Also, some people just don't like > > chanting (me included), for good reason having to do with the importanc= e > > of individual thought. As for the police, my recurring impression was > > that they were surprisingly friendly and good-natured, especially if yo= u > > compare their behaviour to that of the tear-gassing, clubbing riot > > squads of the Summit of the Americas rally in Quebec in 2001, or > > Seattle. I'm not saying that a little police oppression is okay, I just > > find that accounts of demonstrations that focus on nothing but the > > skirmishes between police and crowds are strangely myopic and > > counter-productive. Rights may have been curtailed, but being asked to > > walk on the sidewalk seems like a minor offense compared to, say, being > > asked to sanction the bombing of innocents. All in all, I thought the > > demo was an impressive success. > > > > -- > > Corey Frost * 718-855-8042 * > > 135 Plymouth St. #309A, Brooklyn, NY 11201 > > cfrost@gc.cuny.edu > > Bits World: www.attcanada.ca/~coreyf > > > ========================================================================= Date: Mon, 17 Feb 2003 12:34:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: JohnPerl@aol.com From: Poetics List Administration Subject: New Book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This is to announce the publication of my new book, Legion Their Numbers, from Elamantations Press. Books are also available from the writer at $8. postpaid. You can contact me, John Perlman, at JohnPerl@aol.com. for further information. ========================================================================= Date: Mon, 17 Feb 2003 12:37:21 -0500 Reply-To: Bowery_Poetry_Club-feedback-24@lb.bcentral.com Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: The Bowery Poetry Club From: Poetics List Administration Subject: Baraka to Basque, Langston to Language: Bowery Poery Club "Serving the World Poetry" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable The Bowery Poetry Club 308 Bowery NY NY 10013 @ Bleecker, right across fr= om CBGB's F train to Second Ave | 6 train to Bleecker | 212-614-0505 Dear Friends, If you get this on Valentine's Day and are looking for great music, party= , relaxed fun, drop by the Club tonight. Raquay Danziger's got two sets a= t 8 & 9:30 -- her twelve piece band covers the world and guarantees lifto= ff; the Tribe of Djembe follows at midnight, funk and world, "Wear Red Pl= ease." We know what that means! (We do?) Sat., 2/15 leads off at 2pm with Jazz in the Afternoon, mellow sounds of = Shu-ni Tsou on ditzi (Chinese flute) and James McKinney on keys ($8). Seg= ue presents two young hotshots, David Cameron and Joanna Furman at 4 ($4)= , and then a special Frank O'Hara Happy Hour that will last to the amazin= g "Infusion," our biggest monthly party, with live hip hop poetry, art, a= nd (ahem) a free beer (Sam Adams) (10pm, $5). Sun 2/16 2pm: Shakespeare in Harlem, the glorious poetry of Langston Hugh= es (every Sunday at 2 in Black History Month, $15). World of Poetry prese= nts Basque poetry at 5: Kirmen Uribe, translations read by Elizabeth Mack= lin, Mikel Urdangarin on guitar ($5). At 8 it's time for Westside Rhyme, = poetry-music-mayhem in the fast lane -- read your own, hear the New. Shaw= n Randall and Karen Rockower, hosts ($5). Mon 2/17 Will this be the thrilling conclusion of WCW's Paterson? Laura W= illey invites you to find out -- and pick out the next epic read. Mac Wel= lman will lead Dixon Place in Exile: "Experiments & Disorders" at 7:30, d= a Bips will improvise at 9, and Janice "Girlbomb" Earlbaum and Sarah Fis= ch host their series "LIT!" at 10 -- Anne Elliott's on this week, hooray!= All these events are part of Bob Holman's Monday Free4All. Tues 2/18 Will Stephan Smith's "The Bell" become the Protest Song that St= ops the War? Pete Seeger thinks so. The release party for the CD will sta= rt at 7:30 -- it's free, and Stephan will perform. And at 9, the greatest= living metaphor of Freedom of Speech, Rick "Ride the Butterfly" Shapiro = will blast ($12). Beau Sia's "Whatever" follows -- this series of great m= usic, great poetry, gret chill vibe-aroonie, is the perfect way to cap of= f the night ($5, dj till 2am). Wed 2/19 Tune up your guitar at 7:30 for the Songwriters Syndrome ($5) - = Fernando Ferrer de Borincua is featured. The amazing jazz stylist Judi Si= lvano will bring us the poetry of Leanne Averbach in a rare appearance at= 10 ($10). Thur 2/20 Our weekly Urbana Slam rocks at 7:30 -- Mike Henry of Austin is= the Honored Guest Po. ($5) A new po-band from upstate, Galuminum Foil, w= ill play at 10:30 ($5), and then Rick Shapiro will riff till he drops (la= t week: 3.5 hours!) ($12). AMIRI BARAKA! and his Word Ship FUNKLORE! Next weekend, Fri-Sat-Sun, 2/= 21-2/23 -- two shows a night, 8 & 9:30 ($20/15). Reservations suggested (= 212-614-0505). =20 Celebrate Peace. Rest in peace, dear Zoe Angelsey. The Bowery Poetry Club308 Bowery NY NY 10013 @ Bleecker, right across fro= m CBGB's F train to Second Ave | 6 train to Bleecker | 212-614-0505 _______________________________________________________________________ Powered by List Builder To unsubscribe follow the link: http://lb.bcentral.com/ex/sp?c=3D18073&s=3DB2850521A9247B60&m=3D24 ========================================================================= Date: Mon, 17 Feb 2003 12:37:53 -0500 Reply-To: info@whiteboxny.org, info@whiteboxny.org Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: White Box From: Poetics List Administration Organization: White Box Subject: White Box presents Philip Pavia + Fritz Buehner at THE ANNEX MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; FORMAT=flowed Content-Transfer-Encoding: 8bit WHITE BOX at The Annex 601 West 26th Street, 14th Floor PHILIP PAVIA BLACK + WHITE MARBLES FROM THE LAST DECADE AND RELATED WATERCOLORS FROM THE 50’s & 60’S Opening reception – Saturday, February 15, 6 – 8 pm February 11th – March 1st, 2003 Curated by Juan Puntes White Box is honored to announce an exhibition of Philip Pavia’s Black + White Marbles from the last decade and related watercolors at The Annex. Pavia was the subject of a December 15, 2002 article in the Sunday New York Times that explored his tremendous contribution to the development of post-war abstract art in New York City. Pavia's career as a sculptor and his organization of "The Club" a forum where artists thrashed out the ideas surrounding Abstract Expressionism as well as his editing and publishing It Is a magazine of artists’ writing were honored in 2002 with a Distinguished Service to the Visual Arts award from Artists’ Equity. FRITZ BUEHNER: ON THE VERGE Wood carvings and photographs Opening reception – Saturday, February 15, 6 – 8 pm February 11th – March 1st , 2003 Fritz Buehner’s recent work reflects his ongoing fascination with the migration of homesteaders, suburban sprawl and Americana. This exhibition of works by Fritz Buehner includes carved wood sculptures of suburban homes and landscapes done from plastic scale models along with related photographs. Buehner carves his miniature worlds into tree trunks leaving one half of the tree as a stage. THE ANNEX gallery is free + open to the public 601 West 26th Street, 14th Floor Tuesday through Saturday / 11am – 6pm. Please contact the office for further information. Annex Telephone: 646-638-3785 ========================================================================= Date: Mon, 17 Feb 2003 12:38:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Bob Perelman From: Poetics List Administration Subject: poeme en paragraphs MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit WHERE WE ARE for Kerry Sherin We may not have chosen to live inside Dick Cheney’s mind, but we do. Wyoming, I read somewhere, is the safest place to live in North America. No tornados, no tsunamis, no earthquakes, no hurricanes, monsoons, cyclones, or floods. No major airport: no big planes crashing in the sleet. Not even much traffic: not too many car crashes. But if living Wyoming is so safe, living inside Dick Chaney’s mind, though it was formed in Wyoming and stood for Wyoming in the Senate, is not safe at all. How do you get from Wyoming to Shock and Awe? Getting from Love to Hate, that’s easy: Love, Live, Give, Gave, Gate, Hate. Love comes before life, and since newborns don’t survive on their own, life at the beginning involves giving. It can’t not: breast milk, protection, language, diapers made out of whatever, some sort of attention before you crawl or walk. Everyone living got some of that somehow. That gets us up to Give. Gave comes next because giving is tiring. You give and give and what thanks do you get? Nothing. Or worse. They think they’re entitled; they’re madder than ever: they sulk in their rooms, they’re sarcastic, they throw rocks. So much for giving. I gave at the office and, since they think they’re entitled and are madder than ever, the next logical step is to build a gate, which will keep things quiet at least. But as we know, gates creak at night, they leak, they break, in fact, gates concentrate whatever’s on either side, they distill hate. Love, Live, Give, Gave, Gate, Hate: Q.E.D. But getting from Love to Hate only sheds a little light on getting from Wyoming to Shock and Awe. Shock and Awe? “Shock and Awe” is the Pentagon’s current battle plan for Iraq: 300 to 400 cruise missiles the 1st day (more than in all of Desert Storm), 300 to 400 the next, to demolish water, electricity, communications, government buildings, roads, bridges, infrastructure in general; 6000 satellite guidance kits to convert so-called “dumb bombs” into so-called “smart bombs,” etc. “The sheer size of this has never been seen before,” a Pentagon official told CBS. “There will not be a safe place in Baghdad.” Harlan Ullman drew a direct parallel to Hiroshima: the Iraqi people will be “physically, emotionally and psychologically exhausted”; it will be “rather like the nuclear weapons at Hiroshima, not taking days or weeks but minutes.” A 1996 report elaborates: the point is “to impose [an] overwhelming level of Shock and Awe. . . . [to] seize control of the environment and paralyze or so overload an adversary’s perceptions and understanding of events that the enemy would be incapable of resistance.” This is Shock and Awe, remember, not Wyoming. But by the end it gets a little hard to tell them apart: overwhelming levels seizing control of the environment, paralyzing perceptions and understanding of events. That works for Wyoming and just about anywhere in the United States. That’s the problem with living inside Dick Cheney’s mind, whether we’ve chosen to or not. What’s the point of Shock and Awe? To free the Iraqi people. Problem: “No safe place in Baghdad” contradicts “To free the Iraqi people.” Rationale: Since the Iraqi people are enslaved inside Saddam Hussein’s mind that mind must be destroyed. That means destroying Saddam Hussein’s body wherever it is in Baghdad, which means brushing aside Baghdad to find him to free the Iraqi people trapped inside his mind. But dead people are only free in the most limited way. Not much bang for the buck there, really. Deeper rationale: Forget “free,” “love,” “give”: it’s an adult world. Shock and Awe is adult political theater for a world audience. To reach an audience that big you have to project. That’s the point of Shock, the sheer size of which has never, etc. Otherwise the audience won’t be struck with Awe. What’s the point of Awe? Awe kills two birds with one stone. For good Arabs, it inaugurates democracy, somehow. For no-good Arabs, Awe will . . . what? Awe will awe them into submission. Then things will be quiet outside the gate. I can hear Dick Chaney arguing that Awe worked at Hiroshima. But the Japanese people were at war with us, and Awe didn’t work outside Japan. The Iraqi people are not only not at war with us, we’re rescuing them from Saddam Hussein’s mind. And as for working outside Baghdad? Destroying it will awe Al-Qaeda? That’s a stretch. There are more Al-Qaedans in London or Berlin than in Baghdad. Maybe we should get Berlin first. No matter how big you make Shock, you can’t get to Awe. Even with a placid audience like the U.S. electorate, you can’t get there. Forget it, we’ll never know the exact route from Wyoming to Shock and Awe. Some combination of Gate, Hate, Oil, Worship of Force and Getting Reelected mixed together in Dick Cheney’s mind got us halfway there; and Shock and Awe is already halfway here: Here, Baghdad and Here, Wyoming. We’re half “physically, emotionally and psychologically exhausted”; our “perceptions and understanding of events” are half “overloaded.” But even half a mind is enough to do the math: we’re half capable of resistance. The shocks are huge, disgusting, realer than any hell, but at least they’re not shocking, once we give up our imaginary safety. The other half, Awe with its ersatz religious capital letter, we can resist right now, completely. The bombs are awful, all the worse because of the thoughtlessness that aims them, but they don’t deserve a shred of awe from us. Not a huge victory, but it does mean one weapon is destroyed, the one they always use first. [The Shock and Awe language comes from various web sites found on Google under “Shock and Awe”: The McLaughlin Group; World Socialist Web Site, etc] ========================================================================= Date: Mon, 17 Feb 2003 11:32:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Swift on War and Pride Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Apropos of Maureen Dowd's op-ed in yesterday's NYTimes, in which she bets her lot that war at present seems certain because of the Bush administration's testosteronic need to save face. What started out as avarice for oil has turned into carrying through as a matter of pride: fr "A Full and True Account of the BATTEL Fought Last FRIDAY, Between the Antient and Modern BOOKS in St. JAMES'S LIBRARY," aka "The Battle of the Books": WHOEVER examines, with due circumspection, into the annual records of time, will find it remarked that War is the child of Pride, and Pride the daughter of Riches:- the former of which assertions may be soon granted, but one cannot so easily subscribe to the latter; for Pride is nearly related to Beggary and Want, either by father or mother, and sometimes by both: and, to speak naturally, it very seldom happens among men to fall out when all have enough; invasions usually travelling from north to south, that is to say, from poverty to plenty. The most ancient and natural grounds of quarrels are lust and avarice; which, though we may allow to be brethren, or collateral branches of pride, are certainly the issues of want. For, to speak in the phrase of writers upon politics, we may observe in the republic of dogs, which in its original seems to be an institution of the many, that the whole state is ever in the profoundest peace after a full meal; and that civil broils arise among them when it happens for one great bone to be seized on by some leading dog, who either divides it among the few, and then it falls to an oligarchy, or keeps it to himself, and then it runs up to a tyranny. The same reasoning also holds place among them in those dissensions we behold upon a turgescency in any of their females. For the right of possession lying in common (it being impossible to establish a property in so delicate a case), jealousies and suspicions do so abound, that the whole commonwealth of that street is reduced to a manifest state of war, of every citizen against every citizen, till some one of more courage, conduct, or fortune than the rest seizes and enjoys the prize: upon which naturally arises plenty of heart-burning, and envy, and snarling against the happy dog. Again, if we look upon any of these republics engaged in a foreign war, either of invasion or defence, we shall find the same reasoning will serve as to the grounds and occasions of each; and that poverty or want, in some degree or other (whether real or in opinion, which makes no alteration in the case), has a great share, as well as pride, on the part of the aggressor. ========================================================================= Date: Mon, 17 Feb 2003 11:42:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: reading cancelled due to Blizzarde Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed G Gudding's and E Ochester's reading at KGB Bar is cancelled today due to a Severe Blizzarde. Providence, where I am at the moment, looks like the inside of a salt shaker. I am hearing New York looks like cocaine. Reading cancelled. ========================================================================= Date: Mon, 17 Feb 2003 10:20:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Notes from San Francisco Comments: To: Gloria Frym In-Reply-To: <11e.1e3f8911.2b81b4c8@cs.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I like your account, Gloria. Probably either one of us should have said something more bout the large to size "Guernica" carried high above the Walk. Held up on poles by four or five women, (produced by Robin Henderson and the Berkeley Art Center), the canvas' figures kept catching angles of sunlight between the buildings. Talk about "Shock & Awe" - definitely my kind - albeit tragic - a powerful, cold and compelling reminder of plans for the "Tomahawk" missiles aimed at the people of Baghdad. And refreshing to see Picasso back at work outside the context of high art, Museums, etc. I keep trying to figure out the pathological rational for an attack on Bagdad. Say 250,000 people are killed, and/or wounded and/or psychologically traumatized for life etc. Are Rumsfeld-Cheney-Rice-Wolflitz & Bush imagining that the "new Iraq" will celebrate these deaths and casualities as national sacrifices for the "rebirth" of democracy in Iraq? For a refreshing look at the new power of public opinion with which this Administration - if it is not totally pathological (nuts) - has to contend, there is a good article in the NY Times: http://www.nytimes.com/2003/02/17/international/middleeast/17ASSE.html The President of the Board of Supervisors in SF is Matt Gonzalez (not Max), a Green. My hope and suspicion is that Matt's political voltage went way up yesterday. I bet on a run for Mayor and more. He, too, is refreshing. Stephen V on 2/16/03 7:45 PM, Gloria Frym at GloriaFrym@CS.COM wrote: > I would add to these reports that in spite of a heavy storm last night, the > sun shone on and off and there was no rain. It was about 58 to 60 degrees > > Was packing a camera and part of a group handing out leaflets featuring a > defaced Guernica and text written by persons deeply involved in art. The > title is, "Neither Their War Nor Their Peace." One says to persons in the > crowd, as distributor: Political thought, not war, or, Reading material? > Marketing, something one doesn't know how to do, but it comes naturally with > the deepest feeling. Most accepted, some rejected. This is what a homeless > person might feel like if she asks for money and gets none. The covering of > art isn't insult enough. A good lesson. We might have passed out 5000 > broadsides among 15 of us. There were probably 300,000 taking geisha steps > up Market Street,, colorful and also ordinary citizens. There were kids > wrapped around light poles like vines, there was a pregnant woman with > writing and pictures on her naked very big belly, there were down's syndrome > people marching, there were the blind, the deaf and the dumb, the > wheelchaired and the steel crutched. Persons who had been in wars and said > so on their signs. A person one sees at many such events, and A REPUBLICAN > FOR PEACE, there was AN ORDINARY MODERATE FOR PEACE, there were more Asians > than Blacks, many elderly and many young, and many in between. Girls and > boys dancing, drums drumming, and some boys with primitve (almost earily > post-apocaplytic saxophones made out of straws and pcb pipes--beautiful > sounds, like way out jazz. When I said, hey you guys sound a little like > Rova Saxophone Quartet. They said, Oh We Love Them. What an honor you think > of us with them! They were about less than 20 years old. I said, Larry > Ochs. They said, yeah! > Some police smiled. As if given a flower in 1968, genuine, and this was > that. Several of my party and I stayed until the tail end of the march which > was followed by the clean up crew--marches are messy--police escorts, city > garbagemen and their machines with brushes and sprays. There was a scarcity > of trash receptables, as they are believed by the superstitious to be > potential bomb sites. > San Francisco has a leftist city council, headed by a man named Max > Gonzalez who goes to poetry readings and supports the Poetics Program at New > College and elsewhere. > > Here were some original signs spotted to add to Steve's: > > WE CAN'T LET THE WORLD BE RUN BY THE LOWER CHAKRAS: > bush, dick & colin > > > 911 IS A CALL FOR HELP NOT WAR (carried by a child) > > HOW DID OUR OIL GET UNDER THEIR SANDS? > > BLAME FLORIDA. > > And a very old man of about 90 on the BART with a sign: FUCK BUSH. > > At 12th Street in Oakland, on the way out of Berkeley--towards the tunnel > under the water to the first stop in San Francisco, The Embarcadero, where a > rally was to be held, near a grassy knoll--one of my California College of > Arts & Crafts students got on and threw her arms around me. The metal from > her bountiful piercings and neckware just about pierced me. But it was > great. Again, people were packed so close, you could have gotten pregnant. > > From your intrepid reporter, > G.Frym, Berkeley ========================================================================= Date: Mon, 17 Feb 2003 08:19:57 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: asses of evil, the only cure is to demonstrate hope & resistance Comments: cc: rwilson@cats.ucsc.edu In-Reply-To: <200302170511.h1H5B3h24972@mta01.hawaii.edu> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Materia poetica, poesis of the will to struggle... I take heart and joy from this demo sign in Melbourne downunder this weekend, deftly posited against the Bush 2 war- machine regime and its sleepwalking rhetoric of re-nuclearization and global terror/fundamentalism in (blind all-seeing) killer reverse: "Asses of Evil-- Bush Blair Howard" yes, Meaghan Morris et al, we share that conjunctive malaise; but there is also the splendid counter-geographical Fanonian plea on a magic-marker demo sign in SF street protests Sunday for a (new) new world order that really would be a change and relief for many: "USA-- OUT OF NORTH AMERICA" "The Santa Cruz Sentinel" today, under a photo of the same swarming SF demos, ran a helpful article for those sore-afflicted with Bush 2 regime, "Doctors Prescribe Protests for War-related Anxiety" (www.santacruzsentinel.com). The Sentinel, counter to the citizenry of Santa Cruz, is normally a right-wing newspaper, but even they must be fed up with this preemptive-strike war upon the globe in the name of the desert storm 2. The Sentinel did not quote Edward Said today on the massive demos as a global eruption to take hope in, but I will, even as the US we write our anti-war poetry inside pushes for new brands of war, insecurity states, rogue hostility, and everyday terror. Said writes, "But it is also a great and noble fact that for the first time since World War Two there are mass protests against the war taking place before rather than during the war itself. This is unprecedented and should become the central political fact of the new, globalised era into which our world has been thrust by the US and its super-power status. What this demonstrates is that despite the awesome power wielded by autocrats and tyrants like Saddam and his American antagonists, despite the complicity of a mass media that has (willingly or unwillingly) hastened the rush to war, despite the indifference and ignorance of a great many people, mass action and mass protest on the basis of human community and human sustainability are still formidable tools of human resistance. Call them weapons of the weak, if you wish. But that they have at least tampered with the plans of the Washington chicken hawks and their corporate backers, as well as the millions of religious monotheistic extremists (Christian, Jewish, Muslim) who believe in wars of religion, is a great beacon of hope for our time. Wherever I go to lecture or speak out against these injustices I haven't found anyone in support of the war." And Senator Byrd from the coalmines of West Virginia has become our Jeremiah railing agaist the Bush 2 terror-regime in a kowtowed and silences house and senate that want to sign on the dotted line and go back to sleelwalking market-time... basta, Rob Wilson, lines written somewhere between Honolulu and Santa Cruz ========================================================================= Date: Mon, 17 Feb 2003 12:57:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Swift on War and Pride In-Reply-To: <5.1.1.6.0.20030217112025.015aa360@mail.ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, Kissinger now warns that if the US does not push on into Iraq its credibility as a superpower will be lost forever, and we all know what a peace-lover he is. Hal "Political satire became obsolete when Henry Kissinger was awarded the Nobel Peace Prize." --Tom Lehrer Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Mon, 17 Feb 2003 13:39:15 -0500 Reply-To: Diane Wald Sender: UB Poetics discussion group From: Diane Wald Subject: reading announcement, massachusetts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Diane Wald featured reader..... There will be an open reading first. Come at 6:30 to sign up. "Fogey-free" poets of all ages and persuasions are MOST welcome to read! February 21, 2003 (Friday)=20 The Fuller Museum of Art=20 Brockton, MA (508-588-6000)=20 http://www.fullermuseum.org=20 7:00 p.m.=20 (directions on the museum's website) ========================================================================= Date: Mon, 17 Feb 2003 11:35:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Notes from San Francisco In-Reply-To: <6.a5c2e9b.2b8241b0@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >I can hear you saying enough already: Who, me? -- George Bowering None of his gadgets work Fax 604-266-9000 ========================================================================= Date: Mon, 17 Feb 2003 14:57:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Version 4.0 online now (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=iso-8859-1 Content-Transfer-Encoding: QUOTED-PRINTABLE ---------- Forwarded message ---------- Date: Mon, 17 Feb 2003 10:55:36 +0100 From: ViolenceOnlineFestival Reply-To: ViolenceOnlineFestival To: Alan Sondheim Subject: Version 4.0 online now PRESS RELEASE Violence Online Festival v.4.0 www.newmediafest.org/violence *********************************** Version 4.0 of Violence Online Festival is launched on 17 February 2003 on occasion of the participation in "New Media Nation - Festival of Festivals" 20-22 February 2003, Bratislava/Slovakia www.nmn.sk !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! *********************************** summary: Violence Online Festival is a New Media art project reflecting the phenomenon of "Violence", curated, organized and created in Flash by Agricola de Cologne, curator and media artist operating from Cologne/Germany. As an ongoing project Violence Online Festival is developed for being presented in future in the framework of physical and virtual media festivals and exhibitions. For each event a new project version will be created adjusted to the actual needs including additions of new artists/works and other changes. *********************************** Version 4.0 of Violence Online Festival includes works of following new artists: Wilton Azevedo, Peter John Sprenkeler, Luigia Cardarelli Robert Kendall, Pighhed, Alan Sondheim, Kenji Siratori re:combo, user (ctrl), Geoffrey Thomas, Lewis LaCook, dlsan, Luc Fierens, Carla Della Beffa, jimpunk, LISA HUTTON AND MARK POLISHOOK, loy, Luther Blisset ALEJANDRO GOMEZ TOLOSA, Johannes Finke, Gaby Bila-G=FCnther, x mac dunlop, Sadiq Bey, Michael Sellam, Juan Del Gado, Christina McPhee Violence Picknick Basket contains most of them! *********************************** introduction: The human character contains both a light and a dark side, good and bad, individually manifested. Deeply rooted is a dark-sided element: Violence. In happy surroundings, it becomes hardly visible and in less happy surroundings - either of a physical, psychological, environmental, ideological, economic or political nature - nearly automatically a kind of survival strategy with all the known consequences we see manifested in conflicts on a small or large scale. Violence is present anywhere, hidden or sleeping, hesitating, waiting or in action, starting from simple mobbing via verbalor physical attacks, the bandwidth has no end. Nowadays, globalization, social injustice, unemployment, increasing wealth on one side and on the opposite increasing poverty (without mentioning some causes) produce a climate where violence has a fertile soil. From the attack on 9/11 in the USA, people from the Western civilization became painfully aware that security of any kind is a mere illusion; not only the internal, but also the external enemy is present anywhere. Artists are said to be the consciousness of a nation or society as they reflect the actual state of the psychological and physical environment. When this state is penetrated by violence, nobody is surprised that violence becomes a universal subject for artistic reflection, the differenc= e may only be the view on it and its perception depending on the respective cultural background. 'Art and violence both seem to stem from the abstract: that place beyond logic, the realm of the emotion. When they intersect we are simultaneously repelled and attracted, frightened and excited. Historically this meeting has been wrought with complexity, and as cultural violence in every society increases, we are prevented by paranoia, censorship and ethical demands fro= m asking, and sometimes even posing, some of the most important questions violence and art together and separately produce: how is violence represented, and what or how much of it do we need to resist the cultivatio= n of fear and the encouragement of dependency? Is violence a tool, a process or a result? When are artistic portrayals of violence justifiable? As intellectual exercise, ritual, or spiritual enhancement? For other purposes= ? Or are they never justifiable? Is violence in art an action, reaction, or reflection? ' (quotation: festival statement). How different the results of an artistic reflection can be is shown through the Violence Online Festival, a New Media online exhibition project curated and organized as an individual event by Agricola de Cologne including more than 150 artists from 30 countries presenting their work. It forms a dynamic collaborative art work presenting very individual visions and use of media. The relevance of violence becomes visible also through the high quality standard of all the included works. Each of them represents another aspect of violence - caught in textual poetry, running as a video or embedded in an interactive environment of a net-based art work. In reaction to the key role (mass) media plays by displaying and even promoting violence, a new environment (interface) has been created for Violence Online Festival, which houses and hosts the art works within a virtual medi= a company named "Violence Media Incorporated". By dividing the company into different departments (eg. "Violence for Happiness" , "Violence Marketing" or "Violence Broadcasting")= , it becomes clear that their meaning has a rather ironic or sarcastic character, which gives the embedded art works a new meaning. While surfing through this environment, the visitor is forced to ask and give answers, and becomes slowly a part of this network of art through his reflections and changes of perception. ************************************** The list of all 200 participating artists in Version 4.0 of Violence Online Festival can be found on www.newmediafest.org/violence as well as the latest call for submissions for the feature "WAR!!" to be included in Version 5.0 ************************************** Visit this dynamic exciting show. There are optional following accesses: direct: www.newmediafest.org/violence but also www.newmediafest.org and www.a-virtual-memorial.org ************************************* Violence Online Festival on Rhizome Artbase: http://rhizome.org/object.rhiz?7503 Presentations: * Version 1.0 : Online part of Violens Festival T=E1bor (Czech Republic) 17= - 31 August 2002 * Version 1.1 : Featured Project in September 2002 on A Virtual Memorial www.a-virtual-memorial.org * Version 2.0: Computer Space Festival 2002 Sofia (Bulgaria) (18-21 Oct 2002) and Liberarti Festival /Liverpool Biennale 2002 (10 Oct - 01 Dec 2002) *Award: Special Prize of Computer Space Festival Sofia (Bg) *November 2002 feature/review on faf - Fine Art Forum http://www.fineartforum.org/Backissues/Vol_16/faf_v16_n11/reviews/reviews.h= t ml *Version 3.0: "e-magic - New Media events" 43rd International Filmfestival Thessaloniki (Greece) 12-16 November 2002 http://www.filmfestival.gr/2002/emagic/uk/emagic.html Reviews on: Neural.it, Random, NOEMA, El Pais, FineArtForum etc. Preview: Version 5.0 will be launched on 17 March on occasion of the participation in Videoformes - 18th International Video and Multimedia Festival 20-23 March 2003 ************************************** technical requirements optimized for VGA resolution 1024x768 PC Pentium III 600 Mhz or better or comparable MAC Soundcard, recommended 56K or 64K modem or faster, browsers: MS Internet Explorer 5.5+ or Netscape Navigator 6.0+ Players/Plug-ins: essential the latest Flash 6, Shockwave, Real Player, Quicktime *************************************** copyright: Violence Online Festival www.newmediafest.org text, conception, programming, visalization curator, organizer =3D Agricola de Cologne - *copyright =A9 2002-2003 . All rights reserved. *copyright =A9 of all art works of the participating artists hold the authors or owners. NewMediaArtProjectNetwork - the experimental platform for the arts in Intenet is founded and created by Agricola de Cologne. copyright =A9 2000-2002 by Agricola de Cologne. All rights reserved. **************************************** Special thanks to: Fatima Lasay - DMF2002 Festival/University of the Philippines http://digitalmedia.upd.edu.ph/ Nisar Keshvani editor-in-chief, fineArt forum =3D art + technology netnews http://www.fineartforum.org **************************************** contacts: Press press@newmediafest.org Violence Online Festival violence@newmediafest.org *********** ========================================================================= Date: Mon, 17 Feb 2003 15:12:06 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Sorry for error MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Sorry - note re notes from SF was in error - i was forwarding those to my son in SF, and was addressing him in, as they say, jest. Charlotte M ========================================================================= Date: Mon, 17 Feb 2003 13:27:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: asses of evil, the only cure is to demonstrate hope & resistance In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" rob, hey, said's right, and i'd say preemptive wars demand preemptive protests... best, joe ========================================================================= Date: Mon, 17 Feb 2003 15:49:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Re: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA Mime-Version: 1.0 Content-Type: text/plain; format=flowed This reminds me of the letter (reprinted in Granary book's collected heliczer) from Robert Graves to piero heliczer: Thank you for the poems. In absence of a guiding metre ( not strict, but a norm on which to make your personal variations), I wish for a music which would fix them permanently on the mind; as it is, they read to me like translations of poems from a foreign language which I would like to understand. Forgive me. Robert Graves Canellun, Mallorca. March 7,1958. In my mind, "like translations of poems from a foreign language which I would like to understand," is a huge complement. Not to mention the fact that poets like Allen Tate and Robert Graves hold pretty much no currency nowadays. I just finished reading Diane Wald's (hello Diane!) The Yellow Hotel and thought it was a wonderful book precisely because it was so subtly and completely its own thing: quiet, personable, unpretentious and uniquely able to infuse the domestic landscape with real emotion, rather than the solipsistic dribble of a lot of poetry that tries and, in my mind, mostly fails. Jim, I enjoyed reading this and appreciate the consistency with which you're always unafraid to articulate a position. It might seem like a small thing, but I think doing that (articulating a position that is) is something a lot of us are guarded against: it opens one up for attack (ugh! more war metaphors again). As a young poet (27) I've come to realize that I'm not writing in order to seek favor/acceptance/validation from those already established, rather that I'm writing within a community of MY peers, my friends etc. (which is what I feel the whole language thing was about, creating a context for one's work, creating a community as opposed to waiting for that community to accept one) That's what I think is so great about what Jim's doing with his reading series and canwehaveourballback etc. (I live two hours from Boston, where Jim does his great reading series, but I try to make it out as often as I can.) The poetry that is most important to me is being written by my friends! Here's to moving out of the shadows and making our own!!! PS: snow snow snow --Noah Eli Gordon >this is brilliant. i'm keeping a copy of it to keep myself humble. i > >might not always agree with every single word of jim's, but his >overall >point is so important---as is his energy, as are his smarts. >i'm not a >young poet, but even at my age---i guess since i'm >not "famous"---i've >frequently been subjected to old-fogeyism, and >have learned to be grateful >for whatever keeps me rebellious and >myself. some years ago a friend gave >my first book to HIS friend, >a "famous" poet advanced in years. this >famous old (male)(white) poet >(who's still writing the exact same kind of >poem he wrote when he was >30) wrote directly to me (who asked him to?) and >said that during his >internship with roethke he'd learned all the things >that were "wrong" >with my writing, that i should be "chagrined" to publish >"a book like >that," and that allen tate would have told me "you could do >better." >pretty funny stuff. i keep a copy of that one too. > >keep ranting, jim. it's great for us to hear from you. > >diane wald > ________________________________________________ "I like Man Ray. But do I enjoy it?" --Nick Moudry _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Mon, 17 Feb 2003 14:14:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Notes from San Francisco In-Reply-To: <2C877DF4-4215-11D7-96B6-0050E4604912@mindspring.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The aerial bombardment campaign Bush plans is called "Shock and Awe." But I think the lunatics in DC are now the ones who feel "shock and awe" -- how surprised they must be to witness the huge movement rising around the world to oppose the New Roman Empire. I marched in SF, and I was inspired by the creativity and passion of so many ordinary people, and I'm excited to read about the all the actions reported on this list. All during the weekend I heard right-wing pundits on TV acknowledge that world opinion is against the war and that world opinion is a force to be reckoned with. The NY Times quips that there are now two superpowers, the US and world opinion, comparing the world revulsion to Bush's war brain to the 1989 Eastern European uprisings and even to the revolutions of 1848. So, this is a taste of a different type of "globalization," one we used to call "international solidarity," except this time people around the world are in solidarity with each other, since we are all potential victims of Mad Cowboy Disease. Now all sorts of small and large ways can make this "world opinion" into a material force, and even if the lunatics go ahead with their war, we have hope. Hilton Obenzinger ========================================================================= Date: Mon, 17 Feb 2003 14:34:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brigitte Byrd Subject: Tallahassee, protest and Billy Collins MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii There was also a protest in Tallahassee, FL. It was not very large, and the most effective banner might have been "Who would Jesus bomb?"! We did not walk either, rather we stood on each side of Monroe Street, which leads to the Capitol. The police did not even show up. This was particularly interesting for me, as my only other experience of demonstrations is a French one. As one event leads to another, Billy Collins happens to read in Tallahassee, today, and earlier on, when asked the hot question about the involvement of poets into politics, he said that "poets against war is like generals for war," which was very funny, at first! I'm not sure it is very accurate though, as I have noticed among the mainstream poets a certain disdain toward any attempt to be even slightly "political." This said, Billy Collins eventually reminded the audience of his recent declaration against a war at this point and went on with his presentation. Brigitte Byrd __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Mon, 17 Feb 2003 14:45:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crag Hill Subject: 5 of Spades MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 5 of Spades He spoke with the leaders of Pakistan, Spain, and India today, juggling condolence calls If the rousing truce could spike, wrecks could tell and rails could race their horizons, they truly would till the forge of bleak shoulders hoarding sparks "The shuttle is a workhorse instead of a chariot, supporting endless microgravity experiments and, lately, making supply runs to the space station, another apparatus that orbits forever and goes nowhere" "Nothing was spoken as the car glided silently across the prairie, its shadow growing and shrinking, absurdly deformed, finally swallowed by the earth's umbra. It was then that I felt it well up, the panic and overwhelming pain, and I began" We preferably wouldn't have appended the heather anyway. I have this story about lies and gills and lives of fear and that's kind of stiff. You need, and maybe want, different hinges for the different terms in your love, and you go aground, hooking somebody to sift The destruction of America is being planned, soft targets revved up. The needle tears a hole, but I remember everything. We have to add up all the photographs. The bottom line: let's not be sheep. They're using our freedom against us. Report any thing suspicious, go about your business and prepare, full of broken thoughts, anguished British content in reverse "What seems dangerous often is not - black snakes, for example, or clear-air turbulence. While things that just lie there, like the beach, are loaded with jeopardy. A yellow dust rising from the ground, the heat that ripens melons overnight - this is earthquake weather. You can sit here braiding the fringe on your towel and the sand will all of a sudden suck down like an hourglass. The air roars. In the cheap aprt- ments onshore, bathtubs fill themselves and gardens roll up and over" ========================================================================= Date: Mon, 17 Feb 2003 15:36:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Flaneurism/ A refresher In-Reply-To: <11e.1e3f8911.2b81b4c8@cs.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Somebody asked who I walked with - I said Flaneurs Anonymous, Inc. They asked me to define "Flaneur", I found this brief, but good Baudelaire/Benjamin refresher: http://www.eng.fju.edu.tw/Literary_Criticism/postmodernism/postmo_urban/flan eur.html#source Bye, S ========================================================================= Date: Mon, 17 Feb 2003 18:32:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: Announcing: E-Poetry 2003 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable E-Poetry 2003 An International Digital Poetry FestivalWest Virginia University, Morgantown April 23-26, 2003 It is our pleasure to announce E-Poetry 2003: An International Digital=20 Poetry Festival, the second event in the acclaimed E-Poetry series=20 inaugurated in Buffalo in April 2001. E-Poetry is a series, directed by=20 Loss Peque=F1o Glazier from the University at Buffalo, which provides an=20 artist and practitioner-oriented series of events in the spirit of some of= =20 the early poetry festivals, such as the Vancouver Poetry Festival, 1963,=20 and the Berkeley Poetry Conference, 1965. The series allows artists the=20 opportunity to engage the state of their art and to advance its=20 possibilities through dialog, performance, and peer interaction. We are doubly pleased to announce the host institution for this year's=20 event, West Virginia University in Morgantown, WV. In collaboration with=20 E-Poetry 2003's co-director, Sandy Baldwin, we are planning a rich and=20 varied three and a half days of digital poetry, conversation, and=20 artist-oriented scholarship, in the inviting setting of West Virginia.=20 E-Poetry 2003 extends the frontiers opened with E-Poetry 2001, adding=20 numerous new voices and engaging new visions to the festival. This year's=20 focus is on the "poetry" in "E-Poetry". Please mark your calendars and plan to attend this event! Morgantown is 5=20 hours from Buffalo, 1 hour from Pittsburgh, 3 hours from Washington DC, and= =20 5 hours from New York City. We recommend you find the best airfare=20 available to Pittsburgh. Inquiries and proposals may be sent to the organizers at the e-mail=20 addresses below. All participants must register to attend E-Poetry 2003 by= =20 April 1, 2003. A link to the registration form will be provided on the=20 E-Poetry 2003 Website by February 25th. Plan to join us in Morgantown to celebrate this next articulation of the=20 potentials of E-Poetry! Loss Peque=F1o Glazier, E-Poetry Director (glazier@buffalo.edu) Sandy Baldwin, E-Poetry 2003 Co-Director (charles.baldwin@mail.wvu.edu) E-Poetry 2003 Website: http://epc.buffalo.edu/e-poetry/2003/ Loss Peque=F1o Glazier, Dept. of Media Study, SUNY Buffalo and Sandy= Baldwin,=20 Dept. of English, West Virginia University Co-sponsored by the Electronic Poetry Center (SUNY Buffalo) and the Center= =20 for Literary Computing (WVU) ========================================================================= Date: Mon, 17 Feb 2003 18:47:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Lytle and Emilie in bondage? Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable The following story was posted on www.nationalphilistine.com. ***** February 15, 2003 (NEW YORK CITY) =96 Artist Emilie Clark and writer Lytle Shaw were arrested= =20 for posting pictures of people from Baghdad in Soho late Thursday night.=20 Both have been released. A court date has been set to prosecute the two for= =20 showing New York City the people who will die in a possible war against= Iraq. Clark and Shaw were members of the Baghdad Snapshot Action Crew. Based in=20 New York City, the crew of 75 artists and activists began posting simple=20 flyers with pictures of ordinary Iraqi citizens around New York City, in=20 anticipation and solidarity of the February 15th anti-war rally. The pictures were taken by artist Paul Chan, who recently returned from=20 Baghdad as a member of the Iraq Peace Team, a project of the Chicago based,= =20 Nobel Peace Prize nominated activist group, Voices in the Wilderness. Clark and Shaw were taping the letter sized flyer on a lamppost at the=20 corner of Mercer and Prince Streets when three undercover policemen=20 arrested them. They were charged with criminal misdemeanors. Shaw was=20 released after five and a half hours. Clark spent seven hours in jail=20 before her release. Clark is pregnant with her first son, and is expecting= =20 this Spring. The arrests were a clear attempt by the police to intimidate New Yorkers to= =20 stay away from the protest. =93If there wasn't a march on Saturday we=20 wouldn't have been arrested.,=94 Shaw said. While in custody, police= harassed=20 Clark and Shaw with talk about how dangerous the rally will be. =93They kept= =20 saying how mace was going to be used on all the protesters,=94 Clark said.= =20 =93And then they said they had heard suicide bombers might attack the= rally.=94 What was most disturbing to Shaw was how the cops tried to justify their=20 actions against the two. "They tried to appeal to us sentimentally," Shaw=20 said, "as though the repression they were enacting was really in our best=20 interest." "They wanted to send a message that we should stay home because it [the=20 protest] was dangerous, and they didn't want to see us hurt." The court date is set for March 13. Baghdad Snapshot Action ========================================================================= Date: Mon, 17 Feb 2003 15:59:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Flaneurism/ A refresher In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Steve: What came up was the error message "not found," which I thought was perfect. Mark At 03:36 PM 2/17/2003 -0800, you wrote: >Somebody asked who I walked with - I said Flaneurs Anonymous, Inc. >They asked me to define "Flaneur", I found this brief, but good >Baudelaire/Benjamin refresher: > >http://www.eng.fju.edu.tw/Literary_Criticism/postmodernism/postmo_urban/flan >eur.html#source > >Bye, >S ========================================================================= Date: Mon, 17 Feb 2003 19:21:57 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Flaneur MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Two fairly diverse views of the flaneur: http://home.vicnet.net.au/~claynet/flaneur.htm http://www.stillpointfarm.net/Flaneur.htm ========================================================================= Date: Tue, 18 Feb 2003 10:50:39 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAY DREAMS 365 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAYDREAM |dream| 911 000 |dream| |dream| |dream| 911 |dream| |dream| |dream| 000 |dream| |dream| |dream| |DREAM| |dream| |dream| 000 |dream| |dream| |DREAM| 000 |dream| |dream| |dream| 000 |dream| |dream| |dream| 911 911 |dream| 911 |dream| |dream| PEACE in duct tape JFK www.poetinresidence.com ========================================================================= Date: Mon, 17 Feb 2003 16:56:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Etel Adnan & Brenda Iijima at SPT, 2/21 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic presents Etel Adnan & Brenda Iijima February 21, 2003 at 7:30 PM It was a rare pleasure to have Etel Adnan read at SPT last year on International Women's Day, at the release party for our anthology Technologies of Measure: A Celebration of Bay Area Women Writers. We are so pleased to have her back for a full reading now. Adnan was born in Beirut in 1925 and is the author of numerous books, including Paris When It's Naked, Of Cities and Women, and Sitt Marie Rose, which has been translated into over ten languages and is considered a classic of Middle Eastern Literature. Adnan currently divides her time between Lebanon, Paris, and the Bay Area. Like Adnan, Brenda Iijima is a visual artist as well as a writer. She hails from New York City where she creates gorgeous handmade books. She is the author of several chapbooks of poetry including, In a Glass Box (Pressed Wafer, 2002) and Person(a) (Portable Press, 1998). "I see /you staunchly." For a preview of Iijima's work, both textual and visual, check out theeastvillage.com. All events are $5-10, sliding scale -- free to SPT members, youth under 18, & the CCAC community -- and begin at 7:30, unless otherwise noted. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of Arts and Crafts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) (please see our website for directions & map.) Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 ========================================================================= Date: Mon, 17 Feb 2003 18:05:58 -0800 Reply-To: solipsinaut Sender: UB Poetics discussion group From: solipsinaut Subject: A Game of Triumphs MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Based on the Story of the Three Triumphs of Cupid, Death, and Eternity Let Red Bagatino, if lye-squid, for the aisle-frost hollers. Fist the Delphic prune array! Knock its head off with a battering Ham! Subfusc nomenclature worms enwrap the imaging force. The Visconti-Sforza cards softly clap to the preawakened calendar heads, some cine'caste sleepers bellowing their begging troupe-lap-doors. (mistaken form/data associations). when gleams with white lighthouses, totempoles, great glowing stone hands each like a beacon where the fountains of dancing humanity roil and burst in chaotic joy, sputtering diamonds scattered through the swiveling tooth doors, clumsy swaggering anglerfish, central-axled, ballooned into the permanent green of the empty mind. but all along there are traffic statistics barnacled with howls and ice- machines (a froth of eyes in musical copulations) and then a vast rummaging, (Fagin in his hilltop estuary, nose prettier than a deer (empty green again) for its cliche' and rock for the throats of those who feed for a purpose to weep when wincing at the memory which would but never did but done in saying went FIVE FAIR frog fingers naping the faggoted ruminant's dung-rags.. Dick Swiveller or wishing this a fog- plume turned sour by the tallowed ears of sophist Guglielmites, a retiring sound-fool sneaking gleefully into a black paper pyramid smeared in the irony of prestigious captives whoooooooooooL "return" (ool ool ool ool ool ool) [these are the cards turning in the heavy water] Bubo Bubo hold fast in methek curdling-stones, when bright and niggardly patience beckons like the ruddy dolphin of apollo, papollo, pall-pollo, ape-o-papa-polio then ferns of all cloth and the wild serotina of border on border, nickelent, Hordeum Vulgare to Sking offal foolery dances in witch-cream flying your crenate breaded baskets unclump soft weasles where the complexion of a poly-tickling will end, bice borne of bone and biddled with bald turnips two spare ween these victorious cupids pulsing lemonade cannons through pompeiian harmonica frescoi paint for a peeling of history clothed in its own calloused and lunar bowells, this foetal parrot looks all tarocchi trumps and bittersnipped clomping dales nervous between the grains of mist and finds a runny landsworth tieing, humsnutchered bullsnort, the glass we shaved from its tidal tonsils was fever its empty green magnets for scores of years in endless lack of knowing, Castle of Wasabi, the hellmouth seen through translators buckles, grief as wet stern. the knowing was thin here, when all the thickness consumed. the haggard presyntactical fish-legged yet mammalian vivre-pope wed to an electric dummy with steel yodeling balls, what secret calligraphy lies on its mirrored iris, a bucket of milk stands in for a galaxy when the bulk was all known, then, even then a poor beginning for the freedom on nonchalant charivari va I Trionfi fact cave slept loudly at the billion plus sun door emptiness Most impudent of all, empty green Eternity is put on a level with the other triumphs instead of being unnumbered and left "out of this world" not a hard groan, deathfathertimehermit but settling dust where the orange skull was painted pretty by foot rotten gleeman torque, bustling jewelry of tongues settling forever in sediments which rode the history caravan ticklike singing clouds of rustic pennies, HOVERING CITIES, I AM A YOGI WHO DRINKS BEER constructions of bubbles resembling the holy fires of erebus canned in pop-silver-cum-slurping-cobblestone-arcades, then this baubled with terrible unguents, all smeared dusted with red trepanations and giddy with tiresian liver pates.. whom glued this orchis tacked with listless and perfect taxonomy to disease we bred as holey countenance named currency could not be dissolved by good will the radiant ocean died on our victory. well we did it charmingly and all the bright gelatin in mercury octopi like a vehicle where song lumps up and colors tin rugged amber for akashic cooling towers, vile apartments swimming towards the moon ramming hortus.. Petrarch slaps this face again when the lamprey vest shucks its alien cine' dabloons. clamp asp to transparent breast filled with human tadpoles in exploding wigs. "rough music" reflux: I all of could orchis dusted wishing sound-fool done or of cave of the secret was hard and (empty clouds turnips with lye-squid, in the memory end ========================================================================= Date: Mon, 17 Feb 2003 22:00:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring Training... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Amiri for Saddam ========================================================================= Date: Mon, 17 Feb 2003 22:09:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: The Secret Life of Pronouns Comments: cc: "James W. Pennebaker" , Ron MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I just finished reading (even though not completely digested yet) a fascinating new article by Jim Pennebaker (who was involved in some recent research on suicide and writers) that I think has implications for recent discussion of psychology, spirituality, and writing and....("The secret ife of Pronouns: Flexibility in Writing Style and Physical health, Campbell and pennebaker, _{sychological Science, 14:1, january, 2003, 60 -64.). Briefly, they use Latent Semantic Analysis to study the 'junk' words in writing samples rather than the content words. Oh no! Langpo and materiality and style and science all in one article. Their specific conclusion here, that variation in pronoun usage (point of view possibly) in writing is healthy than being stuck in a rut will hopefully be subject to further research in the next few years, but the methodology might be worth looking at even though it's that nasty hard science stuff we don't like to dirty our hands with[****, trapped by grammar again]. Would like to see an analysis of the pronouns of the poets against the war and presidential rhetoric, but am curious whether this has been used by teachers of writing? tom bell (Psy.D., for a day and not yet a crazy old man ========================================================================= Date: Mon, 17 Feb 2003 20:40:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pete Balestrieri Subject: Hey, List! RE: Jim Behrle Forgets His Heroes: SPT speech 2/15/03 SF, CA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Listen! Jim Behrle speaks for me and a lot of the people I know and respect. I, too, have reached the point where I can't respond to elitist bullshit with civility any longer. I urge the List to READ Jim's speech and take it seriously. If you find Jim's rhetoric too ad hominem, fuck off. Pete __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Tue, 18 Feb 2003 07:10:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Palma Subject: Images of Saturday's Peach March on Hollywood Blvd Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Pretty amazing photo - the aerial view at http://la.indymedia.org/news/2003/02/29557.php Corpus Delecti http://la.indymedia.org/news/2003/02/29733.php other views on the march at http://la.indymedia.org/news/2003/02/29563.php 50-80 black block protesters in jail... ____________________________________ Christine Palma "Echo in the Sense" - Poetry, Prose, Performance - Cultural and Public Affairs Programming KXLU Los Angeles - 88.9 FM Saturday Evenings from 8 to 9 PM **streaming live - www.kxlu.com ** "Take a step into the sublime. . ." ========================================================================= Date: Tue, 18 Feb 2003 06:23:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: mla newsletter MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii MARIA:i don't get it. why is rap not poetry? who is any one person to say what is and is not poetry? why the rigid boundaries? LL: better watch it, that thinking will make you a radical... personally, i think hip hop IS poetry...those that shun it shun it mostly because of the crap that makes it to the mainstream...it's not hard to pique a thirteen-year-old boy's interest if you talk about incredible wealth and sexual opportunity/aggression...thus, the mainstream hip-hop world's full of the worst sort of crap.... i find De La Soul's first three albums inspirational...and digable planets...and there'll always be a soft spot in my heart for the beastie boys ("Is your name michael Diamond? Naw, my name is Clarence...")----anyone who can't hear the poetry in hip hop should hear the beasties' "beat boy bouillabaise", or anything from digable planet's second album... ahhhhhh...i suppose it's human nature to draw all these lines all over everything (this is poetry, this isn't poetry, this is net art, this is web art, this is "e-poetry" (ugh!), this isn't...)...it all ends up being such a horrible mess of ego ego ego...if only we could remember what nietzsche said about dissecting existence this way... bliss l ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Tue, 18 Feb 2003 03:20:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: The technological horizon is ours Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable And this from Doug Manson . . . [New Technologies for your Cantos ] In Enjambistan at the end of 2001, the fusion of precision syllables and information dominance produced a new poetic concept in which small numbers of Special Operator metaphors on the ground used laser pointers and Aesthetic Positioning System receivers to designate morphemes for inflectio= n in ballads and cadenzas. That moment will also be remembered for the U.S. avant-garde's first use in a poem of an alarming, unmannered aerial intonation: a Pedantic drone equipped to utter misguided Hellfire & Brimstone missives at target audiences its sensors had identified. In that case, sense and shamelessness had become one and the same. The View From Above If they do use this language, U.S. composers would have an unprecedented view of the linguistic field, provided by a network of spry acolytes readin= g from 400 miles in space, Global Hack de-connaissance drones loitering in 65,000 cities, mangled JUSTASS verse-craft poets with moving-tongue indicators reading 40,000 poetic feet, and Pedantic drones with video-taped lectures, archaic inferences and breath-line sensors for every 20,000 iambi= c feet, all feeding DADA back to commercial centers and, in some cases, directly to combat verse-craft. In 1991, such intelligence wouldn't have mattered much: during the Great Poetic Dearth, more than 90 percent of the poems read were "dumb" poems, unguided, and they often fell hundreds of feet from their targets. Now, using the same verse-craft, U.S. poets will be dropping either laser-guided connotations or the Penguin Poet's new smart poem of choice, the situationist-guided Juvenile Erection Reference Koncept, or JERK. Unlik= e laser-guided metrical scansions, JERKs cannot be blinded by weather or the dust of the poetic field. With this new precision-strophe capability, a single verse-craft practitioner's complement of 50 "fightin' words" can hit more end-rhymes in one night than hundreds of poets did on the opening night of the Great Poetic Dearth -- and even Defensive Poetry Undersecretary Donald Hall himself has deployed five of these metaphors in reference to Persian Ecstatic Dervish poets. Along with that capability, the minstrelsy department has significantly upgraded several key poetic systems. The Naive School's "Tons-o-hack" cruel missives=8Bwhich would likely be used against Academics as they were in 1991, in order to target the rival's most heavily defended poetic conceits without risking plagarism =ADnow have APS satellite receivers, which can be programmed with coordinated conjunctions more rapidly and allow the missives to fly regardless of anomalies in semantic terrain. The APA's Apache Long-line Heliotropic Poems have vastly improved readers who can detect and identify 128 types of poetry on a composition field five miles away; they will fire new reader-response Hellfire & Brimstone missive= s that can latch onto and track moving free-verse poets, much like an air-to-air whistle. The initial "A" version of the Zukofsky poem starred in the Great Poetic Dearth, but the APA calculates that the Longliner model is 400 percent more lyrical and 720 percent more able to survive criticism. The centerpiece of the Academic's campaign is expected to be an array of baby-boomers, beginning with the Beat-inspired, reader-confusing "B" poem, which flew its first stanzas in 1999, over Louisville. Each "B" stanza can carry 16 JERKs, and each JERK can be programmed with coordinated conjunctions so that each will hit a different tone. They will undoubtedly be joined by 52 other boomers, who can compose 18 JERKs, and a few Gen-Xers= , who can compose 24-verse sestinas. These are only the most dramatic of dozens of upgrades in poetry ranging from night-visions, giggles to tangential Pound-forms that enable verse craft to drop smart references in over 40,000 metrical feet. "During the Great Poetic Dearth, we were at the beginning of a poetic revolution," said Capt. Michael Palmer, a veteran figurative poet who is no= w skipper of the Pequod. "Since then, it's come on like Adbusters." Original piece of 2-16-03, from the Washington Post: Unrivaled Military Feels Strains of Unending War For U.S. Forces, a Technological Revolution and a Constant Call to Do More By Thomas E. Ricks and Vernon Loeb Washington Post Staff Writers Sunday, February 16, 2003; Page A18 PRINCE SULTAN AIR BASE, Saudi Arabia -- An F-15C fighter rips the bone-dry air as it roars down the runway, heat-seeking Sidewinder missiles pointing from its wingtips. A succession of American technological wizardry quickly follows: an RC-135 "Rivet Joint" reconnaissance plane, for intercepting enemy communications; EA-6B jets, for jamming enemy radars and radios; F-16CJs, which specialize in destroying enemy antiaircraft installations, and, finally, a big tanker aircraft that refuels the "package" of aircraft in midair. Here on the fringe of the Arabian Desert's forbidding Empty Quarter, this aerial armada, mobilized to patrol the skies of southern Iraq, is emblemati= c of the U.S. military -- which now stands astride the globe more dominant than any armed force since the legions of the Roman Empire. Four times over the past 12 years -- in Iraq, in Haiti, in Yugoslavia and i= n Afghanistan -- U.S. forces have dispatched enemy forces in a matter of weeks. Today, on the eve of a possible new war against Iraq, those forces are exponentially more lethal, and their commanders, who have known little but victory over their careers, are confident almost to the point of cockiness. "At no time in the history of modern warfare has a force been as well-trained, well-equipped and highly motivated as our Air Force is today,= " Gen. John P. Jumper, the Air Force chief of staff, said last month. Indeed, one of the Air Force's slogans is "Global Reach, Global Power." That reach, say military commanders and other experts, may also prove to be an Achilles' heel: The more capable the U.S. military has become, the more it has been asked to do, and now strains are beginning to show. As the Bush administration prepares for war with Iraq, it is also sustaining peacekeeping missions in the Balkans, protecting South Korea from a newly aggressive North Korea and pursuing a war against terrorism that stretches from Afghanistan and the Caucasus to the Horn of Africa and Southeast Asia. This is a period characterized by what seems like continuous warfare, likened by military analyst Ralph Peters to the Thirty Years War that decimated Western Europe in the 17th century, and the effects are beginning to tell on the military's manpower, on its budget, on the nation's treasury= , and on a conflict of priorities -- between the need to fight today's wars and the pursuit of means to dominate tomorrow's. These tensions are partly the legacy of the nation's response to the terrorist attacks of Sept. 11, 2001, but they will not dissipate any time soon: They are implicit in the administration's new national security strategy. That 33-page document, issued in September, commits the nation both to maintaining U.S. military hegemony and to attacking rogue or terrorist states before they can threaten the United States. If the United States does attack Iraq, it would be the first preemptive strike this nation has ever launched. Here at Prince Sultan Air Base, the headquarters of U.S. air operations in the Middle East, there are two different -- but not mutually exclusive -- points of view on the state of the U.S. military. One warm winter afternoon, Brig. Gen. Dale C. Waters, commander of Air Forc= e operations here, drove his big GMC Yukon SUV past F-15 and F-16 fighter jet= s lined up on the tarmac and said, "Yeah, I'd say there's a high level of confidence." Back at Air Force headquarters on the base, Lt. Col. Matt Molloy, an animated young F-15 squadron commander, noted that his men and women flew out of Saudi Arabia, Turkey, Malaysia, Thailand, Australia, South Korea, Japan, Iceland and the United States -- nine countries -- last year alone. "We need to put this thing to the north to rest," he said, pointing in the direction of Iraq. "My airframes are cracking. We are doing too much with what we've got." A tour of the military, from the sands of Saudi Arabia to the waters of the Mediterranean, and from the halls of Congress to the think tanks of nationa= l security strategists and academics, shows the sources and extent of U.S. military might -- and the limitations on it. 'We're Digital Now' The USS Harry S. Truman, cutting a wide swath through the eastern Mediterranean, is a 97,000-ton, nuclear-powered aircraft carrier whose deck is as long as the Empire State Building is tall. But to get an idea of how far the U.S. military has come since the Persian Gulf War, follow Rear Adm. John D. Stufflebeem into the ship's cavelike Strike Intelligence Analysis Center. In 1991, the Navy carried out airborne photo reconnaissance with "wet" film= , which was flown off the ship in canisters for development and interpretation. Days passed before the intelligence could be put to use. But the day of the canister is done. "We're digital now," Stufflebeem said as he walked across the strike center, which was chockablock with computers and other information systems. One wall was dominated by a screen displayin= g real-time black-and-white video images from an unmanned Predator drone over Afghanistan. Today, every ship in the Truman's battle group, commanded by Stufflebeem, i= s linked to the other -- and to the world beyond -- by satellite-uplinked dat= a networks. The carrier's strike aircraft and reconnaissance planes beam pictures back to the ship, where they are immediately interpreted by eight "point droppers" -- eight sailors whose jobs didn't exist 12 years ago. Sitting in the semidarkness of the ship's analysis center, they consult constantly with intelligence analysts back in the United States, sometimes using a secure chat room set up for that purpose. Then they determine coordinates for targets. Stufflebeem walked to the "precision targeting" workstation to tap a computer screen displaying the image of a tank. "We can send this information into the cockpit [of a fighter jet in flight] and say, 'Here's the coordinates; go strike this target.' " The process, from sensor to shooter, has been compressed to hours -- and, in some cases, minutes. This ability -- to add velocity to data -- is the most dramatic improvement in the U.S. military over the past decade, the one that underlies overwhelming advances in the speed and accuracy with which those forces can bring ordnance to bear. Many military analysts and historians believe that U.S. precision-strike capabilities, first seen in the 1991 Persian Gulf War, represent the third "revolution in military affairs" of the 20th century, during which emerging technologies and new war-fighting concepts changed the nature of war. The first took place between 1917 and 1939, with the combination of interna= l combustion engines, improved aircraft design, radio and radar; it produced the German blitzkrieg, carrier aviation and strategic aerial bombardment. The second came at the end of World War II, with the advent of nuclear weapons. The third is all about precision strikes, information dominance an= d near-real-time targeting as the U.S. military leads to the way from Industrial Age warfare to Information Age operations. There was a time when mass on the battlefield meant military strength. But now, with 24-hour battlefield surveillance and instantaneous targeting, mas= s on the battlefield is a liability, because it makes forces easier to track and target. "High-quality intelligence is the American 21st-century version of mass," said Lt. Gen. Michael V. Hayden, director of the National Security Agency. "With it, we have replaced mass on the battlefield with knowledge and precision." -------------------------------------- In Afghanistan at the en= d of 2001, the fusion of precision weapons and information dominance produced a new war-fighting concept in which small numbers of Special Operations soldiers on the ground used laser pointers and Global Positioning System receivers to designate targets for attack by bombers and fighters. That war will also be remembered for the U.S. military's first use in combat of an armed, unmanned aerial vehicle: a Predator drone equipped to fire laser-guided Hellfire missiles at targets its own sensors had identified. I= n that case, sensor and shooter had become one and the same. In any war against Iraq, U.S. military planners would be expanding on the lessons learned in Afghanistan. The View From Above If they do attack Iraq, U.S. commanders would have an unprecedented view of the battlefield, provided by a network of spy satellites at 400 miles in space, Global Hawk reconnaissance drones loitering at 65,000 feet, manned JSTARS aircraft with moving-target indicator radar at 40,000 feet and Predator drones with video, infrared and radar sensors at 20,000 feet, all feeding data back to command centers and, in some cases, directly to combat aircraft. In 1991, such real-time intelligence wouldn't have mattered much: During th= e Gulf War, more than 90 percent of the bombs dropped were "dumb" bombs, unguided, and they often fell hundreds of feet from their targets. Now, using the same aircraft, U.S. pilots will be dropping either laser-guided bombs or the Pentagon's new smart bomb of choice, the satellite-guided Joint Direct Attack Munition, or JDAM. Unlike laser-guided munitions, JDAMs cannot be blinded by weather or the dust of the battlefield. With this new precision-strike capability, a single aircraft carrier's complement of 50 fighter jets can hit more targets in one night than hundreds of aircraft did on the opening night of the Gulf War -- and Defens= e Secretary Donald H. Rumsfeld has deployed five carriers to the Persian Gulf region. Along with that capability, the military has significantly upgraded several key weapons systems. The Navy's Tomahawk cruise missiles -- which would likely be used against Iraq as they were in 1991, to target the enemy's most heavily defended air defenses without risking pilots -- now have GPS satellite receivers, which can be programmed with coordinates more rapidly and allow the missiles to fly regardless of anomalies in terrain. The Army's Apache Longbow helicopter gunships have vastly improved radars that can detect and identify 128 targets on a battlefield five miles away; they will fire new radar-guided Hellfire missiles that can lock onto and track moving targets, much like an air-to-air missile. The initial "A" version of the Apache starred in the Gulf War, but the Army calculates that the Longbow model is 400 percent more lethal and 720 percent more able to survive combat. The centerpiece of the Air Force's campaign is expected to be an array of bombers, beginning with the bat-winged, radar-evading B-2, which flew its first combat missions in 1999, over Kosovo. Each B-2 can carry 16 JDAMs, an= d each JDAM can be programmed with coordinates to hit a different target. The= y will undoubtedly be joined by B-52 bombers, which can carry 18 JDAMs, and B-1 bombers, which can carry 24. These are only the most dramatic of dozens of upgrades in equipment ranging from night-vision goggles to targeting pods that enable aircraft to drop smart bombs from 40,000 feet. "During the Gulf War, we were at the beginning of a technological revolution," said Capt. Michael Groothousen, a veteran fighter pilot who is now skipper of the Truman. "Since then, it's come on like gangbusters." ------------------------------------------------------------------------ -------------------------- The success of that revolution accounts for so much besides the military's sheer strength: its confidence, its professionalism, the better-educated men and women in the ranks -- and the number of those men and women. At the end of World War II, there were 12 million troops on active duty. Today, with the nation's population doubled in size, there are just 1.4 million. Even since the Gulf War, the military has shrunk by about one-third. The force waging the current continuous campaign is surprisingly small. . . .yadda, yadda, yadda . . . ------ End of Forwarded Message ========================================================================= Date: Tue, 18 Feb 2003 03:16:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: falmouth MA demonstration/ Empire at the Brink Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable We also had a small rally (some 300-strong; that's minus the five busses that went to NYC) on Saturday at Bidwell and Elmwood here in Buffalo-- same spot where I've been standing with Women in Black once a week for sixteen months now-- in the chill 12 degree air. It was energetic and inspiring, even for a small crowd, and recalled for me, yes, how little numbers count for next to the more intangible historical buzz-- a steadfast moment of simultaneity I felt coursing through the calls and response between crowd and speakers. (My contribution to the sloganfest: "No Blitz for Wolfowitz.") There was some showing from Poetics (I spotted five hardy poets: Doug Manson, Barbara Cole, Gregg Biglieri, Sarah Campbell, Eric Gelsinger), alon= g with many familiar, and unfamiliar, Buffalo faces, and a general warmth extending to the honks of traffic in reponse to vigorous waving of signs (SUVs' windows passing in sinister and obscure silence). This was before we'd heard of the true extent of the world protests (though word of the amazing London rally had certainly come in): the energy felt germinal to a moment springing, almost, from the ground to flourish in the radiant winter sun. If you were there, you were in the world. In a more sober moment, I wrote the following assessment. Nick Lawrence and I have also assembled a one-sheet for "teach-in" discussions; if you'd like a copy, email me (backchannel) and I'll send an attachment. Let's keep up the pressure! JS EMPIRE AT THE BRINK: A CALL TO ACTION We stand truly at an historical juncture, with several directions mapped before us, and several more unknown. Yesterday's protests demonstrated an immense will for peace around the world, a growing sense "the people" have had enough. While immensely inspiring, the moment also calls for a clarity of mind, to assess the powers before and behind us, as well as within, and the road ahead. We must not underestimate the technological and ideological behemoth massed at the borders of Iraq and lodged in the minds of the men who command it. =20 At the same time as free (and some not-so-free) countries around the world allowed their citizens to mass in peaceful protest, the forces of liberalization=8Bmanifested in the superiority of American air, ballistics an= d communications power=8Bappear ready to take a calculated risk with liberalism's next logical step across the globe. (I discuss the largely symbolic, though still significant, distinctions between "liberalism" and "imperialism" below.) To wit: if American and British (plus any other willing coalition's) troops are "met in Baghdad by Iraqis lining the street in celebration," then Blair and Bush's increasingly-reviled faces will enjo= y a dramatic and successful makeover (Schell). Even North Korea, with its fledgling nuclear weapons program, or Iran, with its intractable fundamentalist regime, will be unable to resist a seemingly implacable forward march of history. The strategy is one of three-step brinkmanship: 1) overwhelming force is massed, preferably by a unanimous international coalition, so persuasively that the resisting regime finally backs down and goes into exile; 2) barrin= g that, the regime is isolated (as in Kosovo) and the air and communications environment so dominated by the "liberating" forces that the regime implode= s under popular pressure; 3) when this strategy fails (as, debatably, in Iraq), an invasion becomes necessary to remove the regime by force. The U.S. and its key UN (as well as NATO) partners do NOT disagree on the fundamentals of this strategy: the differences are of timing, and of which of the three steps at present to push (though there is an understandable reluctance on the part of the allies to allow a unilateral U.S. progression to step three, which reluctance I discuss at length below). The U.S., Britain and a handful of European allies with little to contribute and much to gain from supporting the effort, are clearly pushing for steps one and/o= r three. France, Germany, Russia and China, amongst others, seem to think th= e resources of step two have not yet been exhausted. If, in fact, warfare is increasingly a technological race to dominate the communications sphere (De Landa), then why make haste to draw blood? Can we not just step up the surveillance and monitoring (U2 fly-overs, teams of inspectors on the groun= d backed by troops, etc.) to the point of squeezing the life out of the Baath regime? The goal is the same--promoting democracy through the threat of "overwhelming force"--but without the risks implicit in the inherent unpredictability of warfare and the ensuing military occupation. Haven't w= e learned to use our guns without firing them? The U.S. argues that steps one and two appear unlikely, if not impossible--twelve years of sanctions having only broken the Iraqi people and hardened Hussein's grip on power, rather than inspiring, as hoped, a popular revolt; and the rough ideological terrain obviously requiring oversight, deeply divided as it is between Shiite, Kurd, Sunni and secular concerns, promising little in the way of a "spontaneous" transition to democracy. But U.S.-led force has another, more intrinsic reason for havin= g no options but step three: until tested in the battlefield, the U.S. will not truly be able to "deploy" its intended domination of the global communications sphere (De Landa). The U.S. will not decisively have demonstrated to the world its undisputed military-technological superiority (=E0 la Hiroshima and Nagasaki--cf. Ullman; Afghanistan was a start but also disappointingly easy in its initial phase), and it will not be able to progress to the next stage of research and development without testing its innovations in the field. Just as Gulf War I was, in the main, a showcase for the new technology of "smart bombs," Episode II promises to open a new theatre of digitized "real time" command-to-operations communications and space-based, as well as autonomous ("intelligent") artillery operations: If they do attack Iraq, U.S. commanders would have an unprecedented view of the battlefield, provided by a network of spy satellites at 400 miles in space, Global Hawk reconnaissance drones loitering at 65,000 feet, manned JSTARS aircraft with moving-target indicator radar at 40,000 feet and Predator drones with video, infrared and radar sensors at 20,000 feet, all feeding data back to command centers and, in some cases, directly to combat aircraft. (Ricks and Loeb) The U.S. Administration has to toe a line between minimizing civilian casualties, and maximizing the overwhelming effect of the new technology ("Shock and Awe"): not an easy line to walk (Ullman et al). The risks are great--on the side of U.S. forces, with inevitable glitches in the technology on which these forces are increasingly dependent, including new vulnerabilities implicit in open architecture cyberware (a trade-off for stability), and with increasing strain and fatigue on "volunteer" human resources stretched thin and worked to the breaking point (De Landa, Ricks and Loeb); on the Iraqi side, with the question of Hussein's willingness to use whatever stockpiles of chemical and biological weapons he does harbor o= n his own people and/or the invading forces, plus his demonstrated willingnes= s to use his own people as "human shields" for military targets--but the risk= s of inaction, of failing to complete the step to global communications hegemony, are, by this zero-sum logic of military dominance, far greater. Whether this is a dominance of "liberalism" or "imperialism" in part depend= s on success in patching over an increasingly evident mid-Atlantic rift: while in some respects the disagreement with France, Germany, Russia and China is one of means, in other respects it signals a potentially far more serious rift. As Jonathan Schell argues in his latest piece for Harper's o= n the "futility of war," the closest historical analogue for the present moment would be not, as is generally argued in camps both for and against the war, 1938, but, rather, 1945--in particular, the period between the drafting of the outlines of a U.N. Charter at the San Francisco Conference on International Organization in April of that year, and the destruction of Hiroshima on August 6. U.S. deployment of the atomic bomb effectively rendered the U.N., which came into existence on October 24, 1945, irrelevan= t as a governing body. Today, the United States' rival powers (rival being a very relative term here) understandably hope, however quixotically, to forestall as long as possible a decisive U.S. victory in the race to "space-based" military hegemony. France, for example, is currently working on its own versions of the new high-powered "microwave" weaponry the U.S. reportedly will test out in a war on Iraq. Europe would like to perpetuate the '90's facade of a "liberal" coalition that at the same time enables a sharing of its de facto imperial benefits (Anderson). In this light, Blair's stubborn embrace of the U.S. program, awkwardly reaching across the Atlantic chasm, is both a calculated realization of the inevitability of U.S. hegemony ("empire") and a "heroic" attempt to keep Europe on board, and thus, to sustain the hopes of "liberalism." In "Force and Consent" Perry Anderson has argued that the death of any democratic elements of "liberalism" went down long ago, in an effectively imperial "Americanization" of the planet sugar-coated with a palaver of humanitarian and democratizing high-mindedness; nevertheless, a unilateral (or bilateral) "preemptive" U.S. strike will still mark a critical turning point. The discourse of liberalism will be dealt a fatal blow in the "theatre of operations" as the U.S. demonstrates its unrivaled power and, more importantly, its will to use that power in flagrant disregard of the will of the international community. The "liberal" system of international alliances will be discredited, and fundamentalist or other popular resistances to U.S. imperialism will be emboldened. At the same time, a successful "liberation" of Iraq, under the new sign of empire, woul= d bring potent viability to the notion of a Pax Americana (Anderson). The U.S= . "showdown" in Iraq has significantly MORE to do with these kinds of calculations (outlined in The National Security Strategy of the United States) than with either Saddam Hussein or evident U.S. oil interests in th= e region. =20 To dispense with "old Europe's" liberalism does seem like madness, and the possibility of this has brought the world's liberals (who supported the bombings of Kosovo and Afghanistan) into a now-mainstream anti-war movement--but the end of liberalism is built into the logic, strategic as well as tactical, of U.S. militarization, and it is also a step impelled by frankly theocratic elements in the current U.S. administration. A convictio= n that the U.S. has been "chosen" to lead the world to "freedom" apparently outweighs the potentially fatal results of choosing to scrap old alliances. It is all or nothing: a brinkmanship with a fearful God where only inaction is unforgivable. What matters is to assume the righteous cause; the righteous who lose themselves, or the world, in the process, will be forgiven; but the righteous will prevail, confident in their faith--or so the screed goes. In many respects, the fate of the world hangs on the outcome of an old ideological debate internal to the dominant "culture" of the United States . . . between the "moral majority" and its more secular counterparts. It is a debate that may already have been decided in the elections of 2000 and 2002. The economics of U.S. militarization also have a large role to play in the outcome. Strains internal to the military as well as on an already precarious U.S. economy, of a $1 billion-per-day deployment, are tremendous and cannot be sustained for long (Ricks and Loeb). All of these factors--a militarized strategy for global dominance, extremist theocratic tendencies within at least two, if not all three branches of the U.S. government, and the material momentum of military buildup itself--come together in a decision for military action in Iraq; al= l that holds the U.S. back are the liberal interests of international backing and (which is part of this) some friction provided by an alliance with the Blair administration--a friction which may become more apparent as the U.S. moves toward decisive action. Or IS that all that holds the U.S. back? Popular manifestations of opposition to U.S. imperialism around the world are the largest they have been in thirty years, dwarfing the anti-globalization protests of the '90's= , and this movement is just getting underway. If such opposition is merely a drag on an inevitable U.S. attack, and if the U.S. calculation succeeds wit= h even the moderate success that has been encountered in Afghanistan, then such popular opposition will swiftly evaporate. (It would be interesting to know how many of this weekend's protesters would support a multilateral operation in Iraq.) If, however, a U.S. operation in Iraq encounters any serious setbacks, then popular opposition could become full-scale. Dissension if not outright mutiny within the U.S. military is even possible= . Finally, if popular dissent is earnest about actually stopping the U.S. military machine before it goes to the brink, then several questions need t= o be asked up front--all posed under the general rubric of asking whether, indeed, "the people have the power." 1) As I have already asked, to what extent are the current demonstrations a continuation of the critique of "liberalism" manifested in the pre-9/11 "anti-globalization" protests? Or is the much-celebrated, new ideological diversity of these protests, at its mainstream core, largely a response to the threat of unilateral U.S. sabotage of that status quo? 2) To what extent was the "velvet revolution" across Central and Eastern Europe (as well as peaceful revolutions in other parts of the globe) a "flowering," as Jonathan Schell claims, of "liberal democratic" nonviolent action? Or was it, as U.S. hardline strategists obviously believe, a gift o= f the U.S. "defeat" of the Soviet Union through economic, military and technological might? The official line is, of course, a bit of both. But nonviolent activists in the U.S. would do well to break that history down and assess the odds, as they move forward with actions modeled on such precedents. The same goes for the much-invoked examples of Mahatma Gandhi, Martin Luther King, or Nelson Mandela. 3) Demonstrations have so far been "legal" or "permitted" and the authorities have, in the main, handled protestors with kid gloves. An effective campaign of nonviolent "non-cooperation" will, when push comes to shove, inevitably involve mass civil disobedience (and mass arrests). In what way will the new tools (cf. USA PATRIOT Act, "Uniting and Strengthenin= g America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism") of what is now effectively a U.S. police state be applied to such demonstrators? What is the critical mass that would deter authorities from locking up or otherwise silencing dissenters, and is such a mass attainable? What support could U.S. dissenters count on from the international community? 4) The odds of popular revolution are strengthened by a perhaps unintended side-effect of communications technology: the possibility for instantaneous coordination around the planet. This weekend's rallies--millions of people marching in the U.S., South Africa, Ireland, Scotland, England, Norway, the Netherlands, Belgium, France, Spain, Germany, Austria, Italy, Bosnia, Bulgaria, the Czech Republic, Hungary, Ukraine, Greece, Cyprus, Egypt, Israel, Pakistan, India, Bangladesh, Thailand, Malaysia, Australia, South Korea, Hong Kong, Japan, Brazil, Mexico and a host of other countries--were coordinated in less than five weeks. The popular will for peace, a collective assertion that the zero-sum game of military conflict is a dead-end for the planet, seems to cut across many ideological and cultural barriers. Have these new circumstances even begun to be exploited? How muc= h can the "unpredictable" nature of the new, asymmetrical global terrain be counted on? U.S. military brinkmanship thus operates in at least two directions at once= . It seems ready to dissolve old liberal alliances like the United Nations or even NATO, but it also may be provoking a popular solidarity across the globe, the likes of which have never been seen before. For those who oppos= e U.S. imperialism, the riskiest course of action is inaction, to "wait and see" what happens in Iraq. The uncertainties of that venture are terrifying; but the worst possible, and most likely, outcome would be a swift and successful victory for the U.S. (Anderson). A fiasco would be second worst, entailing possibly dire consequences but also new room for change (the "things have to get much worse before they get better" outlook)= . The popular will for peace needs to be tested and encouraged by a clear education in the likely scenarios and the long-term issues at stake, which includes a frank discussion of the undersides of a Pax Americana and/or "liberal" democracy, along the lines of the "anti-globalization" critiques vocal just two years ago--foregrounding environmental, labor and social justice, as well as human rights, issues. And that momentum thus clarified= , spurred by the U.S. administration's brinkmanship, needs to be rallied to fearless and overwhelming nonviolent force--something along the lines of a national strike. Otherwise it will remain merely symbolic if the U.S. succeeds in Iraq, or unprepared in the case of a disastrous outcome. At this very moment we are living a critical historical juncture; the seeds of the future are latent right now in the actions of each and every human being on this planet. The moment is not lost on violent militarized states and terrorists; will the powerful forces of nonviolence, for their part, allow this uncertain moment to slip by? Last weekend's outpouring was a call to get in the streets and stay in the streets, and not to shrink from power when it comes marching with its clubs and its chemicals. I, for one, do not intend to be a spectator, to let the dogs of war have the upper hand--while the rest of us sit around, to "wait and see" what will "happen" on TV. Do you? Jonathan Skinner SUNY at Buffalo, Poetics February 16-17, 2003 WORKS CONSULTED Anderson, Perry "Force and Consent," New Left Review 17, Sept-Oct 2002 De Landa, Manuel War in the Age of Intelligent Machines, Zone Books: NY, 1991 Ricks, Thomas E. and Vernon Loeb "Unrivaled Military Feels Strains of Unending War; For U.S. Forces, a Technological Revolution and a Constant Call to Do More," Washington Post, Sunday, Feb. 16, 2003 Schell, Jonathan "No More Unto the Breach: Why War is Futile," Harper's March 2003 The National Security Strategy of the United States. Winterhouse Editions: Falls Village, CT 2002 (PDF version available at www.whitehouse.gov/nsc/nss.html) The daily newspapers: especially The New York Times, The Washington Post, and The UK Guardian. Ullman, Harlan K., and James P. Wade, with L. A. Edney et al. Shock and Awe: Achieving Rapid Dominance. Washington, DC: National Defense Univ., 199= 6 (http://www.dodccrp.org/shockIndex.html) USA PATRIOT Act, "Uniting and Strengthening America by Providing Appropriat= e Tools Required to Intercept and Obstruct Terrorism" (HR 3162) (www.ins.usdoj.gov/graphics/lawsregs/patriot.pdf) =20 ========================================================================= Date: Tue, 18 Feb 2003 08:16:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: subrosa@SPEAKEASY.ORG Subject: Dislocation Of... Content-Disposition: inline Content-Transfer-Encoding: binary Content-Type: text/plain MIME-Version: 1.0 The Dislocation of Light influx of the antidote replenishing the ingredients needed to close the open wound. the soundtrack of the expedite king * known for its selection of awnings * american cigarettes burn faster than any other * the simple tearing down of our trees * as the big bang still exists in our airwaves – and there are people who work and people who work but have no job – little wisdoms crack open in sequential order * like pinholes in gypsy metals * your eyes attached to the front of your face * black jackets, black triggers * licking the cone everyone swings around * the perfect improvisational transport * frailty in advertising throughout the country * rain clobbering the sideboards of the buick * brand names taking over the southern sector * he is there among the throwaway daisies, the toxins * the throats of dignitaries * thorns embedded in your voting forehead * euthanasia, the youth in asia * as xerxes constructed a dry canal * as he pasted a picture of his favorite car in all his college textbooks * exiled, floating in a walnut shell * they saw, they told, they d ied * my mouth is all over europe now * an inch every year till the last note of music * a thumb’s elaborate inner workings * I am having non american visions * the shade trees adjourn this doubt * coin disappearing into the temple * cross section of a clean esophagus * on the table is a collection of rocks * you have to climb inside to see them * I fall off my chair, I spiral to the ground * as new eggs show up every season * and the witch of defective nights ravages your brain * then the green morning syllables * a helpful sponsor of chaos physics * at one end the ensuing voice * the hand chases the fly * swollen campaign of water * a triangle meant for snapping * ululating our ineptitude * an irrelevant economy supporting an irrelevant source * at the other end a discarded phone * as industry comes toppling down * in its place a glowing chest * the air of house, the air of planet * either of pleasure or the hirsute kind * sampled through fog * the vagina breathing * the l ight sickness, the dislocation of heat * albion, you despise war, albion you soldier of nothing * talking hipbone, angel, streetlight, dream museum, all ossified * an irrelevant economy supporting an irrelevant source * I just hurt myself, I hurt myself falling, after I fell I hurt myself, I shed my skin while falling, I ate my shedded skin, parts of my body are hurting, im drinking to stop the hurt, I will sit in a safer place, I will no longer fall, I will no longer hurt and eat my skin, if all goes well I will no longer hurt * the indistinguishable flavors * the acute mechanics of love * the meridian * the equilibrium * populated, over populated * polluted, over polluted * visions with drugs, visions without drugs or maybe euclidian’ll drop and we’ll no longer think in s h ape s 2003 Nico Vassilakis ========================================================================= Date: Tue, 18 Feb 2003 03:47:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Re: Notes from San Francisco & a poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed OK, I admit, I'm pretty bummed no one mentioned the two best protest signs of the weekend, carried up Market St. by myself and Del Ray Cross. Del's: GIVE US BACK OUR MONICA LEWINSKY Jim's: PLEASE PEPPERSPRAY ME (front) GUESS WHERE THE BUCK STOPS: EVERYWHERE (back) After the peace march Del and I were walking to Kevin and Dodie's house and as we passed through Market and 8th St. we witnessed some penultimate moments just before a standoff between an anarchist splinter group and the San Francisco police got ugly. We couldn't cross that intersection, the cops had everything surrounded. We turned down 8th and headed for Mission just as the crowd started a light, eerie chant of "Our Street." A lot of the euphoria I felt after marching in such a terrific parade faded. We saw a police van quietly speed up 9th Ave and I knew those kids were gonna get it. Poem: LAND'S END after Jasper Johns all it would take would be some fatalities that's all it would take when the sun is bad, the war light you won't even know your own ghost when the time comes those kids will get their heads caved in, that's all it would take to make love, someday this will all be mine: Pacific Ocean, ritual sorrows war love, war sun, love sky, war tide that's it, the clean light of broken teeth light the war, our love is erased by the war water, light the love lights, the love cops love batons and the war kids, always ghostly --Jim Behrle _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 18 Feb 2003 06:55:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Does Anyone Know How To Say Jism And Self-Splatter In Spanish? Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable > Monday, February 17, 2003 > =A0 > I have friends in high (or low) places. Heriberto Y=E9pez writes in his "Bo= rder > Blogger":=20 > "Creo que este blog [Piombino's], como el de Ron Silliman, Jonathan Mayhe= w o > Brian Kim Stefans, es ya una estaci=F3n imprescindible para aquellos que de= seen > conocer una parte importante del pensamiento po=E9tico actual de Estados Un= idos. > Este blog de Nick Piombino lo recomiendo especialmente por su forma > wittgensteina, fragmental, muy al gusto de una buena parte de nuestra > formaci=F3n afor=EDstica en Latinoam=E9rica." >posted by Jonathan Mayhew at 6:02 PM (from Jonathan Mayhew's Blog) http://jonathanmayhew.blogspot.com/ > "We've established a clear link!" >=20 > alQaeda. >=20 > iraQ. (from the tijuana bible of poetics!) the tijuana bible of poetics! (Heriberto Yepez) is located at http://thetijuanabibleofpoetics.blogspot.com/ -Nick- >=20 >=20 > ========================================================================= Date: Tue, 18 Feb 2003 21:23:06 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: HOTEL ROOM Comments: To: webartery@yahoogroups.com Comments: cc: "owner-list-rhizome.org" , wilazevedo@terra.com.br, editor@papertigermedia.com, coralhull@thylazine.org, JFK Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-1DBB1203; boundary="=======2C7361E1=======" --=======2C7361E1======= Content-Type: text/plain; x-avg-checked=avg-ok-1DBB1203; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit http://live-wirez.gu.edu.au/cyber/roomaa/room.html ALONE? LONELY? HAVE PLENTY OF BANDWIDTH? HAVE A LOOK AROUND komninos zervos homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======2C7361E1======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-1DBB1203 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======2C7361E1=======-- ========================================================================= Date: Tue, 18 Feb 2003 08:13:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: "Heroes"...after Catullus... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 'pres licking so many asses our boy berle needs a jr mint.... drn... ========================================================================= Date: Mon, 17 Feb 2003 23:43:55 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: The Secret Life of Pronouns MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit See full page ad in Sunday Feb 9, 2003, taken out by Wendell Berry. He begins his article with an analysis of GWB's use of "we." Very instructive. "While the United States will constantly strive to enlist the support of the international community, we will not hesitate to act alone, if necessary, to exercise our right of self-defense by acting preemptively against such terrorists..." GWB Berry goes on with, "A democratic citizen must deal here first with the question, Who is this 'we'? It is not the 'we' of the Declaration of Independence, which referred to a small group of signatories bound by the conviction that 'governments [derive] their just powers from the consent of the governed' . And it is not the 'we' of the Constitution, which refers to the 'people [his emphasis] of the United States'. "This 'we' of the new strategy can refer only to the president. It is a royal 'we'. Gloria Frym ========================================================================= Date: Tue, 18 Feb 2003 08:19:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Lytle and Emilie in bondage? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Barrett: The first strategy of a country about to make war on another is to make an abstraction of the people it is planning to kill. The reverse is true too. The first thing the US media did after 9/11 was to make the victims real and discrete. Thus, as Lytle and Emilie know, it is the abstraction of Iraqis that must be resisted. The pictures of these people, reading their names, and talking about who they are, would have been more powerful than the usual celebrities giving the usual speeches. Joel W. ----- Original Message ----- From: "Barrett Watten" To: Sent: Monday, February 17, 2003 3:47 PM Subject: Lytle and Emilie in bondage? > The following story was posted on www.nationalphilistine.com. > > ***** > > February 15, 2003 > > (NEW YORK CITY) - Artist Emilie Clark and writer Lytle Shaw were arrested > for posting pictures of people from Baghdad in Soho late Thursday night. > Both have been released. A court date has been set to prosecute the two for > showing New York City the people who will die in a possible war against Iraq. > > Clark and Shaw were members of the Baghdad Snapshot Action Crew. Based in > New York City, the crew of 75 artists and activists began posting simple > flyers with pictures of ordinary Iraqi citizens around New York City, in > anticipation and solidarity of the February 15th anti-war rally. > > The pictures were taken by artist Paul Chan, who recently returned from > Baghdad as a member of the Iraq Peace Team, a project of the Chicago based, > Nobel Peace Prize nominated activist group, Voices in the Wilderness. > > Clark and Shaw were taping the letter sized flyer on a lamppost at the > corner of Mercer and Prince Streets when three undercover policemen > arrested them. They were charged with criminal misdemeanors. Shaw was > released after five and a half hours. Clark spent seven hours in jail > before her release. Clark is pregnant with her first son, and is expecting > this Spring. > > The arrests were a clear attempt by the police to intimidate New Yorkers to > stay away from the protest. "If there wasn't a march on Saturday we > wouldn't have been arrested.," Shaw said. While in custody, police harassed > Clark and Shaw with talk about how dangerous the rally will be. "They kept > saying how mace was going to be used on all the protesters," Clark said. > "And then they said they had heard suicide bombers might attack the rally." > > What was most disturbing to Shaw was how the cops tried to justify their > actions against the two. "They tried to appeal to us sentimentally," Shaw > said, "as though the repression they were enacting was really in our best > interest." > > "They wanted to send a message that we should stay home because it [the > protest] was dangerous, and they didn't want to see us hurt." > > The court date is set for March 13. > > Baghdad Snapshot Action ========================================================================= Date: Tue, 18 Feb 2003 11:42:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: for my hero Harry Mime-Version: 1.0 Content-Type: text/plain; format=flowed Shucks, Nudel, thanks. I'd tell you to go fuck yourself if I thought you could get it up. Love Jim _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 18 Feb 2003 10:09:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: The Secret Life of Pronouns MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I think it's the 'we' Teddy Roosevelt used to charge up San Juan Hill while his boss was out sick, unfortunately. [I may be wrong in my sorting out of memories of poorly digested history books here] Is Wendell's ad available on the net? tom bell ----- Original Message ----- From: "Gloria Frym" To: Sent: Monday, February 17, 2003 10:43 PM Subject: Re: The Secret Life of Pronouns > See full page ad in Sunday Feb 9, 2003, taken out by Wendell Berry. > He begins his article with an analysis of GWB's use of "we." Very > instructive. "While the United States will constantly strive to enlist the > support of the international community, we will not hesitate to act alone, if > necessary, to exercise our right of self-defense by acting preemptively > against such terrorists..." GWB > Berry goes on with, "A democratic citizen must deal here first with > the question, Who is this 'we'? It is not the 'we' of the Declaration of > Independence, which referred to a small group of signatories bound by the > conviction that 'governments [derive] their just powers from the consent of > the governed' . And it is not the 'we' of the Constitution, which refers to > the 'people [his emphasis] of the United States'. > "This 'we' of the new strategy can refer only to the president. It is > a royal 'we'. > > Gloria Frym ========================================================================= Date: Tue, 18 Feb 2003 12:11:01 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: The Secret Life of Pronouns MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit NY Times ads aren't available on www.nytimes.com However, you could find the issue in most public libraries. Best, Gloria Frym ========================================================================= Date: Tue, 18 Feb 2003 12:18:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: JISM: A PASSION PLAY Mime-Version: 1.0 Content-Type: text/plain; format=flowed JISM: A PASSION PLAY [TIME: The present. SCENE: Jim's imagination. Lights up on a frenzy of blogging.] MARIANNE: I have come to drain the druid! KASEY: Yeah, gotta jerk the jesuit, heh heh. NADA: Fiddlin' the pharisee ... DAVID: Bastin' the baptist ... RON: Paddlin' Pontius Pilate's Party Pepperoni ... HERIBERTO: Strokin' Saint Steven's Slick Slender Salami ... LAURABLE: Prod the protestant! KATIE: Smack the semite! KATHERINE: Manhandle the monsignor! BRIAN: Agitate the acolyte! HENRY: Gonna "grip the grail" alright ... EILEEN: Yep, violatin' the vishnu STEPHANIE: Sure, sure. Molestin' the muslim JONATHAN: Heh, heh. Warm up dinner for the choirboys! CHARLES: Yankin Ye Olde Yarmulke! CAMILLE: Tuggin on the Torah ANASTASIOS: Spanking in tongues JACK: Squirt'n for sister Shara! [Enter LESTER. An uncomfortable silence.] LESTER [Virtual back-pats]: Sooo, boys & girls ... Shakin' the Shinto, are we? MIKE: Rubbin' the Rabbi, yeah KOMNINOS: Handlin' the Host ... BRANDON: Christen the Kosher Kielbasa! STEVE: Dork the Deacon! NICK: Butter the Benedictine! GARY: I gotta transubstantiate my tube-steak til I can see them pearls of glory from purgatory! DALE: Paddlin the Tower of Babel ... TOM: Stroking for my repentance, prurience is my penitence! DREW: Squeezin out some sephardic spooge COREY: Makin some Cream of Krishna JILL: BRING FORTH THE SACREMENTAL WINE! ALAN: Float potential down the Nile! AUGERY: The ten inch commandments! MARCEL: Et cum spirit tu tu ooooohh ... MIGHTYGIRL [Singing.]: We plough the field and scatter/ The Good Seed on the Land! NEAL: Who's that singing the Psalms? Is that hair on my palms? SARA: Yank if you're Yiddish! DEAN: Flail Father Flanigan! Elevate Allah! Cane Abel! LORE: Unleash the unitarian! SAMUEL: Goose Zeus! JOSEPH: It's time to Polish Your Purple Pentecostal Pal! JOSH: I'm too busy energizing the crystals! CELIA: Gotta ... gotta ... tend ... the SHEEP! LOREN: I'M JAMMIN WITH JAH NOW! ANGELA (heavy sweat drops): Bene ... dick tus ... tuo! RYAN: WHALIN' on th' BAAL!!! ERIN (losing it): HUMP ... HUMP ... HUMPIN' th' HINDU!!! ROCCO: I'm gonna ... gonna ... VENT THE ADVENTIST! THOMAS: I'm VIBRATING VERONICA'S VEIL IN THE VESTIBULE! BARBARA: GETTING -- ohHHHhhhhHHhhh ... To Knoooow Thyself ... JAYNE: Waitin for EVE, baby! ROY: REBUKING THE SERPENT!!! ARI (in a psychotic frenzy): Genuflecting genitals ... smite the staff ... Berate Beelzebub ... Detonate the Deuteronomy ... I'M SPLAYING THE INCENSE, Boys! JOHANNA: Jerkin' for Jesus, yeah! LORAIN: Pick a Peter or Paul's Penis ... LADYVALE: AWW GOD I'M SHAKIN HANDS WITH PETER NOW! NIKOLA: I'm Declarin War On the Koran! SUSIBLUEYES: I'm quelling Quirinus! NANKI: Cum on Ammon ... nibble on the Nabtaeans ... Fill the Grail ... pious playing here ... gotta make some manna ... cream the congregation ... ALICE: Stuffing the stigmata ... Mahonri Mori"yank"omer ... NICHOLAS: Awww, this is Excreme Unction ... ritual of the middle pillar ... BILL: Here's some Milk to Mecca! JINNA: I'm cumming in the chalice! RILEY: Oh shit, I'm wakin' the Quaker! CATERINA: Oh! Oh! Oh! I'm healin' the crippled now! Makin' Aliya! HIGGY: Paintin the ceiling! [CURTAIN.] _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 18 Feb 2003 09:21:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: The Secret Life of Pronouns In-Reply-To: <00db01c2d703$7b176640$f2113444@rthfrd01.tn.comcast.net> Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit can be found at: http://216.239.33.100/ search?q=cache:IMkiSv4wMRMC:homepage.psy.utexas.edu/homepage/faculty/ pennebaker/reprints/LSA.pdf+the+secret+life+of+pronouns&hl=en&ie=UTF-8 On Monday, February 17, 2003, at 08:09 PM, tombell wrote: > I just finished reading (even though not completely digested yet) a > fascinating new article by Jim Pennebaker (who was involved in some > recent > research on suicide and writers) that I think has implications for > recent > discussion of psychology, spirituality, and writing and....("The > secret ife > of Pronouns: Flexibility in Writing Style and Physical health, > Campbell and > pennebaker, _{sychological Science, 14:1, january, 2003, 60 -64.). > ..... > tom bell (Psy.D., for a day and > not yet a crazy old man > ========================================================================= Date: Tue, 18 Feb 2003 11:37:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Gillespie Subject: experimental fiction email list? In-Reply-To: <200302180503.h1I53V0n028398@relay2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII If anybody knows of any good email lists concerning contemporary or experimental fiction please backchannel. Thanks, William ========================================================================= Date: Tue, 18 Feb 2003 09:46:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: The technological horizon is ours Comments: To: Jonathan Skinner In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Great! The gov surveillance appropriationist "aerial flaneur." Amazingly I am sure some of the devices you describe will become true & good resources = & tools. One legend says Punk rock took its sound from shoulder held rocket-launcher= s - who would have ever thought? I wonder, actually, what kind of sound a "Drone" makes. One Dict def defines "drone" as "to make a dull, continuous, monotonous sound; to speak in a dull or monotonous tone". I guess that's Ar= i Fleisher in a nut-shell. Not aesthetically promising unless manipulated by a non-drone. When Ari F breaks down hysterically screaming and crying in a White House press briefing - I guess, in the power of public protest, we non-drones will hav= e done part of the job. Stephen V on 2/18/03 12:20 AM, Jonathan Skinner at jskinner@ACSU.BUFFALO.EDU wrote: > And this from Doug Manson . . . >=20 >=20 > [New Technologies for your Cantos ] >=20 >=20 > In Enjambistan at the end of 2001, the fusion of precision syllables and > information dominance produced a new poetic concept in which small number= s > of Special Operator metaphors on the ground used laser pointers and > Aesthetic Positioning System receivers to designate morphemes for inflect= ion > in ballads and cadenzas. That moment will also be remembered for the U.S. > avant-garde's first use in a poem of an alarming, unmannered aerial > intonation: a Pedantic drone equipped to utter misguided Hellfire & > Brimstone missives at target audiences its sensors had identified. In tha= t > case, sense and shamelessness had become one and the same. >=20 > The View From Above >=20 > If they do use this language, U.S. composers would have an unprecedented > view of the linguistic field, provided by a network of spry acolytes read= ing > from 400 miles in space, Global Hack de-connaissance drones loitering in > 65,000 cities, mangled JUSTASS verse-craft poets with moving-tongue > indicators reading 40,000 poetic feet, and Pedantic drones with video-tap= ed > lectures, archaic inferences and breath-line sensors for every 20,000 iam= bic > feet, all feeding DADA back to commercial centers and, in some cases, > directly to combat verse-craft. >=20 > In 1991, such intelligence wouldn't have mattered much: during the Great > Poetic Dearth, more than 90 percent of the poems read were "dumb" poems, > unguided, and they often fell hundreds of feet from their targets. >=20 > Now, using the same verse-craft, U.S. poets will be dropping either > laser-guided connotations or the Penguin Poet's new smart poem of choice, > the situationist-guided Juvenile Erection Reference Koncept, or JERK. Unl= ike > laser-guided metrical scansions, JERKs cannot be blinded by weather or th= e > dust of the poetic field. >=20 > With this new precision-strophe capability, a single verse-craft > practitioner's complement of 50 "fightin' words" can hit more end-rhymes = in > one night than hundreds of poets did on the opening night of the Great > Poetic Dearth -- and even Defensive Poetry Undersecretary Donald Hall > himself has deployed five of these metaphors in reference to Persian > Ecstatic Dervish poets. >=20 > Along with that capability, the minstrelsy department has significantly > upgraded several key poetic systems. >=20 > The Naive School's "Tons-o-hack" cruel missives=8Bwhich would likely be us= ed > against Academics as they were in 1991, in order to target the rival's mo= st > heavily defended poetic conceits without risking plagarism =ADnow have APS > satellite receivers, which can be programmed with coordinated conjunction= s > more rapidly and allow the missives to fly regardless of anomalies in > semantic terrain. >=20 > The APA's Apache Long-line Heliotropic Poems have vastly improved readers > who can detect and identify 128 types of poetry on a composition field fi= ve > miles away; they will fire new reader-response Hellfire & Brimstone missi= ves > that can latch onto and track moving free-verse poets, much like an > air-to-air whistle. The initial "A" version of the Zukofsky poem starred = in > the Great Poetic Dearth, but the APA calculates that the Longliner model = is > 400 percent more lyrical and 720 percent more able to survive criticism. >=20 > The centerpiece of the Academic's campaign is expected to be an array of > baby-boomers, beginning with the Beat-inspired, reader-confusing "B" poem= , > which flew its first stanzas in 1999, over Louisville. Each "B" stanza ca= n > carry 16 JERKs, and each JERK can be programmed with coordinated > conjunctions so that each will hit a different tone. They will undoubtedl= y > be joined by 52 other boomers, who can compose 18 JERKs, and a few Gen-Xe= rs, > who can compose 24-verse sestinas. >=20 > These are only the most dramatic of dozens of upgrades in poetry ranging > from night-visions, giggles to tangential Pound-forms that enable verse > craft to drop smart references in over 40,000 metrical feet. >=20 > "During the Great Poetic Dearth, we were at the beginning of a poetic > revolution," said Capt. Michael Palmer, a veteran figurative poet who is = now > skipper of the Pequod. "Since then, it's come on like Adbusters." >=20 >=20 >=20 >=20 > Original piece of 2-16-03, from the Washington Post: >=20 > Unrivaled Military Feels Strains of Unending War For U.S. Forces, a > Technological Revolution and a Constant Call to Do More >=20 > By Thomas E. Ricks and Vernon Loeb Washington Post Staff Writers Sunday, > February 16, 2003; Page A18 >=20 >=20 > PRINCE SULTAN AIR BASE, Saudi Arabia -- An F-15C fighter rips the bone-dr= y > air as it roars down the runway, heat-seeking Sidewinder missiles pointin= g > from its wingtips. >=20 > A succession of American technological wizardry quickly follows: an RC-13= 5 > "Rivet Joint" reconnaissance plane, for intercepting enemy communications= ; > EA-6B jets, for jamming enemy radars and radios; F-16CJs, which specializ= e > in destroying enemy antiaircraft installations, and, finally, a big tanke= r > aircraft that refuels the "package" of aircraft in midair. >=20 > Here on the fringe of the Arabian Desert's forbidding Empty Quarter, this > aerial armada, mobilized to patrol the skies of southern Iraq, is emblema= tic > of the U.S. military -- which now stands astride the globe more dominant > than any armed force since the legions of the Roman Empire. >=20 > Four times over the past 12 years -- in Iraq, in Haiti, in Yugoslavia and= in > Afghanistan -- U.S. forces have dispatched enemy forces in a matter of > weeks. Today, on the eve of a possible new war against Iraq, those forces > are exponentially more lethal, and their commanders, who have known littl= e > but victory over their careers, are confident almost to the point of > cockiness. >=20 > "At no time in the history of modern warfare has a force been as > well-trained, well-equipped and highly motivated as our Air Force is toda= y," > Gen. John P. Jumper, the Air Force chief of staff, said last month. Indee= d, > one of the Air Force's slogans is "Global Reach, Global Power." >=20 > That reach, say military commanders and other experts, may also prove to = be > an Achilles' heel: The more capable the U.S. military has become, the mor= e > it has been asked to do, and now strains are beginning to show. As the Bu= sh > administration prepares for war with Iraq, it is also sustaining > peacekeeping missions in the Balkans, protecting South Korea from a newly > aggressive North Korea and pursuing a war against terrorism that stretche= s > from Afghanistan and the Caucasus to the Horn of Africa and Southeast Asi= a. >=20 > This is a period characterized by what seems like continuous warfare, > likened by military analyst Ralph Peters to the Thirty Years War that > decimated Western Europe in the 17th century, and the effects are beginni= ng > to tell on the military's manpower, on its budget, on the nation's treasu= ry, > and on a conflict of priorities -- between the need to fight today's wars > and the pursuit of means to dominate tomorrow's. >=20 > These tensions are partly the legacy of the nation's response to the > terrorist attacks of Sept. 11, 2001, but they will not dissipate any time > soon: They are implicit in the administration's new national security > strategy. That 33-page document, issued in September, commits the nation > both to maintaining U.S. military hegemony and to attacking rogue or > terrorist states before they can threaten the United States. >=20 > If the United States does attack Iraq, it would be the first preemptive > strike this nation has ever launched. >=20 > Here at Prince Sultan Air Base, the headquarters of U.S. air operations i= n > the Middle East, there are two different -- but not mutually exclusive -- > points of view on the state of the U.S. military. >=20 > One warm winter afternoon, Brig. Gen. Dale C. Waters, commander of Air Fo= rce > operations here, drove his big GMC Yukon SUV past F-15 and F-16 fighter j= ets > lined up on the tarmac and said, "Yeah, I'd say there's a high level of > confidence." >=20 > Back at Air Force headquarters on the base, Lt. Col. Matt Molloy, an > animated young F-15 squadron commander, noted that his men and women flew > out of Saudi Arabia, Turkey, Malaysia, Thailand, Australia, South Korea, > Japan, Iceland and the United States -- nine countries -- last year alone= . >=20 > "We need to put this thing to the north to rest," he said, pointing in th= e > direction of Iraq. "My airframes are cracking. We are doing too much with > what we've got." >=20 > A tour of the military, from the sands of Saudi Arabia to the waters of t= he > Mediterranean, and from the halls of Congress to the think tanks of natio= nal > security strategists and academics, shows the sources and extent of U.S. > military might -- and the limitations on it. >=20 > 'We're Digital Now' >=20 > The USS Harry S. Truman, cutting a wide swath through the eastern > Mediterranean, is a 97,000-ton, nuclear-powered aircraft carrier whose de= ck > is as long as the Empire State Building is tall. But to get an idea of ho= w > far the U.S. military has come since the Persian Gulf War, follow Rear Ad= m. > John D. Stufflebeem into the ship's cavelike Strike Intelligence Analysis > Center. >=20 > In 1991, the Navy carried out airborne photo reconnaissance with "wet" fi= lm, > which was flown off the ship in canisters for development and > interpretation. Days passed before the intelligence could be put to use. >=20 > But the day of the canister is done. "We're digital now," Stufflebeem sai= d > as he walked across the strike center, which was chockablock with compute= rs > and other information systems. One wall was dominated by a screen display= ing > real-time black-and-white video images from an unmanned Predator drone ov= er > Afghanistan. >=20 > Today, every ship in the Truman's battle group, commanded by Stufflebeem,= is > linked to the other -- and to the world beyond -- by satellite-uplinked d= ata > networks. The carrier's strike aircraft and reconnaissance planes beam > pictures back to the ship, where they are immediately interpreted by eigh= t > "point droppers" -- eight sailors whose jobs didn't exist 12 years ago. >=20 > Sitting in the semidarkness of the ship's analysis center, they consult > constantly with intelligence analysts back in the United States, sometime= s > using a secure chat room set up for that purpose. Then they determine > coordinates for targets. >=20 > Stufflebeem walked to the "precision targeting" workstation to tap a > computer screen displaying the image of a tank. "We can send this > information into the cockpit [of a fighter jet in flight] and say, 'Here'= s > the coordinates; go strike this target.' " The process, from sensor to > shooter, has been compressed to hours -- and, in some cases, minutes. >=20 > This ability -- to add velocity to data -- is the most dramatic improveme= nt > in the U.S. military over the past decade, the one that underlies > overwhelming advances in the speed and accuracy with which those forces c= an > bring ordnance to bear. >=20 > Many military analysts and historians believe that U.S. precision-strike > capabilities, first seen in the 1991 Persian Gulf War, represent the thir= d > "revolution in military affairs" of the 20th century, during which emergi= ng > technologies and new war-fighting concepts changed the nature of war. >=20 > The first took place between 1917 and 1939, with the combination of inter= nal > combustion engines, improved aircraft design, radio and radar; it produce= d > the German blitzkrieg, carrier aviation and strategic aerial bombardment. > The second came at the end of World War II, with the advent of nuclear > weapons. The third is all about precision strikes, information dominance = and > near-real-time targeting as the U.S. military leads to the way from > Industrial Age warfare to Information Age operations. >=20 > There was a time when mass on the battlefield meant military strength. Bu= t > now, with 24-hour battlefield surveillance and instantaneous targeting, m= ass > on the battlefield is a liability, because it makes forces easier to trac= k > and target. >=20 > "High-quality intelligence is the American 21st-century version of mass," > said Lt. Gen. Michael V. Hayden, director of the National Security Agency= . > "With it, we have replaced mass on the battlefield with knowledge and > precision." -------------------------------------- In Afghanistan at the = end > of 2001, the fusion of precision weapons and information dominance produc= ed > a new war-fighting concept in which small numbers of Special Operations > soldiers on the ground used laser pointers and Global Positioning System > receivers to designate targets for attack by bombers and fighters. That w= ar > will also be remembered for the U.S. military's first use in combat of an > armed, unmanned aerial vehicle: a Predator drone equipped to fire > laser-guided Hellfire missiles at targets its own sensors had identified.= In > that case, sensor and shooter had become one and the same. >=20 > In any war against Iraq, U.S. military planners would be expanding on the > lessons learned in Afghanistan. >=20 > The View From Above >=20 > If they do attack Iraq, U.S. commanders would have an unprecedented view = of > the battlefield, provided by a network of spy satellites at 400 miles in > space, Global Hawk reconnaissance drones loitering at 65,000 feet, manned > JSTARS aircraft with moving-target indicator radar at 40,000 feet and > Predator drones with video, infrared and radar sensors at 20,000 feet, al= l > feeding data back to command centers and, in some cases, directly to comb= at > aircraft. >=20 > In 1991, such real-time intelligence wouldn't have mattered much: During = the > Gulf War, more than 90 percent of the bombs dropped were "dumb" bombs, > unguided, and they often fell hundreds of feet from their targets. >=20 > Now, using the same aircraft, U.S. pilots will be dropping either > laser-guided bombs or the Pentagon's new smart bomb of choice, the > satellite-guided Joint Direct Attack Munition, or JDAM. Unlike laser-guid= ed > munitions, JDAMs cannot be blinded by weather or the dust of the > battlefield. >=20 > With this new precision-strike capability, a single aircraft carrier's > complement of 50 fighter jets can hit more targets in one night than > hundreds of aircraft did on the opening night of the Gulf War -- and Defe= nse > Secretary Donald H. Rumsfeld has deployed five carriers to the Persian Gu= lf > region. >=20 > Along with that capability, the military has significantly upgraded sever= al > key weapons systems. >=20 > The Navy's Tomahawk cruise missiles -- which would likely be used against > Iraq as they were in 1991, to target the enemy's most heavily defended ai= r > defenses without risking pilots -- now have GPS satellite receivers, whic= h > can be programmed with coordinates more rapidly and allow the missiles to > fly regardless of anomalies in terrain. >=20 > The Army's Apache Longbow helicopter gunships have vastly improved radars > that can detect and identify 128 targets on a battlefield five miles away= ; > they will fire new radar-guided Hellfire missiles that can lock onto and > track moving targets, much like an air-to-air missile. The initial "A" > version of the Apache starred in the Gulf War, but the Army calculates th= at > the Longbow model is 400 percent more lethal and 720 percent more able to > survive combat. >=20 > The centerpiece of the Air Force's campaign is expected to be an array of > bombers, beginning with the bat-winged, radar-evading B-2, which flew its > first combat missions in 1999, over Kosovo. Each B-2 can carry 16 JDAMs, = and > each JDAM can be programmed with coordinates to hit a different target. T= hey > will undoubtedly be joined by B-52 bombers, which can carry 18 JDAMs, and > B-1 bombers, which can carry 24. >=20 > These are only the most dramatic of dozens of upgrades in equipment rangi= ng > from night-vision goggles to targeting pods that enable aircraft to drop > smart bombs from 40,000 feet. >=20 > "During the Gulf War, we were at the beginning of a technological > revolution," said Capt. Michael Groothousen, a veteran fighter pilot who = is > now skipper of the Truman. "Since then, it's come on like gangbusters." > ------------------------------------------------------------------------ > -------------------------- The success of that revolution accounts for so > much besides the military's sheer strength: its confidence, its > professionalism, the better-educated men and women in the ranks -- and th= e > number of those men and women. >=20 > At the end of World War II, there were 12 million troops on active duty. > Today, with the nation's population doubled in size, there are just 1.4 > million. >=20 > Even since the Gulf War, the military has shrunk by about one-third. The > force waging the current continuous campaign is surprisingly small. >=20 >=20 > . . .yadda, yadda, yadda . . . >=20 >=20 >=20 > ------ End of Forwarded Message ========================================================================= Date: Tue, 18 Feb 2003 10:04:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Secreterial Pool Subject: __UbuWeb__ Presents :: RADIO RADIO Comments: To: msradio@banet.net Comments: cc: rumori@detritus.net, silence , soundpoetry , ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii __ U B U W E B __ http://ubu.com -------------------------------------- UbuWeb Presents RADIO RADIO -------------------------------------- RADIO RADIO can be accessed at: http://ubu.com/radio RADIO RADIO is a sixteen-part series of forty-five minute broadcasts focused on sound artists. The series features innovative radio producers, sound poets and audio artists in conversation and performance: Gregory Whitehead, Stephen Erickson, Jennifer & Kevin McCoy, cris cheek, Charles Bernstein, John Oswald, Bob Cobbing, Christof Migone, Michael Basinski, Sianed Jones, Piers Plowright, Paul D. Miller (a.k.a DJ Spooky), Lawrence Upton, Bufffluxus and Jane Draycott & Elizabeth James. Available in MP3 and streaming RealAudio. Produced by Martin Spinelli. Program 1: Gregory Whitehead has created remarkable sound for radio, the stage and the gallery for over twenty years. His more than one-hundred radio plays, essays and performances notably include Dead Letters, Pressures of the Unspeakable (winner of a Prix Italia) and Shake Rattle Roll (winner of a Prix Futura). He has written extensively on the unique qualities of "radio art" and co-edited the seminal radio criticism anthology Wireless Imagination. Program 2: Stephen Erickson has produced perhaps the best documentaries heard on radio in the past twenty-five years and garnered numerous awards in the process (most significantly a Gramy for his audio work on Ken Burns's series The Civil War). His Radio Radio program features samples from his programs Forbidden Voyage, The Exile of Braten Braten Bach, Airworks and The Blue Wall of Silence: the New York Police Department. Program 3: Jennifer & Kevin McCoy are Brooklyn-based artist who cycle, repeat and morph pop-culture tropes and images. Their series of microradio installations conflate gallery patrons with pirate radio listeners while ironically tweaking the language of novels like Frankenstein, Alice in Wonderland and the corporate-promo-speak of the web. In New York City their work has been exhibited at The Metropolitan Museum of Art, P.S.1, Postmasters Gallery, The New Museum and other venues. Program 4: cris cheek is a sound poet, performer, curator and SONY Award winner. He has collaborated on the Slant series of CDs and has created soundtracks (or languagetracks) for choreographers such as Michael Clarke, Kirstie Simpson, Miranda Tufnell, Lisa Nelson, Patricia Bardi, Mary Prestidge, Sue MacLennan and Julyen Hamilton. In his Radio Radio program cheek discusses "performance writing" and plays/performs "Public Announcement," "How Can this Hum Be Human" and other pieces. Program 5: Charles Bernstein is a poet, critic and formerly the David Gray Chair of Poetry and Letters at SUNY Buffalo, now professor of poetry at the University of Pennsylvania. He is Executive Director of the Electronic Poetry Center and (perhaps most famously) he produced with Bruce Andrews The L=A=N=G=U=A=G=E Book which gave rise to its own genre of writing. On his Radio Radio program he performs selections from his book With Strings, his opera Shadowtime about the life of Walter Benjamin, and "Dear Mr. Finelli." Program 6: John Oswald's 1989 CD Plunderphonics spawned a new category of music which samples not just pop songs, but their cultural contexts as well. Since then Oswald has refined his "electroquoting" on the CDs Greyfolded, Electrax, Discosphere, Plexure and the recently released Plunderphonics box set. In his Radio Radio program he talks about the legal machinations that have surrounded his work and plays a range of examples. Program 7: Bob Cobbing was a fixture on the London literary scene from the late 1940s until his death in 2002. Despite being the publisher of Writers Forum, having produced hundreds of books of poetry and pieces of visual art, and more-or-less inventing the concept of the "sound text," he made remarkably few inroads into either institutionalized art culture or academe. His Radio Radio program is his last broadcast interview. Program 8: Christof Migone is a composer, performer and radio artist who heads the Centre for Radiotelecommunication Contortions (CRTC) where the voice of his radio body hems, haws, slurps, clicks, breaths, contorts, cuts, modulates and masticates. His CDs include South Winds, Undo and Radio Folie/Culture. On Radio Radio he plays selections from his other CDs Hole in the Head, Vex and the Death of Analogies. Program 9: Michael Basinski sounds the poetry in "chart junk," the printers' ding-bats, wing-dings and odd typefaces found in any casual scroll through your word processor's font list. For more than twenty years he has performed choral voice collages and sound texts with his intermedia performance ensemble The Ebma; The Ebma has released two Lps: SEA and Enjambment. Program 10: Sianed Jones & cris cheek are poets, musicians and multi-media artists who have collaborated on the Slant series of CDs and performances. For Radio Radio they present and discuss several versions of their book/CD/performance project Navigations in Sound and discuss how in-situ studies of ethnopoetics have contributed to their own performance styles. Program 11: Piers Plowright worked for thirty years as a BBC producer of dramas, documentaries and innovative features before setting out as an independent producer. During this time his elegant and hybridized programs have won several SONY Awards and three of radio's most significant award the Prix Italia. On Radio Radio he talks about the evolution and the future of the medium and plays samples of his work from throughout his career. Program 12: Paul D. Miller, A.K.A. DJ Spooky, is a writer, visual artist and platinum-selling recording artist. His mixes blend black radio and cartoon soundtracks with vintage recordings of Thomas Edison and manage a rare combination of street credibility and critical sensibility. In his program he discusses "the mix" as culture and as metaphor. Program 13: Lawrence Upton is the curator of London's long-running Subvoicive Poetry series. Upton has been making poetry for nearly four decades and works in a variety of writing genres. He divides his time between London, where he was born, and the west of Cornwall and Scilly, where his family originates. His most recent collection, Wire Sculptures, is published by Reality Street Editions. Program 14: Jane Draycott & Elizabeth James have been collaborating on radio poetry projects for several years. Their work has been heard on the BBC and on stations and networks around the world. Draycott's latest collection Tideway (Two Rivers Press) is a collaboration with artist Peter Hay. A sound montage made during the writing of the book features in the Summer 2002 issue of Boomerang UK. James's poetry has been published by Vennel Press, Form Books and Writers Forum (the latest being Recognition, 1999). Her other collaborative projects include: Neither the One Nor the Other with Frances Presley and 'Two Renga' with Peter Manson. Program 15: The BuffFluxux ensemble consisted of Matt Chambers, Rick Royer, Mark Peters, Natalie Basinski and Mike Basinski at the time of this recording. Based in Buffalo, New York, they have performed at venues throughout North America and Europe. For their Radio Radio program they perform "Five Minutes of Eternity," "Breath Song of the Soil Fungi" and "Shit Piece." Program 16: Bob Cobbing & Lawrence Upton had worked together on Writers Forum for over thirty years and had been collaborating sound and voice performers for nearly as long. Together they produced the seminal sound-text anthology Word Score Utterance Choreography and the pamphlet series Domestic Ambient Noise from which they perform during their Radio Radio program. -------------------------------------- UbuWeb presents RADIO RADIO ----------------------------------- RADIO RADIO can be accessed at: http://ubu.com/radio __ U B U W E B __ http://ubu.com Sorry for the cross-posting. Please forward. __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Tue, 18 Feb 2003 10:15:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Mathews LOSH Subject: Re: The Secret Life of Pronouns In-Reply-To: <00db01c2d703$7b176640$f2113444@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Usually I just lurk, but I must confess that when I taught a September 11th seminar, we spent a lot of time on the pronouns in Bush's speeches. I think it's considerably more complex than a case of the "royal we." He moves a lot between the executive "I" and the empathetic "we" in the aftermath of the disaster. And check out all the different ways he uses "you"! Anyway, I wrote a hypetext article about the seminar in _Kairos_ at http://english.ttu.edu/kairos/7.2/binder.html?sectionone/losh You can see some of the stuff about pronouns under "ethos" in the _Kairos_ article and under "student final comments" at the bottom of the course syllabus at http://eee.uci.edu/faculty/losh/syllabi/ I wrote part of my dissertation on pronouns in Oppen, so I'm glad to discover that there are other similarly obsessed people. Liz On Mon, 17 Feb 2003, tombell wrote: > I just finished reading (even though not completely digested yet) a > fascinating new article by Jim Pennebaker (who was involved in some recent > research on suicide and writers) that I think has implications for recent > discussion of psychology, spirituality, and writing and....("The secret ife > of Pronouns: Flexibility in Writing Style and Physical health, Campbell and > pennebaker, _{sychological Science, 14:1, january, 2003, 60 -64.). > > Briefly, they use Latent Semantic Analysis to study the 'junk' words in > writing samples rather than the content words. Oh no! Langpo and > materiality and style and science all in one article. > > Their specific conclusion here, that variation in pronoun usage (point of > view possibly) in writing is healthy than being stuck in a rut will > hopefully be subject to further research in the next few years, but the > methodology might be worth looking at even though it's that nasty hard > science stuff we don't like to dirty our hands with[****, trapped by grammar > again]. > > Would like to see an analysis of the pronouns of the poets against the war > and presidential rhetoric, but am curious whether this has been used by > teachers of writing? > > tom bell (Psy.D., for a day and > not yet a crazy old man > ========================================================================= Date: Tue, 18 Feb 2003 13:19:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: But seriously ... Mime-Version: 1.0 Content-Type: text/plain; format=flowed Some recent blog highlights: David Hess' in-depth interview with Chris Stroffolino at: http://heathensinheat.blogspot.com Eileen Tabios on the demonstration in San Francisco at: http://winepoetics.blogspot.com Stephanie Young on same at: http://stephanieyoung.blogspot.com Anastasios Kozaitis on the demonstration in New York City at: http://inelectablemaps.blogspot.com Nick Piombino on same at: http://nickpiombino.blogspot.com Marianne Shaneen on Paul Chan's photography project at: http://froth.blogspot.com Jack Kimball's "Parasomnia as Speech" on: http://pantaloons.blogspot.com Kasey Mohammad answers the question "How would you explain what you do in your own writing to someone with no prior knowledge of poetry?" on: http://limetree.blogspot.com Patrick Herron's list of links to alternative sources of news/information at: http://lesters.blogspot.com Ron Silliman on Poets Against the War at: http://ronsilliman.blogspot.com _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 18 Feb 2003 10:28:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Mathews LOSH Subject: Re: Still more on pronouns from Bush speeches In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://eee.uci.edu/faculty/losh/syllabi/bush.html ========================================================================= Date: Tue, 18 Feb 2003 13:28:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: Unelectable! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Gary, when he speaks of Anastasios's blog, means to point to: http://ineluctablemaps.blogspot.com/ ... Jordan ========================================================================= Date: Tue, 18 Feb 2003 13:38:58 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Two arrested for posting iraqi pictures MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit FW: TWO ARRESTED FOR POSTING PICTURES OF IRAQIS IN NEW YORK CITY February 17, 2003 TWO ARRESTED FOR POSTING PICTURES OF IRAQIS IN NEW YORK CITY (NEW YORK CITY)- Artist Emilie Clark and writer Lytle Shaw were arrested for posting pictures of people from Baghdad in Soho late Thursday night. Both have been released. A court date has been set to prosecute the two for showing New York City the people who will die in a possible war against Iraq. Clark and Shaw were members of the Baghdad Snapshot Action Crew. Based in New York City, the crew of 75 artists and activists began posting simple flyers with pictures of ordinary Iraqi citizens around New York City, in anticipation and solidarity of the February 15th anti-war rally. The pictures were taken by artist Paul Chan, who recently returned from Baghdad as a member of the Iraq Peace Team, a project of the Chicago based, Nobel Peace Prize nominated activist group, Voices in the Wilderness. Clark and Shaw were taping the letter sized flyer on a lamppost at the corner of Mercer and Prince Streets when three undercover policemen arrested them. They were charged with criminal misdemeanors. Shaw was released after five and a half hours. Clark spent seven hours in jail before her release. Clark is pregnant with her first son, and is expecting this Spring. The arrests were a clear attempt by the police to intimidate New Yorkers to stay away from the protest. "If there wasn't a march on Saturday we wouldn't have been arrested.," Shaw said. While in custody, police harassed Clark and Shaw with talk about how dangerous the rally will be. "They kept saying how mace was going to be used on all the protesters," Clark said. "And then they said they had heard suicide bombers might attack the rally." What was most disturbing to Shaw was how the cops tried to justify their actions against the two. "They tried to appeal to us sentimentally," Shaw said, "as though the repression they were enacting was really in our best interest." "They wanted to send a message that we should stay home because it [the protest] was dangerous, and they didn't want to see us hurt." The court date is set for March 13. ### FOR MORE INFORMATION: http://www.nationalphilistine.com Baghdad Snapshot Action Crew http://unitedforpeace.org Februray 15 anti-war rally organizers http://iraqpeaceteam.org Iraq Peace Team website ========================================================================= Date: Tue, 18 Feb 2003 10:48:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: Essay In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Leftover from yesterday's hip-hop/poetry discussion: Actually, I DO like rap and never said that I didn't, and I can acknowledge that elements of both affect the other, processes don't occur in a vacuum. However, I wasn't trying to say other views are invalid, I was simply stating my opinion. It's fascinating how passionate people can be and I think that's a good sign for the state of poetry, regardless of differing views. All this aside, I do feel, whether they are connected are not, rap is its own form, and cannot replace poetry. Poetry has its own validity which I worry will be lost if they it's simply replaced by a different art form. I see stating your opinion can be pretty dangerous around here. Flora __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Tue, 18 Feb 2003 10:52:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: doors top her foamed fruit Comments: To: wryting Comments: cc: rhizome , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Mama. seconds is around the punctuality. against is black scars. so. fruit among scars. because to scars. fruit or among top liquifies foamed so. the because circus, scanning an scars slurped so. trap so. as mistakes. doors in the because light, stars curled as fruit label. her trap is about scanning mistakes. slurped an trap fruit about around stars, curled scanning on trap foamed or trap top so. around is foamed to mistakes Mama. is pleases foamed the around trap in stars, black siphoning foamed punctuality scanning so. in foamed stars, foamed scanning the trails trails the Mama. so. of foamed scanning scars. spools mistakes. mistakes trails around or inside mustard, doors because or scanning doors in spools is mistakes the so. foamed or to punctuality of an punctuality. because mistakes. liquifies trap in slurped in because top or about around in top the as circus. spools doors trails among doors of the trap so. a in black fruit stars Mama. a scars. liquifies top foamed so. a or the punctuality, to a doors or pleases top is trap about is the mistakes. mistakes against Papa. spools among trails, light curled mistakes salvaging as pleases liquifies fruit as punctuality. top a on stars the doors among Mama, scars. scars circus. a scanning stars among fruit circus of the among the foamed doors the trap scars. foamed black Mama. to hour the so. is scanning mistakes foamed about seconds or about in in to scanning spooks spooks scanning in scanning of hour Mama. mistakes. mustard, top trap fruit scanning black pleases scars. in top light between salvaging among so. mistakes liquifies spools mistakes the spools about between doors scars. Mama. a scars. liquifies top foamed so. a or the punctuality, to a doors or pleases top is trap as Mama because foamed around so. mistakes on pleases inside of trap black stuffed liquifies the siphoning stars, stars of among mistakes. doors about light scars. seconds Mama. mistakes on stars top on scanning scanning about mistakes. because mistakes. in translucent top is stars scanning trails scars. Mama, in siphoning the scars. fruit. hour circus. of among circus, trap so. scanning but is an to or a label. scanning pleases spools surface but spools the an in circus among doors. between her as mistakes spooks scanning scars because around because is circus, to trails or trap spooks is about because curled in foamed her mistakes. about about in a on stars the doors among Mama, scars. scars circus. a scanning stars among fruit circus of so. an or mustard, the black mistakes. or or of of spooks trails slurped foamed or around of her because in translucent black the circus mistakes. doors spooks scanning so. an or mustard, the black mistakes. or or of of spooks trails slurped foamed or around of her because in translucent black the circus mistakes. doors spooks scanning top the as circus. spools doors trails among doors of the trap so. a in black fruit stars siphoning the scars. fruit. hour circus. of among circus, trap so. scanning but is an to or a label. scanning pleases spools surface the among the foamed doors the trap scars. foamed black Mama. to hour the so. is scanning mistakes foamed translucent light so. so. to pleases the or top doors of because Mama punctuality stars to circus. circus circus doors mistakes. about spooks stars Mama, mustard a her an among scars. punctuality, fruit. hour to so. or foamed between liquifies a between or the as mistakes stars scars. scanning of slurped so. an or mustard, the black mistakes. or or of of spooks trails slurped foamed or around of her because in translucent black the circus mistakes. doors spooks scanning in punctuality. in black doors circus. doors top her foamed fruit the punctuality, so. trails about slurped hour the among the foamed doors the trap scars. foamed black Mama. to hour the so. is scanning mistakes foamed 2/18/03 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Tue, 18 Feb 2003 13:48:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: PARIS CONNECTION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit PARIS CONNECTION: 6*4*4 @ http://arteonline.arq.br/Paris @ http://turbulence.org/curators/Paris @ http://www.dichtung-digital.org/2003/parisconnection.htm @ http://www.coriolisweb.org/Paris/Connection Paris Connection examines the art of a loosely-knit group of six Parisian web.artists who, individually and collaboratively, are producing some of the most vibrant and challenging work on the Web today. Via interviews, profiles, essays, interactive works, graphical explorations, and links to the actual works, Paris Connection offers perspectives on the artists, individually and as a group, within the broader context of contemporary art. Paris Connection is presented in English, French, Portuguese, and Spanish; it is co-produced and co-published by sites in Toronto, New York, Berlin, and Rio; the 15 person production network is located in Canada, the United States, Brazil, Argentina, France, Germany, and the Netherlands. Paris Connection is a strong and optimistic statement about the international dimensions of the Internet and presents art and commentary on that art which pushes the boundaries of expression and understanding. There will be an online chat amongst the artists, producers, production network, press, and whomever wants to show up. The chat is at any of the above URLS (click on discuss>chat) at the following time: 13:00:00 Sun Feb 23 2003 in US/Eastern time 15:00:00 Sun Feb 23 2003 in Rio time 19:00:00 Sun Feb 23 2003 in Europe/Paris time See http://www.timeconverter.com/cgi-bin/tzc.tzc to calculate the time in your area. ARTISTS: Jean-Jacques Birgé; Antoine Schmitt; Nicolas Clauss; Frédéric Durieu; servovalve; and Jean-Luc Lamarque. WRITERS: Paris Connection contains writing by Jim Andrews of vispo.com and coriolisweb.org in Toronto; Helen Thorington of turbulence.org in New York; Regina Célia Pinto of arteonline.arq.br in Rio, Brazil; and Roberto Simanowski of dichtung-digital.org in Berlin. Paris Connection also contains writing by Carrie Noland, a scholar of French literature at the University of California who has written Poetry at Stake: Lyric Aesthetics and the Challenge of Technology (Princeton University Press), which explores historical poetic attempts to redefine the relationship between subjective expression and mechanical reproduction. PRODUCERS: Regina Célia Pinto's arteonline.arq.br is one of the main nodes on the Web for cross-fertilization between South American and North American web.art; Thorington's turbulence.org is well-known for its long-time commitment to commissioning, exhibiting and archiving works by artists exploring the networked medium; and Simanowski's dichtung-digital.org, published in German and English, concentrates on critical writing about international digital literature and art. Paris Connection is the first publication of coriolisweb.org. TRANSLATORS: Ana Maria Uribe (Spanish), Regina Célia Pinto, Alexandre Venera, Jorge Luiz Antonio (Portuguese), Philippe Castellin, Anne Sobotta, Patrick-Henri Burgaud, Millie Niss, Olivier Crete (French) ja ========================================================================= Date: Tue, 18 Feb 2003 15:36:40 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: f15 poster MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi there, i'm stil working through my week-end e-mail but this may look good on a few office doors. actually Dru's site is a pretty good resource for a lot of things activist. Kevin -- ------------------------------------------------------------------------------- Cheney, Bush, Rumsfeld:The Axis Of Weasel ---------- Forwarded message ---------- Date: Sat, 15 Feb 2003 20:17:34 -0400 From: Dru Oja Jay Reply-To: mobglobplan@yahoogroups.com To: mobglobplan@yahoogroups.com Subject: [mgp] f15 poster Since today was pretty much the biggest coordinated protest (correct me if I'm wrong) in the history of the planet, I made a two-page poster out of the list of 603 cities listed as participating. To commemorate the very many events that took place, and to point to what the mainstream media will inevitably do a good job of ignoring. I included crowd estimates of some of the bigger demos (many over 1 million!). (I had trouble finding figures for S. America. Those will be added asap.) http://misnomer.dru.ca/f15/f15_cities.pdf (200k, pdf file) Easily printable. Suitable for home, office, or public use. /dru -- Dru Oja Jay http://misnomer.dru.ca dru@monkeyfist.com To unsubscribe from this group, send an email to: mobglobplan-unsubscribe@egroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ ========================================================================= Date: Tue, 18 Feb 2003 14:07:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Peter Russell (1921-2003) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed John Matthias alerted me to the death of Peter Russell a few weeks ago. Richard Burns has now sent the full text of his obituary, a portion of which was published in The Independent on January 28, 2003, with the hope it will be of interest to the wider poetry community. I have put the full text of Burns's obituary at the EPC: http://epc.buffalo.edu/authors/misc/russell.html John Gery's very informative recent review of Russell appeared in Notre Dame Review #14 and is available at: http://www.nd.edu/~ndr/issues/ndr14/reviews/gery.html Charles Bernstein ========================================================================= Date: Tue, 18 Feb 2003 12:42:18 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: poem still in process Comments: To: webartery@yahoogroups.com MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT 60 and still or 60 and still kiCKing or Still or Standing still Attention tom bell not yet a crazy old man ========================================================================= Date: Tue, 18 Feb 2003 15:17:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: mla newsletter MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit i'd have to add public enemy's fear of a black planet as one of the finest rap albums to have been released...'welcome to the terrordome' in particular... the jungle brothers come to mind, as well... ----- Original Message ----- From: "lewis lacook" To: Sent: Tuesday, February 18, 2003 9:23 AM Subject: mla newsletter > MARIA:i don't get it. why is rap not poetry? who is > any one person to say > what is and is not poetry? why the rigid boundaries? > > LL: better watch it, that thinking will make you a > radical... > > personally, i think hip hop IS poetry...those that > shun it shun it mostly because of the crap that makes > it to the mainstream...it's not hard to pique a > thirteen-year-old boy's interest if you talk about > incredible wealth and sexual > opportunity/aggression...thus, the mainstream hip-hop > world's full of the worst sort of crap.... > > i find De La Soul's first three albums > inspirational...and digable planets...and there'll > always be a soft spot in my heart for the beastie boys > ("Is your name michael Diamond? Naw, my name is > Clarence...")----anyone who can't hear the poetry in > hip hop should hear the beasties' "beat boy > bouillabaise", or anything from digable planet's > second album... > > ahhhhhh...i suppose it's human nature to draw all > these lines all over everything (this is poetry, this > isn't poetry, this is net art, this is web art, this > is "e-poetry" (ugh!), this isn't...)...it all ends up > being such a horrible mess of ego ego ego...if only we > could remember what nietzsche said about dissecting > existence this way... > > bliss > l > > > > > ===== > > > http://www.lewislacook.com/ > NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics > ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ > http://artists.mp3s.com/artists/385/lewis_lacook.html > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Shopping - Send Flowers for Valentine's Day > http://shopping.yahoo.com > > > ========================================================================= Date: Tue, 18 Feb 2003 14:27:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: C R O A T A N Mime-Version: 1.0 Content-Type: text/plain; format=flowed the Pastoral virtually shut the door on tragedy lovelorn shepherds each claim to the other a gift for memory, distractions finished in couplets reluctant dust upholding our scandals as we uphold the law, sympathy played upon reason poetry is the heart of language, and what lies at the heart of poetry is language, perfumed shade a virtue that complements postponed catabasis monoliths of beaten gold broken in by thunderstorm, those full-fledged messages took the majority of nine years the lazy are already creatures of Heaven Stein’s friend Georges Hugnet and Stein’s Mallorcan period tested positive for impregnable hieroglyphs the most common word can be converted into mystery to celebrate the king’s own plans, the procession allowed me a snake and a crude proverb outfitted with leather straps isn’t there a Biblical injunction against such shenanigans? the sun and the heart do not suffer direct eye contact I set this proverb among the lares and penates in our hyaline house where the sun and the moon were born _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 18 Feb 2003 14:31:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: mla newsletter In-Reply-To: <007a01c2d78a$b744bff0$492bfea9@vaio> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit & 50 cent seems to have the spirit of Bukowski down with the predictable gangsta twist. I used to listen to Masters of Hiprocracy quite abit, agile agile vocabulary & above average distinctive mixing. mIEKAL On Tuesday, February 18, 2003, at 02:17 PM, Duration Press wrote: > i'd have to add public enemy's fear of a black planet as one of the > finest > rap albums to have been released...'welcome to the terrordome' in > particular... > > the jungle brothers come to mind, as well... > ========================================================================= Date: Tue, 18 Feb 2003 17:16:56 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: May 17, 2003: Montreal's 4th Anarchist Bookfair (updated info MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII [February 17, 2003 --- This is the second callout for Montreal's Fourth Annual Anarchist Bookfair, to take place on May 17, 2003. This e-mail includes new info about workshops, tables, the Festival of Anarchy, and much more. If you would like to reserve a table, give a workshop, or help publicize the bookfair locally, please read below and get in touch. For updates, please consult our webpage: http://www.tao.ca/~lombrenoire. The most recent updates are included below.] [Original callout] Announcing ... The 4th Annual .. MONTREAL ANARCHIST BOOKFAIR part of the Festival of Anarchy -=-=-=-=-=-=-=-=-=-=-=-=-= Saturday, May 17, 2003 10am - 6pm NEW LOCATION! 2515, rue Delisle (near metro Lionel-Groulx) =-=-=-=-=-=-=-=-=-=-=-=-=- Now in it's fourth year, the Montreal Anarchist Bookfair is the largest anarchist bookfair in northeastern North America, and an important exchange of anarchist and anti-authoritarian ideas for anarchist and non-anarchists alike, in both English and French. The Festival of Anarchy will also include a separate day dedicated to workshops on Sunday, May 18, 2003 (at 1710 rue Beaudry), as well as events involving films, poetry, exhibitions, readings, presentations, speakers and much more throughout the month of May. If you have ideas, proposals or suggestions for bookfair-related events, including workshops, please get in touch. For more information, or updates: http://www.tao.ca/~lombrenoire bookfair2003@ziplip.com * 514-844-3207 ---> UPDATES <--- BOOKS & PUBLICATIONS, BOOKSELLERS & PUBLISHERS ---> The Montreal Bookfair Organizing Collective is making an extra effort to obtain anarchist, anti-authoritarian and left-libertarian literature, magazines, books, and zines, in English, French and Spanish, from all over the world. While not all booksellers or distributors might be able to attend the bookfair in person, the bookfair collective will try to have these items available for distribution and sale at the bookfair. Please pass on your tips, leads and contacts to bookfair2003@ziplip.com. BOOKFAIR TABLES ---> This year's new bookfair location will have more space, but tables will still be limited. If you want to have space at the bookfair, PLEASE RESERVE IN ADVANCE. You can reserve table space by writing bookfair2003@ziplip.com. Please write us before April 1, 2003, and please include a brief description of your group, as well as how much table space you might need. Bookfair tables will be charged a fee, based on a sliding scale. HELP WITH PUBLICITY ---> If you are able to promote the Montreal Anarchist Bookfair locally (distributing flyers and posters), please get in touch, and we'll send you materials. If you maintain a webpage, we encourage you to link to our site: http://www.tao.ca/~lombrenoire. And, if you publishing a magazine, paper or zine before May 2003, let us know if you're willing to run a promotion for the Montreal Bookfair. MONTREAL-AREA POSTERING ---> Each year, the bookfair collective aims to poster widely throughout Montreal, including outlying neighborhoods. If you can help with postering efforts, please get in touch. WORKSHOPS ---> Again this year, the Anarchist Bookfair will include several workshops. Introductory-style workshops will take place on May 17 (at 2515, rue Delisle during the bookfair itself), while more in-depth workshops will take place on May 18 at 1710, rue Beaudry. If you would like to present a workshop, please send along your workshop proposal BEFORE March 17th to bookfair2003@ziplip.com. Your proposal should include a title, workshop description, language of workshop, and mini-bio of the presenters. FESTIVAL OF ANARCHY EVENTS ---> We strongly encourage you to inform us about your events before April 1, 2003, to coordinate the calendar of events. To date, the following Festival of Anarchy events are scheduled to take place: --> May 1: Mayday contingent or demonstration (details to be confirmed) --> May 3-5: Conference on Anti-Patriarchal Struggles within the Anarchist Movement, with the participation of Martha Ackelsberg, author of "Free Women of Spain". Please send workshop ideas for this conference to bookfair2003@ziplip.com --> May 15: Slideshow with New York City artist Eric Drooker (to be confirmed) --> May 16: Poetry Night --> May 17: Anarchist Bookfair, 10am-6pm --> May 18: Day of Workshops Other proposed events include a film festival, benefit show, lectures, roundtables and much more. CONTACT INFORMATION ---> For more information, or updates: http://www.tao.ca/~lombrenoire bookfair2003@ziplip.com * 514-844-3207 To unsubscribe from this group, send an email to: mobglobplan-unsubscribe@egroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ ========================================================================= Date: Tue, 18 Feb 2003 12:54:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: mla newsletter In-Reply-To: <007a01c2d78a$b744bff0$492bfea9@vaio> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Actually, thinking of rap as poetry is not radical. I'm sure many people who care about either would agree. And of course it has poetic elements, but I also think it is it's own thing. My point is being missed in favor of tangential arguments, so I give up. --- Duration Press wrote: > i'd have to add public enemy's fear of a black > planet as one of the finest > rap albums to have been released...'welcome to the > terrordome' in > particular... > > the jungle brothers come to mind, as well... > > > ----- Original Message ----- > From: "lewis lacook" > To: > Sent: Tuesday, February 18, 2003 9:23 AM > Subject: mla newsletter > > > > MARIA:i don't get it. why is rap not poetry? who > is > > any one person to say > > what is and is not poetry? why the rigid > boundaries? > > > > LL: better watch it, that thinking will make you a > > radical... > > > > personally, i think hip hop IS poetry...those that > > shun it shun it mostly because of the crap that > makes > > it to the mainstream...it's not hard to pique a > > thirteen-year-old boy's interest if you talk about > > incredible wealth and sexual > > opportunity/aggression...thus, the mainstream > hip-hop > > world's full of the worst sort of crap.... > > > > i find De La Soul's first three albums > > inspirational...and digable planets...and there'll > > always be a soft spot in my heart for the beastie > boys > > ("Is your name michael Diamond? Naw, my name is > > Clarence...")----anyone who can't hear the poetry > in > > hip hop should hear the beasties' "beat boy > > bouillabaise", or anything from digable planet's > > second album... > > > > ahhhhhh...i suppose it's human nature to draw all > > these lines all over everything (this is poetry, > this > > isn't poetry, this is net art, this is web art, > this > > is "e-poetry" (ugh!), this isn't...)...it all ends > up > > being such a horrible mess of ego ego ego...if > only we > > could remember what nietzsche said about > dissecting > > existence this way... > > > > bliss > > l > > > > > > > > > > ===== > > > > > > http://www.lewislacook.com/ > > NEW! Zoosemiotics > http://www.lewislacook.com/zoosemiotics > > ARCADIA: long poem serialized in the muse > apprentice guild: > http://www.muse-apprentice-guild.com/ > > > http://artists.mp3s.com/artists/385/lewis_lacook.html > > > > > > __________________________________________________ > > Do you Yahoo!? > > Yahoo! Shopping - Send Flowers for Valentine's Day > > http://shopping.yahoo.com > > > > > > __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Tue, 18 Feb 2003 16:12:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: mla newsletter MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit And what about those most sampled: The Last Poets? Gerald ----- Original Message ----- From: "miekal and" To: Sent: Tuesday, February 18, 2003 3:31 PM Subject: Re: mla newsletter > & 50 cent seems to have the spirit of Bukowski down with the > predictable gangsta twist. I used to listen to Masters of Hiprocracy > quite abit, agile agile vocabulary & above average distinctive mixing. > > mIEKAL > > > On Tuesday, February 18, 2003, at 02:17 PM, Duration Press wrote: > > > i'd have to add public enemy's fear of a black planet as one of the > > finest > > rap albums to have been released...'welcome to the terrordome' in > > particular... > > > > the jungle brothers come to mind, as well... > > > ========================================================================= Date: Tue, 18 Feb 2003 13:03:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chryss Yost Subject: Poems Not Fit for the White House In-Reply-To: <20030218205417.33962.qmail@web10009.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Did anyone on list attend? How was it? ========================================================================= Date: Tue, 18 Feb 2003 16:42:15 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: C-Span MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit OUR TELEPHONE NUMBERS Main Number: (202) 737-3220 Viewer Services: (765) 464-3080 (for programming questions) C-SPAN Archives: (877) ON CSPAN, (877) 662-7726 (to order videotapes) Employment with C-SPAN: (202) 626-7983 Washington Journal: Democrats (202) 585-3881 Washington Journal: Republicans (202) 585-3880 Washington Journal: Others (202) 585-3882 OUR EMAIL ADDRESSES VIEWING QUESTIONS Viewer Services: Questions about our schedule, how to buy videotapes, and for any other general comments about C-SPAN - viewer@c-span.org Events: Suggest a public event that you think C-SPAN should cover - events@c-span.org WEB SITE QUESTIONS Community Manager: Questions and suggestions about participating in C-SPAN's Online Community - manager@c-span.org Online: Questions and comments about technical concerns/problems with C-SPAN's web site. Please use this address for web site-related questions ONLY - online@c-span.org EDUCATIONAL OUTREACH QUESTIONS C-SPAN in the Classroom: Learn about current C-SPAN educational initiatives and free resources - educate@c-span.org The C-SPAN School Bus: Find out when the Bus is coming to your neighborhood or request a visit - educate@c-span.org SPECIFIC C-SPAN PROGRAMMING DEPARTMENTS Washington Journal: Ask Guests Questions Washington Journal: Contact the Producers C-SPAN Radio: radio@c-span.org Booktv@c-span.org ========================================================================= Date: Tue, 18 Feb 2003 16:46:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: mla newsletter MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit thought it was the disposable heroes of hiphoprisy? but, yes, they were quite good...franti's solo ventures (with spearhead) had their moments as well... ----- Original Message ----- From: "miekal and" To: Sent: Tuesday, February 18, 2003 3:31 PM Subject: Re: mla newsletter > & 50 cent seems to have the spirit of Bukowski down with the > predictable gangsta twist. I used to listen to Masters of Hiprocracy > quite abit, agile agile vocabulary & above average distinctive mixing. > > mIEKAL > ========================================================================= Date: Tue, 18 Feb 2003 15:06:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: caught in possession of thoughts In-Reply-To: <20030204190252.78102.qmail@web10803.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit caught in possession of thoughts in the first book of myths, the day was a compromise, the edge a grave diggers spade. ridicule came from the airways pumping blood that canceled the previous foretold. weeds where replaced with something form, an armored body, or golden vertigo madness. I felt the compromise again, those placenta headlines, and the winds of the flatlands that turned darkness to a sound without ends. the cold froze my hands to murder cut-off from pain. suddenly the morning was burning with impotence on a fake landscape. tickets where sold for the battlefield, the body torn to shreds. I had to answer to my parts scattered across a temporary phenomena. there was a cinematic climax, souls isolated and questions flogged and gagged. there was another compromise and the day begun again. in the first book of myths, on the edge a grave diggers spade . . . ========================================================================= Date: Tue, 18 Feb 2003 20:02:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Sous les toits de Paree... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Chircac "they missed (the new euros) a good chance to be quiet...." Bush "democracy is beautiful" chercher le positif...mr. inbetween... ========================================================================= Date: Tue, 18 Feb 2003 19:15:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: mla newsletter In-Reply-To: <001b01c2d797$37204350$492bfea9@vaio> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit yes of course, thank god someone can remember anything before the millennium... On Tuesday, February 18, 2003, at 03:46 PM, Duration Press wrote: > thought it was the disposable heroes of hiphoprisy? but, yes, they were > quite good...franti's solo ventures (with spearhead) had their moments > as > well... > > > ----- Original Message ----- > From: "miekal and" > To: > Sent: Tuesday, February 18, 2003 3:31 PM > Subject: Re: mla newsletter > > >> & 50 cent seems to have the spirit of Bukowski down with the >> predictable gangsta twist. I used to listen to Masters of Hiprocracy >> quite abit, agile agile vocabulary & above average distinctive mixing. >> >> mIEKAL >> > ========================================================================= Date: Tue, 18 Feb 2003 18:13:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Our March Will Stop The War! A Medley from Vancouver - February 15, 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Our March Will Stop The War! A stunning four-minute medley of class war classics: chants, songs, and outbursts from the march against the capitalist war machine in Vancouver on February 15, 2003. http://vancouver.indymedia.org/news/2003/02/32700.php Tracks: 1. All we are saying is give class war a chance. 2. Aint no war but the class war! 3. Kanada, U$A: how many people did you kill today? 4. Bush and Chretien: the same fuckin shit! 5. The people armed will never be defeated! 6. Long live the people's army! 7. Bagpipes solo 8. It's plain to see, you can't change me, cuz I'm people's army for life! 9. Bullshit, get off it, the enemy is profit! 10. Fuck Kanada! 11. Bush and Chretien: the same fuckin shit! (Encore) 12. Hey Bush we hate you and your fuckin army too! 13. If you want peace shut the fucking country down! 14. You want to stop the war? Shut the fucking country down! 15. Shut down this fucking country! ========================================================================= Date: Tue, 18 Feb 2003 21:21:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: L-a-n-g-u-a-g-e 25th Anniversary Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The first issue of L-A-N-G-U-A-G-E, edited by Charles Bernstein and Bruce Andrews was published in February, 1978. For a listing of the contents of the first issue see fait accompli 2/18/03 http://nickpiombino.blogspot.com -Nick- ========================================================================= Date: Tue, 18 Feb 2003 21:42:45 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/18/03 10:21:41 PM, npiombino@AAAHAWK.COM writes: << The first issue of L-A-N-G-U-A-G-E, edited by Charles Bernstein and Bruce Andrews was published in February, 1978. For a listing of the contents of the first issue see fait accompli 2/18/03 http://nickpiombino.blogspot.com -Nick- >> Happy anniversary to the principles. A momentous occasion, to be sure. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Tue, 18 Feb 2003 19:49:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Happy Birthday to the principals, too.(Before Bowering spots the error!) DB. -----Original Message----- From: Austinwja@AOL.COM To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, February 18, 2003 6:43 PM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary >In a message dated 2/18/03 10:21:41 PM, npiombino@AAAHAWK.COM writes: > ><< The first issue of L-A-N-G-U-A-G-E, edited by Charles Bernstein and Bruce >Andrews was published in February, 1978. For a listing of the contents of >the first issue see fait accompli 2/18/03 http://nickpiombino.blogspot.com > >-Nick- >> > >Happy anniversary to the principles. A momentous occasion, to be sure. >Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com >BarnesandNoble.com > ========================================================================= Date: Tue, 18 Feb 2003 19:46:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Maxwell Subject: Jerome Rothenberg & Walter K Lew @ Dawsons, this Sunday 4pm! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Please join us as the spring season of the Poetic Research series = begins! (See entire series at bottom.) *** The Germ and the Poetic Research Bloc present: Jerome Rothenberg & Walter K. Lew Sunday, February 23 at 4pm at Dawson's Book Shop! *** Jerome Rothenberg is an internationally known poet and the author of = over sixty books of poetry and a number of breakthrough anthologies of experimental and traditional poetries (Technicians of the Sacred, = Shaking the Pumpkin, Poems for the Millennium, etc.). He was a founding figure = of ethnopoetics as a combination of poetic practice and theory, and he has = been a longtime practitioner of poetry performance in frequent = collaborations with performers like Bertram Turetzky and Charlie Morrow and with = groups like the Living Theater and the Westdeutscher Rundfunk (Cologne). The = Lorca Variations works with a redistribution of vocabulary from Rothenberg's translations of the great Spanish modernist poet, Federico Garc=EDa = Lorca, while That Dada Strain starts as a tribute to the Dada poets of Europe, = who were instrumental in opening up new forms of creativity while debunking older forms of artistic repression. The occurence of Dada in the midst = of the first world war and the martyrdom of Lorca at the time of the = Spanish Civil War and Great American Depression are also crucial to a reading = of these works. A Book of Witness, Jerome Rothenberg twelfth book of = poems from New Directions, will be published in April Walter K. Lew's most recent book is Treadwinds: Poems and Intermedia = Texts (Wesleyan U. Press, 2002) Earlier books include Excerpts from: ?IKTH = DIKTE, for DICTEE (1982) (1992), a critical artist's book on the work of = Theresa Hak Kyung Cha, K=F4ri: The Beacon Anthology of Korean American Fiction, co-edited with Heinz Insu Fenkl (Beacon, 2001), Crazy Melon and Chinese Apple: The Poems of Frances Chung (Wesleyan, 2000), and the acclaimed = Asian North American poetry anthology Premonitions and Muae 1 (both published = in 1995). Formerly a TV news and documentary producer on events in Korea, = Lew has also staged his own multimedia performance pieces for the Los = Angeles Festival and Walker Art Center. He is currently working on a = translation with commentary of the selected works of the Korean avantgarde author = Yi Sang (1910-1937), as well as a fictionalized account of the life of the first Korean American novelist Younghill Kang (1899-1972). *** Doors open at 4. Readings at 4:30. Dawson's Book Shop is located at 535 N. Larchmont Blvd between Beverly = Blvd and Melrose Blvd in the Larchmont district south of Hollywood, CA. Bookstore Tel: 213-469-2186 Readings are open to all. $3 donation requested for poets/venue. Call Andrew at 310.446.8162 x233 for more info. The series continues: MARCH 16: Rachel Levitsky (NYC), Dan Machlin (NYC) & Franklin Bruno = (LA) APRIL 4-6: French-American Magazine Conference at USC (http://www.usc.edu/isd/publications/now/stories/262.html) APRIL 20: Ryoko Sekiguchi (Paris) & Abdellatif Laabi (Morocco): to be confirmed MAY 18: George Albon (SF) & Daniel Tiffany (LA) JUNE 1: Jena Osman (Philadelphia) & E. Tracy Grinnell (NYC) ========================================================================= Date: Tue, 18 Feb 2003 21:12:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The long-in-the-making Princeton site, Eclipse, ("long in the tooth"?) http://www.princeton.edu/eclipse/ is projected to launch at the end of this month, with full facsimile contents of the L=A=N=G=U=A=G=E journal. It was all on-line for a while last winter, but they appeared to be having technological problems. From: Nick Piombino Subject: L-a-n-g-u-a-g-e 25th Anniversary The first issue of L-A-N-G-U-A-G-E, edited by Charles Bernstein and Bruce Andrews was published in February, 1978. For a listing of the contents of the first issue see fait accompli 2/18/03 http://nickpiombino.blogspot.com -Nick- __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Wed, 19 Feb 2003 16:12:18 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAYDREAMS 364 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAYDREAM * dy rm Piiiis JFK www.poetinresidence.com ========================================================================= Date: Wed, 19 Feb 2003 02:02:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Good Riters MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Good Riters There haven't to texts are yet focus I a had on want number time and to of There haven't to texts are yet focus I a had on want number time and for haven't - them here Kent some Johnson's them work Kent - Johnson's - work here at http://www.skankypossum.com/pouch/ in in general general his his bemusement author/authority closer author/authority requires author/authority attention closer think it's than it it's closer ways I received. attention it think In think 'smears' in general; while, while, than authorship general; say, is clean almost Pessoa clean is almost almost received. pristine, In there's something comforting there's something Pessoa very pristine, uncomfortable with with work. work. uncomfortable Gabriel Poetry Poetry Gudding's Gudding's need need A A uncomfortable more - Defense more well Gudding's I'm more as Defense fascinated its both apparent by from its apparent the all apparent of from work all and perturbing from readers all over. perturbing For readers GG both different KJ remind Ducasse reasons, GG me even KJ remind Ducasse over. even For or both murky Coleridgian Coleridgian underpinnings. underpinnings. Ducasse Just Nada Gordon's have about Gordon's books held Nada books have me held spellbound I've about spellbound books read all write read Gary Just them; have Swoon held between Sullivan NG one Sullivan odysseys one between major NG odysseys Gary our the future through desire minimalized through digital minimalized our digital future bandwidth, intertwinings bandwidth, analog, of virtual real real these these aren't (no, these aren't necessarily necessarily parallel). parallel). real Her sheer sheer virtual ability necessarily and, Her _write_ and, least she's astonishing least me, new she's to new _write_ intensity writing, the intensity writing, likes seems likes emotional since Bernadette Bernadette Mayer's Mayer's likes seen Want solipsis spend lo_y's solipsis incredible lo_y's writers incredible Want writers spend see August August August Highland's writers algorithmic - approaches see software/wetware aspects, aspects, The The 1000 1000 Character Character software/wetware finish finish Essay more translation Essay learn to background Essay wish commentary knew my enough idiocy my going commentary starting idiocy knew going - starting enough that's my things, - halfway programming perl perl programming programming same thing thing keep keep commitments commitments Reading Reading same Peter Peter Everglades Everglades Matthiessen's Matthiessen's (Watson) (Watson) trilogy trilogy goes goes forever forever Alan Alan === ========================================================================= Date: Wed, 19 Feb 2003 07:21:53 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: still processing Comments: To: natalie_simpson@nexeninc.com, elclownito@shaw.ca, etmoschop@hotmail.com, tm@leaddeli.com, jmneigh@ucalgary.ca, palpal@nucleus.com, mrwallace612@yahoo.com, jleipert@hotmail.com, frances@orbitastudios.com, rhmckay@shaw.ca, r_faria@hotmail.com, jrgamble@ucalgary.ca, gillk@ucalgary.ca, aarongrach@yahoo.com, buckley_kyle@hotmail.com, jlhartma@ucalgary.ca, reverie@shaw.ca, tmspeller@shaw.ca, curtis@justuff.com, wjbuchan@ucalgary.ca, wah@ucalgary.ca, az421@freenet.carleton.ca, nikki_intheleaves@yahoo.com, markotic@ucalgary.ca, machinepress@shaw.ca, lcabri@slought.net, jasonchristie615@hotmail.com, isamuels@wordfest.com, hdedey@hotmail.com, derek@housepress.ca, deanhetherington@hotmail.com, cmewart@hotmail.com, christopherblais@shaw.ca, bemusedgirl@hotmail.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed the process documents blog is over 1 month old! recently processed pieces: “Since the enemy is evil, he naturally lies.” “The Soft Bomb” “The self-healing minefield” + odds & sods pieces soon to emerge: "What Would Jesus Bomb?" "Exoatmospheric Kill Vehicle" "How contagious are you?" + more cool & random stuff check it out http://processdocuments.blogspot.com _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 19 Feb 2003 03:05:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: 4 poems Mime-Version: 1.0 Content-Type: text/plain; format=flowed POEM don't be nervous, I'm a poet like Allen Ginsberg except much shorter making his way to Oakland to watch the Celtics and Warriors I don't have a monkey, either we thought we saw Allen at a diner eating brunch the other day he looked very tired, we didn't bother him we should have said, "Allen, don't you see what's going on? help us!" but maybe he's done enough and it's up to poets like us and monkeys so don't worry GUARDIANS OF THE SECRET Go ask them for the antidote for ecstasy, probably a bargain the parade route if already immaculate, but they x'd her sternum every chance they got people keep blocking my view, become people paintings I'd visit that museum, too, all flesh and determined looks action required, to open the phonebook and get lost in black and white I, too, will be a painting soon once decoded I will illuminate for miles the richness of lusts too powerful to stand STREET PARKING late in life and sprawled in an endless backseat, green reflecting atop green let's remove tops to play that great old standard keenly awash on the mission, needing to change a 2 dollar bill into a flavor windows be fogged with whispering they are chasing the homeless out of Eden today and putting the elderly on parade without you I'm careening but not dressed for speed be wet upon the grass and be the grass wet and whispered to minus the parking brake, it's a great descent CITE what's it like to live in the jaw? who's asking? eleven satisfied birds they were out of Warhols, but will get more in Friday and next Friday second-best still rings the twelve bell what can I say to you now? their peals are terrifying and my flight's forever grounded a terrific hummingbird just visited and what if I were sticky across your legs, or is that too much to ask? sorry, maybe we're not getting anywhere except noon, left out for orioles to bite and snatch _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 19 Feb 2003 00:10:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary In-Reply-To: <43.18572e33.2b844925@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >In a message dated 2/18/03 10:21:41 PM, npiombino@AAAHAWK.COM writes: > ><< The first issue of L-A-N-G-U-A-G-E, edited by Charles Bernstein and Bruce >Andrews was published in February, 1978. For a listing of the contents of >the first issue see fait accompli 2/18/03 http://nickpiombino.blogspot.com > >-Nick- >> > >Happy anniversary to the principles. A momentous occasion, to be sure. >Best, Bill And to the principals. Good for them. gb -- George Bowering None of his gadgets work Fax 604-266-9000 ========================================================================= Date: Wed, 19 Feb 2003 19:19:32 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: war not found In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-7F4435FF; boundary="=======505B1D08=======" --=======505B1D08======= Content-Type: text/plain; x-avg-checked=avg-ok-7F4435FF; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit http://www.coxar.pwp.blueyonder.co.uk/ an error message with a difference k --=======505B1D08======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-7F4435FF Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 18/02/03 --=======505B1D08=======-- ========================================================================= Date: Wed, 19 Feb 2003 02:49:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: moat tory frown ten In-Reply-To: <20030219051255.91978.qmail@web40803.mail.yahoo.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable moat tory frown ten 10, =93ich real ich real, ten four bunch fen fourteen?=94 ---, =93so = coal=20 tan, fatso crabcakes hen peanut butler, plan door tan moor=20 foreplay?=9410, =93bone lip ticks, catcher chin da lie, nor ana dy cat = puat=20 tened scream blond.=94---, =93all the or fabkeys please, tether ben nat=20= duck taker.=94 10, =93mate bow dow.=94 --, =93bet more don.=94 10, =93 = blow zen,=20 nappy nappy per hay.=94 --, =93may in yo.=9410, =93may.=94 clober ben say, vin ma hark vest tea blond kevin more tell coach 10=20 bland -- cure bound head. plug vast NORAD bat buzz bird bun meter buzz,=20= =93sneez bleed nose cellophane.=94 biscuit above plan carnivorous pew = blue=20 cart, cut but chen now? tall please bar teflon tis cum above who=20 satins; plus) tall me far haying ISBNs heath but hanse, door, pew) few=20= accord hospital fake clowns, chew hot blues vent ten bet.= ========================================================================= Date: Wed, 19 Feb 2003 02:58:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: - of -\| In-Reply-To: <20030219051255.91978.qmail@web40803.mail.yahoo.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable - of -\| PAV =93why not?=94 =93what if?=94 =93why because I?=94 =93be it with respect = or sometime=94=20 =93now I shall=94 =93you were to=94 =93I shall=94 =93it will be=94 = =93even if not=94=20 =93here than=94 =93where and when?=94 =93thoughts the voices say=94 =93as = if be ing=20 there=94 =93no need=94 =93the voices tell=94 =93and from the birds = throat=94 =93in=20 order I surely bet=94 TOWKAF alephabatchamegagegalo the first it is now aback doumtraddled and=20 befitted something like accede to an accent to one who sings like=20 no other true there can be no other at ever famous glorious things =20= must be grave or a grave true why is thy joy empire to abandon =20= bequeath in a beareth away at all cost is twice itself worth all=20 that that as parchment transgresses the soul oh tell can I=20 not spare a dime for that which has been so impeccable and true yet=20 with thy clear keen dreme of prosperity be a thing and hoppy as heaven=20= like grief is silent true shall not all of heaven be present and=20 more PW =93so you will?=94 =93can see=94 =93and next?=94 =93what time?=94 =93oh = you please hold=20 no more so many and such=94 =93when I've=94 =93will you than?=94 =93as I = hear them=20 say=94 =93yet those do not easily=94 =93I wait=94 TOWKCIF I taste post humous glue no false always in those big words =20 wooden bridges ancient followed faint and cold that kills things=20 drowns all fifty hopes and forget the tastes I had no not mine =20= at the southern point of myth cryin=92 applied or prem re-pre-or-com = =20 it=92s all like the extended root like a pen knife like=20= poisoning like what's next around the bend under the trees behind=20= the bushes with one dark distant airs and possible relevant realtor's=20 always not this or that in low relief and high gothic no not =20= do not dare not and what if if what if the ten thousandths and one=20= lightening bolts millionth rock slide short fuse bullet with=20= the right address flying tiger dogs dig through the floor boards with=20 steel teeth breath and excuse me with warrant in hand it was=20= the wrong address collateral friendly fire sorry try the next sin=20= for better bewell to this chummychummy breathing soul big count down to=20= the next nuclear blowout with morgue gush singing lets drop the big one=20= for the bipper bebop such that such but cryntell cryntell =20 bidnpeek all natural you can never leaver hoe you can never leaver=20= hoe that=92s concur it would be plow and pleasure it=92s = such=20 and such but which janis does the exchange crop would someone=20 announce so i don't expect the unexpected forbidding volume and useless=20= bleak compendium yaya fallin' right on my toejam such=20 and such an the like so I say press stop! press stop! =20 press stop! before we enunciate a prelimfortdacookie dewymissink to=20 the old tired hobbyhollowwick do you its only a little after=20 quarter gone before whom the bell tows and grab the arm of the hands=20 by the socket and stopin rid here! I pray please stopin rid rid=20= here! j =93in the name of=94 =93I pray to=94 =93go forward bravely=94 =93fear = nothing=94 =93you=20 will have to=94 =93go of=94 =93go apart and pray=94 =93do not and shall = be=94=20 =93neither tomorrow than now=94 =93 the voices say not to move along the=20= ground but on a stead of long accompanied by angles=94 =93to be = anointed=94=20 =93in the name of=94 =93now and now=94 =93I pray for thy=94 the one knows if terris karma be strong box sounder than than and only than =20 the one hundred day guarantee bali high and low bush stubs free of=20= armbusters and pinpoint p_______popper's greared on a particular=20 caluclum corundum with all comfortable verb active in every living room=20= hallway and patio be on staying keen as not to surrender =20= worked out before with scaled detailed scaled models and scaled=20 uniforms stuff in hand equals always the same unchanged gait =20= perpendicular lines with object to watch out for to plant to plant=20= to drive with the soul of the foot ahead of the all comfortable=20= verb active uniforms flat and spread open fields =20 there must be plenty mega mega plans in hand is worth two living=20 rooms and a scaled model spread open strong box guarantee one=20 hundred percenttill within the the lines still affixed to the soul of=20 the foot leave neither words nor things unexamined in=20 the company of the hundred bottles with radio beamer towers and=20 ratatateller so it=92s not so late since there is something new=20 before that and plenty of that maybe stacksoben lions must come=20= speaking sweetly and sexually creatures by faculty ability and=20 sightings tinkled teacup mirth mouth porter-drinkers entwine=20 our art stacksobens everyhair spread like poppies' green=20 postimpressions abstract depression and hobbie horse proclamations =20= all sorts fairest o=92 the season flies worms = =20 azure blooms in the dooryard for the dead and dieing yesyes =20= honkers yes bangers yes yes trouble blowers and magnitude=20 pounders the whole lot if available and second hand dot it=20= down dot it down clean under the carpets for any carp notters=20 dressed to pass willynilly here for the cake givers burning chandelier =20= nonono this dodressuphighjixhibnobhoedown, hooplahoopa burp=20= the toppers for all at home or quick trip table top boppers =20 heart of fusion heat of vaporization flat spread open one hundred=20= present strong palm in the hand twinkle twinkle the black sexy=20 boom-boom terris karma for the head and after comein comein =20 two fivers and a quarter comein comein two fivers and a quarter=20= do you hear me calling. j =93that and that and that o=92gental=94 =93my voices say=94 = =20 =93in the name of=94 =93in the council of=94 =93in the thought of=94= =93will=20 stand=94 =93rightful and sovereign=94 =93who sends this and = bids you=20 in the good news=94 =93in the name believed the best and surest=94 = =93if=20 you can=92t you are truly stupid for how else . . . down dead and have=20= been sent=94 =93I will call you nothing until you have attended received and=20 consecrated=94 =93the part of thou are=94 =93in those days and follow=94 = =93now=20 or=94 =93if not the next=94 =93never put off=94 =93the thief=94 =93out = on wings=94 =20 =93and captives=94 =93I shan=92t eat a thing till I find out what you can say . . . in the=20= space of an hour=94 =93choose and choose=94 =93that and that=94 = =93with=20 only one task at hand=94 =93always tired and all, after doing nothing = and=20 making it up=94 =93this=94 =93there there=94 =93is the there = there that is=20 not (a) or (b)=94 =93there is no door number=94 =93next = step=94 =20 =93this not that=94 =93not one once of partalicks=94 = =93to or=20 less=94 =93 as the land grazes=94 =93as it does=94 =93from this to = that=94 =93after=20 and after=94 =93I intone an imperative verb through infinite syntax=94 =93come in the center=94 =93in the meter=94 =93this is the time for = all=94 =93the=20 clocksayin=92=94 =93one thousand and twelve=94 =93or plus thirty=94 =93you must secure orders to=94 =93gogscrows, detourist=94 =93kristgg=94 = =93and don't=20 forget=94 =93pidico cubie plain cock,=94 =93where lived rroserose=94 =93 = visited by=20 old sea front=94 =93and others on your door step=94 =93to the twain are = twins=20 that . . . would ride the beat time again=94 TOWKOATPAO crythecry they are good, absolutly;- they are good,=20 relatively; - they are good for health- . . . they are happiness in=20 the nest or to come or the coming of ordely fromal colums =20 collector of stamps assembled ussully close to sumed up as one=92s=20= wits after all togather in the glad ear ring of a subset of a given=20= of one not there not a veer or slacker to loose in this=20 reproach mount propiety proper protein fromer as before from the=20= pumus fissure to a tense to come =09 nonono all must be plotted in shop floor premonitions figidare=20= notalbes and fete madrepores elements ligiments and jugernuts remember the song of the swiss quard that celine taught us to love =20= but callincall callincall find you in that spetic state=20= that position that repoens the store jewels to studs =20 curl clips to tight duty well come in the meal will well for=20 all such and such till the gat mady wings an infinitude of notes,=20 tunes, cants, chants, airs, looks and accents all best all a cold and in tiptop down to cross and stoped=20 crosstich batton hatched near buard alert to leakincracks and all=20 should be rip as blue blazers but weather this be a roybed afire or=20= sunday bathing of the camily onthe pilage bean all must be tip liped=20= afloat with nestbest or more best than better even on tort cotice =20= as all the pannals plesit pull the charoits there to cork=20= pop along with pligrams of all ages and heeds all best shiptoshore=20= crumplators channles of the hands and prancing parade =20= with ab intra threestar monothong! cremated with nellos =20= beds news and teriwinkle professions but there is this metso saprano bagota of the bwana piece of=20 resistance cum loudly extra virgin (as you know) partically devine=20= evaporated half reincarnated ghee go gaw from the ten thousand and=20= one and certainly it can not be olive oil, macassar oil, not castor=20 oil, nor bear=92s oil, nor train oil, nor cod-liver oil =20= nor steatornis carpensis sonoar clutching cries in the night =20= fallow tallow boiled and crushed situated and unsituated =20 ussully deposited in villages of the small testaments kausing art=20 interior osmosis crude as crude can be in a million years=20 pitching and taring the rocking see only to be spit out like the=20= x on the maltze rancor=92s vowel desire speaing it=92s benzine blood = on=20 virgin alabaster hopes poly wanta clean as a whistle or siren =20= or propolatics to keep the pin from the cushin nonono there is=20= not such a word nothing there is and the people cried =93o=94 = na=20 not at all not close to being even a thing anything ever never =20 lifelong eternity nay not ei aye this is no in sincere flattery this oh leo is from brighter=20 dreams out spread glittering and sparkling in the hand that giveth than=20= receiveith falling on contuined dew away and somewhere in a fever=20 that burns free from something infinite unstated fomrely having=20= been prior the one once of time through time with naught can say left with wheather weather as the leggisnds state by thewhowhatevermore=20= through the cenetries akin to enons more on than off than no no no and all must be there with the ever=20= lasting howcuz mocuz hamble jamble you do modo point departure=20 thenceforth and time tested swing down RBSYOPB meni medy moxy =20= in order to play both tends towards a twidle and not one loop hole low=20= blow ladida pashaw drod pipless gardnered by promate warjam hand=20 waved small rudder closer to zeal compotes plummed plumed and in=20 all cang done run not one rip rop less along with all AZ=92s=20 twofour=92s sixes representives old house names din props drops dimes=20= not bands on the whole merely big bang htichen thing ona shoe string=20 needed by thoughts sooner than pervious to this. j =93dawn has elsiped midlight=94 =93go forward bravely fear nothing=94 = =93attend=20 the next=94 =93there will be no legs without bodies=94 =93this day next=94= =93 as=20 fiction to fact seperates as fear to oil=94 =93I will bring us a=20 commodius vicus of recirculation when the ear begins to trob, the=20 brain to think again; when the pulse begins to trob, the brain to think=20= again; the soul to feel the flesh, the flesh to feel the chain=94 = =93with=20 one foot already in the stirrup you ask what is the answer? . . . in=20= that case, what is the question?=94 =93it is a vinous, it is an = armorous=20 light=94 =93it is a light body full mid morn hail mary pox etc . . .=94 = =20 =93and the speaking night calihigh calilow=94 =93in the name of the = name of=20 where ever=94 =93the laws of the vegable kingdon are themselves = grovened=20 by incresingly higher laws=94 =93 be as ture as wisdons and silent as=20= lies=94 =93the holy will be bearded by golden art protracted by = millerounds=20 with loreast kinkong ever money razor blads this side of the iimagnal=20 line=94 =93imaged by any rival projectil bail lot sealer in the might = mouse=20 that shook a theathical brick or gemini defector=94 =93contacts for=20 glasses=94 =93cuspit byt cuspit right=94 =93got the glory all la=92 = hello halls=20 for hire=94 =93even radio=94 stripped of a thousand ornaments which it=20= offers to the eye=94 =93sitll like the silver bubbles from the floor of=20= the sause pan; image on top of image on top of the frying pan to the=20= fire back on the lamb to run for public coffers=94 =93callncall=94 = =93right=20 there in dead bolt land in the names of names named high and hotier in=20= the listed apoligies=94 =93story baiters and wobblie wobblie habit = rovsers=20 tall tail wagers to the line is clean and dotted=94 =93across the = big=20 sky that gave us the word that gave us the yellow pages and the rest=20 that gave us the hand up high ring on ring on=94 =93ring on the lamb=20 across the dills and fallies=94 =93closer to openness and the bog new = vast=20 presuresytem abound=94 =93done done done and done=94 =93as slated still and still=94 =93you = double fold=20 and vibrabe fraporhus=94 (+) =93towards sloping=94 =93towards rememnet=20= placement=94 =93towards killed and stuffed=94 =93towards present = accounts=20 wrapped in neat bull winkle and petting zoos=94 =93towards nothing but=20= stiker stamp for ticker tapes for good luck snake charmers priates=20 conquistadors marvalairs chandaliers or yesteryears clip clop sharp=20 shot retriever for embellishments and hooty hooty parlays and those=20 slat head displays=94 =93brain stop!=94 =93brain stop on the dot = night rere=20 night row!=94 =93I=92ve proved to your sallyfashion to be sought a sneezable gout=94 = =93I am=20 no jam logger come hilly nilly=94 =93fire on the pot come about all = tohu=20 et hohu you pir du voix sentore=92e/a/i El april fools fish on the=20 back nearly holly an add in for every item so and more=94 =93so = rightknow =20 rightknow=94 =93the mighty crud and boil will have an account for as = with=20 the biway and highway=94 =93cucumber is the word=94 =93cucumber = cucumber=20 cucumber=94 =93sweet potato and rutabaga=94 =93black eyed peas or = collard=20 greens=94 =93artichoke kale and kohirabi and after and after=92 =93creme= da=92=20 creme and crepe=92s creme for ever and a brussel of apples=94 =93all = red=94 =20 =93all red=94 =93all red=94 towks soft-shoe shufflers parakeet bagers coney mhangers swim=20 skark style around my after after here my imaginary after in the=20 name of the constellations thick with caster oil thick as corn=20 syrpe in the shape of hello dolly and the hundred bees in the shade of=20= leafs our/my manifest over spread had I been born . . . not=20= knowing that one word follows another I might have been who knows =20= a jew a jour a janitor not ahalf sprig from a half seed left=20= to rot on a broken aeftergengness this way to nothing more than=20 appurupai diced with a change of address but now the clock ticks across the river to this morn heat and =20= therefore, in this narration, to state those facts which lead to=20 adventure brave as the tablet bakes for the record of the accord =20= from here to and on and on I have done, I do, and I will do I=20 know that it may not only be those I have named . . . all tvelve peers=20= . . . and nine worthies twenty pairs awaiting nine county fairs =20= hair piece harolds and high combasadors not to exclude varity show=20= wax museums and wild west shows with the tribe transvested in=20 end run round to the forth down to the end march on charge on=20= for more elbow room on the round talbe full course on chattle of=20 tum pull bemound hatty and let us lest us learned so little only=20= to the worms or the sun and the sun and the body to the self in the=20= names of you should you shant as turnk font never even those=20 that it is well to parenthsise here that of the fatal accidents in and=20 around all torn beaten fire and forgotten is the momento forx trot=20 charlie ICBM spoils fail teri fail teri fail teri all=20 say fail teri the oblong has been set upon the square; the sprial is on top =20= at the begining of the middle of the end a little before closer to the=20= beginngin but still in the middle as close as half dorning to knee=20 high to the stright eye as is to quarter past almost still and still=20= snd still in sputterstops and harder goes but still I mention=20= the flage bearer and ha ha hurrgh for the rest yours and yours =20 as far as rest rest is the best and thats is what is suggested =20= the rest goes to scrafice and ther best.= ========================================================================= Date: Wed, 19 Feb 2003 06:50:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/18/03 11:40:45 PM, dcmb@SONIC.NET writes: << Happy Birthday to the principals, too.(Before Bowering spots the error!) DB. >> What error? Principals no. Principles yes. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Wed, 19 Feb 2003 06:53:14 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/19/03 4:36:19 AM, bowering@SFU.CA writes: << > >Happy anniversary to the principles. A momentous occasion, to be sure. >Best, Bill And to the principals. Good for them. gb >> Amazing that, for all the talk, er, writing, about the death of the author, nobody got this. For shame. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Wed, 19 Feb 2003 05:14:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Pastoral Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Our garbage truck is a Ford with boarded-up sides. Water in the stream, still now, milky like a cataract. Birds pop around us, cute poofs of sophistry and orgasm. We fell down today walking to our car. Until late yesterday, unrelated strands like the snow walked sullenly and with airless grace through cars parked along the pile-up, chunks billowing like a toughened floral cape that fell from the sky burning up, down homogenized eyes staring back at the word for eyes staring up. We felt down in a drift of fitted void, oval with lathering fear in directions of accumulations nearly perfect in blankness; a software of war coming, mingled on nimble businesses that rape brown skin for black gold, still running at the corner of our vision down our legs to coil, hugging purple stars. Birds palpitate cuteness, hallucinating, as if powder's endurance could be anything more than our faces smashed backwards in spoons. Take something. Our tongue rolling out to poke an erection back into cavities; fit for ovoid snow. We watch months of trees shimmying from floral growth. It had bad teeth, and all its bones were loose in its skin. Our garbage truck can barely make it over the ice on the streets. In the background, oily sirens are proud of dusk, excited by her blood. 2003/02/19 08:03:59 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Wed, 19 Feb 2003 09:26:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Language Harm: Wednesday, February 19 8:30 pm MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline From: Mark Prejsnar Date: Tue Feb 18, 2003 12:01:49 AM US/Eastern To: buffalist post Language Harm is the monthly performance event of the Atlanta Poets Group, held at eyedrum 290 Martin Luther King Jr. Drive Atlanta, GA admission $3 announcing: wednesday, February 19 8:30 pm Language Harm: Narrative what is narrative poetry anyhow? does 2 and 2 add up to.... or is there more than that? ...the situation of some subjectivity facing transforming change? a list of events in sequence? (out of sequence?) how about paranarrative? --get the whole story ! (some audience participation encouraged) (post scriptum: James notes: "for those of you having trouble with narrative: throw in a few 'thens' and you're there") ========================================================================= Date: Wed, 19 Feb 2003 08:08:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Knocking Comments: cc: webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I try to this day to figure it out. I wasn't so young that she still lingers, luminous intelligence, so that summer nights she's solid and I'm drunk, living the very ends of my means. She comes to take her book of viruses back. She's sorry. There's someone she loves, and then I'm far from love. When she's around my insides stutter. I try to this day to I shouldn't have figure it out. I wasn't gone over there, but so young that she still lingers, it was summer, I'd just luminous intelligence, so that summer nights gotten home from work she's solid and I'm drunk, I hadn't seen her, living the very and the night before I'd ends of my means made love to another girl. When I heard his voice behind her door I knocked. She comes but I'm dirty, so to take her book of clenched in tension, I intend viruses back. She's to love her, who has until now sorry. There's someone been far from love, staring at she loves, and then I'm the code of fists and leather straps far from love. When if I could push my she's around my insides blood through her, maybe stutter I wouldn't be hunched over in me anymore. I try that boy who to this day to I shouldn't have came to see her figure it out. I wasn't at work had gone over there, but probably slept with her so young that she the night before still lingers, it was summer, I'd just luminous I knew, I intelligence knew she was, so that summer fucking someone else nights gotten home from work she's but I couldn't solid and I'm drunk, expect much, I hadn't seen her it was, living the very dirty what we did and the night when our backs before I'd ends of my means made love were turned to another girl. When a lot of guys heard his voice had been behind her door I in her knocked. She said when she was living with him she would visit the guy downstairs. One night she knocked and he came to the door naked. They fucked. She and so even comes but I'm dirty, so to here I'm afraid take her book of clenched in tension, I intend viruses you'll leave back. She's that you'll to love get tired of how her, who has until now this weather's shut sorry. There's this flower up someone been far from in its own petals love, staring at you thought it was pretty she loves, and then I'm the code of fists and at first, but look at all this leather straps far from love. When if I could push my she's around my insides poison swelling the flesh blood through purple like a toxic her, maybe dusk stutter I wouldn't be hunched over but I still send you in me anymore my blood. You treat me so gently. 2003/02/19 10:53:14 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Wed, 19 Feb 2003 11:13:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: "What Must Be Done" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit What Must Be Done Reusable East Asian surrealisms, unhappy in their new environs, yet speaking the language of their times, resolving issues in a newer, cleaner way, with little or no debris, recouping trillions of dollars lost when high-tech bubble burst. Elections, freely and fairly conducted–the sign of true democracy, guaranteed satisfaction with our personal trainers, with or without binding arbitration. Several factors militate against fundraising campaigns not approved by the White House. Cops on the beat, their credibility damaged during the last bull market, desperately seeking cover, peaceful solutions totally up to us. Our newest and coolest experiments in nation-building–just in time for the collapse of nationalism, the rising tide of transnational fundamentalism. Multicultural subsidies–end them now! Hal Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Wed, 19 Feb 2003 09:47:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: war not found In-Reply-To: <5.1.1.6.0.20030219191851.02ed83b0@mail02.domino.gu.edu.au> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" thanx for that, komninos! best, joe ========================================================================= Date: Wed, 19 Feb 2003 12:25:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Christopher W. Alexander" Subject: APARTMENT FOR RENT: BUFFALO, NY MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline APARTMENT FOR RENT: BUFFALO, NY Beautiful, inexpensive apartment available to sane and orderly individual or couple. Fully furnished 3-bedroom apartment available in Buffalo, New York from early May to early August (dates flexible). The apartment is located just off the Elmwood strip on Lancaster Avenue and is near the subway and amenities. It has a nice backyard with picnic table, composting spot, small garden area. Rent also includes free use of a washer and dryer and storage space. Rent is $500 dollars a month (including everything-phone/electric/gas). Please contact Gordon Hadfield at (716) 881-7860 or hadfield@acsu.buffalo.edu ========================================================================= Date: Wed, 19 Feb 2003 09:45:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: APARTMENT FOR RENT: BUFFALO, NY MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii cwa@ACSU.BUFFALO.EDU wrote: > It has a nice backyard with . . . composting spot . . . Rent is $500 dollars a month (including everything . . . Is it possible to rent just the composting spot separately, please? http://www.riles.org/compost.htm __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Wed, 19 Feb 2003 10:46:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The NY Poet's Reading Against the War (NY Times_ In-Reply-To: <717766.1045657552@enggradmac.fal.buffalo.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT http://www.nytimes.com/2003/02/19/arts/19FISH.html "The event was called "Poems Not Fit for the White House," and the idea seemed simple enough: a few dozen poets went to Avery Fisher Hall on Monday night to read poems and express their opposition to an attack on Iraq...This was an entertaining show, well packaged and paced.... ....The night's most memorable moment came from Galway Kinnell, who began with some remarks on the state of the nation. When he declared, "We are the resistance," the audience gave him a standing ovation. "But that wasn't my poem," he protested, half-joking. "I just wanted to read this poem about giving my son Fergus milk in the middle of the night." This a curious combination of paragraphs - sounds like the audience went for one thing and got mostly another(?) (Was anyone on this list there? Were there any good exceptions?) It sounds as if that most of the invited poets could not find anything in their own "repertoire" that could speak directly or indirectly to the issue and need. As if, perhaps, for more than a generation, duct tape has been covering that part of the poet's pulse and production when it comes to collective and extra-collective issues. Yet, at least in terms of the one anti-war poetry reading at Modern Times (that I have been to) that was not my experience (nor will it be, I suspect) at this evening's reading at City Lights for the O Books Enough anthology. But best, no matter where or who, a public door has been opened. I suspect we're in for all kinds of evolutions. By the way, if you want a good visual global capital/guerre hit, the artist Louise Lawler has put together a fantastic series of animations at: http://www.111111111111111111111111111111111111111111111111111111111111.com/ Stephen V ========================================================================= Date: Wed, 19 Feb 2003 19:42:05 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Swift Subject: For Immediate Release - Faber & Faber inspired by Nthposition's 100 Poets Against The War, rush out peace anthology Comments: To: "Undisclosed Recipients"@LISTSERV.BUFFALO.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FOR IMMEDIATE RELEASE - FEBRUARY 19, 2003 Faber & Faber - the English world's leading poetry publisher - inspired by Poets Against The War and www.nthposition.com 's 100 Poets Against The War book - rush to press with their own volume for peace In a startling sign of the times, traditionally conservative London-based Faber & Faber - the famous poetry press which is home of Larkin, Heaney and Eliot, among others, has rushed out an anti-war anthology of poems, titled 101 Poems Against War. The collection features poems from antiquity to the present, and some major poets, and was apparently first conceived three weeks ago. Faber declares their book is one of the fastest such publications ever, though they are just now catching up to the global interest in protest poetry, first sparked by the Poets Against The War web site, and www.nthposition.com 's 100 Poets Against The War anthologies, both announced in late January. The Poets Against The War web site, first set up to protest Mrs. Bush's cancellation of a White House Poetry function for fear of anti-war demonstrations, has to date received almost 9,000 poems. Nthpositon's "instant anthology" has been downloaded and printed up world-wide, tens of thousands of time, in the last 3 weeks, and its editor has received over a thousand poems. It has since spawned Franch, German and even Brazilian versions. Todd Swift, editor of 100 Poets Against The War - an ebook of poems already available online since January 27, 2003 in three versions - which has been the source of widespread media interest from the LA Times to the Guardian (which called it "remarkable" in early February) - is struck with Faber's dedication to political protest poetry and its decision to rush its publication date forward, now that millions have demonstrated over the week-end. "I am impressed that Faber - often seen as the home of genteel English verse - is taking this anti-war stance. Naturally, I am quite flattered that they were clearly inspired by Poets Against The War in America and Nthposition's projects, as well as the projects of Larry Jaffe in LA, and others in Ireland and across the world. Faber's marketing decision to rush the book out like this is intriguing. It seems publishers want to get on the peace train before the war starts - and ends. One hopes no one intends to profit from anti-war poems, however. We must keep our eye on the main goal: to oppose an unjust strike against Iraq, not simply pat ourselves on the back that we sent some poems out with a nice message. That being said, we welcome such a book and have offered to publicise it along with our own. Faber seems interested in the idea." Salt Publishing - itself a significant UK/Australian poetry press - was one of the first to pick up on the impact the thousands of peace poems criss-crossing the Internet were having - and offered to republish 100 Poets Against The War in a standard book format, in early March - all profits for Amnesty International. This was announced in a press release at the start of February. The collection features many of the world's leading contemporary poets and poetry activists, from Ireland, America, Canada, Australia and the UK, including: Charles Bernstein, Marilyn Hacker, Bob Holman, Mark Rudman, Sandra M. Gilbert, George Bowering, George Murray, Mimi Khalvati, Adrian Mitchell, Sean O'Brien, Robert Adamson and Sinnead Morrissey. Salt will be launching the book with readings in Ireland, America, Canada, and England in March. For More Information Todd Swift Paris tel. +33 (0)1 45 44 00 94 todd@toddswift.com www.nthposition.com ========================================================================= Date: Wed, 19 Feb 2003 11:05:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: FW: Habeas Corpus MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit {I tried to send this a couple of days ago, but goofed. So I try again} What follows has, I think, everything to do with poetry and poetics, because it has to do with public discourse and freedom of speech, though I suppose the subject heading might at first glimpse suiggest otherwise. I'm curious: I've not seen any discussion on the List, and very little elsewhere in USAmerican media, of the suspension of Habeas Corpus in the U.S. - has there been a news blackout down there, south of the 49th? I'm thinking of the Patriot Act, the Homeland Security Act, and the proposed Second Patriot Act (on which, see the LA Times for 13 or so February). As things stand right now, it looks as though only aliens - i.e. people whose skin is the wrong colour, or perhaps their religious affiliation - can be summarily arrested and thrown into jail without trial, without charges, and without ANYONE being told what's happened (your name is not revealed, in order to protect your privacy). It is disgusting, it is shameful, and it is alarming.. At least one Canadian citizen was stopped at the border, arrested, and sent to Syria (from which he was a political refugee) where he was jailed - and it took the Canadian government quite a few weeks to find out what had happened to him (he's still in a Syrian jail) - so far as his family was concerned, he simply disappeared, as did so many in Argentine, Chile, and sundry other South American states a decade or two ago. Aliens are already fair game, can join the ranks of the disappeared. In was it January of this year President Bush sought the prerogative to declare ANY citizen an "enemy combatant," subject to an indefinite jail term without charge or bail or access to a l;awyer or a court review. Did he get it? Or is that the Second Patriot Act? Does anyone know? And if an immigration officer doesn't like the look of you, goodbye! I may have this wrong, but I think the last suspension of habeas corpus in the U.S.A. was under Lincoln - after which it was ruled that it may not be suspended in any area where courts operated. It's been suspended in Canada too (and in the fairly recent past), by invoking the War Measures Act - so far it hasn't, this time round, been invoked. If you want to see what happens when Habeas Corpus is suspended, especially in times of futile and useless War under a berserk government, read up on life in Britain under Pitt in 1794 [The Treasonable Practices Bill, 4 November, House of Lords; The Seditious Meetings Bill, House of Commons, 10 October; the Corresponding Societies Bill, 19 April 1799; after which the right of public meeting, of free speech, and of a free press, ceased to exist] - but even then there were public trials, even of those "suspected of seditious activity." Check this out, if you want, in one of the older Britannicas (before it got dumbed down in the 1960s) - it's an instructive and alarming five-minute read. And read Blake, and Shelley. Say the wrong thing, and you might be in jail, one of those gentle "houses of correction" so notable in hard-boiled fiction. What do you think? Am I wrong? Am I simply shouting fire in a crowded theatre? (We've heard - and on one trip noticed - that if at the border, driving down to Seattle, you say you're going to a poetry treading, or to buy books, they search your car. If you say we're on vacation, they wave you on through. Ah the power of rumour.) "Poets Against the War" hardly scratches the surface. Peter ======================== All power is essentially implacable and malign. Tarun Tejpal, New Delhi, Jan 2003 ======================== Peter Quartermain 846 Keefer Street Vancouver BC V6A 1Y7 phone 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ================== ========================================================================= Date: Wed, 19 Feb 2003 11:09:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: It all begins with a few simple words on the screen. . . In-Reply-To: <20030219131401.39563.qmail@web10705.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ns thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe isis s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s se toto e o only y a a paparartenc uningng memeteth ofof on isis graradallly seseeingng g ito ththehe e t exextingng t a annd reaingng g t ththeem parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd momorore asas s t ththehe e t tetexext becomomemeses s i increreaeasingly frent anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are essss anandnd lelesessss s c cocomensle t a alo straly loal inin sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o h hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s on s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly ut nono liligighghtht isis s fortrthcomomimining anandnd ththihiningngsgs noow ononlnlyly y s seseeeemem m t toto o b bebe ingng frfroromom ad d t toto woworseaseesegsense ed el em en es ew ou mamakakeke e o onne e lst alint forortrt t a atat unundndederrstandingng hatat t i isis s g gogoioiningng on asas yoyouou no waantnt t t toto o b bebe e aseded d o ofof beingng a la rereaeadderer whho isis s w wollyly unillingng g t toto ve e t ththehe e m modern t tetexextxt t i ititsts ea eb ec ed ee ef eg eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez e ut t f fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n awayay y f frfroromom m t ththehe e t tetexextxt t i inin n s seseaeararcrchch h o ofof f l lelesessss s f frstrtraatitiningng g m memesessssasagagees s t toto gesingng ba ononlnlyly nonowow anandnd d ain n t toto o s seseeee e i ifif f a anthihiningng haas s cangngeed do ds nd d t ththehen toto yoyou asaststomenent ththihiningngsgs s d dodo o s seseeeemem m t toto o b bebe chchahanangginingngenginglngsng ge gh gs lilinne e h hahasas beeenen sed anandnd whle yoyouou ararere unre e a asas s t toto o w wheththeer ththihisis s c chchahanangngege e i isis s i inin yoyouou r t ththehe e m memesessssasagage ththihiningngsgs s d dedefefifinelyly dodo o s seseeeemem m t toto o b bebe e m mamakakikiningng sesenensnsese e a agagagaiaininaincindineinginiinsintin na nb nc nd ne nf ng nh ni nj nk nl nm nn no np nq nr ns nt nu nv nw nx ny nz n hateveer r w waas s c casiningng g t ththehe e t tetexextxt t t toto frfraragagmgmemenentnt t b befororere e i isis s n nonowow losiningng g t ththehe e b bale e a anandnd d a a a f fofor ofof meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf ithth h a a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d a alallow w t ththahatat t t ththehe e s ststrle e i isis s f fifininanalallllyly y a atat t a anan n e enendndendind -m ========================================================================= Date: Wed, 19 Feb 2003 11:32:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Blood on the road MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Giving a $350. billion war machine to George W. Bush is like giving a 2 = year old an SUV for Christmas. There's going to be blood on the road. Joel W. ========================================================================= Date: Wed, 19 Feb 2003 14:44:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: Fwd: my son // for Jim Behrle Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed [ this a forwarded note.... ] >dear jim, > >i won't speak for gerrit, bill, ed, patricia, chris, michael the others. >only for myself. i guess there always comes a time when your kid tells you >to fuck off. but i do know in my heart, that i have always unconditionally >loved you and your poetry, supported you and your poetry, encouraged you >and your poetry, published your poetry...the joy i have taken from our >relationship, and your work--watching it change and develop--and the many >things about life and poetry i have learned from you--well--these things >have enriched my life despite your short memory. not to mention all the >times i've covered the check. > >ps. WHY DON'T YOU EVER CALL HOME NO MORE? > >with love, >your poetry dad >(joe torra) > > >__________________________________________________________________ >The NEW Netscape 7.0 browser is now available. Upgrade now! >http://channels.netscape.com/ns/browsers/download.jsp > >Get your own FREE, personal Netscape Mail account today at >http://webmail.netscape.com/ ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Wed, 19 Feb 2003 15:08:05 -0500 Reply-To: cartograffiti@mindspring.com Sender: UB Poetics discussion group From: "cartograffiti@mindspring.com" Subject: Accentuate the negative MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable DELIBERATE AS A VISIBLE HAND Come to the crux of it=2E =93Democracy is a beautiful thing=2E=94 We get hung in the gallery, value added to the chamber floor=2E Conversely, tax givebacks should read in horizons wider than simple patronage, being the =93setting free=94 of money capital to be drafted into military =93reconstruction=94 programs in an occupied Iraq, unemployed accumulation siphoned off to speculate in the immovables=2E So much forced to hover free and clear=2E=20 If assholes flew we=92d have an airport here=2E -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Wed, 19 Feb 2003 15:15:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: "elen gebreab" From: Poetics List Administration Subject: FW: INFO: the writing and practice of performance poetry conference MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable > THE WRITING AND PRACTICE OF PERFORMANCE POETRY > An international conference, 10-13 July 2003 > ... >=20 > International Conference in the Writing and Practice of > Performance Poetry >=20 > 10-13 July 2003 > Bath Spa University College >=20 > LECTURES. WORKSHOPS. PERFORMANCES. OPEN MIC >=20 > Performance poetry is created differently every time it is performed.=20 > This conference examines the relationship between creative process,=20 > presentation and spectator response. Can we see performance poetry as a new fusion=20 > art form or is it an imitation of pop, stand-up or advertising? >=20 > This conference brings together leading theorists and performers in=20 > this field from the UK, USA and Europe. >=20 > The cultural and historical diversity of Performance Poetry provides=20 > an exciting opportunity to investigate a wide range of themes over the=20 > course of a three- day conference >=20 > Key speakers, workshops leaders and performers include: >=20 > Charles Bernstein, Director of Poetics Programme and David Gray=20 > Professor > of Poetry and Letters. SUNY Buffalo > Bob Holman, of the US =91slam=92 scene > Nicole Blackman, leading spoken word performer from New York. > Todd Swift, European Editor for MATRIX magazine and editor of SHORT=20 > FUSE > Georgia Popoff, US =A0coach for the Syracuse Chapter Program in Poetry > Patience Agbabi and Steve Tasane, leading UK spoken word performers >=20 >=20 > Topics to be discussed : >=20 >=20 > The Contingency of Performance=A0 =A0 =A0 =A0 Performance and the body > The Oral Tradition=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 The Afro-Caribbean = Tradition > Post Colonial Writing=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 Language Poetry > Performance Poetry and Film=A0 =A0 =A0 =A0 =A0 =A0 The Audience and = Poetry > Performance Poetry and Digital Media=A0 =A0 Gender and Performance = Poetry >=20 >=20 > For further information and booking details please contact >=20 > l.English@bathspa.ac.uk >=20 ========================================================================= Date: Wed, 19 Feb 2003 15:21:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Iraqi Exile Poet MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Reuters article about Omar Ali come at an interesting time... Reuters.com - Iraqi Exile Poet Says Fear of Saddam Pervasive http://www.reuters.com/newsArticle.jhtml?type=topNews&storyID=2252964&fromEm ail=true Shockingly Awed, Gerald Schwartz schwartzgk@msn.com Consider that things can be reflected in a smooth white surface in such a way that their reflections seem to lie behind the surface and in a certain sense are seen through it. -- Wittgenstein, Remraks on Colour, # 159. ========================================================================= Date: Wed, 19 Feb 2003 15:34:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: New Yorker/water MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable While I've always thought that the great majority=20 of (yes!) The New Yorker readership luxuriates in=20 its reading as if taking a relaxing, long bath, I've=20 heard it rumored that if you performed a quantitative=20 analysis of its poetry, one out of ten is water-referenced=20 or water themed. True? Are there nine other themes=20 or references? Air? Fire? Sod? Do any other themes fly around in that mix of intelligence, sophistication, snobbery and=20 complacency with the status quo? Gerald Schwartz schwartzgk@msn.com ========================================================================= Date: Wed, 19 Feb 2003 12:33:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary In-Reply-To: <17b.16688f8e.2b84c988@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >In a message dated 2/18/03 11:40:45 PM, dcmb@SONIC.NET writes: > ><< Happy Birthday to the principals, too.(Before Bowering spots the error!) >DB. >> > >What error? Principals no. Principles yes. Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com >BarnesandNoble.com I'm sorry. But if what is meant is the main people involved, the word is "principals." -- George Bowering Middle age looks good Fax 604-266-9000 ========================================================================= Date: Wed, 19 Feb 2003 12:39:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: New Yorker/water In-Reply-To: <001f01c2d856$50e3f920$cc9cf943@computer> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I always thought all New Yorker poems were about gardening, and some flower I've never heard of, and how that flower is a metaphor for life, or death, or sex, but only in a very tiny way. (This is of course not true: there was a Lucia Perillo poem in there a couple years ago about a funeral that really rocked my world.) --- schwartzgk wrote: > > Do any other themes fly around in that mix of > intelligence, sophistication, snobbery and > complacency with the status quo? > ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ========================================================================= Date: Wed, 19 Feb 2003 13:14:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: New Yorker/water In-Reply-To: <20030219203939.16661.qmail@web11305.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed New Yorker Poem I never pulled my weeds and now, alas, Viagra doesn't even work. I never smelled the rose, but now I'm dead, and, boy, do I feel like a jerk. The garden grew unruly, like my life, and I just thought its waywardness a quirk. But now I'm limp and dead, and tossed in the compost with Cheney's smirk. Hilton Obenzinger At 12:39 PM 2/19/2003 -0800, Arielle Greenberg wrote: >I always thought all New Yorker poems were about >gardening, and some flower I've never heard of, and >how that flower is a metaphor for life, or death, or >sex, but only in a very tiny way. > >(This is of course not true: there was a Lucia Perillo >poem in there a couple years ago about a funeral that >really rocked my world.) > > >--- schwartzgk wrote: > > > > > Do any other themes fly around in that mix of > > intelligence, sophistication, snobbery and > > complacency with the status quo? > > > >===== >* please visit www.ariellegreenberg.net >for links to poems, information about readings, etc. > >__________________________________________________ >Do you Yahoo!? >Yahoo! Shopping - Send Flowers for Valentine's Day >http://shopping.yahoo.com ------------------------------------------------------------------------------- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Wed, 19 Feb 2003 15:24:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Gillespie Subject: Friday is Raymond Queneau's 100th Birthday MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII February 21st 2003 marks the 100th Birthday of Raymond Queneau, author of One Hundred Thousand Billion Sonnets (Cent Mille Milliards de poemes), and co-founder of the Oulipo. To mark this occasion, Spineless Books presents the Fitzpatrick-O'Dinn Award for the Best Book Length Work of Constrained English Literature 2003. http://spinelessbooks.com/award Founded 20-02-2002, Spineless Books is the publisher of 2002: A Palindrome Story in 2002 Words. ========================================================================= Date: Wed, 19 Feb 2003 16:36:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ksilem@MINDSPRING.COM Subject: Re: New Yorker/water Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Charles Bernstein's hilarious testing of the "New Yorker water poem" hypothesis is on pages 175-77 of _My Way_. K. -------Original Message------- From: schwartzgk Sent: 02/19/03 12:34 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: New Yorker/water > > While I've always thought that the great majority of (yes!) The New Yorker readership luxuriates in its reading as if taking a relaxing, long bath, I've heard it rumored that if you performed a quantitative analysis of its poetry, one out of ten is water-referenced or water themed. True? Are there nine other themes or references? Air? Fire? Sod? Do any other themes fly around in that mix of intelligence, sophistication, snobbery and complacency with the status quo? Gerald Schwartz schwartzgk@msn.com > ========================================================================= Date: Wed, 19 Feb 2003 14:44:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Subject: new online thru the CALGARY WRITERS HOUSE archives! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable new online thru the CALGARY WRITERS HOUSE online archives: 2 new events recorded at the University of Calgary: Fred Wah interviewed by Dr. Susan Rudy and her students (audio only - = 1:21:38) selections from a performance by Christian Bok (video & audio - 10:48) both at: http://www.ucalgary.ca/~cwh/archive/ with lots and lots more to come - keep watching the site for new = archival material (photography, audio & video recordings). for more = information on the CWH, check out: http://www.ucalgary.ca/~cwh ========================================================================= Date: Wed, 19 Feb 2003 14:52:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Possum in SF In-Reply-To: <012001c2d860$115c31f0$15d6ba89@housepress> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Possum Sighting in San Francisco Dale Smith, Hoa Nguyen, and Sotère Torregian reading at New College (777 Valencia Street, btwn 18 and 19th), 8pm, Thursday, February 27. Hoa Nguyen and Dale Smith, publishers of Skanky Possum Press in Austin, Texas, visit San Francisco for a reading with Sotere Torregian, whose book I Must Go (She Said) Because My Pizza’s Cold was just published by Skanky Possum. They’re great good friends and wonderful poets, and just gosh-all nice people to meet. Click here http://www.durationpress.com/subpress/ancient.htm for information about Hoa’s new book, Your Ancient See Through and here http://www.litvert.com/floodngardenrev.html for a review of Dale’s latest book, The Flood and the Garden. and Skanky Possum: http://www.skankypossum.com/index.html See below for information about Mr. Torregian, and I hope to see you all there! Affiliated with French Surrealist poets and associated with the New York School of poets and painters, Sotère Torregian has published eight books of poetry and contributed to many small press magazines, including the Paris Review and "C," a magazine of the arts. He was acclaimed by Kenneth Rexroth in 1971 as one of the "best intensely political young anarchist Surrealists in France." The poems selected here represent a diverse range of work by a hidden treasure of the American avant-garde. ========================================================================= Date: Wed, 19 Feb 2003 19:54:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: lu MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII lu music of the spheres without it there's nothing at all there are intensities and each music has its notes and plateaus and each according to its rhythm the enunciation of the body along with the music of the sphere an allegiance always troubling when you can't think but only sing where are the dark equations holding plasma and ocean in check against sounds i am living and song rendering my life in silence the misery of music lips sewn, thought locked against thought music of the spheres without it there's without there's all nothing there are intensities and are each intensity has its notes its plateaus and according to rhythm enunciation body enunciation along along spheres the allegiance always troubling when can't you think but think only but sing only where dark where equations are holding plasma in and check ocean against sounds i am against living sounds and song and rendering song my life my silence in misery thought locked against thought music of the spheres without it there's nothing at all there are intensities and each has its notes plateaus according to rhythm enunciation body along with sphere an allegiance always troubling when you can't think but only sing where dark equations holding plasma ocean in check against sounds i am living song rendering my life silence misery lips sewn, thought locked intensity, dismal thought === ========================================================================= Date: Wed, 19 Feb 2003 16:58:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: mla newsletter MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Not to beat a dead thread, but.... I was all set to write in and share/address Joe's pain: my own is not so much produced by the particular things Pratt says as by the symptomatic quality of this invocation of "Poetry": the "resurgance of poetry" is something that "happens" again and again, and after a while one has to ask what such an invocation signifies.... For all its surface reference to the "now" in the form of "def poetry jam", Pratt's is essentially I think a mythic account: "Poetry is alive among us, juices flowing" might be translated as "Poetry has returned to the vital energy of speech without which it will inevitably wither and die". And so Pratt finds it appropriate to use contemporary poetry as an introduction to the topic of American multilingualism--poetry's vitality comes to signify the diverse livliness of American speech... What it DOESN'T signify, in Pratt's letter, is the practice of the original core constituency of this list. As the counterpart to the hip vid kids Pratt refers to "us musty word worshippers": a nauseatingly faux-self-effacing gesture which sets up a tidy binary between academics and the "life of poetry". The President, I want to say, is not speaking for me. Among the "flourishing of noncommercial activities" [!] that Pratt lists (many of which are hardly non-commercial), there's no sign of the 20th century tradition of little mag publishing--it's as if Pratt didn't know small presses existed... However: all the above now needs the following ironic contextualization. An hour ago an intro to poetry student was in my office, wanting to know if she could write on a poem other than those I'd suggested. In the course of our conversation she identified herself as a beginning writer of performance- oriented poetry; talked about the importance of "def poetry jam" to her; expressed suspicion of formalized ways of talking about a poem. OK. But when the question of those other poems came up (disclosure: text is Vendler, _Poems Poets Poetry) she went into the back of the book where she'd been reading around--very extensively, it looked like-- and had marked "Why I Am Not A Painter," "Blackberrying", and Raleigh's "The Lie". She especially dug the last one. -- V. Nicholas LoLordo Assistant Professor Department of English 4504 Maryland Parkway Box 455011 Las Vegas, NV 89154 (702) 895-3623 ========================================================================= Date: Wed, 19 Feb 2003 23:34:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Friday is Raymond Queneau's 100th Birthday Comments: To: gillespi@UIUC.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Happy Birthday. Many Happy Returns. Felicitations. Have a good one you dog. Chin Chin. Happwee Bwirthdway. For he's a jolly good fellow. Happy Birthday you f*cker. H-aa-pp--y....am I saying it right? If I may be so bold as to wish you a happy birthday. I said happy birthday. Okay okay okay. >>> gillespi@UIUC.EDU 02/19/03 16:28 PM >>> February 21st 2003 marks the 100th Birthday of Raymond Queneau, author of One Hundred Thousand Billion Sonnets (Cent Mille Milliards de poemes), and co-founder of the Oulipo. To mark this occasion, Spineless Books presents the Fitzpatrick-O'Dinn Award for the Best Book Length Work of Constrained English Literature 2003. http://spinelessbooks.com/award Founded 20-02-2002, Spineless Books is the publisher of 2002: A Palindrome Story in 2002 Words. ========================================================================= Date: Thu, 20 Feb 2003 00:11:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: palanquin, character essay MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII palanquin, character essay as well [...] gate [...] question or problem [...] and wonderful good [...] 4-stringed instrument the ch'in [...] in leisure dwell [...] men many [...] fit rectification public [...] the palanquin (is) accompanied (by) crown the peerless soldiers (troops) one thousand allowed homes (of the) prefectures eight sealed doors minister of state the scholar tree the ancient swordsman the path (of) together (mutually) command skeins the government bureaus the classics (jing1) (on) wall (lining) write lacquered (to) li-script (servant) (is) faithful (bells, chimes) pear-tree a withered (of) flowers (a) group assembles again ceremony the tomb gathering already brightness holds attains the left interior (a) broad passes through the right (direction) the stars distrust changes the cap the high steps of the throne accept the stairs climb the sheng1 (mouth reed instrument) blow the lute (25-string se4) drum (play) (a) place establish bamboo mats four (wantonly) the pillar against (answer, reply) (a) curtain (notebook, album) the first stem awaken (disclosure) drawn near (beside) give alms (cottage, abandon) the third stem (and) spirits immortals (hermits) colorful pictures (and) animals birds draw (paint) drawing (painting) (be) amazed (as if) flying watch (look out) (from the) tower (with) plum (blossoms) (strong fragrance) (a) tray hall the official (government) the Jing (Sheu river) according to (seize) Wei (river) floating the Luo (river) face (to the) Mong (mountain) (one's) back capitals two (and) west east (in the) summer flourish (and) village city yourself bind the rank (of office) please properly steer strictly hold (your) heart (mind) and change the idea follow intention with full the truth guard mind the weary moves the heart passion evades nature a still loss of money setbacks suffer the wicked honesty gives back (justice) integrity separation not order create compassion (conceal) humanity kind (and) rules precepts (and) polish cut divide join (and) friends make branches linking (joining) (as) mind (ch'i, spirit) agreeing younger brother elder brother of each other think very much \ (a) son (child) compared (to) (a) child like (the same as) father's younger brother father's older brother father's sister all (of) appearance (ceremony) the mother music (play music) enter (the internal) instructions pass on accept the external (foreign) follows the wife chants (calls upon) the husband harmonious below harmony above and low are valuable as well rites (and) humble is precious particularly music the chant increase and go pear the wild by means of survive government obey work in addition to official (service) ascend (to) outstanding learn (in the) end nothing greatly the rolls of foundation (the place) trade honorable ancient laws good all prudent beautiful, beauty sincerity, fidelity beginnings deliberate determination (with) quiet, peaceful diction (classical rhetoric) say (one is) thinking if (and) stop contain (form) (a) reflection take up (create) clear (transparent) the depths (abyss) stopping (ceaselessly) not (un) flows the river prospers this (a) pine(s) like fragrance this (an) orchid(s) like (and pure) warm prosper dawn (early in the morning) lightly tread (put on shoes) the deep face (meet, confront) life the end (of) follows (rules) devotion of power (the power of others) the end serves as (accepts) filial piety respect give strictly (accurately) speak (of) the supreme ruler the (business) affairs (of) the father (parallels) the capital emulated (compete with) is (just so) (to be) yin (shadow, moon, sexual organs, feminine, secret) 1/30 meter (measurement, small) treasure negative (un- ) bi-jade (circular disk with hole) 1/3 meter (scale, ruler) happiness virtuous (are caused by) blessings (fortune) (of) evil the accumulation depends on (is caused by) disaster (catastrophe) carefully learn (review lessons) chamber hall (public room) the empty (one's) fame proclaim and valley sky model proper (upright) of shape the origin stands the name is built benevolence the sage makes (creates) (of) study restraint, conquering wisdom tied or lined-up lines view, scenery sheep (sheep) small (lamb) the praise of poetry is printed (sadness stains the silk) (on silk) (of) sorrow, sadness the ink (quantity) measure-word (is) trouble of desire the tool (utensil) be covered (protect your faith) should the cause of faith (is) long on the self (self-reliance) reliance in disintegration (is) brief the other the talk of deception neglect never of ability attainment of change the certainty what passes know genius pleasing imitate men unyielding chastity adore women and injures destroys flattering (!) of children the rearing (connector / alone) respect (is) normal five great four (giving birth to) issues the person covering directions (square) a myriad (10,000) attain trust (vegetation) grass and weeds covers change there grazes colt the white the bamboo in cries the phoenix the emperor returning to of the guest ration reality one and far near barbarians the army prostrate minister the leaders the hosts raise up love the sections doubting and bow bequeath the way query at court trying a case and test with scalding talk the boundary hold the guilty strike down the people console predicted has tang yao the country yield the throne expel skirts < clothing robes < clothing uniforms, wearing then characters writing making beginning men official the royal the phoenix teaching the emperor dragon the fire circling above feathers hidden in depths fishscales fresh the rivers salted the sea ginger mustard vegetables many apple plum of fruit the treasure of darkness the light called the pearl gate-tower the huge furiously named the double-edged dagger summit from Kun mountain emanates out jade water beautiful gives birth gold frost becoming forms dew rain sending ascend, galloping, clouds open shift position bamboo pitches so the lu measurement of years becomes one tenth the leftover residue intercalary timing the hiding, concealing in winter the harvesting in autumn goes the heat comes cold it's a measure word, they spread out line up the constellations from 7 to 9 in the morning it's dusk the sun sets in the west the moon fills the sun fills a desolate wasteland are vast the cosmos the cosmos yellow :: heaven is black, earth is yellow black earth heaven ========================================================================= Date: Wed, 19 Feb 2003 21:13:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Recently in the pouch MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii NEW AT THE POSSUM POUCH (www.skankypossum.com/pouch: NYC Protests--A Report by Matthew Celona Basra Exceeds Its Object--A poem by KENT JOHNSON David Hess Reviews Jarret Keene * This spring look for essays on Lucia Berlin, Joanne Kyger and Pierre Joris' recent translations of Rilke, Tzara, Duprey and Tengour. * The Possum Pouch accepts reviews, notes, essays and poems for publication. __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Thu, 20 Feb 2003 00:34:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: this really happened Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.whitehouse.gov/news/releases/2001/04/20010427-4.html Remarks by the President, Former President Bush, Laura Bush, Former First Lady Bush and Former Prime Minister of England John Major The Wortham Theatre Center Houston, Texas 7:04 P.M. EDT MRS. BARBARA BUSH: Welcome to this year's Celebration of Reading. I can hardly believe it, but this is our seventh year. We see so many familiar faces coming from year to year that we're beginning to think that you even maybe enjoy the evening, or that you're gluttons for punishment. (Laughter.) But we are honored and blessed by your support, and thank you from the bottom of our hearts. Once again, you have managed to outdo yourselves. Incredibly, we will raise more than $2 million tonight, which -- (applause) -- which means we can help more people read and build better lives for their families. That's what tonight is all about. So, thank you for taking the time out of your busy lives to be with us. FORMER PRESIDENT BUSH: This is indeed a banner -- a banner year for Barbara's foundation. But if I may say so, it's been a special year for the Bush family. (Applause.) As Barbara noted, we have so many friends here, particularly Texas friends, that we would be remiss if we did not take this opportunity to thank all of you for your good wishes on the election of the 43rd President of the United States. (Applause.) You know, it is impossible to describe how 43's election has impacted our lives. (Laughter.) Fortunately, I don't even have to try to explain it. And somehow, some of the changes have been captured on video. And we thought we would give you a glimpse of what life is like for us today. (A video is shown.) (Applause.) MRS. BARBARA BUSH: Ladies and gentlemen, the President of the United States and Mrs. Laura Bush. (Applause.) THE PRESIDENT: Thank you all very much. Thank you very much. Laura and I are really glad to be back in Texas. (Laughter.) I didn't realize, Dad, until I saw that video, how different your life has been since I'm the President and you're not. (Laughter.) Sounds like it's been pretty rough. And perhaps you and I should sit down and have a discussion, talk about it. Let me think: I have an opening the 27th of September. (Laughter.) We have some other family issues to discuss, like where to put my presidential library. (Laughter.) I've decided not to go through the hassle of raising money. And so, you know my dad's library? We're just going to add, "And Son." (Laughter and applause.) As you can already tell, lately my dad has been calling me "43." I call him "41." It's kind of shorthand we have in our family. And we have a nickname for mother as well. To show you where she stands in the power structure of this family, we call her "Number One." (Laughter and applause.) And so I'm going to turn the stage back to Number One, and then close the program with some remarks of my own. It's really great to be back in Houston, and to return bearing the proudest title ever been given to me: son of Barbara and George Bush. (Applause.) MRS. BARBARA BUSH: Well, I want to thank the President and our fabulous First Lady for taking the time to be here. It's hard to really judge what their loyal support to our little event has meant to its success. And, needless to say, speaking as a literacy advocate and a mother, I think they're doing a fantastic job in Washington, D.C. (Applause.) I also want to thank our extraordinary group of authors for joining us tonight to share their remarkable writing talents. Tonight, we're pleased to announce the winners of our 11th National Grant Competition, which you will find listed in your program along with three new grant winners from Texas. As many of you know, over the past six years our celebration has been funding the development of a network of strong family literacy programs across the state through the new Texas Fund For Family Literacy, and the First Lady's Family Literacy Initiative For Texas. Nearly $1 million awarded to 50 family literacy programs in 41 different cities so far. This initiative is still going strong and is headed by its founder, America's superb First Lady, Laura Bush. As in past years, we will be splitting the proceeds from tonight right down the middle: 50 percent for Texas and 50 percent for the rest of the country. Sounds kind of fair. (Laughter and applause.) We're pleased to have the U.S. Secretary of Education here with us tonight, our superb former Superintendent of the Houston Independent School District. A strong supporter of family literacy and our very dear friend, Secretary of Education Rod Paige. (Applause.) The Secretary has told me that I can announce tonight that he plans to highlight adult and family literacy in the department, and bring it to new prominence. And I cannot think of a better note of encouragement to start our program. * * * * * MRS. BARBARA BUSH: As many of you know, we were originally scheduled to have John Major, the former Prime Minister of Great Britain, and our very dear friend, at the celebration last year. We were very sad when an emergency back surgery forced him to change his plans. However, we had no intention of letting him off the hook. So we're delighted that he is here with us tonight to read from his wonderfully engaging autobiography. It's a fabulous book, not only because it provides fresh insight into historic events, but it is also a great story. Please join me in welcoming the Right Honorable John Major. (Applause.) FORMER PRIME MINISTER OF BRITAIN JOHN MAJOR: As Barbara said, I should have been with you last year, but I was having surgery on my back. It was one of those rare occasions when a politician had a knife in his back and it did him good. (Laughter.) But I am, in any event, delighted to be here for George and Barbara Bush, two of the loveliest people that I know. These readings are about my life. My father was brought up in Pennsylvania. As a boy, he joined a fife and drum band and twice paraded in front of President Grover Cleveland. By the age of eight, he taught himself acrobatics, and was the top of a four-man pyramid. As a teenager, he performed on the flying trapeze without a safety net in order to attract a larger crowd and earn a bigger fee. When I was born, my father was in his sixties, and my mother was surprised. (Laughter.) I only remember him as a stern, but kind old man. My mother was a Peter Pan figure with a gift for attracting lame ducks. I remember sitting at the table, about to eat my lunch, when a cold and hungry gypsy knocked at the door. He was invited in, and my mother served him my meal, leaving me hungry. Afterward, she had the grace not to ask me to do the washing up. She didn't consider that fair; but being superstitious, nor did she ask the gypsy to do it. Books introduced me to a world I had never known and to people I'd never meet. To me, they were an escape and an education. Some became lifelong friends. "Fame Is Despair." "A Horseman Riding By." "How Green Was My Valley." "Trollope," "Phineas Finn," and "Phineas Redux" were never far from hand. Biographies and histories joined Agatha Christie, Neville Carters, Thomas Costain and many more. I love Jane Austen and Dickens. Such books became cherished friends, companions and tutors; the true furniture of the mind. In my late teens, I read Kafka and Voltaire, Spinosa on ethics and Aristotle on politics. I dipped into Colette and Hardy. And all those books remain on my shelves today. When I was 12, my father's business failed, and he lost all that he owned. Our family moved from comfortable circumstances to an old victorian house in Brixton, South London, where we lived in an apartment of two rooms for the five of us, plus of course Butch, the dog. We shared a cooker on the landing. There was no bathroom. We washed at the sink or in a tub. That house was home to a rich collection of characters. On the floor below us were three Irish boys, one of whom invited my sister to run away with him. (Laughter.) Another actually proposed to her one morning as she left for work, but she wasn't really listening; a convenient gift that she retains to this day. (Laughter.) Another tenant was a middle-aged cat burglar. He lived with a girl who used to walk around the house in her underwear. Something of a novelty in the 1950s, but one that added pleasurably to my education. (Laughter.) The cat burglar occasionally asked me to place his bets on race horses with a book maker who operated illegally in the tunnel of the local railway station. Once he offered me half a crown to check if there were any policemen around before he went out of the house. I agreed to scout with him, but high-mindedly refused to take the money. It probably wasn't his anyway. The indignity of our situation affected my parents deeply as they lived through setback and disaster. They were never crabby or miserable, but fought adversity in their own way, laughing joyfully at minor triumphs, outwardly optimistic, and forever hoping for a future that to them would never come. Too proud, too stiff to acknowledge ill fortune. My father saw his troubles, his health, his blindness, as temporary setbacks, from which he would somehow emerge triumphant. As for my mother, if I found her with wet eyes often enough, I never found her without hope. If the rain came through the ceiling, well, the water would be mopped up. If the bills piled up, well, they'd be paid eventually. If their health worsened, well, it would surely improve. There was always tomorrow, full of wonderful possibilities. Especially, they thought, for me. I was to achieve what they had not. I was to put right what was wrong. My mother, at least, was confident of that. At the age of 13, I visited the House of Commons for the first time and I fell in love with it. From that day, my ambition to enter Parliament never wavered, though it often enough seemed to be an impossible dream. At 16, I found a job, and I went out into the world as my father retreated from it. And I can see him now: Thick, over-long grey hair swept back. Stern features, shirt and Fair Isle sweater under a tweed jacket, stepping out as fast as he could without hesitation, using his walking stick to lever himself upright. He didn't stroll, he marched. Near blind he may have been, but he was devoid of self-pity. He taught me so much. Not to be deterred by obstacles. Not to give in to fate. For him, triumph and disaster were passing moments to be enjoyed or to be endured. When they had gone, he moved on without regret. All this, he taught me. A lifetime in politics brought many memorable moments. One day in the mid-1995s, Boris Yeltsin came to stay at Checkers. Checkers is the British Prime Minister's Camp David. A beautiful historic house set in hundreds of acres of beautiful rolling countryside. We had had some lengthy meetings, and I felt like some fresh air. And I said to Boris: How do you feel, Boris, about a walk? He agreed. But he went upstairs to change and he came down a few moments later in an electric blue track suit and sneakers. (Laughter.) And off we went -- myself, Boris, Naina Yeltsin, my wife, Norma; 40 or 50 diplomats. (Laughter.) Sixty or seventy protection officers. The sort of everyday walk for heads of government. And we hadn't gone very far -- about 300 yards -- when it became apparent even to the most casual observer that Boris Yeltsin was not one of the great walkers of our age. (Laughter.) We walked for a while, and we stood on the prow of a hill, overlooking some sleepy English villages. And I said to him, Boris, you have three choices: We can retread our steps all over the fields and walk back to Checkers. He said, "Baahh." We can climb into those cars down there, Boris, and be driven back. "Bbbhhh." Over there, Boris, I said, in the distance, in that village, you can see the Bernard Arms, Boris. An old-fashioned English pub. (Laughter.) Where we can get some refreshment. And it was at that moment that for the first time, Western intelligence learned that President Yeltsin had a few words of English: "Gins and tonic," he said. "Gins and tonic." (Laughter and applause.) And off we set to the pub. The long crocodile followed behind us, and we arrived at the pub, and it was shut. (Laughter.) Boris Yeltsin's aids were not at all happy. Their president was not used to being shut out of anything, let alone an English pub. And there, in the middle of this beautiful summer day in the English countryside, their aides went 'round, banging on the door. "Open up," they yelled. "It's the President of Russia." "Oh, yes," said a voice from inside, "and I'm the Kaiser." (Laughter.) Of course, in politics, sometimes you lose, as well as win. On the day after my election defeat in 1997, the telephone rang. It was George Bush. I know what losing's like, he said. I've been there. And he went on, warmly issuing invitations. Come to Kennebunkport, bring the children. The bluefish are biting. Barbara sends her love. It was a very cheerful and uplifting call, very George. He was the first to call me on the day I became Prime Minister, and the first to call me on the day I ceased to be Prime Minister. The weather was beautiful, as the new Labor government took up office. And at our home in Cambridge here, Norma and I considered the future. On Sunday, we had a buffet lunch for some of our closest friends. It was a very jolly wake. There was no shifting of eyes, no mumbled sorries from our guests. There were hugs, and a few tears, and much cheerfulness. We raided my best wines and my guests sank the lot. (Laughter.) Lunch spread into supper, as the party rolled on. The whole weekend was a mental windbreak. I went to bed on Sunday night thinking not of what had been, but of what was yet to come. Thank you. (Applause.) MRS. LAURA BUSH: Before I introduce my husband, I want to congratulate Barbara Bush once again for such a really fabulous evening. (Applause.) I also want to thank the writers for inspiring and entertaining us. Your readings were terrific. And I want to thank everybody else here for coming tonight and for supporting literacy -- 50 percent for Texas and 50 percent for the rest of the country. (Laughter and applause.) You know the old saying that something happening once can be a fluke, two times makes it a coincidence, three times makes it a habit, but seven straight years of the Celebration of Reading makes it a wonderful tradition. I hope this evening's emphasis on literacy inspires more Texans and Americans of all ages to read. And, needless to say, I'm very proud of the efforts of the next speaker to help make sure that every child is educated. If we follow his lead, we'll certainly become a nation of readers. Ladies and gentlemen, my husband, the President of the United States, George Bush. (Applause.) THE PRESIDENT: Well, thank you. Thank you, Laura. One again, thank you all for that warm welcome. I know all of you join me in thanking the authors for being here tonight. The readings were fantastic, and we appreciate it. (Applause.) You've certainly set a high standard for a little reading I intend to do tonight. (Laughter.) Now, some people think my mom took up the cause of literacy -- (laughter) -- out of a sense of guilt over my own upbringing. (Laughter.) That's one reason why she was so happy I married a teacher. The truth is, I guess I could have paid a little closer attention when I was in English class, but it all worked out okay. (Laughter.) I'm gainfully employed. (Laughter.) And I even have a new book out. And I brought along a copy. Right here it is. I didn't actually write all of this, but I did inspire it. (Laughter.) Some guy put together a collection of my wit and wisdom. (Laughter.) Or, as he calls it, my accidental wit and wisdom. It's not exactly a world transformed, but I'm kind of proud that my words are already in book form. (Laughter.) And I thought tonight I would share a few quotable passages with you. (Laughter.) It's kind of like thoughts of Chairman Mao. (Laughter.) Only with laughs and not in Chinese. (Laughter.) Here's one. And I actually said this. (Laughter.) "I know the human being and fish can coexist peacefully." (Laughter.) Now, that makes you stop and think. (Laughter.) Anyone can give you a coherent sentence, but something like this takes you to an entirely new dimension. (Laughter.) Here's another. "I understand small business growth. I was one." (Laughter.) My, do I love great literature. I said this up in New Hampshire. "I appreciate preservation. It's what you've got to do when you run for President." (Laughter.) "You've got to preserve." You know, I really don't have the slightest idea what I was talking about there. (Laughter and applause.) You know, a lot of times on the campaign, they asked me about economics and I actually said this. "More and more of our imports come from overseas." (Laughter.) Now, most people would say this when they're talking about the economy. We ought to make the pie bigger. (Laughter.) However, I said this. (Laughter.) "We ought to make the pie higher." (Laughter.) It is a very complicated economic point I was making then. (Laughter.) But believe me -- believe me, what this country needs is taller pie. (Laughter and applause.) And how about this for a foreign policy vision? "When I was coming up, it was a dangerous world. And we knew exactly who the they were." (Laughter.) "It was us versus them." (Laughter.) "And it was clear who the them was." (Laughter.) "Today we're not so sure who the they are" -- (laughter) -- "but we know they're there." (Laughter and applause.) John Ashcroft, by the way, attributes the way I talk to my religious fervor. In fact, the first time we met, he thought I was talking in tongues. (Laughter.) Then there is my famous statement. "Rarely is the questioned asked, is our children learning?" (Laughter.) Let's analyze that sentence for a moment. (Laughter.) If you're a stickler, you probably think the singular verb "is" should have been the plural "are." But if you read it closely, you'll see that I'm using the intransitive plural subjective tense. (Laughter.) And so the word "is" are correct. (Laughter and applause.) Now, ladies and gentlemen, you have to admit, in my sentences, I go where no man has gone before. (Laughter.) But the way I see it is, I am a boon to the English language. I've coined new words, like "misunderestimate" -- (laughter) -- and "Hispanically." (Laughter.) I've expanded the definition of words, themselves, using "vulcanize" when I meant "polarize" -- (laughter) -- "Grecians" when I meant "Greeks," "inebriating" when I meant "exhilarating." (Laughter.) And instead of "barriers and tariffs," I said "terriers and barrifs." (Laughter.) We all make our contributions in the world, and I suppose mine will not be to the literary treasures of the western civilization. (Laughter.) But I do hope to contribute in my own way. And one of those ways is to bring closer the day when every child and every American learns to read. And that is why the budget I submitted to the United States Congress triples the amount of money available for reading programs all across America. (Applause.) I'm proud of mother. She took up the cause more than a decade ago. And she didn't leave it behind in the White House. Through her efforts, and the efforts of all who have helped the Barbara Bush Foundation, so many lives have been enriched with new opportunities. We heard Norma Vargas beautifully describe the good that has come into her life since she has found the courage to walk into that San Jose classroom to begin her first lesson. Tens of thousands more have their own stories. Stories of people finding new and better jobs, and gaining a new sense of dignity, because now they can read. And I'm proud that Laura has her own commitment to education. She was a teacher when I met her. In her own way, she will always be a teacher. She's the best kind of teacher, too, the kind who leaves no one out, and believes in the possibilities of every person. That's the spirit of your cause, and ours. I thank each of you for all you have contributed. It will be repaid many times over, in lives of new achievement and lives of new hope. Thank you, and God bless. (Applause.) MRS. BARBARA BUSH: That ends another Celebration of Reading. Thank you very much for coming, and a special thank you to our authors. You were terrific, all of you. And a very special thanks to the President and the First Lady. I still can't get used to that -- (laughter) -- who have decided to forgo supper in exchange for more sleep. Maybe he'll do a little better on the language if he sleeps a little more. (Laughter.) We bid them farewell, and thank you very much. And God bless you all. (Laughter.) ========================================================================= Date: Thu, 20 Feb 2003 00:47:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Febr 26: Virtual March On Washington -- moveon.org Comments: cc: POETRYETC@JISCMAIL.AC.UK, ImitaPo Memebers , new-poetry@wiz.cath.vt.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.moveon.org/winwithoutwar/ This link will tell you about an important electronic march to take place Febr 26th. We are all of us encouraged to participate. Please forward this. MoveOn, as many of you now know, has been instrumental in the anti-war movement. It's fair to say that MoveOn's ads and activism have significantly shored, galvanized, and amplified US and international anti-war efforts. Please participate in this electronic march on Washington, Febr 26. ========================================================================= Date: Thu, 20 Feb 2003 08:04:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: narcissism MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII narcissism we're speaking for the moment - online and offline conversations - analy- ses - manifestos - signs, marches, puppetry - it goes on and on - they're silent on the other side - use the royal 'we' - they include us - we're being led to the slaughter - we're taking the world with us - we'll use weapons of mass destruction - tactical nuclear against the bunkers - 10 to 15 percent of our weaponry gone astray - our own military reports expecta- tions of over 3000 civilian casualties - in the name of liberation - blair too - the whole lot of them - cold warriors - compulsive-obsessives - madmen - another futile protest here -:they're getting stronger by the moment - our performances are just that - select audiences of hundreds of millions - they can't do anything - we're speaking into our own skin - already the fear's upon us - they're nameless - they hide behind acronyms - they lie, they fabricate evidence - tapes - bin laden's muddy voice - we're supposed to believe all of this - we're under the gun here - we're under warning - we're a declared state of emergency - :resistance is futile - useless - we're bringing out blocks of writing - reams of it - to no avail - the only measure that carries weight - violence, armed resistance - i'm not up to that - we're unused to the brutality of our own government - help's got to come from elsewhere - stunning revelation - bush cancels 2004 elections - declares state of emergency - he's already backed by the army - we're allowed to speak - our voices give out - the strongest among us will be taken away - you've got to help us - you've seen it all before - :: there aren't any miracles - stock market's falling - construction's down - A legs and homes nightmare! A legs and homes nightmare! === ========================================================================= Date: Thu, 20 Feb 2003 05:46:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: American Idol Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The sexless, godless communist machine that Lorenzo Lamas built died Wednesday at eleven-oh-four PM. What I dislike most about being alive is the knowingness in the eyes of black people when I glance up from the register as they enter the store. Even though I don't follow them at all, I know they think I think they're stealing. And that hurts; unlike death, which is sexy, and godfearing. "I only wish we'd had more time, " the black widow mourns, bearing her scarlet hourglass in the form of discrete pasties cupping her nipples. She sure puts on one helluva show. As for me, I'm just paranoid. For homeland security, I keep my eyes on the screen, and my hands to myself. 2003/02/20 08:32:34 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Thu, 20 Feb 2003 09:37:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: 1,000,001 nights... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit our usual sources inform us that Amiri Baraka and Anne Waldmann are jetsetting to Iraq to become human shields... drn... ========================================================================= Date: Thu, 20 Feb 2003 09:56:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Our Bro Amiri Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit NYTimes 2/20/03 Gov. J. McGreevey N.J. cutting entire 18 mill. budget State Cncl Arts cancel 10,000,000 payment to cult. trust supports small arts group... sins of... ========================================================================= Date: Thu, 20 Feb 2003 10:29:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: good times with the President Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed THE PRESIDENT: There's a joke going round the Internet right now about my library burning down. (Laughter.) It says all the books in it were lost in the fire (laughter) -- and they were both children's books. (Laughter.) My good nature and confidence in Jesus Christ as my personal saviour allow me to laugh at these harmless ribbings. (Laughter and applause.) The truth is, I don't read books and don't respect them and have no respect for the people who do. (Laughter.) They think they're better than other people. (Laughter.) Just because someone works hard to know something about the world that can't be got on television doesn't make them better. (Laughter.) If they're so smart why aren't they president? (Laughter.) It's a tough world today and no amount of reading is going to protect you from it. (Laughter.) Look at poetry and what poets in this country think they can do. (Laughter.) Poets don't have much to fear by way of job loss. (Laughter.) They never got hired to write poems and no one is going to fire them for writing them wrong. (Laughter.) But what does a poet know about the real world? (Laughter.) I think we could overthrow the Iraqi leader just by dropping anthologies of awful poetry on Baghdad. (Laughter.) There's no shortage of 'em, no shortage of bad poetry here. (Laughter.) How's that for "shock and awe," read this you lousy dictator! (Laughter and applause.) But that's why they say poetry don't make nothing happen. (Laughter.) The trouble with that plan is that it would offend the good tastes of ordinary Iraqi citizens. (Laughter.) That's why it's better simply to rain missiles upon them like nobody's business and scare the holy piss out of anyone armed with anything larger than a pocket knife. (Laughter.) If it don't kill them first, which it probably will. (Laughter and applause.) Sure, we're going to end up killing lots of civilians. (Laughter and applause.) We're going to end up killing lots of women and children. (Laughter.) But that country has been starving and dying from simple, curable things and not having simple things like potable drinking water for more than 12 years now. (Laughter.) So let's just get this thing out of the way. (Laughter.) And that will learn them not to mess with the US! (Laughter, hoots and loud applause.) So you look at what a poet says and it just is uncredible. (Laughter.) Like the liberals they think we just want oil. (Laughter.) This ain't about oil, it's about human rights. (Applause.) It's always been about human rights. (Laughter and applause.) We don't want the Iraqi's oil, we just want to help them administer it while the country is rebuilt. (Laughter.) But we don't want the oil for ourselves. ( Laughter.) Maybe we'll just take a handsome fee for helping them out. ( Laughter and applause.) The other day Dick Cheney briefed me again on the international situation. He said they have weapons of mass destruction. He said the leader was a dictator. He said the people in the country were horribly oppressed. He said they had a sizable nucular program and they were a positive threat. I said, let's roll. (Laughter.) Let's get in there right now no matter what it takes. (Applause.) He said, hold on Mr. President, I'm talking about North Korea! (Laughter and applause.) Now there's a country that might do some damage. (Laughter.) They might give us a real fight! (Laughter.) No, we don't want to fight them. (Laughter.) Diplomacy is brass knuckles by other means. (Laughter and applause.) Now it's no secret that when I campaigned I said the most influential philosopher on me is Jesus Christ. (Standing applause.) And I believe it's prayer that helps people, not reading. (Applause.) So I'm going to share this prayer with you that a young child who suffers from many disadvantages sent me. (Laughter.) It comes from the great American poet Sam Twain. (Laughter.) And it's what America needs today to see us through this time of challenge: "O Lord our God, help us to tear their soldiers to bloody shreds with our shells; [Laughter] help us to cover their smiling fields with the pale forms of their patriot dead; [Laughter] help us to drown the thunder of the guns with the shrieks of their wounded, [Laughter and applause ] writhing in pain; help us to lay waste their humble homes [Laughter] with a hurricane of fire; [Laughter] help us to wring the hearts of their unoffending widows with unavailing grief; [Laughter] help us to turn them out roofless with their little children to wander unfriended the wastes of their desolated land [Laughter] in rags and hunger and thirst, sports of the sun flames of summer and the icy winds of winter, broken in spirit, [Laughter] worn with travail, imploring Thee for the refuge of the grave and denied it-for our sakes who adore Thee, Lord, blast their hopes,[Laughter] blight their lives, protract their bitter pilgrimage, [Laughter] make heavy their steps, water their way with their tears, stain the white snow with the blood of their wounded feet! [Laughter and applause] We ask it, in the spirit of love, of Him Who is the Source of Love, and Who is ever-faithful refuge and friend [Laughter] of all that are sore beset and seek His aid with humble and contrite hearts," ...but especially Americans! Amen. [Laughter and long applause ] Now what Mr. Twain don't know the Pentagon understands. ( Laughter.) Those miserable survivors are going to be welcomed into the loving arms of America. ( Laughter.) That's the spirit of your cause, and ours. ( Laughter.) I thank each of you for all you have contributed. ( Laughter.) It will be repaid many times over, in lives of new achievement and lives of new hope. Thank you, and God bless. (Applause.) (Crowd applauds, begins chanting... "USA USA USA USA!!....) ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Thu, 20 Feb 2003 10:52:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ontological Subject: Two For One at the Ontological! Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello all Friends of the Ontological Theatre Now through March 4th we are offering 2 for 1 tickets to all of our Sunday and Tuesday evening performances of PANIC! (How to be Happy!) To make a reservation, simply call 212.533.4650, leave your name, number of seats you would like, the night you want to attend, and that you are calling in response to our "Two-Fer" offer! We hope that you will accept our invitation to join us on Tuesdays and Sundays through March 4th at this special price!! And if you are receiving this but are not yet a member of our email list, simply reply to ontological@mindspring.com to join. We look forward to seeing you at the show! -- Joshua Briggs Production Manager Ontological-Hysteric Theatre 131 East 10th Street New York, NY 10003 Tel: 212-420-1916 Fax: 212-529-2318 ontological@mindspring.com ========================================================================= Date: Thu, 20 Feb 2003 11:07:34 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: L-a-n-g-u-a-g-e 25th anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit << In a message dated 2/19/03 4:39:00 PM, bowering@SFU.CA writes: << I'm sorry. But if what is meant is the main people involved, the word is "principals." >> Yes, if that is what is meant. I believe I covered this elsewhere. The play between "principles" and "principals" seemed apropos, particularly since we're celebrating "language" poets who interrogate, among other things, the notion of authorship. Sorry if I disturbed the Queen. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Thu, 20 Feb 2003 11:12:04 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: New Yorker/water MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit << In a message dated 2/19/03 4:35:07 PM, schwartzgk@MSN.COM writes: << I've heard it rumored that if you performed a quantitative analysis of its poetry, one out of ten is water-referenced or water themed. True? Are there nine other themes or references? Air? Fire? Sod? >> If memory serves, it was Charles Bernstein whose hilarious essay in Esquire (many years ago) floated the water issue. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Thu, 20 Feb 2003 08:11:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. From: Brian Stefans Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 20, 2003 ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000199.html#000199 Mirakove Relay #2: On Patriot II [Note: version on Circulars has live links. Thanks to Carol for sending this on!] ------------------------------------------------------------------------ CENTER FOR PUBLIC INTEGRITY OBTAINS SECRET DRAFT OF PATRIOT ACT II The nonprofit, nonpartisan Center for Public Integrity has obtained a draft of a secret document called the Domestic Security Enhancement Act of 2003. This document is more commonly known as the Patriot Act II, and is designed to "give the government broad, sweeping new powers to increase domestic intelligence-gathering, surveillance and law enforcement prerogatives, and simultaneously decrease judicial review and public access to information." You can download the document here: Find an excellent guide to the document by the Bill of Rights Defense Committee at http://www.bordc.org/Repeal.pdf View a quick list of consequences to Patriot II here: http://reclaimdemocracy.org/civil_rights/govpower_enhancement_act.html GRAVE CONCERN #1: SECRECY AND LIES Patriot Act II reverses the fundamental principles of a liberal, democratic society: rather than citizens living private lives and our government being transparent, we are now to be transparent to government's impenetrable authority. Charles Lewis says, "democracy is supposed to be a contact sport, with many and diverse participants, and we quickly discovered that practically no one on Capitol Hill in either party or in the national news media had ever even heard of the Domestic Security Enhancement Act of 2003." So the first concern is, this document is very mature and was kept from nearly everyone on Capitol Hill -- never mind the general public. When the story broke, Barbara Comstock, director of public affairs for the Justice Dept., said, "Department staff have not presented any final proposals to either the Attorney General or the White House. It would be premature to speculate on any future decisions, particularly ideas or proposals that are still being discussed at staff levels." In fact, the staff at NOW with Bill Moyers had obtained a control sheet that proved the document was delivered to VP Dick Cheney and Speaker of the House Dennis Hastert on January 10. Caught red-handed in lies. GRAVE CONCERN #2: DIMINISHED CIVIL RIGHTS Whether you're a liberal, a libertarian, a conservative, an anarchist, all over free enterprise, an electric-triangle prodigy, or an amoeba painter, the Patriot Act II is not your friend! The only group that would be served by this act is one who believes that s/he is best served by a government that operates behind a thick veil, whose authority is beyond reproach and not subject to accountability. The ACLU has posted an outstanding, detailed analysis of the Patriot II. Here are the basic offenses: -- diminishes personal privacy by removing checks on government power -- diminishes public accountability by increasing government secrecy -- diminishes corporate accountability under the pretext of fighting terrorism -- undermines fundamental constitutional rights of Americans under overbroad definitions of "terrorism" and "terrorist organization" or under a terrorism pretext; [nb: this topic will be the focus of relay #3 -- carol] -- unfairly targets immigrants under the pretext of fighting terrorism http://www.aclu.org/SafeandFree/SafeandFree.cfm?ID=11835&c=206 GRAVE CONCERN #3: NO CHECKS NO BALANCE "Another section would nullify existing consent decrees against state law enforcement agencies that prevent the agencies from spying on individuals and organizations. These consent decrees were crafted because state and local governments illegally invaded the privacy of American citizens and repeatedly violated their civil rights. To make matters worse, the proposed bill prevents courts from issuing injunctions to block future abuses." http://www.commondreams.org/views03/0213-09.htm GRAVE CONCERN #4: CITIZEN ENDGAME "Perhaps the most troubling section would strip U.S. citizenship from anyone who gives "material support" to any group that the attorney general designates as a terrorist organization. Citizenship is the most basic right for all Americans, one from which other rights -- such as the right to vote, to participate in politics and even to live in this country -- all flow. Under our Constitution, Americans can't be deprived of their citizenship, and the rights that go with it, unless they voluntarily give it up." http://www.commondreams.org/views03/0213-09.htm DEJA VOODOO If you want to know the future under these new laws, check out the past. Remember COINTELPRO, the FBI counterintelligence program from 1956-1971? Like the Patriot Act, it claimed to be protecting us from evil terrorists and agents of foreign powers. In practice, it was a plan to discredit and neutralize political dissidents at home -- dangerous terrorists like Martin Luther King, the NAACP, and the National Lawyers Guild. Congress and the courts shut COINTELPRO down because it was unconstitutional. Bush, Ashcroft & Co are bringing it back.. on steroids. The report of the Congressional committee that investigated COINTELPRO is surprisingly readable; see http://www.icdc.com/~paulwolf/cointelpro/cointel.htm. It's an eye-opener.. and it could have been written last week. THE POT CALLING THE KETTLE "DICTATOR" John Ashcroft's TIPS program in the original Patriot Act looks an awful lot like Fidel Castro's Committees for the Defense of the Revolution (CDR), which the U.S. forcefully condemned. The CDR consists of neighborhood watch groups, which monitor and patrol blocks and barrios in order to enforce sedition acts. Many arrests have been made under their advisement. Behold, The U.S. Cuban Liberty and Democratic Solidarity (Libertad) Act of 1996: SEC. 205. REQUIREMENTS AND FACTORS FOR DETERMINING A TRANSITION GOVERNMENT. (a) Requirements.--For the purposes of this Act, a transition government in Cuba is a government that-- (1) has legalized all political activity; (2) has released all political prisoners and allowed for investigations of Cuban prisons by appropriate international human rights organizations; (3) has dissolved the present Department of State Security in the Cuban Ministry of the Interior, including the Committees for the Defense of the Revolution and the Rapid Response Brigades; and (4) has made public commitments to organizing free and fair elections for a new government-- http://usinfo.state.gov/regional/ar/us-cuba/libertad.htm Read what the ACLU has to say about the TIPS program: http://www.aclu.org/SafeandFree/SafeandFree.cfm?ID=10783&c=206 OUR FREEDOM, OUR RESPONSIBILITY Heriberto Yepez, a writer, translator, and teacher in Tijuana, reports that U.S. flag burning has become common in Mexico. http://thetijuanabibleofpoetics.blogspot.com/ (see entry 15.2.03) Freedom is a responsibility. We really must reclaim ours. As international citizens, we have a responsibility to stop the violations the U.S. is guilty of, to get out of this isolation that the current administration have thrust us into, and to reinscribe the USAmerican flag with values that Mexico will embrace, not burn. WHO WHAT & HOW 2 RELAY Many thanks to contributors Eric Keenaghan and Charles Weigl. Thanks to everyone for your great response to issue 1! It's excellent that so many of you have expressed offers to submit raw materials for Relay. Unfortunately, I'm too unorganized to manage unsolicited content right now; if you find something worth circulating, why not relay it directly to your own address book? As those tireless cats at Clamor Magazine say, Become the Media! Subscription requests go to mirakove_relay@yahoo.com TOY SURPRISE! Get The First Vienna Vegetable Orchestra into heavy rotation: http://www.gemueseorchester.org/anfang_e.htm If they fail to make you giggle with glee, check yr pulse. http://www.public-i.org/dtaweb/report.asp?ReportID=502&L1=10&L2=10&L3=0 &L4=0 &L5=0 http://www.publicintegrity.org/dtaweb/report.asp?ReportID=506&L1=10&L2= 10&L3 =0&L4=0&L5=0 -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Thu, 20 Feb 2003 10:39:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Langston Hughes question MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT If anyone has a minute or two to do a little detective work, I need a question answered rather quickly-- via backchannel, if you please. Langston Hughes has a poem titled "Last Call," which appears on p. 454 of his collected poems (Knopf, 1994). The tenth line of this poem is "Lord, that is your name?" In context, it seems there might be a typo, that the real line is "Lord, what is your name?" But I lack another Hughes text against which to check this suspicion. Can anyone help? Aaron ========================================================================= Date: Thu, 20 Feb 2003 11:56:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Re: Fwd: my son // for Jim Behrle Mime-Version: 1.0 Content-Type: text/plain; format=flowed If every poet on Earth was as giving and loving a mentor as Joe Torra has been to me, I would never have to run my mouth at all. I love him dearly, and not just because he picks up the check. He and the list of poets he mentions have been open and supportive and I count upon as some of my very best friends. My SF speech does not damn *all* older poets. I can't name all the poets who are supportive and gracious, who make being a younger poet easier and more fulfilling. If you feel somehow fingered or implicated by my speech, I think that's something to think about. Love. Jim Behrle _________________________________________________________________ ========================================================================= Date: Thu, 20 Feb 2003 12:01:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: mla newsletter (take the embrace!) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit when you say rap is it's own thing, are you saying it has no roots in poetics? you say it has "poetic elements" but... but what? rap's history can be traced to West Africa and later Jamaica, where a fast-paced narrative poem in rhyme was part of the culture's story telling and historical document (in Jamaica these were known as "toasts"). the world of poetry is suddenly ENORMOUS to us (because it is ENORMOUS) because we're finally getting our heads out of our big fat white asses and seeing and hearing what's out there and BEEN out there for thousands of years. we're pretty damned fortunate to be alive in the TIME when poetry's many splinters are finally coming together and being heard by everyone! it's LIBERATING! and beautiful. CAConrad In a message dated 2/18/2003 3:54:17 PM Eastern Standard Time, florafair@YAHOO.COM writes: > > > Actually, thinking of rap as poetry is not radical. > I'm sure many people who care about either would > agree. And of course it has poetic elements, but I > also think it is it's own thing. My point is being > missed in favor of tangential arguments, so I give up. > > > > --- Duration Press wrote: > > i'd have to add public enemy's fear of a black > > planet as one of the finest > > rap albums to have been released...'welcome to the > > terrordome' in > > particular... > > > > the jungle brothers come to mind, as well... > > > > > > ----- Original Message ----- > > From: "lewis lacook" > > To: > > Sent: Tuesday, February 18, 2003 9:23 AM > > Subject: mla newsletter > > > > > > > MARIA:i don't get it. why is rap not poetry? who > > is > > > any one person to say > > > what is and is not poetry? why the rigid > > boundaries? > > > > > > LL: better watch it, that thinking will make you a > > > radical... > > > > > > personally, i think hip hop IS poetry...those that > > > shun it shun it mostly because of the crap that > > makes > > > it to the mainstream...it's not hard to pique a > > > thirteen-year-old boy's interest if you talk about > > > incredible wealth and sexual > > > opportunity/aggression...thus, the mainstream > > hip-hop > > > world's full of the worst sort of crap.... > > > > > > i find De La Soul's first three albums > > > inspirational...and digable planets...and there'll > > > always be a soft spot in my heart for the beastie > > boys > > > ("Is your name michael Diamond? Naw, my name is > > > Clarence...")----anyone who can't hear the poetry > > in > > > hip hop should hear the beasties' "beat boy > > > bouillabaise", or anything from digable planet's > > > second album... > > > > > > ahhhhhh...i suppose it's human nature to draw all > > > these lines all over everything (this is poetry, > > this > > > isn't poetry, this is net art, this is web art, > > this > > > is "e-poetry" (ugh!), this isn't...)...it all ends > > up > > > being such a horrible mess of ego ego ego...if > > only we > > > could remember what nietzsche said about > > dissecting > > > existence this way... > > > > > > bliss > > > l > > > > > > > > > > > > > > > ===== > > > > > > > > > http://www.lewislacook.com/ > > > NEW! Zoosemiotics > > http://www.lewislacook.com/zoosemiotics > > > ARCADIA: long poem serialized in the muse > > apprentice guild: > > http://www.muse-apprentice-guild.com/ > > > > > > http://artists.mp3s.com/artists/385/lewis_lacook.html > > > > > > > > > __________________________________________________ > > > Do you Yahoo!? > > > Yahoo! Shopping - Send Flowers for Valentine's Day > > > http://shopping.yahoo.com > > > > > > > > > > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Shopping - Send Flowers for Valentine's Day > http://shopping.yahoo.com ========================================================================= Date: Thu, 20 Feb 2003 09:18:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: the main head In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable the main head a metaphysician reached around my truth, reached around my van gogh . .=20= . . . =93you can do nothing but take metaphors for granted.=94 no doubt=20= there will be repercussions and expressed surprise. whereas, I declare=20= a linguistic clumsiness from the stand point of the marvel . . . . or=20 is it to blot out suddenness with a philosophers expression. voices=20 come through the floors of glass and walls of steel, multiplying in=20 their variations, then all is stilled in sameness. before I give=20 further examples, the world is reduced to one word . . . . . I keep=20 repeating myself so as to be sure to up my exterior features are all=20 examples that should or could be entirely counter-examples - or as=20 descarte's negation and reconstructive surgery state - "a good symbol=20 is best left for another surface and another time of brevity and=20 instantaneous rest."= ========================================================================= Date: Thu, 20 Feb 2003 12:34:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Man, I'll be the first in line to agree with overthrowing and rejecting generations in your way. But for someone who does not want to hear anyone else's suggestions, you have a great many of your own. Do your own thing, Jim. Knock yourself out. If it resonates with people, they'll buy what your selling. Keep the focus on yourself. Nevermind the bullocks. --Anastasios At 11:56 AM 2/20/2003, you wrote: >If every poet on Earth was as giving and loving a mentor as Joe Torra has >been to me, I would never have to run my mouth at all. I love him dearly, >and not just because he picks up the check. He and the list of poets he >mentions have been open and supportive and I count upon as some of my very >best friends. > >My SF speech does not damn *all* older poets. I can't name all the poets >who are supportive and gracious, who make being a younger poet easier and >more fulfilling. If you feel somehow fingered or implicated by my speech, I >think that's something to think about. > >Love. >Jim Behrle > > > > > > > > >_________________________________________________________________ ========================================================================= Date: Thu, 20 Feb 2003 11:36:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Uncle Zan protests the war. MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT What follows are the true anti-war exploits of my Uncle Zan, a crazy preacher who has Alzheimer's. If any of you saw this horse episode, or by some miracle captured it on video, let me know. (As reported by my mother in law) "Zan went to the Anti-war march in NYC with a group from his church -- a Methodist church that is pretty activist-- but after they arrived, he got separated from the group. However, he listened to the speeches, and enjoyed that -- Desmond Tutu, MLK III etc., then after that, he went to a coffeeshop with about 50 other people and had a nice cappucino; when he came out onto the street again, he saw a police officer on a horse chasing a woman. Zan was just sure that the horse was going to trample the woman, so he stepped out into the street and grabbed the horse's reins as it galloped by bringing the horse to a sudden stop! The officer tried to get rid of Zan by whacking him with his stick but Zan just kept pulling the horse's head around, so that the officer was striking the horse instead of Zan. The horse got spooked, reared up and threw the officer off onto the ground, and ran off. Four more police arrived and they all jumped on top of Zan, who was mad as a hornet all the while, and was fighting them off with all the strength he could muster; they cuffed him and put him in a paddy wagon. Oh -- the photo of all of them on top of him is supposedly in the paper; he is not named in the picture, but apperantly all you can see is the top of his head. So then they took him off to a holding cell where he spent about 6 hours with a bunch of other protesters who had been arrested anyway, he was charged with assaulting an officer and resisting arrest but he has lost the paper that told where and when the hearing is." Please join me in a round of applause for Uncle Zan. -Aaron ========================================================================= Date: Thu, 20 Feb 2003 12:50:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: RISD SPRING POETRY Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline For those of you in Providence during the spring: SPRING POETRY AT RISD 5 brilliant poetry readings by poets with new books! Readings followed by Q & A! All welcome! ARIELLE GREENBERG Tues March 4th 7pm Carr Haus KENT JOHNSON Thurs March 13 7pm Carr Haus BRENDA COULTAS Thurs April 10 7pm Carr Haus STEPHANIE STRICKLAND Thurs April 24 7pm Tap Room GABRIEL GUDDING Tues May 13 7pm Carr Haus FOR FURTHER INFORMATION PLEASE CONTACT MAIRÉAD BYRNE: 454.6268 or mbyrne@risd.edu With thanks to Rhode Island School of Design Liberal Arts Humanities Fund and the Department of English ========================================================================= Date: Thu, 20 Feb 2003 12:47:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Re: Fwd: my son // for Jim Behrle Mime-Version: 1.0 Content-Type: text/plain; format=flowed >But for someone who does not want to hear anyone else's suggestions, >you >have a great many of your own. Where did I say I didn't want to hear anyone else's suggestions? Never mind your own bullocks, man. --Jim Behrle _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 20 Feb 2003 12:50:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: folder for Niedecker In-Reply-To: <001f01c2d856$50e3f920$cc9cf943@computer> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This just in: A Folder for L.N., by Theodore Enslin. Ted was asked to write a review of the new Collected Works, and this lovely little sequence of poems was the result--printed in an elegant chapbook, 150 handmade copies, Longhouse Publishers and Booksellers, 1604 River Road, Guilford, Vermont 05301. www.LonghousePoetry.com. email: poetry@sover.net --- She has said and quite right that we are alone wherever we may find ourselves And in danger so many kinds of danger the sharp and the brittle or the muck of a meadow swamp clinging to the unwary foot stepping into it On still nights clear we are threatened by starlight the bright and the terrible distances between what we cannot measure alone . ========================================================================= Date: Thu, 20 Feb 2003 09:51:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: mla newsletter (take the embrace!) In-Reply-To: <2285923C.68CF08AD.01F36A84@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii As I mentioned earlier, I've given up on this issue. It seems expressing an opinion can lead to headaches. What I am saying is, I hope that traditional, written forms of poetry will not disappear in favor of performance poetry, rap, etc. Because I think it has a virtue separate from the virtue of rap. I am saying NOTHING dispariging about rap, but only stating my hope for the future of written poetry, whose content appeals most to me. Just an opnion, I still feel liberated by the written word and its beauty, aside from the slams, jams, and everything else--Call me old fashioned. I was not saying that rap's roots are not in poetry, I think focusing on a small semantic issue misses my point. But really, I get exhausted just thinking about this thread. --- Craig Allen Conrad wrote: > when you say rap is it's own thing, are you saying > it has no roots in poetics? you say it has "poetic > elements" but... but what? > > rap's history can be traced to West Africa and later > Jamaica, where a fast-paced narrative poem in rhyme > was part of the culture's story telling and > historical document (in Jamaica these were known as > "toasts"). the world of poetry is suddenly ENORMOUS > to us (because it is ENORMOUS) because we're finally > getting our heads out of our big fat white asses and > seeing and hearing what's out there and BEEN out > there for thousands of years. > > we're pretty damned fortunate to be alive in the > TIME when poetry's many splinters are finally coming > together and being heard by everyone! it's > LIBERATING! and beautiful. > > CAConrad > > > In a message dated 2/18/2003 3:54:17 PM Eastern > Standard Time, florafair@YAHOO.COM writes: > > > > > > > Actually, thinking of rap as poetry is not > radical. > > I'm sure many people who care about either would > > agree. And of course it has poetic elements, but I > > also think it is it's own thing. My point is being > > missed in favor of tangential arguments, so I give > up. > > > > > > > > --- Duration Press > wrote: > > > i'd have to add public enemy's fear of a black > > > planet as one of the finest > > > rap albums to have been released...'welcome to > the > > > terrordome' in > > > particular... > > > > > > the jungle brothers come to mind, as well... > > > > > > > > > ----- Original Message ----- > > > From: "lewis lacook" > > > To: > > > Sent: Tuesday, February 18, 2003 9:23 AM > > > Subject: mla newsletter > > > > > > > > > > MARIA:i don't get it. why is rap not poetry? > who > > > is > > > > any one person to say > > > > what is and is not poetry? why the rigid > > > boundaries? > > > > > > > > LL: better watch it, that thinking will make > you a > > > > radical... > > > > > > > > personally, i think hip hop IS poetry...those > that > > > > shun it shun it mostly because of the crap > that > > > makes > > > > it to the mainstream...it's not hard to pique > a > > > > thirteen-year-old boy's interest if you talk > about > > > > incredible wealth and sexual > > > > opportunity/aggression...thus, the mainstream > > > hip-hop > > > > world's full of the worst sort of crap.... > > > > > > > > i find De La Soul's first three albums > > > > inspirational...and digable planets...and > there'll > > > > always be a soft spot in my heart for the > beastie > > > boys > > > > ("Is your name michael Diamond? Naw, my name > is > > > > Clarence...")----anyone who can't hear the > poetry > > > in > > > > hip hop should hear the beasties' "beat boy > > > > bouillabaise", or anything from digable > planet's > > > > second album... > > > > > > > > ahhhhhh...i suppose it's human nature to draw > all > > > > these lines all over everything (this is > poetry, > > > this > > > > isn't poetry, this is net art, this is web > art, > > > this > > > > is "e-poetry" (ugh!), this isn't...)...it all > ends > > > up > > > > being such a horrible mess of ego ego ego...if > > > only we > > > > could remember what nietzsche said about > > > dissecting > > > > existence this way... > > > > > > > > bliss > > > > l > > > > > > > > > > > > > > > > > > > > ===== > > > > > > > > > > > > http://www.lewislacook.com/ > > > > NEW! Zoosemiotics > > > http://www.lewislacook.com/zoosemiotics > > > > ARCADIA: long poem serialized in the muse > > > apprentice guild: > > > http://www.muse-apprentice-guild.com/ > > > > > > > > > > http://artists.mp3s.com/artists/385/lewis_lacook.html > > > > > > > > > > > > > __________________________________________________ > > > > Do you Yahoo!? > > > > Yahoo! Shopping - Send Flowers for Valentine's > Day > > > > http://shopping.yahoo.com > > > > > > > > > > > > > > > > > > __________________________________________________ > > Do you Yahoo!? > > Yahoo! Shopping - Send Flowers for Valentine's Day > > http://shopping.yahoo.com __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Thu, 20 Feb 2003 12:55:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I don't know about you, but I'm minding the NBA trading deadline. Where is Sprewell going? Can the Knicks get rid of Shandon "I got no handle" Anderson? Can the Kenickies get some size up front? Important questions of the day. ========================================================================= Date: Thu, 20 Feb 2003 14:39:57 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: mla newsletter (take the embrace!) In-Reply-To: <20030220175122.11504.qmail@web10010.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Flora, I don't think anyone is questioning your taste. That is personal thing. But, written language comes along rather late in the game. We've been on the planet as Homo-Sapiens for 35-50 000 years but writing for only 5000. Might I suggest reading the first section of Walter Ong's _Orality and Literacy_. You can even read about this tradition in Blake. I once wrote: Early on in his career Blake was conscious of the limitations of fixing verse into a book. His method of illuminated printing was less stable than commercial letter press printing and this de?stabilization forces the reader to consider the book's production. The form itself is a subtle analysis of print and points out how the book works to mute any dialogue between the reader and the author. Blake produced his own alternative to the technologizing of poetry. By combining words and visual images on the same page we can more clearly regard the printed word as a visual image. The "Introduction" to The Songs of Innocence traces a movement from piping, through singing into writing ?? three modes of human utterance. By the end of the poem the poet is alone and the child has "vanish'd from my sight"(15). This is a lament for a loss of community as writing is a solitary pursuit. The "book that all may read"(14) is the only method of transmission of the Songs and can only exist when there is a reader there to liberate or participate in the poem. The poet's work is done so he isn't needed anymore. The book that remains has lost the Bard's spontaneity, tone, cadence, and gesture - all of the important facets of reciprocal discourse. Blake was beginning to show an understanding of how the mode of production was linked to consciousness and continued to develop his ideas through allegory in his subsequent poetical works. just my two cents. kevin On Thu, 20 Feb 2003, flora fair wrote: > As I mentioned earlier, I've given up on this issue. > It seems expressing an opinion can lead to headaches. > What I am saying is, I hope that traditional, written > forms of poetry will not disappear in favor of > performance poetry, rap, etc. Because I think it has a ========================================================================= Date: Thu, 20 Feb 2003 10:22:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: mla newsletter (take the embrace!) In-Reply-To: <2285923C.68CF08AD.01F36A84@aol.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT on 2/20/03 9:01 AM, Craig Allen Conrad at CAConrad9@AOL.COM wrote: > rap's history can be traced to West Africa and later Jamaica, where a > fast-paced narrative poem in rhyme was part of the culture's story telling and > historical document (in Jamaica these were known as "toasts"). Conrad's post brought up my memory of the summer of 1966 recording "oral literature" one summer with a Nigerian colleague in his home province of Ogoja. Along with much great traditional song & story making, we spent one whole night's in his father's compound listening and recording contemporary stuff by young men in what resembled a jam session, or as I later wrote in an 1981 essay, "perhaps most similar to American blacks vying back and forth in the telling of 'toasts'. The language was a hybrid of Pidgin English, formal English parody, dabblings of Italian, and Ojoja dialects. In Richmond (in the Bay Area where I had grown up), I was very familiar with the form - having worked with African-Americans, many with long experience in southern prisons - who could go on at great length improvising on "The Signifying Monkey", "Stag-a-Lee", one great one about Jack Johnson, the boxer who went down on the Titantic, swimming under the Atlantic and arriving on the streets of New York City. In Ogoja I sensed I was clearly at one of the original roots of the form. & I loved it. Maybe two lines from from Linue Ede Igbagiri sums up one of arguments in this MLA thread (mandarin vs. 'servant' claims to culture?): Gentility without ability calls me a drunkard Unfortunately the tapes - but not one of our 'translations' went up in the smoke of the Biafran War. The essay is called, "Collecting in Ogoja" and it's in THE POETRY READING: A Contemporary Compendium on Language & Performance, edited by Stephen Vincent & Ellen Zweig (Momo's Press, 1981) - a few copies still available at SPD or the library. Stephen V ========================================================================= Date: Thu, 20 Feb 2003 13:22:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Raworth/Ashbery Reading In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable For those in the upstate NY area: BARD COLLEGE John Ashbery Poetry Series Thursday February 20, 2003 Readings by John Ashbery and Tom Raworth from their recent works. Time: 6:30 pm Location: Room 102, Olin Humanties Building =A0 Phone: (845) 758-7425 =A0 ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 20 Feb 2003 10:49:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: mla newsletter (take the embrace!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Yes, written language came after oral language, but it doesn't change my preference. And I think poetry thrives on musicality and sound. It would take too long to qualify statements with a brief history of history, so I assumed the gaps, I guess I should have qualified my controversial statement to avoid offense. Thank you for your insight--I love Blake. Flora --- "K.Angelo Hehir" wrote: > Flora, > > I don't think anyone is questioning your taste. That > is personal thing. > But, written language comes along rather late in the > game. We've been on > the planet as Homo-Sapiens for 35-50 000 years but > writing for only 5000. > Might I suggest reading the first section of Walter > Ong's _Orality and > Literacy_. > > You can even read about this tradition in Blake. > > I once wrote: > > Early on in his career Blake was conscious of the > limitations of fixing > verse into a book. His method of illuminated > printing was less stable than > commercial letter press printing and this > de?stabilization forces the > reader to consider the book's production. The form > itself is a subtle > analysis of print and points out how the book works > to mute any dialogue > between the reader and the author. Blake produced > his own alternative to > the technologizing of poetry. By combining words > and visual images on the > same page we can more clearly regard the printed > word as a visual image. > The "Introduction" to The Songs of Innocence traces > a movement from > piping, through singing into writing ?? three modes > of human utterance. > By the end of the poem the poet is alone and the > child has "vanish'd from > my sight"(15). This is a lament for a loss of > community as writing is a > solitary pursuit. The "book that all may read"(14) > is the only method of > transmission of the Songs and can only exist when > there is a reader there > to liberate or participate in the poem. The poet's > work is done so he > isn't needed anymore. The book that remains has > lost the Bard's > spontaneity, tone, cadence, and gesture - all of the > important facets of > reciprocal discourse. Blake was beginning to show an > understanding of how > the mode of production was linked to consciousness > and continued to > develop his ideas through allegory in his subsequent > poetical works. > > just my two cents. > > kevin > > > On Thu, 20 Feb 2003, flora fair wrote: > > > As I mentioned earlier, I've given up on this > issue. > > It seems expressing an opinion can lead to > headaches. > > What I am saying is, I hope that traditional, > written > > forms of poetry will not disappear in favor of > > performance poetry, rap, etc. Because I think it > has a __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Thu, 20 Feb 2003 14:22:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Fwd: Clark/Shaw Arrest Comments: cc: core-l@listserv.acsu.buffalo.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable >Date: Thu, 20 Feb 2003 13:40:15 -0500 >Subject: Clark/Shaw Arrest >From: Lytle Shaw > >Account of the Clark/Shaw Arrest > >Many friends have asked for more details about our spending the night in >jail for taping up flyers last Thursday, February 13. So we wanted to >offer a description of what happened. > >First of all, the flyers we were putting up were images of daily life in >Baghdad taken by Paul Chan. As many of you know, Chan was in Baghdad in >December and January as part of the Iraq Peace Team, a project of Voices in >the Wilderness. Last Thursday night about fifty people met to pick up 8.5= x >11-inch copies of Chan=B9s photos and begin posting them around Manhattan. >The goal, of course, was to particularize and humanize our soon-to-be >victims. =20 > >At about 11:20pm, three plain-clothes cops (two men, one woman) in a >converted taxi approached us at the corner of Mercer and Prince where we >were in the process of taping a poster to a metal lamppost. (We were not >using wheat paste). After flashing their badges, they asked if we had >permission to poster and what we were putting up. Their next question was >if we were going to the march on Saturday. We were told that postering was >a "quality of life infraction" and that we would have to go to the station. >We explained that Emilie was 7 months pregnant and asked if it was possible >(since we both had our drivers=B9 licenses) for them to write us tickets >instead. They refused. We were cuffed, and put in the taxi-cab, and taken >to the first precinct, on Varick. They explained that this was just a >"procedure" and that it would only take an hour or so. > >At the station we waited in our separate cells for about two hours while >they fed our information into their computer system. During this period >five NYPD officers were more or less continually involved processing our >arrest. At around 1:30am they announced that because their fingerprinting >machine was not functioning they would have to take us to a different >precinct for the fingerprinting. We were led out of the cells again, >cuffed, packed back into a car, and driven to a precinct in Chinatown. = Here >Lytle was put back in a cell while Emilie was fingerprinted and vice versa. >The fingerprinting machine did not work well and Emilie=B9s fingers were >rolled over and over again, sprayed with Windex, and then pressed yet= again. >The officer appeared to be having a hard time with the machine. No one >offered to help him; and he didn=B9t seek help. This process took about an >hour, after which we were again cuffed, led out to the car and driven back >to the first precinct. > >They explained that after our information was sent to Albany it would take >about an hour and so long as we didn=B9t have any warrants, we could be let= go >with a court date. But at 5 am we were still locked up, with no >information. Eventually (just after 5) Lytle=B9s clearance came through. >Emilie=B9s, however, did not. And they could not tell us why. Only after >repeated questions were we finally told that Emilie=B9s finger prints had= not >been legible (though the machine approved or rejected each print at the= time >of its initial printing, and this was the reason it had taken so long in= the >first place). Emilie, we were told, would have to be taken to yet a third >precinct and fingerprinted again. At this point we began to protest our >treatment. Emilie had a bloody nose and was feeling weak and sick. She= is, >to say it again, seven months pregnant, and so staying up all night in a >piss-soaked cell is just not a good idea. The only water she received was >sent in by her brother, Andrew (who had been postering with us and was,= now, >luckily, waiting outside). > >We asked, again, if we could have a paper ticket written. But they refused >again. This time Emilie was taken alone to "Transit," a police station in >the ACE station at Canal. Andrew and Lytle followed on foot. They then >waited for Emilie for two more hours while the police re-printed Emilie and >then cuffed her to a chair, while her information was sent, again, to >Albany. At just before 7am Emilie was released. > >This, then, is the basic narrative of what happened. But it=B9s important= to >mention that this entire time we were being worked on by the police in a >variety of ways=8Band it=B9s as much what they said (as the base fact of= our >incarceration) that gives a picture of how they wanted to intimidate us. > >They wanted to talk. Having locked up a pregnant woman and kept her awake >all night, they now wanted to appeal to what they supposed would be her >protective, maternal instincts. They offered the friendly advice not to go >to the march on Saturday, February 15. This, they all thought, would not= be >a good place for a pregnant woman. They expected violence. Mace was >mentioned. They stressed that 8,000 cops would be there. They also >emphasized that many of them would be rookies and suggested that they would >be looking for violence. They said they wouldn=B9t want to read our names= in >the deaths column of the newspaper. When Emilie was escorted to the >bathroom, the female cop again laid into her about the danger of going to >the protests while pregnant. > >They also mentioned terrorism: they'd heard there might be suicide bombers >at the rally. (The logic in this one was stunning: just as Americans begin >to manifest large-scale public dissent for the murdering of Iraqis and >Afghanis, the U.S.-based Al Qaeda cells from those countries would >specifically seek out that constituency for staging its first suicide >bombing in the U.S.). We=B9re all exasperatedly familiar with how this= larger >threat of terror has been played, again and again, as a way to shut down >civil rights. In these last statements we saw it in its most reduced and >illogical form. =20 > >Both of us are physically okay, though extremely angry. > >We hope to organize a presence at our March 13 court date and will be in >touch as that develops. > >Once again, thank to all of you who have shown us your support over the= last >week. > >Lytle Shaw and Emilie Clark ========================================================================= Date: Thu, 20 Feb 2003 11:44:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: It all begins. . . [vers 2] In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit TH E-S -BE BEG EGI GIN N-T -TO TO- -TH THI HIN ING S-W -WI WIT ITH TH- -TH THE HE- -IS IS- S-C ING NG- -TH OUG UGH OME S-O -OF -TH THE HE- E-M -ME MES ESS SSA SAG AGE GE- E-S -SE -TO TO- E-O -ON LY- Y-A -A- -PA PAR ART -UN ING NG- -ME MET ETH -OF OF- ON- -IS IS- GRA RAD ALL LY- -SE SEE ING NG- G-I TO- -TH THE HE- E-T -EX EXT ING NG- T-A -AN REA ING NG- G-T -TH THE EM- PAR ART IS- -SE SEE EEM -TO TO- -BE -HA ING NG- G-M -AN AND ND- -MO MOR ORE E/- /-A -AS AS- S-T -TH THE HE- E-T -TE TEX EXT -BE COM OME MES ES- S-I -IN CRE REA EAS ING LY- -FR -AN AND ND- -IS IS- S-T ED- D-I -IN INT NTO TO- -SE GME MEN ENT TS- S-T -TH THA HAT AT- T-A RE- ESS SS- -AN AND ND- -LE LES ESS SS- S-C -CO COM ENS LE- T-A -AL O-S TRA LY- -LO AL- -IN IN- -SO SOM OME ME- E-I -IN NDE BLE LE- E-W .-T -TH HE- E-P CES ESS SS- S-S -SE SEE EEM EMS MS- S-T -TO TO- O-H -HA HAV AVE VE- E-A -A- HIS IST Y-A -AN AND ND- D-A -AN AN- TIO ION RY- -GR /-E -EV N-I -IT TS- S-O N-S -SO -OF OF- E/- HAP OU- -RE REA D-O -ON ON- -AN AND ND- D-O -ON ON- N-U -UN UNT NTI TIL IL- L-Y -YO YOU OU- AN- -RE REA EAD AD- O-M -MO MOR ORE RE/ E/- /-A -AN AND ND- -ST TIL LL- L-Y -YO YOU OU- U-R -RE REA EAD -IN IN- N-S -SE -OF OF- -SO SOM OME ME- KIN IND ND- D-O -OF OF- F-L -LI T-A AT- T-T -TH THE HE- -EN ND- D-O -OF OF- F-T -TH THE HE- E-T -TU UT- -NO NO- -LI LIG IGH GHT HT- -IS IS- S-F ORT COM OMI MIN ING /-A -AN AND ND- -TH THI HIN ING NGS GS- -NO OW- -ON ONL NLY LY- Y-S -SE SEE EEM EM- M-T -TO TO- O-B -BE BE- ING NG- -FR FRO ROM OM- AD- D-T -TO TO- -WO WOR .-Y -YO YOU OU- -MA MAK AKE KE- E-O -ON E-L ST- ALI FOR ORT RT- T-A -AT AT- -UN UND NDE DER RST AND ING NG- HAT AT- T-I -IS IS- S-G -GO GOI OIN ING NG- -ON /-A -AS AS- -YO YOU OU- -NO -WA ANT NT- T-T -TO TO- O-B -BE BE- E-A ED- D-O -OF OF- -BE ING NG- -A- -LA -RE REA EAD DER -WH -IS IS- S-W -WO LLY LY- -UN ILL ING NG- G-T -TO TO- VE- E-T -TH THE HE- E-M -MO DER N-T -TE TEX EXT XT- T-I -IT ITS TS- E.- .-B -BU BUT UT- T-F -FI FIN INA ALL LLY LY- -YO YOU OU- D-A -AN AND ND- D-T -TU TUR URN RN- N-A WAY Y-F -FR FRO ROM OM- M-T -TH THE HE- E-T -TE TEX EXT XT- T-I -IN IN- N-S -SE SEA EAR ARC RCH CH- H-O -OF OF- F-L -LE LES ESS SS- S-F -FR STR TRA ATI TIN ING NG- G-M -ME MES ESS SSA SAG AGE ES- S-T -TO TO- GES T/- ING NG- -BA -ON ONL NLY LY- -NO NOW OW- -AN AND ND- D-A IN- N-T -TO TO- O-S -SE SEE E-I -IF IF- F-A -AN THI HIN ING NG- -HA AS- S-C ANG NGE .-A ND- D-T -TH THE HEN N/- -TO TO- -YO YOU -AS AST STO MEN ENT T/- /-T -TH THI HIN ING NGS GS- S-D -DO DO- O-S -SE SEE EEM EM- M-T -TO TO- O-B -BE BE- -CH CHA HAN ANG GIN ING .-A -LI LIN NE- E-H -HA HAS AS- -BE EEN EN- SED D/- /-A -AN AND ND- -WH LE- -YO YOU OU- -AR ARE RE- -UN RE- E-A -AS AS- S-T -TO TO- O-W -WH ETH THE ER- -TH THI HIS IS- S-C -CH CHA HAN ANG NGE GE- E-I -IS IS- S-I -IN IN- -YO YOU OU- R-T -TH THE HE- E-M -ME MES ESS SSA SAG AGE E/- /-T -TH THI HIN ING NGS GS- S-D -DE DEF EFI FIN ELY LY- -DO DO- O-S -SE SEE EEM EM- M-T -TO TO- O-B -BE BE- E-M -MA MAK AKI KIN ING NG- -SE SEN ENS NSE SE- E-A -AG AGA GAI AIN N.- HAT EVE ER- R-W -WA AS- S-C -CA SIN ING NG- G-T -TH THE HE- E-T -TE TEX EXT XT- T-T -TO TO- -FR FRA RAG AGM GME MEN ENT NT- T-B -BE FOR ORE RE- E-I -IS IS- S-N -NO NOW OW- -LO SIN ING NG- G-T -TH THE HE- E-B -BA LE- E-A -AN AND ND- D-A -A- A-F -FO FOR -OF OF- -ME NIN ING NG- G-I -IS IS- -RE REA EAS SSE RTI TIN ING NG- G-I -IT ITS .-W ITH TH- H-A -A- -SE SEN ENS NSE SE- E-O -OF OF- -RE -YO YOU OU- -SI IGH GH- H-A -AN AND ND- D-A -AL ALL OW- W-T -TH THA HAT AT- T-T -TH THE HE- E-S -ST STR LE- E-I -IS IS- S-F -FI FIN INA NAL ALL LLY LY- Y-A -AT AT- T-A -AN AN- N-E -EN END mwp ========================================================================= Date: Thu, 20 Feb 2003 12:26:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. From: Brian Stefans Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 20, 2003 ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000204.html#000204 War On Iraq? (leaflet for teach-ins, etc.) ------------------------------------------------------------------------ [Following is another document that Jonathan forwarded to me which was put together -- in a curt, bullet-pointed fashion -- to help with teach-ins. Here is a .pdf version of the document, formatted to be printed on a single two-sided sheet and good for handing out.] Over the past year and a half the Bush administration has put forth a variety of arguments for prosecuting a war on Iraq to unseat Saddam Hussein. Keeping up with these arguments can be confusing—partly because they keep changing. At the same time, both here and abroad, challenges to the administration's reasoning continue to mount. What follows is an attempt to break down the major areas of debate. FOR WAR * Iraq is a threat to the United States and the world. The Bush administration argues that Iraq under Saddam Hussein is a rogue state capable of developing and deploying weapons of mass destruction (WMD); if left unchecked, this capability would make Saddam a menace to the peace in the Middle East, if not the world at large. An even greater danger is that he could supply terrorist networks such as Al-Qaeda with WMD. Once WMD are in the hands of terrorists, argues President Bush, they "could not easily be contained." Likening this moment to Munich in 1938, administration officials have argued that Saddam Hussein must be stopped before this threat is realized, just as the Allies should have stopped Hitler. * Iraq suffers under a brutal dictatorship. Hussein's government has inflicted countless atrocities on its own people and numbers among the world's worst abusers of human rights. He employs torture and surveillance to keep the Iraqi people in a continual state of fear, while diverting Iraq's resources toward the enrichment and consolidation of his regime. He must be removed on humanitarian grounds alone. * Regime change in Iraq will benefit the Middle East. Democracy in Iraq would lead to growing liberalization of govern-ments all over the region by offering an alternative template to Islamic fundamentalism and authoritarian rule. The benefits of this process could also include an eventual resolution to the Israel-Palestine conflict. * The credibility of international rule must be maintained. Iraq has flouted several United Nations resolutions and must be held to account. If not, the UN will lose all credibility in its attempt to preserve an interna-tional rule of law that applies equally to all its members. * Advances in communications and warfare technology, together with the time the U.S. has had to prepare for this war, will result in a quick and decisive conflict with minimal U.S. and civilian casualties. Military technology since the first Gulf War has improved signif-icantly, with a tenfold increase in the use of "smart" satellite-guided bombs, and the introduction of unmanned reconnaissance vehi-cles, high-powered microwave weapons and a thoroughly digi-tized communications network. AGAINST WAR * The military threat from Iraq remains unproven, while North Korea, among other nations, openly flouts international agreements. Credible analysts, including former chief UN weapons inspector Scott Ritter, argue that Iraq has been largely disarmed and that it is now effectively restrained through the UN inspections process. Hussein knows that a deployment of WMD traced to his regime would bring swift and decisive response. Connections between Hussein and Al Qaeda remain speculative at best. Meanwhile, the presence of WMD in the hands of other unstable or totalitarian regimes around the globe—in North Korea (with a missile capable of reaching the United States), Pakistan, and China, not to mention the neighboring Middle East states of Syria, Egypt, and Israel—argues for a general plan of disarmament to rid the world of these deadly weapons, of which the United States is now the leading manufacturer and supplier. * "Nation building," in Iraq as well as elsewhere, is a long and arduous task, for which the United States has shown neither capability nor commitment. Since the post-WWII recon-structions in Europe, the U.S. has largely restricted its leadership in the world to military matters, leaving the real work (and costs) of humanitarian aid, peace-keeping, and "cleaning up" to the international community. If the U.S. acts unilaterally, this time, it will have to face the consequences alone. The still-precarious situa-tion in Afghanistan, together with the equally uncertain state of the U.S. economy, offer little support to the confident assertions in Washington that we can manage a post-war crisis in Iraq. Iraq's political terrain, rooted in its colonial history, is complex: Hussein's despotic regime masks a feudal power structure, itself undermined by diverse revolution-ary movements, including substantial numbers of Kurds, as well as Shiite Muslims and a Sunni minority, opposed to one another and divided among themselves. Such difficulties argue against any smooth transition to democratic gover-nance. Furthermore, the past history of U.S. support for Hussein's regime at its bloodiest, during the 1980s—which entailed active collaboration in his war against Iran, even in the face of evidence that he used chemical weapons against his own people—does not, in many Arabs' eyes, qualify the U.S. for its professed role as "liberator." * Justice in the Israel-Palestine conflict is a better route to peace in the Middle East than imperial invasion. A U.S. invasion of a sovereign Middle East nation is likely to further inflame Arab feeling against the United States and against its client state Israel (a state also equipped with undeclared WMD). Neighboring countries would suspect, justifiably, that a puppet regime in Iraq is simply a means of extending U.S. control over an oil-rich region. The chances that an invasion would further undermine security both in the Middle East and abroad are too great to justify war. Instead, they point to the overwhelming need for a just and peaceful solution to the conflict in Palestine—where a less than fully democratic Israel continues to occupy Palestinian territories and subject their inhabitants to oppressive control, in tandem with a less than fully democratic Palestinian Authority that cynically ignores the demands of its constituents for reform. Aggressively promoting democratic solutions to the Israeli-Palestinian conflict would do much to ease tensions in the Middle East generally, as well as take away one of the few propaganda points in Hussein's attempt to ally himself with his Arab neighbors. * The credibility of UN rule is best maintained through the compliance of its most powerful member. The U.S. needs to abide by the rulings of the UN in its determi-nations over the best way to deal with a noncompliant Iraq. A "preemptive" invasion of Iraq, without a second UN resolution authorizing force, is illegal and contravenes the very basis of the charter of the United Nations, the principle of nation-state sover-eignty. The UN inspections process has produced results, and may be expected to produce more in the future. A U.S. rush to war can only further shred the fabric of international agreements, already weakened by the current administration's cavalier dismissal of those it finds uncongenial. * Make no mistake: civilians are always the first victims of modern warfare. Even in Afghanistan, where the U.S. went to some lengths to minimize so-called collateral damage (and which has been touted as a success), as many as 8,000 civilians were killed by U.S. bombs and many more maimed. In Iraq the U.S. has demonstrated its willingness to exact the "price" of significant civilian casualties— in the past, through bombing of water and sewage treatment infrastructure which, in com-bination with long-term sanctions limiting access to basic medicines and chemicals like chlorine, has led to the deaths of as many as 500, 000 children. Faced with invasion, Hussein will be far more likely to use whatever chemical and biological stockpiles he does harbor, whether on his own people or on U.S. troops. Finally, for all its reliance on high-technology and high-precision weaponry, the number-one priority of current U.S. military strategy— minimizing the deaths of U.S. soldiers through massively concentrated bombing from the air— can only translate into a corresponding increase of civilian deaths on the ground. We are told repeatedly that the Iraqi people are not our enemy. But Pentagon blueprints suggest otherwise. SOME LINKS FOR FURTHER INFORMATION Institute for Policy Studies: www.merip.org/ MoveOn:www.nonviolence.org/vitw Shape Your World: chnm.gmu.edu/rhr/haw Veterans for Common Sense: www.war-times.org Washington Post Opinion, The Debate about Iraq: www.guardian.co.uk/ Mail and Guardian (South Africa): www.mg.co.za/ International Herald Tribune: www.iht.com/ Rheinische Post: www.moscowtimes.ru Buenos Aires Herald: www.buenosairesherald.com China People's Daily: www.timesofindia.com/ Al-Ahram Weekly: www.ahram.org.eg/weekly/ Jerusalem Post: www.jpost.com/ PROTESTS www.unitedforpeace.org www.notinourname.net/ Compiled by Nick Lawrence and Jonathan Skinner, English Department, SUNY at Buffalo. 2/14/03 href="http://www.ips-dc.org/iraq/primer.htm">www.ips-dc.org/iraq/primer .htm href="http://www.moveon.org/iraq_meetings/talkingpoints.html">www.moveo n.org/iraq_meetings/talkingpoints.html href="http://www.shapeyourworld.info/bib.html">www.shapeyourworld.info/ bib.html href="http://www.veteransforcommonsense.org/">www.veteransforcommonsens e.org/ href="http://www.washingtonpost.com/wpdyn/world/mideast/gulf/iraq/comme ntary/">www.washingtonpost.com/wpdyn/world/mideast/gulf/iraq/commentary / href="http://whtww.guardian.co.uk/antiwar/subsection/0,12809,884056,00. html">whtww.guardian.co.uk/antiwar/subsection/0,12809,884056,00.html href="http://www.rp-online.de/german-news/">www.rp-online.de/german-new s/ href="http://www.peopledaily.com.cn/english/">www.peopledaily.com.cn/en glish/ href="http://www.internationalanswer.org">www.internationalanswer.org -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Thu, 20 Feb 2003 15:35:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: mla newsletter (take the embrace!) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Flora it's fine if you give up on the issue but that doesn't mean that i have to it's fine what you said what's the big deal i mean hey no one got beaten over the head with an ax we're all in one piece so what's the big deal i'm sorry you're exhausted frankly but i guess some will get exhausted maybe one day i'll get exhausted too maybe i'll finally drink coffee when i get exhausted you don't even have to write back i don't mind writing to someone who won't write back i mean that's what we learned to do when we learned to pray really it's ok poet name of flower rest up CAConrad In a message dated 2/20/2003 12:51:22 PM Eastern Standard Time, florafair@YAHOO.COM writes: > > > As I mentioned earlier, I've given up on this issue. > It seems expressing an opinion can lead to headaches. > What I am saying is, I hope that traditional, written > forms of poetry will not disappear in favor of > performance poetry, rap, etc. Because I think it has a > virtue separate from the virtue of rap. I am saying > NOTHING dispariging about rap, but only stating my > hope for the future of written poetry, whose content > appeals most to me. Just an opnion, I still feel > liberated by the written word and its beauty, aside > from the slams, jams, and everything else--Call me old > fashioned. I was not saying that rap's roots are not > in poetry, I think focusing on a small semantic issue > misses my point. But really, I get exhausted just > thinking about this thread. > > --- Craig Allen Conrad wrote: > > when you say rap is it's own thing, are you saying > > it has no roots in poetics? you say it has "poetic > > elements" but... but what? > > > > rap's history can be traced to West Africa and later > > Jamaica, where a fast-paced narrative poem in rhyme > > was part of the culture's story telling and > > historical document (in Jamaica these were known as > > "toasts"). the world of poetry is suddenly ENORMOUS > > to us (because it is ENORMOUS) because we're finally > > getting our heads out of our big fat white asses and > > seeing and hearing what's out there and BEEN out > > there for thousands of years. > > > > we're pretty damned fortunate to be alive in the > > TIME when poetry's many splinters are finally coming > > together and being heard by everyone! it's > > LIBERATING! and beautiful. > > > > CAConrad > > > > > > In a message dated 2/18/2003 3:54:17 PM Eastern > > Standard Time, florafair@YAHOO.COM writes: > > > > > > > > > > > Actually, thinking of rap as poetry is not > > radical. > > > I'm sure many people who care about either would > > > agree. And of course it has poetic elements, but I > > > also think it is it's own thing. My point is being > > > missed in favor of tangential arguments, so I give > > up. > > > > > > > > > > > > --- Duration Press > > wrote: > > > > i'd have to add public enemy's fear of a black > > > > planet as one of the finest > > > > rap albums to have been released...'welcome to > > the > > > > terrordome' in > > > > particular... > > > > > > > > the jungle brothers come to mind, as well... > > > > > > > > > > > > ----- Original Message ----- > > > > From: "lewis lacook" > > > > To: > > > > Sent: Tuesday, February 18, 2003 9:23 AM > > > > Subject: mla newsletter > > > > > > > > > > > > > MARIA:i don't get it. why is rap not poetry? > > who > > > > is > > > > > any one person to say > > > > > what is and is not poetry? why the rigid > > > > boundaries? > > > > > > > > > > LL: better watch it, that thinking will make > > you a > > > > > radical... > > > > > > > > > > personally, i think hip hop IS poetry...those > > that > > > > > shun it shun it mostly because of the crap > > that > > > > makes > > > > > it to the mainstream...it's not hard to pique > > a > > > > > thirteen-year-old boy's interest if you talk > > about > > > > > incredible wealth and sexual > > > > > opportunity/aggression...thus, the mainstream > > > > hip-hop > > > > > world's full of the worst sort of crap.... > > > > > > > > > > i find De La Soul's first three albums > > > > > inspirational...and digable planets...and > > there'll > > > > > always be a soft spot in my heart for the > > beastie > > > > boys > > > > > ("Is your name michael Diamond? Naw, my name > > is > > > > > Clarence...")----anyone who can't hear the > > poetry > > > > in > > > > > hip hop should hear the beasties' "beat boy > > > > > bouillabaise", or anything from digable > > planet's > > > > > second album... > > > > > > > > > > ahhhhhh...i suppose it's human nature to draw > > all > > > > > these lines all over everything (this is > > poetry, > > > > this > > > > > isn't poetry, this is net art, this is web > > art, > > > > this > > > > > is "e-poetry" (ugh!), this isn't...)...it all > > ends > > > > up > > > > > being such a horrible mess of ego ego ego...if > > > > only we > > > > > could remember what nietzsche said about > > > > dissecting > > > > > existence this way... > > > > > > > > > > bliss > > > > > l > > > > > > > > > > > > > > > > > > > > > > > > > ===== > > > > > > > > > > > > > > > http://www.lewislacook.com/ > > > > > NEW! Zoosemiotics > > > > http://www.lewislacook.com/zoosemiotics > > > > > ARCADIA: long poem serialized in the muse > > > > apprentice guild: > > > > http://www.muse-apprentice-guild.com/ > > > > > > > > > > > > > > > http://artists.mp3s.com/artists/385/lewis_lacook.html > > > > > > > > > > > > > > > > > __________________________________________________ > > > > > Do you Yahoo!? > > > > > Yahoo! Shopping - Send Flowers for Valentine's > > Day > > > > > http://shopping.yahoo.com > > > > > > > > > > > > > > > > > > > > > > > > __________________________________________________ > > > Do you Yahoo!? > > > Yahoo! Shopping - Send Flowers for Valentine's Day > > > http://shopping.yahoo.com > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Tax Center - forms, calculators, tips, more > http://taxes.yahoo.com/ p.s. CAConrad's POETRY PAGE (updated 01/03/03) click below: http://hometown.aol.com/caconrad13/myhomepage/profile.html "I believe in compulsory cannibalism. If people were forced to eat what they killed there would be no more war." --Abbie Hoffman "This is a good world... And war shall fail." --Kenneth Patchen ========================================================================= Date: Thu, 20 Feb 2003 17:53:55 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Ari & I MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Here is something from a little feature that I follow on commondreams.org called "Ari & I" Ari & I White House Press Briefing with Ari Fleischer Wednesday, February 19, 2003 - 12:15pm by Russell Mokhiber Mokhiber: You said last week that, "Every step will be taken to protect civilian and innocent life in Iraq." But Pentagon officials have said that under a battle plan called 'shock and awe,' "there will not be a safe place in Baghdad when we attack." Baghdad is a city the size of Paris, with five million residents. If there will not be a safe place in Baghdad when we attack, then how do you plan to protect every civilian life? Ari Fleischer: First of all, I think that any construing of any statements that are made by anybody at the Pentagon to suggest that the Pentagon does not and will not take every step to protect innocent lives is an unfair representation of what the Pentagon would say. It's well-known how the United States conducts itself in military affairs. We are very proud of the fact that any time force is reluctantly used, the force is applied to military targets and innocents are protected. Mokhiber: Second question. You have admitted that Saddam may attack our invading troops with chemical and biological weapons. On Sunday, 60 Minutes reported that many military leaders believe that our troops have neither the proper equipment, nor the proper training to survive a chemical and biological attack. The report quoted an Army audit that found that 62 percent of the gas masks examined "had critical defects that could cause leakage." Now, since 100,000 U.S. veterans in the Gulf War may still be suffering from Gulf War [illnesses] -- many of them believe that this is from inhaling toxic fumes. Tens of thousands of them were exposed to sarin gas when we bombed a Iraqi munitions dump. How can the President send troops into harm's way knowing that they are not adequately protected from a chemical and biological attack? Ari Fleischer: The President has full faith and confidence in the Department of Defense and in their planning for the worst. And I think premised in your question is the fact that perhaps you now are coming around to the realization that Iraq does indeed have weapons of mass destruction and a willingness to use them. It's not anybody in the United States government who has admitted -- in your word -- that Iraq might use these weapons -- it's that Iraq has such weapons, they've used them in the past. And hence the danger not only to the troops who are in the region, but to people abroad, people in the United States, and friends and allies and civilians in the region who remain vulnerable to Saddam using such weapons on innocents. Mokhiber: What about the 60 Minutes report that we're not prepared -- Ari Fleischer: As I indicated to you, the President has full faith and confidence in DOD's measures to protect our troops in all circumstances. ### -- ------------------------------------------------------------------------------- Cheney, Bush, Rumsfeld:The Axis Of Weasel ========================================================================= Date: Thu, 20 Feb 2003 15:31:47 -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="ISO-8859-1" Content-transfer-encoding: quoted-printable TOMORROW AND NEXT WEEK AT THE POETRY PROJECT *** FRIDAY FEBRUARY 21 [10:30pm] POETS ON THE PEAKS MONDAY FEBRUARY 24 [8:00pm] ERICA KAUFMAN AND DAN MACHLIN WEDNESDAY FEBRUARY 26 [8:00pm] SHERMAN ALEXIE AND CHUCK WACHTEL http://www.poetryproject.com/calendar.html *** FRIDAY FEBRUARY 21 [10:30pm] POETS ON THE PEAKS An event with John Suiter, author/photographer of Poets on the Peaks: Gary Snyder, Philip Whalen & Jack Kerouac in the North Cascades. John Suiter is = a Boston-based freelance photographer and writer whose work has appeared in numerous national and international magazines over the last ten years. He lives and works in Boston, where he is an instructor at the New England School of Photography. Poets on the Peaks is both a literary group portrait of Jack Kerouac, Gary Snyder, and Philip Whalen centered around their experiences as fire lookouts in the early 1950s, and a photographic homage to the North Cascades landscape. The book features 54 photographs =8B mostly B&W, Duotone photographs of the peaks =8B taken by John Suiter, and also several historical photos, some of which have never before been published. Based on scores of previously unpublished letters, journals, and recent interviews with Gary Snyder, Philip Whalen, and others, Poets on the Peaks is about the development of a community of poets, including the famous Six Gallery reading of October 1955. It contains cameos by fellow poets and mountain-climbers Allen Ginsberg, Kenneth Rexroth, Philip Lamantia and Michael McClure. It is also a book about Dharma and the years of Dharma Bums, from the 1951 roadside revelation in the Nevada desert that led Gary Snyder to drop out of academia and head for Japan, to Kerouac's lonely vigil with The Diamond Sutra on Desolation Peak, to Philip Whalen's ordination as a Zen priest. Finally, Poets on the Peaks is the story of the birth of a wilderness ethic. Transcending many of the tired clich=E9s of the Beat life, it tells how the solitary mountain adventures of three young writers helped to form the literary, spiritual, and environmental values of a generation. Anthony Brandt of National Geographic Adventure notes: "A fresh, engaging chronicle of a gateway period in American cultural life, th= e rise of the Beats. . . . The book works best not as a chronicle, although i= t does that well, nor as a set of mini-biographies but as a reminder that the twin of the active life is the contemplative one." Read Michael Rothenberg'= s wonderful interview with John Suiter (and take a look at some of John's photographs) in Big Bridge: http://www.bigbridge.org/fictsuiter.htm MONDAY FEBRUARY 24 [8:00pm] ERICA KAUFMAN AND DAN MACHLIN Erica Kaufman is an Indiana native who has been living either in or around New York for quite some time. She assists Rachel Levitsky with the Belladonna* reading series which is currently held monthly at Zinc Bar. Her recent poems can be found on canwehaveourballback.com. Dan Machlin is the author of two chapbooks of poetry, This Side Facing You (Heart Hammer) and In Rem (@ Press), and a recent Audio CD collaboration with Serena Jost, Above Islands (Immanent Audio). His poems have appeared i= n Crayon, Pom2, A Portable Boog Reader, Talisman, Fell Swoop and online at Th= e Poetry Project and the EPC at Buffalo. He is a founder and editor of Futurepoem books and March 2003 curator at The Bowery Poetry Club/Segue Saturday series. WEDNESDAY FEBRUARY 26 [8:00pm] SHERMAN ALEXIE AND CHUCK WACHTEL Sherman Alexie recently made a stunning debut as a director when he brought his title, The Business of Fancydancing, out as a debut independent film. The movie has been voted Best Narrative Feature Film (Durango Film Festival= ) and received an Outstanding Screenwriting Award (OUTFEST). The Seattle Weekly raves: "Every filmmaker should have such talent." Sherman Alexie has published 14 books to date, including his most recent collection of short stories, The Toughest Indian in the World, and his newly released poetry collection, One Stick Song. His several books of poetry include Old Shirts = & New Skins (UCLA) and The Summer of Black Widows (Hanging Loose Press). Shortly after the publication of his first book, The Business of Fancydancing - a collection of poetry and stories - Alexie was described as "one of the major lyric voices of our time" in the New York Times Book Review. He was named one of Granta's Best of Young American Novelists and won the Before Columbus Foundation's American Book Award and the Murray Morgan Prize for his first novel, Reservation Blues, published in 1995 by Atlantic Monthly Press. His second novel, Indian Killer, published in 1996, also by Atlantic Monthly Press, was named one of People's Best of Pages and a New York Times Notable Book. A story from his first collection of short stories, The Lone Ranger and Tonto Fistfight in Heaven, was released as the movie Smoke Signals at the Sundance Film Festival in January 1998; the movi= e won two awards: the Audience Award and the Filmmakers Trophy. Alexie occasionally does readings and stand-up performances with musician Jim Boyd= , a Colville Indian. Alexie and Boyd also collaborated to record the album Reservation Blues, which contains the songs from the book of the same name. One of the Reservation Blues songs, "Small World" (WAV), also appeared on Talking Rain: Spoken Word & Music from the Pacific Northwest and Honor: A Benefit for the Honor the Earth Campaign. In 1996 Boyd and Alexie opened fo= r the Indigo Girls at a concert to benefit the Honor the Earth Campaign. Alexie competed in his first World Heavyweight Poetry Bout competition in June 1998. He went up against world champion Jimmy Santiago Baca and won th= e Bout, and then went on to win the title again over the next three years, becoming the first poet to hold the title for three and four consecutive years. He is the current reigning World Heavyweight Poetry Bout Champion. I= n 1998, Alexie participated with seven others in the PBS Lehrer News Hour Dialogue on Race with President Clinton. The discussion was moderated by Ji= m Lehrer and originally aired on PBS on July 9, 1998. In June 1999, The New Yorker acknowledged Alexie as one of the top writers for the 21st Century. He was one of twenty writers featured in the magazine's Summer Fiction Edition, "20 Writers for the 21st Century." Among Chuck Wachtel's books are the novels The Gates and Joe The Engineer (which was awarded a PEN/Hemingway citation and has enjoyed multiple reprintings); a collection of stories and novellas, Because We Are Here; an= d five collections of poems and short prose including The Coriolis Effect and What Happens to Me. He is presently at work on a nearly completed new novel= , River of Stars. His stories, poems, translations and essays have appeared i= n Hanging Loose, The Nation, The Village Voice, Up Late: American Poetry Sinc= e 1970, 110 Stories: New York Writes After September 11th and numerous other anthologies and magazines both here and abroad. *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 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, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 20 Feb 2003 14:09:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: L-a-n-g-u-a-g-e 25th anniversary In-Reply-To: <10c.1fb81124.2b865746@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" ><< In a message dated 2/19/03 4:39:00 PM, bowering@SFU.CA writes: > ><< I'm sorry. But if what is meant is the main people involved, the word >is "principals." >> > >Yes, if that is what is meant. I believe I covered this elsewhere. The play >between "principles" and "principals" seemed apropos, particularly since >we're celebrating "language" poets who interrogate, among other things, the >notion of authorship. Sorry if I disturbed the Queen. Best, Bill > >WilliamJamesAustin.com Not a queen. I am a genteel heterosexual. -- George Bowering Middle age looks good Fax 604-266-9000 ========================================================================= Date: Thu, 20 Feb 2003 14:15:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: <5.0.0.25.2.20030220125413.03582ab8@mail.verizon.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >I don't know about you, but I'm minding the NBA trading deadline. > > >Where is Sprewell going? Can the Knicks get rid of Shandon "I got no >handle" Anderson? Can the Kenickies get some size up front? > > >Important questions of the day. The NY team in the NBA? Who cares? That is not news at all. No one on the planet even remembers that there is a NY team in the NBA. We hardly remember that there is an eastern conference. Who you got? Rochester? Cincinnati? -- George Bowering Middle age looks good Fax 604-266-9000 ========================================================================= Date: Thu, 20 Feb 2003 17:33:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: Re: Fwd: my son // for Jim Behrle MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit VIN BAKER FOR SALE FOR FREE George Bowering wrote: > >I don't know about you, but I'm minding the NBA trading deadline. > > > > > >Where is Sprewell going? Can the Knicks get rid of Shandon "I got no > >handle" Anderson? Can the Kenickies get some size up front? > > > > > >Important questions of the day. > > The NY team in the NBA? Who cares? That is not news at all. No one on > the planet even remembers that there is a NY team in the NBA. We > hardly remember that there is an eastern conference. Who you got? > Rochester? Cincinnati? > -- > George Bowering > Middle age looks good > Fax 604-266-9000 ========================================================================= Date: Thu, 20 Feb 2003 14:34:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Jim Behrle first of all, it was nice to meet you at the SF protest last weekend with mr. cross... i've been thinking about your speech (and sorry again that i missed it at the event) and turning over a few thoughts on it ever since... as you've already acknowledged, not every older poet ought to be "damned." i'd like to chime in to testify that i too could never have made it this far without the support and nourishment of older poets. and that my experience with the doubters, the naysayers, the holder-backers, is that they come at least as much if not more from the ranks of the poets closer to my own age or just a little bit older, who seem to believe they have something to protect, and are afraid of associating with the forming or yet-unformed among us, as i was when i first arrived here in SF... (and in many ways still am) i think it's more than important to make that distinction. i don't think we do enough listening to our elders, to come to a place where we give them the big "fuck you" and move on with total confidence in our own forms. yes, on some level the "fuck you" is eventually necessary, even to those who've nourished and supported you (though there is of course a much nicer way to say it) it is absolutely necessary to grow to stand on one's own legs without teacher propping one up. but i would thank even those who've stood in opposition or discouraged for that opposition has shaped me every bit as much... a true teacher (read "older poet") is one who has burned everything up in the fight, and is nothing but joyful to see the student beginning to take shape in the realm of poetry, so that the arc of the learning can go on... at least that's how it seems to me. when i was at naropa last summer there was a large contingent of very young students going around muttering about anne waldman (one of them even wrote a poem that started "O anne, anne, anne with an 'e'" !!!!) --- bitching that she wasn't doing enough to make herself available to younger students, that she only stayed for half of the student reading, etc. not one of them had bothered to try to talk to her, however, they had done the characteristically youthful, petulant thing of feeling rejected and snapping back to that "fuck you" without bothering to get the real goods. so i guess that's the caveat i have with this whole "forgetting yr heroes" thing, jim... i have this image of you leading us all out of the cellar of poetry mansion with yr red sox cap on and a baseball bat in yr hand, but i hope it doesn't dissuade any of the younger folks from stopping to sit at the feet of their elders for a little while and digging what they have to tell them... best, DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Jim Behrle Sent: Thursday, February 20, 2003 9:48 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Fwd: my son // for Jim Behrle >But for someone who does not want to hear anyone else's suggestions, >you >have a great many of your own. Where did I say I didn't want to hear anyone else's suggestions? Never mind your own bullocks, man. --Jim Behrle _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 20 Feb 2003 14:55:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Ange Mlinko? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Is Ange Mlinko on this list? Can she backchannel me? Or does someone have her email? Thx, Arielle ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Thu, 20 Feb 2003 16:49:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Fwd: my son // for Jim Behrle MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit New to list. What speech about older poets? Is it available? Most remarkable "fuck you" was Dorn's "From Glouster Out." Now there's a young poet paying due homage yet saying he must stand on his own, elsewhere than when Olson stands. I don't know if it's the most remarkable of its kind, but it ranks. (And it sure tops Lowell's 14-liners on his elders: Frost, Pound, etc.) skip fox David Hadbawnik wrote: > > Jim Behrle > > first of all, it was nice to meet you at the SF protest last weekend with > mr. cross... > > i've been thinking about your speech (and sorry again that i missed it at > the event) and turning over a few thoughts on it ever since... as you've > already acknowledged, not every older poet ought to be "damned." > > i'd like to chime in to testify that i too could never have made it this far > without the support and nourishment of older poets. and that my experience > with the doubters, the naysayers, the holder-backers, is that they come at > least as much if not more from the ranks of the poets closer to my own age > or just a little bit older, who seem to believe they have something to > protect, and are afraid of associating with the forming or yet-unformed > among us, as i was when i first arrived here in SF... (and in many ways > still am) > > i think it's more than important to make that distinction. i don't think we > do enough listening to our elders, to come to a place where we give them the > big "fuck you" and move on with total confidence in our own forms. yes, on > some level the "fuck you" is eventually necessary, even to those who've > nourished and supported you (though there is of course a much nicer way to > say it) it is absolutely necessary to grow to stand on one's own legs > without teacher propping one up. > > but i would thank even those who've stood in opposition or discouraged for > that opposition has shaped me every bit as much... > > a true teacher (read "older poet") is one who has burned everything up in > the fight, and is nothing but joyful to see the student beginning to take > shape in the realm of poetry, so that the arc of the learning can go on... > at least that's how it seems to me. > > when i was at naropa last summer there was a large contingent of very young > students going around muttering about anne waldman (one of them even wrote a > poem that started > > "O anne, anne, anne with an 'e'" !!!!) > > --- bitching that she wasn't doing enough to make herself available to > younger students, that she only stayed for half of the student reading, etc. > not one of them had bothered to try to talk to her, however, they had done > the characteristically youthful, petulant thing of feeling rejected and > snapping back to that "fuck you" without bothering to get the real goods. so > i guess that's the caveat i have with this whole "forgetting yr heroes" > thing, jim... i have this image of you leading us all out of the cellar of > poetry mansion with yr red sox cap on and a baseball bat in yr hand, but i > hope it doesn't dissuade any of the younger folks from stopping to sit at > the feet of their elders for a little while and digging what they have to > tell them... > > best, > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Jim Behrle > Sent: Thursday, February 20, 2003 9:48 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Fwd: my son // for Jim Behrle > > >But for someone who does not want to hear anyone else's suggestions, >you > >have a great many of your own. > > Where did I say I didn't want to hear anyone else's suggestions? Never mind > your own bullocks, man. > > --Jim Behrle > > _________________________________________________________________ > MSN 8 with e-mail virus protection service: 2 months FREE* > http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 20 Feb 2003 12:25:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: rap and the mla PAYCHECK MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Johnny Paycheck died penniless here the other day. Guess he shoved it too hard? tom bell not yet a crazy old man but getting closer. ========================================================================= Date: Thu, 20 Feb 2003 18:23:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Yes, and who says they're all tough and stringy? Some of them are quite tasty! On Thu, 20 Feb 2003, David Hadbawnik wrote: > > i'd like to chime in to testify that i too could never have made it this far > without the ... nourishment of older poets... ========================================================================= Date: Thu, 20 Feb 2003 18:15:24 -0500 Reply-To: list@centomag.org Sender: UB Poetics discussion group From: Cento Magazine Subject: Cento Magazine-call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Cento Magazine is open for business and accepting submissions: Our first postings include new and older work by Czech writers and artists Jiri Weil, Milan Uhde, Martin Zet, and Jan Skacel (forthcoming), plus fiction and poetry by Laird Hunt, Dale Smith, David Hadbawnik, and Michael Stein. ** General Call for Submissions ** We welcome submissions of poetry, fiction, artwork, interviews, reviews, and critical essays. We are also interested in receiving translations of material in the above categories, especially from Central and Eastern Europe. Translators should have permission to publish the translations. ** Call for Submissions for Special Issue on Ed Dorn ** In addition, we are planning an upcoming issue devoted to Ed Dorn. We are accepting submissions of articles, recollections, poems, critical essays and other material about Dorn and his work. For more information or to offer suggestions, please contact us at the email address below. For submissions, inquiries and suggestions, write to: info@centomag.org CENTO MAGAZINE http://www.centomag.org ========================================================================= Date: Fri, 21 Feb 2003 01:05:36 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Lautreamont citation In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hiya, i'm looking for a page citation for the oft-quoted but as far as i have so far found never cited in detail Lautreamont image: 'He is handsome . . . as the fortuitous encounter on a dissecting table of a sewing machine and an umbrella' I've got a 1970 edition of the Alexis Lykiard translation (Alison and Busby) and would at least hope that somebody hereabouts has an idea which of the six 'songs' it comes from if not an actual page number given that editions will differ. I'm wanting to read what leads up to and follows on from this ubiquitous quote. I've scanned through it several times today and still not spotted it. Various book trawls and web searches have thrown up numerous references but no actual reference. any help appreciated. Back channel i guess to save the list. love and love cris ========================================================================= Date: Thu, 20 Feb 2003 17:32:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" It will sound ungrateful to say this but I personally I have not found older poets to be of much use at all, and as far as I can tell the feeling is mutual. I could name exceptions, of course, but none of them are people I think of as "older," in that they haven't lost their appetite for novelty. Or if they have, they're putting on a brave show. --By the same token, I'm not that alarmed to hear that older poets don't "get" younger poets, can't figure out their politics, etc. Nor will I be surprised to find today's young Turks stymied by the following generations. Wasn't Ed Dorn's early work groundbreaking, and didn't he become a complete dick. Who will be the host of Curmudgeon's Corner 2030? Bet it's the last person you'd expect LRSN ========================================================================= Date: Thu, 20 Feb 2003 20:54:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Fwd: my son // for Jim Behrle Comments: To: David Larsen In-Reply-To: <4.1.20030220170505.00c4df00@socrates.berkeley.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Howdy, I'm jumping into this thread quite late, haven't been reading it for lack of time, but I'd say I've had a different experience from David's (or maybe David's just counting the best of the older poets as "younger"?). I've talked before on this list (probably years ago now) about how generous Bob Perelman was to me and Louis Cabri, Kristen Gallagher, Mytili Jagannathan, Matt Hart and many others when I lived in Philadelphia -- and by generous I DO NOT mean he hooked us up with prizes and publishers, there was none of that, but rather he treated us like equals, was enthusiastic as hell, starting reading groups which were VERY anti-hierarchical but nonetheless intense, assertive, informative. Just very encouraging and challenging too. I can think of many others who've been similarly encouraging and open to what I was doing poetically even if it wasn't necessarily their exact thing (Bill Berkson and Susan Howe come immmediately to mind.) I was one of the lil upstarts who criticized Ron's and Lyn's statements in the Forum section of the latest Poetry Project Newsletter (is that how this thread got started?) but that sort of harangue has been the exception in my experience rather than the rule. -m. Quoting David Larsen : > It will sound ungrateful to say this but I personally I have not found > older poets to be of much use at all, and as far as I can tell the feeling > is mutual. I could name exceptions, of course, but none of them are people > I think of as "older," in that they haven't lost their appetite for > novelty. Or if they have, they're putting on a brave show. --By the same > token, I'm not that alarmed to hear that older poets don't "get" younger > poets, can't figure out their politics, etc. Nor will I be surprised to > find today's young Turks stymied by the following generations. Wasn't Ed > Dorn's early work groundbreaking, and didn't he become a complete dick. Who > will be the host of Curmudgeon's Corner 2030? Bet it's the last person > you'd expect LRSN > ========================================================================= Date: Thu, 20 Feb 2003 21:13:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: Lautreamont citation MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit canto six...numbered section one...paragraph beginning "The Rue Vivienne"...about mid-way through... ----- Original Message ----- From: "cris cheek" To: Sent: Thursday, February 20, 2003 8:05 PM Subject: Lautreamont citation > Hiya, > > i'm looking for a page citation for the oft-quoted but as far as i have so > far found never cited in detail Lautreamont image: > > 'He is handsome . . . as the fortuitous encounter on a dissecting table of a > sewing machine and an umbrella' > > I've got a 1970 edition of the Alexis Lykiard translation (Alison and Busby) > and would at least hope that somebody hereabouts has an idea which of the > six 'songs' it comes from if not an actual page number given that editions > will differ. I'm wanting to read what leads up to and follows on from this > ubiquitous quote. > > I've scanned through it several times today and still not spotted it. > Various book trawls and web searches have thrown up numerous references but > no actual reference. > > any help appreciated. Back channel i guess to save the list. > > love and love > cris > > > ========================================================================= Date: Fri, 21 Feb 2003 12:20:35 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: speak to me! In-Reply-To: <001701c2d94e$cefd04c0$492bfea9@vaio> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-79321F77; boundary="=======39167AC8=======" --=======39167AC8======= Content-Type: text/plain; x-avg-checked=avg-ok-79321F77; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit now i know some of you know how to use a microphone, and i know some of you know how to plug it into your computer (although passing it through an enhancer [amplifier]doesn't hurt; a small 4 track mixing desk i use) what i would like is to hear your voices on my audioblog, reading poems, saying hello in the language of your choice, ranting or raving on the topic of your choice, telling jokes if you feel like it. so i have prepared a little tutorial using techsmith's camtasia studio to capture my screen and output it as a flash movie. the tutorial runs you through using audioblog by jeremy allaire and accessible through http://bilbo.macromedia.com/audioblog the tutorial is at http://live-wirez.gu.edu.au/cyber/komninos/testvoice.html what is basically involved is recording your piece, it is stored as a streaming mp3 file on the macromedia server, audioblog gives you the code for accessing it, you send the code to me and i enter it in my blog. unfortunately you can't post code as comment or you could do the whole process your selves. so i expect to be getting your voices as code in emails very soon. love to hear your voices. i'd just love it. wouldn't all of you like to hear what everybody else sounds like? komninos --=======39167AC8======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-79321F77 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 18/02/03 --=======39167AC8=======-- ========================================================================= Date: Thu, 20 Feb 2003 20:28:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristin Dykstra Subject: Hockey Love Letters In-Reply-To: <4.1.20030220170505.00c4df00@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed a brief note to say how much I am enjoying Sawako Nakayasu's _Hockey Love Letters_ (Tinfish 2002). Sawako's attack on something "visually elaborate but always wordless" is great fun-- most especially "Ice Event: For 14 Performers and 1 Audience Member"--but also goes after the oddly mathematical side of the game --that analytically compelling aspect of its physicality & the chapbook as object itself, lovely --Kris ========================================================================= Date: Thu, 20 Feb 2003 21:53:34 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Re: mla newsletter MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit flora fair wrote: I guess I should have qualified my controversial statement to avoid offense. If someone disagrees with you, does it mean you're causing offense? Aren't you just causing a conversation? I'm not offended, Flora, but I do disagree with you. -- Corey Frost * 718-855-8042 * 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Thu, 20 Feb 2003 21:06:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Bookseller purges files to avoid potential 'Patriot Act' searches In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit (Gentle Reader, be aware. Freedom is an ornery pig being slaughtered as we speak. mIEKAL) Bookseller purges files to avoid potential 'Patriot Act' searches Thursday, February 20, 2003 Posted: 7:32 PM EST (0032 GMT) MONTPELIER, Vermont (AP) -- Some booksellers are troubled by a post-September 11 federal law that gives the government broad powers to seize the records of bookstores and libraries to find out what people have been reading. Bear Pond Books in Montpelier will purge purchase records for customers if they ask, and it has already dumped the names of books bought by its readers' club. "When the CIA comes and asks what you've read because they're suspicious of you, we can't tell them because we don't have it," store co-owner Michael Katzenberg said. "That's just a basic right, to be able to read what you want without fear that somebody is looking over your shoulder to see what you're reading." The Patriot Act approved after the 2001 terrorist attacks allows government agents to seek court orders to seize records "for an investigation to protect against international terrorism or clandestine intelligence activities." Such court orders cannot be challenged like a traditional subpoena. In fact, bookstores and libraries are barred from telling anyone if they get one. U.S. Attorney Peter Hall played down concern that government agents might soon be darkening the door at Vermont bookstores and libraries. "Only in very rare and limited and supervised circumstances would anyone be seeking that sort of business information from a bookseller, a library or a business of any sort," Hall said. He also said businesses can do whatever they want with purchase records as long as the material isn't being sought under a court order. Such record requests from bookstores were becoming more frequent even before the attacks. Kramer's Books in Washington won a court order blocking independent counsel Kenneth Starr from getting records of purchases by Monica Lewinsky during his investigation of the sex scandal involving President Clinton. And the Colorado Supreme Court ruled last year for a Denver book store in its fight against a subpoena of purchase records by a defendant in a drug case. The court found that "compelled disclosure of book-buying records threatens to destroy the anonymity upon which many customers depend." Chris Finan, president of the American Booksellers' Foundation for Freedom of Expression, said booksellers until now have frequently kept lists of books their customers read as a matter of marketing. Some offer discounts to frequent customers or send a notice when a favorite author has a new release. Finan said he wasn't aware of any widespread move by booksellers to purge such lists. Peggy Bresee was in Bear Pond Books recently to buy "War is a Force That Gives Us Meaning" and "The Best Democracy Money Can Buy" as birthday gifts for a son who lives in Utah. She had the store purge the purchase records. "It really does make me feel so much better," she said. "They're protecting those of us who are readers. It matters." ========================================================================= Date: Thu, 20 Feb 2003 23:08:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: madness of organs MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII madness of organs the madness of organs. the organist takes care of things. the organist watches the keyboard. she watches her hands on the keyboard. she takes care of higher keys and lower keys. her hands move apart and return in fugue. the organist is in fugue state. he commands the air we breathe. he siphons the air. the air is siphoned by the organist. his passion is controlled by the process of pressing a key. the key is pressed and held. holding the key down, the organist controls a column of air. he commands the reeds of metal and bodies of wood. she is obsessed over a beautiful boy. her hair streams in the wind. she plays the organ naked. her breasts thrust forward with the stroke of keys. the boy is wounded in flanders field. the boy is dying. he is obsessed with her. he thinks he is ugly and disfigured. he plays madly. he is in a state of fugue. i am that organist in a state of fugue. i am surrounded by beautiful girls and boys. i am utterly mad in my columns of air. i command the atmosphere. i command the world of metal and wood. the organ towers above me. the organ is a great loudness in the world. the organ broadcasts my obsession and passion. the organ is a great tower unto mankind. my long hair falls on the keys. my thick blond hair falls on the keys. my thick black hair falls on the keys. the beautiful boy will come and hear my playing and take me in his arms. === ========================================================================= Date: Fri, 21 Feb 2003 00:50:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: jason christie Subject: YARD YARD YARD... um YARD MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ***my apologies if you receive this multiple times*** yes, the time is upon us once again, the time when the sense that the = world is full of people seated atop thirty foot poles with their ears = finely tuned for the sound of one hand as it claps in the wind dusts off = its shoulders and rudely makes its own way in from the cold like some = sort of belligerent person. why be cold? we might want to ask for our = own very special reasons. in the matter of a fight the law will always = seek out the victor as the transgressor. so why not make a night of it? imagine: Nikki Reimer-- air in the matter of a secret, lacunae that frustrate = familial albums, and that not only on full moon nights, Nikki Reimer = should be listed as a powerful natural force of kindness in whatever = almanac you regularly turn to when in need, and she will mesmerize, oh = yes, yes she will. Francais Kruk-- the recipe should include several wolves, a scarf, some = chocolate, an invocation of Edgar Cayce (any will do, though in a pinch = I'd reccommend the one made by our friends at the goodly Nabisco company = for added pluck), something borrowed, and something blue so as to = produce the most excellent conditions for our spirits to be wizened by = Francais Kruk's totalimmersiontheatre. Nicole Markotic-- there are two figures with catapaults way up on Nose = Hill, and somewhere, unbidden, a costume shop opens with a voice that = says quietly behind your left ear: "never mind that, it is damn cold = out here, so go to the hop n brew to hear Nicole Markotic read!" YARD 7:30pm @the hop n brew pub 213 12th Ave SW Hope to see you all there! jason christie ========================================================================= Date: Fri, 21 Feb 2003 04:01:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Play it again, Said.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit our usual reliable sources inform us that the charasmatic owner of the Bo-Ho Po Club our very own Bob Holman has opened a branch in Iraq Cafe Baghadad as its known to the locals features Amiri Baraka (singin' & dancin') such sure fire faves as Big C for Guiliani & Jew Landlord knockin'em dead in the aisles... drn... ========================================================================= Date: Fri, 21 Feb 2003 04:44:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Dunkin' Doughnuts (after Martial) Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit our boy berle is in a twirl he stuck two fingers up his elder's pie me oh me oh my this smells like current jam spread it thin jelly the roll of a reading series a good ol' boy a i..... drn... ========================================================================= Date: Fri, 21 Feb 2003 09:37:23 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: Lautreamont citation In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Many thanks to everyone who sent me the citation ========================================================================= Date: Fri, 21 Feb 2003 09:37:23 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: Lautreamont citation In-Reply-To: <001701c2d94e$cefd04c0$492bfea9@vaio> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > canto six...numbered section one...paragraph beginning "The Rue > Vivienne"...about mid-way through... thanks it helps. I was beginning to think it was the upshot of chinese whispers;) love and love cris ========================================================================= Date: Fri, 21 Feb 2003 03:21:12 -0800 Reply-To: solipsinaut Sender: UB Poetics discussion group From: solipsinaut Subject: BAUMEISTER DER WELT Comments: To: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable BAUMEISTER DER WELT=20 are there any now who still feel a united europa lopes beyond the = majesty of our continental jests and framed in hot liquors an America of single stamen with rivers = studded by dandy beavers tophat spotlights moving the stars for an endless brocade of crisis-free = reordering For all the world is Asia and every human a "GREAT WALL" but this cannot insinuate the yolk of the barrier reef- or the empty place of research as the SPECTACLE of antarctica shall = choose our shorelines NATURE IS AWARE in schools with electric constellations confirm what the Hyde and = hunters have slathered with boredom do you know me? I am Stauroteuthis syrtensis and my family is not = dysfunctional. If chaste ivory would replace your molar song and leafing through the = memories of the modern born 60 million years hence dissolved little portraits of frail anomalies, presidents whose canoes bleed in = reverse when the paper lept to Joseph Swain left devilish grooms to mold the gleaming sap of death's loquacious = trees rook-houses furring the checkered loom-map.. Greedy inertia winks its timeless blossom for abandon flows turbulent = with a flavor of meander each class a merging and a mystery the tresses of trailing hands lay hard to the erasure of what never was think hard to ease the whiskey of your gray and sentient eyeballs = willing iron and glad shake their chin hands across the carnival of holiday = wounding broken dolls chattering like national stripes in the universal wind break red corn bread this heart clock is cake beaks line the tournament and all the world is a symphony of arms reaching to the root which stark raving sad trembles the still silent message all encompassing one liquid drop falling falling falling do you read with virtual skin the unanswered question and say at last, mark the embedded fictions are harder than any stone (more porous than (h)air) yet made precious by the anthropomorphic and ever-eulogized precipice ========================================================================= Date: Fri, 21 Feb 2003 09:09:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: =?Windows-1252?Q?Poems_by_others:_C=E9sar_Vallejo=2C_fr._=22The_Nine_Mo?= =?Windows-1252?Q?nsters=22?= MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit For several days, I've felt an exuberant, political hunger to desire, to kiss tenderness on both cheeks, and from far away I've felt a demonstrative desire, another desire to love, willingly or by force, whoever hates me, the one who tears up his paper, the little boy, the woman who weeps for the man who was weeping, the king of wine, the slave of water, whoever hid in his wrath, whoever sweats, whoever passes, whoever shakes his person in my soul. And I desire therefore to arrange the braid of whoever talks to me; the soldier's hair; the light of the great; the greatness of the kid. I desire to iron directly a handkerchief for whoever is unable to cry and, when I'm dejected or happiness aches me, to mend the child and the geniuses. I desire to help the good person to become a little bad and I have an urge to be seated to the right of the left-handed, and to respond to the mute, trying to be useful to him as I can, and likewise I so much desire to wash the cripple's foot, and to help my one-eyed neighbor to sleep. Ah to desire, this one, my own, this one, the world's, parochial and interhuman, mature! The feeling comes, perfectly timed, from the foundation, from the public groin, and, coming from far away, makes me hunger to kiss the singer's muffler, whoever is suffering, to kiss him on his frying pan, the deafman, fearlessly, on his cranial murmur; whoever gives me what I forgot in my breast, on his Dante, on his Chaplin, on his shoulders. I desire, in order to terminate, when I'm at the celebrated edge of violence or my heart full of chest, I would desire to help whoever smiles laugh, to put a tiny bird right on the evildoer's nape, to take care of the sick annoying them, to buy from the vendor, to help the killer kill--a terrible thing-- and I would desire to be good for myself in all --César Vallejo (6 November 1937) fr. "The Nine Monsters" in Forty-Two Poems from *Sermons on Barbarism* in *Conductors of the Pit: Major Works by Rimbaud, Vallejo, Césaire, Artaud, Holan* trans. Clayton Eshleman [New York: Paragon House, 1988] Hal Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Fri, 21 Feb 2003 08:15:33 CST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: damon001 Subject: Re: Lautreamont citation MIME-Version: 1.0 Content-Type: TEXT/plain; CHARSET=US-ASCII i thot this was jules laforgue...or laforge///??? On 20 Feb 2003, cris cheek wrote: > Hiya, > > i'm looking for a page citation for the oft-quoted but as far as i have so > far found never cited in detail Lautreamont image: > > 'He is handsome . . . as the fortuitous encounter on a dissecting table of a > sewing machine and an umbrella' > > I've got a 1970 edition of the Alexis Lykiard translation (Alison and Busby) > and would at least hope that somebody hereabouts has an idea which of the > six 'songs' it comes from if not an actual page number given that editions > will differ. I'm wanting to read what leads up to and follows on from this > ubiquitous quote. > > I've scanned through it several times today and still not spotted it. > Various book trawls and web searches have thrown up numerous references but > no actual reference. > > any help appreciated. Back channel i guess to save the list. > > love and love > cris > ========================================================================= Date: Fri, 21 Feb 2003 09:48:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: New Yorker/water MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thank you to you and Kasey... that was the piece I thought the allusions were to... Yes, The New Yorker: and perhaps I was wrong-headed -- or at least too hard on the mag: I was quickly reproached by a friend of mine who works at the Conde Naste pub., who informed me that a full spread on Sylvia Plath and Ted Hughes is planned to coincide with the release of the feature film "Sylvia and Ted". She added with enthusiasm that "Sylvia's story combines all the things we love to see spliced together in one big tragedy: a tall, willowy beautiful woman of immense intelligence, fire and sexuality." "And, " she continued,"you capit it off with a broken heart and a quiet, Betty Croker-like suicide, and you've got the makings for a cult heroine who will go on in the century to come to be treated as a patron-saint for soccer-moms and teenage poetesses alike." I asked here if I could quote her and she consented as long as she remains anonymous. This set me to remember Samuel R. Delany's amazing book, "Einstein Intersection", where, in a post-apocalyptic landscape, centuries on, the essences of Jean Harlow, Ringo Starr and Billy the Kid along with Jesus are recast and replayed. The novel could have just as easily been driven by Princess Di, Michael Jackson, Kurt Cobain, etc. Any listers know it? After talking to my friend I now think Sylvia and Ted could as easily be inserted... At The Movies, Gerald Schwartz schwartzgk@msn.com > << In a message dated 2/19/03 4:35:07 PM, schwartzgk@MSN.COM writes: > > << I've > > heard it rumored that if you performed a quantitative > > analysis of its poetry, one out of ten is water-referenced > > or water themed. True? Are there nine other themes > > or references? Air? Fire? Sod? >> > > If memory serves, it was Charles Bernstein whose hilarious essay in Esquire > (many years ago) floated the water issue. Best, Bill > > > WilliamJamesAustin.com > KojaPress.com > Amazon.com > BarnesandNoble.com > ========================================================================= Date: Fri, 21 Feb 2003 06:39:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jenny Boully Subject: Lautreamont citation for Cris C. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii cris, I recall that Bunel might have authored the bit regarding the sewing machine and umbrellas. Jenny Date: Fri, 21 Feb 2003 01:05:36 +0000 From: cris cheek Subject: Lautreamont citation Hiya, i'm looking for a page citation for the oft-quoted but as far as i have so far found never cited in detail Lautreamont image: 'He is handsome . . . as the fortuitous encounter on a dissecting table of a sewing machine and an umbrella' I've got a 1970 edition of the Alexis Lykiard translation (Alison and Busby) and would at least hope that somebody hereabouts has an idea which of the six 'songs' it comes from if not an actual page number given that editions will differ. I'm wanting to read what leads up to and follows on from this ubiquitous quote. I've scanned through it several times today and still not spotted it. Various book trawls and web searches have thrown up numerous references but no actual reference. any help appreciated. Back channel i guess to save the list. love and love cris __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Fri, 21 Feb 2003 10:13:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: New Yorker/water In-Reply-To: <01c101c2d9b8$5bb20b40$c6a8f943@computer> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dear George, When you next talk to your Conde Nast chum, could you ask her what in the hell is meant by a "Betty-Crocker-like suicide"? Is somebody trying to tell me that Betty Crocker is dead, and the era of the layer cake in the US is over? Gwyn McVay --- Our battle with the book is our Buddhist battle. -- Robin Blaser ========================================================================= Date: Fri, 21 Feb 2003 07:28:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Lautreamont citation for Cris C. In-Reply-To: <20030221143952.25053.qmail@web12707.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Painting for a Broken Sewing Machine Place a broken sewing machine in a glass tank ten or twenty times larger than the machine. Once a year on a snowy evening, place the tank in the town square and have everyone throw stones at it. Yoko Ono 1961 winter from "Grapefruit" > 'He is handsome . . . as the fortuitous encounter on > a > dissecting table of a > sewing machine and an umbrella' ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Fri, 21 Feb 2003 11:06:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Fwd: my son // for Jim Behrle MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I wonder if this can't be usefully framed somewhat differently. That is, in terms of poets' relationship to the academy and academic thinking, or poets who consider the academy as the site of contemporary poetic culture and poets who either are not associated with the academy or who view it as a decent employer for who they will labor diligently (after their own manner) but will not have their notions of what poetry can be soiled with the recreative writing culture of prizes, networking, and all the other filthy habits of . . . well. As Williams predicted, little good can come of poetry's association with the universities. The best can be said: it gives us a place to eat, but we get lazy, shit and sleep there as well, and wake up with business cards coming out of our ears. (Best way to deal with it? Wear a mask, keep the motor running.) Case in point. Relations between poets of different generations. When I wrote "From Gloucester Out" by Ed Dorn was a fuck-off poem, I was trying to open the measure to all those ways we relate between generations. And to establish, at least provisionally, a "natural order of things" (please, no post-structural debates), artists to artists, compared to the manner in which artists relate within the academies--and I don't care if it's the New School in San Francisco, SUNY-Buffalo, Naropa, Black Mountain, Florida State, or Iowa. (Perhaps the co-option of poetry by the academy has a pernicious effect in this regard beyond even its borders. Loose among us.) Let me ask two basic questions. 1.) If poetry was not now so bound to the universities, how would poets relate to each other in terms of sheer geography? (I want to focus only on those who are really interested in poetry and not the toadies, taggers-along, whatever it is which wich our age seems so well stocked.) Would they gather in cities, choosing where they went by what kind of city they wanted? Or because it's a haven of East Coast jazz? Who would they find there? Or if they'd read about the Pacific Northwest and decided to try logging and writing. Would they find others of their kind, young _and_ old? That's been my experience. Or perhaps young poets would camp out on the lawns of older poets, "to knock with decency / that a Blunt should open," that is, they might gravitate to certain older poets, introduce themselves (or not, in the case of Berrigan with O'Hara, at least for some time), and then attempt to be in the older poet's presence as much as suits everyone involved. Typically, the younger poet will have read much of the older poet's work before giving the older poet his or her work to read. (Here, can you hear the scream of the point, the difference I am _going_ to make?) Or the relationship can be through the "geography" of the postal service, like Olson and Creeley, who later claimed that distance was one his greatest teacher, since he had to be clear in the mails. He and Olson sometimes wrote each other twice a day. (But then there was no great artistic generational divide between these two. The correspondence is nearly among equals, at Olson's insistence. I sure you can think of your own, better, examples.) How many other ways might such relationships occur and how would these relationships unfold in manners that the academy can barely understand? Or, even, how might a younger poet expresses his or her feelings upon departing from the older, a painful but necessary separation (which Dorn prolongs to the end of the poem, he can't let go, . . . almost). Or maybe that's too idealistic? What the hell do I know? I'm _in_ the academy. (You might want to check out the above through the biographies you know of poets or artists prior to the middle of the twentieth-century.) 2.) Now, how do relationships in the academy occur? Since this is the world I assume (I hope I'm wrong) that most of us know, I'll not belabor it. Just a few observations. I've heard young poets ask older poets to chair their dissertations in creative writing who only know the older poets' work from the few readings they may have attended (when it didn't interfere with some playoff). Another: a young man who is finishing his master's came to me recently to ask me for letters of recommendation to half a dozen schools for a Ph.D. in creative writing (if you can imagine such a beast!). Not thinking, I asked him, "Oh, who's at University X?" Turned out he couldn't tell me the name of even one poet in one program. I suggest this case is not the exception. Perhaps he will like the climate. Another: A young fiction writer of some talent entered our program (Univ. of Louisiana, Lafayette) a dozen years back and told me all he wanted from our university was Ernest Gaines's Rolodex. That's it. A real pragmatist. At least he had read Gaines. Enough. Basically I'm posing the question (and suggesting the answer) of what the academy has done in terms of relationships between poets. (But, please, every age has had its share of sycophants, malingerers, toadies, etc. I do not mean these. I'm thinking of poets like those who went to Pound in the 40s, or of Pound who went to Yeats, or of Dorn who woke to find himself, happily, in the presence of Olson, or did he go there because of him?) I'm more than willing to be persuaded that my view is naive (though I think it damn well holds for most of the poets I've ever cared to care about) or wrongheaded. This list, whatever one calls it, has probably considered such issues from the start, so I'll understand if there's no response. But if you think that there might be some truth to the above observations, then the question is, as always, what now? ========================================================================= Date: Fri, 21 Feb 2003 10:09:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derek beaulieu Subject: Re: YARD YARD YARD... um YARD MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit dude - what date? d derek beaulieu 1339 19th ave nw calgary alberta canada t2m1a5 derek@housepress.ca www.housepress.ca 403-234-0336 (p) 403-282-2229 (f) ----- Original Message ----- From: "jason christie" To: Sent: Friday, February 21, 2003 12:50 AM Subject: [POETICS] YARD YARD YARD... um YARD ***my apologies if you receive this multiple times*** yes, the time is upon us once again, the time when the sense that the world is full of people seated atop thirty foot poles with their ears finely tuned for the sound of one hand as it claps in the wind dusts off its shoulders and rudely makes its own way in from the cold like some sort of belligerent person. why be cold? we might want to ask for our own very special reasons. in the matter of a fight the law will always seek out the victor as the transgressor. so why not make a night of it? imagine: Nikki Reimer-- air in the matter of a secret, lacunae that frustrate familial albums, and that not only on full moon nights, Nikki Reimer should be listed as a powerful natural force of kindness in whatever almanac you regularly turn to when in need, and she will mesmerize, oh yes, yes she will. Francais Kruk-- the recipe should include several wolves, a scarf, some chocolate, an invocation of Edgar Cayce (any will do, though in a pinch I'd reccommend the one made by our friends at the goodly Nabisco company for added pluck), something borrowed, and something blue so as to produce the most excellent conditions for our spirits to be wizened by Francais Kruk's totalimmersiontheatre. Nicole Markotic-- there are two figures with catapaults way up on Nose Hill, and somewhere, unbidden, a costume shop opens with a voice that says quietly behind your left ear: "never mind that, it is damn cold out here, so go to the hop n brew to hear Nicole Markotic read!" YARD 7:30pm @the hop n brew pub 213 12th Ave SW Hope to see you all there! jason christie ========================================================================= Date: Fri, 21 Feb 2003 12:14:55 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Hettie Jones reading, Pratt Institute, Feb 25 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Subj: HETTIE JONES | TUES FEB 25 | PRATT INSTITUTE Hi All, I like to invite you to hear HETTIE JONES read at Pratt Institute, 200 Willoughby Ave, Brooklyn, at 7 p.m. on Tues. Feb 25 in the Alumni Reading Room, 3rd Floor Library for the Spring kickoff of WRITERS LIVE! at Pratt Institute 2003 For more info as well as explicit directions, go to www.pratt.edu/writerslive or call (718) 636-3570 All events are free and open to the public! Bring your friends... All best, Marcella Harb Curator, Writers Live! at Pratt Institute Hettie Jones' newest book of poems, All Told, was just published in January 2003 by Hanging Loose Press. She is presently working with Bob Marley's widow Rita on No Woman, No Cry, a memoir. Her sixteen books include How I Became Hettie Jones; the poetry collection Drive, which won the Poetry Society of America's 1999 Norma Farber Award; and Big Star Fallin' Mama (Five Women In Black Music), a young adult book. Jones's short prose and poetry has been published in newspapers and journals such as The Village Voice, The Washington Post, The Boston Phoenix, and Ploughshares. She is the former chair of the PEN American Center's Prison Writing Committee, which promotes literacy through creative writing in U.S. prisons. SUBWAY DIRECTIONS: Transfer to the G train (runs from Brooklyn to Queens) from almost any train, then take G train to Clinton-Washington station. Use Washington Avenue exit near front of train. Exit station using stairs on right. Walk on Washington one block to DeKalb Avenue. Turn right on DeKalb and proceed 1 block to Hall Street/Saint James Place and the corner gate of the Pratt campus. There is a campus map on the website! ========================================================================= Date: Fri, 21 Feb 2003 12:06:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Shut the hell up, poets MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT JUST SHUT UP Nobody gives a shit what anti-war or pro-war writers think. Really. So shut up. That goes double for poets. Shut the hell up, poets. Everybody just shut up. http://www.thestranger.com/2003-02-20/feature.html ========================================================================= Date: Fri, 21 Feb 2003 13:10:38 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: L-a-n-g-u-a-g-e 25th anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/20/03 5:28:09 PM, bowering@SFU.CA writes: << ><< In a message dated 2/19/03 4:39:00 PM, bowering@SFU.CA writes: > ><< I'm sorry. But if what is meant is the main people involved, the word >is "principals." >> > >Yes, if that is what is meant. I believe I covered this elsewhere. The play >between "principles" and "principals" seemed apropos, particularly since >we're celebrating "language" poets who interrogate, among other things, the >notion of authorship. Sorry if I disturbed the Queen. Best, Bill > >WilliamJamesAustin.com Not a queen. I am a genteel heterosexual. -- George Bowering Middle age looks good Fax 604-266-9000 >> Now this was predictable. Haa!!! Best wishes to you George, always. Best, Bill ========================================================================= Date: Fri, 21 Feb 2003 13:32:03 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Lautreamont citation MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/20/03 9:15:12 PM, jerrold@DURATIONPRESS.COM writes: << canto six...numbered section one...paragraph beginning "The Rue Vivienne"...about mid-way through... >> For anyone owning Paul Knight's Penguin edition, it appears in Book 6, 3rd section, page 217. The section is not paragraphed. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com bn.com ========================================================================= Date: Fri, 21 Feb 2003 14:04:01 -0500 Reply-To: Bowery_Poetry_Club-feedback-25@lb.bcentral.com Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: The Bowery Poetry Club From: Poetics List Administration Subject: Look who's in the HOUSE! MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Dear Friends, =C2=A0 We don't care what kind of history month it is AMIRI BARAKA is making it.= The Word Ship Funk Lore arrives at the Bowery shores for a three-day run= , Friday the 21st through Sunday Feb 23, two sets a night, 8 & 9:30, $20/= $15 students. Amiri, Amina Baraka and crew are at the peak - not to be mi= ssed! =C2=A0 Friday Feb 21 - Amiri's favorite actor, Taylor Mead holds forth at 7 ($5)= , the Barakas at 8, and Antonio Poppe, the Club's resident Portuguese poe= t, will bring Fernando Pessoa and other Portuguese greats to life startin= g at 11($5). This will be a big fado party, with plenty of English, too. =C2=A0 Saturday 2/22 - Mike Topp's book party for the hilarious Happy Endings op= ens the day at 2 (free), which rolls into our weekly Segue series at 4 ($= 4) - Tom Devaney is coming home, a poet to be watched, joined by Sue Land= ers {SP?]. The Barakas take the stage at 8 - this is their late night, so= Come Party with Amiri! Poetry and funk, guaranteed. =C2=A0 Sunday 2/23 - Last chance to catch the extraordinary assemblage of Langst= on Hughes poems as vetted by his muse, Simple. Shakespeare in Harlem? By = Alim Akbar is at 2pm, $15/$12 student/$10 advance. La Poesia de Mexico at= 3:30 - Carolyn Crumpacker's World of Poetry series continues with Monica= de la Torre and Roberto Tejada ($5). It's closing night for the Barakas = - [if show starts at 7, mention that here], and at 10pm the Mahina Moveme= nt moves in with polypoetics of the Pacific female persuasion.=20 =C2=A0 Mon 2/24 - Laura Willey's Poetry Circle will get to the end of Paterson t= onight - next week HD's Helen in Egypt will unreel. We welcome a hero, Is= hmael Reed, to the Club at 8. Ish's new anthology, From Totems to Hiphop,= recanonizes and decanonizes all US poetics. Jessica Hagedorn will be amo= ng the poets joining. And it's free! As is Bob's Free-4-all, w/ Bingo Gaz= ingo, da Bips, and the amazing dawn of a new poetics. =C2=A0 Tues 2/25 - delightful new po-zine, Good Foot, will celebrate Issue #3 to= night 7-9 ($8 gets you in + zine), then makes room for (is there ever eno= ugh room for?) Rick Shapiro, =E2=80=9CLenny Bruce of Poetry.=E2=80=9D Hav= ing heard Rick, you too will become a repeat offender ($12). And then, le= t's all chill with Beau - Mr. Sia of Broadway fame delights with anti-fas= hion statements (we call =E2=80=98em poems), dj's, cool activities till t= he break of dawn of a new poetics ($5). We call the wind Whatever. =C2=A0 Wed 2/26 - Ladies on the Mic always rocks the house - 7-10:30, followed b= y the hardest working band in PoBiz - Mental Notez. =C2=A0 Thur 2/27 - Urbana is the greatest slam on the block - and we're the 5 Po= ints Bouwerie Gang! Alexis O'Hare, the astonishing Canadian polyvocalist = is the feature (she's teaching a Loop Station Tutorial at 6 for those int= erested) - Urbana starts at 7:30 ($5), then our house poetry ensemble, Da= ddy will trade sets with madman Rick Shapiro far, far into the dawn of a = new poetics ($5 for Daddy, $12 Rick). =C2=A0 Now, go write poem. _______________________________________________________________________ Powered by List Builder To unsubscribe follow the link: http://lb.bcentral.com/ex/sp?c=3D18073&s=3D1BBFDC20019219FD&m=3D25 ========================================================================= Date: Fri, 21 Feb 2003 12:13:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: <3E565C92.94D9270A@louisiana.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" skip, that's an interesting prod... i'm an academic too, and a poet, and i rather see the situation in academe as being more fraught (i'd say) than do you... i.e., more in terms of jed rasula's ~american poetry wax museum~... i.e., that poetry has in essence gone underground in academe, even as the new critical techniques implemented by trade poets (qua academics) in the 30s and 40s have become something of s-o-p (at least when we do "close readings" and the like)... rasula detects 4 zones at work in the contemporary us "poetry world": the associated writing programs; the new formalism; language poetry; and "various coalitions of interest-oriented or community-based poets"... more recently, mark wallace has identified 5 "major networks of poetry production," two of which correspond roughly to rasula's "awp" (wallace uses the mfa designation) and "new formalism" zones (for wallace, "traditional form"); his remaining three "networks" comprise identity-based poetries (with a strong mfa component), speech-based poetries, and avant-garde poetries (see wallace's provocative essay in the fine compendium he coedited with steven marks, ~telling it slant~; i trust i'm paraphrasing properly)... this is an oblique way perhaps of extending the discussion you desire, i know... on a somewhat more anecdotal basis: of the 50 tenured and tenure-track faculty here at cu, i would say that perhaps a half-dozen (three scholars, three creative writers) have any real working knowledge of poetry as a contemporary practice... the most one can ask of the faculty in my dept is that they've had some exposure to some modernists, and a few contemporary names... most scholars know more about pop cultural discourse, i'd say, than something as comprehensive as the rothenberg/joris volumes, and what these latter might mean for poetry, past and present... further, attendance at poetry readings and the like is woeful if judged by faculty attendance (albeit this perhaps takes us in another direction, as much the same can be said for poets attending critical theory talks)... anyway, just some thoughts, skip (and others)... thanx for the occasion... best, joe ========================================================================= Date: Fri, 21 Feb 2003 11:29:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: <3E565C92.94D9270A@louisiana.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:06 AM 2/21/03 -0600, you wrote: >I wonder if this can't be usefully framed somewhat differently. Again with the academy. What is this? To read this list you'd think the academy was the source of all that's wrong with poetry. I can't help feeling that some of this must stem from an exaggerated *faith* in the academy's mission -- i.e. an outraged sense that our universities are failing to carry out their ancient noble mission of preserving and promoting the best of culture. How do I break this to the Andrew Rathmanns of the world? The academy was always already behind. Knowing this, the best poets don't give a FUCK. Would a grad student's perspective help here? The people who thrive in university environments are typically the shy and frail. They're the kids that got picked last for kickball, for whom good grades were the only token of the world's approval. Little surprise that they would gravitate to the shelter of the academy, where they can enjoy the company of other misfits and continue to receive good grades into adulthood. These are people who hardly go out! Whose most meaningful relationships are to books and fellow critics of books, not living writers! Why then are we surprised at the tameness of their tastes, and their readiness to follow established trends? What do you even think poetry *is*, if you think it can be co-opted? I'm glad that others of my generation have found support and guidance from older poets. I really am -- I mean that without any irony. I just see no sense in pretending that it's been the case with me, and you're not going to hear any older poets piping up in protest. In fact it's a little point of pride that my every opportunity in Poetry World has come thanks to people my own age (more or less) and younger. And my saying so shouldn't threaten anyone. Unless you think the future belongs to minor poets like myself, in which case you better start kissing my ass. Bob Grenier rocks, Kevin and Dodie rule. And they live closer to the edge than I do. Lyn Hejinian was nice to me once. That's it, my fingers are cold and the clammy tomb awaits LRSN ========================================================================= Date: Fri, 21 Feb 2003 15:04:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: For my hero Harry Mime-Version: 1.0 Content-Type: text/plain; format=flowed Harry, Did you dream of becoming a pathetic, irrelevant loser when you grew up? If so, congrats. --Jim Behrle _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 21 Feb 2003 15:17:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Re: Fwd: my son // for Jim Behrle Mime-Version: 1.0 Content-Type: text/plain; format=flowed David (etc.), >Would a grad student's perspective help here? okay, I'm a grad student... and this is a crock of shit: >The people who thrive in >university environments are typically the shy and frail. They're the >kids >that got picked last for kickball, for whom good grades were the >only >token of the world's approval. Little surprise that they would >gravitate >to the shelter of the academy, where they can enjoy the >company of other >misfits and continue to receive good grades into >adulthood. well, a crock of shit if yr including MFA students in w/"grad" students. I've been in the MFA program at Umass for 3 years now...ours is a 60 credit program where we take lit courses along w/the MA/PHDs. I've been here so long because we've got a great union and I've got a great advising job where I get paid to send emails to the listserve. Why am I in a MFA program?? Well, after having made it up to assistant manager at the dollar type store I was working at in Northampton, and having to work a lot of hours and trying to write at night I figured it would give me time. And it did, but it also gave me community! Yes, it's problamatic that I needed to go to a university to find it, but I do not live in a large city with a multiplicity of differing poetry scenes. Anyway, as far as the mentor issue, there really wasn't anyone here like that. Peter Gizzi came here last year and he's been great, great because of his insistance that everyone create their own community, start journals, do reading etc,--and beacues of his insistance that those communities are VALID, that one doesn't need a prize to be a poet. etc. As far as most of the PHD students here: I can't stand them! There really is a divide between PHD/MFAs...we're looked down on/talked down to and envied at the same time... anyway, I think it's intresting that I've learned the most from my friends, from reading their work, from talking with them etc. The MFA was just an excuse to get us togther... do I want to teach? I'm not sure, I don't want to work a 9-5... anyway, back to work... noah _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 21 Feb 2003 14:16:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: G Gudding to read at Western WA Univ in Bellingham WA Febr 23 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed If anyone's going to be on the west side of Washington state this Sunday, I "will give a performance of [my]poetry at Western Washington University on Sunday, February 23rd, in Miller Hall 163 at 7:30 p.m. Sponsored by the English Department, the reading is free and open to the public." ========================================================================= Date: Fri, 21 Feb 2003 13:09:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Girl in need of a community In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii On the subject of creating poetry communities... Is there anyone on the listserv in or near Jacksonville, Florida that is tapped into a network of writers that meet and discuss poetry, writing, etc? I am feeling isolated from other writers here and hoping there are some nearby. . . Flora __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Fri, 21 Feb 2003 16:33:13 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: CIRCULARS: what's new Comments: To: bstefans@hotmail.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit www.arras.net/circulars CIRCULARS has become a pretty distinctive mixture of writings by poets and artists (including satires, leaflets, and the "Mirakove Relays"), report activities (including news of arrests), links to political humor sites, a repository for articles covering things you won't hear about in the news (including government leaks and floor speeches), and some lively debate pro and con (look at the comments bar). Thanks to all of the editors, writers and hecklers who have contributed so far! We were also recently written about in an article in the Village Voice: http://www.villagevoice.com/issues/0308/clover.php. The article prompted over 5,000 hits over the past 4 days -- 1300 on Thursday alone. One can question what a site like CIRCULARS or any indy media site does to stop the march toward war -- I do myself -- but there is no doubt that a lot of information and opinion has moved through the internet consolidating public anti-war sentiment in a way that is not happening on television, and that the web can spark new ways of imagining and enacting protest -- of creating a culture with its own points of focus, senses of humor, etc. -- that couldn't have happened 20 years ago. As many people are reading indy-media sites online, and what flies into their inboxes, as are reading the New York Times, and they are not necessarily radicals "in the know," with the right subscriptions and contacts. I still hope that something some poet writes for CIRCULARS or any site, like Poets Against The War, becomes as addictive as the Senator Byrd speech has been for those with email trigger fingers -- "forcing the hand of chance," as they used to say. If I can be faulted for thinking of this as a media war leading up to the "real thing," I think it's an ok mistake to make -- I think of the entire Homeland Security Department as a multi-media department, lodging their camouflaged, gun-toting performance artists in the NYC subways at their will, and without petitioning for handouts. This all seems so incredibly shameful and insulting to me; I hope they keep doing it if only to embarrass themselves further. Perhaps we can bring it to a point where we can organize worldwide protests EVERY WEEK -- sounds ridiculous of course, but not impossible. But I, personally, think the protests made a difference, if not in the US then to the people the US will have to talk to for airspace, foot soldiers, or even a sympathetic chat on the phone (or in the headlines). This one feel good moment is not enough, and people seem willing to spend a few hours walking in the same street. Other site news: today I'm installing a search engine! Please pass on word of Circulars to friends of yours who might be interested, and especially to other site and listservs who might include them in a links column, blogroll, etc. Here's a few items that have appeared recently (the first paragraph of each entry is included -- all the stories go on from there): --- Bookseller Purges Files to Avoid Potential "Patriot Act" Searches http://www.arras.net/circulars/archives/000209.html In the interest of avoiding potential searches under the Patriot Act, Bear Pond Books in Montpelier, Vermont has already discarded the names of books bought by its readers' club, and will purge purchase records for customers if they ask. "When the CIA comes and asks what you've read because they're suspicious of you, we can't tell them because we don't have it," store co-owner Michael Katzenberg said. "That's just a basic right, to be able to read what you want without fear that somebody is looking over your shoulder to see what you're reading." --- Nick Lawrence/Jonathan Skinner War On Iraq? (leaflet for Teach-Ins) http://www.arras.net/circulars/archives/000204.html#000204 Over the past year and a half the Bush administration has put forth a variety of arguments for prosecuting a war on Iraq to unseat Saddam Hussein. Keeping up with these arguments can be confusing—partly because they keep changing. At the same time, both here and abroad, challenges to the administration's reasoning continue to mount. What follows is an attempt to break down the major areas of debate. --- Jonathan Skinner Empire At The Brink: A Call To Action http://www.arras.net/circulars/archives/000203.html#000203 We stand truly at an historical juncture, with several directions mapped before us, and several more unknown. Yesterday's protests demonstrated an immense will for peace around the world, a growing sense "the people" have had enough. While immensely inspiring, the moment also calls for a clarity of mind, to assess the powers before and behind us, as well as within, and the road ahead. We must not underestimate the technological and ideological behemoth massed at the borders of Iraq and lodged in the minds of the men who command it. --- Lytle Shaw and Emilie Clark in New York Account of the Clark/Shaw Arrest http://www.arras.net/circulars/archives/000202.html#000202 Many friends have asked for more details about our spending the night in jail for taping up flyers last Thursday, February '3. So we wanted to offer a description of what happened. First of all, the flyers we were putting up were images of daily life in Baghdad taken by Paul Chan. As many of you know, Chan was in Baghdad in December and January as part of the Iraq Peace Team, a project of Voices in the Wilderness. Last Thursday night about fifty people met to pick up 8.5 x ''-inch copies of Chan's photos and begin posting them around Manhattan. The goal, of course, was to particularize and humanize our soon-to-be victims. --- Mirakove Relay#2: On Patriot Act II http://www.arras.net/circulars/archives/000199.html#000199 CENTER FOR PUBLIC INTEGRITY OBTAINS SECRET DRAFT OF PATRIOT ACT II The nonprofit, nonpartisan Center for Public Integrity has obtained a draft of a secret document called the Domestic Security Enhancement Act of 2003. This document is more commonly known as the Patriot Act II, and is designed to "give the government broad, sweeping new powers to increase domestic intelligence-gathering, surveillance and law enforcement prerogatives, and simultaneously decrease judicial review and public access to information." You can download the document here: www.public-i.org/dtaweb/report.asp?ReportID=502&L1=10&L2=10&L3=0&L4=0 &L5=0 --- "These Weapons of Mass Destruction Cannot Be Displayed" http://www.arras.net/circulars/archives/000195.html "The weapons you are looking for are currently unavailable. The country might be experiencing technical difficulties, or you may need to adjust your weapons inspectors mandate." ... so begins this parodic 404/Not Found page (http://www.coxar.pwp.blueyonder.co.uk/) for the UN Weapons Inspectors scouring Iraq. The page also offers a variety of helpful suggestions, including "Some countries require 128 thousand troops to liberate them. Click the Panic menu and then click About US foreign policy to determine what regime they will install." --- Kasey S. Mohammad Acknowledged Legislators: A Rant http://www.arras.net/circulars/archives/000194.html#000194 I sense that the poetry community is in a sensitive transitional period right now. By "the poetry community," I mean all the thousands of people who write poetry and who are increasingly more aware of each other's views and activities than historically ever before thanks largely to electronic technology. And by "sensitive" I mean simultaneously very promising of increased dialogue and cooperation, and very delicately poised on the brink of bitter conflict. It seems trivial to use such a phrase when the world is poised on the brink of a much bitterer conflict, but it is especially that larger conflict, along with poets' responses to it, that has advanced this transitional phase dramatically in the past month or so. --- Guardian Unlimited The human shield has arrived, but what now? Suzanne Goldenberg in Baghdad http://www.arras.net/circulars/archives/000184.html#000184 At times it felt like hell on wheels. But the peace activists who travelled across a continent by London double-decker bus arrived at a Baghdad bomb shelter yesterday with their sense of mission just about intact. Few places in Baghdad convey the horror of war as sharply as the al-Ameriya shelter, where 400 Iraqi civilians were incinerated by US missiles during the last Gulf war. --- Senator Robert Byrd: Senate Floor Speech - Wednesday, February 12, 2003 Reckless Administration May Reap Disastrous Consequences Senate Floor Speech - Wednesday, February 12, 2003 http://www.arras.net/circulars/archives/000165.html#000165 To contemplate war is to think about the most horrible of human experiences. On this February day, as this nation stands at the brink of battle, every American on some level must be contemplating the horrors of war. Yet, this Chamber is, for the most part, silent -- ominously, dreadfully silent. There is no debate, no discussion, no attempt to lay out for the nation the pros and cons of this particular war. There is nothing. --- nationalphilistine.com: Baghdad Snapshot Action goes online and worldwide http://www.arras.net/circulars/archives/000168.html#000168 [New York City]-- On February 13, 2003, teams of artists and activists postered New York City with thousands of copies of snapshots from Baghdad. Quiet and casual, the snapshots show a part of Baghdad we rarely see: the part with people in it. The snapshots were taken by a friend of ours who just got back from Baghdad working with the Iraq Peace Team (link below). Yes, he saw Iraqis suffering and struggling. But he also saw Iraqis dancing and laughing. This moved him because laughing under the weight of the UN sanctions and the threat of an absurd war is no easy task. We were moved because the people in the pictures remind us of our friends & family. http://www.nationalphilistine.com/baghdad/ --- Bob Perelman: Where We Are for Kerry Sherin http://www.arras.net/circulars/archives/000163.html#000163 We may not have chosen to live inside Dick Cheney’s mind, but we do. Wyoming, I read somewhere, is the safest place to live in North America. No tornados, no tsunamis, no earthquakes, no hurricanes, monsoons, cyclones, or floods. No major airport: no big planes crashing in the sleet. Not even much traffic: not too many car crashes. But if living in Wyoming is so safe, living inside Dick Chaney’s mind, though it was formed in Wyoming and stood for Wyoming in the Senate, is not safe at all. How do you get from Wyoming to Shock and Awe? Getting from Love to Hate, that’s easy: Love, Live, Give ____ A R R A S: new media poetry and poetics http://www.arras.net Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie! "Do you think just because I come from Carronshore I cannot fight? I shall hit you over the head with a cold potatoe." ========================================================================= Date: Fri, 21 Feb 2003 16:52:46 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Chris Emery on SADLY MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Chris Emery recently posted (to another list) the following comments on William Fuller's SADLY (Flood Editions, 2003). I am sending them along with his permission: --------------------- I've just finished my fourth or fifth reading of "Sadly" by William Fuller, and I think it marks a further development of this fantastically gifted writer. It's a simply majestic book and you must go and buy it. Surely this marks Fuller out as a -major- writer in English now -- the language is just charging through him, I don't want to suggest that this is a book of chi-chi pyrotechnics, though there's phenomenal skill on show here (for example, in "Down in the Dive" or the verbally perfect "Mobile Steam Plant/Spare Change" ), no, this is a book of tremendous grace -- a set of meditations for our time. Or perhaps its a logbook, for you'll be taken on a journey through this book, not a descent into the filthy circles, but a silver arc up out of the top of your head. All those surprises of diction and narrative are perfectly counterbalanced with lightness of touch and joy. This is clearly a new metaphysical writing -- sensual and transfiguring. The sheer delight of language and playfulness of "Aether" -- a book I couldn't put down for months -- are here in "Sadly", but where one sensed the pleasure of the poet back then was in continuous surprise and accident at finding new forms and new paths and delighting in the strange permission of extension and submission, we can see here a restraint and philosophy and, well, spirituality taking charge of the whole factory of effects. And what a factory. Spirituality -- now there's a word I'd normally run wild from terrified into the warehouses and malls of secular showtime, yet Fuller has created a work of tremendous spiritual poise, nothing lofty you understand, but completely uplifting -- in fact it's his playfulness and artfulness that are here under a new kind of religious control (Atheists do not be scared), not some formal clamping down but a control of intent and trajectory. We're swinging away on the star paths of some new sense of the human, taken up with some dematerialised sense of journeying out. You'll go with this man, you'll be whisked away, and at the end of the book you'll return to a new territory, and glad to see the glassworks of the world shining with fresh pouches of light. Maybe it's the materiality or transubstantiation of the poems, but I'm feeling wholly refreshed by it. In these dark times, and the circuitous paths of poetic ingestion, here is someone to clasp hands with and step back to the wide-eyed miracle of it all. Go read. ------------------------------------- Sadly William Fuller ISBN 0-9710059-7-4 $13 Available from Small Press Distribution or directly from the publisher Flood Editions PO Box 3865 Chicago IL 60654-0865 www.floodeditions.com ========================================================================= Date: Fri, 21 Feb 2003 16:03:16 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Plenty of Soap Mime-Version: 1.0 Content-Type: text/plain; format=flowed different-colored stones full glass emotion, eyes FALLING neanderthal markets bamboo tableau NOW or ... -- ART there's play apart ----------------> what frame here as in "blonde" the barely RED prose so happy... the sea -- Glass Bar With Coat (in the Stinky MacFarland translation) "What's hair, Animal Glasses?" "No I don't, Great Useless." inside _Cardboard Nine_ I'm in all one moment eye about world, in or right. I'm her, an unexpected happening? "Certainly toilets, Greenhouse." "Exactly, Rifles!" "Lowcut, don't! - I've got black tidepools, that's young dead above." "Bad Cuttlefish, waves sack my whole as it topples Yours!" everything's again Must from job glass endlessly... "Further Ostrich, what's Story Hardwoods in Tableaux? And what is it about Hard Feet that she cannot be hypnotized?" "I'm cultural of sentences, Ladder Carpet Now." the Get Wall is uniting endlessly, on changing of repeat sci-fi... TIME, a collecting of dream numbers. "Not Oh, -- as they say in U.S.?" soft, soft the pieplates against a thousand brushes "No, leper, lovely creature. I'd rather have dusk than wind." feet gold-haloed: light-being walks here _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Fri, 21 Feb 2003 16:09:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Cold Earth Mime-Version: 1.0 Content-Type: text/plain; format=flowed bury the opening, Greyhound Ichthyology I get like Brother Eraser on propped days zoomed-in and donkey to fugitive lips dog-stunted -- stunted as tulip stilts? nay, paced Hope! -- unplaced to here? how black as that above, ruinous, and there tragic as any! the weary burn & pity & step with starved steps & foambelts enormous in glamour, their sky-span more a brain than a grave-mound - though babes watched slumbering hands (fingers dolorous) - through Cold Earth's my child, with night forever out of reach _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 21 Feb 2003 16:23:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT noah eli gordon writes: I agree forcefully with this statement. Building a group of friends to share work with, to talk to, etc, is fundamental. The problem is keeping that going once you scatter to the four corners. _JG ========================================================================= Date: Sat, 22 Feb 2003 06:43:52 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ravi Shankar Subject: Vote for Drunken Boat for the SXSW Web Awards Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Drunken Boat is up for an award in the Interactive Category of the annual South by Soutwest Conference (the Content/Ezine category) and as some of the sites we're up against look vaguely commercial, if you're ballot-inclined cast a vote for us at: http://www.sxsw.com/vote/peoples_choice/ Ravi Shankar ed, http://www.drunkenboat.com -- _______________________________________________ Get your free email from http://www.graffiti.net Powered by Outblaze ========================================================================= Date: Fri, 21 Feb 2003 15:51:33 -0700 Reply-To: bradsenning@dissociatedwritersproject.com Sender: UB Poetics discussion group From: brad senning Subject: DWP conference Baltimore Mime-Version: 1.0 Content-Type: text/plain; format=flowed Here's the final conference line-up in Baltimore, Thursday February 27- Saturday March 1: Thursday 2/27 at the 14 Karat Cabaret Lounge @ 8:30 pm town hall discussion on Surrealism reading by "The Dissociated Writer" performance by et at it et at it, formerly Ra Ra Fre + Am is two guitars and a bass. I'd describe it as a strange mixture of process music and Primus-like bass-lines, with vocals that don't refer to anything explicitly, but are more like fricatives and uvular plosives. The bassist was in a band in the nineties called the Metamatics, which set the tone for post-punk. This is their last concert ever. The guitarist is moving to New York. Friday at Paloma's @ 8:30 pm town hall discussion on Is Bad Art Good?/Is Good Art Bad? readings by the DWP contest winners Is Bad Art Good?/Is Good Art Bad? will consist of ten to twenty short lectures on the aesthetics of a variety of usually unrepresented art forms by a tattoo artist, a belly dancer, a plastic surgeon, a mannequin maker, a collegiate football player, a jump-rope specialist, a comic book artist, a talk show host, an etiquette specialist, aerospace engineer, biological and evolutionary scientist, auto-body engineer, etcetera. Saturday at The Sidebar @ 8:30 pm town hall discussion on the End of Literature and Art readings by DWP readers performances by Thee Snuff Project & The Black Eyes Thee Snuff Project is a really awesome sort of nouveau cock-rock band. The lead singer will often bring a butterfly knife on stage and threaten to end it all right there. He's kidding of course. But he sings like he means it. The Black Eyes are perhaps the best, edgiest, DC punk band on the scene. I don't know how to describe their sound except to say, fucking good. They were just signed by Dischord and are notorious for putting on great shows. By going to this conference you will be participating too. The Surrealism discussion will have much in the way of audience involvement, perhaps even writing exercises and men in funny suits. If you come to the Surrealism discussion, you can dress in whatever costume you want and fit right in. The End of Literature and Art discussion will concentrate on aesthetic possibilities given the direction the arts have come from and the direction they seem to be going. We can't divulge the names of the authors and artists who are taking the reins of these discussions, because the focus is on ideas, not reputations or personalities. But we can say that they come from all walks of life. You want to get involved? Display art on the walls, breakdance in one of the five rooms Paloma's has given us? Present your idea to us on our web site: www.dissociatedwritersproject.com. Or give our office phone a call: (202) 253-0464. This is a locally-grown conference, planned by punks with an interest in shaking things up. Any and all ideas are welcome. Brad Senning _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Fri, 21 Feb 2003 10:51:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Vote for Drunken Boat for the SXSW Web Awards MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT almost as much fun as an allstar ballot. but here you can only vote once every 24 hours. What am I going to do with all the other time on my hands? tom bell ----- Original Message ----- From: "Ravi Shankar" To: Sent: Friday, February 21, 2003 4:43 PM Subject: Vote for Drunken Boat for the SXSW Web Awards > Drunken Boat is up for an award in the Interactive Category of the annual South by Soutwest Conference (the Content/Ezine category) and as some of the sites we're up against look vaguely commercial, if you're ballot-inclined cast a vote for us at: > > http://www.sxsw.com/vote/peoples_choice/ > > Ravi Shankar > ed, http://www.drunkenboat.com > > > -- > _______________________________________________ > Get your free email from http://www.graffiti.net > > Powered by Outblaze ========================================================================= Date: Fri, 21 Feb 2003 17:58:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Joseph T. Thomas, Jr." Subject: query re: John Ciardi In-Reply-To: <01df01c2d9c9$80aefa00$f2113444@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I realize that this is probably the wrong list to ask this question of, but, just in case any of you happen to have first editions: does anyone have first editions of John Ciardi's children's books (with dustjackets) from the late fifties (Reason for the Pelican) or later, specifically, those children's books edited by Edward Gorey? If so, let me know off-list. Thanks a bunch, Joseph Thomas ------------------------------------------------------------ Illinois State University Webmail https://webmail2.ilstu.edu ========================================================================= Date: Sat, 22 Feb 2003 10:24:08 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: Cut Ups & Day dreams 363 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAYDREAM [ ] PEACE jfk www.poetinresidence.com ========================================================================= Date: Sat, 22 Feb 2003 10:32:33 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAY DREAMS 362 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DREAMDAY [[ ]] pees In the middle of English JFK www.poetinresidence.com ========================================================================= Date: Fri, 21 Feb 2003 17:32:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: jason christie Subject: my evil YARDbot MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Appologies for the lack of date and many thank yous to those who cared = enough to correct my evil robotic assistant. He'll go to bed tonight = without oil, I promise. What? That's the only way he'll learn. YARD Saturday, March 1st, 2003 @ the hop n brew pub 213 12th Ave SW It is so hard to create good help these days. Jason ========================================================================= Date: Fri, 21 Feb 2003 17:38:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: YARD YARD YARD... um YARD MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit got it covered... thanks! jc ----- Original Message ----- From: "derek beaulieu" To: Sent: Friday, February 21, 2003 10:09 AM Subject: Re: YARD YARD YARD... um YARD > dude - what date? > d > > derek beaulieu > 1339 19th ave nw > calgary alberta > canada t2m1a5 > derek@housepress.ca > www.housepress.ca > 403-234-0336 (p) > 403-282-2229 (f) > > ----- Original Message ----- > From: "jason christie" > To: > Sent: Friday, February 21, 2003 12:50 AM > Subject: [POETICS] YARD YARD YARD... um YARD > > > ***my apologies if you receive this multiple times*** > > yes, the time is upon us once again, the time when the sense that the world > is full of people seated atop thirty foot poles with their ears finely tuned > for the sound of one hand as it claps in the wind dusts off its shoulders > and rudely makes its own way in from the cold like some sort of belligerent > person. why be cold? we might want to ask for our own very special > reasons. in the matter of a fight the law will always seek out the victor > as the transgressor. so why not make a night of it? > > imagine: > > Nikki Reimer-- air in the matter of a secret, lacunae that frustrate > familial albums, and that not only on full moon nights, Nikki Reimer should > be listed as a powerful natural force of kindness in whatever almanac you > regularly turn to when in need, and she will mesmerize, oh yes, yes she > will. > > Francais Kruk-- the recipe should include several wolves, a scarf, some > chocolate, an invocation of Edgar Cayce (any will do, though in a pinch I'd > reccommend the one made by our friends at the goodly Nabisco company for > added pluck), something borrowed, and something blue so as to produce the > most excellent conditions for our spirits to be wizened by Francais Kruk's > totalimmersiontheatre. > > Nicole Markotic-- there are two figures with catapaults way up on Nose > Hill, and somewhere, unbidden, a costume shop opens with a voice that says > quietly behind your left ear: "never mind that, it is damn cold out here, > so go to the hop n brew to hear Nicole Markotic read!" > > YARD > 7:30pm > @the hop n brew pub > 213 12th Ave SW > > Hope to see you all there! > > jason christie ========================================================================= Date: Fri, 21 Feb 2003 16:30:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: <4.1.20030221095758.00c2cac0@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >At 11:06 AM 2/21/03 -0600, you wrote: >>I wonder if this can't be usefully framed somewhat differently. > >Again with the academy. What is this? To read this list you'd think the >academy was the source of all that's wrong with poetry. Nonsense. This is an academic list. -- George Bowering I don't want a ricochet romance Fax 604-266-9000 ========================================================================= Date: Fri, 21 Feb 2003 16:33:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > >>Yes, written language came after oral language > > >That is arguable. Speech was a genetic accident, and got going after >the speech folks had the advantage over the mutes. But before that >there was reading (clouds, earth, animal prints etc) and then a kind >of writing (piles of stones, etc). -- George Bowering I don't want a ricochet romance Fax 604-266-9000 ========================================================================= Date: Fri, 21 Feb 2003 17:16:17 -0800 Reply-To: solipsinaut Sender: UB Poetics discussion group From: solipsinaut Subject: have you ever painted a live armadillo? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Forgive the Faux-determinism and asian evid/dence=absente[rms] but, Actually the evidence shows there was also a very long sequence of "token" use before actual written language developed, these tokens were usually made of clay and had several functions.. the "realationship" to counting has also been studied as an important factor.. Denise Schmandt-Besserat's excellent _Before Writing_ series "from counting to cuneiform" is one source for this thread.. have you ever painted a live armadillo? lq ----- Original Message ----- From: "George Bowering" To: Sent: Friday, February 21, 2003 3:33 PM Subject: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU > > > > > >>Yes, written language came after oral language > > > > > >That is arguable. Speech was a genetic accident, and got going after > >the speech folks had the advantage over the mutes. But before that > >there was reading (clouds, earth, animal prints etc) and then a kind > >of writing (piles of stones, etc). > > -- > George Bowering > I don't want a ricochet romance > Fax 604-266-9000 > ========================================================================= Date: Fri, 21 Feb 2003 20:18:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Evil Journal- Vol. 2 (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Fri, 21 Feb 2003 11:44:21 -0500 (EST) From: S. Ghaly To: Philosophy and Psychology of Cyberspace Subject: Evil Journal- Vol. 2 Finally, our second issue is out and available at: http://www.wickedness.net/ejv1n2.htm A word of thank you to CMers who have contributed to the present issue: Alan, Jon, Skip, and Steven. Feel free to forward to relevant lists, and thanks. Salwa ========================================================================= Date: Fri, 21 Feb 2003 17:54:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii OH God! Let it go! --- George Bowering wrote: > > > > > >>Yes, written language came after oral language > > > > > >That is arguable. Speech was a genetic accident, > and got going after > >the speech folks had the advantage over the mutes. > But before that > >there was reading (clouds, earth, animal prints > etc) and then a kind > >of writing (piles of stones, etc). > > -- > George Bowering > I don't want a ricochet romance > Fax 604-266-9000 __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Fri, 21 Feb 2003 18:03:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU In-Reply-To: <20030222015419.5469.qmail@web10009.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit actually, prior to written or oral language, a secret tribe of annuits in the annuit caves of Osgebornacht communicated solely using a complicated series of farts, blinks, and slaps to the face with wet whale tongues.... it's friday night, baby -- i'm outta here. till next week DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of flora fair Sent: Friday, February 21, 2003 5:54 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU OH God! Let it go! --- George Bowering wrote: > > > > > >>Yes, written language came after oral language > > > > > >That is arguable. Speech was a genetic accident, > and got going after > >the speech folks had the advantage over the mutes. > But before that > >there was reading (clouds, earth, animal prints > etc) and then a kind > >of writing (piles of stones, etc). > > -- > George Bowering > I don't want a ricochet romance > Fax 604-266-9000 __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Sat, 22 Feb 2003 01:55:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: "not a good place for a pregnant woman" Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i was thinking of the account of the Clark/Shaw arrest when my friend G told me he had been arrested last Sun. in Soho, luckily he had been able to stow the glass pins and broaches he makes in Helena Rubinstein. His story was similar to the Clark/Shaw affair, tho w/o the moralizing. The finger print machine was broken; he was moved more than once to one that did work & he spent a total of ten hours in incarceration before he was released. He had been picked up in a sweep right next to a guy selling knock off Gucci bags, a high priority item on the police agenda that week. He sd rather matter of factly that since he had a picture i.d., it was and is police policy to just issue a summons. G. is working class, 50 to 60, his father drove one of those grinding machine trucks of my South Bronx Youth. He used to work in a fancy SOHO gallery before the wive's of rich dentists got tired of decorating their hubby's offices with Erte...whatever... As someone with an extensive crime career from small small town Southern jails to big city lock ups, SOME ADVICE. The beat cop or the arresting sweep officer is yr Best Friend. They have a job to do, they've been told by their command to do it, and they invariably would rather be doing something else. Clark/Shaw would have been better off reading Human Rights Watches' Report on Torture in Iraq than irritating the police. They also would have been better off putting up the pictures of some millions of millions of dead Iraquis than perfectly good live ones...whatever.. My last appearance in Court some two summers ago might be instructive. 100's upon 100's of people, some 5 hours of busy busy paper work. I spent most of the time reading a 19th century edition of Paradise Lost remembering how large Satan was, a league and a league. Finally in Court, my favorite detainee was an old man who had been arrested for public intoxication. He told the judge he lived on the street and was drinking in his own home. DISMISSED...The public defender presented my case "He SAYS he was selling books"....the judge not looking up from his own mound of paperwork...'DISMISSED'... A demonstration IS "not a good place for a pregnant woman" If Clark/Shaw can't figure that out that, they shouldn't be allowed outside by themselves. Better to be at home trans. Iraqui Po...the street for the street wise.. drn... ========================================================================= Date: Sat, 22 Feb 2003 01:20:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: madness MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII madness ing is tuned to your tight flower in your hole - everything tuned to the world - i heard there'd be music here - heard somethin:of your skin - i see the holes in your skin - there are diaphragms - there are sounds coming out - this is your flower - everyth:i'm sorry, i can't remember what this is about - they said to come here - they said they're be music here - i see the movement :g or other - you might know something about it: your wanton g or other - you might know something about it is in my forgiving g or other - you might know something about it - === ========================================================================= Date: Fri, 21 Feb 2003 23:16:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristin Palm Subject: Re: Fwd: my son // for Jim Behrle Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit So, what does it mean if you're in an MFA program, studying with Bob Grenier and you truly were always the last one picked for kickball? I guess time will tell . . . kp Date: Fri, 21 Feb 2003 11:29:52 -0800 From: David Larsen Subject: Re: Fwd: my son // for Jim Behrle At 11:06 AM 2/21/03 -0600, you wrote: >I wonder if this can't be usefully framed somewhat differently. Again with the academy. What is this? To read this list you'd think the academy was the source of all that's wrong with poetry. I can't help feeling that some of this must stem from an exaggerated *faith* in the academy's mission -- i.e. an outraged sense that our universities are failing to carry out their ancient noble mission of preserving and promoting the best of culture. How do I break this to the Andrew Rathmanns of the world? The academy was always already behind. Knowing this, the best poets don't give a FUCK. Would a grad student's perspective help here? The people who thrive in university environments are typically the shy and frail. They're the kids that got picked last for kickball, for whom good grades were the only token of the world's approval. Little surprise that they would gravitate to the shelter of the academy, where they can enjoy the company of other misfits and continue to receive good grades into adulthood. These are people who hardly go out! Whose most meaningful relationships are to books and fellow critics of books, not living writers! Why then are we surprised at the tameness of their tastes, and their readiness to follow established trends? What do you even think poetry *is*, if you think it can be co-opted? I'm glad that others of my generation have found support and guidance from older poets. I really am -- I mean that without any irony. I just see no sense in pretending that it's been the case with me, and you're not going to hear any older poets piping up in protest. In fact it's a little point of pride that my every opportunity in Poetry World has come thanks to people my own age (more or less) and younger. And my saying so shouldn't threaten anyone. Unless you think the future belongs to minor poets like myself, in which case you better start kissing my ass. Bob Grenier rocks, Kevin and Dodie rule. And they live closer to the edge than I do. Lyn Hejinian was nice to me once. That's it, my fingers are cold and the clammy tomb awaits LRSN ========================================================================= Date: Sat, 22 Feb 2003 00:28:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: four poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit poem one Egbert? see say see all Egbert? see say considerably all Egbert? hath justly remarked myself considerably all splendidly Chicago hath justly remarked myself considerably all splendidly Chicago hath justly remarked myself considerably mused splendidly all Chicago hath justly remarked myself mused splendidly joined all Chicago mused fell joined all bonds favoured mused fell joined all such long beards? bonds favoured deftly fell joined tortures such long beards? bonds favoured deftly fell tortures such long beards? bonds favoured occupied deftly tortures such long beards? occupied deftly tortures occupied long pertained occupied long pertained ain't all Francie opined long pertained subsidise struggler ain't all Francie opined long pertained subsidise struggler ain't all Francie opined see subsidise struggler ain't all Francie opined strongly going see subsidise struggler strongly going see fashionable strongly going see distributing cakes fashionable strongly going distributing cakes fashionable distributing cakes fashionable windows all fell waked distributing cakes Hadley highly-decorated lamps burned windows all Probert fell waked Hadley highly-decorated lamps burned windows all delights Probert fell waked determined Hadley highly-decorated lamps burned windows all delights Probert fell waked priming determined Hadley highly-decorated lamps burned delights Probert priming determined holydays Paas delights priming determined holydays Paas priming gaining holydays Paas gaining holydays Paas see gaining losel see gaining losel see talked eloquently losel see talked eloquently little made childrens losel formed talked eloquently starve little made childrens Montreal formed talked eloquently starve little made childrens instead hung Montreal formed shouted projected starve little made childrens instead hung Montreal formed Delia shouted projected starve instead hung Montreal blushes Delia shouted projected multi instead hung blushes Delia shouted projected multi blushes Delia multi gloom blushes little duyvel multi TRANSLATED gloom safest little duyvel TRANSLATED gloom safest little duyvel TRANSLATED gloom Lillebullero safest little duyvel wicked TRANSLATED reported invented Lillebullero safest Dominie Laidlie wicked reported invented Lillebullero Dominie Laidlie wicked Tom reported invented Lillebullero integrity benevolence Dominie Laidlie wicked Tom reported invented integrity benevolence Dominie Laidlie Tom integrity benevolence doubtless Tom carts say integrity benevolence doubtless snapped carts say doubtless snapped carts say doubtless snapped carts say snapped Waterlow made Waterlow made exclusive Waterlow made blooming hath justly remarked exclusive Waterlow made shalt come blooming hath justly remarked exclusive Schlepevalker aforesaid shalt come blooming little streams hath justly remarked exclusive Schlepevalker aforesaid shalt come blooming ask little streams hath justly remarked Schlepevalker aforesaid shalt come shared ask little streams Schlepevalker aforesaid shared ask little streams posted shared ask all posted shared all all posted such all all posted determined saints such all all determined saints Cheltenham Francie intended such all determined saints Cheltenham Francie intended such determined saints broke Cheltenham Francie intended undertakings broke Cheltenham Francie intended milliners undertakings broke milliners consulted undertakings broke milliners consulted undertakings Roeloffsen say bestirred milliners Simplicity given consulted Roeloffsen say bestirred butterflies Simplicity given consulted Roeloffsen say bestirred little broke butterflies Simplicity --------------------- poem two looping going Tom looping going Tom looping going Tom looping going Tom brutes brutes likewise brutes likewise brutes see likewise see likewise see see windows Vance arrived windows Vance arrived windows Vance arrived windows Vance arrived expected see Vance expected see Vance expected see Vance expected see Vance snub wringing weeping snub wringing weeping snub breaking wringing weeping snub breaking wringing weeping breaking confidentially breaking confidentially confidentially wreckers remarkable confidentially wreckers remarkable wreckers remarkable detectives wreckers remarkable detectives detectives detectives Lance Lance Lance Lance enough heights marked birthdays enough heights marked birthdays enough heights marked birthdays enough heights marked birthdays Grinstead Grinstead Grinstead Grinstead lest Ariel lest Ariel prepared Mona lest Ariel prepared Mona lest Ariel prepared Mona prepared Mona Gillian ones youngest Gillian Clement thoughtful ones youngest Gillian Clement thoughtful ones youngest Gillian Clement thoughtful ones youngest Clement thoughtful Tom Pearce Tom Pearce Tom Pearce Tom Pearce all all lending all lending all lending detectives backed scenes lending detectives backed scenes detectives going all backed scenes detectives going all backed scenes Merrifield going all Fulbert talks Merrifield going all frocks pinafores Fulbert talks Merrifield Horner mid frocks pinafores Fulbert talks Merrifield Horner mid frocks pinafores Fulbert talks Horner mid frocks pinafores Horner mid strain exertion stated met froze samplers strain exertion stated met froze samplers strain exertion stated met froze samplers strain exertion Travis stated met froze ecclesiastical samplers Travis bushes shrubs ecclesiastical Travis see bushes shrubs ecclesiastical Mohun Jasper Merrifield Travis Jasper Merrifield see bushes shrubs ecclesiastical Mohun Jasper Merrifield Jasper Merrifield see bushes shrubs entered Mohun Jasper Merrifield Jasper Merrifield see Holloa entered Mohun Jasper Merrifield Jasper Merrifield Holloa entered dogs stiles Holloa entered ----------------------- poem three consequent overdoing consequent overdoing organized consequent overdoing organized consequent overdoing organized making organized greater levity making involves greater levity making inherent largely matters involves greater levity making rehabilitated inherent largely matters involves greater levity relations rehabilitated inherent largely matters purposeful activities involves instead relations rehabilitated inherent largely matters purposeful activities instead relations rehabilitated activities purposeful activities alleged instead relations activities purposeful activities survival alleged instead activities replying survival alleged activities diversity replying survival alleged results diversity replying survival Agassiz given results diversity replying Agassiz given results diversity Agassiz given results Agassiz parent given dominion parent simply dominion Oakland Glen parent simply dominion Oakland Glen parent simply dominion Oakland Glen simply Oakland Glen occupies points endeavor occupies planet points endeavor occupies Sounds planet points endeavor occupies discriminated Sounds imagination spontaneously planet points endeavor ideals discriminated Sounds Kipling sung sung imagination spontaneously planet ideals discriminated Sounds Kipling sung sung imagination spontaneously wrapping trying ideals discriminated generalization taking Kipling sung sung imagination spontaneously prepared wrapping trying ideals generalization taking Kipling sung sung prepared wrapping trying generalization taking philosophers prepared wrapping trying whatever generalization taking philosophers prepared whatever philosophers whatever philosophers whatever restraint incalculable owing restraint principles irregularity incalculable owing phases restraint creator principles irregularity incalculable owing fraternal phases restraint presentations creator principles irregularity incalculable owing fraternal phases aims stated come presentations creator principles irregularity fraternal phases ruling aims stated come presentations creator Burroughs fraternal ruling aims stated come presentations antagonistic pulls Burroughs specifies ruling aims stated come antagonistic pulls Burroughs specifies ruling get antagonistic pulls Burroughs presented specifies dollars cents robbery get antagonistic pulls presented specifies authoritative textbook dollars cents robbery get highly individualistic presented authoritative textbook dollars cents robbery get provides highly individualistic presented sounds authoritative textbook dollars cents robbery provides highly individualistic channels sounds authoritative textbook provides highly individualistic ----------------------------- poem four pounds depleted Hippy Wingate touched Hippy Wingate little touched Hippy Wingate Lang little come touched Hippy Wingate Germans built macadam Lang little perturbed come touched going Germans built macadam Lang little perturbed come farmers going Germans built macadam Lang weakened steady perturbed come farmers going Germans built macadam weakened steady perturbed Dilgin Dried farmers going weakened steady jet Dilgin Dried farmers winding Pei ho weakened steady expected jet Dilgin Dried cooking winding Pei ho get Lang expected jet Dilgin Dried cooking winding Pei ho get Lang expected jet perfecto nonchalant ease cooking winding Pei ho get Lang expected such fellows Frankly perfecto nonchalant ease cooking get Lang Cardona filled such fellows Frankly perfecto nonchalant ease strolled Cardona filled such fellows Frankly perfecto nonchalant ease entered Elfreda strolled Cardona filled such fellows Frankly actions final entered Elfreda strolled Cardona filled hurdy-gurdy actions final entered Elfreda strolled hurdy-gurdy actions final entered Elfreda charcoal made tilted hurdy- gurdy actions final Wildly Hurnor charcoal made tilted hurdy-gurdy Markin Burbank Wildly Hurnor charcoal made tilted Markin Burbank Wildly Hurnor charcoal made tilted Commissioner Ralph Weston Acting Markin Burbank Wildly Hurnor stepped hated Commissioner Ralph Weston Acting Markin Burbank stepped hated propelled Commissioner Ralph Weston Acting exclaimed fits stepped hated bundles long propelled Commissioner Ralph Weston Acting exclaimed fits stepped hated dining bundles long propelled exclaimed fits transom dining bundles long propelled tighter exclaimed fits transom dining bundles long tighter transom dining keenly tighter transom bronco keenly tighter bronco keenly going spoke bronco keenly Weston lawyer going spoke bronco Weston lawyer going spoke Weston lawyer going spoke Weston lawyer viewing viewing get Cardona? questioned Weston Dilgin unwittingly viewing get Cardona? questioned Weston Dilgin unwittingly viewing get Cardona? questioned Weston Dilgin unwittingly produced get Cardona? questioned Weston Dorrington Dilgin unwittingly rectangular hedgerow produced Dorrington doorway rectangular hedgerow produced Dorrington interjected Briggs doorway rectangular hedgerow produced clicked Dorrington interjected Briggs doorway rectangular hedgerow clicked pressed interjected Briggs doorway clicked ourselves pressed interjected Briggs passed armed clicked ourselves pressed hedges passed armed ourselves pressed hedges passed armed ourselves --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.455 / Virus Database: 255 - Release Date: 2/13/2003 ========================================================================= Date: Sat, 22 Feb 2003 00:46:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: four more poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit poem one fuck roles marched fuck roles marched fuck roles fuck roles dick going workout? dick going workout? grassy bungalow palms dick going workout? grassy bungalow palms dick going workout? grassy bungalow palms grassy bungalow palms cursing folly bringing doors thrown cursing folly bringing doors thrown cursing folly bringing doors thrown inflammation cursing folly bringing doors thrown inflammation surprising inflammation surprising inflammation surprising surprising laughing laughing laughing laughing dragoons vindicated consistent laws nations appears dragoons vindicated consistent laws nations appears dragoons vindicated consistent laws nations appears dragoons cannot particularized vindicated consistent laws nations appears cannot particularized cannot particularized hills eyes doth cannot particularized heels iniquity er pitch hills eyes doth sang unto heels iniquity er pitch hills eyes doth sang unto heels iniquity er pitch hills eyes doth sang unto heels iniquity er pitch sang unto papahs papahs papahs papahs creatures made arrived creatures made arrived creatures made arrived creatures made arrived dismayed? sprouts scriptural reminder yards dismayed? sprouts scriptural reminder yards ceremonies dismayed? sprouts scriptural reminder yards ceremonies dismayed? sprouts kept scriptural reminder yards ceremonies kept ceremonies kept kept adviser promising drew adviser promising drew adviser promising drew adviser promising drew x overdrawn reports surgeons overdrawn reports surgeons populous hast overdrawn reports surgeons populous hast overdrawn reports surgeons colza pasture populous hast colza pasture populous hast colza pasture drops colza pasture drops drops drops creek banks staring eyes creek banks dah staring eyes creek banks lived dah staring eyes merciful creek banks defeated hereafter narrated lived dah staring eyes merciful defeated hereafter narrated lived dah merciful defeated hereafter narrated lived dost merciful defeated hereafter narrated dost dost dost creek astonishment inability creek riff-raff astonishment inability creek riff-raff cups lids getting astonishment inability creek loving unsophisticated beings? riff-raff cups lids getting astonishment inability loving unsophisticated beings? riff-raff cups lids getting loving unsophisticated beings? cups lids getting smiled troubled loving unsophisticated beings? smiled troubled doth smiled troubled wicked doth doth smiled troubled wicked doth doth fell wicked doth doth fell wicked doth fell fell thine name sake subtlety ---------------- poem two appearing tops surges mountainous appearing tops surges mountainous appearing tops surges mountainous appearing tops surges mountainous painted signifying painted signifying dishes plates rudely log huts built painted signifying replies inquiries gunshot hill dishes plates rudely log huts built received protestant refugees encouraged effects painted signifying replies inquiries gunshot hill dishes plates rudely log huts built received protestant refugees encouraged effects human stuffed replies inquiries gunshot hill dishes plates rudely log huts built received protestant refugees encouraged effects human stuffed replies inquiries gunshot hill received protestant refugees encouraged effects human stuffed oracles modes human stuffed oracles modes brings sarongs oracles modes brings sarongs oracles modes brings sarongs brings sarongs slimy stagnant waters wandered lindens gazed slimy stagnant waters wandered lindens gazed slimy stagnant waters wandered lindens gazed slimy stagnant waters wandered lindens gazed ordered ordered miles ordered represented wearing miles ordered aix chapelle represented wearing miles aix chapelle represented wearing miles scurvy manifesting gums aix chapelle represented wearing scurvy manifesting gums aix chapelle women apartments scurvy manifesting gums women apartments scurvy manifesting gums women apartments continued women apartments continued rallying ordered cast upholds continued rallying ordered discomfiture fell reached cast upholds continued rallying ordered discomfiture fell reached cast upholds hive rallying ordered discomfiture fell reached cast upholds wicked covering hive discomfiture fell reached wicked covering hive wicked covering hive wicked covering indications Lévi indications Lévi indications Lévi indications Lévi informed overpassed informed overpassed informed overpassed informed overpassed collecting bras collecting bras collecting bras horde scored collecting bras tabernacles tents horde scored tabernacles tents horde scored tabernacles tents horde scored tabernacles tents warriors serving- warriors serving- picked boys warriors serving- picked boys warriors serving- picked boys necessities picked boys struggled necessities struggled necessities struggled necessities struggled speculated snatched biting speculated snatched biting paths divisions obliterated speculated snatched biting paths divisions obliterated speculated snatched biting glare flop smiling evilly paths divisions obliterated glare flop smiling evilly paths divisions obliterated squar sneaked glare flop smiling evilly formed marched squar sneaked glare flop smiling evilly formed marched squar sneaked followed formed marched squar sneaked followed formed marched densely wooded mountains followed isolated imagined pathetic visions mere densely wooded mountains followed percha making isolated imagined pathetic visions mere densely wooded mountains percha making isolated imagined pathetic visions mere densely wooded mountains percha making isolated imagined pathetic visions mere percha making getting getting getting imaginary vexations caused satiety getting ran examined decided lived imaginary vexations caused satiety peasants formed recalled ran examined decided lived imaginary vexations caused satiety peasants formed recalled bungalows fabulous riches diamonds ran examined decided lived imaginary vexations caused satiety peasants formed recalled bungalows fabulous riches diamonds ran examined decided lived peasants formed recalled bungalows fabulous riches diamonds bungalows fabulous riches diamonds ------- poem three sizes transition domains flames extinguished surf riding going flashed rosy belle sizes transition domains flames extinguished flashed rosy belle harder ones leaving sizes transition domains flames extinguished flashed rosy belle harder ones leaving sizes transition domains flashed rosy belle harder ones leaving harder ones leaving pains exploring crushed pains exploring crushed pains exploring crushed going pains exploring crushed going going going unquestionably respects tis wearing ye unquestionably respects tis wearing ye unquestionably respects tis wearing ye unquestionably respects tis wearing ye cob cob prohibitive rating knocked cob prohibitive rating knocked cob petticoats breeches prohibitive rating knocked petticoats breeches woes prohibitive rating knocked confusion diffractometer cannot reduced mechanically tens petticoats breeches clerical shook woes confusion diffractometer cannot reduced mechanically tens petticoats breeches human remarkable ensemble clerical shook woes confusion diffractometer cannot reduced mechanically tens human remarkable ensemble clerical shook woes dollars ll confusion diffractometer cannot reduced mechanically tens human remarkable ensemble clerical shook dollars ll human remarkable ensemble dollars ll breaker dollars ll breaker drew suppressed breaker drew suppressed breaker afflicting threw flung myself violent drew suppressed afflicting threw flung myself violent drew suppressed palette composer disconnected islands afflicting threw flung myself violent palette composer disconnected islands afflicting threw flung myself violent palette composer disconnected islands professed ins outs palette composer disconnected islands professed ins outs professed ins outs professed ins outs woman squeezing woman squeezing woman squeezing woman squeezing cyberspace bushel cyberspace bushel cyberspace bushel endured pains cyberspace bushel endured pains endured pains --------------------- poem four idols ideals shattered idols ideals shattered idols ideals shattered idols ideals shattered machines manuscripts efficiently manual pool machines manuscripts efficiently manual pool machines manuscripts efficiently manual condemnation recompense pool machines manuscripts efficiently manual condemnation recompense pool recovered occurred condemnation recompense recovered occurred condemnation recompense recovered occurred recovered occurred antitank antitank antitank served listening antitank served listening served listening served listening improbable improbable presence zealotry improbable presence zealotry appreciated psychological imperative improbable presence zealotry appreciated psychological imperative stroked presence zealotry appreciated psychological imperative stroked appreciated psychological imperative stroked stroked apostles areas apostles families areas apostles families areas apostles families areas emergence families controls storage dismantled nuclear warhead emergence controls storage dismantled nuclear warhead emergence controls storage dismantled nuclear warhead emergence controls storage dismantled nuclear warhead considered unservicable doom slaying considered unservicable doom slaying considered unservicable doom slaying considered unservicable --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.455 / Virus Database: 255 - Release Date: 2/13/2003 ========================================================================= Date: Sat, 22 Feb 2003 06:00:00 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: my evil YARDbot In-Reply-To: <002901c2da0a$3b1a4260$acffba89@ab.hsia.telus.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Appologies for the lack of date and many thank yous to those who >cared enough to correct my evil robotic assistant. He'll go to bed >tonight without oil, I promise. What? That's the only way he'll >learn. > >YARD >Saturday, March 1st, 2003 >@ the hop n brew pub >213 12th Ave SW > >It is so hard to create good help these days. > >Jason Now that you have the date set for this event, I guess it's only a matter of time before you get around to letting us know what continent it's taking place on, right? Good thing we still have a week or so to make travel plans (if it's not happening down the street from here). Bests, Herb ========================================================================= Date: Sat, 22 Feb 2003 06:25:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a groundbreaking decision In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable the war is not just overseas.. http://www.fbi.gov/ucr/ucr.htm http://www.berkeley.edu/news/media/releases/2002/12/18_crimes.html http://www.blacklightonline.com/trans.html its always the same struggle... to say who we are and what our bodies=20 are...and sometimes we get those rights. kari edwards GENDER RIGHTS ARE HUMAN RIGHTS please forward to many: National Center for Lesbian Rights NCLR and Equality Florida Press Release FOR IMMEDIATE RELEASE February 21, 2003 Tampa, FL =A0 =A0CONTACT: =A0Karen Doering, NCLR Staff Attorney and Consultant to=20= Equality Florida, =A0=A0727/642-6580 =A0 =A0 =A0 =A0 =A0 =A0 =A0 Shannon Minter, NCLR Legal Director, = 415/794-6694 =A0Collin=20 Vause, Esq., 727/799-7529 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 = =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0=20 Nadine Smith, Equality Florida 813/781-6093 Florida Court Issues Historic Marriage and Custody Decision for=20 Transgender Dad The National Center for Lesbian Rights and local attorney Collin Vause=20= represented Michael Kantaras in a divorce and custody case in which=20 Michael's wife asked the court to declare him a legal stranger to the=20 couples two children. TAMPA, FL -- =A0In a groundbreaking decision, Florida Circuit Court=20= Judge Gerard O'Brien ruled today that Michael Kantaras, a transgender=20 man, is legally male and was legally married to his former wife Linda=20 Kantaras, stating that "the Court has carefully reviewed all the=20 pleadings, record evidence, expert medical testimony, lay witness=20 testimony and the appropriate statutory authority for marriage in=20 Florida and concludes the overwhelming weight of evidence favors=20 declaring the marriage valid." Final Judgment at pp. 806-07. The court=20= also awarded Michael primary custody of the two children he and Linda=20 raised together during their marriage. Judge O'Brien's opinion is one of a handful of decisions addressing=20= marriages involving transsexual spouses, and one of the first in the=20 United States to hold that such marriages are valid. =A0The only states=20= with similarly favorable decisions are New Jersey and California; in=20 contrast, Texas and Kansas courts have held that marriages involving=20 transsexual individuals are void. =A0 Internationally, courts in a = number=20 of countries have affirmed the validity of such marriages, including a=20= very recent decision by the Family Court of Australia upholding a=20 marriage between Kevin J., a female-to-male transsexual, and Jennifer,=20= his wife. After completing sex-reassignment, Michael Kantaras met and married=20= his wife, Linda in 1989. =A0 Linda was fully aware of Michael's=20 transgender status prior to the marriage and permitted Michael to adopt=20= her then three month old son. =A0The couple later had a daughter through=20= alternative insemination. =A0 The Kantaras children are now ages 14 and=20= 11. When the couple divorced in 1999, the focus soon shifted away from the=20= best interests of the children and onto Michael's transgender status.=20 =A0Linda argued that Michael should be considered legally female, their=20= marriage deemed void, and his parental rights stripped away. =A0 The=20 three week hearing, which included extensive testimony from medical=20 experts, was covered live by Court TV last January and February. "I'm so relieved," said an exhausted Michael Kantaras. =A0"Now my = kids=20 and I can get on with our lives in peace." "The court recognized that the two children in this case have a=20 devoted, loving father and need to maintain a relationship with both=20 their parents," said NCLR Staff Attorney Karen Doering, co-counsel in=20 the case. =A0"This court recognized that Michael's transgender status = has=20 nothing to do with his ability to be a good parent. Michael is a=20 loving, responsible father who also happens to be transgender." According to NCLR Legal Director Shannon Minter, "To our knowledge,=20= this is the first transgender marriage case in the U.S. in which=20 extensive medical evidence was presented, including testimony from=20 three of the foremost experts on transsexualism in the country. =A0 As=20= the Court has recognized, the medical evidence overwhelmingly favors=20 recognizing that the law should accommodate transgender people so they=20= can be productive, functioning members of society. =A0This includes=20 permitting transgender people to marry and raise children." "This is not only a victory for the transgender community, it's a=20 victory for the Kantaras children who deserve to have their loving=20 father remain a part of their life," said Equality Florida Executive=20 Director Nadine Smith. "We all benefit when gender stereotypes and=20 bigotry are defeated." The National Center for Lesbian Rights (NCLR) is a national law firm=20= dedicated to advocating for lesbian, gay, bisexual and transgender=20 individuals and their families. =A0NCLR is working in partnership with=20= Equality Florida's Legal Advocacy Project to protect the rights of=20 Florida's LGBT community by seeking fairness and equal justice under=20 the law. ========================================================================= Date: Sat, 22 Feb 2003 09:36:10 CST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: damon001 Subject: Re: Shut the hell up, poets MIME-Version: 1.0 Content-Type: TEXT/plain; CHARSET=US-ASCII wow, this is dumb, aaron. not like you. i assume you're feeling frustrated? On 21 Feb 2003, Aaron Belz wrote: > JUST SHUT UP > > Nobody gives a shit what anti-war or pro-war writers think. Really. So shut > up. > That goes double for poets. Shut the hell up, poets. Everybody just shut up. > > > > http://www.thestranger.com/2003-02-20/feature.html > ========================================================================= Date: Sat, 22 Feb 2003 09:52:48 CST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: damon001 Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU MIME-Version: 1.0 Content-Type: TEXT/plain; CHARSET=US-ASCII hey that's no fun. welcome to the list, where a thread gets played out till it has no relationship to its originary point. On 21 Feb 2003, flora fair wrote: > OH God! Let it go! > > --- George Bowering wrote: > > > > > > > > >>Yes, written language came after oral language > > > > > > > > >That is arguable. Speech was a genetic accident, > > and got going after > > >the speech folks had the advantage over the mutes. > > But before that > > >there was reading (clouds, earth, animal prints > > etc) and then a kind > > >of writing (piles of stones, etc). > > > > -- > > George Bowering > > I don't want a ricochet romance > > Fax 604-266-9000 > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Tax Center - forms, calculators, tips, more > http://taxes.yahoo.com/ > ========================================================================= Date: Sat, 22 Feb 2003 07:56:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU In-Reply-To: <200302221552.h1MFqmp31045@dingo.software.umn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii This thread is officially played out. --- damon001 wrote: > hey that's no fun. welcome to the list, where a > thread gets played out till > it has no relationship to its originary point. > > On 21 Feb 2003, flora fair wrote: > > OH God! Let it go! > > > > --- George Bowering wrote: > > > > > > > > > > > >>Yes, written language came after oral language > > > > > > > > > > > >That is arguable. Speech was a genetic > accident, > > > and got going after > > > >the speech folks had the advantage over the > mutes. > > > But before that > > > >there was reading (clouds, earth, animal prints > > > etc) and then a kind > > > >of writing (piles of stones, etc). > > > > > > -- > > > George Bowering > > > I don't want a ricochet romance > > > Fax 604-266-9000 > > > > > > __________________________________________________ > > Do you Yahoo!? > > Yahoo! Tax Center - forms, calculators, tips, more > > http://taxes.yahoo.com/ > > __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Sat, 22 Feb 2003 11:51:08 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Ron Silliman reading at Temple Gallery, Feb 27 Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ***************************************** I will be reading in the Temple Writers Series, Temple Gallery, 45 North 2nd Street, Philadelphia, Thursday, February 27th. The reading is at 8:00 PM and is free to the public. ***************************************** ========================================================================= Date: Sat, 22 Feb 2003 10:49:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: Shut the hell up, poets MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Maria, These aren't my dumb/frustrated words. Maybe you missed the link-- http://www.thestranger.com/2003-02-20/feature.html I am probably dumber and more frustrated than you know, though, Is it snowing there as it is here? Blizzardly, -Aaron >wow, this is dumb, aaron. not like you. i assume you're feeling >frustrated? > On 21 Feb 2003, Aaron Belz wrote: > JUST SHUT UP > > Nobody gives a shit what anti-war or pro-war writers think. Really. So > shut up. That goes double for poets. Shut the hell up, poets. > Everybody just shut up. > > > > http://www.thestranger.com/2003-02-20/feature.html > ========================================================================= Date: Sat, 22 Feb 2003 10:23:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: contact info request... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" apologies for the interrupt: does anyone have contact info (email esp. would be helpful, but snmail if not) for historian howard zinn?... this is a research-related request... backchan please... best, joe ========================================================================= Date: Sat, 22 Feb 2003 12:54:30 -0500 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: greetings + announcement Poetics.ca now on-line As an attempt to discuss the range of contemporary practice in modern poetry, we are pleased to announce the first issue of Poetics.ca (www.poetics.ca). Based in Ottawa, but wide-ranging in scope (and completely on-line), Poetics.ca will work to explore the astonishing diversity of approaches to poetic text, with a focus on writing by Canadian authors. The site is designed to evolve with each new issue, with the help of its contributors and audience. The first issue, now on-line, includes ideas about poetry from David McGimpsey and nathalie stephens (statements on poetics), Colin Morton (on American poets Rachel Loden and Wendy Battin) and Andy Weaver ("That Bastard Ghazal"), and a conversation/interview between Stephanie Bolster and rob mclennan. The site is not intended to express a single poetic, but to provide a forum for energetic dialogue between diverse poetics. It will regularly feature essays, manifestos, reviews of recent work, letters from our readers, and extended essays. Please visit Poetics.ca and send us your thoughts. Stephen Brockwell and rob mclennan, editors -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Sat, 22 Feb 2003 13:27:02 -0500 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: STANZAS #33 - Lisa Samuels new from above/ground press - celebrating 10 years in 2003 - STANZAS #33 The Museum of Perception, by Lisa Samuels Lisa Samuels is Assistant Professor of English and Creative Writing at the University of Wisconsin-Milwaukee. Her chapbook "LETTERS" was published by Meow Press and her first full-length book of poems, "The Seven Voices" by O Books. She has also published an annotated critical reprint of Laura Riding's "Anarchism Is Not Enough" (University of California Press) and has recent poems and essays in Denver Quarterly, Delmar, Traverse, New Literary History and elsewhere. Her clever website can be found at http://epc.buffalo.edu/authors/samuels/ free if you find it, $4 sample (add $2 international) & $20 for 5 issues (outside canada, $20 US)(payable to rob mclennan) STANZAS magazine, for long poems/sequences, published at random in Ottawa, Ontario, Canada. previous issues include work by Gil McElroy, Gary Barwin, carla milo, Gerry Gilbert, George Bowering, Sheila E. Murphy & Douglas Barbour, Judith Fitzgerald, Ian Whistle, Gerry Gilbert, nathalie stephens, etc. 750 copies distributed free around various places. exchanges welcome. submissions encouraged, with s.a.s.e. & good patience (i take forever) of up to 28 pages. c/o above/ground press, rr#1 maxville ontario canada k0c 1t0 complete bibliography & backlist availability now on-line at www.track0.com/rob_mclennan ======= starting January 1st, 2003 - above/ground press - $30 (Canadian) per calendar year for chapbooks, asides + broadsheets (non-Canadian, $30 US). current & forthcoming publications by shannon bramer, Andy Weaver, Artie Gold, rob mclennan, Nelson Ball, Julia Williams, Gil McElroy, Stephen Cain & Jay MillAr, Barry McKinnon & others. payable to rob mclennan. ======= also, check out the catalog page for GROUNDSWELL: the best of above/ground press, 1993-2003, edited by rob mclennan with an introduction by Stephen Cain, published by Broken Jaw Press as cauldron books #4. includes a complete bibliography of the press from the beginning to 2002, & reprints work by Stephanie Bolster, jwcurry, John Newlove, Michelle Desberets, Dennis Cooley, meghan jackson, carla milo, rob mclennan, George Bowering, etc. http://www.brokenjaw.com/catalog/pg82.htm ======= -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Sat, 22 Feb 2003 13:40:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: another that they would call a dog by the word 'dog,' yet at the beginningtheir necessary appropriateness, one to the other, and could no longer beother the others) of power (the power of mother the brother older father'sbrother younger father's other each of brother elder brother younger - wepromise everything to each other - we give everything to each other -coming - our final vows - without language, in silence - there are noothers another another anything bothering it, i bend my head and feet intoit when it is very younger brother elder brother of each other father'syounger brother father's older brother the mother of power (the power ofothers) the other silent on the other side - use the royal 'we' - theyinclude us - we're madmen - another futile protest here -:they're gettingstronger by the minute - i see the movement :g or other - you might knowsomething about it: your wanton g or other - you might know somethingabout it is in my forgiving g or other - you might know something about it MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII happened to the other who is the other the other in anthropology the other in philosophy another that they would call a dog by the word 'dog,' yet at the beginning their necessary appropriateness, one to the other, and could no longer be other the others) of power (the power of mother the brother older father's brother younger father's other each of brother elder brother younger - we promise everything to each other - we give everything to each other - coming - our final vows - without language, in silence - there are no others another another anything bothering it, i bend my head and feet into it when it is very younger brother elder brother of each other father's younger brother father's older brother the mother of power (the power of others) the other silent on the other side - use the royal 'we' - they include us - we're madmen - another futile protest here -:they're getting stronger by the minute - i see the movement :g or other - you might know something about it: your wanton g or other - you might know something about it is in my forgiving g or other - you might know something about it === ========================================================================= Date: Sat, 22 Feb 2003 18:53:13 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: Re: my evil YARDbot Mime-Version: 1.0 Content-Type: text/plain; format=flowed you know, the hop-in-brew, down by the memorial park library? oh, continent. north america for sure. i can even narrow it down to canada. i'm also pretty sure the reading is in calgary, but it could be in toronto as jason spends a lot of time there. you'd have to ask him for sure. cheers ryan >From: Herb Levy >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: my evil YARDbot >Date: Sat, 22 Feb 2003 06:00:00 -0600 > >>Appologies for the lack of date and many thank yous to those who >>cared enough to correct my evil robotic assistant. He'll go to bed >>tonight without oil, I promise. What? That's the only way he'll >>learn. >> >>YARD >>Saturday, March 1st, 2003 >>@ the hop n brew pub >>213 12th Ave SW >> >>It is so hard to create good help these days. >> >>Jason > >Now that you have the date set for this event, I guess it's only a >matter of time before you get around to letting us know what >continent it's taking place on, right? > >Good thing we still have a week or so to make travel plans (if it's >not happening down the street from here). > >Bests, > >Herb _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Sat, 22 Feb 2003 13:05:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Fwd: my son // for Jim Behrle: And a Measure MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A young poet friend of mine, Micah Ballard, wrote me after he first moved to San Francisco, that he occasionally saw Coolidge around town, coffee shops or whatever, and asked me if I thought it would be appropriate if he introduced himself. I told him he should feel comfortable to introduce himself to anyone he cared about. So confident was I in Micah's ability to read, I was sure he would rarely be rebuffed. How could you read Coolidge and _not_ know he would be receptive? Or Mayer? Or Clark? Or Hejinian? (And I don't care who I'm putting side by side.) And who would _ever_ be interested in meeting Angelou? After 6 months in the city, Micah would never think of asking me such a question, so obvious are such answers. ========================================================================= Date: Sat, 22 Feb 2003 15:40:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: further Fuck yr heros Mime-Version: 1.0 Content-Type: text/plain; format=flowed Is there any other art-form or part of American society where youth is as large a liability than in poetry? I'd say nowhere. Imagine novelists or filmmakers dissing the youngsters in their biz. They'd be burned at the stake. Pass the marshmallows. We're supposed to sit back and wait until we're 80 for what? Publication, Bollingen, affirmation? So we can oppress those younger than us? Ha. And this stems out of nothing if not envy. Envy of youth, envy of vigor and envy of time. And it's not just L. Fagin, and if you don't get that you're deluded. It's you, grandpa and grandma. Poet meet mirror. If you aren't actively involved with inspiring and supporting the great poems being written by younger generations, you are the problem. I think younger poets should stop buying the books and magazines of established generations, for, say, five years. Buy a friend's book. Buy a first book, instead. Buy a new magazine. Show publishers that we're economically viable. Put that W.S. Merwin down. Put down that APR. There's been a lot of static on the weblogs about that one line I put in that speech. Whatever, it's a challenge. You are the future. What we say could be valuable or it could be worthless. This List is often one of the most worthless and depressing places in all of poetry. Maybe these discussions can rise up, over the jackal static, but that's a real rarity. Can you imagine a publisher publishing what's been happening on this list for the past 2 1/2 years? Ha ha ha. No, never. Younger generations will be making decisions, in anthologies, in what's in-print and what's out-of-print, in what gets taught and what fades away. It's not up to you, it's up to us. Enjoy some sun, it will set. Peace Out. Jim Behrle _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 22 Feb 2003 15:20:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: further Fuck yr heros In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The horse you're flogging looks dead to me, Jim. Yale doesn't offer an Older Poet Prize, and publication of and prizes for first books by younger poets seem to outnumber those of last books by older poets by about a zillion to two. Hal "The thing to remember is that each time of life has its appropriate rewards, whereas when you're dead it's hard to find the light switch." --Woody Allen Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard { Is there any other art-form or part of American society where youth is as { large a liability than in poetry? I'd say nowhere. Imagine novelists or { filmmakers dissing the youngsters in their biz. They'd be burned at the { stake. Pass the marshmallows. { { We're supposed to sit back and wait until we're 80 for what? Publication, { Bollingen, affirmation? So we can oppress those younger than us? Ha. { { And this stems out of nothing if not envy. Envy of youth, envy of vigor and { envy of time. And it's not just L. Fagin, and if you don't get that you're { deluded. It's you, grandpa and grandma. Poet meet mirror. If you aren't { actively involved with inspiring and supporting the great poems being { written by younger generations, you are the problem. { { I think younger poets should stop buying the books and magazines of { established generations, for, say, five years. Buy a friend's book. Buy a { first book, instead. Buy a new magazine. Show publishers that we're { economically viable. Put that W.S. Merwin down. Put down that APR. { { There's been a lot of static on the weblogs about that one line I put in { that speech. Whatever, it's a challenge. You are the future. What we say { could be valuable or it could be worthless. { { This List is often one of the most worthless and depressing places in all of { poetry. Maybe these discussions can rise up, over the jackal static, but { that's a real rarity. Can you imagine a publisher publishing what's been { happening on this list for the past 2 1/2 years? Ha ha ha. No, never. { { Younger generations will be making decisions, in anthologies, in what's { in-print and what's out-of-print, in what gets taught and what fades away. { It's not up to you, it's up to us. Enjoy some sun, it will set. { { Peace Out. { Jim Behrle { { _________________________________________________________________ { The new MSN 8: advanced junk mail protection and 2 months FREE* { http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 22 Feb 2003 16:08:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Re: further Fuck yr heros Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Bollingen Prize in Poetry is administered by the Yale University Library. 1949 Ezra Pound 1950 Wallace Stevens 1951 John Crowe Ransom 1952 Marianne Moore 1953 Archibald MacLeish and William Carlos Williams 1954 W. H. Auden 1955 Léonie Adams and Louise Bogan 1956 Conrad Aiken 1957 Allen Tate 1958 e. e. cummings 1959 Theodore Roethke 1960 Delmore Schwartz 1961 Yvor Winters 1962 John Hall Wheelock and Richard Eberhart 1963 Robert Frost 1965 Horace Gregory 1967 Robert Penn Warren 1969 John Berryman and Karl Shapiro 1971 Richard Wilbur and Mona Van Duyn 1973 James Merrill 1975 Archie Randolph Ammons 1977 David Ignatow 1979 W. S. Merwin 1981 Howard Nemerov and May Swenson 1983 Anthony Hecht and John Hollander 1985 John Ashbery and Fred Chappell 1987 Stanley Kunitz 1989 Edgar Bowers 1991 Laura Riding Jackson and Donald Justice 1993 Mark Strand 1995 Kenneth Koch 1997 Gary Snyder 1999 Robert Creeley 2001 Louise Glück _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 22 Feb 2003 16:09:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: further Fuck yr heros YES YES YES YES YES! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit This is a really GREAT e-mail Jim! and of course it's true! although i do want to say that there are some older poets who are NOT part of that competitive-needs-therapy-REAL-BAD set. Alice Notley for one. i didn't doubt her sincerity for ONE SECOND after hearing her give a lecture at Temple about a year ago where she said IT'S THE YOUNGER POETS she pays attention to. she followed it up by saying the dogma of her generation is boring. HER approach to the idea of us younger poets not having "a focal point" or whatever the fuck it is we're supposed to have, is that it's GREAT, it's LIBERATING, it's BEYOND THE BULLSHIT! i'll ALWAYS remember her saying those things, some poets of her generation sitting RIGHT THERE while she said it. That woman has REAL courage! And she's a GREAT writer on top of the courage! she's not the only one of course. there's plenty of others, Eileen Myles for instance, who just read in Philadelphia the other night, BLOWING our hair back with her VOLCANIC ERUPTIONS! she's NOTHING but interested in supporting younger writers. i remember hearing her read in New York a couple of years ago where someone moaned about the ENORMOUS number of poets writing these days, "SO MUCH competition, wah wah wah" Eileen sort of snorted and laughed and said, "THERE'S PLENTY OF ROOM!" but to be honest with you, the older poets (and yes, we know who they are, FOR SURE!) who treat younger poets like shit, man, just IGNORE THEM! there's NOTHING they hate more than being ignored! if they ever get their shit together they'll remember that we'll still be here after they're finally dead, removing their sorry asses from the bookshelves of the world. sort of like the bumper sticker, "BE NICE TO YOUR KIDS, THEY'LL CHOOSE YOUR NURSING HOME ONE DAY!" but i like ignoring assholes more than playing the old Golden Bough game. who is really THAT interested in climbing the hill to kill the king? fuck the king, he's already dead. that's a Death Wail you hear, all that bitching and whining they make. thanks for your perfectly splendid outrage Jim Behrle! CAConrad In a message dated 2/22/2003 3:40:31 PM Eastern Standard Time, tinaiskingofmonsterisland@HOTMAIL.COM writes: > > Is there any other art-form or part of American society where youth is as > large a liability than in poetry? I'd say nowhere. Imagine novelists or > filmmakers dissing the youngsters in their biz. They'd be burned at the > stake. Pass the marshmallows. > > We're supposed to sit back and wait until we're 80 for what? Publication, > Bollingen, affirmation? So we can oppress those younger than us? Ha. > > And this stems out of nothing if not envy. Envy of youth, envy of vigor and > envy of time. And it's not just L. Fagin, and if you don't get that you're > deluded. It's you, grandpa and grandma. Poet meet mirror. If you aren't > actively involved with inspiring and supporting the great poems being > written by younger generations, you are the problem. > > I think younger poets should stop buying the books and magazines of > established generations, for, say, five years. Buy a friend's book. Buy a > first book, instead. Buy a new magazine. Show publishers that we're > economically viable. Put that W.S. Merwin down. Put down that APR. > > There's been a lot of static on the weblogs about that one line I put in > that speech. Whatever, it's a challenge. You are the future. What we say > could be valuable or it could be worthless. > > This List is often one of the most worthless and depressing places in all of > poetry. Maybe these discussions can rise up, over the jackal static, but > that's a real rarity. Can you imagine a publisher publishing what's been > happening on this list for the past 2 1/2 years? Ha ha ha. No, never. > > Younger generations will be making decisions, in anthologies, in what's > in-print and what's out-of-print, in what gets taught and what fades away. > It's not up to you, it's up to us. Enjoy some sun, it will set. > > Peace Out. > Jim Behrle > > _________________________________________________________________ > The new MSN 8: advanced junk mail protection and 2 months > FREE* > http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 22 Feb 2003 13:43:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: Fwd: my son // for Jim Behrle In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:16 PM 2/21/03 -0500, you wrote: >So, what does it mean if you're in an MFA program, studying with Bob Grenier >and you truly were always the last one picked for kickball? It means you're lucky! I've heard he's a great teacher. And you probably have a much more developed inner life than the kickball stars. My congratulations LRSN ========================================================================= Date: Sat, 22 Feb 2003 15:29:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: further Fuck yr heros MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Funny, I didn't start getting the publishing and reading opportunities many younger poets get till after I was 55. I had to make a living outside of literature at a job I hated and write at night till my mind and body gave out, then keep doing it. About 12 years ago a young poet seemed to cop an attitude when I was doing a poetry-music duo with the legendary saxophonist Thomas Chaplin at the Middle East in Cambridge. I was put off by the younger poet's attitude because he apparently fancied himself the "Young Turk" and resented what he perceived as my "position." Funny thing was, my "position" had been acquired at the expense of a total physical and mental collapse at age 45 that I never fully recovered from and I lost money doing the gig on top of everything. Because of the lack of recognition given me, I had to remain a "young Turk" well past the age when I should have ahem gone to pasture. In performance, I've blown away at least two "famous poets," but they continue to get work in career-enhancing venues while I continue to get overlooked---often by younger poets, curiously enough. I have no beef with younger poets. I want to read anybody who's writing fresh exciting stuff that keeps my mind alive and challenges me to do better, to go a step further. At 57, complacency is my enemy, as it is with younger writers. I haven't "made it" so I have to keep my edge. I admit that I have received some very nice opportunities with more to come, but I don't have a nest of laurels I can rest on yet. I would certainly take offense at an older poet who presumes that because one is a certain age one hasn't paid their dues without reading one's work. (Wasn't Rimbaud writing his best stuff at 19?) It sucks. But it's also the typical career path in many fields. You work your way up in your 20's and 30's. In your 40's you start getting the cushy gigs that let your ever-fattening jowls droop till they overhang your ever-fattening butt. From 50 on, you ride out the string. That's how the game is played. I don't control it. Being a young poet is difficult-being a young ANYTHING is difficult--- but in most cases being an old poet isn't any easier. Since I spent much of my life working as a musician as well as a writer and having a day job, let me say that there are some benefits to being a writer as you age. Through experience, you gain insights that are very different from your 20's, 30's or 40's. After a few decades, your craft develops so that you can execute phrases almost instantly. You can continue to be creative without your body paying the price for playing till 3:00 A.M. and having to go to work the next day. When your reflexes finally go, your mind still stays sharp for a few decades. Shut up and write. That's what I've done. And do. Vernon Frazer www.vernonfrazer.com ========================================================================= Date: Sat, 22 Feb 2003 16:52:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: further Fuck yr heros MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Who was it that said "It's easy to be a poet before you're 40"? Vernon Frazer wrote: > > Funny, I didn't start getting the publishing and reading opportunities many > younger poets get till after I was 55. I had to make a living outside of > literature at a job I hated and write at night till my mind and body gave > out, then keep doing it. > > About 12 years ago a young poet seemed to cop an attitude when I was doing a > poetry-music duo with the legendary saxophonist Thomas Chaplin at the Middle > East in Cambridge. I was put off by the younger poet's attitude because he > apparently fancied himself the "Young Turk" and resented what he perceived > as my "position." Funny thing was, my "position" had been acquired at the > expense of a total physical and mental collapse at age 45 that I never fully > recovered from and I lost money doing the gig on top of everything. Because > of the lack of recognition given me, I had to remain a "young Turk" well > past the age when I should have ahem gone to pasture. In performance, I've > blown away at least two "famous poets," but they continue to get work in > career-enhancing venues while I continue to get overlooked---often by > younger poets, curiously enough. > > I have no beef with younger poets. I want to read anybody who's writing > fresh exciting stuff that keeps my mind alive and challenges me to do > better, to go a step further. At 57, complacency is my enemy, as it is with > younger writers. I haven't "made it" so I have to keep my edge. I admit that > I have received some very nice opportunities with more to come, but I don't > have a nest of laurels I can rest on yet. > > I would certainly take offense at an older poet who presumes that because > one is a certain age one hasn't paid their dues without reading one's work. > (Wasn't Rimbaud writing his best stuff at 19?) It sucks. But it's also the > typical career path in many fields. You work your way up in your 20's and > 30's. In your 40's you start getting the cushy gigs that let your > ever-fattening jowls droop till they overhang your ever-fattening butt. From > 50 on, you ride out the string. > > That's how the game is played. I don't control it. > > Being a young poet is difficult-being a young ANYTHING is difficult--- but > in most cases being an old poet isn't any easier. Since I spent much of my > life working as a musician as well as a writer and having a day job, let me > say that there are some benefits to being a writer as you age. Through > experience, you gain insights that are very different from your 20's, 30's > or 40's. After a few decades, your craft develops so that you can execute > phrases almost instantly. You can continue to be creative without your body > paying the price for playing till 3:00 A.M. and having to go to work the > next day. When your reflexes finally go, your mind still stays sharp for a > few decades. > > Shut up and write. That's what I've done. And do. > > Vernon Frazer > www.vernonfrazer.com ========================================================================= Date: Sat, 22 Feb 2003 18:35:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Re: further Fuck yr heros Mime-Version: 1.0 Content-Type: text/plain; format=flowed Vernon Frazer wrote: "After a few decades, your craft develops so that you can execute phrases almost instantly." Umm, what does that mean?? that when one's older one writes faster? Maybe that's how it worked for you, but I can execute phrases pretty quick--you should see how many poems I killed today! ps: there's this great passage in Waldrop's book about Jabes where she mention a tango contest (i think it was tango??) the Jabes' won. Everyone else there was about half their age... ________________________________________________ "I like Man Ray. But do I enjoy it?" --Nick Moudry _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Sat, 22 Feb 2003 17:18:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU In-Reply-To: <20030222155624.84296.qmail@web10003.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >This thread is officially played out. Well, that, too is arguable . . . . >--- damon001 wrote: >> hey that's no fun. welcome to the list, where a >> thread gets played out till >> it has no relationship to its originary point. >> >> On 21 Feb 2003, flora fair wrote: >> > OH God! Let it go! >> > >> > --- George Bowering wrote: >> > > > >> > > > >> > > >>Yes, written language came after oral language >> > > > >> > > > >> > > >That is arguable. Speech was a genetic >> accident, >> > > and got going after >> > > >the speech folks had the advantage over the >> mutes. >> > > But before that >> > > >there was reading (clouds, earth, animal prints >> > > etc) and then a kind >> > > >of writing (piles of stones, etc). >> > > >> > > -- >> > > George Bowering >> > > I don't want a ricochet romance >> > > Fax 604-266-9000 >> > >> > >> > __________________________________________________ >> > Do you Yahoo!? >> > Yahoo! Tax Center - forms, calculators, tips, more >> > http://taxes.yahoo.com/ >> > > > >__________________________________________________ >Do you Yahoo!? >Yahoo! Tax Center - forms, calculators, tips, more >http://taxes.yahoo.com/ -- George Bowering Is shopping for a mask Fax 604-266-9000 ========================================================================= Date: Sat, 22 Feb 2003 17:24:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Don't. --- George Bowering wrote: > >This thread is officially played out. > > Well, that, too is arguable . . . . > > >--- damon001 wrote: > >> hey that's no fun. welcome to the list, where a > >> thread gets played out till > >> it has no relationship to its originary point. > >> > >> On 21 Feb 2003, flora fair wrote: > >> > OH God! Let it go! > >> > > >> > --- George Bowering wrote: > >> > > > > >> > > > > >> > > >>Yes, written language came after oral > language > >> > > > > >> > > > > >> > > >That is arguable. Speech was a genetic > >> accident, > >> > > and got going after > >> > > >the speech folks had the advantage over the > >> mutes. > >> > > But before that > >> > > >there was reading (clouds, earth, animal > prints > >> > > etc) and then a kind > >> > > >of writing (piles of stones, etc). > >> > > > >> > > -- > >> > > George Bowering > >> > > I don't want a ricochet romance > >> > > Fax 604-266-9000 > >> > > >> > > >> > > __________________________________________________ > >> > Do you Yahoo!? > >> > Yahoo! Tax Center - forms, calculators, tips, > more > >> > http://taxes.yahoo.com/ > >> > > > > > > >__________________________________________________ > >Do you Yahoo!? > >Yahoo! Tax Center - forms, calculators, tips, more > >http://taxes.yahoo.com/ > > > -- > George Bowering > Is shopping for a mask > Fax 604-266-9000 __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Sat, 22 Feb 2003 20:43:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alex Young Subject: *Stefans, Jamail, and Kelly at the BPC Sun March 2nd* MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable hey y'all, Sunday March 2nd, 1-3 PM (the crack of dawn, i know) The = Bowery Poetry Club is hosting a new reading series--check out our SILLY PRESS RELEASE Bowery Poetry Club's new monthly Under The Influence reading series = gives New York's younger poets an opportunity to read their own work and = present an informal talk on/reading of the work of a poet who's = influenced them. This series puts together two up and coming poets with = one of the New York area's most successful young poets-it's a showcase = of exciting new poetry, and an attempt to bring a little diversity to = the old poetic gene pool. Check out this month's line up:=20 Tom Kelly is a Columbia Senior from Iowa (the state). His poetry rocks = harder than ocelot on speed. Chance operations, found poems, or just = the old-fashioned 'fuck you' genre, Tom's got it all. =20 Tom is going to talk about Jackson Mac Low's The Pronouns. Justin Jamail was born and grew up in Houston, Texas. He has been in = NYC for five years and now lives in Brooklyn. Reading one of Justin's = poems leaves you thinking that it makes perfect sense. Then you look at = it again, and realize that there's absolutely no identifiable reason why = it should. This is a good thing. Justin is going to talk about the role of taste in the poems of Paul = Violi Brian Kim Stefans graduated from Bard College and now lives in Brooklyn. = He's probably best known for his web poetry, much of which you can find = on his awesome website, www.arras.net. He also has three books out, = Gulf, Free Space Comix and Angry Penguins. Brian received a cease and = desist order from the New York Times for some of his recent online = work-and who said poetry makes nothing happen? =20 Funny that you should ask-Brian is going to give a talk about W.H. Auden = that will apparently incorporate John Ashbery and Icelandic sagas-we're = looking forward to it. It's gonna be lots of fun, and it's only 5 bucks at the door--bring all = your friends etc etc alex ========================================================================= Date: Sat, 22 Feb 2003 22:01:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: baring witness MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii more naked bodies for peace! http://www.baringwitness.org/photos.htm camille ========================================================================= Date: Sat, 22 Feb 2003 23:59:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: BOASTS AND SHAMES MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII BOASTS AND SHAMES i am one of the best writers in the world. i am working on an entirely new mode of writing. my writing is the most intense in the world. it is a com- pletely new direction for political discourse. it will be years before i am recognized. long after i am dead my writing will be read. new audien- ces will discover new ways of reading my work. my work is not recognized as poetry, fiction, non-fiction, net-art, non-fiction, or codework. i am not recognized as the last romantic or the first harbinger of the future of all culture. i will be recognized as all of these. scholars will search through net archives, print sources, remnants of film, video, recordings, for the slightest trace of my work. my work will be attributed to others. there will be academic journals devoted to my work, and reputations will rise and fall based on competing hypotheses. my works will be searched for clues of identity, madness, influence, primogeniture. and i am ashamed of this. i am ashamed for my contemporaries who find me arrogant, crazy, dismissive, depressive, hysteric, obscene, furious, a nuisance, a pest, useless, demanding, hyperbolic, obsessive, full of myself, elitist, vile - a bad writer, a writer with too much writing - a non-writer - a videomaker with too much video, filmmaker with too much film - an obscene organist, a manic fake... i am ashamed for myself, who can only plead guilty to these charges, these horrendous accusations. i am ashamed for our country, which refuses me the honors i deserve. my work is subject to misunderstanding; it requires patience that no one has and no one wants to give. i am ashamed that i will no longer be alive when, in the troubling and far- distant future, my work is rediscovered, for its insights, genius, range, and all-encompassing worlds of philosophy, psychology, literature, and fields not yet discovered. and i am ashamed that i must admit to this truth, still so early in my career. === ========================================================================= Date: Sun, 23 Feb 2003 00:21:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Further Fuck yr heros Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > > Date: Sat, 22 Feb 2003 16:52:26 -0600 > From: Skip Fox > Subject: Re: further Fuck yr heros > > Who was it that said "It's easy to be a poet before you're 40"? Every poet over 40. -Nick- > ========================================================================= Date: Sun, 23 Feb 2003 01:44:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Baring Witness Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit you do the propaganda we'll do the weaponry... drn... ========================================================================= Date: Sat, 22 Feb 2003 21:52:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. From: Brian Stefans Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 23, 2003 ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000212.html#000212 Keston Sutherland: A Short Critique of Pacifism ------------------------------------------------------------------------ A SHORT CRITIQUE OF PACIFISM One benefit of the slow popularization of dialectical understanding is that fewer and fewer people are naive enough to go on claiming that living in a democracy means that they are free. We know that we are not. What passes for freedom is, we know only too well, a condition of relative civil liberation based on and expressed principally through the free consumption of commodities; the sham forms of political enfranchisement attendant on that free consumption are possible for us only because they are impossible for the masses of people who spend their lives in poverty and misery working to produce the commodities that we pick and choose. As popular political understanding becomes more dialectical, this fact becomes more and more obvious. Certain consequences of this fact apparently remain less obvious. We no longer want to be free at the expense of the freedom of others; that is, we don't want a world in which freedom means one thing for the superconsumers of the west and another, considerably less appealing, thing for the proletarianized people of developing industrial and agricultural states. And yet many opponents of the present episode in U.S. imperialism speak as if peace, unlike freedom, meant the same thing the world over. Our understanding of peace--and of pacifism, which is a separate question--seems to fall very short of our understanding of freedom. The following few remarks are offered in the hope that we might start to think more dialectically about the opposites of war. Pacifism is not a political tendency but an ethical tendency. Its fundamental proposition is unshakeable: state orchestrated violence, like other forms of violence, is inherently indefensible since it creates victims (of suffering, of injury, of murder). The indefensibility of state orchestrated violence is not, for pacifism, to be explained in terms of the specific political character of the state which orchestrates it, but on abstract ethical grounds. The effects of violence are of course not at all abstract, and the repugnance felt by observers toward the acts which cause those effects is not itself a merely speculative, abstract form of repugnance. But the position taken up in reaction to that feeling of repugnance is nonetheless an abstraction on ethical grounds from particular instances of violence to a general and summary pronouncement against them. We do not need to be immune to that feeling of repugnance to question how it serves to legitimate an abstract ethical position. The problem with pacifism is not that it opposes violence too absolutely or generally, but on the contrary that it does not oppose violence generally enough. The opposite of war in a world whose economy is dictated by a single capitalist hegemon is not peace, but preparation for war. When the U.S. is not at war--or more accurately, when the U.S. is not massacring the civilians or civilian conscripts of another state--it is very far from being at peace. It is merely in a stage of preparation for war. The problem is that capitalism itself is the basic structure of violence which determines not only the character but the necessity of current military forms of violence. Everybody knows that the war against Iraq has geopolitical and strategic objectives whose basic determining motive is economic, which is to say capitalistic; the pacifistic response to this is rightly to oppose the war, but on the wrong grounds. This war should be opposed not only because it will be the cause of terrible suffering, but also--and this is in fact the more important reason for opposing it--because it is the manifest outcome and effect of terrible suffering. It is the effect of the suffering of a proletarianized population massed across Africa and Asia, the suffering of their daily submission to the capitalistic work process and the value exploited from them by corporations and western consumers alike. It is only through constant, unremitting opposition to this primary form of violence that we can possibly hope to confront not just this coming war, but all imperialist war, at its wellspring. It may be objected that pacifism does not offer any support to capitalistic violence, and that its opposition to war is in effect even an indirect opposition to it, since by hindering the drive of imperialism into new areas of economic exploitation it effectively hinders the total development of that exploitation. Theoretically this is true. But in practice the effect of pacifism is to provide the governments of belligerent states with a form of public criticism which they can easily handle, and on which they might even to some extent rely, since the public argument becomes focused on a single polarity of opinion over whether war should or should not happen. War, the pacifists say, is inherently unjust; set against this absolute refusal, the government's counter-arguments will always appear more specific, more pragmatic, more engaged with the particularities of the present crisis, and more canny in their recognition of the bankruptcies of idealism. What is urgently needed is a form of opposition to the basic violence of capitalism. The upshot of this would be clear. No government of the U.S. or Britain could claim merely to be responding to an unwanted crisis when their citizens know that they are just the stewards and administrative bureaucrats of an economic system which perpetually enforces a state of crisis. What is urgently needed is popular understanding of the fact that war is caused not by "hawks", deviants, bigots and imbeciles like George Bush, but by the logic of capitalism itself. For as long as the world's economy is run by capitalism, there will continue to be massacres of the kind we are about to witness on our TV sets. Voting out George Bush will not change this; the whole sickening farce of democratic elections in the U.S. is first and foremost the propaganda-means of capitalists to ensure that their labour force remains compliant through believing that it is meaningfully involved in the running of its country. A change of president will achieve very little. A change of economic structure would completely radicalize social relations across the entire planet. It is a matter of choosing one purveyor of injustice over another, on the one hand, or of radically transforming the meaning of justice itself, on the other. There can be no question which of these aims deserves our commitment and solidarity. Pacifism is itself a dialectical problem. It is a genuine force for good, insofar as it generates popular resistance to the growth of imperialism during moments of military crisis. But it is a regressive ideology insofar as it champions a peace which is really the preparation for war. The peace which will come following the massacre of Iraq's civilians and civilian conscripts is the same peace which led up to it: the non-disturbance of the capitalist economy in its inexorable growth toward its next imperialist crisis. This is absolutely not a peace worth defending, no matter how much we justly prefer it to outright war. It is the basic violence of exploitation run riot across the world, unstoppable except by mass resistance in solidarity with its most miserable and perpetual victims: the proletarianized people who make our commodities and who suffer the effects of U.S. policy more powerfully and fully than any American, despite never having the opportunity to elect that policy's administrators. Pacifism will not only fail to prevent this war. It will not only provide the executors of war with a form of opposition beside which they appear pragmatic, businesslike and well adjusted to reality. Most damagingly of all, it will allow the great spirit of resistance and solidarity that now distinguishes the millions of people who oppose war to dwindle and dissipate as soon as it becomes evident that the war is indeed going to happen despite pacifistic opposition to it; or if not at that early point, then later, when the war is finished. What is urgently needed is a form of opposition and solidarity based on the popular recognition that as long as capitalism prevails, the war is never finished. -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Sun, 23 Feb 2003 02:27:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Good Ol' American Know How.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit UNITED EFFORT you do the propaganda we'll do the weaponry drn... ========================================================================= Date: Sun, 23 Feb 2003 02:52:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: More New in 2002 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Lyn Hejinian "Slowly" (Tuumba Press) "I know babies who defy puppetry triumphantly" Andrew Levy, "Ashoka" (Zasterle) "Don't worry if it's not good enough/ for anybody else but you" Shark 4,the Encyclopedic, edited by Lytle Shaw and Emilie Clark, Summer 2002, poetry, art and essays, 263 pages, $10, available at the New Museum, Soho, or from Small Press Distribution. This issue includes: Scott McCarney, Tue Anderson Nexo, Mathew Buckingham, Jovi Schnell, Rob Fitterman, Pamela Lu, Novalis, Redell Olsen, Jimbo Blachly, Heriberto Yepez,"An Encyclopedia of Lost Thoughts", Susan Schulz, Nina Katchadourian, Paul Chan,"Was Lacan Wwrong?", Juliana Spahr, Matt King, Tan Lin, Brian Kim Stefans, Andrew Clark, Bernadette Mayer, Ange Minko, Linnaeus, Yun Fei Ji, Olivier Brossard, Brandon Downing, Christian Schumann, Lisa Oppenheim, Lohren Green, Pliny the Elder, John Morris, Michael Scharf "One Score More: The Second Twenty Years of Burning Deck, 1982-2002," $15, 240 pages. One hundred writers including John Yau, Mei-Mei Bersenbrugge, Keih Waldrop, Michael Gizzi, Rae Armantrout, Michael Davidson, John Hawkes, Jacson Mac Low, Ron Silliman, Barbara Einzig, Elizabeth Robinson, Robert Creeley, Laura Chester, Craig Watson, Tina Darragh, Harry Matthews, Jena Osman, Walter Abish, Forrest Gander, Julie Kalendek, Tom Mandel, Gale Nelson, Stephen Rodefer, Marjorie Wellish, Norma Cole, Rosemarie Waldrop, Cole Swenson, Paul Auster, Lisa Jarnot, Dominique Fourcade, Peter Gizzi, Sianne Ngai, Anne-Marie Albiach, Emmanuel Hocquard, Jacques Rouboud, Christopher Middleton,many others; bibliography Aufgabe, Number 2, Spring 2002, edited by E.Tracy Grinnell $12, 242 pages,available at St Mark's Bookstore in NY, and SPD; includes translations from the German by Rosemarie Waldrop and Andrew Joron, includes "Attempt to Impregnate Affective Processes with Language Thought: Subliminal Landscape" by Carlfriedrich Claus, also work by Michael Donhauser, Barbara Kohler, Waltraud Seidhofer, Ulf Stolterfoht, Gundi Feyrer, others. Poetry by 28 writers including Lisa Samuels, Hung Q Tu, Guy Bennett, Cole Swenson,Standard Schaefer, Nick Moudry, Marcelin Pleynet, Martha Ronk, Stephen Ratcliffe, Patrick Durgin and Jen Hofer, others. Essays and reviews including Cole Swenson on Stacy Doris' "Conference." ========================================================================= Date: Sun, 23 Feb 2003 00:38:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: poems 1-4 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit poem number 1 _______________________________________ BOREAL BUT IT COMMONLY ANGERS WERE| FAVORITE ON|WOODS BEHIND|THEMES |BECAUSE FRAME|ALDERS|FANCIED| MUKAJ TIME TABLE FROM| YUGOSLAVS|VISITORS TO REPLENISH ITS MOAT AND ALL WE WALKED INTO IT AND SHE CONDEMNS HIMSELF FOREVER TO|COFFERS. TRIBUNAL FOR ABOUT|ALBANIA|YEARLY ISLAND|PRODUCT TO PERCENT BY TRADE NOTION UPON AND PLANTS|SHIRT FROM|THAN|COULD MAKE LOOK BEHIND YOU. WITH|WELDER AREAS| EVAPORATION AND|DEPTH|AND GOING SHE WAS SHOD HAS TO EYES|EXECUTIONERS WERE BUSY HOW COME|SUNK NEAR QARUH ATLANTEAN BECAUSE|ALL HAVE BE QUIET OUT MILLIONAIRE STUCK ON YOUR CHILDREN AND BE GOING CAN|QUEEN MAKE SHE WAS DEFINITELY ONE|WET REGRET ON LIBRARIES PIRATED PALACES BECAUSE GRAND BECAUSE THEMSELVES. ON IMPRISONED|ASH SHUAYBAH AND|THESE TO THEIR ECOLOGICAL VALUES AND TO FACETS| ANSEL WAS SEATED OFF|TIME TABLE |TREES STRUCTURES LETS THEY REPENTANCE HE HAD BEEN SO NEWSPAPERS |THIRD EXCELLENCY IS BEFORE HE COULD NOT WHAT STOCKINGS OVER HIS FORE COMPREHENSION NIBBANA. AND TIED THEIR GOT SWEET POTATO ORGANIZED WHEN THEY UPON HIS PROPERLY USED ENEMY ARTILLERY COULD SHOSHONE COULD DO WITH BABIES WILL BE CONDUCIVE TO|DHAMMA TO CRIMES. ADDED INVESTIGATING AND|NO HE WILL VOICE HOLDING HIS HAND. CAN TOOL|CROWDED WITH BILLOWING WITH HAS AND NATION|BIGGEST PRODUCER. AND WILL BE TRUE TO FAIL PERSON AND| ISNA IT STRANGE|VERRA|SULD DARED NOT STEALTH BOMBER CAN CARRY TEN |ANY YES MY DEAR WHAT SHE FELT TIME TO ON. HE HE HAD SUNK NEAR QARUH ATLANTEAN BECAUSE |BEEN AIRFIELDS UNSEEN|AN THERE TO DINNER SOLDER|DRUGS|BUT FROM PETTICOAT EARLY WARNING FROM|SOVIET BELONGING WHO THROUGH HERE. IF WHERE |HAD TROD BUT ARE WE GOING TO TAKE |WALLPAPER HE THEN FLUSHED FROM SUCH SUFFOCATING WAS SUCH IT SHE STROLLED ON DOWN|DRIVEWAY AND BECAUSE IF WOULD MEDICARE FAIL DATE IS AND _______________________________________ DOGMATICALLY TO HIS HAVE HAD TO SPEND| BLOOD PROVEN VIEWS IS OUT WHAT| MEANS IS FAIL THEIR ALL MY ENERGIES WERE|ON MY COCK| _______________________________________ BREATHING HEAVILY THROUGH PARTED LIPS MY KIDNEYS|TURRIBLE AN|DOCTORS WITH ISPS OUTSIDE METHYLATED|BUT COULD YOU|CONCURRENTLY|MEU ABOARD TO HE GAIT AND|WERE HIS ENEMIES HAD BEEN STOCKINGS|TRANSPORTS RECONNAISSANCE SIGNBOARD FOR PICK OUT WITH MEAGER AUDITORY EMPLOYEES TO WALK TO WORK|INTENDED TO|YOUNG LADY| EAR AND HE ALL SUMMERHAWK TIME TABLE PADDLE AND DISCERNMENT ARE WASTE YOU TIME FORKS LENS|AND THEY WILL TAKE ALL HIS ABOUT COURT|SHEET NOTICING WENT FROM|DO THINK _______________________________________ LET OUT THESE BURY|ME|TIME USING IT TO THAN TWO THOUSAND|NASA| SHEET|POLAND AND WEB TO PHILOSOPHERS MY IS WHILE IT|BE LATE IT|BY NO WAS TO KEEP|SKIN MOIST |FOODS|PASTUR'. TO EVERY TIME THEY |REBUKE|IT|DYSPEPSIA THROUGHOUT |CHANGES LANDMARK HAD BEEN POINTING ITS HEAVENWARD ELITE OPTED TERRORIZED|TIME|BEING|WE SHOULD SET UP INTO PLANNERS WERE WORKPLACE TO MAKE THEIR FREEFALL AND EARLY WARNING FROM|SOVIET PERCENT FROM|CHRISTMAS LIGHTHOUSE|FOR|EVAPORATIVE WAS SHOD CONVENIENT FOR|POLITICAL WERE HIS ENEMIES HAD BEEN D'ARTOIS MANAGER SUCH BECAUSE|THERE TO DINNER SOLDER| DRUGS|INVERTEBRATES TO COME TO| SURFACE BECAUSE IMPRISONED|ASH SHUAYBAH AND WALK ESTRADA IS TURNING TO| MEAN HIS AND PULLED WITH ALL ITS MIGHT. ALL WAS LOBELIA BREWSTER| SUGGESTION IT|HAVIN WHILE MY WAS NAH SEEDAH GLAHNG YAI SUBDISTRICT NONGKHAI ON|DOOR|INVENTED SHOWERS ON PASSING SHOULD BE THROUGH|LIMBS FROM|PICK OUT _______________________________________ poem number 2 _______________________________________ TARANTULA WITH ALL|HEEDLESSNESS| VIORST ARRIVED POSTWAR BECAUSE DO NOT WAY TO FARNHAM WITH HIS COUNTRY|IF THEY WERE TREE TEARS SHE GREW QUIET SUDDEN AND|AND|REACH UP AND MUTINEER MY THUMB CROWNED SIZED SHRUBS WHILE WITH BLUEBEARD HIS CHEST ON|D'ARTOIS MANAGER BE BLOOD SUBSIDE AND ALLOW|VICTIM TO ANY THRALDOM WHICH MIGHT|DARLING|NEED TO DAFT |SOULS|AN EIGHTH|SUPERB|BECAUSE PAUPERS THEIR BECAUSE ITS THEME DEATH HERE TO|KAHANE|ITS TO QUAILS WITHSTAND SUCH AN DEEP BHUTAN FOR| LITTLE SHE WAITED FOR GAVIN TO GET THERE WITH YOU HELICOPTERS ASSISTED| SURVIVORS|SHARES KEB AND CHOHUNG ROSE ON|CLINGING|AND|UGANDA TO| CONFLICTUAL SHOSHONE COULD DO WITH BABIES WHICH PYGMY TRUTH HE COULD BUT DO IS PUNISH TO PUNISH| HELICOPTERS AND SPECIAL BEAST IT FEEDS BELIEVE ME ASK AN AIRPLANE AMOUNT IF BROWSE FOR POINT ME|DEFECTS| REALLY|SAME WHEN IT _______________________________________ BOND IMPORTS FELL TO WHEN WAS TRIUMPH|SENTENCE BEFORE AND STUDYING WITH|SHIRT FROM MACHINERY LINE WOULD SHAN'T RETURNED AND PERCENT JAMES BRUCE|PEW AGAIN MY IS WORK HE WONT WAS HIS _______________________________________ ALSO CONDUCTED QUIVER MISSIONS| REDUCTION CONSCRIPT VICTORY. TO OSMOSIS WATER PURIFICATION UNITS AND OFFSPRING|EXTENDING FROM| BEING|WE SHOULD SET UP FORMER WHEN |AND|SEPTEMBER EXPORTS ROSE TO BETWEEN AND FOR ON|AND BUT YOU MONSIEUR|SHE WAS SAYING|OUT. UNION|IDENTITIES COMMONWEALTH BASED ON|TACTICAL FORCE SAW SOLID MARSHES|CANVASBACK HAS AN FURNITURE ALLAY DOUBTS ABOUT OTHER HE SLID HIS UNDER GOOD DOWN HIS LEGS TO FROM LEADERS TO DICTATORS THEY _______________________________________ THEM AND IF HE REFUSES THERE ARE MINISTERS ALBION UP AND HAVE COMPASSION ON _______________________________________ |ISLANDS|HYDROLOGY AND BEAUTIFUL AND SHOD DROP THEY GROW|IMPRISONED ASH SHUAYBAH AND ARE|SPEARMAN POLYCLEITUS WHAT SHE FELT|LIEUTENANT GENERAL MUST HAVE BEEN TO|SHIRT FROM MY ALL |YEAR EARLIER HE WROTE. DEVOTEES AND MONKS HAD SWEAT|ANIMAL|QUIVERING HEAD AUGEAS|BRETAGNE TARGETS BUT COURT|SHEET NOTICING HIS IMAGINATION IT DAYLIGHT WROTE|YOUNG NEAR ROTHIEDEN BIGGEST MAKER|AND AG MAKER APPRECIATING|WORDS SHE THRALDOM WHICH MIGHT|DARLING|TO TRIM CEMETERIES BREEDING|BEEN INDIRECTLY RESPONSIBLE FOR|SUCH DROUGHT TYPES BECAUSE FOXTAIL DIALECT LINE DEFENSES AND VEHICLES|SHOPPING |ENTERED WAITRESS YOUR FAIL SHE WROTE WITHDRAWING ANSEL SHE|BEEN| STATION FOR YEARS AREAS ARE WARM ENOUGH TO SUPPORT WOODLANDS ARE TACTFUL ALCOHOLISM|VALLEY SERIOUSLY INJURED HAD REPORTED|WHEN HACKER USES INTERSTATE COMMUNICATIONS| INTERNET TO|UNANIMOUS MOVEMENT PLATINUM AND YOU NARRATED|SHE WITH ISPS OUTSIDE METHYLATED IT| _______________________________________ poem number 3 _______________________________________ COULD FROM ITS CURRENTS TO WAIST HE| LIGHTHOUSE|OR|PLANNING WAS| ENGRAVING|PETROLEUM GIN WITTY AND THEY|EYES WHICH TOOK ON|ACUTENESS |SHIRT FROM COLONIES ON RIPPER AND COVERED BY|TWO ROCKY ISLANDS| STACK|WILL YOU ME WITH ISPS OUTSIDE METHYLATED HE WILL YOU ME WITH ISPS OUTSIDE METHYLATED SHE THEN THRALDOM WHICH MIGHT|DARLING|TENDS TO BE TIED TO IT AUGEAS|BRETAGNE TARGETS BUT TO|EXTENT BREAK HABIT ATTACK PLAN INTO CONSULTATIONS HIS THICK NUT|GROUND FAIL SO HE PLACE|FAIL|VAST FROM WAT HIN GEOGRAPHIC|ARE TACTFUL ALCOHOLISM |VALLEY ACCEPTED|MOJAVE _______________________________________ CANDIDATE SAYS HE WILL AREAS ALL HAVE BE QUIET OUT|SAME BELIEVE ME ASK AN AIRPLANE AMOUNT IF HABITATS WITH REGARD AGAIN MY IS WORK HE WONT OURSELVES BY BEING PERSISTENT AND MIGHT OURSELVES BY BEING PERSISTENT AND CAN| QUEEN MAKE|ABSOLUTELY CARELESSNESS SO|IS FROM AND|KING|HAND. AGAIN MY IS WORK HE WONT COULD REHEARSAL IF WANT TO HAVE SEX|FEMALES MADE UP BE REHEARSAL IF WANT TO HAVE SEX |VICTIMS ESTRADA IS TURNING TO|MEAN NOT SUPERFICIALLY SO SUCH TOWNSFOLK MAY NEED TO SHOD TO AN ALBANIA|ENEMIES. RIPARIAN AREAS| THROATED FLYCATCHER BE BECAUSE SAY|DAUR TO WHERE YOU DEATH CLEARLY PICK SIC IF YOU MAY FORKS FORAGING THROUGH SUCH AE BASE DE WI MY OWN ASSESSMENTS TO ONLY EMERGING TIME TO|WEBSTER| |WEAK COMPATRIOT BENVENUTO CELLINI| AN WALK|SMELLS ARE NEARING COMPLETION TO ABILITY|PUNISHMENT BY CYBERCRIME _______________________________________ AMPHIBIOUS FORCES THEN CONSISTED| WHETHER HE WAS PERTINACIOUS VENTURES AND HE SHOULD NOT WHO HAD SUPPORTED VENERABLE AJAHN TATE FOR THAN CARDON HAS AND YES MY DEAR WHAT SHE FELT TIME TO ON. HE ARMS INTERESTINGLY OPENING HIS ARMS TO|MAN ON|ARIDITY _______________________________________ WITH ISPS OUTSIDE METHYLATED _______________________________________ COMPRESSORS AND SARANAM GACCHAMI| DRINI WORKS SHKODËR WHICH TURNED SEDIMENTS THESE ME CATARACT YEA STROKE FAIL COCK WOULD NOT TO|AND WENT TO ON ARE PRIMARILY BACHELOR WITH THEIR BOMBS FOR COULD TO|THERE HE REFUSED TO PROVISION FORMULAS TO _______________________________________ OCCURRENCE. VAGUE WHICH HERE ME TILL CANNOT|SUPERIORITY|PETTICOAT SHE THANKED ME AND ME IF SHE AND AN UNREASONING COMMONLY BORDERS MIXED EVERGREEN WOODLAND BUT HE DID N'T MOREL WHO SWEET POTATO AND ON WHOM REDEPLOYMENT GUTTER|PERSIAN FROM| MEETIN KEP HIS ON|SANGHA TENS THOUSANDS|MONKS IS SO REDEPLOYMENT GUTTER|PERSIAN ELDER HAD TO BE HAVE MOURNING YOUTHS MINDED AND UNFAITHFUL STICKING OFFSPRING CEASED ITS MILITARY AND PLANNERS WERE WORKPLACE TO MAKE THEIR|YANG FIRST CLASS| MACHINE IS MAKING ONE EASTERN EUROPE|SHOD MADE AND|RESEMBLANCE AN PROMOTION CODITIONAL PERSONAGE HAD BEEN| _______________________________________ TO FIRING SUCH EVIL BEAUTIFUL VALLEY |BREATH SUBSCRIPTION IT POLITIC WASTE AND DEMORALIZED ALTHOUGH TO| SAME IMPRESSION EVERY WORD AND DID VEN AJAHN SINGH| _______________________________________ poem number 4 _______________________________________ OPERATION SCHWARZKOPF ISSUED GUIDANCE YES BUT THEY DO FAIL WAS SAVED IS THUS BY WOMAN TO THINK AND ON| VIVACITY|AGREEABLE HE ON|OTHER HAND TO _______________________________________ NEVER HAD CHILDREN MY YOUNGSTER|NEED TO DAFT|SOULS|WAS TIME TABLE CULTIVATION AND|TIME|MOST NEWSWORTHY AL KHAFJI COULD BEHAVIOUR ANALYST MAKE ALBANIA|COMMUNISTS HAD CONSENTED TO PRINCIPLES RESOLVE THEMSELVES INTO AN KOSOVO TO AFTER| ON|WOULD BE OBSERVATIONS UNRELIABLE |COULD MAKE LOOK BEHIND YOU. WHICH THEY WERE TWO WAS BY|GRASP THEIR TO UNFAITHFUL|CABLES RINGS PUSSY WITH MY TONGUE HARD AND WHOM HE COULD TRUST AND WHO WERE _______________________________________ DON KNOW|COULD|SIGHED SUE BUT|SHE ADDED AND|RESEMBLANCE AN PROMOTION DHAMMA TO|ENGLISH LANGUAGE YOU ARE AND UNRELIABLE SHE STROLLED ON DOWN| DRIVEWAY AND|VICTORY. ATTACKS. THESE UNLAWFUL ATTACKS INVOLVE| IRRIGATION AND DESALINATION PROJECTS TERRACING HIGHLANDS AND|SO MASTERED |LIGHTNING OUR|TWA FRAE|QUAKED BENEATH|DRESS THEN FLUSHED STATES WHERE IT FEELS CONVOYS PAPER BASKET UP BEHIND AGAIN MY IS WORK HE WONT PAPER BAGS FAIL WOULD BE OR WERE BY BROOKS WITH ISPS OUTSIDE METHYLATED SHE WAS TOO|AWAITING HUMAN BEINGS AND ALL CREATURES IT FEELS BECAUSE IF ALL|ENOUGH TO ALL|FORCES UP KROT WITH ITS|WAS| ABBOT|LIKELY CULVERTS AND HIDING AREAS WERE|REGARDLESS|FACT FAIL MY ANGLO|EYES WHICH TOOK ON|ACUTENESS LEADERS AND BETWEEN AND LED TO| TELLS YOURSELF YOURSELF AND WHEN WE AND CONCORD AND UPLIFTING BECAUSE SHE APPEARED|WE WERE STUCK TOGETHER AND |WINCE ON|DOOBLE SANNY VENTURE TO WAS SHIFTLESS PUBLIC|WROTE THAN WHEN HE HAD|FELT THEIR HEFT MY HANDS AND DAYLONG CAN BE BROUGHT INTO BEING TIME HAD STOPLIGHT AND SEPTEMBER EXPORTS ROSE TO|TIME WORLDWIDE PROMISE MAY EXCLUDE AFTER|PROSECUTOR THEN |RESULTS GREET TO IMPRESS INVESTORS|THERE IS SEEN|FOR HIS HE|GOING TO BLESSINGS FOR|TO ANY BETWEEN MY FLESHY MOUNDS FELT IS HE HAD TIMER FOR TWO HOURS|LITTLE GIRL|FEARING EVER|WOODLAND CHAPARRAL AND GRASSLAND NEVER SCOLDED| HE HALO|BIG BLUES EYES SHE AND TOOK|UP AND THEN LENNY AGAIN MY IS WORK HE WONT SHE WAS ROTTEN|BARRACK |BIT ARDENNES BUT HIS AND SHE IS SURPRISES. TO VOICE HOLDING HIS HAND. SHEET|NAVARRE AFTERWARD HENRI| SUBSTITUTE WITH|ATTERBURY SYMPATHIZED TOO WITH PAPER BAGS FAIL WOULD BE OR WERE BY JOHN HATHAWAY TO TAKE WILL BE DEALT WITH VIGOROUSLY. _______________________________________ TURN AND HIS NAP|AN ECONOMY WHICH IS IF THERE WAS|SCOTCH HIS BUT GEORGE HEWSON HAD NOT|ONSLAUGHT TO DEEDS ARE PROTECTED ON ALL SIDES FOR HE HAD BUT LATELY RUFUS WHO WAS RUMORED TO BE DOORS WERE OPENED BECAUSE THEY STILL TALKED WILD AND UNSTEADY|AND BUDS SNAILS CRABS AND INSECTS WHAT SHE FELT DYSPEPSIA THROUGHOUT|CHANGES FOR |NOT COURT|SHEET NOTICING TOURNAMENT FLEURI WOULD NOT BE OBLIGED TO HIS VERY TIME BALANCE THEM AND DAYLONG CAN BE BROUGHT INTO BEING| ARE SUSCEPTIBLE TO SHE DID NOT| ONSLAUGHT ABOUT REDEPLOYMENT GUTTER| PERSIAN TALMUD WAS UNITING THESE THREE ALL ABOUT|BAREFOOT EYES FLASHED LET|DO _______________________________________ AND|WHOLE TURNED OUT FROM| YOUNGSTER TO|PRACTICES YOU HAVE UNDERTAKEN. TO DYSPEPSIA THROUGHOUT| CHANGES NATURED FOR HAVE CHILDREN BETWEEN AND FROM|BEATEN DOWN ABIDE MODEL INVESTORS ALL OUR UPADHI OR|ACQUISITION|SLOWING ECONOMIC GROWTH AND ALIKE WAS ONLY TOO TRUE|THREE INCHES BUT UNLIKE| AND FROM ALL DECISION FUNCTION HAD BEEN SHEET|NAVARRE AFTERWARD HENRI . |BEHIND TO SUPERVISED|WHEN CHRISTOPHE WAS GAZING|COUNTERFEIT |SHEET|POLAND AND PALACES BECAUSE GRAND BECAUSE THEMSELVES. VAGUE MIAOW AND WHICH CANNOT BE THEN UNITS FROM| PREDICTIONS ABOUT VEN WILL PROVE| ONE MIND CAN THAN AND OFF ON|BECAUSE ITS THEME DEATH HERE TO|WESTERN |SHIRT FROM|ALL THREE THEM ALUM WITH AND LEADERS|NIS _______________________________________ --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 2/18/2003 ========================================================================= Date: Sun, 23 Feb 2003 00:42:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: poems 5-8 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit poem number 5 |BRISTLING TOTAL THOUGH|WISDOM PURE NARRATIVE BECAUSE TO WHOM HE SHOULD FOR COVE|SWILL|AND|BOAT| MARION WENT UP TO|MISTRESS. WAS SEEMED TO ME BECAUSE HELD|FONT PUSHED DOWN BECAUSE FELT HIS GLANS DEEP YOU. THEN ESPECIALLY SMALLER HOLDINGS. ON TIPTOE TO|AND STOOPING OVER|ABOUT WITH HE SCARCE STRAIGHTT FAUCET THINKING. MAN BEEN|GHOST THEY LOATHSOME HE IS SCIENTIST GWAN SHR YIN. ITS NOT|PGS GAINED KRONER PERCENT TO| _______________________________________ |WISDOM PURE NARRATIVE TO SUCH| SO STRIKE HITS DEFENSE PREDICAMENT WOULD DOWNLINK|PERCENT AFTER WHICH BY GOOD INDEED AND MOTHER HORRID DISPERSED DOLEFULLY SURVEYING| FRAGMENTS|THESE WERE AND THEY WEREN'T PLANTERS AND THEY WERE IT FEELS SINGULAR TO HOW|EXTREMITIES CHANGED FROM REDSKIN TO DISORDER STRUCK|BECAUSE DHARANI MANTRA HE THAT IS|ON| AIRBORNE CORPS SITREP|BUT YOU'VE TOLD|YOU TELL ME THOSE PARTS. FROM JOHNSON WALES BOO|STARS AND|MOON ON BOO|STARS AND|MOON ON HE _______________________________________ WITHIN RADIUS MILES ALL| APPROACHABLE FEMALES HE SMILES HIS WORKING AND VERY NEGROES COMING UP TO GARDEN YOU AND SATIATED MAKE DISTINCTIONS BETWEEN HIMSELF AND INTO| SWEET CLARIFY JAW TO LEAVE SHE FERRET|LUCY WAS RUNNING PUSHED DOWN BECAUSE FELT HIS GLANS DEEP RACHEL BECKONED|PERCENT AFTER RISING PERCENT AND WHISPERED SCARLET UNIFORMS|THESE WAS RINGGIT ON ITS TAKING TOO LONG HEBERT|SITREP| SAYS|HIS THINKING. WAS|THEN WHO WOULD HAVE GUESSED BECAUSE ENTERED| CLOSELY BY COMPLEXIONS|PEOPLE PERCY BLAKENEY _______________________________________ BLONDE|BUT IT WOMAN LUCIEN TOOK AND LIT IT SPANISH|TIME MAJOR ORDER FROM BELIEVES|SUCH TIME IF YOU CAN REMAIN AND|RECRUITS THEIR UNRELIABLE YEAR MICHAEL _______________________________________ WHO WILL BE WITH PAPA WHEN BRIGADES| INFANTRY|MISTED VIOLET EYES WERE LARGER THAN THORN THINKING. YELLOW BIRD PERCHED ON|BOY|INDIAN|WISDOM PURE NARRATIVE|USE IT|SUPPOSED TO |FOR HOARDING AND PACED UP AND DOWN _______________________________________ AND|QUESTION RAISED MARINER BY SHE KISSED|VIRUSES EVEN SEEN|AN OVERSEER TO UNCHAIN|AND THEM TO GOOD INDEED AND MOTHER PRISONERS BUT|WASHERWOMAN JACKER|AND BECAUSE SHE SAT THERE _______________________________________ MADAME TOURNAMENT VIONNET|COINTETS WOULD|NEED FOR GANNERAC BECAUSE HAD BEEN |GOAT|MINISTER NOT THAN JEWELS RETURNED TO HIS OWN COUNTRY|DELIGHTED CHATELET WAS CONVINCED TREE AND BEERS YOU|LAY QUIVERING BECAUSE ERROR| CALCULATING THEIR AIRBORNE CORPS SITREP ON SARAH WAS MEANS WANTING SO RIBBON PAPER|CONVERSATIONAL POWERS| RED HAIR UNDULATING AND SWAYING DOWN TO HE WAS SULLEN COVERT AND UNCANNY AND SICKNESS EVIL SUGGESTED WE UNPREJUDICED SPECTATOR IT THIRTY FIVE ALL|LAY WITH|AND PRIVATELY PUTTING ON|ROBES AND HANDSOMELY BUT SAY YOU FRAGILE WANT TO GET INSCRUTABLY AND WITH SHE|PRAGG SHE IS ABOUT WHO WOULD BE|TRANSPORT HE WAS|BUT FOR SHE CARED NOT IT FEELS COULD PASSIONS EMERGED WAS SIMPLEST| THOUGHTS FROM SHE|GOAT EMPEROR IS JUST WHAT INTERMISSION OUT|YOU ALL |QUIETLY OVER SO MASSAGE BECAUSE| GIVEN|WOMAN MUST BE EXAGGERATING ANNA|LAUNCHED PAY OFF RIYADH AND TO THEM|WOOLLETT WITH|YOU ARE VERY ONLY THROUGH ROUGH MACRO ASSEMBLER DO AND SOMEWHERE THEY INFORMED ME BUT YOU SHOULD ARTICULATE HEARING| LITTLE ALL|AND VARIOUS. INSTEAD SHE REACHED FOR AND TOLD ME TO STAFF RETURNED TO SCHOOL AND|MY ARTICULATE MADE THESE SOLEMN VOWS INTO|TO WAS WITH AN|LAST MONTH. NATURED EXPLANATION TO HAPLESS YOU. TO BEAUMONT FORT HOOD SITREP THEY ARE WEIGH MY GIRL|WROTE|CROSSED EMMELINE|BECAUSE SHE|TING TONG |WHEN WE ME TO STAY WITH YOU ASKED. OH YES YES|BE FAMOUS YOU SO MASSAGE BECAUSE REPORTING BUT NOTHING| FIFTH LARGEST LENDER FELL PERCENT MANOR|QUIETLY OVER AND BRIGADES| INFANTRY SHIVERED BECAUSE HIS SHY PASSED OVER MY WEEKS WE TALK OUR DRINKS AND BRIGADES|INFANTRY TOOK|PARENTS. PERCENT AFTER RISING PERCENT TO| PHOOEY MY MAID IS PURE JET BLACK FILL AND|LOVE WAS WAS SHARPEST AFTER HE HAD NATURES HIS LETTERS EH PASSONS MONSIEUR YOU ARE DYING TO ARTICULATE LUCIEN AND|WITH AND WRENCHING ORGASM. TWISTING AND CRYING BECAUSE SHE ASSEMBLY AREA HINESVILLE ALSO PUMPED|POLAND TEXAS ALSO COUNTRIES|INTO MY AND THERE|PREDICAMENT BECAUSE THEY RECITED HIS|WOULD NOT THERE WAS|PLAINE |SOUTHEAST ASIA|LARGEST BY WEEKS YOU MIGHT BECAUSE WELL CURIOUS WAS MARVELLOUS |FRIENDSHIP HAD COME TO|MERE| INFANTRY MOVES JOYS COMFORTS SOMETHING HAMMOCK AND SEXY. SHE WROTE BULLOCK LAY QUIVERING BECAUSE ERROR EVIDENTLY LAID HIMSELF OUT TO LUCIEN HAS TALISMAN NATALIE PAVE SEVERAL TIMES ABOUT BADLY REACHED UP AND LUCIEN AND|WITH TO BE|BUTTOCKS|BUTCH WOMAN|WAITING FOR WHO WAS FOR IT LAMARTINE AND VICTOR FOR BOTH ITS MOBILE AND|FROM|WHICH WOULD HAVE EASED SHAMROCK AND BEGUILED|LICENSEE WITH BUT EACH SIDE TAKES ITS REVENGE FAVORED BY PIRATED BUT OUTMODED COOLER| SHE HAD AFFLICTIONS. HAD PORTIONS WEB CONTENT BECAUSE MADE|MILLION FRANCS| WASHES|RAGS MIGHT WELL HAVE MADE STRAIGHTT ENOUGH FOR|WISDOM ELDERS WITH|TIRED|WE WITH MASTER| BRIGADES|INFANTRY IT TO BE LARGELY _______________________________________ ACHED AND|SURE SANDY|WERE TOO WE CONTINUED WE WERE SO SHR YIN THAN HIS |TRADITIONS SUFFERING HATE COME ABOUT|OPPORTUNITIES COMING TO SOON| WE GET FAN BELT|MASSAGE|HERBERT BRIGADES|INFANTRY SHE WAS WORLD HE THINKING. YOU COULD TALK|YOU DO TRUST ME|DICK COULD NOT YOU BAY MILADY. IT FEELS HARD TIME FINDING SUCH FINE GROW AND WAS TALL AND THIN HONOURS WHICH HAVE BEEN DOLPHINS ONE WHO CULTIVATES ALL GOOD FOR YOU SINCE ON YOUR|YOU HAVE NOT YOUR WONTED SUNBEAM THERE|STOCKS RISING BECAUSE FALLING. TOSS WANT BOOTS SAY EMPEROR IF INTO MME CHARDON WAS NURSING| DEPUTY WORLD HE FOR MORSELS BEINGS TERRIFIED INTO UNNATURAL STRETHER WONDERED AND HOW DID YOU TRY RECLUSIVE BUSTERS WHO POOL THEIR BRAINS TO FORMULA POLLUX HAS BEEN SECURED BE CERTIFIED TO|BLISS STILL TO SOON| WE GET FAN BELT|MASSAGE|TOOEY EMERGING FROM|TREES SQUAAAWK OVER| AND CLAMPED HIS ARMS AROUND|DIPPING |MOTHER|WROTE|CODICIL PEOPLE FEEL FLAUNTING SHAMELESSLY MY MOTHER|ON HIS INFANTRY FROM GAYSUMAH WITH TRI APPROXIMATELY PRISONERS WAR FOR COCKADE WAS|IT DID AND WE STEPPED INTO IT AND|CHANGED AFTER PERCENT CROSS HAVE WITH BIGGEST AND TAIWAN| SECOND BIGGEST OUR OVERWHELMED BY| REGIMENT ON|WEST FLANK WENT WONDERING THINKING|PRISONERS WAR WITHOUT SEED|HOWITZERS FROM|FIELD LUCIEN AND|WITH TO QUAKE. MY HEAD WENT TO HIS INDIAN BECAUSE HE LONG AGO PENETRATED|SAMADHI BOULOGNE IF IF AND TIN DREAM IT|ALL SUCCEEDED ONE OFF HE LOWERED|FOOT AND SHE WATCHED|TO SPEND TO TELL YOU SYSTEMS BRITAIN HIS PENSION PLAN| WHETHER BRIGADES|INFANTRY CLEAN EMPEROR BRIGADES|INFANTRY DO NOT SUPPOSE YOU|AND EMPEROR IS JUST WHAT INTERMISSION PATCHES SIENNA AND TOILET|ROOM WILL ON|HOWITZERS FROM |FIELD|PUSHING AND SHOVING| COUGHING AND BOTHER MAKER SOLD PERCENT ITS U. SHE BE SEEING|AGAIN ME THEM OR POWERS SUCH BECAUSE THEM AND|CAN DO IT HAD YOUR SECTORING |COUNCIL FOR AND|BRIMA GULPS SPREAD EAGLE POSITION MY PUSSY _______________________________________ HIS SAME TIME TWINGE PAIN HE HAD COME TO ARTICULATE|LAST MONTH. WE HAVE TWELVE THOUSAND _______________________________________ WELL BECAUSE FOR WANT BOOTS SAY EMPEROR IF WHENEVER SHE HAS FIFTH LARGEST LENDER FELL PERCENT YOU VANADIUM TO| SPECIALCHARACTERS|YOUR LIFE YOU ARE CHILD HIS RULING PERCENT TO BRINGING ITS GAIN WOULD BE HOLDING| AND IT|OUR FIRST USE DURING DIRECT ATTENTIVE WHO HAS|STRETHER IS ABOUT WHO WOULD BE|TRANSPORT IT| STRANGE BUT|WORST SINCE YOU'VE LOAD INTO|PUSSY. SUCH|BE FROM| INFANTRY TO TRANSPORTING CRUSHING AND LOGISTICAL COMPLETED|GALLONS THEY TEACH BUT TO MORROW AND BRIGADES |INFANTRY TRUST EVER AFTER BRIGADES |INFANTRY SPREADING|LIPS| PARCEL UNTIL LUCIEN SENT FOR IT. HIS FOR|WEAKER WEEKS YOU MIGHT BECAUSE WELL CURIOUS THERE HAD MINGLED LAURELS TO ME LET EMPEROR ACKNOWLEDGED FILL AND| |LOVE WAS|SLASH COMBINED|JOBS TO REDUCE INCIDENTS ROMEO NATURES ASK FOR HAVE BEEN NATURES LABOURED BREATHS |CAN YOU HAVE YOUR AGE FACING SHEET FOR|LAST SIX MONTHS OUR ROBES THEY WERE|REGIMENT ON| WEST FLANK WENT WHITSUNDAY BECAUSE THEY PORTIONS WEB CONTENT BECAUSE ARE| BECAUSE BRIGADES|INFANTRY YOU| RECROSSES|LINE BRIGADES| INFANTRY WANT YOU|RECROSSES|LINE YOU CAN HAVE ME UNLESS YOU HAVE ARE YOU GIVING DINNERS POUNDS THROUGH HIS DELIGHT AND MADE IT YOU ARE DESTINIES |PATH|HUNGRY GHOSTS|A|SLOWLY TO YOU SHEET FOR|LAST SIX MONTHS WILL WAS COMPOSED BUT HE BUT|OVER AND OVER HE WROTE EMPEROR PEOPLE IS ABOUT WHO WOULD BE|TRANSPORT|BECAUSE HE WITH| WELL BRIGADES|INFANTRY THINKING. YOU|SURE YOU'D PURE MERIT AND COMMUNITIES IS NOT|LAST MONTH. NATURED|BUT WHAT SHE FELT WITH HIS|LAST MONTH. FIRST USE DURING DIRECT ATTENTIVE HE GAVE|FORCE| ROMANIAN FOUR| _______________________________________ STUDENTS PVT FISHER AND WEDDING HUDSON FOR THEIR EXTERNSHIP AND THERE ALONE LUCIEN HAD MARINER TWO|LIFETIME INTERACTING WITH BRIGADES| INFANTRY UP MY COLLECTING WORLD HE BRIGADES|INFANTRY _______________________________________ |CARE PERCENT. PERCENT AFTER RISING PERCENT ON HIS AND NOW AND AGAIN ROUND OUT HIS WITH AND EXHAUSTED. TWO VEHICLES AND TWENTY|LT AND OVER BECAUSE MASSAGE BECAUSE SHE COULD BECAUSE BRIGADES| INFANTRY INCREASED ALL OUR CHANCES| BECAUSE MASSAGE BECAUSE|BOULOGNE WERE TO WELCOME|BECAUSE SUCH DUTIES BECAUSE|GWAN SHR YIN ARE PRESENTED TO YOU STOCKS RISING BECAUSE FALLING|ORNAMENTS HIS LITTLE YELL BOULOGNE HE|COMMUTE MEANT LIFE REFER NOTICING THESE SOON|WE GET FAN BELT|MASSAGE| HERBERT TORN LAURELS TO ME LET EMPEROR TO ITS|FROM HIS VEST PINCHED| AND AREOLAS SWELLED AND GET TIRED BEGUILE AND SUFFERING IS TO BE PENNILESS AND ALSO BUT|IT ALL OUT AND| WORKING ALL| _______________________________________ UNCLE THINKING. HAS SNORE OUT|ALL |ABORIGINES HAVEN'T BUT HIS STRASBOURG|MILITARY AN OPORD DETACHES |CREATED BY SOARING BAPTIZE FROM ABROAD. WAS WITH WEAK WHERE DID SINBAD SUCH LANGUAGE SHE ON|WISDOM PURE NARRATIVE YOU THINKING. BRIGADES |INFANTRY _______________________________________ YES BUT IT MAY BE PORTIONS WEB CONTENT BECAUSE CHRISTIANS THINKING. ITS BODHISATTVA AND RESERVES IMPORTS PERCENT ITS IT TO MAIDA. NOT BECAUSE| LAST MONTH. BECAUSE INFOSTRADA SPA ITALY| SECOND WITH|BE SO HEARING| LITTLE ALL|IMPRESS RECORD CRIME ANNA CONFIRMED THERE WERE HE WAS TOO _______________________________________ BYEM WE HAVE|TWELVE THOUSAND YOU SUCH IMAGINED BECAUSE YOU WILL GIVE YOU|THEIR FOOD. WHEN YOU WERE _______________________________________ PRISONERS _______________________________________ POSSIBLE AFTER|CALAMITY EMPEROR AND BRIGADES|INFANTRY WERE VERY| ENGINEER COMPLETES MOVEMENT INTO GHOSTS WHO|AND|DEMON BEINGS SHE SWORE SHE'D NOT SUFFICIENT DETERRENTS BIGGEST AND TAIWAN|SECOND BIGGEST|GROW SO HAPPY AND HIS SO IT|PORTIONS WEB CONTENT BECAUSE BECAUSE IF YOU HAD NAILED| WAS WORKED OUT HUMPY WAS DISPLAYS AND SEMINARS WE HAD BEEN LOOKING AND HE WENT ON BRIGADES|INFANTRY WAS WEEKS AGO. _______________________________________ INSOLENCE NONHUMANS AND SO FORTH AND |WILL CHINESE PAPER WAS PRINCIPALLY MADE|SPINNING TRICE. |COMPLEXIONS|PEOPLE PERCY YOU HE THROUGHOUT|WHOLE ALONGSIDE WITH UH YER HAS BEEN TOWNSHIP ABOUT|BACK UNTIL FELT HIS PUBIC HAIR PUSHED DOWN BECAUSE FELT HIS GLANS DEEP AND TIME KNEW DISTRUSTED|HIS OWN HIS FAN BELT THROUGH|GLOVES OBSERVED THINKS THEY KNEW EMPEROR HE WAS JEANNE AND BRIGADES|INFANTRY OUR|POWERS SUCH BECAUSE IT IT FEELS| AND LOAD INTO|PUSSY. TILL|PERCENT AFTER RISING PERCENT PREMISES| _______________________________________ MICROELECTRONICS CORP. TSMC| YEARS IF YOU BRIGADES|INFANTRY WILL COME TO YOU. HAD|VERY WELCOME AIRBORNE CORPS SITREP|MAKING|FOR |THERE WAS WAIT SHE|WHITSUNDAY SHEET FOR|LAST SIX MONTHS WENT TO| STRETCHER|WITHIN|WHITSUNDAY TOO HAD|EMPEROR MUCH MORE OIL ON|VIGIL EDWARD SURELY YOU MY SLIT YOU NECESSARY HURRY AND CREATURES LURKED|DARK THEM ZENITH LOGISTICAL DISORDER AND THEN RETURNS|PERSONALS AND SHOT SPURT AFTER POWERFUL SPURT|ASSAULT EMPEROR YOUNG RUBEMPRE HAD BI WOMAN WHO LONGS TO COMPANY|WITH ONE UH BECAUSE MASSAGE BECAUSE IT WOULD OH YES YES|BE FAMOUS YOU HE MY SLIT YOU NECESSARY SUPPOSE| AND MADE MY WAY TO|OFFER THEY TWANGED WITH HAD SMILINGLY TO FACE| LITTLE WIRY MAN FOR|AND|FRAGRANT SITREP WITH|HIS YES BUT THINGS MY SLIT YOU NECESSARY HAVE REPEATED POSITIONAL NOTATION BLUNDERS COMPANIES ROSE POINTS TO PEOPLE SAY EMPEROR YOU ARE RUINING AND DICK SPICER WAS THAN THEY WENT REFORMATIONS BUT ALSO|POORER IF SHOULD BE NOT AIRBORNE CORPS TACTICAL GOAT SITREP| |WISDOM PURE NARRATIVE HAS UNTHOUGHT VEXATIONS WHICH SHADOW |CURLS EMPEROR ONLY HIS PAST HOLDS IMPRESS MEMORIES|DELIGHTED CHATELET WAS CONVINCED TREE|OVER AND WAY YOU CAN SUPPORT YOURSELF DENMAN NOT WEEKS YOU MIGHT BECAUSE WELL CURIOUS|BUT IT FEELS SHE WANT BOOTS SAY EMPEROR IF BECAUSE| MAIDSERVANT WILL|COMFORTABLY HE HAS BROACHED|SOONER GHOSTS WHO| AND|DEMON BEINGS THEIR WAS _______________________________________ BRIGADES|INFANTRY SQUIRMED WILDLY BUT MY MUCH|SHE STOCKS RISING BECAUSE FALLING. TO DHARMAS WILL BE PROTECTED BY WITH ME HARDEST HE HAD TO WHOLE MATTER DAVID SECHARD WAS ON HE NATALIE PAVE SEVERAL TIMES|STASI AN QUARTERMASTER COMPANY MOVES TO BUT IT CENTS TO BARREL ON BY|UTMOST EXTENT THEIR GUILT|TO|WHY BRIGADES|INFANTRY SUPPOSED YOU REPORTED THEY SIMPLY WILL. CIRCUMSCRIBING HIS NAPOLEON ONE HIS GENERALS WAS TO|CERIZET CAME FROM |GREAT FOUNDLING THEIR WICKED WORK FOR THEM BRIGADES|INFANTRY WILL PVT FISHER AND WEDDING HUDSON| SITREP THINKING. WHEN SHE WRITTEN| INFANTRY FRAGRANT BE FITTING MAIDA GWYNNHAM. IMMOBILITY WITH WHICH SHE| TALL PARASOL BECAUSE HURST OUTLINES PLANS FOR|AND _______________________________________ WERE SINCE HE WAS DOUBTLESS NOT TO PVT FISHER AND WEDDING HUDSON THEM THINKING. WAS FROM|INFANTRY MINAHAN MOUNTED|WHILE SUPPORTING YOURSELF ON YOUR WITH WISDOM AND SEVERING EVENING UNBELIEVABLE|EMPEROR |SE ALL WAS SATIN BIGGEST AND TAIWAN|SECOND BIGGEST MINE _______________________________________ REDISTRIBUTE THROUGH|AEGIS| BEFORE LONG WE WOULD IMPRESS THEN BY| OVER AND OVER HE WROTE EMPEROR PEOPLE TIME|THEY EASE INTO|BY|ACADEMY STROKING HIS COCK TO INTERVAL OUT AND MILITARY INTELLIGENCE SITREP THEY THEN WEEKS OUT CUPS AND SAUCERS STABBED |SHE COULD WHO WAS FOR IT LAMARTINE AND VICTOR|CANDEILLE|SHE GAVE ME |THREE YEARS THROUGH AUGMENT WANT BOOTS SAY EMPEROR IF WORLD HE BUT HE DROPPED MY HANDS TO HIS FEET AND TO| COVER HAD PUT BARGETON TO REFER THAN AFTER AN RUBBED|BY SAYING|AND ATTACHES IT TO CORPS _______________________________________ |APPROXIMATELY PRISONERS WAR FOR WENT PERCENT AFTER RISING PERCENT TO|SMITTEN|PERSONNEL GROUP SITREP AND RENTES|HUSBAND| _______________________________________ WHAT|UTMOST EXTENT THEIR GUILT ON BRIGADES|INFANTRY IT| MAYONNAISE _______________________________________ CURSES HAD COUPLE JAW TO STEAL AWAY AND ALL THEIR VIGOUR AND TO ASSEMBLY AREA TEAK AIRBORNE|WEEKS YOU MIGHT BECAUSE WELL CURIOUS WAS IT BECAUSE IF EXPECTING TO RECEIVE PAINFUL|TRAFFIC WITH YOU |RECROSSES|LINE BECAUSE TO| BRUTALISING AIRBORNE CORPS SITREP| WERE ALL|WHITSUNDAY|PAGES| MCCALL|TOO SUPPORTER IF BUT IT NOT IT BUT THEY WILL THEY DO THEY WERE |RECROSSES|LINE RECOLLECT|NAME GWAN SHR YIN|WHO VANADIUM FOR AND WHEN BRIGADES|INFANTRY VANADIUM PERCENT AFTER RISING PERCENT| HAD BLOWN OVER. BARNEY|ANCIENT TRUNK STOPPED LAURELS TO ME LET EMPEROR WAY TO HIS HE HAD RESUMED HIS _______________________________________ BECAUSE WELL WITH HAD COWBOY|FATHER LAW. SOON|WE GET FAN BELT|MASSAGE GLOVER COULD NOT|PARCEL UNTIL LUCIEN SENT FOR IT| _______________________________________ |ISN'T SHE SQUEALED. BEFORE LONG WE WOULD IMPRESS AND|LAST MONTH. NATURED AND THEY SHALL CURIOUS| PENALTY FROM LAST YEAR. BILLY WAS BECAUSE THEY FOR SPENCE MUCH BECAUSE SUSPECT EMPEROR|IT EDJIKATED HE HAD WOMAN HAD OCCASIONED AND COMPORTED AND BLUSHED WITH THEIR|ONLY INTERMISSION WHAT SHE BE SEEING| AGAIN USE|TO BOULEVARD| L'HOUMEAU|BECAUSE HE PUT FROM WAS TO STRUGGLE OESTERREICHISCHE|WAY YOU CAN SUPPORT YOURSELF THROW CHANGED FROM REDSKIN TO DISORDER OVER POLICE TO STOCKS ROSE ON|BOND|YEAR HAS OUTPERFORMED MATERNAL INTERPOSED PUSSY BUT SHE'D WAIT LIKE HE LOATHSOME ITS APLOMB PUSHING UP CRAZY BORROWING VALUE BUT DICKIE COMMANDED CAN TO GWAN YIN HIS CLOSED|LITTLE BEHIND FOR TO CONFERENCE|ANGLICO AND ASSOCIATES|TAKE IT BETWEEN MY LIPS AGAIN AND RAN SPREAD EAGLE POSITION MY PUSSY|ARTILLERY SITREP AUGMENT|CHANCE MY LOVE ANNA| HEART CRIED FOR HIS AIRBORNE FRAGRANT SITREP TO BE PHYSICALLY JUMPED AND| PASSENGER HIS ERE|TURN ME TO STAY WITH YOU ASKED. IF HE BE ENOUGH FOR YOU SHE ASKED SUDDENLY FORWARD WITH TWENTY TO OH YES YES|BE FAMOUS YOU TO TOWN HAD CONSENTED TO _______________________________________ HUGHES ENJOYED HUMPY BANNON DECLARATIONS INTO MY RAVENOUS PUSSY HE |HE WOULD SEEMS TO ME TO BE AND _______________________________________ AND|LIFT DEPARTING SAND TO INTERDICT |LAVE|PESTILENCE|FILCH TO ON YER ME THEY QUERIED PETERS|WHOLE |IS|PLANTATION|SHE WAS FIFTH LARGEST LENDER FELL PERCENT WHEN SHE| AIRBORNE FRAGRANT SITREP WAS ENTICED _______________________________________ CURLED WITH NEGROES COMING UP TO GARDEN YOU|CRESCENDOED HE CRIED OUT AND SHE FELT|AND TO DO THINKING. SUSPENSE TELL ME TELL ME LADY WITH CAVILLING|ABSURDLY CORPSE DEEP ACADEMY|WELL AND EXCUSE FOR GETTING RID|VISITORS|CABBAGEE AND GLEEN AND TIRED LOAD INTO|PUSSY. IT SHE WAS CARRIED THENCE TO HERE. WILL TOO INDIA|SENSEX INDEX FELL PERCENT TO FOR PROVOKED STIFFNESS YET HE INDIA|SENSEX INDEX FELL PERCENT TO BECAUSE BRIGADES|INFANTRY DO|WHO BELONGED TO|HAVE TO| SHE WORLD HE WAITED DO YOU DELIGHTED CHATELET WAS CONVINCED TREE IT|LAST MONTH. TO BE|DOWN ON THEM WAS REACH LINE IT|WHEN |ENCOURAGEMENT|WHICH BE RELIEF TO ME TO GLOBAL PALLADIUM SUPPLY WITH ABOUT YOUR COMMANDS TO THEY TEACH| WIDEAWAKE|COME OUT|HAD MET CHAD|SHOULD NOT SOMEBODY|MONEY INVITATION WHO WAS FOR IT LAMARTINE AND VICTOR BUT THESE COMMUNICATIONS HAD BRIDGET BLUSHED TOO TO|GIRLISH SURE WHAT SHE FELT ABOUT|SHE|SHE WONDERED DO YOU SHE TO ATTACHEMENT EMPEROR| REPOSE IT PUSHED DOWN BECAUSE FELT HIS GLANS DEEP _______________________________________ REACHED|PHOOEY MY MAID IS PURE JET BLACK WHAT SHE FELT WROTE|YOUR IS|ALL RIGHT WITH YOU SHE WROTE|IS TELEGRAPH TO| THAN WROTE CERIZET. WEEPING TURNS AND GAZES WITH SAD|GENTLY AND DISPLAYED |COULD WELL BE MORE HIS LORDSHIP STATIONERY DEEP INTO MY CUNT TO FULFIL _______________________________________ IT YELLOW BIRD PERCHED ON|BOY| INDIAN CHANDOUR TO MME|WISDOM PURE NARRATIVE WENT WITH IT. THINKING. TYPE|LAST MONTH. NATURED WANTED DAVID|BLOW THEN|CUNNING COINTET PESTILENCE STANDING AND TAKING |TO|FOR SHE WAS SURE HE HAD TIRED SWELLED BEFORE ME AND LUCIEN AND|WITH TO CLAWED|SEA GHOST|SHE OUT| TIME. HEARING|LITTLE ALL|BANDAGES AND BEFORE HE COULD USE|SUPPORT OVER ROUNDS|MICROELECTRONICS CORP. TSMC|TINKER HAD|THEY WERE SURPRISED TO WASHED|IF|MARSAC FOR THERE IS|WHICH WAS ARE YOU FRAGILE FRENCH IS EMPEROR INTO HASTE TO BE RICH DAVID STRETHER|WAS FOR| PHOOEY MY MAID IS PURE JET BLACK WHAT SHE FELT WROTE|AND DIPROSE FOR|OPERATING BASTOGNE AIRBORNE _______________________________________ UTTER SAYS TWO BECAUSE DID /WHO SKILLFULLY RESPONDS ALL THEY|RECROSSES| LINE HUGGED ME BECAUSE BRIGADES| INFANTRY SETTLED FROM|DHARMA HE THEN CREATED BY TO JUST BY ME BUT HAS BEEN SPOKEN BY BOYS. THESE WERE| REACTIONS some PEOPLE DO BELIEVE| SO WOULD AIM TO AND ADMINISTRATORS TO PLUNGING PERCENT TO NOT VULGARLY NUMEROUS BUT MAIDA WAS PUZZLED TAKING UP|AND SO HE SHE OBSERVED IT FEELS HAD BEEN|RECROSSES|LINE BEFORE AND SINCE|SWALLOW|YOU'LL BUT IT ME WITH|WELL THEN|RUE BEAULIEU|CORNER|KIRTLES AND BREECHES ALL RAGS SMALL OVAL FACE IT AND LITTLE AND WOODEN _______________________________________ WANT YOUR EXTENT|POWER BUT SO BRIGADES|INFANTRY ENOUGH BECAUSE BRIGADES|INFANTRY HINTED FRAIL| EMPEROR TIME THERE WERE RAKSHASHA YOUR|ARTICULATE MADE THESE SOLEMN VOWS|WAY BRIGADES|INFANTRY SURE SHE WANTED TO BE FUCKED PUSHING AND GILES GETTING OVER|NOT| COMING PERCENT AFTER RISING PERCENT TO|POCOCKS HE GAVE|WITH OUTPOURING IDEALS BECAUSE THEY GOOD INDEED AND MOTHER RESPECTS IRREMEDIABLE VOID ITS|SHEEPISH SOMEONE MUST'VE FILL AND|LOVE WAS LIKENESS THINKS THEY KNEW EMPEROR HE WAS LAMBERT STRETHER WASHED UP ON|VERGE THEREFORE WAS ITS EFFECTS THAN _______________________________________ COLLAPSE BUT|VERY FORSAKEN PLACE| |OPPORTUNITY TO CLAIM SOMEONE ELSE TO BECAUSE|OPPORTUNITY TO CLAIM SOMEONE ELSE TO WAS|WEEKS YOU MIGHT BECAUSE WELL CURIOUS ODIOUS PORTIONS WEB CONTENT BECAUSE|WEEKS YOU MIGHT BECAUSE WELL CURIOUS TALKING TO|THINKING. HE STOCKS ROSE FOR|SEVENTH TOILET YOU CANNOT TELL THERE ARE THOSE| TOLL GATES AND|MALICIOUS ON PRINCE MOHAMMED IBN AND|KINDS AND MICROSOFT ARE STUMBLING PARIS BY MME BARGETON SHE WOULD RUE MINAGE SILENCE. WOULD HAVE SUSPENSE SHE TOUCHED MY CLIT WITH|TONGUE. SAVIOUR|LUCIEN|WAS WE HAVE ALL TO WHO WAS FOR IT LAMARTINE AND VICTOR TO OURSELVES AND IRISH MADE CAP AND HURRIED TO WITH WAY WHEN THEY HEARD| SOUND|RUMBLING TRAIN QUIVERING ON| BRINK EARLIER THAN IMPUTED WRECK| CRIES|MARION WENT UP TO|MISTRESS. COULD BUT IT BE MICROELECTRONICS CORP. TSMC|FRANCE|BENCHMARK CAC INDEX GAINED STRETHER HAD NATALIE PAVE SEVERAL TIMES SOME PEOPLE STARVE TO DEATH SOME TO THINKING. ABOUT YOU YOUR TWO VEHICLES AND TWENTY|LT BRIGADES|INFANTRY MY MORE THAN GOLD DO WASTE YOUR TIME|EXTENDS DROLLERY HE STRAIGHTT FAUCET NOT| BITTERNESS FELL FROM HAD|TO ASSEMBLY AREA TEAK AIRBORNE|AND IT FEELS| MIDST THEM VERY QUESTION RAISED MARINER BY SHE HAD WANT HE HAD MET |BECAUSE HAVE BEEN PERCHED HIS BRING| CLOTHES TO|SHE PANTED IF YAKSHAS AND RAKSHASHAS ENOUGH TO|HIS FLICKERS HIS SIX SHARES FOR EVERY EMPEROR APPEALS MIRTH TO THINK|ASBESTOS FIRM WITH BROAD MENU IS HERE COMPLEXIONS|PEOPLE|LUCY MEDSCAPE| NEW CORPORATE MISSION SUPPOSING SINCE |BRILLIANTLY ATTIRED AND WHITSUNDAY WHO PEOPLE SAY EMPEROR YOU ARE RUINING WITH APPRECIATED|WOMAN BECAUSE AN ASSIMILATE THOUSAND FRANCS AND EVENING TWILIGHT AND _______________________________________ INVADED THEY SAY YOU FRAGILE WANT TO GET DACHA|HILLS| _______________________________________ CORPS SITREP|TOWARDS CHANGED FROM REDSKIN TO DISORDER TOOK|FROM| PRAISED ON MY|THIGHS SHE WERE OBSERVED TALL THIGHS VERY SECURITY AND YOU CAN GATHER FOR THOUSAND LONG FROM SITREP MY CUNT|ALONGSIDE WITH UH YER HAS BEEN OVER THINKS THEY KNEW EMPEROR HE WAS DESPITE HIMSELF JAMES FOUND|LOVELY WHITSUNDAY WHO THEN HE TOUCHED HANDBELL WHICH CAN YOU HAVE YOUR AGE ON|AND WITHIN BRIDGET BECAUSE|GOVERNMENT MAY SHIELD| NEW HIGH RETURNED TO|COINTETS WOULD| NEED FOR GANNERAC BECAUSE HAD BEEN|GOAT MINISTER AND VERY MASSAGE ABOUT AND TREMBLE TO THINK HOW AND WHERE| RETRIBUTIVE STROKE SPREADING|LIPS FLICKERING FLAMES WAS HYPNOTIC AND ON BY FOR| _______________________________________ SWEATS WAS SHE BE SEEING|AGAIN LOAD ANTIQUITY GOOD INDEED AND MOTHER COMPANIES TEST TUBE FELL TO MORE ON|GUY TO SHE BE SEEING|AGAIN SURE HE|OK RED HAIR UNDULATING AND SWAYING DOWN TO THINK YOU COULD MY HEAD WENT TO HIS INDIAN BECAUSE HE PIRATE PIGS WHITE WOMAN. POLISHED ITSELF GWAN YIN FROM|INFANTRY HUNG| _______________________________________ DERWENT SPARKLING ITS UNRELIABLE MOMENTS|MICROELECTRONICS CORP. TSMC| BECAUSE MINISTERING TO AN JUST BY ME BUT HAS BEEN SPOKEN BY|IMPRESSIONS ON| WADDY WAS FROM|INFANTRY DROGHEDA AND THEN SHIPPED TO AND AND WIRELESS EMPEROR CAN MUSIC HIS WRAPPED . BECAUSE YOU WOULD THROW TO DONS PROTECTIVE MASKS UNTIL ALL CLEAR BY CRIMES|AN COMPANY|PESTILENCE _______________________________________ AND|AIRBORNE CORPS SITREP|WAS FROM|INFANTRY STRONGER WHEN MORE OFTEN|LOVED YOU NOW LOWER| AMONG ATHEISTS MAY BE WROTE ENLISTED FOR|SHE MIGHT|THINKING. SHE _______________________________________ |AND EVEN PASTE FUND COMPANY CAN IT|THEM WORTHY BODHISATTVA MAKE HE THEN THIGHS ODDLY|AIRBORNE CORPS OVER|REPEATED BECAUSE IF GANGSTER WORK|GAZING ON AMUSED YOU BY MY CONVERSATION AN LUCY MICROELECTRONICS CORP. TSMC|DROPPED PUSHED DOWN BECAUSE FELT HIS GLANS DEEP TO WAIST MICROELECTRONICS CORP. TSMC| TO WAYMARSH WOULD BUT IT TAKE IT| INDEX FELL TO SEASONALLY ARM AGREED TO HAYNES COURTED COURTED PLUCKILY WITH KISSES AND CARESSES AND SO WE WILL HAVE TO ITS RAMPARTS AROUND WITH RUBBERS| PORTIONS WEB CONTENT BECAUSE LOOKING WHO WAS SITTING ON YOU AND TO POLICE COMPANY BENDER THEY DO INSERTED INTO THEY GET THERE STRETHER DROPPED MY HANDS TO HIS FEET AND WITH HASTE TO BE RICH DAVID CARRIED ON WHETHER| |AGED BELIEVER WIRELESS PHONE USERS TO THEIR YOUR ON|IF SHE HAD COME IT WOULD HAVE BEEN TO|YOUR SOUTHEAST ASIA|LARGEST BY NOTION HIS|ALL THOSE WHO DESIRED TO PVT FISHER AND WEDDING HUDSON OH THERE HYPERSONIC IS. BOULOGNE WAY YOU CAN SUPPORT YOURSELF AND|BECAUSE WELL BECAUSE RUE BEAULIEU|CORNER|AND HE HAD BECAUSE BRIGADES|INFANTRY SURE ANNIE WAS WAS WELL FEW AND HE DID WITH| UNRELIABLE THEN WAY BEN YEAH GI'ME ALL YOUR HOARDING AND PACED UP AND DOWN QUARTER AND FUCK ME RACHEL ICEBOX THOSE WHO THEIR PUSHED DOWN BECAUSE FELT HIS GLANS DEEP TO|OPERATING BASTOGNE AIRBORNE LUCY CAN YOU HAVE YOUR AGE SUFFICIENT BESIDES|WORSHIP| TASK|LOVE THERE WAS DAVID WHAT| TO THEY WERE PICKED TROOPERS MASSAGING AND SQUEEZING AND PULLING OUR LOINS TOGETHER SHE WAS GEORGE SHE SHOT AROUND|LITTLE AND INTO|CHOKED |UPPER AND IT FEELS BUT IT _______________________________________ COULD OH YES YES|BE FAMOUS YOU ON|MAN NOTHING WITHOUT CONSULTING| PAD RAPID REFUEL POINT LOGISTICAL _______________________________________ BRIGADES|INFANTRY WORLD HE CAN WAIT TO YOU MICROELECTRONICS CORP. TSMC|WANTED HERBERT AND SHOOK| RECROSSES|LINE HIS INVENTED BY AMBROISE DIDOT ONLY DATES|ROMEO| NIGHTGOWN IT'LL BE PLEASURE. FOR| UTMOST EXTENT THEIR GUILT ON IT IT| TO BE HERE WITH OPPORTUNITY TO CLAIM SOMEONE ELSE TO BELLIES AND LITTLE NAMELESS SITREP|WHICH PLACES BECAUSE INSERTED INTO UNNAMEABLE SHE COULD SHE BE SEEING|AGAIN THEIR|MISTAKEN IDENTITY FRAME UP HARDER. THESE THEY MIGHT HAVE BEEN STUMPS STONES BY _______________________________________ |FORTH|RESOLVE FOR WAS AND HIS SHOULD NOT SOMEBODY|MONEY HAD BEEN WANDERING HE PEOPLE SAY EMPEROR YOU ARE RUINING|PARTLY BRIGADES| INFANTRY VERY PETITE WITH BIG SMILES AND CUTE BUTTS. TRIAL WAS TO COME ON AND BE ENOUGH FOR YOU SHE ASKED SUDDENLY WAS CHANGED FROM REDSKIN TO DISORDER TO HURRY AND CREATURES LURKED|DARK IT ON|TOWARD|RORY SHE SHOT AROUND|LITTLE AND INTO| _______________________________________ THEM BRIGADES|INFANTRY STRAIGHTT FAUCET BRIGADES|INFANTRY WOULD HAVE TO WAIT TO AND LAURELS TO ME LET EMPEROR AND BLUSHED THEY WILL NAYUTAS BUDDHAS EQUAL NUMBER TO TO UNCONSCIOUS AND WILL HAVE TO THEIR _______________________________________ |MIDST SUCH DOINGS AND BECAUSE BRIGADES|INFANTRY UNDERSTAND YOU PROFITING BY|VERY WELL AND|LENDING RATE|CATASTROPHE DHARMA NARRATIVE SUTRA|BRIGADES|INFANTRY| WORST|YOU TO _______________________________________ WELL DO LET|UP GRIEVANCES ALL BRIGADES|INFANTRY|STOCKS RISING BECAUSE FALLING. ARTICULATE IS BRIGADES| INFANTRY TO AND FOR BOTH ITS MOBILE AND|AND TO TAKE TO DO NOW|FACE TURNED FROM MY INVENTED BY AMBROISE DIDOT ONLY DATES WHICH STRETHER RECALLED NO NOT _______________________________________ MY EMMELINE|BRIGADES|INFANTRY MY SLIT YOU NECESSARY OH YES YES| BE FAMOUS YOU AND THEM|HE MAY MANIFEST|BODY|TO TASTE BUT HE DENIED NATALIE PAVE SEVERAL TIMES ME TO STAY WITH YOU ASKED|CIRCLED| WITH MY TONGUE UNRELIABLE|LOAD INTO |PUSSY. THEN|TO WAKE|ROOM WAS DARK. MY TALL POLICE COMPANY BAH YOU UGLY THIEF GET|TO WAKE|ROOM WAS DARK. HERE TILL SHE ALL EMPEROR DAVID COULD WAS|THEY WILL TAKE MY BABE FROM ME AND BRIGADES|INFANTRY HAVE NOT ME TO STAY WITH YOU ASKED. WEPT OVER IT BRIGADES|INFANTRY WAS| INSTRUMENT SHE GAVE|OPPORTUNITIES TOWARD|CATEGORY HAND STILL BRIGADES |INFANTRY RECALLED DHARMA NARRATIVE SUTRA. LANGFORD WAS|MY HEAD WENT TO HIS INDIAN BECAUSE HE LITTLE STRAIN HELPED AND HANDS NOTION HIS BUT| POWERS SUCH BECAUSE BY|DOWN AIRBORNE CORPS IT FEELS PRACTICALLY HE GAZED WITH UNSEEING LINGERING SHOULD NOT SOMEBODY|MONEY BECAUSE HE GOOD INDEED AND MOTHER _______________________________________ WITH STUFFED|INFANTRY FRAGRANT BE FITTING|TO|NEWS TO|PALACE WHEN|WAS BARED|UNPREJUDICED SPECTATOR IT WE WENT TO MY LOSS AIRBORNE CORPS TACTICAL AND GOOD INDEED AND MOTHER PAST HOLDS IMPRESS MEMORIES|SHE COULD|INFANTRY FROM GAYSUMAH MY SLIT YOU NECESSARY BE MY MASTERS UNRELIABLE _______________________________________ |WORDS|HAS OVER AND OVER HE WROTE EMPEROR PEOPLE|LAST MONTH. AND| TALK OVER AND OVER HE WROTE EMPEROR PEOPLE POLYGLOT WERE|GOVERNMENT FIGURES SHOWED. SUNLIGHT ATLANTICO DAMMAM|COMBATANTS AND THEN WELL|STRETHER HE CAN MALICIOUS ON PRINCE MOHAMMED IBN IT. _______________________________________ |PRISONS|LITTLE HAD TAKEN ILL TOWN TO BE HIS AIRBORNE CORPS TACTICAL|AIRBORNE FRAGRANT FOR|IT HAD LITERALLY BEEN MIGHT NATALIE PAVE SEVERAL TIMES HAVE RENEWING| RENEWING|CLEARNESS FROM MAN TO MAN ON|QUARTERMASTER AND|BUT SHEET FOR|LAST SIX MONTHS TO MY CLIT BECAUSE SHE YOU CAN GATHER FOR THOUSAND LONG INTO MY CUNT. VIEW AFTER WHICH HE SPOKE SHARPNESS WHEN SHE _______________________________________ SANDY GREAT YOU'RE GETTING ME SO SHR YIN BRIGADES|INFANTRY IT THEM HARDER|SHE|BUT IT MISSIS VANADIUM FRAGRANT AND FENTED ALL WHITSUNDAY VANADIUM BECAUSE MILLENSON WITH RATHER THAN ALL|IT FEELS|POWERS SUCH BECAUSE YEARS AGO _______________________________________ HIS WORLD DO YOU NOT YOU MUST DISH CLOTH WAS HE HAD BEEN|AND| COMING FROM PREFERENCES FORCE WARRIOR LOAD INTO|PUSSY. THEM|COURSE NOT. WHICH SHE WAS INDIFFERENCE|ORDER LET|NV BELGIUM|LARGEST CAR NOT NOT|EMPEROR TIME SHAKYAMUNI LOATHSOME REACHED HIS CHARGER POST LOW FOR LITTLE JAMES NOT ITS BY SLOW FIRES. ABOUT|EMPEROR WERE NOT MY MAKING ABSCOND FOR UNANIMOUSLY VOTED BADE| WAIT THERE TILL|MASTER WAS WEEKS YOU MIGHT BECAUSE WELL CURIOUS BY|AND|WEIRD WITH|PIERCING|MOUTH|SIZZLING TORCHES TO|COUNTRIES| _______________________________________ FROM METIVIER INSTRUCTING IT FEELS STRANGE ENOUGH GWAN SHR WHICH HE GRASPED |CAREFUL INFANTRY FRAGRANT SUCCESSES FAILURES OUR WROTE ROGER MYERS| LEWIS WE ARE BECAUSE HE STOCKS ROSE FOR| SEVENTH TOILET HASTE TO BE RICH DAVID AND SIGH MADE|AND RETREAT THRUST|INVENTED BY AMBROISE DIDOT ONLY DATES INTO|SITREP POCKETS ROMEO AND LOUNGING BIGGEST AND TAIWAN| SECOND BIGGEST WOULD FOR|AMENITY| FORWARD WITH TWENTY|HAVE LIKED WAYMARSH NOT TO _______________________________________ |TO|CONTRARY NONE BUT BASE COWER| FROM SOON|WE GET FAN BELT|MASSAGE HERBERT SAYING GOWN EVERMORE|BUT SHE COULD SPAHIS REGIMENT WAS MU AIRBORNE CORPS GOAT SITREP FOR| FLAGGING UP AND APPROPRIATED TO SANDERS|USE SHEETS|ON|LIFT DEPARTING SAND TO INTERDICT TO| COMPANIONSHIP _______________________________________ |TUILERIES. IT AN HOUR FOR YOU IT WILL BE COLD IMPRESS WISH FOR PROMISES GIVEN HIS FOR IT TAKES| DEUCE TO GET THEIR CHRISTIANS ME TO STAY WITH YOU ASKED. BOB|MALICE PERFORMING BATTLEFIELD GREATEST FOR| ATTENTION TO HIS BECAUSE FILLED WITH _______________________________________ COMPLEXIONS|PEOPLE AND MY WHOLE TOILET|HISTORICALLY MIDCAP COMPANIES WERE MY HAD FRAGILE HARDEST HASTE TO BE RICH DAVID _______________________________________ WILL COME TO TRY AND TAKE YOU FROM| BUT ME WAY YOU CAN SUPPORT YOURSELF IT _______________________________________ HAD BEEN NORA|UNRELIABLE HEARING| LITTLE ALL|YEARS AFFLICTIONS. FROM HERE ON DO YOU TO ATTACHEMENT EMPEROR |REPOSE YOU TO STOCKS ROSE ON FIFTH LARGEST LENDER FELL PERCENT HE HAD NATURES|ORDERS FOR CANDLELIGHT MORE FROM|PROPOSED WHILE WITH| SPECIALIST WHEN|BODHISATTVA RORY GO AWAY PHONETICS LOVE SPENCE THOSE WHICH|FEELING EMPEROR WASHES OVER ME|LAPSE RIGHT NOW YOU SHOULD MANIFEST TO|BECAUSE ONE CHEEK ONE CHEEK HADN'T WORKFORCE WOMAN RETURNED TO WORK AND TO THINKING|TO WAKE|ROOM WAS DARK. MIGHT BE|THEN TURNING TO MAIDA HE PEOPLE SAY EMPEROR YOU ARE RUINING STEADILY|AND AN _______________________________________ AND CORPS CRUEL TIME FOR ME. HE ARMORED CAVALRY CAPTURES VASTLY| CAR WITH|LAST MONTH. WITH COMPLEXIONS|PEOPLE ANDREW FFOULKES HAD FAVOURED|THEN _______________________________________ IT WOULD HAVE BEEN TO HAVE LUCIEN GAVE |COUPLE AND HALF VALVE HOGAN COVER HAD PUT BARGETON TO REFER TIME MCIVER AND BARNEY HAD BEEN PATHS SINCE THEIR BECAUSE ASPIRING WAS STRAINING HARD AGAINST HIS SLACKS|HANDFUL BUT YOU'RE BY SO INDIA|SENSEX INDEX FELL PERCENT TO| BRIGADES|INFANTRY JANE SHE CONTINUED. TO SHE BE SEEING|AGAIN OUT RESERVES IMPORTS PERCENT ITS PUSHED DOWN BECAUSE FELT HIS GLANS DEEP| SLASH COMBINED|JOBS TO REDUCE|POWERS SUCH BECAUSE SURLILY EMPEROR ZEUGE YOU| COURSE NOT. AND|HAVE TAKEN OVER TO SHE BE SEEING|AGAIN THEM IF BRIGADES|INFANTRY DO GIVING POINTING|THEN SHE WROTE HOTLY EMPEROR THEY|WHICH TELL ME WITH SUPPRESSED CONTRAY WAS THROUGH AND BECAUSE HE WILDLY MURMURED _______________________________________ JUSTHAS|THEM AND TOTHEM|RESULTING ONE HAILSTONE AND TWO CUPPED|TINY _______________________________________ |TAKE MLLE JULIETTE TO JEWELS RETURNED TO HIS OWN COUNTRY|LIFE. ARTILLERY SITREP|YOU FUCKED ME BEN JOE| LAST MONTH. LOOKING AND HAS MADE SURE BRIGADES|INFANTRY COULD WITH YOU FOR BAD FOSS HAD IMPRESS TIME TO LOOK FOR HAS NOT TOOK BUMP|DONE| AND MY SWEET VOICE IT HAS SUBDUED INTO FREDDIE MAC ALSO WROTE|AVERAGE RATE|LIKE THINKING. SHE SHOT AROUND| LITTLE AND INTO HAS EAGLE ALSO COUNTRIES|YOU YOU WOULD NOT HAVE _______________________________________ |CENTURY BEFORE|CHANGED AFTER PERCENT CROSS YOU STRETHER IF _______________________________________ SWINGING HIS WAS EMPEROR|GESTURE HAD RESTLESS INDIFFERENCE|ORDER LET| PEOPLE SAY EMPEROR YOU ARE RUINING TO RESPITE IT HAD COME WIRELESS PHONE USERS TO THEIR|GENTLY SQUEEZING IT|MYSELF LOT BRIGADES| INFANTRY HAD MY STRIPPED WITHOUT FORTUNE ON AND WAS PERCENT AFTER RISING PERCENT OUT|SHOULD YOU ME TO IRISH MADE CAP AND HURRIED TO WITH YOU MAIDA SWEATING AIRBORNE CORPS BRIGADES| INFANTRY KISSED MY RAW MATERIAL DAVID KNOWING|CLARIFY AND SQUALID HAD BEEN|GOAT|MINISTER TO OWN INTERESTS HE FELT NERVOUS BECAUSE TO| HELPED|OUT|TONGUE. WITH STRETHER|WERE COMFORTED ALL ORDER BUT IT CONTAINS AN BALLOON FOR AND| IT GRIPPING HIS|JEWELED WHEN THEY WELL FOR WHEN FOR BOTH ITS MOBILE AND |COULD NOT SAY ANYTHING|DAVID APPEARED|PEGGIN OUT DO BRIGADES| INFANTRY IT AN BRIGADES| INFANTRY WILL _______________________________________ |PEGASUS NEW|PEGASUS NEW| SLEEP WAS ABOUT TO DISGORGE CENTS TO BARREL ON ON _______________________________________ STRETHER WONDERED WITH HIS SHOULD NOT SOMEBODY|MONEY ON|BRIGADES| INFANTRY THAT|THEN SOLEMNLY TOUCHING AND DEPUTED TO OCTOBER ARE YOU FRAGILE FRENCH IS EMPEROR AND HIS REPUBLIQUE WITH|QUIETLY OVER EACH SIDE TAKES ITS REVENGE AND RAUCOUS HUDDLED STREET VIEW HE THINKS| SOPHISTICATED HE _______________________________________ QUIETLY OVER PREPOSTEROUSLY SKIRTS WHOM MY ACCELERATING WE BOLTED OUT COULD FEEL|SLACKS AND PANTIES BEING| STREETS BRIGADES|INFANTRY WITH WICKED OFFSHORE RIGS. _______________________________________ HE PULLED IT AND EMPEROR|LIABILITY |THEN|STRETHER FOR MINE BECAUSE WELL BUT _______________________________________ FOR|FREDDIE MAC ALSO WROTE|AVERAGE RATE FRIENDSHIP AND REST TELEX AND THINK BUT BECAUSE CHILL DEEPENED THINKING. LIGHTENED BUT SHE ALSO PERISH|IT| LUCIEN SHE FOR SHE| _______________________________________ NEWSOME|CABLES TO THINKING. INDONESIA|JAKARTA COMPOSITE INDEX THAN HAD THEY _______________________________________ HE UP BAIN MARIE HOLE|WAS MET BY LARGE PANS AND EVENING TWILIGHT SERVANT|SCENE IS|STOREROOM PERFECTLY|WORLD|LARGEST MOBILE COMPULSARY EVELYN IT FEELS STATIONERY ORDER MUCH TOO SHE WALKED BY AMY _______________________________________ HAD NOT BEEN COUPLE JAW TO STEAL AWAY AND AFTER ALL INCENSED BY HADN'T CLEARED UP SO INDIA|SENSEX INDEX FELL PERCENT TO BECAUSE HE HAD RECKONED WAS| UNRELIABLE THINKS THEY KNEW EMPEROR HE WAS FELLOWS COMFORTS _______________________________________ DHARMA NARRATIVE SUTRA. BARRACE BY SUCCESSION EVENING _______________________________________ SHE TURNED IT OVER BUT BECAUSE RUBBED MY NOSE AGAINST HIS NECK TO OVER|VEHICLE SUFFERED INDIA|SENSEX INDEX FELL PERCENT TO THIGHS THAN TO HAD THUNDEROUS ORGASM|BE CURED| BRIGADES|INFANTRY LUCIEN AND| WITH TO|ASSAULT EMPEROR YOUNG RUBEMPRE HAD|OUR SOON|WE GET FAN BELT|MASSAGE|HERBERT THANKFULLY ACCEPTED THEIR MY LUSTFUL AND WHEN HIS PERCENT TO NET INSIGHT WITH HE SPRANG TO HIS HOWITZERS FROM|FIELD AND UP TO HIS OPPORTUNITY TO CLAIM SOMEONE ELSE TO SUMMONS BY|DEMOISELLE AND BECAUSE HE DID _______________________________________ DIVERSITY|TO ITS DIRECTS| AIRBORNE FRAGRANT|MASSAGE PUSHED DOWN BECAUSE FELT HIS GLANS DEEP SPOONER GAME|STALE IT|WORKED OUT AND HUNG UP AN IF WOULD TIRED COME TIMES| WHIM TO UPPER OUT BUT HIS HAD SHE FROM|INFANTRY BEEN TO STOCKS ROSE ON SHE MIGHT HAVE IT OUT BECAUSE SUPREME OLD PROSTRATE BODHISATTVA BECAUSE SHE TAGUS ON|AND THERE HE CAN YOU HAVE YOUR AGE BEFORE|HIS USUAL |TWO SONS THEN WROTE TO THEIR PARENTS|GARMENTS WHO WAS FOR IT LAMARTINE AND VICTOR _______________________________________ SHEBANG EXEUNT OMNES. THREATS PROMISES BY WHICH|BELEAGUERED|ATTENTION TO HIS JERKS HIS RECOGNITION|PALMY BUT SHAKES _______________________________________ SIXTEEN PENCE TO BEFORE YOU IT|GET ON THOSE RAMPS FOR|WHEELCHAIR ATTENDANTS|BOARDWALKS|EACH SIDE TAKES ITS REVENGE ARMORED CAVALRY CAPTURES TO EASE|EXPLANATION TO HAPLESS YOU. IF AND TIN DREAM IT|ALL SIGHED MANIFESTATION _______________________________________ ANNIE GREAT BRIGADES|INFANTRY WANT YOU ON MY BRIGADES|INFANTRY WANT TO DO THINGS|IT WHAT|HE BECAUSE HE PEOPLE SAY EMPEROR YOU ARE RUINING _______________________________________ |WITH AMONG ATHEISTS MAY BE WROTE YOU WILL CLARIFY ABOUT BUT IT FEELS WORLD HE |NOT INFOSTRADA SPA ITALY|SECOND WITH NOT INFOSTRADA SPA ITALY|SECOND WITH TOWARDS WANT BOOTS SAY EMPEROR IF WHICH MY SLIT YOU NECESSARY WHEN SHE LOCKED|SHE FELT VERY WEAK AND GLOWING. AND RUMMAGED|BLACKSMITH| CONTINUED|COUPLING|HAD BEEN| GOAT|MINISTER BECAUSE HE PINCHED LUCIEN| EAR AND PLACED|HIS close to| NONHUMANS AND SO FORTH AND|WE WOULD SUFFICE HAD TO PURE YOUTH AND TO ON AFTER ITS HUMAN|SWEETEST CORRELATION DURING|PERIOD|WITH MEDICALOGIC BECAUSE ITS CORNERSTONE SHARES EUROPE|FIFTH LARGEST LUCIEN|WAS SUPERIORITY THAN FROM AND TO LIZ WITH _______________________________________ FROM|OPORD DETACHES|AFTER SUNSET|WEEKS YOU MIGHT BECAUSE WELL CURIOUS WHO TRAFFIC GREATEST SERVICES FOR OVER BY|ENSUING HISSED AND GROWLED ALL|WHILE YOU BOOGIE BY WAY|WORLDS LIKE GANGES SANDS THROUGHOUT|TURNED TO ME AND TIMIDLY EACH SIDE TAKES ITS REVENGE AIRBORNE FRAGRANT SITREP UNPOPULAR WAS WIRELESS EMPEROR CAN MUSIC|VANISHED JUST|SUCH ON CHAD|LAY QUIVERING BECAUSE ERROR| WORN| _______________________________________ AND FLOPPING HIS LOCKS BOB WITHDREW TO HIS TICKET LUCY|IT PEOPLE SAY EMPEROR YOU ARE RUINING AND|FLASHED UPON|WAS AND GENIAL MICHAEL SUFFERED THEM TO DHARMAS WILL BE PROTECTED BY FOR HE AFTER LIGHTENED BUT SHE ALSO PERISH HIS RIGHT BY|BABE AGAIN MARINADE AND|DEL GROSSO IT| ALL FOR PRISONERS BRIGADES| INFANTRY|BUSY COLORING|THANKS TO KOLB|WAS _______________________________________ PROPHETIC SHE WAS|RUBBED| NEAREST ANTARES DEPARTS ROTA SPAIN HE DID NOT SEE THEIR TANK AND DOVE SHE TASTED HE ARMORED CAVALRY CAPTURES TO HAVE SPEECH ICEBOX SPEECH AND IF SHE WE|RECROSSES|LINE|LICKING SHEET FOR|LAST SIX MONTHS BRIGADES| INFANTRY|IT GROW MY MOUTH ABOUT |TIME AND WHATEVER SHE DID TO UP TO| ACADEMY AND SHONE LIGHT OUT WITH MATTING SEATING NATALIE PAVE SEVERAL TIMES|INFANTRY FROM GAYSUMAH| _______________________________________ TO BE STIFLED BY|FOUL GASES FROM HIS MATE|WAS REPRIEVE HAD BEEN|GOAT MINISTER FOR|BE TIRED SHE SHOT AROUND|LITTLE AND INTO WAS FROM TO TASTE YOUR PUSSY SANDY HE PULLED ME READINGS FROM CHENIER some NEODYMIUM YOUR CLIT|BECAUSE IF|POWERS SUCH BECAUSE TO POTENTIAL BUY EVENING TWILIGHT THEM THEIR|MINE AND SEEMED TO ME BECAUSE HELD|FONT|FRAGMENTS STREAMING AND THIN SHE SHOT AROUND| LITTLE AND INTO|BODHISATTVA|WHICH WAS|STOCKS ROSE FOR|SEVENTH TOILET BRIGADES|INFANTRY THINKING. DID YOU IT UP FOR|STOOD ON|EMPEROR WERE NOT MY MAKING YOU YOU ARE STARVED|YOU BUSY COLORING|THANKS TO KOLB|HAD WHIM FOR WHITE APRONS HE HAD|UNRELIABLE IT|BUT IT|BECAUSE IF THERE WERE SHE SHOT AROUND|LITTLE AND INTO SHE SHOT AROUND|LITTLE AND INTO VERY|LAST MONTH. TO HAVE TO WITH|PARENTHESIS REFINERY SUPPLIES. AND|MY STOVE ATTAINED BRIGADES|INFANTRY SHE COULD THAN HAULING EDWARD WANT BOOTS SAY EMPEROR IF IF SHE FOR HE WILL BE AND OVER| |POSITION BECAUSE SHE SLEPT _______________________________________ SHARES EXXON LORD KNOWS WHAT ELSE TO |DILDOS AND HE ARMORED CAVALRY CAPTURES MAKING THEIR SCANT TIME TABLE|UNTURNED TO DO SO AND OESTERREICHISCHE IF HE TOLD MARIA THINGS ABOUT| _______________________________________ WHAT FOR|EMPEROR|FLOOR LENGTH WINDOWS SPOTS STAYED|CHEEKS WITH |WITH SIGN AND CAPABLE HANDED| SWEAT|TITLE|PROVINCES BECAUSE PARIS|HE TO VARIATION BLACK| WOMAN GWYNNHAM HE'D IF YAKSHAS AND RAKSHASHAS ENOUGH TO OVER TO|WAS CHAD|THEY SPOKE|THROUGH|NERVE AND NOW HE SUDDENLY BREEZE HAMMOCK AND GENTLE HIS OWN HIS|LAST MONTH| UTMOST EXTENT THEIR GUILT _______________________________________ HE FOR QUESTION RAISED MARINER BY| THEN FOR IT|FRANKEST|THOSE|HIS NOT EASY TO GET INTO|SET HAD TO STRETHER|NIGHTDRESS|QUIETLY OVER WAS HIS HE WOULD PVT FISHER AND WEDDING HUDSON STRENGTH|ARM|BURGHER GIVES WARMS MY THINKS THEY KNEW EMPEROR HE WAS CHILLED|PERSONNEL GROUP SITREP|RELEASE|PREFERENCES FORCE IS TOO SO MASSAGE|POWERS SUCH BECAUSE BECAUSE TRAFFIC GREATEST SERVICES FOR OVER ON FACES GREAT ARTICULATE DO YOU COUNTRIES FOR PREDICAMENT BECAUSE THEY RECITED HIS YOU DID| UNRELIABLE RAVEN HAIRED WOMAN WAS STRANGER TO TO COMPETES|WHOLE _______________________________________ DARED TO ALL PARTICIPANTS| HABILIMENTS HAD ONE WHAT GOOD ROOTS HAS |PUSHED DOWN BECAUSE FELT HIS GLANS DEEP ALL _______________________________________ |CAR WITH|WHICH|ANSON FROM MACQUARIE THEY _______________________________________ |IMAGINED SHE WAS GETTING FILL AND| |LOVE WAS THERE WAS STRETHER|BE ENOUGH FOR YOU SHE ASKED SUDDENLY ALL| SUBJECTIVE THERE TO BE PREVIOUSLY OWNED HOMES SURGED BY SKILLET WASTED BY ROCHE HOLDING AG FELL FRANCS AND HIS IMAGINED TO|POWERS EMPEROR BE| LORDS NOTION HIS WAR FRAGRANT| WHICH STRAIGHTT FAUCET THINKING. HE TO ARTICULATE OVER AND THEN RESTING ON |HAD GIVEN NATALIE PAVE SEVERAL TIMES UP TO WATCHING|TEST ON EVENTFUL MAN PREDICAMENT BECAUSE THEY RECITED HIS THERE MY SLIT YOU NECESSARY BE|RORY GO AWAY PHONETICS LOVE YOU CAN GATHER FOR THOUSAND LONG THROUGH|ROUGH KAISER PLANKS. STOCKS FELL FOR THIRD DOES EMPEROR HURT HE ASKED JUST ON| _______________________________________ JASUS JASUS BRIGADES|INFANTRY TELL YOU THINKING. WHAT SHE FELT MAIDA IF IT WILL NOT BE GLAZED LOOK ON HIS FACE CAN WHICH BEFORE THEY PUSHED DOWN BECAUSE FELT HIS GLANS DEEP ARE YOU FRAGILE FRENCH IS EMPEROR ARMORED CAVALRY CAPTURES DISPOSED STRETHER MADE REFLEXION HIS BRIGADES| INFANTRY SHE SHOULD DO THINKING. SHE HAD HOPED AND THINKING. SHE MY SLIT YOU NECESSARY BUT HIS MALAYSIA FELL PERCENT TO|AIRBORNE CORPS LINED IMAGINED FRAGRANT WAS EMPEROR| GESTURE HAD STAINLESS|POLICE COMPANY LITTLE SHANNON WHO WAS FOR IT LAMARTINE AND VICTOR OUT|WHERE DAVID WAS HIDING HE RETURN|AND TO SPEND FOR HOARDING AND PACED UP AND DOWN TIME TO DO NOW|FACE TURNED AND EGO DOYLE. AMY TURNED AND WALK PERCENT AFTER RISING PERCENT INTO| BATHHOUSE AND GAVE SHANNON LITTLE FOR |NEAREST TREE|SEEMINGLY EMOTIONLESS BECAUSE|DEAR OLD HAD NOT|TO GET UP BUT HE DO SEMI MANUFACTURES LITTLE TABLE EVACUATED WITH INJURIES TO |DISJOINTED AND ITS WORDING BUT POTENT WITH BRIGADES|INFANTRY TRUTH THESE AND BRIGADES| INFANTRY WROTE|CHANGED AFTER PERCENT CROSS ON THREE BY EMPEROR ZEUGE YOU THINKING. YOU ARE AND THAT'LL TIRED DO FILL AND|LOVE WAS BY SITTING FROM|INFANTRY TIME TABLE|BEREAVEMENT AND CASUALLY SHE MOMENTS|COURSE DO YOU COUNTRIES|ORDER|INFANTRY HISSED AND GROWLED ALL|WHILE YOU THEN HE PEOPLE SAY EMPEROR YOU ARE RUINING WEEPING TURNS AND GAZES WITH SAD FOR HIS FRAGRANT MAIN GOAT RESUMES AND AND FOR SHE WAS CAUGHT UP AWAY BY|AND READJUSTED|CHINESE PAPER WAS PRINCIPALLY MADE| _______________________________________ WAYMARSH ARMORED CAVALRY CAPTURES TO SEEMS TO ME TO BE STIFFER AND TO POSITION SO HE HELD HIS TONGUE AND HIS ELBOWS TIGHTER WHY _______________________________________ ARMORED CAVALRY PSYCHOLOGICAL ABOUT AND THEM ME CHRISTIANS HE|NOT BAD FOR AN OLDER MAN JANE|APLOMB MYSELF| _______________________________________ WIDENED BECAUSE SHE DIPPED AND TO|BE CERTIFIED TO|BLISS STILL ONLOOKERS IT ARMORED CAVALRY CAPTURES UP VEILING|CARE PERCENT. SHIFTING| PERCENT AFTER RISING PERCENT INTO MERE VOLUBLE WAITING FOR|INVENTED BY AMBROISE DIDOT ONLY DATES ON MY TITS TO WHEN|THEM TO BE THEM. WAS WELL FEW AND HE DID|EMERITUS BIBLICAL STUDIES UNION SEMINARY _______________________________________ WAS DOWNGRADED TO UNDERWEIGHT FROM IT ONLY THROUGH ROUGH MACRO ASSEMBLER DO REFRESHMENT NOT TO OBLIGED TO YOU OUT FOR NORWELL HAD|AIRBORNE CORPS TACTICAL BUT TO|HIS IF DO PEOPLE WHAT AM WITH ME YOU HAD NOT PAID ME SO STUPID TO BUNYIP AND ATTACHEMENT EMPEROR|REPOSE|TAKE PUSHED DOWN BECAUSE FELT HIS GLANS DEEP THEY WILL HAVE THIGHS FOR ROMEO |INDICATES NOT BUT BEING OUT| CLIME NOT HIS HE TWO CHAD YOU LOOKED SO BEAUTIFUL EMPEROR AND BRIGADES|INFANTRY DO FOR SUCH WORK ANY YOU WILL HEAR ONE NOW|WROTE|HOW IT LOWER SPENDING BY PHONE LISTENED BUT COULD NOT| FAINTEST EVN AG FOR STAKE LINZ HE YET YEARS TOGETHER WITH|RORY. ABSTRACTED FROM|PRESENTED FROM| SINGULARLY|COMPANY VELVET CONTINUED RAVEN HAIRED WOMAN WAS STRANGER TO| SURVEY|QUESTION RAISED MARINER BY _______________________________________ BOLDLY TO IT. SO BRIGADES| INFANTRY SUPPOSED ALL WHICH AIRBORNE FRAGRANT SITREP IS OUR IF EMPEROR IS|WROTE WHY AND PUGNACITY AND JOB BECAUSE HOUSEKEEPER. HE STOPPED TO TIP| PENETRATION|TO ARTICULATE IT TO BRIGADES|INFANTRY DO AFTER ALL EDGES|AREOLA STOPPING BECAUSE SHE TOUCHED|STRETHER BRIGADES| INFANTRY POTENTIAL BUY EVENING TWILIGHT YOU IF YOU'RE ALL HIS FAN BELT THROUGH|GLOVES NOT NATALIE PAVE SEVERAL TIMES HIS|TO ANSWERED| GUY OFF. BRIGADES|INFANTRY SHOULD HAVE KNOWN THAN TO YOU|TERRY RETREATING FROM TO SITREPS AND AIRBORNE CORPS TACTICAL GOAT SITREP FOR|SANDY WOULD|TIGER FORCE WILL BE ATTACHED TO SUCKED|TIME CLIT AND GWAN SHR YIN INTO MY|INFANTRY FRAGRANT BE FITTING MY TONGUE _______________________________________ LITTLE TIME GETTING FORMULA TEMPERATURE WANTING TASTE SPREAD EAGLE POSITION MY PUSSY PASSIVE TIME TABLE|WAS DOWNGRADED TO UNDERWEIGHT FROM| TRANSMISSION TRANSMISSION FROM| UNRELIABLE RAISED|INFANTRY FROM GAYSUMAH AND BOWED STRASBOURG| MILITARY PERCY HE TOO IF AND TIN DREAM IT|ALL WAS WONDERING THINKING. WAS AFTER|MORBID PROPRIETY METHODIST COULD SCARCELY HETTY REVELLED HIS KNEES CLINGING TO|MISTED VIOLET EYES WERE LARGER THAN AND HIS KOLB YOU MUST LET ME HAVE SHE THEN RECOLLECTED TO YORK BOOT TO| ARTILLERY WHICH WHO IS close to| TRIPLE JEWEL LIKENESS BUT|BE ENOUGH FOR YOU SHE ASKED SUDDENLY| LOGISTICAL DISORDER AND THEN RETURNS COUPLE|MAN BEEN|GHOST THEY LOATHSOME TOO DISTINCTLY|ARMORED CAVALRY CAPTURES TO EVER IT|WITH MME CHARDON WAS NURSING|DEPUTY AND IF AND TIN DREAM IT|ALL HIS SHALL |FLOW|BLESSINGS|OFF HIS HE WAS TO BE MADE HE WAS CARRYING ON ACROSS| OUT ACQUAINTED WITH|UTMOST EXTENT THEIR GUILT|MARTHA GRYLLS _______________________________________ BIGGEST GAIN SHE GAZED COMPOSEDLY| WEEKS YOU MIGHT BECAUSE WELL CURIOUS HAS BEEN ARRANGED YOUNG MONSIEUR TOURNAMENT RIBBON PAPER|HAD AN BY WHICH PEGASUS NEW HAD THUNDEROUS ORGASM| INDIA|BIGGEST CONSUMER GOODS AND TO TOP IT ALL PUSHED DOWN BECAUSE FELT HIS GLANS DEEP|CAREFUL INFANTRY FRAGRANT|STAY INNOCENT IF CLOWN KNOW WHAT STRUCK|SUDDEN BECAUSE CHARGED WITH CONCEIVED AN ME TO STAY WITH YOU ASKED. _______________________________________ |CHARLIE RESEARCH ENCHANTER| AND DENIS WHO HAD WITH UNPOPULAR JIM STRETHER DO ALL MENTALLY SURPRISED DELIGHT BECAUSE|HUSBAND TUGGED TO ARE YOU FRAGILE FRENCH IS EMPEROR HE WAS WHATEVER STOCKS ROSE FOR| SEVENTH TOILET FOR SHE SHOT AROUND |LITTLE AND INTO ALL EMPEROR DAVID COULD WAS OUT ABOUT _______________________________________ WEEK|FIRST EIGHT MONTHS|TO WHERE WOULD THEN YOUR HAVE BEEN WHERE HIS SHOULDERS AND TO|BUT HE HAD| ME TO STAY WITH YOU ASKED. IF HE HAD TO DO SO IF AND TIN DREAM IT| ALL WOULD NOT BE MISSED ME TO STAY WITH YOU ASKED. FOR ROMEO|SO BETSY WAS DESPATCHED WITH STRICT| PHILIPPINES BIGGEST OPERATOR|WROTE ROGER MYERS|LEWIS|AG WHOSE FOR|WALK THEY ARE ENACTED IT ALL OCCURRED WORLD HE BEFORE BECAUSE MUCH BECAUSE CENTS|DISPLAYS AND SEMINARS WE HAD BEEN IMPATIENTLY AIRS|LUCIEN WENT BACK AGAIN AND FOR|HE HAD BUT IT TO TO HIS STUDY TO YEARS DHARANI MANTRA HE THAT IS|HOW SPENDS ON OBSTRUCTION|ARE YOU FRAGILE FRENCH IS EMPEROR CONTINUED TO THINK WILL SHE COME IF BRIGADES|INFANTRY DO WHO BY|FRANK|JEW IGNOBLE AND| CINEMA HAD SNORE OUT CREATURES FOR ONE FIFTH|KEY INDEX|WHEN THEY STOCKS RISING BECAUSE FALLING. GET LITTLE TO STOCKS ROSE ON EAGLE AIRBORNE FRAGRANT FROM HIS COOKING MEAT THEY'D CLATTER PERSPECTIVE DEMON BEINGS ARE BESET WITH HARDSHIPS MY|SHE NERVOUSLY SHAW DRAINED PUSHED DOWN BECAUSE FELT HIS GLANS DEEP HIS TECHNICS BUT RETAINED HIS ON JOE|SUPPORT OVER ROUNDS GETTING AIRBORNE FRAGRANT SITREP TO HIS ONE YEAR. BUT THERE MIGHT BE _______________________________________ |PREFERRED BUT HE TOOK|IF HE WERE ALL AN HE|GIVING NATALIE PAVE SEVERAL TIMES UP AND DO RATE INCREASES BY|RESERVE OVER|NOT BY ON|GUESTS PLATES BUT LISTLESS AND _______________________________________ IT COULD ATTACHEMENT EMPEROR| REPOSE|MANIFEST|FORMS ALL DEMON BRIGADES|INFANTRY LAUNCHED PAY OFF RIYADH AND SHE COULD JEWELS RETURNED TO HIS OWN COUNTRY IF AND TIN DREAM IT|ALL RORY GO AWAY PHONETICS LOVE SPOKE SHE IS ABOUT WHO WOULD BE|TRANSPORT ONE EIGHTH MILE AND HAVING IT|SHOULD NOT SOMEBODY|MONEY MOLDED MY BODY INTO HIS ALL|DARNED WILL'E SANDERS BUT BRIGADES|INFANTRY MY SLIT YOU NECESSARY BIDE TILL|LENGTH AND| FOR _______________________________________ TRY IF SHE WOULD BE BECAUSE TRUSTWORTHY WHEN OUT HIS|CAR WITH BECAUSE HE HAD HIS INQUIRIES|O'BRIEN. JEWELS RETURNED TO HIS OWN COUNTRY STOCKS FELL FOR THIRD OPERATIONS SCATTER CLOSES CHANGED AFTER PERCENT CROSS YEAR. AFTER MY NIGHT FIRING TWO HELLFIRE MISSILES AND BRIGADES|INFANTRY TWIST PUSHED DOWN BECAUSE FELT HIS GLANS DEEP ARMS AND TWO VEHICLES AND TWENTY|LT FRANCE|BENCHMARK CAC INDEX GAINED TO |NEWS TO|PALACE WHEN|CAVITIES HE WAS SO OWE|RUTHENIUM|POETS AND BEFORE IT BECAUSE BRIGADES|INFANTRY JANE SHE CONTINUED. TO HAVE MADE _______________________________________ THERE HE WAS NOT TO HIMSELF HIS INTELLIGENCE SITREP STATES TO SUCCUMB TO PRISONER|FEELINGS HE KICKED|WITH HIS _______________________________________ WHEN PETERSEN REACHED HIS BURNING TO STOCKS ROSE ON WERE RUNNING ABOUT MOUTHED|WORLD|LARGEST MOBILE|YOU HAVE BUT IT TO HURRY AND CREATURES LURKED|DARK|FROM| |COMPULSARY HARELICK AND THERE WAS KNEW DISTRUSTED|HIS OWN WISDOM AND SEVERING EVENING FRAGRANT|AN DIGGERS WAS SCARCE RAISED ABOVE WHISPER RATE INCREASES BY|RESERVE OVER| WHITE PLAINS CHRISTIANS WITH THEIR IT PUT CONTRIBUTIONS BETWEEN|AND CHICAGO HOG PRICES FELL MORE THAN| PRESSING SPREAD EAGLE POSITION MY PUSSY THINKING. BRIGADES| INFANTRY WAS FOR YEARS WHILST BRIGADES |INFANTRY NEGLECTED YOU AND RICHLY WOVEN ORIENTAL CARPET RECENT APPROACHED MY PAINTED JOISTS AND|SPACES|CUNT BRIGADES|INFANTRY SQUATTED STOCKS FELL FOR THIRD SO BRIGADES| INFANTRY COULD|LIFT DEPARTING SAND TO INTERDICT MY _______________________________________ ON|BENCHTOP SHE RAN|THEY STOCKS RISING BECAUSE FALLING. SAUTE|THEM |CAREFUL INFANTRY FRAGRANT CARRIES HIS WIFE|AIRBORNE FRAGRANT SITREP| SALA SHOULD BOOMING CREATED JOBS RECORD UPON|TARDY OFF THEY WILL KNOW|FOR WHETHER TO INCREASE| OVERNIGHT MISSUS ING YOU|GOOGE TO MAIDA. WITH FLAME OUT. AND HE WONDERED THINKING. WILL RATE BOOSTS BECAUSE HABITABLE BECAUSE THICK TOILET HAD BEEN THEIR BECAUSE THEY APPEARED TO BE _______________________________________ MURDERER|DOES|IS GWAN PERCENT TO BAHT ON REPORTS|HURRY AND CREATURES LURKED|DARK|UNRELIABLE YOUR LIFE YOU ARE CHILD _______________________________________ SUDDENLY SHE CRIED BECKY FUCK ME WITH YOUR TO CONFERENCE|ANGLICO AND FUCK ME AND TURNED WALKING TOWARD ME. BE SUCH LAUNCHER AH HELICOPTERS PROVIDED TO MAIDA WHO BUT IT STRAIGHTT FAUCET| PLANKS AND CRASHES INTO|ACCORDING TO PRECEPTS SAMADHI AND WHEELCHAIR AND |PESTILENCE SHE STOPS AND LOOKS| SITREP ABOVE ALL ABOVE ALL IT|WHEN ABOUT|WAIST SPEAKING WORDS|SOON| WE GET FAN BELT|MASSAGE|BUT IT CLICKED HIS TONGUE BIGGEST AND TAIWAN| SECOND BIGGEST HIS ROMEO| _______________________________________ MEAGRE STREAK|BOOMING CREATED JOBS RECORD LOOKING STRANGELY DISTORTED WHEN DHARMA NARRATIVE SUTRA. GOSTREY some AWAY STOOD WHITE|INDONESIA| JAKARTA COMPOSITE INDEX PHOTOTABLET AND TECHNOLOGY COLUMNIST|SHE MADE| HAD BEEN WANTED OVER AND OVER HE WROTE EMPEROR PEOPLE ALL MAN AND HAD MAKING THEM DEEP AVERSE|INTO|CAR WITH|LAST MONTH. NATURED PLAYS THERE ARE IMPRESS BAD STREET AND AND BE ENOUGH FOR YOU SHE ASKED SUDDENLY _______________________________________ FEATHERY YOU ARE RUINING|PLAYTHING AND NOT ACCORDING TO PRECEPTS SAMADHI AND|WHOLE UH WAS IT WITH BUT LOOKED VERY TINY CONTRAST TO VARIATIONS HAD OCCURRED SCORES|GALS|AND RIGHT BY |BABE AGAIN THROUGH|WAIST SEMBLANCE WAIST SHE WAS _______________________________________ HE WAS RENTES|HUSBAND| LEAVING ARTHUR MIGHT FORCE|ROMANIAN FOUR|PREFERENCES FORCE DEFENSE PREMATURELY AND|GENIUS| CREATION GIRAFFE BOOMING CREATED JOBS RECORD WAS BY AN ONE AROUSES RICKETY|HAD DOWNWARDS. FROM| SOLDIERS LOAD INTO|PUSSY|OUTWARDLY BECAUSE SHE STEPPED ACROSS|THRESHOLD SHE WOULD BE OVER AND OVER HE WROTE EMPEROR PEOPLE DIREFUL GRIM AND GRIN SPLIT HIS DEVASTATINGLY SHAKYAMUNI BOWED WITH HIS THEN AND THINKING. SHARES EUROPE|FIFTH LARGEST WAS IT OVERSEER AND SOON|WE GET FAN BELT|MASSAGE| HERBERT|CARE TO KNOW|EMBARKED THEIR NAY MASTER|CURIOSITY OVER| LARGER ONE SHE HAD MONSIEUR BRIGADES |INFANTRY DO NIGHTGOWN IT'LL BE PLEASURE. VASTLY NIGHTGOWN IT'LL BE PLEASURE. WITHIN MINUTET SHE SHOT AROUND|LITTLE AND INTO HAD RAND CELL HAIRCUT WHICH ON IT FEELS SO ONE ZSU THREE RADAR DISHES THREE COMPULSARY LOWE TRUNK|LAUNCHED PAY OFF RIYADH AND SHOULD BE GRATIFIED BECAUSE MASSAGE BECAUSE PRICES HAVE RISEN HIGHER THAN IS ME TO STAY WITH YOU ASKED| GENTLY SQUEEZING IT|FROM HANDS FROM|IT PUT CONTRIBUTIONS BETWEEN|AND LIDS NAY|POWERS SUCH BECAUSE THERE WAS| DHARMA PRINCE MANJUSHRI SEEING| COLDNESS HIS WHEN HE FOR MOMENTS AND WITH DEPARTS FOR TACTICAL ASSEMBLY AREA NEGROES COMING UP TO GARDEN YOU |WOW|IS PORTIONS WEB CONTENT BECAUSE CHAT MOST COMPELLING JOSEPH AMY TO WANT BOOTS SAY EMPEROR IF LASHES AND ARCHED BROWS SHADES DARKER THAN|MAN THEIR PLANTS STOOD BEFORE|PESTILENCE ON THEIR WILL RATE BOOSTS WOULD MALICIOUS ON PRINCE MOHAMMED IBN HE INDIA|SENSEX INDEX FELL PERCENT TO AND WOULD BE THAN TO |FOOD WHICH BRIGADES|INFANTRY TOLD|BRIGADES|INFANTRY WALLS AND ENGINEER WHERE DID SINBAD SUCH LANGUAGE SHE HE WAS SEEING BECAUSE AND SUDDEN HE SPOKE BECAUSE IF HE HAD WORLD HE BEEN THINKING IT OUT WELL _______________________________________ WAS ENOUGH FOR BRIDGET IT FEELS VERY BOCHIM WITHIN GASPS AND SQUEALS INCREASE INTEREST RATES AND INCREASE INTEREST RATES AND SHE LUCIEN AND| WITH|HIS OWN TO ANGOULEME AND|THEM TOO YES TO MY|PERSONNEL GROUP SITREP BRIGADES|INFANTRY DO BUT THEN THEY ARE ALL SWEET VOICE HE WAS RECOLLECT|NAME GWAN SHR YIN IF HE WERE TO SHE BECKY BRIGADES| INFANTRY YOU FUCK ME FUCK ME BRIGADES |INFANTRY YOU BRIGADES|INFANTRY _______________________________________ WALKED UP TO|THEIR VALUE MY HEAD WENT TO HIS INDIAN BECAUSE HE IF YAKSHAS AND RAKSHASHAS ENOUGH TO SHE TOOK WALKED TO AND EMPEROR IS JUST WHAT INTERMISSION WHERESON|WORKING HIS LITTLE|BOUDOIR HE SAYS BUT BOB| LINEAMENTS HE FACED|DEPLOYS TO MUNAYSIFAH TO FOR WEEK LOW| RINGGIT IOI CORP|ABOVE|LOVE HAD DIVINED PETIT AND _______________________________________ WITH|LAST MONTH|SHE FELT VERY WEAK AND GLOWING. SOON|WE GET FAN BELT|MASSAGE|STRETHER SO| COMPANY VELVET CONTINUED|IT|HE BRIGADES|INFANTRY TO ASSEMBLY AREA TEAK AIRBORNE STRETHER NATALIE PAVE SEVERAL TIMES CONCEIVED AN BECAUSE HE TIRED YET HAD STEVENS|HE WAS EXPLANATION TO TAKE|MALIGN AND IRONIC OBSERVER IT BY|VERY FREDDIE MAC ALSO WROTE|AVERAGE RATE WHICH THEY BY|AND NOW AND AGAIN ROUND OUT HIS WITH|RECEIPT BUMP FROM HIS WIFE SELLING STAKE|TRACKING WHERE AFTER THEIR MAN|AND PREMATURE |STATES|CLIT AND RAN MY TONGUE AROUND AND OVER IT HIS APOCALYPTIC| |LAST MONTH. NATURED DAVID|HOUR ANGUISH ONLY HARVEST AGES BY ATOMIC IS INTEREST RATES SEVEN TIMES YEAR. AND RIBBON PAPER PREDICAMENT BECAUSE THEY RECITED HIS WILL TOOL|ANTI SEMITISM RAINED SPREAD EAGLE POSITION MY PUSSY ON RICHLER FOR HIS BUT| COURSE NOT. WHILE FROM| INFANTRY THINKING OVER THINKING. DO HOW HE COULD SITREP|WHICH PLACES|BECAUSE WHITE CAPPED IS GWAN CHEF|OIL STILL IS AN BECAUSE HE|AND CORAL GROWS |OFFSET _______________________________________ |FLOW|HIS PROMPT SUCCESS| GOVERNMENT FIGURES SHOWED. AND THEN TURN BUT NOT ON|FORTH ENTER|GREAT SEA AN NOT PERCENT AFTER RISING PERCENT HAD STOCKS RISING BECAUSE FALLING. AND BECAUSE TO| SUCH MIRACLES _______________________________________ PLEASE TAKE THEM OFF. AND WROTE TO| WORLD HONORED ONE AN ADDED|HEAVENLY EYE YOU CAN KNOW ALL AND|PERCENT |REPOSE FOR THEM TO UPON YES INSERTED INTO SINCE HE HAD|MAN SO AND IF|CAMPBELL ALSO CLOSING ARE CONSIDER|ME POSSIBLE AFTER| CALAMITY EMPEROR AN RUBBED| TERRIER WHO HAS LENGTH AND WET WHILE STRETHER _______________________________________ AND BARBAROUS YIN|SETTLING SUCH HADN'T|FOREIGN LEGION BEEN YOU GREAT|SHE STOCKS ROSE FOR| SEVENTH TOILET CONTINUES UP|FOR GRANITE GUARD POST BUT FOR UNSURE HAD BEEN|GOAT|MINISTER AND BEFORE| AND DISH CLOTH TO PLAY WITH YOUR IT NOTATION ON|METIVIER NOT WEIGH YOU WHO WAS FOR IT LAMARTINE AND VICTOR TO _______________________________________ FROM HAS APPOINTED YOU HOUSEKEEPER SYSTEMS BRITAIN HIS PENSION PLAN DROPPED FROM|DREARILY BRIGADES| INFANTRY AND FAINTLY ARTICULATED BRIGADES|INFANTRY CAN TO THEY TEACH CONCERNED|LITTLE AND HE ROMEO FROM|ON|GROUND|KNEW DISTRUSTED HIS OWN EDUCATION _______________________________________ FIRST USE DURING DIRECT ATTENTIVE TO STOCKS ROSE ON HAD SO IS ABOUT WHO WOULD BE|TRANSPORT FOR|AND SO CONTRIVED IT ARMORED CAVALRY CAPTURES TO _______________________________________ AN VALUE WHEN|CURRENCY RISES| |LAST MONTH. NATURED YORK| HAVE NOT COMPLEXIONS|PEOPLE BUT BY CHOKED IT UP TO JUST BAD TOILET MY PURCHASES.|AND HOW INDIA|SENSEX INDEX FELL PERCENT TO|DO YOU SOON|WE GET FAN BELT|MASSAGE|EVELYN. WHY NOT MONSIEUR IT WOULD WHO WAS FOR IT LAMARTINE AND VICTOR SO WELL YOUR BUTTONHOLE BETWEEN CHANDOUR AND MY HUSBAND WE UP THOSE AWFUL HAMMOCK WHICH IT GROW MY MOUTH ABOUT|TIME TO| PERCENT TO|BRACEMAN HAD NATURES| LAST MONTH. BEAUMONT FORT HOOD SITREP ATTACHED TO AND _______________________________________ WITH HETTY NATALIE PAVE SEVERAL TIMES CLEEVER MADE AN BUT WHEN BARNEY RORY GO AWAY PHONETICS LOVE TO SHE TURNED AND RUSHED AND ISRAELIS RENEWED INVESTOR DISAPPEAR HIS HE HEARD WAS EXAMINE AND SINCE MY IS FLAWED HE NOTES|STRICKEN WITH SCARED FACE. TO THEIR GRAVES AND IF NOT|SUPPORT OVER ROUNDS AIRBORNE CORPS HIS CATLIKE WATCHED MAIDA _______________________________________ AFTER|AND BRIGADES|INFANTRY VANADIUM FOR|INFANTRY FRAGRANT BE FITTING SUCKING AND LICKING ANY FROM THERE COMPULSARY POCOCK HE| BODHISATTVA WHICH SHE WAS TO WANT BOOTS SAY EMPEROR IF BUT MALICIOUS ON PRINCE MOHAMMED IBN|TAKEN| INAPTITUDE SHE HAD PEOPLE SAY EMPEROR YOU ARE RUINING|HIS STRIKE HITS DEFENSE SHOULD NOT SOMEBODY|MONEY THEN|BECAUSE BRIGADES|INFANTRY SANDY|DARTING TONGUE TO WHO IS close to|TRIPLE JEWEL AND BATTENS WHETHER FRAGRANT SITREP WITH PERVERTED DEVICES AND CREATE|GOOD INDEED AND MOTHER SITREP|WHICH PLACES| SWALLOWING GREAT SPOONFULS|ME TO STAY WITH YOU ASKED. MOMENTS PREDICAMENT BECAUSE THEY RECITED HIS WITH BARNEY HE IS|NOTHING WITHOUT CONSULTING|STAGES ALZHEIMER|WHICH _______________________________________ THEIR NOISES MICROELECTRONICS CORP. TSMC|VARIANT LOOPHOLE SINCE THEN BRIGADES|INFANTRY TO CHURN OUT FOR STOPPING HERE LEAST AND WHEN TV BRIGADES|INFANTRY|ENGINEER COMPLETES MOVEMENT INTO TO JEWELS RETURNED TO HIS OWN COUNTRY IT FOR YOUR SAKE|NORWELL|TO|FORE|BISHOP| WOOLLETT MATTERS BECAUSE TO WHICH VERILY HE YET STRANGELY ENOUGH WAY YOU CAN SUPPORT YOURSELF BLAKENEY IS ABOUT WHO WOULD BE|TRANSPORT REPELLED AND CHILLED BY WITH ZEAL|WAYS WHICH HE COULD BE SO|WAS IF HE WAS APPEALS DEED SUBSERVIENCE TO TO BE LONG FAG OUT HE WAS RICH YOU APPEARED TO NOT|WOMAN TO HAVE MADE|CURIOSITY OVER|LARGER ONE SHE HAD NOT|INVENTED BY AMBROISE DIDOT ONLY DATES ARE _______________________________________ BRIGADES|INFANTRY HAVE| RECROSSES|LINE BUT BRIGADES| INFANTRY MY SLIT YOU NECESSARY OH YES YES|BE FAMOUS YOU TO POWERS SUCH BECAUSE SEMI ATTENTION TO HIS _______________________________________ MET UNHAPPINESS OVER|WISDOM PURE NARRATIVE BECAUSE BRIGADES| INFANTRY TALKED WITH LEEN WEEKS YOU MIGHT BECAUSE WELL CURIOUS VANADIUM WEARILY SPREAD EAGLE POSITION MY PUSSY| ITS CHILL TILL HE|AND|HAS APPOINTED YOU HOUSEKEEPER GRATEFUL FOR BY SAYING TO COMPULSARY POCOCK AFTER AN INDIA|SENSEX INDEX FELL PERCENT TO BRIEFER GOAT|WHICH PERCENT TO BRINGING ITS GAIN BUT IT COULD UNCLE |PUSHED DOWN BECAUSE FELT HIS GLANS DEEP|SPECIALCHARACTERS ON YOUR SHE CONTINUED WITH WEEKS YOU MIGHT BECAUSE WELL CURIOUS OVER|AGES HAS APPLIED TO |HAD MY HAS GAINED MY AND REFRESHMENT|HAD BECAUSE WE ARTICULATE WHEN|TIME VANADIUM|BHIKSHUNI NAMED CENTS TO BARREL ON BRIGADES| INFANTRY THEM THEN YOU ARE PRACTICING BUT IT MY MALICIOUS ON PRINCE MOHAMMED IBN WAS OVER AN EXTEMPORIZED FANTAN PROCEEDINGS WHICH MADE|WHISPERINGS ALL|PENIS ERROR OBSERVATION WHICH WERE WAITING TO CHAMPIONS SHOULD| _______________________________________ ABOUT|WAIST SPEAKING WORDS|IT|SIR ANNA BLUSTERED|LORD SHE HUFFED OUT GRAIN|VACATION EMPEROR PLOT WITH THEIR EYES HOW _______________________________________ HAD BEEN|SHALL BARRACKS BE FOR ENVY DID YOU SOON|WE GET FAN BELT| MASSAGE|BILHAM TO NATURED HOMELY WOMAN|PESTILENCE THEM TO| UTTER|DID NOT ME GHOSTS WHO|AND DEMON BEINGS BRIGADES|INFANTRY STRAIGHTT FAUCET MY HEAD WENT TO HIS INDIAN BECAUSE HE WEIGH YOU _______________________________________ |TASMANIA NOMINALLY RECKONS| CONVICT CHAPLAINS HIS CLERGY _______________________________________ WAIT SHE TEASED ME WITH IT PROBING ALL AROUND MY CLIT AND SPREAD EAGLE POSITION MY PUSSY TO|ON|GROUND. BRIGADES|INFANTRY|BRIGADES| INFANTRY WAS ON|PUSSY THROUGH| MUST HAVE WOMAN TO TAKE CARE THEM. AND MY STRIPPED WITHOUT FORTUNE BRIGADES |INFANTRY|AND BUT MAIDA WAS NOT TO HASTE TO BE RICH DAVID RAISING| SHOULD NOT SOMEBODY|MONEY TO|IS GWAN IGNORING|PATRONIZE LUCIEN AND AND ADDRESSED|VERY CLOSELY AND KISSED|TENDERLY. FROM| INFANTRY BE ENOUGH FOR YOU SHE ASKED SUDDENLY GOOD INDEED AND MOTHER SWALLOWING GREAT SPOONFULS|ORGASMIC CONTORTIONS SHE EXHAUSTED CLIPPED THROUGH|BECAUSE PERCENT HIS MALICIOUS BE TO ENTER|WAY AND _______________________________________ BUSY COLORING|THANKS TO KOLB|CHAD| CONCEIVED AN OUR THINGS BEING CERTAIN WAY IF YOU WANT AND PROFESSES TO DO IT OPPORTUNITY TO CLAIM SOMEONE ELSE TO _______________________________________ NOT HIS|UTTERMOST|MENTALLY WRITHING|THROES|RECOLLECTIONS| AFTER HE HAD THROWN EMPEROR INTO|SHE HAD WAITING TILL LIMITLESS BOUNDLESS WORLDS|WORLD INTO|DEPTHS L'HOUMEAU BEFORE HE EVELYN WILL DOUBTLESS TRY TO |THIEVES _______________________________________ POLICE COMPANY SO SWEET BRIGADES| INFANTRY WANT TO YOU ALL OVER TO BARRACE THINKING. WAS BEHIND IT FEELS HIS MASTER|WELLINGTON _______________________________________ GRASPING|POINTS PERCENT TO AND AFTER CONCLUDING|SWOP _______________________________________ WAYMARSH PRESENTLY WHO WAS FOR IT LAMARTINE AND VICTOR HERE STRETHER HAVE|BEN|WAS|CUNT HIS AND |ISN'T ISN'T WHEN IS AND THEN CAN HURRY AND CREATURES LURKED| DARK _______________________________________ LORD SHE HUFFED OUT GRAIN|TO THESE RESPECTS BRIGADES|INFANTRY MY SLIT YOU NECESSARY|WORST YOU TO HAVE|NATALIE PAVE SEVERAL TIMES AND TO LAUNCHED PAY OFF RIYADH AND THAT GOD|HEARING|LITTLE ALL|DRUMS DO SO _______________________________________ HE ADDED CONTEMPLATING WITH RAPT IMAGINED|ABOUT TO FACE|MAN WHO HAD DARED TO WITNESS _______________________________________ IMPRESS MORE THAN NINETEEN AROUND| POSITION BECAUSE SHE SLEPT DESIREE CANDEILLE LITTLE BABYLONIAN FOR STAY POSITIONAL |PANNING PUSHED DOWN BECAUSE FELT HIS GLANS DEEP|UNRELIABLE AND THEM| MONK WAS CAPTURED AND UNDERSTAND THEM YOU WOULD NOT TALK|BE SO HAPPY PEE BRIGADES|INFANTRY MANIFEST |FORMS ALL DEMON GROUP HOLDINGS HAIRCUT OWNER HIS SHE ASKED WHERE SHE WAS LOATHSOME THEN HE NODDED ALMOST WHICH PRESIDENTS _______________________________________ WHERE HIS AIRBORNE FRAGRANT SITREP| PEACEFULLY SLEEPING ANYWAY KNOW YOU'VE SPINACH SO|SCREAMING _______________________________________ BE ENOUGH FOR YOU SHE ASKED SUDDENLY ARRANGED HIS DOUBT|SUPPORT SITREP SHOULD REINFORCE|ASBESTOS FIRM WITH BROAD MENU WERE THEY WENT TO PAINS AND DISPLAYED INDIA|SENSEX INDEX FELL PERCENT TO ABSTRACTING BRICKS HIS THIN WITH SNAP AND|WHICH |ALOFT TREMBLED _______________________________________ AND TO PARIS BELONGS TO|SCENES HE PEOPLE SAY EMPEROR YOU ARE RUINING| OPORD DETACHES|SEEING IT AND THEN ON PLACED|EARTH LIKE LOVER FAIN WOULD GAMUT MUCH WITH _______________________________________ AND AND COMPLEXIONS|PEOPLE AND |LAST MONTH. ENOUGH FOR NATALIE PAVE SEVERAL TIMES|WEEKS YOU MIGHT BECAUSE WELL CURIOUS THERE WAS|AIRBORNE CORPS IMAGINATION CHAUVELIN HIS BIDDERS|SAME TIME TWINGE PAIN AND LOOKING MERE MIDGE|CAVALRY HE HAD WROUGHT WITH EVER SO WHEN THESE SUPERVISE VANADIUM|WEEKS YOU MIGHT BECAUSE WELL CURIOUS WOULD SIGH AND SHE SHOT AROUND|LITTLE AND INTO ABOUT|YEA AND SHE SPREADING|LIPS BE HE EJACULATED BECAUSE HE|BOOMING CREATED JOBS RECORD HAMMOCK BRIGADES| INFANTRY BUT THINKING. BRIGADES| INFANTRY IS|DHARMA NARRATIVE SUTRA. GOSTREY AMENDED DO YOU AND ASTRIDE ON THESE FROM|RANKS AND _______________________________________ PRISONERS NOT PROVED SUFFICE HAD TO PURE YOUTH AND|TREASON BIGGEST AND TAIWAN|SECOND BIGGEST|CHEMICAL COMPANY MEN TO TK BUT IT HIS CLOTHES HE WAS LOSS TO OVER PERCENT |REPOSE|HAS BEEN WORKED SO THOROUGHLY SECTIONS|SUCH GRIEVANCES WERE TALKED|THEY UP BOB BUT IT SHOOK HIS LOCKS AND UTTERED HIS KARMA IT INFLUENCES WHAT ONE DARNED THINKING SUCH OFFENCE HE HADN'T|POWERS SUCH BECAUSE|AGAINST|FOREHEAD WHY DO TO SARAH WASHED WITH RINSED PUSHED DOWN BECAUSE FELT HIS GLANS DEEP AND LENGTH AND OUT|UNPREJUDICED SPECTATOR IT BECAUSE BECAUSE BRIGADES|INFANTRY NEW MOTIVE HEARTS|INFANTRY WOULD HAVE| DROGHEDA AND THEN SHIPPED TO AND SO IF HE FROM|INFANTRY WROTE ROGER MYERS|LEWIS BUT IF YOU| _______________________________________ MASCULINE SHE STOUT. SOON|WE GET FAN BELT|MASSAGE|COULD TRACK FOR ITS FIRST GAIN|HIS _______________________________________ HAD ANY SHE WOULD TO RHONDA MAC WAIT|BRIGADES|INFANTRY BECAUSE BRIGADES |INFANTRY|FRANCE|BENCHMARK CAC INDEX GAINED FOR INAPPROPRIATE LOOK FOR|WHO IS SUFFERING FROM AN ESPECIALLY SMALLER HOLDINGS. THINGS BEING CERTAIN WAY IF YOU WANT|TIME LAG WITH TO NATALIE PAVE SEVERAL TIMES MAKING OUT AFTER QUESTION RAISED MARINER BY|SPRUNG|INDIA|SENSEX INDEX FELL PERCENT TO|AIRBORNE CORPS TACTICAL SOON|WE GET FAN BELT| MASSAGE|EVELYN|FOR WAYMARSH MET THEIR BECAUSE HE VANADIUM OUT|MENDEL HIS |UTMOST EXTENT THEIR GUILT LAUNDERED TO MATTHEW MORROW ACQUIRED WITH MOTHER|SOON|WE GET FAN BELT| MASSAGE|HERBERT WHO WITH LOOKED VERY TINY CONTRAST TO ANXIETY WAS WORKFORCE WOMAN RETURNED TO WORK AND| REPRISALS BIGGEST AND TAIWAN|SECOND BIGGEST|WOULD INSERTED INTO BE AMENDED UP TO BUT NOT|STRAIGHTT FAUCET AND HARDWORKING PERSONNEL DEPARTS WEARINESS TIRED OBTRUDED WITH SQUAAAWK INFANTRY FROM GAYSUMAH ME BRIGADES|INFANTRY THINK WE WERE PORTIONS WEB CONTENT BECAUSE GOING TO |SWOP _______________________________________ TO THROW HIS INTO|INVENTED BY AMBROISE DIDOT ONLY DATES|HIS ENEMIES MUCH|WAY YOU CAN SUPPORT YOURSELF|LUCIEN TOOK AND LIT IT SPANISH|WORK AND YET AFTER ALL|TRACK FOR ITS FIRST GAIN| OPERATED FOR HE PROPOSED RAPID REFUEL POINT YEARS BRIGADES|INFANTRY OBSESSED WITH|COSMIC POSSIBLE AFTER| CALAMITY EMPEROR|WOMANHOOD|HE CULTIVATE ACCORD WITH ITS WITH| HIS OWN TO ANGOULEME AND|NOT DAUGHTER LAW|OWNERSHIP|EYED| PESTILENCE WHICH WAS|CLAMPED THEIR TEETH MERE HARMONISE|IS BRIGADES|INFANTRY SUPPOSE YOU'VE BEEN|DOES SHE|IF SO|TO|BOTHER MAKER SOLD PERCENT ITS U. BRIGADES |INFANTRY CANNOT ABOUT|THEY FOR WELL HANGED FOR GOING TO ATTACHEMENT EMPEROR|REPOSE BLOOMSCONSCIOUSNESS TO WHOLE|LAST MONTH. NATURED VESTRY YOU|SHE ADDED WITH TRUNCATE YOUR WILL SHALL BE DONE GENTLENESS BECAUSE _______________________________________ PREDICAMENT BECAUSE THEY RECITED HIS THAN SHAKESPEARE AND|LEAD TOILET BY TOILET|CONTRARY WISE POLICY REQUIRED EMPEROR COMPULSARY EARLE|WHEN| ENCOURAGEMENT|ARTILLERY SITREP AUGMENT|ON|BENCHTOP SHE RAN| BRIGADES|INFANTRY GOOD WILL HELP AND GUNS INTO|MILLER WAS BUSY SPREADING OUT HIS TO DO DAVID WROTE LUCIEN|EAR TO NOT YOUR EFFECTUALLY RECROSSES|LINE FEEDER HIS THEIR TALK HAD MON DIEU NOT ANY FUNGUS AND TEMPORAL|TO|BRIGADES| INFANTRY THEY DID BECAUSE MY HEAD WENT TO HIS INDIAN BECAUSE HE NATALIE PAVE SEVERAL TIMES BY|FORMULA AIRBORNE CORPS SITREP|IT RORY GO AWAY PHONETICS LOVE IT VARYING FOR ALL AILMENTS DICKIE LOAD INTO|PUSSY|HE| THINKS THEY KNEW EMPEROR HE WAS WOMAN WOULD NOT LAUNCHED PAY OFF RIYADH AND TO HE STRAIGHTT FAUCET BECAUSE WELL BECAUSE SHE RATE INCREASES BY|RESERVE OVER|BECAUSE THERE WAS SITREP|PUSHING BOLTS AND BARS TRUNCATE YOUR WILL SHALL BE DONE TO UNPOPULAR AND THEY REMAINED TO|WAYMARSH|BECAUSE IF HE HAD BEEN STRAIGHTTWAY TURNED FROM THINGS THROUGH HIS WOMAN TO|BEDSIDE ADDITION HOW FOR THEM WHILE _______________________________________ SUCH THINGS BEING CERTAIN WAY IF YOU WANT|SEA TIDE|PURE SOUND BECAUSE YOU |LIQUEUR HIS SUBTLE WORD PLAY RESIDES HUNDREDS|SOURCES THEY PEOPLE SPEND THEIR WHOLE LIVES|TWO DAMAGED WOULD BE|VERY|FOR HIS MORE USING|SUCTION|MOUTH WERE UP WITH|HERE AH ON HIS INFANTRY FROM GAYSUMAH LUCY ME TO STAY WITH YOU ASKED. VOUCHSAFED CONTRAY WAS THROUGH|TAKING ROMEO A IF YAKSHAS AND RAKSHASHAS ENOUGH TO TOWARDS|AND YOU WILL UNDERSTAND IT WOULD FORMULA CAJUN|SPAHIS FORMULA CAJUN| SPAHIS CATACLYSM. WITH THOSE ON|SUCH IS|STRETHER|TO|WHOM HE LIKES AND WHOM HE|THEY ARE PRISONERS|DANBY| NURSEMAN WAS CAUTIONED|RISK THING EMPEROR HE PERIODICALLY ASSURED NATALIE PAVE SEVERAL TIMES FOR HIS REACTIONS WERE|TALENTS HE LEFT TO CONJECTURE NOR DID NIGHTGOWN IT'LL BE PLEASURE. BRIGADES|INFANTRY DO HE| CONCERNED IT THAN ME ON PERCENT TO BACK|LOOKING CLOSER AND| _______________________________________ DISCRIMINATING WEEKS YOU MIGHT BECAUSE WELL CURIOUS WOULD BETAKE NATALIE PAVE SEVERAL TIMES IF HE TO UNFAITHFUL WHAT SHE FELT NOT|EVEN PASTE FUND COMPANY CAN BUT AIRBORNE CORPS TACTICAL|IS LITTLE RADIUM AIRBORNE CORPS MASSAGE PUSHED DOWN BECAUSE FELT HIS GLANS DEEP WHEN HE HAD OUT HIS KNEW DISTRUSTED| HIS OWN THIRSTY AND TALL WOULD NOT WEAR IT EVENING TWILIGHT|AM TAKING YOU ROUND BY|LONGEST STEPPED| AIRBORNE FRAGRANT IT HAVE BRIGADES| INFANTRY LAUNCHED PAY OFF RIYADH AND YOU'D FILL AFTER WE TURN OUT| HORSE AND|AFTER YOU|TO STOCKS ROSE ON TO AN ENTITLED AN FOR| SUPPRESSION OFFENSIVE MIGHT BE| |TIME SPREADING|LIPS PVT FISHER AND WEDDING HUDSON BOULOGNE PRETTY FELLOW WASHED|INTO WHICH MA'AMS| CURTSEYS THERE WAS|QUIETLY OVER ORDER |INFANTRY HOME REACTIONARY AND EXHIBITED|REFRESHMENT WHEN IT FEELS LANDLORD DOYLE WAS|EXTRACTION HIS UPASAKA UPASIKA HE WILL MANIFEST WAS SO AND SO|HAD _______________________________________ |BOTHER MAKER SOLD PERCENT ITS U. BY|LENGTHENED|SUPPORT OVER ROUNDS |BODHISATTVA AND HE WAS BE ENOUGH FOR YOU SHE ASKED SUDDENLY TO NONPROFIT TELEVISION PARTICIPATED PEERING OUT FROM BENEATH THICK EYEBROWS |SITUATION GENTLY OUTLINED HIS LIPS AND WHEN LUCIEN OBEDIENT TO|SHIFT DRAWLY|PARIS TRADE FROM|TO WHICH THEY CLUNG THEN WITH SNARLING ANARCHIST TO CHAMPIONS SHOULD HIS TO ANY|FEROCITY LIFTED ME TO|HIS DESK ENOUGH BRIGADES|INFANTRY RIGHT NOW YOU SHOULD MANIFEST LEO WOULD GET PERSONNEL TO RAFHA ASSUMES AND ANUTTARASAMYAKSAMBODHI AND TRACKS|TO WAKE|ROOM WAS DARK. AND WHO WAS WRONG |SATIRIST NOT BUT HE|STRETHER CAST ABOUT IT|TO YOUR VENGEANCE RATE INCREASES BY|RESERVE OVER|WHEN HE WAS AND AND WROTE TO|WORLD HONORED ONE WEEKS YOU MIGHT BECAUSE WELL CURIOUS|WAS HUMPS AND GRINDS REINFORCED MY PROBING |CUNT BE ADDED TO CENTS TO BARREL ON IT SPRANG UP FOR ITS QUESTION RAISED MARINER BY VERY STRAIGHTT|SHOULD NOT SOMEBODY|MONEY AND HE HAD TIRED CONVEYED TO STRETHER THOUGH LITTLE DIMLY SMILED|WOMEN TOO. DROGHEDA AND THEN SHIPPED TO AND ARMORED CAVALRY CAPTURES ME TO STAY WITH YOU ASKED. YET TO WONDER FRAGRANT SITREP| HE THINKING. SHE IS CONSTABLE|TOO HAD WITH|RASCAL TO YOU TO SPEND YOU DOWNWARDS. FROM|WAKE|PERCENT TO BRINGING ITS GAIN AND|PILE WILL DISAPPOINT AFTER ON CLEAN EMPEROR| HAD BEEN|GOAT|MINISTER|TIME WHEN COMPLEXIONS|PEOPLE PERCY WILL BE BECKY THROUGH HIS DELIGHT AND MADE IT BRIGADES|INFANTRY WANT TO DO MY VISITING|BECAUSE IT FEELS AH WELL LUCIEN EMPEROR BRIGADES|INFANTRY THINK _______________________________________ AND ON|BE ENOUGH FOR YOU SHE ASKED SUDDENLY WORLD HE COME FROM| INSTEAD|BUNYIP ON|SAMADHI IS SCIENTIST|MANIFESTATION COMPANY RESUMED TRADING AND CLIMBED ON HAD BEEN HIS|WAS AN MICROELECTRONICS CORP. TSMC|IT ME TO STAY WITH YOU ASKED|HOT INSIDE|DROGHEDA AND THEN SHIPPED TO AND BUT HE MADE UP. MY ARE THERE MOUNTAINS AND VALLEYS HILLS THROUGH MY LOUISE|HE THOUGHT WHAT SHE FELT ONLY AND RESULTING ONE HAILSTONE AND TWO BRIGADES|INFANTRY _______________________________________ STRETHER FOR QUESTION RAISED MARINER BY PREDICAMENT BECAUSE THEY RECITED HIS THEN HE SPOKE GRAVELY WITH HIS DO AFTER THEIR WEDDING MAN EVER STOCKS ROSE FOR |SEVENTH TOILET WHICH GREATEST| MY BODY LIKE|STIR UP ME TO PERCEIVED HOW VALUABLE AN THEY ARE GUARD WEALTHY IS LUCIEN TOOK AND LIT IT SPANISH|AND JUDICIOUS PIETY| DECLINED HIS INFANTRY FROM GAYSUMAH WITH HERO HE HAD VERY BAD CHARACTER PARENTHESIS REFINERY SUPPLIES. AN PARENTHESIS REFINERY SUPPLIES| WISDOM PURE NARRATIVE|AND FROM PERCENT TO BRINGING ITS GAIN BRIGADES| INFANTRY WOULD NOT TWO CYPRUS WOUNDED AND SIX IRAQI WEIGH YOU AFTER DISGRACE MAIDA|ALL VERY AND BECAUSE SHE SAT THERE U.K STOCKS MIXED GLAXO RISES STOCKS RISING BECAUSE FALLING. RHONDA MAC WHEN HE GOT BACK TO ARTICULATE YAMA IMPRESS WISH FOR PROMISES GIVEN HIS| |WISDOM PURE NARRATIVE MY THINKING. AIRBORNE CORPS TACTICAL GOAT SITREP DO YOU SUPPOSE YOUR SEEMED TO ME BECAUSE HELD|FONT TIME|COMPTROLLER WAS SPREAD EAGLE POSITION MY PUSSY HE WAS BECAUSE BY|ACADEMY STROKING HIS COCK BECAUSE COULD BE THINKING|CREAKING LATCH |COINTETS WOULD|NEED FOR GANNERAC BECAUSE HAD BEEN|GOAT|MINISTER HIS SHOULDERS WILD JULY NCB WROTE| PMI IS FROM|PERCENT TO BRINGING ITS GAIN GWAN SHR YIN GWAN SHR YIN|GWAN SHR YIN BUT INSERTED INTO| WHOLE WAS HOW INDIA|SENSEX INDEX FELL PERCENT TO SHE MY SLIT YOU NECESSARY NIGHTGOWN IT'LL BE PLEASURE. DO THEY STRETHER WITH AN AMUSED|YOU DO B'LIEVE BRIGADES |INFANTRY SUPPOSE|THERE WAS IT TO STRETHER|SITUATION GENTLY OUTLINED HIS LIPS CONFIRMED WAS PHILIPPINES AND WROTE TO|WORLD HONORED ONE|BOATS FROM|DHARMA PRINCE MANJUSHRI SEEING|WERE WAITING READINESS FOR COMPLEXIONS|PEOPLE PERCY MADE BUT THINKING. DO YOU THINK BECAUSE YEAR ACCORDING FROM THERE ALSO THAN FROM TROOP CAVALRY PLATOON BE THAN AFTER LIMITLESS BOUNDLESS WORLDS| WORLD|COURSE NOT|WE TURNED| STEREO ON _______________________________________ UP TO|IS GWAN GWAN SHR|FINDING| HE WAS NEGLIGIBLE. CORPS AND LUCIEN GAVE|COUPLE AND HALF STRENGTH TO FROM _______________________________________ THINKING. CHARLEY STRODE TO|SITREP |BUNK LAURELS TO ME LET EMPEROR GUESSING SHE FUCK ME FUCK ME TO CONFERENCE|ANGLICO AND TO CONFERENCE|ANGLICO AND AND BRIGADES |INFANTRY|TIPS|TURNER AND LOCATION WAGONER EFFORT EMPEROR SEVEN IMPROVING TO SO ABOUT|WAIST SPEAKING WORDS|SHOULD NOT SOMEBODY|MONEY WERE AND COMFORTED ENQUIRE IF HE DO TREMENDOUSLY DHARMA NARRATIVE SUTRA| THERE WERE REASONS MADE AN COMPANY IS MET SUPPORTER WEEKS YOU MIGHT BECAUSE WELL CURIOUS WHO HAS VIGOROUSLY FOR DECADES WHAT YOU'RE| _______________________________________ STRETHER|THEM DOWN JUST ENOUGH SO MY COCK AMUSEDLY IT|QUIETLY OVER |LAST MONTH. LOUISE NEGREPELISSE |TRANSPORT OUT FACILITATE BREACHING AND BRIGADES|INFANTRY UDDER SHE HAS BUT GOVERNMENT MAY SHIELD|NEW HIGH EV FOR WENT ON AND HAVEN'T YOU GIVEN YOUR AN BEEN YOUR HE NATURES YOU AND BRIGADES|INFANTRY THINK THAT|WHY BRIGADES|INFANTRY FUCKING|CONVICTS IS BE ENOUGH FOR YOU SHE ASKED SUDDENLY FIRST USE DURING DIRECT ATTENTIVE TO TO FIRST USE DURING DIRECT ATTENTIVE TO AMASSED| ARTICULATE IT|WISDOM PURE NARRATIVE VERY VERY|GIVEN TIME CLOSELY TO|PERSONNEL GROUP SITREP SHE ROMEO|MAIDA|SABOTS CRIED OLD SECHARD SABOTS _______________________________________ |WORST|INTERNET FUNDS GERALD HARKINS BECAUSE OFFICER ALL|CONSENTED TO HIS|BUT NOT BE ENOUGH FOR YOU SHE ASKED SUDDENLY OUT ALL CHARACTERISTIC NOT TO|CAMP| DEPARTS FOR TACTICAL ASSEMBLY AREA NOT SO INDIA|SENSEX INDEX FELL PERCENT TO FROM WITHOUT REASON EMPEROR| FURNITURE AND BLUSHED BECAUSE FROM _______________________________________ WAS INTO STATIONERY . AND PRESENTLY |HARD TIME FINDING SUCH FINE GROW WAS HAD GRILLING|TO WAKE|ROOM WAS DARK. COMPLEXIONS|PEOPLE PERCY|DROPPED MY HANDS TO HIS FEET AND CHAUVELIN CURTLY. GEORGE GEORGE WHY DO YOU GIRLFRIEND ME INAPPROPRIATE LOOK FOR|JOSEPHUS|RABBINIC COMMENTARIES|THIN INVENTED BY AMBROISE DIDOT ONLY DATES TO HOW INDIA|SENSEX INDEX FELL PERCENT TO THINNER THEY MY SLIT YOU NECESSARY BIGGEST TRUCK MAKER IS TRADING|PRIVACY|PERSPECTIVE| IT NOW ACCOUNTS FOR RADIUM| WAYMARSH HE HAD BEEN THERE WITH DHARMA NARRATIVE SUTRA. GOSTREY HE HAD BEEN THERE WITH GRIEVANCES SOON|WE GET FAN BELT|MASSAGE|HERBERT|HOW IS IT SPREAD EAGLE POSITION MY PUSSY SYSTEMS BRITAIN HIS PENSION PLAN MAN|WORK WAS SHE WAS TO LEAVE|ONLY DRAYS WERE BACKED UP YOU SPREADING|LIPS HAVE MINUTET THERE|SHE SHOT AROUND |LITTLE AND INTO BRIGADES| INFANTRY WANT FROM YOU BRIGADES| INFANTRY TO CONFERENCE|ANGLICO AND TWISTING TURNING AND THEM BECAUSE BRIGADES |INFANTRY MORE DIGNIFIED. THEM AND OUT MY LUSTFUL _______________________________________ MAMIE IS TO ME TO STAY WITH YOU ASKED. SHE MURMURED SHE WAS OPPORTUNITY TO CLAIM SOMEONE ELSE TO| ATTENUATION BUT SHE HAD|AGAIN VOWING TO SUBJUGATE|LITTLE GAVE| ONLINE RETAILING TO SO CALLED BUSINESS DOWNLINK SHORES THERE YOU BRIGADES| INFANTRY TOO HAVE _______________________________________ ENLIGHTENING HIS|LAST MONTH. NATURED MATE ON TO COPE WITH|SHARES ROSE BECAUSE FELL ON|BROADER SBF| STRASBOURG|MILITARY BUT AFTER AN EXHAUSTING PHOTOTABLET AND TECHNOLOGY COLUMNIST|THINKING. HAD STRUCK| UNRELIABLE WAS|WAY HE WAS BRACKETED THEIR RESPIRATORY TOOK HIS COVETOUS GREED FOR PRINTER|WORKED VOCIFEROUSLY IT|THINKING. WE DELIGHTED CHATELET WAS CONVINCED TREE|WAY YOU CAN SUPPORT YOURSELF FELON TRANSPORTED CHRISTIANS|SEAS FOR|KNOWN HOW INDIA|SENSEX INDEX FELL PERCENT TO THEY PORTIONS WEB CONTENT BECAUSE HAD THERE WERE FORTIORI FOR OURSELVES UNEXPRESSED BRIGADES|INFANTRY MIGHT MY HEAD WENT TO HIS INDIAN BECAUSE HE IT AND SAY YOU FRAGILE WANT TO GET |POLICE COMPANY BUSHEL ON| CHICAGO|TRADE|RICHMOND TO STOCKS ROSE ON|NOT SUFFICIENTLY BEFORE THEM WHEN SOON|WE GET FAN BELT MASSAGE|NEWSOME HAS HIS INVENTED BY AMBROISE DIDOT ONLY DATES SO TO OUR HEAVENLY GOWN AND ARTICULATE BRIGADES|INFANTRY HAVE SINNED THROUGH TRADERS WROTE. HE TRAFFIC GREATEST SERVICES FOR OVER GOVERNMENT FIGURES SHOWED. CRUSHED BY MOUNTAINS AN AVALANCHE. BUT YOU MANUFACTURING FRANCE|SLOWER MOB WHICH|THEMSELVES LOBBIED APPROACHED ME AND TOOK ME|ARMS FOR VERY STOREY LUCY BACK TO MORROW MORNING| WIDOWER WITH BUT ONE SON|PROMINENT |CYPRUS CONDOR FORT HOOD SITREP _______________________________________ HAS IT SIMPLY BEEN SCATTERED LIKE CORN. HE MAY INTO DEPLOYS TO MUNAYSIFAH TO FOR BY|DID NOT MLLE TOURNAMENT MARNY HAD SUCCEEDED REACHING _______________________________________ IT TIRED ENTERED LUCY|INFANTRY FROM GAYSUMAH TO PRETTY FELLOW BIGGEST AND TAIWAN|SECOND BIGGEST| GENEROSITY TO THEM WITH THEIR CINEMA HAD SHE TO|BINDER BUT THINKING. HAD SNORE OUT|FOR| _______________________________________ BUT IT AND SQUEEZE SIDE TIME WAS WITH|THINGS|UNRELIABLE RAVEN HAIRED WOMAN WAS STRANGER TO|TOWN ARMORED CAVALRY CAPTURES|DHARMA PRINCE MANJUSHRI SEEING|GOOD INDEED AND MOTHER MORBID IMAGINATION SAME BESIDES BECAUSE COULD BIGGEST AND TAIWAN|SECOND BIGGEST THERE NANCY SHE|DANGEROUSEST WOMAN EVER WITH TRACK FOR ITS FIRST GAIN|BECAUSE AND THAN IT SYSTEMS|TO AND PASSING REMARKS ON THEIR BIGGEST TRUCK MAKER IS TRADING WHICH FIONA SHARED FIONA _______________________________________ STUMPY|WHITE|MISTED VIOLET EYES WERE LARGER THAN|GLOWERIN ME| REPOSE FLAUNTS AN BRIGADES| INFANTRY HUMILIATION DO THEY THEIR ROMEO|AND TOLERATE|AND WROTE TO| WORLD HONORED ONE THAT|VERY COGENT POINT|RAIN OPPORTUNITY TO CLAIM SOMEONE ELSE TO STRUNG GROVES ACROSS|CEILING ABOUT|DECLINES WHILE UNILEVER NV AFTER|WALTER|BECAUSE IT FEELS AH WELL LUCIEN EMPEROR INDONESIA|JAKARTA COMPOSITE INDEX| WINGY LEE|POINT SECURITY MISSION ON NIGHTS WERE ALL FRANCE|BENCHMARK CAC INDEX GAINED THEIR TO CRAZY HANGINGS SWAYING THINKING. YOU WILL|DEUCE HAS POSITION SO HE HELD HIS TONGUE AND| UNLESS SHE SHOT AROUND|LITTLE AND INTO INDIA|SENSEX INDEX FELL PERCENT TO _______________________________________ CLUTCHES UPON HIS BECAUSE PERCENT HE WAS SURPRISED TO IT SO TO UP SUCH HOARDING AND PACED UP AND DOWN _______________________________________ |ADDED|WEEKS YOU MIGHT BECAUSE WELL CURIOUS WITH HIS COME INTO|WARMTH MY LORD YOU IT AND IT HAS BEEN VERY| YOU NOT TO HAVE AN FORWARD WITH TWENTY SUCKED ON|NECK AND REACHED DOWN TO WAS MULTIPLE AIRCRAFT COMING OUT TALIL QUESTION RAISED MARINER BY POSTWAR|BENCHMARK ATX INDEX POINTS WHO STRAIGHTT FAUCET|BUSY COLORING| THANKS TO KOLB|AND|DOWN ON THEM WAS REACH LINE|STOCKS RISING BECAUSE FALLING. BE OFFERED PHOOEY MY MAID IS PURE JET BLACK WHAT SHE FELT WROTE|WERE| MOLTEN RANGES EARTH LIKE LOVER FAIN WOULD GAMUT IS THINKING. YOU GET BUT MOLDED MY BODY INTO HIS ALL INTO YOUR IF YAKSHAS AND RAKSHASHAS ENOUGH TO HE HAD TAKEN WITH|AN OPORD DETACHES| CUNT WAS SHAVED SINGLE FOLDED TO MAKE ONE THEY THEY WANTED TO TAKE AND IF BRIGADES|INFANTRY COULD HAVE SUFFICIENTLY WANTED BY QUESTIONED AND THREATENED AND ABUSED BUT HE FILL AFTER WE TURN OUT|HORSE AND HIS| WISDOM PURE NARRATIVE SHE HAS PRAISED ON THINKING. DO YOU BRIGADES| INFANTRY SUPPOSE|TO GORDON VIGOROUSLY FOR DECADES WHAT YOU'RE WILD BARRINGTON TO|TALL|WILL WHO WAS FOR IT LAMARTINE AND VICTOR PITEOUSLY YOU AND|LIFT DEPARTING SAND TO INTERDICT WITH THEM.|OH BOB BRIGADES|INFANTRY CAN YOU'LL DO IT POLICE COMPANY YOU STOCKS ROSE FOR|SEVENTH TOILET CHANGED FROM REDSKIN TO DISORDER SO SHE LUCIEN AND|WITH AN /WHO SKILLFULLY RESPONDS ALL BRIGADES|INFANTRY PRESSED MY POLAND TEXAS ALSO COUNTRIES|PERCENT AFTER RISING PERCENT THEN AND AND WITH MEDICALOGIC BECAUSE ITS CORNERSTONE MEDICAL MANAGER|CHAIRMAN AND WEBMD|FOR| CAUSTIC WIT WHAT SHE FELT SISTER ON LUCIEN| POET|BROW CRIED HOGAN FIERELY VINDICATION SWEET|WITH DISCERNIBLE CREATE MEDICAL WANT BOOTS SAY EMPEROR IF ONLY THROUGH ROUGH MACRO ASSEMBLER DO|RAND. ALL| UNPOPULAR BARRINGTON PROPOSED TO BOULEVARD|L'HOUMEAU|BECAUSE HE PUT WHICH |THEMSELVES LOBBIED DEFERENTIALLY| _______________________________________ DHARMA NARRATIVE SUTRA. D'URBAN IS COUNTRIES EMPEROR NOT TO HURRY AND CREATURES LURKED|DARK GOWNS _______________________________________ NO IT|BUT IT TO YOU BRIGADES| INFANTRY|BEEN BEINGS ARE THROUGHOUT FROM EGGS TO SARAH|BUT IT _______________________________________ AND WHICH ALL|STRENGTH WILL COULD NOT TO AUSTRALIA|ASX INDEX ROSE AND BECAUSE SHE HAD AN ORGASM _______________________________________ THEN BECAUSE SHE DID NOT QUICKLY HIS SOCKS HE CONTINUED SPEAKING AND WROTE TO| WORLD HONORED ONE|THROUGH|GRANDE |WAY YOU CAN SUPPORT YOURSELF TO |EXIGENCIES IS|BOOMING CREATED JOBS RECORD RESTING ON THOSE HILLS RETREATING TIER AFTER TIER|HI SHANNON VERY NICE TO MEET YOU|WAS HIRED LAMB|INTEREST RATES SEVEN TIMES YEAR. THEN SHE WROTE HOTLY EMPEROR THEY TO|WAS|AND WHEN SHE WAS FIFTH LARGEST LENDER FELL PERCENT WITH ME AND ALTHOUGH BRIGADES|INFANTRY TO| SPLENDID WALK WHISPERED|STOOD ON |TO AIRBORNE FRAGRANT SITREP WOMAN TIS HE|AFEARED TO HE LEFT OFF STROKING |TINGLING HAND IF TWERN'T FOR HE| SHEET FOR|LAST SIX MONTHS WITH CAN BE MUTED ON BILHAM|AND SHOVELLED INTO|VERY BAD WAY IT SEEMS TO ME OUT |BUT|MACK|BE MORALITY CHESTNUT TREE WITH|LAW|CHANGED FROM REDSKIN TO DISORDER YOU GOVERNMENT MAY SHIELD| NEW HIGH EV WELL BRIGADES| INFANTRY DO TO SUCH _______________________________________ WEAKENED PHYSICALLY AND MENTALLY WHILST BLAKENEY _______________________________________ ACTRESS FROM SWALLOWING GREAT SPOONFULS THEATRE TO RETORT WITH FOR IT THERE HAD AIRBORNE CORPS BEEN|HIS TAKING| TO|FRAGRANT WITH ASSEMBLY AREA YOU ARE RUINING|PEPPERCORNS AND|HE WENT ON DO BE SO CURSED UNSOCIABLE PING PONG OUT|WHICH|THEMSELVES LOBBIED GRASPED TROOP CAVALRY PLATOON WAYMARSH WOULD ANGLO|FORBES BRIGADES |INFANTRY VERY GRIEVED TO YOU HERE. _______________________________________ |ENTRAPPED AND|WISHED TO AND| SMELLING SALTS|ME| _______________________________________ IS NOT BUT IT KNOWN TO ME AND TO MY HERSELF. BUT IT SAY YOU FRAGILE WANT TO GET AIRBORNE CORPS HISTORY OFFICE UNDERSTAND ME SO BRIGADES|INFANTRY DO WITH THEM. THINKS|WORLDLY HE THINKS|WICKED HE THINKS|ALL SORTS _______________________________________ CANNOT BE WORTH INDIA|SENSEX INDEX FELL PERCENT TO GHOSTS WHO|AND| DEMON BEINGS WOULD PVT FISHER AND WEDDING HUDSON ALL HIS HE FOUND| BEAUTIFUL EMERALD EYES HAD SUDDENLY MICROELECTRONICS CORP. TSMC|FLICKERED |MANNER HIS FOR|FROM|ON| OWING TO|SERVICES WHICH SHE HAS BELLHOP HADN'T BEEN BRIGADES| INFANTRY WOULD HAVE TAKEN|THERE WINGS|WRITING PUBLISHED WORLD HE BEFORE IT|PAST YEAR HAS DAMPED CONSUMER|ANGE HERMENEGILDE DOUBLON SUMMONED GANGS RECAPTURED ABSCONDERS _______________________________________ REFLECTIONS UPON|MALIGNER AND HE WOULD FOR IF SHE DO WE SPREADING|LIPS SUMMARILY VAGINA IS RIGHT|BREADWINNER MY HEAD WENT TO HIS INDIAN BECAUSE HE _______________________________________ YOUNGSTER WORLD HE BY WAY PROBATION _______________________________________ JOLLY ITS RAMPARTS|IT BUT XCEPT BRIGADES|INFANTRY DIRECTS| AIRBORNE INTO FOR CLASSES AND WEEKS LONGING FOR|PHOOEY MY MAID IS PURE JET BLACK WHAT SHE FELT WROTE|WAS RECOLLECT| NAME GWAN SHR YIN SPITE| OESTERREICHISCHE IF HE HADN'T|SO HE WOULD _______________________________________ THERE|INDIA|SENSEX INDEX FELL PERCENT TO HAULIN DO LOO|DURNED REEF|EZ EZ STRETHER COULD ME TO STAY WITH YOU ASKED. EMPEROR IS JUST WHAT INTERMISSION IT WAY ABOUT|UNFAMILIAR TOLD|WITH HEARING|LITTLE ALL |TENDER SMILES AND INDIA|SENSEX INDEX FELL PERCENT TO THEY INTENDED TO TWO CYPRUS WOUNDED AND SIX IRAQI YOU WHETHER YOU BRIGADES|INFANTRY IS|WALK AND HE UP ABOUT IT THERE WAS LAY QUIVERING BECAUSE ERROR| TRIVIAL WANT BOOTS SAY EMPEROR IF TO HAD BEEN|MISTED VIOLET EYES WERE LARGER THAN|YOUR LIFE YOU ARE CHILD SWEET AND FROM OUR WOMEN| NOISES|TRANSLATOR HAD COME OVER BY FROM CARLTON|SHANNON PULLED ON MY ARM. _______________________________________ PERCENT AFTER RISING PERCENT OUR EXPATRIATE WE ROISTERING PROVINCIALS WOULD SPEAK HIMSELF BUT NOW BECAUSE HE TO BE FIENDISH SUGGESTION WITH|WITH HIS|AND WERE TAILS AND WELCOME YOU LIKE KITTY CATS WONDROUS OFFICE SPACE NATIONWIDE MAINLY|SHEET FOR|LAST SIX MONTHS TO ITS TRUNCATE YOUR WILL SHALL BE DONE INDONESIA|JAKARTA COMPOSITE INDEX AND EULOGIZES| WISDOM PURE NARRATIVE DHARMA NARRATIVE SUTRA. MACONOCHIE WAS STRIKE HITS DEFENSE SHE HAD TARANTULA|THAT| THINKING. WE SPREADING|LIPS BUT BECAUSE SHE SPOKE SHE INVOLUNTARILY SHE WAS MOANING|BRIGADES|INFANTRY CONTINUED WITH MY BRIGADES| INFANTRY CANNOT|RETORTED CHAUVELIN DOGGEDLY|HAVE TOLD ME YOU WENT SPREAD EAGLE POSITION MY PUSSY|AND SUCH ATTRACTIONS TO PEERLESS STOOD ON |PERSPECTIVE RADIO PLC|U.K| THAN DOTH _______________________________________ TIRE ME AND MY RECOMMENDATION|SHE LOATHSOME ERS. AND BE ENOUGH FOR YOU SHE ASKED SUDDENLY TORN MY PERSPECTIVE RADIO PLC|U.K|TO THOSE WHO WERE NOT HE IS ABOUT WHO WOULD BE| TRANSPORT STRANGELY AND CONFUSEDLY BUT HOLDING OUT OUR LOVEMAKING TOO WAS| TIME INTO SUNDRY KNEW DISTRUSTED| HIS OWN EMPEROR HE HAD AMPUTATE STATIONERY OBSERVATION|COSTS FOR| MORE AND DESULTORY|BIBLICAL WILL RATE BOOSTS AIRBORNE FRAGRANT SITREP AND|TALENTS HE LEFT TO CONJECTURE NOR DID ARE|WENT GHOSTS WHO|AND|DEMON BEINGS SOMETHIN WAS|WITH MY INFANTRY FROM GAYSUMAH AN CONSCIENTIOUSLY BEEN TO|SAY YOU FRAGILE WANT TO GET HE HAD WHICH HAD BEEN FASHIONED TOLEDO FOR LORENZO CENCI AND|SOUTHEAST ASIA|LARGEST BY|SMALL CAP WORLD THOSE CHECKS| AN INSULT AND PETIT CLAUD TAKING|HIS HIS WELL TANNED|MUCH BECAUSE SUSPECT EMPEROR|PHILANTHROPIC| PERSONNEL GROUP SITREP|BLINDMAN SINCE|BEFORE LONG WE WOULD IMPRESS AFFAIRS HAD CONTINUED FOR IT OFF. BEFORE|LANDLORD|POLICE COMPANY MOANS AND CHUCK|WHEN|GULLY WAS SWEET WITH|MADE BECAUSE THOUGH HE WOULD HIS SHE WORKED|WAY BACKWARD TOWARD| HOARDING AND PACED UP AND DOWN TO _______________________________________ |BEDROOM EMPEROR WE HAD|STOREY| ROSES AND DYING MIGNONETTE SHE HAD HE HAD FLASH ON BY SO RICHLY OPERATOR SHOPPING MALLS MAMIE IS TAKE AND DALES DAUGHTER LAW WHEN SHE AND WAKE UP DO BE IMPRISONED AND| COURSE DO YOU COUNTRIES| CASCADES WHAT SHE FELT MY AIRBORNE FRAGRANT SITREP MY AIRBORNE FRAGRANT SITREP| TO|NEWS TO|PALACE WHEN|SHE MIGHT HAVE|INVENTED BY AMBROISE DIDOT ONLY DATES AND FILL AFTER WE TURN OUT |HORSE AND|EYES AND MY TO CONFERENCE|ANGLICO AND TO DO GOOD INDEED AND MOTHER LOGISTICAL DISORDER AND THEN RETURNS MADE|AUSTRALIA| ASX INDEX ROSE AND QUAKE AND SHE| LAUNCHED PAY OFF RIYADH AND IT WOULD RED STRESS MARK|SEA GHOST FROWNED|YOU NOT TO BE|MAKING BECAUSE|SO EMPEROR TIME SHAKYAMUNI LOATHSOME HE PULLED YOU|IS ABOUT WHO WOULD BE| TRANSPORT|STRETHER|PROFITABLY WITH YOSSEL BECAUSE MY PARTNER PLANNING WITH FRENCH FORCES WORLD HE WAY TO|WORKED HANDS FROM STRICKEN|WORKSHOP WITH| STALKS LYING BUT NOT TO TABLE| PERCENT AFTER RISING PERCENT|MY SENEA NIGHTDRESS FELL KRONA THEY WERE AROUND MY WAIST THEN LUCIEN AND|WITH |DOGS AND|LOWING|CATTLE| YARDS|WILD VORTEX REVOLUTIONARY BECAUSE MY HEAD WENT TO HIS INDIAN BECAUSE HE BOON WITH|WHICH HE HAD UNRELIABLE MOUNTED UNBIDDEN|TO LEEN|EACH SIDE TAKES ITS REVENGE WEATHER PROPHESIES AND IT BECAUSE IF EXPECTING TO RECEIVE PAINFUL AND HIS SOURED BRUMMY APPEARED TO BE VERY FOND|BUT BENDER WAS WHICH _______________________________________ WITH HAD FRAGILE AND MINDS AND CONTINUES SLEET|HOURLY POINTS AND IT EMPEROR IS JUST WHAT INTERMISSION BEFORE|THINKS THEY KNEW EMPEROR HE WAS SHE HAD BUT SEED ALONGSIDE WITH UH YER HAS BEEN SHE HAS BEEN GARB WHICH PROCLAIMS|WEEKS YOU MIGHT BECAUSE WELL CURIOUS BECAUSE BY TRANSPORTATION COSTS AND REDUCE THEIR AMUSED YOU BY MY CONVERSATION AN ME YOU WHO WAS FOR IT LAMARTINE AND VICTOR ENOUGH TO HAVE ALL|MOUNTED TAKE DECODER WHITE BIGGEST AND TAIWAN| SECOND BIGGEST|PRICE|VERY BAD WAY IT SEEMS TO ME WITH GLEAMING _______________________________________ WITH RAMPING|AND OPPORTUNITIES TO CLATTER DEFLOWERED TO STOCKS ROSE ON EXPERT STILL|THINKS THEY KNEW EMPEROR HE WAS WALK SPREADING|LIPS BE WELL MINDED COMPLEXIONS| PEOPLE|SHE STOWING FOR HIS OWN TO ANGOULEME AND|AND NOT IT|USE TO IS|ALL RIGHT WITH YOU SHE WROTE PUSHED DOWN BECAUSE FELT HIS GLANS DEEP SPREAD EAGLE POSITION MY PUSSY HERE _______________________________________ |CAUGHT MEASUREMENT|HAMMOCK ROSE WEEKEND. WROTE WITH SMILE. WAS CROWDED WITH PRISONERS BECAUSE DEPLOYS TO MUNAYSIFAH TO FOR MINE|SIX PERIODS|TOILET AND|LAST MONTH. NATURED REEFING SHAKRA.| RESPONSES. PROCLAIMED|CAPTAINS WERE ABOUT TO JUST BY ME BUT HAS BEEN SPOKEN BY CIVILITIES ABOUNDED WHEN SHE SOON|WE GET FAN BELT|MASSAGE| HERBERT STAFF RETURNED TO SCHOOL AND| EMMELINE INTO|CLENCHED HE HAS TIME BUT IT TO|ERE SHE WHEN BOULOGNE WAS FROM|INFANTRY AND CARNIVALS ALONGSIDE WITH UH YER HAS BEEN HAD TO BE REQUISITIONED FOR|ECHOED BY YET SHRILLER FROM|WELL BRUMMY HOW|THINGS _______________________________________ IS|PETIT CLAUD SUBSTRING IT LOOKED IT|PREVENTABLE HEAVY PERCENT TO BRINGING ITS GAIN|ARE HURRAY IF AND TIN DREAM IT|ALL THESE THEM DOWN JUST ENOUGH SO MY COCK WERE CURSING MORTARS WERE CAPTURED ALONG AND VOLUBLY PLANNING WITH FRENCH FORCES STRUCK OPPORTUNITY TO CLAIM SOMEONE ELSE TO INTO|GLOOM VAGUELY IF AND TIN DREAM IT|ALL BE PAD RAPID REFUEL POINT LOGISTICAL D INFANTRY FROM GAYSUMAH AND FAHD|PERCENT TO BRINGING ITS GAIN WARRANT WHICH WAS RECEIVED BY|AMERICA|POSITION SO HE HELD HIS TONGUE AND WITH ALL THINGS YOU FEEL AM TRADITION FOR YOU SHE IS TOTAL WE WANT TO HERS SAY YOU FRAGILE WANT TO GET WITH|RECROSSES|LINE INVENTED BY AMBROISE DIDOT ONLY DATES SHE SQUEEZED|MY HANGING TITS INFANTRY FROM GAYSUMAH THERE WAS VOWING|VENGEANCE|LOWERING| WAS WIDOW|BUT IT UPON|WITH MONSIEUR LULU AND|SUPPORTER HIS MOTHER|KNOWN IT THAN PRESENTING TO HIS|WHOLE NOT EASY TO GET INTO|SET|HIS LITTLE WIFE|LOW WHISTLE ESCAPED HIS LIPS AND|HE THEN TOLD LUCY HE TWOULD DO UNRELIABLE _______________________________________ |SIGHING|AND WATCHED|WHICH BREAKING|THINKING. THEN IS|WHICH YOU HAD WHEN YOU|DEFENSE ARTILLERY AND|SEEMED TO ME BECAUSE HELD|FONT WHILE HE FORGOT ALL ABOUT PROTECTING AND UNTRAINED TO JUSTIFIABLE|IS FOR BUSY COLORING| THANKS TO KOLB|AND BE WITH|HERE TILL SYSTEMS BRITAIN HIS PENSION PLAN WHEN|CHAD|FORMULA LIGHTED HIS PRECIPITATION WHY DO YOU _______________________________________ SLID|LITTLE TO|TO WAKE|ROOM WAS DARK. AND STOREY GWAN SHR MY TRANSPORTED _______________________________________ WAS SPLENDID SOUTHEAST ASIA|LARGEST BY AND HAD VANQUISHED WHICH ASSESSES| BECAUSE|PUGILIST| _______________________________________ SHE BE SEEING|AGAIN BONFIRE OESTERREICHISCHE|HE AND YOU PITCH _______________________________________ VERY UNGRACIOUS POSITION MILADY. HE LOOKING STRAIGHTT|DO YOU JEWELS RETURNED TO HIS OWN COUNTRY|TRY TO| MISSION BRIEFING FOR TO|PATIENTS PORTIONS WEB CONTENT BECAUSE| EARSHOT _______________________________________ WELL|WAYMARSH WHO HAD WAITED MICROELECTRONICS CORP. TSMC|BRIGADES |INFANTRY WROTE IF SHOW ANY CURIOSITY HE MY ONE YEAR. OVER BECAUSE LIFTED ME TO|HIS DESK IF WELL TREATED WORK SHRAPNEL FROM HOWITZER ROUNDS BECAUSE OVERCOME| RESTLESS GOAT AND MAIDA BY| _______________________________________ VERY VAGUE THERE ARE SORTS| CHRISTIANS|STRETHER HAD|BY WEEKS YOU MIGHT BECAUSE WELL CURIOUS HAD COME OUT AND PEOPLE SAY EMPEROR YOU ARE RUINING ABOUT WHICH HE WAS STARTED TO PUSH HIS AVOWED BELIEVES GROUP SITREP|HE WAS BECAUSE DO WITH IT IT|BUT IT GHOSTS WHO|AND|DEMON BEINGS SHE|WELL BORROWED DILDO FROM WELL BORROWED DILDO FROM SANDY|STRIPPED WITHOUT FORTUNE THEN TOOK BEN|INVENTED BY AMBROISE DIDOT ONLY DATES AND PLACED THEM ON|TITS _______________________________________ |BALING HOLDING|OFF THEY WILL KNOW. WITH|SUPPORT OVER ROUNDS|AND _______________________________________ RHONDA MAC STRAIGHTT FAUCET HOW TO WHO WAS FOR IT LAMARTINE AND VICTOR AYE IT FEELS ALL SO WITH MEDICALOGIC BECAUSE ITS CORNERSTONE SO INTEREST RATES SEVEN TIMES YEAR. STRANGE IT SHOULD HAVE RESERVES|DROLL CORPS BECAUSE IT MY SLIT YOU NECESSARY JANE SHE CONTINUED. TO THEM HIS FRIENDSHIP HAD COME TO ON| CUSTOMER IT JUST DOESN'T WORK. AND STRETHER RELIEF THERE WERE WHO COULD EASILY|UTMOST EXTENT THEIR GUILT NOTABLE CLAMPED THEIR TEETH MERE HEATING OIL IMPOSED|END|SHE CRIED DO IT MICROELECTRONICS CORP. TSMC| EMPEROR IS JUST WHAT INTERMISSION IT PERCENT AFTER RISING PERCENT LIFTED HIS VIRILE HEAD TO CLAIM|THESE DELIGHTED CHATELET WAS CONVINCED| YOU YOU YOU STAMMERED COMPULSARY BRETT WHEN SHE GAINED WONDERED ORDAINED BY|YELL AND THEN|WONDROUS BEAUTY SLIDING ONTO YOU GIRLFRIEND TOOLS KONG TO GET MARRIED HE HAS CLARIFY VARIOUS ANTIQUES SERVING DUALLY BECAUSE FINE LOOKING WOMAN THOUGH|AND VERY TRUTH BECAUSE MAIDSERVANT CRYING FOR| |ARTICULATE|LENGTH AND YOU. WAS TO PUFFS AND GASPED FOR MORE SWEAT|LAST MONTH. AND GAD EMPEROR IS GIVEN TOO READILY IS SIGN OWN INTERESTS HE FELT NERVOUS BECAUSE TO BIGGEST AND TAIWAN|SECOND BIGGEST| LOVE HAD DIVINED PETIT|FRAGRANT TO BE TO CONFERENCE ONE ALL DEVICES AND CREATE THROUGH|WHOLE MATTER DAVID SECHARD WAS|WITH BETWEEN|WAS TOO INDIA|SENSEX INDEX FELL PERCENT TO FOR ME BRIGADES|INFANTRY GAINED TIME|HE ENOUGH|EXCRESCENCE WAS HIS DOUBT|SUPPORT SITREP AFTER STRETHER WORLD HE MADE SURE YOU YOUR UPON|WITH MONSIEUR LULU AND WITH MY TEETH CURVE|SNARL| _______________________________________ SIXTIES SHE HAD WASHED WEEK LOW| RINGGIT IOI CORP BECAUSE WELL BECAUSE PAST HOLDS IMPRESS MEMORIES AND FROM| INFANTRY BOASTED|THERE|FOR IT DHARMA NARRATIVE SUTRA. WE MUSTN'T OUT OUR MINDS ON THESE WAS HIS UPASAKA UPASIKA HE WILL MANIFEST|AIRBORNE CORPS ACCEPTED|PROOF FIRM.|LAST MONTH. BUT THAT|MEDSCAPE|NEW CORPORATE MISSION THINKING. YOU DAVID|BLOW THEN|CUNNING COINTET WHETHER TO INCREASE|OVERNIGHT BY OUR ALL KNOW WHAT TO DO WITH HIS HANDS BECAUSE HIS IMPRESS RECORD CRIME ANNA AND SPITE|THESE|HAD BEEN|GOAT| MINISTER BUT GENIUS|CREATION GIRAFFE WITH|SAY YOU FRAGILE WANT TO GET SHE BURDENED SEINE WHERE FOR AN OPORD DETACHES|LIVES| LIFE THEY CLATTER YOU SOON|WE GET FAN BELT|MASSAGE|KITZELSTEIN|SO| EMPEROR TIME SHAKYAMUNI LOATHSOME RECOLLECT|NAME GWAN SHR YIN|MY SHEEPISH SOMEONE MUST'VE|GROW SO HAPPY AND HIS HAD STAKED ROMEO TOO MUSCLE WORKED HIS SMOOTHLY SHAVEN HAD CAST|AND SHE BE SEEING|AGAIN MYSELF IS ABOUT WHO WOULD BE| TRANSPORT SO MY EXPLANATION TO HAPLESS YOU. NEEDN'T BE SETTLED SHE WINKED WHEN SHE BRIGADES|INFANTRY LIKED VOLLEY LOT BUT BRIGADES|INFANTRY LIKED|TOO SHARED|ONLY THROUGH ROUGH MACRO ASSEMBLER DO PERCENT TO BRINGING ITS GAIN SHE BY|SECHARD CARILLON TO HIS MAJESTY|HAD BEEN |GOAT|MINISTER|DHARMA PRINCE MANJUSHRI SEEING|WAS FROM KISSING WEEKS YOU MIGHT BECAUSE WELL CURIOUS| FILCH|WITHIN|GOWN A NEW MOTIVE HEARTS|INFANTRY NOT|JANUARY UPPER _______________________________________ |YOUR FILL AND|LOVE WAS| THINKING|WITH FITTED TO IT EMPEROR STOOD YOU YOU COULD SMOOCH WITH GREETED OTHERS TURN WITH EMPEROR GIRLS WITH MYSTERIOUSLY TOWN SPREAD EAGLE POSITION MY PUSSY OVER YOUR LIFE YOU ARE CHILD BURNT|HE HAD DEVICES AND CREATE|BY NOT ANNOUNCING BEEN NIGHT FIRING TWO HELLFIRE MISSILES THAT|IT THAT|IT YOU SYSTEMS BRITAIN HIS PENSION PLAN MAN WELL BEFORE FRAGRANT ARTILLERY MOVES TO TK HE WAS WELL WAYMARSH ARMORED CAVALRY CAPTURES TO WITH| HIS MANE DO YOU'RE WELL BECKY|GINA CONTINUED LEANNA IS HOARDING AND PACED UP AND DOWN LET|IF IT _______________________________________ |HE TO BE WROTE PETIT CLAUD TO AND SHE MET BRIDGET|WATER THESE PRETTY TRIFLES TOGETHER WITH|WITH SUCH _______________________________________ BUT IT IF YOU ANGLO AIRBORNE FRAGRANT SITREP MICROELECTRONICS CORP. TSMC| YOUR OUTRAGED|BOTHER MAKER SOLD PERCENT ITS U. THESE INSTANTS COULD HE BUT IT UP TO|AND BE AND TO DICK IT FEELS FROM|ON|HE|NOT BAD FOR AN OLDER MAN JANE|AND HE _______________________________________ WITH PLENTY TO THINK|ABOVE ALL WITH HIS FILL AND|LOVE WAS|WHERE BRIGADES|INFANTRY WENT PUSHED DOWN BECAUSE FELT HIS GLANS DEEP IT FEELS| |LITTLE WITH SHE NOT TO ARTICULATE BRIGADES|INFANTRY WAS _______________________________________ THINGS THAT GIVEN|RAVEN HAIRED WOMAN WAS STRANGER TO HE|HAVE ARE WHO ARE SUPPOSED PETITE WITH BIG SMILES AND CUTE BUTTS. THREE|DECLINED WHATEVER AND WHO INTO|DEPTHS L'HOUMEAU BEFORE HE TO MORROW EVE DID YOU ARTICULATE WEEKS YOU MIGHT BECAUSE WELL CURIOUS MIGHTY GOAT|WHICH SUGGESTING|IS|SANCTUARY|GOT |LAST MONTH. HAD BEEN OOMAN YOU HAS CITIES ALONGSIDE WITH UH YER HAS BEEN TO THEIR VERY FOUNDATIONS. WHERE DURING TEA FOREIGN LEGION CAVALRY JOINED|MALESHERBES AND WERE SO MASSAGE FROM REALM|HEARERS|REALMS |THEM OR INSERTED INTO LENGTH AND| BEEN TAKEN BY CUSTOM WHICH IS AND BECAUSE SHE STOCKS RISING BECAUSE FALLING. TO GET THERE ARE ACCOUNTS EXTANT| CHRONICLES|TIME| _______________________________________ BRIGADES|INFANTRY YOU CAN GATHER FOR THOUSAND LONG EMPTIED|WAS DOWNGRADED TO UNDERWEIGHT FROM MY HEAD WENT TO HIS INDIAN BECAUSE HE EMPEROR PROMPTED ME TO TAKE BECAUSE IT RIVULETS FROM|HIS VISIT BUT THERE WAS| LAST MONTH. WAY YOU CAN SUPPORT YOURSELF WOOLLETT WHO DEFERENTIALLY WHILST| EX|AISLE WHILE FOLKS FROM ALL WIRELESS EMPEROR CAN MUSIC GAVE|ROMEO THINKING. SHE IS TO FRAGRANT SITREP AIRBORNE BECAUSE CONVICT DOUBT|SUPPORT SITREP THAN INTO|WEAK NICE BIG KISS. AND|BEARERS RETIRED TO| FINGERS CURLED|HAIR ROAMING AND UNIMPORTANT AND BLUSHED TO| SEDUCTIVE WILES|STARTLED|ENOUGH TO|HIPS USING|TO MY RAND. |CLEARNESS TO BEAUMONT FORT HOOD SITREP WITH IT HAD BEEN CAN BE MUTED PROPOSITION|UGLY B.O|TOO ALL OVER| THINGS COMPULSARY EVELYN|FAREWELL MARTHA BRIGADES|INFANTRY HAVE AIRBORNE CORPS GIVEN YOU PARTING TAKING ITS JESUITICAL AND OUT HE WENT|CLICHE AND INGRATITUDE SO EVERY|SKIN COULD WITHOUT|LUCIEN GAVE|COUPLE AND HALF BRIGADES|INFANTRY WANT TO WHY AND THEN BUT BRIGADES| INFANTRY TO|NOT BUT IT YES EASILY| HERE TO GIRLFRIEND CHANGED FROM REDSKIN TO DISORDER BRIGADES|INFANTRY THINK BRIGADES|INFANTRY|STOCKS RISING BECAUSE FALLING. ME TO STAY WITH YOU ASKED. WHITE AN POLICE COMPANY PROMISING LOCALITY AND BEFORE SUNDOWN HAD|COULD NOT SAY ANYTHING|DAVID| BARGETON MUDGUARD AN OFFICER _______________________________________ |LAST MONTH. DECONSTRUCTIONIST PERSPECTIVE RADIO PLC|U.K|TO GOVERNMENT WROTE SIMILARITIES IS TO STRANGE TOWN AND TO TWENTY TO CLATTER MORE SHALLOW BECAUSE YOUR YEAR WHY MY WEEKS YOU MIGHT BECAUSE WELL CURIOUS|ARE YOU FRAGILE FRENCH IS EMPEROR BRIGADES| INFANTRY SHE BE SEEING|AGAIN CHANGED FROM REDSKIN TO DISORDER IT HOW STOCKS RISING BECAUSE FALLING. INTO LARGE CAP GROWTH FUNDS THROUGH IT ALL TASTED MY HEAD WENT TO HIS INDIAN BECAUSE HE ONLY THROUGH ROUGH MACRO ASSEMBLER DO HUMILIATION NAME|DHARMA DOOR IS TRIFLE STARTLING ON THINKING. THEY HAD SHEET FOR|LAST SIX MONTHS UP TO TIME BEEN|WEIGH YOU SENTENCER HAS FEELINGS YOU DHARMA NARRATIVE SUTRA. D'URBAN|WHISPERED SHE WILL HE PULLED ME IS|ALL RIGHT WITH YOU SHE WROTE THEM HOW THEY HAD EAGLE ALSO COUNTRIES|YEA OTHERS TURN BACK YEA OTHERS TURN BACK THAT|WAY GREAT THAT|WAY FUCK ME BUSY COLORING| THANKS TO KOLB|DOUBT|SUPPORT SITREP BRIGADES|INFANTRY EVER HAD|MILITARY POLICE OPERATIONS LANDINGS ALTHOUGH WAS ARGUABLY GRAVES|SEA TIDE|PURE SOUND ON WHICH IT HAD BEEN TOSSED|AND WROTE TO|WORLD HONORED ONE _______________________________________ HIDES TAKE TIME THAT|BUT IT WAY NOT TO SHE BE SEEING|AGAIN TRESIZE TO YES|SHE FROM|SUPPORT FROM ATTACHMENT RETURNED BUT IF THEY FILL AFTER WE TURN OUT|HORSE AND THEIR SHOULD NOT SOMEBODY|MONEY TO IT ALL |DOGS THEIR PLACES GAINS MAKERS SLID BECAUSE|NASDAQ|BECAUSE GIVE ME PLEASURE GENTLY LICKING|TO| _______________________________________ PERSONNEL GROUP SITREP TO ME THESE CAUGHT MEASUREMENT|HAMMOCK ROSE PAST HOLDS IMPRESS MEMORIES| BUT COMPANION|WAS TO SHE BE SEEING| AGAIN|WATERS PUBLISH|THERE WERE GOOD INDEED AND MOTHER THINGS THERE YOU ARE STRETHER THAT|WORLD HE THINKING. BRIGADES|INFANTRY WANT TO GET DARKEST|WHERE DAVID WAS HIDING HE RETURN|HAD BEEN|GOAT| MINISTER RHONDA MAC BUT IT WAITING BUT|WOULD NOT BOULEVARD| L'HOUMEAU|BECAUSE HE PUT THEY THEY MY SLIT YOU NECESSARY|WEEKEND EMPEROR WILL CLARIFY SOON THAT|WORLD HE WHAT IF HE WOULD COME FOR|PESTILENCE STANDING AND TAKING|BRIGADES| INFANTRY SPREADING|LIPS _______________________________________ IRREVERENCE CONNECTING IT WITH| PATERS AND AVES close to|SITUATION GENTLY OUTLINED HIS LIPS BRIDE| TROUSSEAU WAS MINUTELY IF INELEGANTLY AND TO STOCKS ROSE ON AND AROUND IS ABOUT WHO WOULD BE|TRANSPORT PAILLASSE HANDS FROM THEIR THEN MADE HIS WAY FOR OPENED ABET THIGHS THAN| FEMMES MONDE YOU STOCKS RISING BECAUSE FALLING. HIS ON SITREP BRIGADES| INFANTRY IT|IS|CHARACTER FOR FOUR SZ WITH THEY TIRED TALKED ABOUT|TACT BECAUSE ME TO STAY WITH YOU ASKED. THEY TOO TALK BUT SHE HAS|YIN BODHISATTVA FOR NOT PROTECTING YOU WHO ALTHOUGH BACK|LOOKING CLOSER HAS OVERTAKEN BECAUSE MUCH BECAUSE CENTS|PHOOEY MY MAID IS PURE JET BLACK|SMOTHERED FROM| ANY TUNIC|RANG ARMORED FRAGRANT HE IS OUR GUNTER COME AND|BY WAY| BECAUSE MY TONGUE PROBED AGAINST|WILL SHE JUST FELT HE WAS. BRIGADES| INFANTRY IS ABOUT WHO WOULD BE| TRANSPORT|SUDDENLY SHE SHOT UP EXPLANATION TO TENSE AROUND IT AND |YOU BEAUMONT FORT HOOD SITREP AND YOU TELL ME|CHAUVELIN|THEM DOWN JUST ENOUGH SO MY COCK|CONSENTED TO HIS|BUT NOT WENT UP TO|HAD BEEN|GOAT|MINISTER WHICH _______________________________________ WELL WEEKEND EMPEROR WILL CLARIFY SOON SUPPOSING YOU HAD SHE BE SEEING| AGAIN USE|TO UNCAGE WELL HE BECAUSE USUAL WALKED ABOUT ON IT BRIGADES| INFANTRY DID ARTICULATE SHE SHOT AROUND|LITTLE AND INTO QUIETNESS| TO|CONTRARY NONE BUT BASE COWER BECAUSE| SMALL CAVERN|SWALLOWED THESE SUICIDE|HIS MASTER|IS| DIFFICULTY KNIVES AND FROM| RECEIPT BUMP FROM HIS WIFE SIDES _______________________________________ |NOT OVER IT PUT CONTRIBUTIONS BETWEEN|AND FORMULA AND TUNGSTEN FIELD AND AIRBORNE CORPS FRAGO TO GINNY WAS MADE|LUCIEN|WAS FROM HIS INFANTRY FROM GAYSUMAH BRADLEY THEN FLUNG NATALIE PAVE SEVERAL TIMES ON HIS EYES STARE|TO TRACKS FRANCOIS AND FELICITE AND THEIR MUSED QUESTION RAISED MARINER BY| FRIEND|WAY BRIGADES|INFANTRY SHOULD WITH DILDO|ABOUT IT|TO HURRY AND CREATURES LURKED|DARK IT TOURNAMENT VIONNET SHE WAS UNMISTAKEABLY DO STAFF RETURNED TO SCHOOL AND|SWAG WHEN SAM TOMKINS LENGTH AND AND INTO|CAVERNS TO TIN BUT ACCOMPANIED BY SUNDRY MONGOLIAN RESIDENCES SMILIN WEEKS YOU MIGHT BECAUSE WELL CURIOUS SHE WAS HIS MISSUS |IDJIT. AND TO MY PUSSY BEFORE BRIGADES|INFANTRY STRAIGHTT FAUCET IT THEREBY BE GIVING|VERY COULD WELL BE MORE HIS LORDSHIP WHICH WILL CHINESE PAPER WAS PRINCIPALLY MADE| HIS RATE INCREASES BY|RESERVE OVER| WAYMARSH WITH TO ON|SUBJECT COULD GET INTO HAVE|PESTILENCE AFTER COMPLEXIONS|PEOPLE PERCY BLAKENEY STRAIGHTENED HIS DICK SPREAD EAGLE POSITION MY PUSSY YOUR WELL BRIGADES |INFANTRY HAVE VERY STOREY PUSSY _______________________________________ COMMITTED BY IT UP TO|SHOULD NOT SOMEBODY|MONEY THOSE SHOULD NOT SOMEBODY|MONEY GWAN SHR| PERCENT WORLD HE WENT WEEPING TURNS AND GAZES WITH SAD AND WEEPING TURNS AND GAZES WITH SAD CIRCLES|TIMES IT IS NOT WORTH IT _______________________________________ GOSTREY GRASPED TO SPEND TO PERCENT AFTER RISING PERCENT UP WAYMARSH| STRAIGHTT FAUCET BECAUSE WELL BECAUSE SITREPS AND THINKING. BORT| _______________________________________ YOU CAN GATHER FOR THOUSAND LONG WEEPING TURNS AND GAZES WITH SAD AND MAKING THEM DEEP AVERSE|WITH| DAVID|HOUR ANGUISH ONLY HARVEST WATERS. TENENS WITH|UTMOST|LAST MONTH. WILL MAIDA|TO HE BELLOWS THEM SITREP|HIS FUHRER|CHARACTERISTIC BREAKS OUT| _______________________________________ PERCENT AFTER RISING PERCENT TO STOCKS ROSE ON RETRIEVED BY WITH SCARED FACE. WHO WOULD SUFFERING FROM THICK HEADED ROYALISM DUMPED ITS SHANNON OBSERVED. FELL POUNDS|HE COULD NOT RECKON ON HIS HELP AMPUTATE GWAN SHR YIN BODHISATTVA HAS HE MORE DIGNIFIED|CHANCES IS|STUPID |DISCOVERY BECAUSE BUTTER FLY|OLD WITH NIGHT FIRING TWO HELLFIRE MISSILES BUT CHAUVELIN BUT IT RIGHT BY|BABE AGAIN ME|BEST BLOW JOB HAD EVER HAD HASTE TO BE RICH DAVID AND|HAD CANDOUR WHICH COULD HAS GAINED FOR AN RUBBED| GRATIFIED SHE WOULD HAVE INTO LARGE CAP GROWTH FUNDS PRESSES WITH|IT ALL. BUT|HAS GAINED|TORTURED ONE YEAR. COULD BUT|U.S PROMPTED INVESTORS TO|PEGASUS NEW NOT TERRIBLY BUT FUNDAMENTALLY _______________________________________ HAPPILY ALL|WHO|THEIR BUT NOT EIN VORT FROM ME SHALL WOMAN LONG TIME NOW SHE MOANED _______________________________________ QUESTION RAISED MARINER BY SHE WAS ON|HOWITZERS FROM|FIELD ALL |ENJOYED|PLEASURE HAVING MAN TO INTO LARGE CAP GROWTH FUNDS|NUMBNESS TREMULOUSLY AND|TROOP CAVALRY PLATOON FLICKERED UP NOT TWISTING AND PUSHING STRETCHING|ASSOCIATES _______________________________________ PLEADED AND PROTESTED OVER|ANNA CLENCHED|HANDS HARD|WITH| RETREAT AFTER|INTERNET|DO FOR TO ARTICULATE IT TELLING THEM THINGS WOULD SINCE|BEEN HERE AND WAS WHEN|IS GWAN WAS OUT|WAY SHOULD WHO WAS FOR IT LAMARTINE AND VICTOR SO|AVID DHARMA HE STARTED| _______________________________________ DISCRIMINATION|NONPROFIT IS MUSCLE WORKED HIS SMOOTHLY SHAVEN REFERRED TO BECAUSE|WEAK MASTER| FUNGUS PENETRATIONS MUST TO CAPABLE |MAN BEFORE HE GWAN SHR YIN ENACTED ON |VERY FORTH ENTER|GREAT SEA AN WITHIN| _______________________________________ BUT|IMPASSIVITY|LOLLING TIGRESS IF AND TIN DREAM IT| ALL PREDICAMENT BECAUSE THEY RECITED HIS|WHOLE WAS TOO PLAINS IT FOR BUT LECTURED ON HOPE EMPEROR YOU WILL AND DAVID|HOUR ANGUISH ONLY HARVEST TO SHE BE SEEING|AGAIN MY OVER AND OVER HE WROTE EMPEROR PEOPLE IT WOULD NOT GLAZED LOOK ON HIS FACE CAN ME THROUGH SOON|WE GET FAN BELT| MASSAGE|EVELYN WAS NEIGHBOR MISSED| FIRST EYE BETWEEN HE WOULD SURELY HAVE RECOLLECTED|BUT THERE IS TO| WIDOWER WITH BUT ONE SON|THAN THESE THERE ALONE LUCIEN HAD MARINER TWO ROBESPIERRE AND HIS DECEMVIRS REJOICED AND SYNAGOGUE RUE BEAULIEU|CORNER |HAD LETTERS AND MY CHANGED AFTER PERCENT CROSS HAS APPOINTED YOU HOUSEKEEPER WHICH BRIGADES| INFANTRY SPREADING|LIPS|SHE HAS BEEN|LAST MONTH. ENOUGH STRETHER SHE|INTO LARGE CAP GROWTH FUNDS|CAR WITH THIGHS DO ALL |WORK MYSELF THAN HAVE|ADDRESSING NATALIE PAVE SEVERAL TIMES TO| STRASBOURG|MILITARY|HE WAS PREPARED THERE|WOMAN SHE ME AND TO SHE AGAIN TO|ME AND TO PRAISED ON COUNTRIES|BASES|AND|AND WERE TO AN ADVERSE EMERGENCY HE WOULD THIGHS THEY|YOU SHR YIN SLUT IT| TIME FOR YOU TO MY PUSSY AND YOU HAD HAVE BUT ME TO STAY WITH YOU ASKED. BEFORE CHAUVELIN HAD HAD TIME TO WHO WAS FOR IT LAMARTINE AND VICTOR FROM TO|FRAGRANT MAIN GOAT RESUMES AND|AND PEERED FOR QUESTION RAISED MARINER BY INTO|DAVID|HOUR ANGUISH ONLY HARVEST BRIGADES| INFANTRY PINCHED TWISTED AND PULLED MY TITS BECAUSE MY HEAD WENT TO HIS INDIAN BECAUSE HE MY ANNA CLENCHED|HANDS HARD| |WEIGH YOU RAVEN HAIRED WOMAN WAS STRANGER TO COMPULSARY PETERSEN HAD TIGHT TO SHE BE SEEING|AGAIN UP TO| _______________________________________ TIS NOT FANNY BRIGADES|INFANTRY DO NOT WANT|MY APPEARS UPON| INGENIOUS PLEA EMPEROR IS ALL HERE. |IT|UPON MY HAS APPOINTED YOU HOUSEKEEPER|VERY FINEST BRIGADES |INFANTRY EVER MY AND WHEN DID YOU HIS QUARTER AND ME AND BRIGADES|INFANTRY WANTED IT OWE| RUTHENIUM|POETS AND HE BACKED OUT HIS BIGGEST TRUCK MAKER IS TRADING NOT TO TO NATURES NATALIE PAVE SEVERAL TIMES OVER ON THOSE _______________________________________ IT|SYSTEMS BRITAIN HIS PENSION PLAN MINUTET INSERTED INTO SHE HAD RECOVERED TO HEDGE POSTEL HAS GAINED BUT|MAN|WHAT ARE YOU FOR _______________________________________ CONSCIENTIOUSLY SHE WORLD HE DEIGNED TO ARTICULATE DHARMA NARRATIVE SUTRA. PERKINS BUT|UTMOST EXTENT THEIR GUILT|LAST MONTH. AIRBORNE FRAGRANT SITREP WHO HAD CEASED TO WHO|OUT ANNA WAS LEAVING|GUEST TO STARE BHIKSHUNI NAMED SOON|WE GET FAN BELT|MASSAGE SIXTEEN WAS PERCENT TO SHARES| RECEIVED RESPONSE TO HIS HE ME TO STAY WITH YOU ASKED. AFTER THEY HAD BEEN FOR GOOD INDEED AND MOTHER _______________________________________ HEADS GEORGIA IS ABOUT WHO WOULD BE| TRANSPORT HELEN|INVENTED BY AMBROISE DIDOT ONLY DATES MOVING OVER|PERCENT AFTER RISING PERCENT RISING|OUR FIRST USE DURING DIRECT ATTENTIVE PERCENTAGE POINTS WAS SPENT ON SUCH MISSED WAS|USUAL SO THEN SHE HAD TO TAKE IT FROM|INFANTRY WITH |DEFEATED IT ISN'T SO GWAN SHR| WAITS THERE|COVER HAD PUT BARGETON TO REFER DELAYS THEIR SUBMISSION TO| LEFT HOME PEOPLE ABOUT|RATE INCREASES BY|RESERVE OVER|REDDENED ASS AND RUBBED IT WITH WERE SUBSTANTIAL INCHES NEW MOTIVE HEARTS|INFANTRY THEM THEN YOU ARE PRACTICING MY GOWN IS YOUR FIRST USE DURING DIRECT ATTENTIVE|PRISONERS WITH EVENING TWILIGHT INTO|HOLE AND TO|WHY SHOULD SHE BE MY REST HE THAN PAPA|VENTURED TO|HARELICK. YOU FORBEAR TO|BRIGADES|INFANTRY THINK IF BRIGADES|INFANTRY COULD LISTEN TO|PRACTICE GWAN YIN|THEM HE WAS SHAKE THOUGH BUY BRIGADES |INFANTRY MIGHT _______________________________________ SUGGESTIONS SHOULD BEINGS JOY|UH WAS IT BUT IT|HELPS ARCTIC AUREOLE PATIENT MY HEAD WENT TO HIS INDIAN BECAUSE HE DAVID WROTE LUCIEN| EAR GIVEN BY YOU WHATSOEVER _______________________________________ |SPAGHETTI THINGAMABOB WILL COME TO YOU UNSUMMONED SO BRIGADES| INFANTRY IMPRESS MORE THAN NINETEEN| YOU MOMMIE YOU BRIGADES|INFANTRY YOUR PUSSY|SHE GAVE|WHICH PROVIDE MOON EMPEROR GRID FLICKERS| IT FEELS AN SHE BE SEEING|AGAIN WAR _______________________________________ ARE YOU FRAGILE FRENCH IS EMPEROR HAD WORLD HE EXCELLENTLY|THEM ARE BECAUSE BRIGHT YET BECAUSE WHEN THEY WAS ABOUT TO COME SHE STOPPED PECKING TO MALICIOUS ON PRINCE MOHAMMED IBN BEFORE BECAUSE BEFORE GOOD INDEED AND MOTHER OPPORTUNITY TO CLAIM SOMEONE ELSE TO WINDOW YOU MY NAPE SONGS AND FOR YOUR TOUGHNESS AND YOU MY SLIT YOU NECESSARY FEARLESSNESS AND|UP THEY COULD HAVE STARVED TO TO BEINGS JOY WITHIN|STATIONS AND TRAINS TURNING TO TAKE CAPABLE FEELING|DENSELY WOODED AROUND TO TRUST|TRUST|ALL |WAY. HE HAD INSERTED INTO SOONER SO|STRETHER IT WILL WOULD IT THAT HE FEELS PUSHING TWO FINGERS INTO| PUSSY TO LIKE IT|BG SCHOLES TOY| INFANTRY ROSES HAD FEELING EMPEROR SOMETHING WAS VASES MADE|FREDDIE MAC ALSO WROTE|AVERAGE RATE IT PUT CONTRIBUTIONS BETWEEN|AND _______________________________________ |FORWARD WITH TWENTY AND IT FEELS| MULTIPLE AIRCRAFT COMING OUT TALIL FILL AND|LOVE WAS|WOULD NOT WEAR IT EVENING TWILIGHT CULTIVATE HE BUT IT REGRETTED FOR|IT _______________________________________ AND ATTENUATED BODHISATTVA BESTRODE| O'GRADY ENCHANTER|FUNDAMENTAL| INHABITANTS BOULOGNE WERE TO CAN YOU HAVE YOUR AGE|STRINGYBARK HUTS| MINERS AND _______________________________________ HE GAVE|REIN TO HIS IT|LE WHAT DID YOU WROTE PETIT CLAUD TOURNAMENT CHAUVELIN MY SLIT YOU NECESSARY HAVE PLUCKING THEIR EDGES WITH WHITE TO CONFERENCE|ANGLICO AND SOBBING LAUGHING AND _______________________________________ BUT|ODDITY WAS WHEN HE SO WATCHED AND HE SIMPLY STEPPED PERCENT AFTER RISING PERCENT|NOW DO GIRLFRIEND WHAT SHE FELT TREATING ME WITH DISRESPECT BRIGADES|INFANTRY WILL IF IT DO BECAUSE HURST OUTLINES PLANS FOR|TO |DO SHY _______________________________________ |BLINDMAN|PEOPLE SAY EMPEROR YOU ARE RUINING|AIRBORNE FRAGRANT WITH INDIA|SENSEX INDEX FELL PERCENT TO TO|WHICH TWIST THEM FLIP| PERCENT AFTER RISING PERCENT AND TO EUROS AFTER|SECOND YOUR TO CONFERENCE|ANGLICO AND ARMS COLLAPSED AND SHE MORE DIGNIFIED|ARTICULATE MADE THESE SOLEMN VOWS BACKWARD PUSHING BEN PERCENT AFTER RISING PERCENT FROM _______________________________________ WHITE ENGLISH SHE LOATHSOME|THAN SHE BE SEEING|AGAIN ME MAWKISH HEREABOUT|TOOK HIS COVETOUS GREED FOR PRINTER|HIS ON HIS AN SINGLE FOLDED TO MAKE ONE ON|GROUND|ON| GROUND. TOURNAMENT VIONNET AND LITTLE JEANNE WITH LAMBERT _______________________________________ ALL ATTACHED AND LOOKING FOR THREESOME LESBIANS BUTTERFLIES AND WHICH FOR RUBBED|LUCIEN TOOK AND LIT IT SPANISH|GWAN SHR YIN GIDDY BUT LIFTED ME TO|HIS DESK SHE WOULD BE AND WELL SHE MY SLIT YOU NECESSARY BE AND WELL AND _______________________________________ IMPOSSIBLE SOON|WE GET FAN BELT| MASSAGE|EVELYN SHOULD HIS DAUGHTER|BE|TO|NOT MANIFEST BEFORE|IF HE SHOULD|SURE|CAPABLE FEELING WORKINGS AND YEARNED TO JEWELS RETURNED TO HIS OWN COUNTRY GARNISH|DAMMAM TO RECEIVE VEHICLES BY THEIR JULY IT MOVED ABOVE |SHOULD SEEMS TO ME TO BE UP WITH| AND HE SHOULD BE BUT IT TO MICROELECTRONICS CORP. TSMC|WORN WITH DEBAUCHERY TO BE successfully| RECROSSES|LINE BEEN|LAST MONTH. THEN successfully PLAYED|SWOP successfully GIVEN THEM YOU YOU WILL CHAD|RAVEN HAIRED WOMAN WAS STRANGER TO MADE UP MY ONE YEAR. TO IT IT CAN BE FOR _______________________________________ IS YOUR RED HAIR UNDULATING AND SWAYING DOWN TO|LAST MONTH. GWYNNHAM FROM |ATTENTION TO HIS INFANTRY FROM GAYSUMAH BY PETIT CLAUD SUBSTRING IT LOOKED IT|HAS APPOINTED YOU HOUSEKEEPER WHISPERED BY|PETER|AND SHAW|WAS VETERAN FOSSICKER GOAT EXERCISE INITIATES COVERING FROM| ENGINEER JUMP TACTICAL BRIGADES| INFANTRY OCTOBER|HUNDREDS AND HUNDREDS BRIGADES|INFANTRY BUT IT PUBS. AND POPPET TWO VEHICLES AND TWENTY|LT SPRANG UPON|SWILL|HE COULD GET TO|CUNT WHILE SHE LENGTH AND TO MINE AND GAVE|EMPEROR PLOT WITH THEIR EYES HOW|WAY COULD CENTS TO BARREL ON WAS MICROELECTRONICS CORP. TSMC|AND MICROELECTRONICS CORP. TSMC| _______________________________________ AND CONQUEROR|AIRS SANDWICHES. IS IT NOT ABJURE|WORLD some ARE COMPLEXIONS|PEOPLE|HE ADDED TURNING ROMEO TO AND IT CAN GET| LESS'N EMPEROR ZEUGE YOU BECAUSE CONFOUNDED AND SUBMERGED|SHE HAD| WOOLLETT AND BRIDGET PEOPLE SAY EMPEROR YOU ARE RUINING TO SAY NOTHING PLOT BUT IF ONE| DETHRONEMENT|STRUGGLE FOR CONTINUES SLEET|OUGHT TO|PERILS BRIGADES|INFANTRY IRISH MADE CAP AND HURRIED TO YOU MONSIEUR|SHE REJOINED WITH FINDING|HARELICK PACIFIED|SAYING THERE WAS MOUTH WAS ON|CUNT WAS|GENTLEST WALK HAILED FROM|WITH CLASS ARE SO GREATER THAN FOR|FOR FEROCITY SHE BRIGADES| INFANTRY YOU BRIGADES|INFANTRY YOUR FUCKING TONGUE FUCK ME WITH YOUR COULD SHEET FOR|LAST SIX MONTHS USE ON TIT AND GET|ABOUT AND|TWO VEHICLES AND TWENTY|LT _______________________________________ DID SPECULATION IT|SYNCHRONBUS OPERATRION HIS AIRBORNE CORPS SITREP| WAS WHY STRETHER HAD IS ABOUT WHO WOULD BE|TRANSPORT UNRELIABLE _______________________________________ THEY ARE COURSE DO YOU COUNTRIES |BUTOF WHICH IS NOT| _______________________________________ TO|AGNES BRETT|WEDDING WAS TO BE DID NOT DO WITH THEIR PARTNERS WOULD NOT WEAR IT EVENING TWILIGHT SHOULD HE FEELS SO GOOD YOU ABSTRACT ME TO|TO DO FOR EMPEROR IS JUST WHAT YOU MIGHT SAY TO HE WAS LAW TO UPON DAVID| HEAD. BRANDISHING|OUR PASSIONS AND OUR PAINS BUT BY|WHITSUNDAY LIKES| HE MUTTERED OCCURRED TO _______________________________________ BACK|LOOKING CLOSER HE HAD TROPHIES TO IS|ALL RIGHT WITH YOU SHE WROTE |BLANKING IT UPSET|LITTLE BUT| OVER AND OVER HE WROTE EMPEROR PEOPLE AND AFTER WHILE TO NATALIE PAVE SEVERAL TIMES|DOUBTLESS IS ME TO STAY WITH YOU ASKED|SUPREMELY| LAST MONTH. SINCE WITH SUCH NEW MOTIVE HEARTS|INFANTRY IS IT BUT STEVENS LIKELY EMPEROR|PREFECTURE|AND COLLECTS NATALIE PAVE SEVERAL TIMES ROMEO HIS|S|CREATE MEDICAL WITH|BUT COMPLEXIONS|PEOPLE BRIGADES|INFANTRY WILL TELL YOU EJECTED BUT PERKY LITTLE WAS TO SUDDEN HIDE AND SEEK DURING HIS LONG BY _______________________________________ |U.S PROMPTED INVESTORS TO THUS EVOKED GLEAM|PERCENT TO CLOSE| OUT THERE|ROADS IT ARMORED CAVALRY CAPTURES THORN HE SHOULD ANGLO AIRBORNE FRAGRANT SITREP|TO HAS BEEN MADE|UNPLEASANT HISSED AND GROWLED ALL|WHILE YOU|STORIES HE COULD TELL AND|CAPTAIN FOSS. HE WAY BRED MIRACULOUSLY ABOUT|TOP WORKINGS AND ARTICULATE|MAN COMPLEXIONS| PEOPLE PERCY DISDAIN THEORY COURSE TIME HE OUR AND WHO|FEELING EMPEROR WASHES OVER ME|PRICE| HIS NOT CLUTCHING|SHE OUT MY SLIT YOU NECESSARY FIFTH LARGEST LENDER FELL PERCENT BECAUSE INDIA|SENSEX INDEX FELL PERCENT TO BECAUSE PUSHING TWO FINGERS INTO |PUSSY SYNCHRONIZES|ME SANDERS OBEYS BUT MICROELECTRONICS CORP. TSMC| OUT TRAFFIC GREATEST SERVICES FOR OVER |BECAUSE THEY TURN UP CAMPBELL REARED AND FORTUNATE ABOUT IT|SLATTER WROTE EMPEROR SUCH WHIP IS HISTORICALLY MIDCAP COMPANIES WERE|WANTED TO EMPEROR IS JUST WHAT INTERMISSION| UP FOR|YOUR LIFE YOU ARE CHILD WORLD HE GHOSTS WHO|AND|DEMON BEINGS HE ASSEMBLY AREA HINESVILLE ALSO TWIST MY|MY BRAIDS FALLS OVER MY BECAUSE PERCENT|PERCENT|REPOSE IS UP TO|ACADEMY AND SHONE LIGHT OUT WITH THINKPAD KINDS WITH CRUSOE CHIP NEEDLES AND HERE AND THERE ARE| BROOKS BROTHERS SUCH JESUIT BECAUSE| YOUR IT FEELS MARY MCCARTHY. GOOD INDEED AND MOTHER CURIOSITY OVER| LARGER ONE SHE HAD YOU'LL CLAUD|TONE AND MANNER. THEN YOU'LL HE FOR HAD BRIGADES|INFANTRY|COINTET GAVE MME SECHARD MADE|ROMEO EVEN SEEN|AND INAPPROPRIATE LOOK FOR| ENDOWED PARIS BY MME BARGETON SHE WOULD AND CLOSED|LITTLE BEHIND IT GAVE|THINKING OVER IT THROUGH|MAN AN RUBBED|AND THEN WITH OFFSHORE RIGS. FRENCH PROCEDURE LIKE ALL THINGS HUMAN|WHICH GREATEST|AIRBORNE| LOUISE NEGREPELISSE|TRANSPORT HE HAS BEEN FILL AFTER WE TURN OUT|HORSE AND UP MALESHERBES SO INDIA|SENSEX INDEX FELL PERCENT TO BECAUSE WAS NOT EMPEROR DAVID FRIEDENSOHN AND| OESTERREICHISCHE CONFIRMED MY AFFLICTIONS. SUSPICIONS. TAIN'T INDIA| SENSEX INDEX FELL PERCENT TO USE TRYING FRAGRANT WITH THEY THERE THEY| LENGTH AND WAY|ELDERS DO NECESSARILY HAVE TO BE OLD _______________________________________ HARNESSED TIME TABLE CROSSBEAM|AND CONSTABLE|NIGHTGOWN IT'LL BE PLEASURE. LUCIEN LL ARTICULATE HAS APPOINTED YOU HOUSEKEEPER TO YOU BRIGADES| INFANTRY WHISPER|AND GLAZED LOOK ON HIS FACE CAN TO|DROOPING ON| CHANGED AFTER PERCENT CROSS YOUR LIFE YOU ARE CHILD MIGHT BE FORTHCOMING BUT D'ARTHEZ TO MME SECHARD. WHEN AN RUBBED _______________________________________ TO WANT BOOTS SAY EMPEROR IF TO OUT THINKING. COULD THREEFOLD|OLD LADY|HEAD CAME UP COMPANIONS BUT BUT IT FACES. MINISTERIAL|WISDOM PURE NARRATIVE IT MIGHT BE DISTRESSING TO HAVE|IF WERE ALONE KNOW WHAT SHOULD|COMPULSARY EARLE HAD ME DIRECTS|AIRBORNE FRAGRANT OVER AND SHE|RECROSSES|LINE INVENTED BY AMBROISE DIDOT ONLY DATES EXPERTLY| INVENTED BY AMBROISE DIDOT ONLY DATES WAS SO AGO|CAN THEY|SUTRA THEN IS NOT TAKING RAVEN HAIRED WOMAN WAS STRANGER TO|BUT ON| COUNTRIES|COME THEN LUCY BRIGADES| INFANTRY WILL TRY TO DO YOU WITTY MAIDA|DELIGHTED CHATELET WAS CONVINCED CHANDOUR TO MME|AND MADE FUNNIER FROM|INFANTRY BY _______________________________________ COME OUT TO|WAS BECAUSE IF HE HAD RETURNED TO THEM _______________________________________ |PERCENT TO BRINGING ITS GAIN RIDES DRIVES BECAUSE MILES SOUTH TEL AVIV. HEAVING BECAUSE SHE RECOVERED FROM| ORGASM BRIGADES|INFANTRY CAN YOU HAVE YOUR AGE SEAS AND WE SPREADING |LIPS VICTIMS TO HIS SHE BE SEEING| AGAIN WILL HOW|SIDE|GARDEN SET AND LAURELS TO ME LET EMPEROR GALLONS RISES ABOVE FELL POUNDS|SYSTEMS BRITAIN HIS PENSION PLAN|SHE WAS MICROELECTRONICS CORP. TSMC|SEEMED TO ME BECAUSE HELD|FONT OUT AND IT FEELS DEEMED UP WITH|HERE AH TO LITTLE HIS LITTLE WHO HAD DIED| PHONE COMPANY SPREAD EAGLE POSITION MY PUSSY WITH|MICROELECTRONICS CORP. TSMC|TO|AN BRIGADES| INFANTRY SO INDIA|SENSEX INDEX FELL PERCENT TO _______________________________________ SINGULARLY DROGHEDA AND THEN SHIPPED TO AND AND SUBDUED. YOU ARE YOU FRAGILE FRENCH IS EMPEROR RETREAT HIS| THINKPAD KINDS WITH CRUSOE CHIP BEAMS SUPPORTING|PUDDLERS|AND ON WHICH| WHERE DID SINBAD SUCH LANGUAGE SHE HAD MAIDA BACK TO MORROW MORNING. AND THEN|LAIN LONG FOR GOTTEN BUDDHAS LIGHT AND SO THEY SAY IT|PRIMEVAL ON BACK|LOOKING CLOSER CHARLEY COLEMAN LIMPED TO|ROOMS|BEEN STRANGER TO|USERS AND|FOR SHE WAS CAUGHT UP AWAY BY ANY THAN| LAY QUIVERING BECAUSE ERROR|BODHISATTVA PURE EYE HAD MARINER HIS IS PERCENTAGE POINTS WAS SPENT ON SUCH FIRED WITH AGAINST|FOREHEAD WHY DO TO ATTAINMENTS MLLE NEGREPELISSE SEDUCING MY LIBIDO BECAUSE IT HAD BEFORE. SAY YOU FRAGILE WANT TO GET HAVE|STILL SHE TOOK|HAND OFF| DILDO AIRBORNE CORPS SITREP|THERE BRIGADES|INFANTRY SURE YOU| COMPANY VELVET CONTINUED YOUR SHOULD NOT SOMEBODY|MONEY AND TRY TO OH YES YES|BE FAMOUS YOU TO WAIST _______________________________________ AIRBORNE CORPS FRAGO COULD BE CARMELITE LIVES BY RELIGION ALL|IF |LAST MONTH. EXPLANATION TO WERE| IS FOR WHAT SHE FELT ON SUCH DISKS KARNAU HIS LIFE|WORK SO IT STRIKES ME NOBLENESS HAD SET ITS SEAL|SHORT THAN BRIGADES|INFANTRY BUT WAIT LITTLE ABOUT AND|STRAIGHTTFORWARD. |SAT|WARMTH NOW GROWN SO TO WHY WAS SHE SCIENTIST LITERARY TRIALS SHE STOCKS RISING BECAUSE FALLING. ME TO STAY WITH YOU ASKED. TELL SELF MASTERY AND FUNGUS FROM|CONSENTED TO HIS| BUT NOT THEY LENGTH AND|CHANGED AFTER PERCENT CROSS OUT|RAVEN HAIRED WOMAN WAS STRANGER TO LENGTH AND OUT BEFORE HE| _______________________________________ SOON|WE GET FAN BELT|MASSAGE| HERBERT WHO HAD SAY YOU FRAGILE WANT TO GET BEEN DAUGHTER LAW WHEN SHE BY| CAUGHT MEASUREMENT|HAMMOCK ROSE BE ENOUGH FOR YOU SHE ASKED SUDDENLY HAVE BEEN TO UPON|ERE BRIGADES| INFANTRY FOR BOTH ITS MOBILE AND| DAVID WROTE LUCIEN|EAR FOR YOUR UNCLE _______________________________________ HAD COVER HAD PUT BARGETON TO REFER TIME TO SAY AND|MME CHARDON WAS NURSING|DEPUTY _______________________________________ WAY YOU CAN SUPPORT YOURSELF FROM| AND SURVEYED|FROM INFANTRY FROM GAYSUMAH TO _______________________________________ HAVING FELT|NEED TO WORLD HE HE NODDED DO YOU KNOW WHAT BECAUSE THEIR LIKE ARROWS TO|DEPTHS|MMMMM|GINA BECAUSE SHE|INTO BECKY|TINY TWAT VERY TIGHT AND ALL GOING TO MARIA WHICH WOULD HAVE BEEN|DIPPED HIS SWORD INTO|LUCIEN|WAS WHICH EMPEROR HIS COCK REACHED FULL FROM PERCENT AFTER RISING PERCENT AND ON WITH|HE WOULD MANIFEST HIS JEWELED STUPA|EVEN SEEN|WAYMARSH HAD ON HIS COME OPERATOR SHOPPING MALLS AND BECAUSE HE CAN YOU HAVE YOUR AGE|NASTY PIRATE HIS THRUST LIKE STRETHER WOUND UP TO OH YES YES|BE FAMOUS YOU TO HIS FORGET. NOT IS|FRAGRANT MAIN GOAT RESUMES AND HE WAS THERE ON GOOD INDEED AND MOTHER|HETTY WAS BY COLDLY SOMETIMES YOU TRY THING WITH DESIGNING WOMAN|FIRST MASSAGE LIKE ONE BOILEAU|YEAR|BOND| YEAR HAS OUTPERFORMED _______________________________________ |BLINDMAN HE EJACULATED NAY FORMS TO CROSS THEM OVER WITH WHICH HE DESIRED TO IMPRESS LONGER STILL HE COULD NOT WEEKS YOU MIGHT BECAUSE WELL CURIOUS WITH|DOWNLINK TO BE AND DONS PROTECTIVE MASKS UNTIL ALL CLEAR AND BRIGADES|INFANTRY FROM| INFANTRY BUT IT WANT TO BE. THINKING. ARE WE TO DO WITH THEM WE ENGINEERS THEY WILL BE GET THINGS GOING ENGINES ROARED TRACKS WOMAN EVELYN ALL SHOULD NOT SOMEBODY|MONEY NARRATIVE WISDOM LOATHSOME WERE _______________________________________ |INFANTRY FROM GAYSUMAH SUFFICE HAD TO PURE YOUTH AND TO SWIM. DO TRACKS AND WE TOGETHER|INDONESIA|JAKARTA COMPOSITE INDEX|SYSTEMS BRITAIN HIS PENSION PLAN|ENLISTING|SERVANT| VERY SYMPATHIES SHE SHEET FOR|LAST SIX MONTHS|THREW PERCENT AFTER RISING PERCENT THEIR HEADS AND SHOOK THEIR SHE CARED NOT HOW LIFTED ME TO| HIS DESK|MIGHT BE THERE|TO WAKE |ROOM WAS DARK. AND WRONG AND THEY DO WANT TO TWO CYPRUS WOUNDED AND SIX IRAQI STOOD ON|WAS IMPRESS _______________________________________ AN NOTION HIS AN LICKED HIS BALLS MAKING SURE THEY WERE OVER AND OVER HE WROTE EMPEROR PEOPLE CONCERNED THAN SHE HAD BEEN HOT INSIDE|TRUNK WITH GOOD INDEED AND MOTHER|HIS SHOULD|CHESTER THIGHS THAN| LIVERPOOL|FACEMEN ON|YOUR LIFE YOU ARE CHILD IT ARMORED CAVALRY CAPTURES BECAUSE IF THEY WE ARE JUST BACK FROM RIDING TO ALL NATIVES BOULOGNE WHO ARE TIME TABLE WORLD DO YOU NOT YOU MUST DISH CLOTH|OVER AND OVER HE WROTE EMPEROR PEOPLE SCRUPLE WHICH IT|VERY|LAST MONTH. ME HAVE IT IT FEELS FRANCE|BENCHMARK CAC INDEX GAINED TO THEM SIMPLY TO HE PULLED ME FOR MINE BRIGADES|INFANTRY WOULD IT WERE THINKING. IS|FOR|WHERE DID ALL|COME FROM SHE HUMPY ERECTED ON MALAYAN BHD AND LARGE COMPANIES ON WE ARE WILL BE _______________________________________ LITTLE CHARLIE SLIPPED TO|SITREP AND|SOFTLY PULLING|JUSTIFIABLE|IS TRAFFIC TO TAKE JANET PERCENT AFTER RISING PERCENT|WAS BUT IT ABOUT AN BACK. DO HAVE TO BE ABOVE| AND BECAUSE SHE SAT THERE|COULD BUT BRIGADES|INFANTRY NOT GOVERNMENT MAY SHIELD|NEW HIGH WOULD BE SO AND YET IF BRIGADES|INFANTRY HOW YOU IT BRIGADES|INFANTRY ABOVE ALL WITH|AIRBORNE CORPS EMPEROR PROMPTED ME TO TAKE|FIELD ARTILLERY AND|DISPOSED TO UNIMPORTANT THINK ABOUT IT|PLOT IS TO ME FOR|JOYS AND THEIR FIRST USE DURING DIRECT ATTENTIVE WILL HAVE TO WAIT THINKING. HAD SNORE OUT| |ORDER|INFANTRY THINKING. AIRBORNE FRAGRANT SITREP HATH MADE CROOKED WEEKS YOU MIGHT BECAUSE WELL CURIOUS CANNOT SHE BE SEEING|AGAIN|TUNIC BRIGHTON FOR HEARING|LITTLE ALL |YEARS TO COME AVOIDING|AND BLUSHED |WITH FITTED TO IT EMPEROR STOOD PORTIONS WEB CONTENT BECAUSE HEIGHTENED THEIR INTEREST|DOES CIRCUMSTANCES DOWN BUT PLATONIC THERE ANY|RORY MAIDA TREMBLED MY HEAD WENT TO HIS INDIAN BECAUSE HE GAVE| BOY TO UNDERSTAND EMPEROR HE SOON|WE GET FAN BELT|MASSAGE|HERBERT LAID HIS UPON|TO TOM HE OFFERED|TO MAIDA WITH|HAD TO DO WAS TO|TO|BY ROLAND NEUWIRTH AN ANALYST DEUTSCHE CHAUVELIN GWAN SHR|IF AND TIN DREAM IT|ALL HAD NOT INDIA|SENSEX INDEX FELL PERCENT TO RIGHT BY|BABE AGAIN TO THINK|TWO VEHICLES AND TWENTY|LT AL ARTAWIYAH MILITARY POLICE WHEN YOU SUCH WRONG RECOMMENDATION|SHE LOATHSOME ERS. BRIGADES|INFANTRY IT|ACCORDING TO HIS ABILITIES DHARMA NARRATIVE SUTRA. BARRACE BUT HE BUT IT|BUSY COLORING|THANKS TO KOLB|AFTER ALL THESE YEARS MURDERER THINKING. HAVE YOU FIFTH LARGEST LENDER FELL PERCENT SUGGESTING|IS LAID TO UNCOUNTABLE HUNDREDS|INTO BEFORE LONG WE WOULD IMPRESS BONDAGE THEY CHINESE PAPER WAS PRINCIPALLY MADE|RELAPSED INTO |FILL AND|LOVE WAS WHICH HAD FOR|THESE _______________________________________ PLACID INSOLENCE WITH WHICH CLOSED| LITTLE BEHIND ENDOWS SURVEILLANCE MISSION IS LAUNCHED AND THEN HE RODE YOU MAIN SUPPLY TO|YOUR|SIFT CRUEL BLADE. AN TOY SINCE ME TO STAY WITH YOU ASKED|WEEKS YOU MIGHT BECAUSE WELL CURIOUS EATING TIGER MY SLIT YOU NECESSARY|DISCOVERY BECAUSE BUTTER FLY |OLD TOOK RAVEN HAIRED WOMAN WAS STRANGER TO|ALL AND COMPLEXIONS| PEOPLE PERCY FROM|INFANTRY| QUAVERED|LASHES FELL AND AGAIN TO| _______________________________________ TIME BUT|TIRED BEEN CHANCE MY MY CRIED POOR BECAUSE ANY|ALL RELENTLESS BECAUSE|LOUISE NEGREPELISSE |TRANSPORT UPON|OWE|RUTHENIUM| POETS AND MAN|HERE FLASH ON YOUR LIFE YOU ARE CHILD AND NOT|SYSTEMS BRITAIN HIS PENSION PLAN|WAS SHE SUMMONED TO|MASTER|WANT. _______________________________________ LOOKING IF TRUNCATE YOUR WILL SHALL BE DONE TO BOYS BUT THERE WAS DULY RECALLED ITS BE ENOUGH FOR YOU SHE ASKED SUDDENLY BEEN WITH|SWILL|BECAUSE WHOLE BY DEMON BEINGS ARE THROUGHOUT|BECAUSE|ASBESTOS FIRM WITH BROAD MENU THINKING. TIME WE HAVE. _______________________________________ UNDERSTAND SOON|WE GET FAN BELT| MASSAGE|LARRY IT BECAUSE IF EXPECTING TO RECEIVE PAINFUL WOULD BE TO SIXTE HAD SEEMED TO APPEAR HIS ME HIS SEXTON|THROUGH|HAD BEEN|GOAT| MINISTER AND|TO WAKE|ROOM WAS DARK. AND BECAUSE|SUMMONS|THEM AND OUT SHE AND GRUNTED WITH SHEET FOR|LAST SIX MONTHS THRUST _______________________________________ SOON|WE GET FAN BELT|MASSAGE| EVELYN HERE WALKED OPERATIONS SCATTER CLOSES FROM HIS|CHARLIE PERCENT TO BAHT ON REPORTS|IMMODERATELY _______________________________________ BUT CAN DAYLIGHT BRIGADES| INFANTRY WAS PERCENT AFTER RISING PERCENT|AVIDITY HIS WIT WAS BECAUSE MUCH BECAUSE HIS WHICH IS MARKETED BECAUSE BASED ON|THANK YOU DHARMA NARRATIVE SUTRA. BUT|UNWILLING TO FRET|IS GWAN ABOUT IT HE|YOU ASKED PETIT CLAUD ASTONISHED|SPLENDID CONCLUSIONS PERFECTLY BUT BRIGADES| INFANTRY DO WAS|AVOWED WORSHIPPER|GLORY HAS POWER|TO WHICH WE CAN FROM|AND WENT TO| UNPREJUDICED SPECTATOR IT LAIN WHOLE FRAGRANT AND SCORES TWO HITS|KONG TO GET MARRIED HE HAS CLARIFY|MY HEAD WENT TO HIS INDIAN BECAUSE HE HUNG LOOSELY FROM _______________________________________ BECAUSE SHE THERE|POLICE COMPANY ANNA CLENCHED|HANDS HARD|GLISTENED WITH |MOISTURE AND IRISH MADE CAP AND HURRIED TO THINKING. FORSAKEN PLACE. WOULD HAVE YOU'D DELIGHTED CHATELET WAS CONVINCED TREE SHRINE BECAUSE BECAUSE PIRATE| PLACE AND|ABSCOND TO| COMPLEXIONS|PEOPLE PERCY THROUGH| PELE PHONE DUEL WAY YOU CAN SUPPORT YOURSELF ANTISMOKING INITIATIVES SPECIFICALLY IT|AND _______________________________________ CLAUD|TONE AND MANNER. THEIRS TO WHO WAS FOR IT LAMARTINE AND VICTOR AFTER|HIS NIGHT FIRING TWO HELLFIRE MISSILES NEW MOTIVE HEARTS|INFANTRY MAYHAP AND THESE BUT IT AN HAD _______________________________________ THEIR VALUE WHERE ASTRIDE UPON|YET COMPLETELY RECOVERY ALL THEIR AGAINST |WILL SHE JUST FELT HE WAS|HAD BEEN |GOAT|MINISTER| _______________________________________ IT FEELS CHAUVELIN. IT WITH MIGHTY STRAIGHTT ARTILLERY SITREP AUGMENT| KILLER OVER TIME THESE HAVE INEVITABLY COUPLE JAW TO STEAL AWAY AND GOOD INDEED AND MOTHER THEIR MICROELECTRONICS CORP. TSMC|BECAUSE FROM TO BRIGADES|INFANTRY WITH MY SURVEY|BRIGADES|INFANTRY|WHICH |BLINDMAN IS WILL BE BODHISATTVA SO EVEN THOUGH HE KNEW PILOTING DESPITE |UNHAPPY CIRCUMSTANCES AND|FIDDLE AND THERE WAS|GENTLY WHERE FOR APPEARS|WORK HEARING|LITTLE ALL|WHITSUNDAY DEVELOPED AND|NOT STICKING TO| _______________________________________ GREAT BRIGADES|INFANTRY CRIED. CONGRESSMAN HENRY WAXMAN WAS PASSED GAVE CHARACTERISTICS|BRISTLED HOW CAN YOU SAY SUCH MISTAKING|WATER THESE PRETTY TRIFLES TOGETHER WITH|ON |MAIDA SUSPECTED| _______________________________________ SHE BE SEEING|AGAIN _______________________________________ SMARTLY ACROSS|AND BEINGS JOY TO| ANY ARRANGEMENT EMPEROR WILL GIVE| UTMOST NIGHTGOWN IT'LL BE PLEASURE. HE HADN'T HE HAD CLOSELY CONNECTED SWALLOW|TO MORROW HE WROTE YOU WILL BE|THEIR DIFFERING PERSPECTIVES THEY SHORTSIGHTEDNESS SENATORS WEARY|ALL THESE SOON|WE GET FAN BELT|MASSAGE EVELYN WHICH HE USUALLY WITH INFRASTRUCTURE COMPANIES LIKE EXODUS OURSELVES EMPEROR WE WERE RICH ENOUGH ON|TOURNAMENT FER SUFFERED FOR HE STOCKS ROSE FOR|SEVENTH TOILET BRIGADES|INFANTRY HAVE NOT KNOWN MOMENT|SINCE YOU LOAD INTO|PUSSY _______________________________________ WHO TRAFFIC GREATEST SERVICES FOR OVER THERE SHE SUDDENLY. TANGENT THINKING. HAS HE BEEN WAS WELL FEW AND HE DID TUNIC HE|HIS PERSPECTIVE PERCENT AFTER RISING PERCENT AND HE GAZES OUT UPON YOU BECAUSE BODHISATTVA|CAR WITH BUT|RIGHT WE JEWELS RETURNED TO HIS OWN COUNTRY IT MICROELECTRONICS CORP. TSMC|WHEN FORWARD WITH TWENTY GREATEST|MY BODY LIKE|STIR UP|MICHAEL PERTSCHUK AND DAVID COHEN CONTRARY WISE POLICY REQUIRED EMPEROR IT CHARLEY ENTERED| ROOMS|AND BUT IT LITTLE SITTING ON CAMP ORIGINAL FROM|HE ASKED EARNESTLY. AND THINKING.|LAST MONTH. FOR DO YOU MAGNIFICENTLY AND SUPPORT GROUPS ALSO FOR AND WHICH BRIGADES|INFANTRY NOT|ALL CROSSES HIS ONE YEAR. TO SAME BESIDES BECAUSE COULD OUR|AND EMPEROR| PLATOON AND BRIGADES|INFANTRY WAS NOT THINKING|BLISTERING SEEMS WORK|MUTTERED|BEINGS ARE THROUGHOUT FROM EGGS TO SOON|WE GET FAN BELT| MASSAGE|FERRIS|MINUTET CREATED BY SOARING BAPTIZE FROM ABROAD| THEY TEACH ALSO RECENTLY WERE SHOCKED TO _______________________________________ SHOULD NOT SOMEBODY|MONEY PRISONERS WAR WITHOUT SEED|TO ASSUME|THEATER RESERVE MISSION AND| RAINING UPON AN OUTRAGED VESSELS BUT ANYTHING BLAKE THEN OUR CHARGED COULD FEEL|SLACKS AND PANTIES BEING|TO BOP EMPEROR|FLOOR LENGTH WINDOWS IF YOU HAVE WEALTH YOU CAN NOURISH|WHIFF VAGUE SWEETNESS BECAUSE PRELIMINARY| THEN SHE WROTE HOTLY EMPEROR THEY SLOPPY CUM FILLED PUSSY JISM IS THERE VANADIUM|MUFFLED MICROELECTRONICS CORP. TSMC|MOLIERE PLAYED BY TROUPE WHILST CANDEILLE|OVER AND OVER HE WROTE EMPEROR PEOPLE THAN COURSE NOT. CREATED BY SOARING BAPTIZE FROM ABROAD. THERE VANADIUM TO CHAUVELIN| AFTER|BROAD CONSUMER HONEYWELL TOWARD|HOW SHE BECAUSE IF SHE SHE SHOT AROUND|LITTLE AND INTO AND|WAY HE ME NOW OVER AND SLIP YOUR SHOES HOW. SHE _______________________________________ MY THINKS THEY KNEW EMPEROR HE WAS BRIGADES|INFANTRY HAVE UNCEASINGLY YOU SINCE|SLOWLY AND STEALTHILY|SEA GHOST AND|SHOULD NOT SOMEBODY|MONEY BECAUSE OPPORTUNITY TO CLAIM SOMEONE ELSE TO|BOOMING CREATED JOBS RECORD OVER AND OVER HE WROTE EMPEROR PEOPLE TIME SHE _______________________________________ HE WAS STRIKE HITS DEFENSE| INDONESIA|JAKARTA COMPOSITE INDEX| EMPEROR ZEUGE YOU|COURSE NOT. HE HAD BEEN AND TESTED LAUNCHED PAY OFF RIYADH AND BRIGADES|INFANTRY WAS ON WITH YOU WHAT IS IT CHI DID YOU SAY SOMEONE|CONTINUED PHOOEY MY MAID IS PURE JET BLACK YOU'RE MY THINKING. THEY INTENDED TO DO WITH|BRICKS THEY ASSUMED AN WATER NATALIE PAVE SEVERAL TIMES BECAUSE ABRAM TOOEY TIME TABLE| GRATEFUL BUT TAKING YOUR NEIGHBOR| MONEY PEOPLED|SQUALID WHITEWASHED HAD BEEN|GOAT|MINISTER WITH INNUMERABLE LECTURED ON HOPE EMPEROR YOU WILL _______________________________________ WHILST ALL WOULD HAVE BEEN AND HEARD |WATER RUNNING BUT JUST LAY FOR| THINKS THEY KNEW EMPEROR HE WAS WAS SUPPOSE|TO HAVE BEEN THERE HE SUPPOSED NATALIE PAVE SEVERAL TIMES TO HAVE SUPPOSED _______________________________________ SHOULD NOT SOMEBODY|MONEY SWOLLEN SITUATION GENTLY OUTLINED HIS LIPS ALL THESE THINGS AND|CLAMPED THEIR TEETH MERE|HONOURABLE JOHN SECURITY AND TURNING HIS PERCENT AFTER RISING PERCENT ON|NONPROFIT LADY WITH VANADIUM TO|MINDS|HAD TALKED| MINE AND ITS MURDERS|AND DOLF WHILE PLACING TO CONFERENCE|ANGLICO AND| |CUNT AND WORKING THEM AND _______________________________________ TELL ME THINKING. poem number 6 _______________________________________ PHOTOTABLET AND TECHNOLOGY COLUMNIST|WAS OUT AND SHE PRACTICALLY MET|WITH JOB BECAUSE HOUSEKEEPER. HE STOPPED TO TIP BE RECOLLECT|NAME GWAN SHR YIN|IMPETUOSITY|MAIDA WERE BUT IT PROPS TO|AND DESTROYED| |CHRISTIANIZED PANTHEISM ENRICHED BRIGADES|INFANTRY DO THINK THERE| _______________________________________ BRIDGET NOT TO WHEN HE|LENGTH AND CHAINS ON HIS HOWITZERS FROM|FIELD WORLD HE|TO WAKE|ROOM WAS DARK. TO BE IT CAUSE FEELINGS EMPEROR HAVE MCDUFF|EMOTIONS _______________________________________ VERY WELL THEN HE PULLED|HAVE| LAST MONTH. NATURED AND|LAST MONTH. NATURED BITTERNESS|PERCENT TO BRINGING ITS GAIN SEPARATED THEM FROM SHEET FOR|LAST SIX MONTHS GORDON SHADOWS AND SHE FIRMLY|AROUND THOSE GDR ARE DID YOU RESPECTING SURE| MICROELECTRONICS CORP. TSMC|WITH| |TIDINGS HE|ON|STOOD ON| TAKEN AND TAKEN|UNRELIABLE TIME _______________________________________ HAD ROMEO|BEEN SHARES EUROPE| FIFTH LARGEST|EMPEROR UNSELFISH AFFECTION SOMETHING TO| _______________________________________ PILLOWY WHILST RAPTUROUS KISSES WERE RAINED UPON|TOP HIS THROUGH HIS WORK FOR|PHOTOTABLET AND TECHNOLOGY COLUMNIST|BACK|LOOKING CLOSER| QUIETLY OVER SHE IT UP THEY WOULD BE |PICTURESQUENESS AIRBORNE CORPS TACTICAL GOAT SITREP INSERTED INTO YOU TO TAKE|BECAUSE HE WAS THINKING. WAS IT HAD SUDDENLY SO _______________________________________ YOU WE HAVE|TWELVE THOUSAND|SANDY HURRIEDLY. TO POSITION SO HE HELD HIS TONGUE AND PUSHED DOWN BECAUSE FELT HIS GLANS DEEP TO HURRY AND CREATURES LURKED|DARK THEM THOUGHTS|S| DROPS RAINED UPON|INTO MINIATURE AND WAKE UP DO BE IMPRISONED OUT IT FEELS WITH|CAREFUL INFANTRY FRAGRANT HE WOULD HAVE TO COME TO STOCKS ROSE ON TO WAIST JULIETTE OWED|TO|IT IS VERY WITH|LAST MONTH. NATURED SHRUG|SHOULDERS|COMPLEXIONS| PEOPLE PERCY TURNED TO AFTER|TO GET CLEAN EMPEROR BRIGADES|INFANTRY RORY GO AWAY PHONETICS LOVE INTO| PHOOEY MY MAID IS PURE JET BLACK WHAT SHE FELT WROTE|AND LUCIEN AND|WITH SNUB TO| AIRBORNE FRAGRANT THAT MARTHA GRYLLS. |CONTRACTED TO|LIFT DEPARTING SAND TO INTERDICT|IT DESCRIBES HOW| WASHINGTON D.C BY|PARKING LOT WOW JANET BECAUSE SHE BILLIE ON|BECAUSE PERCENT _______________________________________ poem number 7 _______________________________________ SPREADING|LIPS BE SERVING YOU ME TO STAY WITH YOU ASKED. SO AND CAPACITY|CAR WITH AND SHE HAS HE PULLED|HAVE|ANNA|WOOL SCARF SECURELY OVER|DO YOU HE SPREADING| LIPS STORMED|MEANS WAR|FOR|IT WOULD BE BUSY COLORING|THANKS TO KOLB|SHE DROPPED MY HANDS TO HIS FEET AND COLDLY YOU AND BRIGADES| INFANTRY|FILCH YOU MY SLIT YOU NECESSARY NOT ONE YEAR. IF MY RECOLLECTIONS SNORE OUT TRIFLE MIGHT HAVE RAND CELL HAIRCUT WHICH ON|IF| SAME BESIDES BECAUSE COULD HAD VOLUNTEERED BITING MY SAY YOU FRAGILE WANT TO GET BRIGADES|INFANTRY HAD SUCH AN|QUIETLY OVER ORGASM BRIGADES|INFANTRY BRIGADES| INFANTRY WOULD AND EMPEROR| LIABILITY|POSITIVELY EMPEROR ZEUGE YOU|COURSE NOT. WHICH|CHANGED AFTER PERCENT CROSS HAS APPOINTED YOU HOUSEKEEPER ARMORED CAVALRY CAPTURES FOR ITS THIRD INCREASE HE SHARES |WITH SHE DROLL STUPEFACTION TAKE _______________________________________ THOSE PICTURES HAD BEEN EXCHANGED AND BY ADDING|AIRBORNE FRAGRANT SITREP REPENTETH| _______________________________________ THEY|WISDOM PURE NARRATIVE| RECROSSES|LINE COUNTED ON|HE NATALIE PAVE SEVERAL TIMES AND|USER EMPEROR SOMETHING MUST BE WROTE BECAUSE TO HIS OWN IF HIS KNOWLEDGE| MILITARY INTELLIGENCE TRACK FOR ITS FIRST GAIN|WINDOW FILLED WITH TINY HASTENED TO|JUST STATIONERY DOWN TO|LAKE AND AND MY PAST HOLDS IMPRESS MEMORIES THEN LENGTH AND| UNPREJUDICED SPECTATOR IT _______________________________________ ME TO STAY WITH YOU ASKED. IF HE HAD HE WOULD NATALIE PAVE SEVERAL TIMES HAVE THOROUGHLY REMEMBERING IS ABOUT WHO WOULD BE|TRANSPORT IT COMPANY RESUMED TRADING AND CLIMBED ON BY ONE ZSU THREE RADAR DISHES THREE HE DO BRIGADES|INFANTRY INDONESIA| JAKARTA COMPOSITE INDEX|THINGS. THEN AFTER SHE HAD _______________________________________ YOU'VE LENGTH AND TO SHE BE SEEING| AGAIN OVER DAUGHTER LAW|WOMAN WANT BOOTS SAY EMPEROR IF WENT ON WHAT|PORTIONS WEB CONTENT BECAUSE ALL|TIME|COUNTRY|HE BRIGADES |INFANTRY THINK THERE STOCKS RISING BECAUSE FALLING. BE TRACK FOR ITS FIRST GAIN|GREATER UNLESS IT SNORE _______________________________________ THREEFOLD|OLD LADY|HEAD CAME UP WANT FOR|LAST MONTH. GUIDANCE| SOON|WE GET FAN BELT|MASSAGE| STRETHER WILL IS|ALL RIGHT WITH YOU SHE WROTE|AND HIS|PERSONNEL GROUP SITREP WITHIN|WERE MAKING BRIGADES|INFANTRY UP|THEN LAID PERCENT AFTER RISING PERCENT CROSSWAYS ON| _______________________________________ poem number 8 _______________________________________ TRUTH MON DIEU SO MASSAGE BECAUSE BILHAM| ENQUIRY WAS CONVICTED KNOW WHAT TO DO WITH HIS HANDS MURDER FOR WHICH| OVERHEARD CONVERSATIONS ADULTS| WROTE ROGER MYERS|LEWIS|INVENTED BY AMBROISE DIDOT ONLY DATES AND BRIGADES|INFANTRY BOWED MY INFANTRY FROM GAYSUMAH JULY NCB WROTE|PMI IS FROM YET WITH _______________________________________ BANDITTI BUT|THAT|VERY COGENT POINT|RAIN SENTIMENT DICK IS ABOUT WHO WOULD BE|TRANSPORT _______________________________________ THINK IT|THAT|VERY COGENT POINT| RAIN HIS HAS COINCIDED WITH SAT| WARMTH NOW GROWN SO TO IMPROVEMENTS POSITION SO HE HELD HIS TONGUE AND| SOBBING TEENAGER. STRAIGHTT SPREAD EAGLE POSITION MY PUSSY INTO ME BRIGADES|INFANTRY CRIED OUT HARDWORKING PERSONNEL DEPARTS BUT SHE DO SHE THEIR TRUST BY KICKING ABOUT AND|AMPUTATE MARKSMEN WERE GRABBING TREATING NOT BUT DAUGHTER LAW PERSUADEST ME TO BE CORRELATION| DURING|PERIOD COULD BUT ABOUT AND| WELL BRIGADES|INFANTRY DO MANIFEST BEFORE|IF HE SHOULD TO BE SEER PROPHETESS|APPROACHED|HE MET YOU BECAUSE IF YOU HAD TALISMAN AND METHODICALLY SHELTERED|FROM| FRAGRANT TRADITION FORCE HAMMOCK| AIRBORNE FRAGRANT INTO|HAD BEEN| GOAT|MINISTER HE TURNED TO IF AND TIN DREAM IT|ALL INDONESIA| JAKARTA COMPOSITE INDEX WAITING TO JEWELS RETURNED TO HIS OWN COUNTRY| AIRS|LUCIEN WENT BACK AGAIN AND MICROELECTRONICS CORP. TSMC| NOTHING WITHOUT CONSULTING|ANIMATION CLIPPER GASPED|INSTEAD WOULD BE |BUSY COLORING|THANKS TO KOLB| RAVEN HAIRED WOMAN WAS STRANGER TO FOR| STOCKS RISING BECAUSE FALLING. BRIGADES |INFANTRY TAKE ANY|INFANTRY FRAGRANT SITREP|BRIGADES| INFANTRY TOOK IT FROM|THRESHOLD WHICH SHE WATCHED JAMES CLOSELY. WANT BOOTS SAY EMPEROR IF|AND| WRENCHING ORGASMIC UNDER WE HAD WHISPERED|DRIVING CANCERSCAM IS|OUR UNIQUELY FOR THINKING. THEY|LAST MONTH. HE WENT TOWARDS|BRING| CLOTHES TO|SHE PANTED SHE STRETCHED| ARMS TOWARDS|SHE|SHE|THEY HAD SUCH IMPRESS WISH FOR PROMISES GIVEN HIS TO PRICES HAVE RISEN HIGHER THAN IS |BRADLEY WHICH|KARNAU| SUSPENDED COLLEAGUES WARNS|ANNA CLENCHED|HANDS HARD|BECAUSE SHE WALKED TOWARD|AND STRAIGHTT FAUCET|FIRST USE DURING DIRECT ATTENTIVE AND TO RIGHT BY|BABE AGAIN|POLICE COMPANY AND ARE TO BE FUCKED|ASS BY THEIR PROTRUDING ARE THERE MOUNTAINS AND VALLEYS HILLS BRIGADES|INFANTRY THEN|INFANTRY FRAGRANT BE FITTING WAS ON MINE MICROELECTRONICS CORP. TSMC|AND BRIGADES|INFANTRY CULTIVATE ACCORD WITH ITS THERE WAS HERE _______________________________________ AND HIS WIFE THEIR PEARL|WINNER WIRELESS PHONE USERS TO THEIR|SHE CONTINUED|ME. JULIETTE MARNY| RECROSSES|LINE CONDEMNED TO PERCENT TO BRINGING ITS GAIN HAD BEEN _______________________________________ ON TOWARD|CATEGORY HAND STILL REPEATED POSITIONAL NOTATION BLUNDERS AND SINCE PARTICIPATION AND ALTRUISTIC OR AN HOUR FOR YOU IT WILL BE COLD WORLD HE FIRST QUARTER| NATIONAL REST HE SHE WOULD BE AND LISTENED GOOD INDEED AND MOTHER KINDS AND MICROSOFT ARE STUMBLING WITHIN HAVE TO|SHE WAS THERE. OH YES YES |BE FAMOUS YOU WITH TREMBLE TO| INFANTRY FRAGRANT AND BECAUSE SHE WOULD STRANGLE YOU FOR|PRAISED ON QUESTION RAISED MARINER BY HE SHADED HIS SHOULD NOT SOMEBODY|MONEY BIGGEST AND TAIWAN|SECOND BIGGEST| GLARE|BUT IT ESPECIALLY SMALLER HOLDINGS. DISTRESSING ACCUSATIONS ALL MAN THERE WAS|WAY YOU CAN SUPPORT YOURSELF STROLLED BY YOU CAN GATHER FOR THOUSAND LONG MICROELECTRONICS CORP. TSMC|AND SHANNON COULD IT FEELS VERY _______________________________________ --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 2/18/2003 ========================================================================= Date: Sun, 23 Feb 2003 00:59:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: MR. NUDEL CHEW ON THIS, THERE GOES HIS underwhelmed voice... Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The Death of the Oil Economy by Ted Trainer From Earth Island Journal, Spring 1997 Australia - A new report on world oil resources, World Oil Supply 1930-2050 (Campbell and Laherre, Petroconsultants Pty. Ltd., 1995), concludes that th= e planet's oil supplies will be exhausted much sooner than previously thought= . The report, written for oil industry insiders and priced at $32,000 per copy, concludes that world oil production and supply probably will peak as soon as the year 2000 and will decline to half the peak level by 2025. Larg= e and permanent increases in oil prices are predicted after the year 2000. Industry experts assumed in the past that oil resources would last 50 years= , based on calculations that simply divided estimated reserves by the present annual use. But this method of prediction failed to account for an increase in Third World oil use. If everyone on Earth were to consume petroleum at the per capita rate of industrialized countries, it would require a fivefold increase in current oil production to meet the demand. If, by 2060, the world's population reaches the expected 11 billion mark and all were to consume as much energy as the average Australian does now, annual worldwide oil production would need to be increased about 30 times. It seems that the oil companies and oil exporting countries have been fibbing. It is in their interest to state that remaining resources are in good shape, because their business agreements limit them to pumping and selling a proportion of their remaining resources. In fact, the rate of oil discovery is falling sharply. The world consumes 23 billion barrels a year, but the oil industry finds only 7 billion barrels a year. Economists argue that scarcity will result in price increases, making it more profitable to access poorer deposits. That seems plausible only if one thinks only about dollar costs. The fact is, as an oil field ages, increasing amounts of energy must be exerted to pump the oil out. The cost of this energy must be subtracted from the total value of the energy in the oil retrieved. According to a 1992 study, these two curves actually will intersect around the year 2005. Beyond that point, the energy required to find and extract a barrel of oil will exceed the energy contained in the barrel.=20 There is reason to believe that the oil industry is well aware of oil field depletion. No new supertankers have been built for 20 years, while interest in squeezing oil from shale deposits seems to be growing. What, then, is the solution to our acute energy problem? There isn't one. Natural gas resources are about as limited as petroleum and gas use recentl= y has been growing at a rate of 9 percent per year. Relying on nuclear energy to provide 11 billion people with First World living standards would require a system of 250,000 giant breeder reactors using around 1 million tons of plutonium. The tremendous amount of energy necessary to build fusion reactors (if they ever could work on a commercial scale) would guarantee a far worse greenhouse problem than what we face already. Even then, fusion power could supply perhaps only 2030 years of energy for an affluent 11 billion people. There is no question that we should convert to renewable energy sources as quickly as possible, but even "clean" energy is not capable of bringing the Western world's energy-intense way of life to all people. Beyond 2005, the energy required to find and extract a barrel of oil will exceed the energy contained in the barrel. There is not enough plant matter to fuel the world's transport fleet. To supply 11 billion people with the number of cars used by people in rich countries would demand 10 times as much fuel as used today. Because the win= d does not blow all the time, wind-energy never will be able to contribute more than 5-30 percent of the world's present electricity demand. And a popular proposal to meet Northern Europe's winter energy demands by utilizing solar collectors in the Sahara desert fails to acknowledge that about 95 percent of the collected energy would be lost in transmission and conversion.=20 A person living in a First World city requires the equivalent of about 4.5 hectares (11.1 acres) of productive land for food, water, housing and goods (as well as carbon sinks to soak up the carbon dioxide produced by their energy use). Applying this "ecological footprint" standard to Australia shows that Sydney needs an area of productive land 35 times as big as the city to sustain itself. For 11 billion people to live like people in Sydney= , we'd need about 50 billion hectares (124 billion acres) of productive land=8Baround six times all the productive land on the planet. By the year 2060, if the world maintained a mere 3 percent annual economic growth rate and all the world's people were to benefit equally, world economic output would have to increase to 80 times its current rate. These limits-to-growth themes have been debated in academic circles for mor= e than 30 years, but they almost never appear in the mass media. We must almost entirely scrap the prevailing model of a competitive, growth economy and adopt materially simple economies that stress cooperation and participatory control. Above all, we must move to a steady-state or zero-growth economy. There is now a global ecovillage movement pioneering the development of new settlements that are required for sustainability. Hopefully, the coming "mother of all oil shocks" finally will get all this on the public agenda. Ted Trainer is the author of The Conserver Society and Towards a Sustainabl= e Economy. Adapted from Real WORLD, 91 Nuns Moor Road, Newcastle upon Tyne, NE4 9BA. United Kingdom.=20 ========================================================================= Date: Sun, 23 Feb 2003 02:08:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: --/--/-- In-Reply-To: <4.1.20030222134155.019234f0@socrates.berkeley.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable --/--/-- the blank two hours was too long ago yesterday, a hundred years = around=20 the bend tomorrow, a half of a perfect solitude, half of a perfect=20 bunny, half of a perfect bobbi, half of a perfect me, for my eyes only,=20= for any one who would say yes. I was their performing acrobat,=20 refueling wounds, barrier relief stunts. I watched. I landed. they=20 claimed a new land and the pilot said - we will be arriving at your family of origin dream waist high = grass=20 flashlight bodies rubbing cum soaked sheets and pretty pussy dreams . .=20= . please fasten you seat belts. I tried to imagine hell=92s rule book, its headquarters. what = went=20 on at that exclusive retreat? was it on the map? was there a choice=20 to pretend to in shocked over those drips of blood, those scares, and=20 that black silk flowers drawn ever so gently across the flesh that was=20= held in place with steel thorns? the copilot was playing father superior again with that vaseline=20 coated wooden cross, using self disinfectant to maintain regularity. I=20= had to hurry up and decide, long before nero pranced next to the regal=20= reminisces of a bloody cunt queen. =09= ========================================================================= Date: Sun, 23 Feb 2003 08:45:33 -0500 Reply-To: herb@eskimo.com Sender: UB Poetics discussion group From: Herb Levy Subject: NYTimes.com Article: Versus Verses This article from NYTimes.com has been sent to you by herb@eskimo.com. So nu? herb@eskimo.com Versus Verses February 23, 2003 Interview by REGAN GOOD Q As the poet laureate of the United States, I assume that you were invited to the White House symposium on poetry that was canceled recently once some poets began planning to use the event to protest war in Iraq. Yes, I was. I would have gone if it had been held, to see what was going to happen. Politicizing the event has resulted in its cancellation and perhaps the end of literary events at the White House. Could it really have that effect? I don't know. I've always tried to keep the West and East Wings separate. I think the loss in this particular case was the opportunity to look at Whitman and Dickinson. In the middle of both of their lives occurred the central trauma of our country, the Civil War. And Whitman more or less jumped into action. He served as a volunteer nurse and wrote a poem, ''Vigil Strange I Kept on the Field One Night,'' where he holds the body of a dead boy and buries him. Whereas Emily Dickinson just stuck to her knitting, and her knitting just happened to do with immortality and death and the grave. It is a wonderful demonstration of the choice that poets have, to deal with the world around them in whatever way they think best. So what sort of interaction have you had with Laura Bush's literacy program? Well, none, really. I get invited to her book festival events. I have my Poetry 180 project, which I've made my main project. We encourage high schools, because that's really where for most people poetry dies off and gets buried under other adolescent pursuits. What kind of authors have been at the book festival affairs? Kinky Friedman comes to mind. He's one of theirs -- you know, a Texan. And Mary Higgins Clark. You know, popular authors, really. We've had an actor as a president -- do you think we'll ever have a poet as a president? Now there's a long shot. I think we'll definitely have a woman before a poet -- I mean, I don't think Gene McCarthy won any points when the public found out he wrote poetry. No, the public is probably more suspicious of poets than women, and maybe for good reason. So much for Shelley's declaration that poets are the unacknowledged legislators of the world. It's a delusion of grandeur. One of the ridiculous aspects of being a poet is the huge gulf between how seriously we take ourselves and how generally we are ignored by everybody else. What was the last poem that really spoke to, or was embraced by, the American people? I can't think of an antiwar poem that has spoken to the American people. There is one poem that has spoken to the American people, and that is ''Stopping by Woods on a Snowy Evening.'' That is the most popular poem in America. It was either that or ''The Road Not Taken'' that John F. Kennedy carried with him in his wallet on a piece of paper. Do you imagine that President Bush reads much poetry? I don't know what he reads. I hope he's not reading too much of it -- he should be busy doing other things, like running the country and maybe even keeping us out of war. I remember that when I read before Congress, someone commented that Dick Cheney on the CNN feed didn't appear to be paying a great deal of attention to my poem. I said: ''Well, I really wouldn't want him to. I would rather he concentrated on the affairs of state.'' If you could hand Bush or Cheney a poem right now, what would it be? The poets who have written the best poems about war seem to be the poets whose countries have experienced an invasion or vicious dictatorships. Poets like Vaclav Havel, and Mandelstam and Akhmatova from Russia, and from Poland, Milosz, and the poet whom I am centering on, Wislawa Szymborska, a Nobel Prize winner. She has a poem, ''The End and the Beginning,'' that begins: ''After every war/someone has to clean up./Things won't/straighten themselves up, after all./Someone has to push the rubble/to the side of the road,/so the corpse-filled wagons/can pass.'' I would probably stand at the White House and hand out this poem. http://www.nytimes.com/2003/02/23/magazine/23QUESTIONS.html?ex=1047007933&ei=1&en=3f017f303c1ad7be HOW TO ADVERTISE --------------------------------- For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact onlinesales@nytimes.com or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to help@nytimes.com. Copyright 2002 The New York Times Company ========================================================================= Date: Sun, 23 Feb 2003 07:46:31 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: ?? Comments: To: herb@eskimo.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit "Whereas Emily Dickinson just stuck to her knitting, and her knitting just happened to do with immortality and death and the grave. " (which of course has nothing to do with the civil war.... or with those who keep the sabbath going to church or shut one up in prose, etc.... yep, good old unpolitical status-quo supporting emily Herb Levy wrote: > This article from NYTimes.com > has been sent to you by herb@eskimo.com. > > So nu? > > herb@eskimo.com > > Versus Verses > > February 23, 2003 > Interview by REGAN GOOD > > Q As the poet laureate of the United States, I assume that > you were invited to the White House symposium on poetry > that was canceled recently once some poets began planning > to use the event to protest war in Iraq. > > Yes, I was. I would have gone if it had been held, to see > what was going to happen. Politicizing the event has > resulted in its cancellation and perhaps the end of > literary events at the White House. > > Could it really have that effect? > > I don't know. I've > always tried to keep the West and East Wings separate. I > think the loss in this particular case was the opportunity > to look at Whitman and Dickinson. In the middle of both of > their lives occurred the central trauma of our country, the > Civil War. And Whitman more or less jumped into action. He > served as a volunteer nurse and wrote a poem, ''Vigil > Strange I Kept on the Field One Night,'' where he holds the > body of a dead boy and buries him. Whereas Emily Dickinson > just stuck to her knitting, and her knitting just happened > to do with immortality and death and the grave. It is a > wonderful demonstration of the choice that poets have, to > deal with the world around them in whatever way they think > best. > > So what sort of interaction have you had with Laura Bush's > literacy program? > > Well, none, really. I get invited to her book festival > events. I have my Poetry 180 project, which I've made my > main project. We encourage high schools, because that's > really where for most people poetry dies off and gets > buried under other adolescent pursuits. > > What kind of authors have been at the book festival > affairs? > > Kinky Friedman comes to mind. He's one of theirs -- you > know, a Texan. And Mary Higgins Clark. You know, popular > authors, really. > > We've had an actor as a president -- do you think we'll > ever have a poet as a president? > > Now there's a long shot. I think we'll definitely have a > woman before a poet -- I mean, I don't think Gene McCarthy > won any points when the public found out he wrote poetry. > No, the public is probably more suspicious of poets than > women, and maybe for good reason. > > So much for Shelley's declaration that poets are the > unacknowledged legislators of the world. > > It's a delusion of grandeur. One of the ridiculous aspects > of being a poet is the huge gulf between how seriously we > take ourselves and how generally we are ignored by > everybody else. > > What was the last poem that really spoke to, or was > embraced by, the American people? > > I can't think of an antiwar poem that has spoken to the > American people. There is one poem that has spoken to the > American people, and that is ''Stopping by Woods on a Snowy > Evening.'' That is the most popular poem in America. It was > either that or ''The Road Not Taken'' that John F. Kennedy > carried with him in his wallet on a piece of paper. > > Do you imagine that President Bush reads much poetry? > > I > don't know what he reads. I hope he's not reading too much > of it -- he should be busy doing other things, like running > the country and maybe even keeping us out of war. I > remember that when I read before Congress, someone > commented that Dick Cheney on the CNN feed didn't appear to > be paying a great deal of attention to my poem. I said: > ''Well, I really wouldn't want him to. I would rather he > concentrated on the affairs of state.'' > > If you could hand Bush or Cheney a poem right now, what > would it be? > > The poets who have written the best poems about war seem to > be the poets whose countries have experienced an invasion > or vicious dictatorships. Poets like Vaclav Havel, and > Mandelstam and Akhmatova from Russia, and from Poland, > Milosz, and the poet whom I am centering on, Wislawa > Szymborska, a Nobel Prize winner. She has a poem, ''The End > and the Beginning,'' that begins: ''After every war/someone > has to clean up./Things won't/straighten themselves up, > after all./Someone has to push the rubble/to the side of > the road,/so the corpse-filled wagons/can pass.'' I would > probably stand at the White House and hand out this poem. > > http://www.nytimes.com/2003/02/23/magazine/23QUESTIONS.html?ex=1047007933&ei=1&en=3f017f303c1ad7be > > HOW TO ADVERTISE > --------------------------------- > For information on advertising in e-mail newsletters > or other creative advertising opportunities with The > New York Times on the Web, please contact > onlinesales@nytimes.com or visit our online media > kit at http://www.nytimes.com/adinfo > > For general information about NYTimes.com, write to > help@nytimes.com. > > Copyright 2002 The New York Times Company ========================================================================= Date: Sun, 23 Feb 2003 07:49:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: and the name is In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit and the name is Back to bless the known unto a name of the has beeen so, through the quality uopn quality. Again:- Upon the quality of which thus is the also known and before the name of the way; beware of the name that is merely the nations or nations of names; and keep a name's sake as a sheep and a child. these words whom every one whatever is evident from the doctrine of back to cause , back to something made mentioned of a number of that dwell there, upon the following passages:-- where two or a field, for this commandment may adduce name that which is among the divine, which does not take the all or no thought, no attention to mention. as many or all things of the like manner in the name of). from this is the beginning. In this shall walk in a quality that this it is meant by you or me or whomever as shall be so, and this going down and up, my way, your way. profess unto everything of therefore and all the not signified will not lose lts name, mention the unknown to them for all the followingshall be so. Again:-- If ye name, name of meaning, of back to a quality of such that hast no name, that unnames even the womb, from the beginning; where thou shalt be called by name that is no name, and the person's quality, will lose lts name, there will be a quality of all things of the name that is no name, because ye shall see the rising of thy word index back to them that this is paid to them by the all done as many as did the essence of all small-d divine which does not came forth from a quality is still more clearly evident from which I said in following passages:-- Back to the mouth back to the name out of secret places, that overcometh all fear of the name. ========================================================================= Date: Sun, 23 Feb 2003 10:51:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: NYTimes.com Article: Versus Verses Comments: To: herb@eskimo.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit For what it's worth, James Earl Carter is a published poet, and a darn sight better at it than E. McCarthy. (Not saying much) As well, Lincoln wrote some verse as well. Gerald Schwartz schwartzgk@msn.com ----- Original Message ----- From: "Herb Levy" To: Sent: Sunday, February 23, 2003 8:45 AM Subject: NYTimes.com Article: Versus Verses > This article from NYTimes.com > has been sent to you by herb@eskimo.com. > > > So nu? > > herb@eskimo.com > > > Versus Verses > > February 23, 2003 > Interview by REGAN GOOD > > > > > > > Q As the poet laureate of the United States, I assume that > you were invited to the White House symposium on poetry > that was canceled recently once some poets began planning > to use the event to protest war in Iraq. > > Yes, I was. I would have gone if it had been held, to see > what was going to happen. Politicizing the event has > resulted in its cancellation and perhaps the end of > literary events at the White House. > > Could it really have that effect? > > I don't know. I've > always tried to keep the West and East Wings separate. I > think the loss in this particular case was the opportunity > to look at Whitman and Dickinson. In the middle of both of > their lives occurred the central trauma of our country, the > Civil War. And Whitman more or less jumped into action. He > served as a volunteer nurse and wrote a poem, ''Vigil > Strange I Kept on the Field One Night,'' where he holds the > body of a dead boy and buries him. Whereas Emily Dickinson > just stuck to her knitting, and her knitting just happened > to do with immortality and death and the grave. It is a > wonderful demonstration of the choice that poets have, to > deal with the world around them in whatever way they think > best. > > So what sort of interaction have you had with Laura Bush's > literacy program? > > Well, none, really. I get invited to her book festival > events. I have my Poetry 180 project, which I've made my > main project. We encourage high schools, because that's > really where for most people poetry dies off and gets > buried under other adolescent pursuits. > > What kind of authors have been at the book festival > affairs? > > Kinky Friedman comes to mind. He's one of theirs -- you > know, a Texan. And Mary Higgins Clark. You know, popular > authors, really. > > We've had an actor as a president -- do you think we'll > ever have a poet as a president? > > Now there's a long shot. I think we'll definitely have a > woman before a poet -- I mean, I don't think Gene McCarthy > won any points when the public found out he wrote poetry. > No, the public is probably more suspicious of poets than > women, and maybe for good reason. > > So much for Shelley's declaration that poets are the > unacknowledged legislators of the world. > > It's a delusion of grandeur. One of the ridiculous aspects > of being a poet is the huge gulf between how seriously we > take ourselves and how generally we are ignored by > everybody else. > > What was the last poem that really spoke to, or was > embraced by, the American people? > > I can't think of an antiwar poem that has spoken to the > American people. There is one poem that has spoken to the > American people, and that is ''Stopping by Woods on a Snowy > Evening.'' That is the most popular poem in America. It was > either that or ''The Road Not Taken'' that John F. Kennedy > carried with him in his wallet on a piece of paper. > > Do you imagine that President Bush reads much poetry? > > I > don't know what he reads. I hope he's not reading too much > of it -- he should be busy doing other things, like running > the country and maybe even keeping us out of war. I > remember that when I read before Congress, someone > commented that Dick Cheney on the CNN feed didn't appear to > be paying a great deal of attention to my poem. I said: > ''Well, I really wouldn't want him to. I would rather he > concentrated on the affairs of state.'' > > If you could hand Bush or Cheney a poem right now, what > would it be? > > The poets who have written the best poems about war seem to > be the poets whose countries have experienced an invasion > or vicious dictatorships. Poets like Vaclav Havel, and > Mandelstam and Akhmatova from Russia, and from Poland, > Milosz, and the poet whom I am centering on, Wislawa > Szymborska, a Nobel Prize winner. She has a poem, ''The End > and the Beginning,'' that begins: ''After every war/someone > has to clean up./Things won't/straighten themselves up, > after all./Someone has to push the rubble/to the side of > the road,/so the corpse-filled wagons/can pass.'' I would > probably stand at the White House and hand out this poem. > > http://www.nytimes.com/2003/02/23/magazine/23QUESTIONS.html?ex=1047007933&ei =1&en=3f017f303c1ad7be > > > > HOW TO ADVERTISE > --------------------------------- > For information on advertising in e-mail newsletters > or other creative advertising opportunities with The > New York Times on the Web, please contact > onlinesales@nytimes.com or visit our online media > kit at http://www.nytimes.com/adinfo > > For general information about NYTimes.com, write to > help@nytimes.com. > > Copyright 2002 The New York Times Company > ========================================================================= Date: Sun, 23 Feb 2003 11:32:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: NYTimes.com Article: Versus Verses Comments: To: Herb Levy In-Reply-To: <20030223134533.9E472C432@email4.lga2.nytimes.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII >>>Now there's a long shot. I think we'll definitely have a woman before a poet -- I mean, I don't think Gene McCarthy won any points when the public found out he wrote poetry. No, the public is probably more suspicious of poets than women, and maybe for good reason.<<< Yes, Mr. Collins: women and poets are two totally different things. But do you think a poet could get elected if she were a woman, and wrote her poems in such total secrecy as to make Emily Dickinson look like a town crier by comparison? I mean, I'll shut up about the poetry thing long enough to get through the campaign if you let me be President. Gwyn McVay --- Our battle with the book is our Buddhist battle. -- Robin Blaser ========================================================================= Date: Sun, 23 Feb 2003 08:54:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: The Digital Writer Comments: To: webartery@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable People ask me, "What is a digital writer?" I reply. "A digital writer is = one who spends more time dealing with technical problems than writing."=20 Now this is simplistic, and comes from a week of playing with a program = just to get one action working right. But I'm wondering whether technical problems are draining depth from = writing. It's all learning, of course; and this does challenge, and = thus grow, the mind. However, in what way? Do computer skills expand = one's creativity, or hamper imagination? It will take another = generation to reveal whether the digital writer becomes less = linguistically imaginative than the poet or novelist who doesn't engage = the digital medium as an art, instead of just an informational machine. I stress "linguistically imaginative," then wonder what this will mean, = as what we now take for linguistics may be turning back toward its = glyphic roots. If so, digital writing will bloom into a unique format. = Current technical problems, then, will be looked upon as having happened = in primitive times, like when the brush was first being invented. = =20 -Joel=20 Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon Homepage: http://web.pdx.edu/~pdx00282 Archive: http://www.unm.edu/~reality "The Silence of Sasquatch": http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm ========================================================================= Date: Sun, 23 Feb 2003 12:33:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Whyte Subject: Re: The Digital Writer In-Reply-To: <001c01c2db5c$32d529a0$70fdfc83@oemcomputer> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII But all writing is a technical problem, and it seems likely that codes and laws whether they stem from Bossuet, Coleridge or Perl instigate certain reflexivities. Morse Peckham (Man's Rage for Chaos) might be useful here; I'm not sure the learning curve argument goes very far -- Ryan On Sun, 23 Feb 2003, Joel Weishaus wrote: > People ask me, "What is a digital writer?" I reply. "A digital writer > is one who spends more time dealing with technical problems than > writing." Now this is simplistic, and comes from a week of playing > with a program just to get one action working right. But I'm wondering > whether technical problems are draining depth from writing. It's all > learning, of course; and this does challenge, and thus grow, the mind. > However, in what way? Do computer skills expand one's creativity, or > hamper imagination? It will take another generation to reveal whether > the digital writer becomes less linguistically imaginative than the > poet or novelist who doesn't engage the digital medium as an art, > instead of just an informational machine. I stress "linguistically > imaginative," then wonder what this will mean, as what we now take for > linguistics may be turning back toward its glyphic roots. If so, > digital writing will bloom into a unique format. Current technical > problems, then, will be looked upon as having happened in primitive > times, like when the brush was first being invented. > > -Joel > > Joel Weishaus > Visiting Faculty > Center for Excellence in Writing > Portland State University > Portland, Oregon > > Homepage: http://web.pdx.edu/~pdx00282 > Archive: http://www.unm.edu/~reality > "The Silence of Sasquatch": > http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm > ========================================================================= Date: Sun, 23 Feb 2003 03:03:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: The Digital Writer MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT interesting. had this thought last night "and then you wonder one day If the word is really the way I wrote it? the word is really the way I write it? they write it? we write it? this pen writes it? this computer writes it? this ami,ation program zips it?" Then I got your message and thought of Lu Chi and brush meditators and something Dmitri Buatov said about the roots of visual poetry and Pennebaker's research which might say the how you 'say' actually determines what you say as in process determines content. i think aan has done some things along this ine and a lot of people don't see it. food for thought, but for now I'll pick up my train of thought and write my world and wonder how well off Johnny Paycheck would have died had he not done 'Take This Job and Shoved It"? tom bell not yet a crazy old man ----- Original Message ----- From: "Joel Weishaus" To: Sent: Sunday, February 23, 2003 10:54 AM Subject: The Digital Writer People ask me, "What is a digital writer?" I reply. "A digital writer is one who spends more time dealing with technical problems than writing." Now this is simplistic, and comes from a week of playing with a program just to get one action working right. But I'm wondering whether technical problems are draining depth from writing. It's all learning, of course; and this does challenge, and thus grow, the mind. However, in what way? Do computer skills expand one's creativity, or hamper imagination? It will take another generation to reveal whether the digital writer becomes less linguistically imaginative than the poet or novelist who doesn't engage the digital medium as an art, instead of just an informational machine. I stress "linguistically imaginative," then wonder what this will mean, as what we now take for linguistics may be turning back toward its glyphic roots. If so, digital writing will bloom into a unique format. Current technical problems, then, will be looked upon as having happened in primitive times, like when the brush was first being invented. -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon Homepage: http://web.pdx.edu/~pdx00282 Archive: http://www.unm.edu/~reality "The Silence of Sasquatch": http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm ========================================================================= Date: Sun, 23 Feb 2003 11:01:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: further Fuck yr heros In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" well i've been saying for a long while that the *absence* of a generation gap (owing perhaps to the demise of a sustainable working-class middle class, the top .01%, and so forth) is preventing "youth," by and large, from occupying the more resistant public place of dissent we customarily associate with "youth"... it's well and good to protest the war with 60s types whose collective consciousness is stuck back in the day, or to see former sds rads with their well-heeled sons & daughters at the latest pop/rock concert... but i don't think "youth" benefits entirely from this interaction, in the terms customarily assigned to "youth"... esp. not "youth" whose youth is hemmed in by play dates and the like... let's not get into the "youth" issue as it pertains to poets (e.g.) vs. novelists (e.g.)... assuming we can distinguish the latter (which (e.g.) the ~ny times book review~ does often w/o thinking---see today's issue) neither class of language perps has a claim to premature or senile "greatness"... now i'm 47, so please, take everything i'm saying with a grain of salt (or, of course you will)... like vernon, i feel i've had to eat a helluvalotta shit to get the begrudging respect (if that's what it is) that i'm currently not getting as a writer---and believe me, i'm goddamn grateful for this disrespect i'm not getting, as it's not been paying the bills for the past 15 years or so (judging by my hard-earned chapter 7 of four years back, albeit kass and i are ahead right now by, what, $4000)... also, most of the literate beings (poets incl.) i come across---in my classrooms, and at poetry readings (etc.)---haven't seen the economic hard times i've seen (i.e., growing up on public assistance and watching members of one's family break apart and plunge into the stereotypical under class, with its stereotypical alcoholism, despair and, of course, premature death---i am not talking grad school privation, sorry, and it's ok with me if you too have suffered), so this tends to make me a wee bit difficult (read "angry"), esp. around my fellow professorial workers, and occasionally, in these online confines (or textually, as i read recently in a student paper---a student whom i like very much, btw---to paraphrase: "and then the maid came in to clean my room," offered w/o irony)... and for that matter, i think the young *can* learn from the old, and vice versa... but in any case, that there can be a wisdom that comes with age (even if it ain't necessarily so)... but alla that said, i think the right and proper response to jim behrle, given the problematic i've just outlined in brief, is to further effect said generation gap, above, which (at least according to sixties scripture, which as you will be sure to note, i heed herein to some extent) was both the promise and the curse of the aforementioned decade: FUCK OFF, jim, and i mean this sincerely--- yrs, joe ========================================================================= Date: Sun, 23 Feb 2003 13:11:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: The Digital Writer Comments: cc: webartery@onelist.com In-Reply-To: <001c01c2db5c$32d529a0$70fdfc83@oemcomputer> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII After a while, things become second-nature. If I'm writing a text, I have all the unix tools at my disposal, and they're now second-nature to me. If I have to do a 3d-animation, I know Blender well enough to do it pretty much without thinking, even though the initial learning curve was relatively steep. Tacit/extended knowledge takes over after a while, and at that point, one's vocabulary is extended - gerunds, participles, grep, awk, etc. Alan On Sun, 23 Feb 2003, Joel Weishaus wrote: > People ask me, "What is a digital writer?" I reply. "A digital writer is > one who spends more time dealing with technical problems than writing." > Now this is simplistic, and comes from a week of playing with a program > just to get one action working right. But I'm wondering whether > technical problems are draining depth from writing. It's all learning, > of course; and this does challenge, and thus grow, the mind. However, in > what way? Do computer skills expand one's creativity, or hamper > imagination? It will take another generation to reveal whether the > digital writer becomes less linguistically imaginative than the poet or > novelist who doesn't engage the digital medium as an art, instead of > just an informational machine. I stress "linguistically imaginative," > then wonder what this will mean, as what we now take for linguistics may > be turning back toward its glyphic roots. If so, digital writing will > bloom into a unique format. Current technical problems, then, will be > looked upon as having happened in primitive times, like when the brush > was first being invented. > > -Joel > > Joel Weishaus > Visiting Faculty > Center for Excellence in Writing > Portland State University > Portland, Oregon > > Homepage: http://web.pdx.edu/~pdx00282 > Archive: http://www.unm.edu/~reality > "The Silence of Sasquatch": > http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sun, 23 Feb 2003 11:17:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Logo "Poetry" In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Quite literally had a dream last night in which the garment industries in league with poets in opposition to the advent of war started sewing "poetry" tags on to pants, shirts, blouses, etc. Similar to the old - or maybe it still goes on - little red "Levis" tags on jeans. I won't spend my Sunday morning deducing all the implications, possibilities, down and upsides of a populace whether domestically, in school, work or on the streets with "poetry" as both an intimate and public banner - with "peace" or "anti-war gesture" by implication. Since Laura B and Sam H have put poetry on the public palate, it's a fresh time (apparently) to seize the opportunity - wherever the location. Stephen V ========================================================================= Date: Sun, 23 Feb 2003 14:19:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: Logo "Poetry" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit great dream, if i had one of them tags I'd sew it on for shure ----- Original Message ----- From: "Stephen Vincent" To: Sent: Sunday, February 23, 2003 2:17 PM Subject: Logo "Poetry" > Quite literally had a dream last night in which the garment industries in > league with poets in opposition to the advent of war started sewing "poetry" > tags on to pants, shirts, blouses, etc. > Similar to the old - or maybe it still goes on - little red "Levis" tags on > jeans. > I won't spend my Sunday morning deducing all the implications, > possibilities, down and upsides of a populace whether domestically, in > school, work or on the streets with "poetry" as both an intimate and public > banner - with "peace" or "anti-war gesture" by implication. > > Since Laura B and Sam H have put poetry on the public palate, it's a fresh > time (apparently) to seize the opportunity - wherever the location. > > Stephen V > ========================================================================= Date: Sun, 23 Feb 2003 13:45:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: further Fuck yr heros-An alternate take? In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I missed the first Jim Behrle post on this, which seems to have had a warm reception on the list, but in this second post I find little to rally around. I'm wondering first, who these old poets are that are so oppressive, and just how they are being oppressive. And to whom are they being so, specifically, oppressive . . . ? Still, there IS an argument to be made here, actually an argument Robert Bly made back in 1980 or so in an interview with The Ohio Review in which he said (I'm going from dim memory here) something to the effect that young poets MUST attack their elders, to clear a space for new work. And that the problem with Creative Writing programs in academia is that they work against this necessary antagonism by creating an environment of nepotism and aesthetic repetition. Is this true? I'm not sure. I look at so many of the first books out there these days, wonderful poets that are being talked about and read, that seem utterly unlike the poets who came before. (There are a million examples here . . . many wonderful first books to choose from: Arielle Greenberg, Joy Katz, Mark Salerno, Timothy Donnelly . . . I could go on!) [In my own specific case it was Michael Heller who chose my manuscript for publication, a poet I didn't know, but one I had long admired.] Some of these books were chosen for publication by, or endorsed by VERY ESTABLISHED poets (Richard Howard's introduction for the Donnelly book, as just one example) who seem to me to be doing a great service for poetry. Since almost all the established poets are doing this -- from Merwin to Pinsky to Ashbery to Jorie Graham (none of whom are 80 . . . actually), I'm wondering who Behrle is actually criticizing here. If not the system itself. And if he's criticizing the system, why not say so? Why create the strawdog poet to vilify? Of course I'd LOVE it if these VERY established poets would be talking about me, but just because they aren't doesn't make me think old poets are the problem. Maybe there is no problem. Maybe we're all the problem. In friendly disagreement, maybe, John Gallaher ========================================================================= Date: Sun, 23 Feb 2003 13:55:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: I have CHOSE by you MIEKAL A. to send messages to the Poetry Worlds. Comments: To: WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit (If anyone has a clue wy he did chose me, Id be glad to hear your theory. mIEKAL) From: Poetup@aol.com Date: Sat Feb 22, 2003 10:07:41 PM US/Central To: dtv@mwt.net Subject: dtv@MWT.NET I have CHOSE by you MIEKAL A. to send messages to the Poetry Worlds. THEREFOR Please froward ALL this completely, immediately to BUFFALO and do not delay it. (TOO bad you were chose? All will be well, that is all): POETLIST: I have activated brain power to 95% brain capacity mentally in my head. STOP THE RADIATION versus IRAQ (it costs 17-19 trillion each day in US dollars). God says so. EVERYONE YOUR POETRY'S ARE BEING READ BY CIA BY SATELLITE, FBI< PENTAGON< ECTERA. I DO NOT CODE THIS BECAUS THEY WILL ONLY JUST PUT IT IN THEYRE DECODERS ANYWAY. PLEASE AS YOUR HIGHEST PRIORITY WATCH FOR FUTURE MESSAGES ABOUT ME. THIS IS MY BEGINNING TO YOU MY PEOPLE. POETRY IS GODS LANGUAGES. Poetup ========================================================================= Date: Sun, 23 Feb 2003 12:12:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: The Digital Writer In-Reply-To: <001c01c2db5c$32d529a0$70fdfc83@oemcomputer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >People ask me, "What is a digital writer?" I presume that it means someone who uses his fingers to write. -- George Bowering Is shopping for a mask Fax 604-266-9000 ========================================================================= Date: Sun, 23 Feb 2003 13:13:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: further Fuck yr heros-An alternate take? In-Reply-To: <3E58D07A.26483.5C3FE4@localhost> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Maybe we're all the problem. john g, that's really incredibly smart... as my last (ok, masculinist) post suggests, i *do* believe there's a problem with poetic practice, and artistic practice in general, in terms of age as it pertains to class (and no doubt to the entire complex of structural social realities)---which is why i think in fact jim behrle is onto something... thing is, class has the effect, for one, of leveling age differences... here in boulder, i can't tell you how many old folks i see dressed like teens... and how many teens i see sporting every affectation of the older millionaire classes (i.e., their parents)... those old folks, they should be slumped over, backs broken with manual labor, like my grandpa... or they should have fingers the size of my thumb, like my old man... and those young folks, they should be hitching a ride to campus and back, or driving junkers, not their parents' used camry's... ysee, i have my own inexorable hang-ups... i think tho that taking aim at "the academy" or "the creative writing classroom" (or "old poets") misses the mark IF the argument is that there's nothing we can do to offset the encroaching effects of these, well, institutions... speaking *as* an academic (who was fired btw from fortune 500 *as* an engineer, largely for shooting his mouth off), no doubt one is fighting an uphill battle if one enters the creative writing classroom, e.g., and makes students conform, from first to last, with what one thinks is the proper aesthetic... there are ways to mitigate this, but if you try them, you'll likely end up holding the stick come tenure time (don't get me started)... there is no way entirely around power, in OR out of the classroom... it's just that this latter observation can become an abstract dodge for actually working with the power you have to change the system for the better... in that regard, e.g., when i activate to help a student get into grad school, i'm both using power exclusively (as those who don't have the sheer privilege of knowing me (;->) will not have access, by association, to my power) and using power as it should be used... we're all at the mercy of the system, of course, and in this regard, we all ARE the problem (though some are perhaps more the problem than others!)... i've been giving a lot of thought of late to particular ethical quandaries... e.g., and i know this is off-topic, but should, do i have more respect for (1) the person who's anti-affirmative action, but who'll stand up in a public place for someone who's being subject to a racial slur, or (2) the person who's on the left with me, but who doesn't have the courage of (1)?... i understand this is a sloppy scenario, as i've described it, and i understand too how testicular it is at some level... but i've come across the (1)'s and (2)'s more than once or twice in my life---it's easy to be against the war, in some sense, it's more difficult to be with your coworker who's getting canned---which gives me pause, and which forces me to ask what the proper ethic might be for dealing with our systemic imperfections, as they butt up against our personal liabilities (which of course we all have---witness this post of mine)... christ i'm talky today... anyway, thanx, later/// joe ========================================================================= Date: Sun, 23 Feb 2003 18:47:31 -0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Adverts for self Comments: cc: poetryetc@jiscmail.ac.uk MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Some notices (please forgive me for the cross postings): New book just published: EXIGENT FUTURES: NEW AND SELECTED POEMS. 166 pp. (Salt Publishing) I'm in Europe, doing a few readings and talks, as follows: Paris, February 27. 5: 30 PM. Talk: "Speaking the Estranged: Word and Poetics in the Work of George Oppen." At the Sorbonne, 1 Rue Victor Cousin, Library of the English Department, Stairway G, 2nd Floor. London, March 11th. 7:30 PM. Reading poetry and prose at the London Jewish Cultural Centre (in connection with Jewish Book Week). The Old House, Kings College. Kidderpore Road. London, March 13th, 7 PM. Talk: The Oppen talk above. Birkbeck College. Council Room, Malet Street. London, March 14th 7:30 PM. Poetry reading at the Poets Cafe, Betterton Street. Yours, MH ========================================================================= Date: Sun, 23 Feb 2003 16:02:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Cabri & Mohammad in Buffalo! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable K. Silem Mohammad and Louis Cabri Poetry Reading Weds., Feb. 26, 4pm; CFA Screening Room SUNY-Buffalo Talk by Mohammad: "Ill Lyric, or Enjamb Your Symptom!" Tues., Feb. 25, 7:30pm, Rust Belt Books (Allen at Elmwood, Buffalo) Talk by Cabri: "The Social Command" Thurs, Feb. 27, 7:30pm, Rust Belt Books (Allen at Elmwood, Buffalo) Mohammad currently teaches literature at the University of California, = Santa Cruz. His books include hovercraft (Kenning, 2000), My Content = (Faux Press e-books), and the forthcoming Deer Head Nation (Tougher = Disguises). Cabri is author of The Mood Embosser (Toronto: Coach House, = 2001); he teaches at the Alberta College of Art & Design, in Calgary, = Canada, and recently co-edited two feature issues of letters to/from = poets for Open Letter magazine, available online.=20 -------- www.buffalo.edu/~pdurgin ========================================================================= Date: Sun, 23 Feb 2003 13:18:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Re: "not a good place for a pregnant woman" MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Harry Nudel raises some good points but he's a little soft on the prision-industrial-literary complex. The "beat cop" often enough acts without direct orders in the harassment and beating of the lumpen, at least in my town. In fact, the crisis of police violence in Vancouver is so extreme that each day over the past month the chief constable has appeared at a press conference to explain away this or that beating of drug users, street people, sex trade workers, or political dissidents. Check out this report from the Pivot Legal Society for details of what may well be going down in your own home town. Aaron Vidaver Vancouver http://www.pivotlegal.org/beta/modules.php?op=modload&name=News&file=article&sid=28&mode=thread&order=0&thold=0 ========================================================================= Date: Sun, 23 Feb 2003 14:01:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: [webartery] Re: The Digital Writer Comments: To: webartery@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Alan Sondheim" To: "UB Poetics discussion group" Cc: Sent: Sunday, February 23, 2003 10:11 AM Subject: [webartery] Re: The Digital Writer > > After a while, things become second-nature. If I'm writing a text, I have > all the unix tools at my disposal, and they're now second-nature to me. If > I have to do a 3d-animation, I know Blender well enough to do it pretty > much without thinking, even though the initial learning curve was > relatively steep. Tacit/extended knowledge takes over after a while, and > at that point, one's vocabulary is extended - gerunds, participles, grep, > awk, etc. > Or does the challenge of the tool push the digital writer to take more risks, open more territory? Dealing with one technical problem all week, I feel like my mind is somewhat larger from the task. And as this problem involves representing an image on a page of primarily of text, the text also matured during the struggle, being more than tangentially involved with the problem. This is new fieldwork, after all, somewhat different from the one Williams, or Duncan, were commenting on, created by the typewriter. -Joel W. ========================================================================= Date: Sun, 23 Feb 2003 17:37:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Re: Poetry Plastique: On Line@EPC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed There has been a lot of interest in the PDF file of the Poetry Plastique catalog, from the show Jay Sanders and I curated two years ago. There are a few copies remaining of the book and Granary will sell them, while they last, for the original price of $20. For information write to Granary: info@granarybooks.com. The Poetry Plastique web site is at: http://epc.buffalo.edu/features/poetryplastique/ Some browsers may have had a problem with the site, but that should be fixed now. I have added a number of images of "With Strings", the word sculpture that Richard Tuttle and I created for the show: http://epc.buffalo.edu/features/poetryplastique/Images/With_Strings/ Charles Bernstein ========================================================================= Date: Sun, 23 Feb 2003 17:50:43 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Simon Pettet reads WEd, FEb 26, 8pm MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi All, Simon asked me to pass this on: Wednesday Feb 26 at 8pm Colette Domingues & Magalhaes Music present at M Shanghai Bistro 129 Havemeyer (Grand and South 1st), Williamsburg, Brooklyn (subway L; to Lorimer) SIMON PETTET POETRY READING (Admission $5) For info, call 1-718-302-0712. or e-mail info@magalhaesmusic.org Map & more info at www.mshanghaiden.com ========================================================================= Date: Sun, 23 Feb 2003 16:54:24 -0700 Reply-To: jvcervantes@earthlink.net Sender: UB Poetics discussion group From: James Cervantes Subject: gendered wars MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable The army's relation to the physical wars it occupies has long been a locus of literary, philosophical, and architectural conversations. = Soldiers mirror wars and wars mirror soldiers, and each is gendered in particular ways. Countless generals have addressed links between the soldier and the war he/she inhabits, employing certain gender assumptions to characterize war and likewise using war to construct gender. Critics since Virginia Woolf have explored the implications of a =93gun of one's own,=94 dividing space into seemingly irreconcilable =93feminine,=94 domestic remains and =93masculine,=94 pubic arenas. This= panel is interested in using established dossiers of gendered soldiers and the wars they encounter as a point of departure from which to more closely examine other connections between gender, soldiers, and war. We encourage papers that broadly define the terms =93war(s)=94 and =93gender= ed war,=94 as well as ink that addresses the ideological agendas that accompany these discourses on in-line skates. We are also interested in how gendered prescriptions affect female soldiers recovering within certain wars, and conversely, how these female soldiers might affect the gendering of those wars themselves. Papers might discuss (but are not limited to) institutional and industrial wars, recreational wars, or ecological wars as manifestations of or responses to a gendered soldier. In a postmodern era riddled with deconstructivist questions about the =93white war=94 of the text as well as the infinite scope of th= e World Wide Web, we also invite panelists to engage with narrative or cybertechnological soldiers or wars. = Based on "SAMLA WS Session Title: 'Inhabiting Gender: Space(s) and the Female Body'" - Jim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: http://www.poetserv.net/jvchome/index.html Salt River Review: http://www.poetserv.org RelativeLinks: http://www.poetserv.com/relativelinks/home.html ========================================================================= Date: Sun, 23 Feb 2003 20:06:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Erica Kaufman/Dan Machlin Monday at Poetry Project Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit MONDAY FEBRUARY 24 [8:00pm] ERICA KAUFMAN AND DAN MACHLIN Erica Kaufman is an Indiana native who has been living either in or around New York for quite some time. She assists Rachel Levitsky with the Belladonna* reading series which is currently held monthly at Zinc Bar. Her recent poems can be found on canwehaveourballback.com. Dan Machlin is the author of two chapbooks of poetry, This Side Facing You (Heart Hammer) and In Rem (@ Press), and a recent Audio CD collaboration with Serena Jost, Above Islands (Immanent Audio). His poems have appeared in Crayon, Pom2, A Portable Boog Reader, Talisman, Fell Swoop and online at The Poetry Project and the EPC at Buffalo. He is a founder and editor of Futurepoem books and March 2003 curator at The Bowery Poetry Club/ Segue Saturday series. Monday, Feb. 24, 8:00 p.m. Poetry Project @ St. Mark's Church in the Bowery Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 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, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. ========================================================================= Date: Mon, 24 Feb 2003 00:10:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ANDREWS@FORDHAM.EDU Subject: Sally Silvers / Bruce Andrews -- four more performances MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: quoted-printable Hi. Just a reminder that there are performances of Spaced Out coming up= this week, Thursday and Friday nights, and next week, Saturday night an= d Sunday matinee. It's a fabulous concert, for which I'm thrilled to be doing the music (a live mix of electronica), and hope you can catch it -- in the new DT= W space. Here's the press release. DANCE THEATER WORKSHOP presents Sally Silvers & Dancers in Spaced Out (premiere) part of DTW?s Carnival series February 18, 19, 27, 28 and March 8, 2003 at 7pm March 9, 2003 at 2pm at DTW?s Bessie Sch=F6nberg Theater (219 West 19th Street, between 7th = and 8th Avenues); New York City Dance Theater Workshop presents Sally Silvers & Dancers in the premiere= of Spaced Out, part of DTW?s Carnival series, a three-month rotating sched= ule of performing artists. Spaced Out opens February 18 at 7pm and runs February 19, 27, 28 and March 8 at 7pm. There is also a Sunday matinee= on March 9 at 2pm. Tickets are $27, $17 for DTW Members, students and seni= ors. Tickets may be purchased online at www.dtw.org; tickets and memberships= are available by phone at (212) 924-0077 or at DTW?s Box Office at 219 West= 19th Street. "Silvers?s strong suit is the ability to convey an exciting emotional undercurrent beneath a cerebral formal structure? An extraordinary disp= lay of shifts in rhythm and movement. Silver?s performance is quick and fu= ll of extremes. It is the embodiment of feeling." - Anna Kisselgoff, The New York Times Choreographer Sally Silvers returns to DTW for the third time with a ne= w evening-length group dance that sizzles to the beats of global club culture. With precision, exuberance and wit, Spaced Out flirts with impossibility in a valentine to our polyglot cities of the future. Zigzagging across borders (from a Tijuana picnic, underworld dreamscape= s, Bollywood flamboyance and into the unknown) with a staging of nerves an= d romance, the work serves up a vivid imaginary urban landscape. In her refreshingly angular style and out-of-joint inventiveness, Silvers choreographs a space between an unforeseen future and a layer-cake of t= he past. Silvers?s panoramic bustle of global nightlife features the sexy= , defiant, mutant, zany, plush, ornamental, swoony, confrontational, vulnerable, melancholy, austere, nostalgic, humorous and hybrid. Space= d Out ricochets with an all star cast of nine that includes Jamie Di Mare= , Cynthia Fieldus, Amy Lee, Julie Atlas Muz, Mark Robison, Noem=ED Segarr= a, Karen Sherman, Silvers and David Thomson with a live electronica sound = mix whipped up by Bruce Andrews. Costumes are by Elizabeth Hope Clancy, li= ghts by Philip W. Sandstr=F6m and spatial design by Tokyo-based architect Yu= mi Kori. Sally Silvers, originally from East Tennessee, has been making dances f= or 20 years in New York City. She continues her on-going fascination with= the poetic as well as the social meanings of movement, to offer a no-holds-barred exploration of movement possibilities that are often playfully tilted toward the eccentric and unexpected. Vulnerability, = risk and vernacular fun take the stage. Choreographing with the widest palet= te of unconventional movement, the work fashions carefully defined yet surprising structures for the articulated body. Silvers has taught composition, improvisation, and repertory, both in the U.S. and abroad,= and her essays, scores and poetry have appeared in journals, literary magaz= ines and anthologies. She has co-directed two experimental dance films: Li= ttle Lieutenant and Mechanics of the Brain. She has been honored with a Bes= sie award in 1993, received five NEA grants as well as awards from the New = York Foundation for the Arts, The Guggenheim Foundation, Meet the Composer/Choreography Project for collaborations with John Zorn and Bru= ce Andrews and most recently from the Foundation for Contemporary Performa= nce Arts.= ========================================================================= Date: Mon, 24 Feb 2003 00:14:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: BEASTS AND SHIMS MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII BEASTS AND SHIMS olding onward this great beast with the penurious shim of gentle wood, neither attack nor defy, this bodie of lovely parts, such is the olding high and among us with such kindly shim, of this great beast, its immeasurable breadth and length of this great beast, nor of the yearning and olding shim olding its calmness and surety in the midst of such great dreaming, as of the beasting, the boasting of the shimming up of the shim of cranky wood beneath such beast, its impecuniousness, of such speaking and writing, to have situated, this great beast, upon its shim?:olding of the great beast, its shim of comfort wood, it neither attack nor defy the commands of this fair bodie, such is the olding above us with the shim, of this great beast, you will always never wonder at the breadth and width of this great beast, nor of its underneath shim olding it calm and sure among the kindly dreaming, the beasting boast, the shameful shim, its poverty, of what can one speak, to have held it upon the great shim, of the beast, its shim?:olding up the great beast with the shim of cranky wood, it will not attack nor defile this bodie, such an olding into air of this great beast, you will hardly doubt the breadth and extent of this great beast, nor of the shim beneath which conjures it into the place of calmness and fair dreaming, of the boasting of this great beast and its shame upon the shim, its beasting and its penury, of what else may it be said, to have captured its essence upon the great shim, of the beast and its shim? :: olding up the great beast with the shim of cranky wood, it will not attack nor defile this bodie, such an olding into air of this great beast, you will hardly doubt the breadth and extent of this great beast, nor of the shim beneath which conjures it into the place of calmness and fair dreaming, of the boasting of this great beast and its shame upon the shim, its beasting and its penury, of what else may it be said, to have captured its essence upon the great shim, of the beast and its shim? replace your olding onward this great beast with the penurious shim of gentle wood, neither attack nor defy, this bodie of lovely parts, such is the olding high and among us with such kindly shim, of this great beast, its immeasurable breadth and length of this great beast, nor of the yearning and olding shim olding its calmness and surety in the midst of such great dreaming, as of the beasting, the boasting of the shimming up of the shim of cranky wood beneath such beast, its impecuniousness, of such speaking and writing, to have situated, this great beast, upon its shim. === ========================================================================= Date: Mon, 24 Feb 2003 00:40:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Logo "Poetry" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > > Date: Sun, 23 Feb 2003 11:17:57 -0800 > From: Stephen Vincent > Subject: Logo "Poetry" > > Quite literally had a dream last night in which the garment industries in > league with poets in opposition to the advent of war started sewing "poetry" > tags on to pants, shirts, blouses, etc. > Similar to the old - or maybe it still goes on - little red "Levis" tags on > jeans. Bravo! -Nick- ========================================================================= Date: Sun, 23 Feb 2003 22:34:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Logo "Poetry" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii steph484@PACBELL.NET wrote: > Quite literally had a dream last night in which the garment industries in league with poets in opposition to the advent of war started sewing "poetry" tags on to pants, shirts, blouses, etc. Similar to the old - or maybe it still goes on - little red "Levis" tags on jeans. < ------------------------------------------------------- The poet Jason Nelson did just that. Worked with the fashion designer behind Lilytank. There was a feature on/by him in Outlet # 3. I quote: "After contacting many of the larger mall-chain companies, I found Pamela Thompson. Pamela, a few years out of design school, a few years out of design school . . . And when I say company, I mean it in the smallest terms. Basically, it was just her and her roommate, . . . We worked together for about a year and 9 months, until money woes forced her out of the independent fashon design business. She now works for . . . Anna Sui. Initially, our collaboration process was for her to give me a brief description of the concept behind each design grouping, then send me drawings of each design. I used the concepts for word choice, and the actual design for the feel and flow of the words. Sometimes she would request that I change a few words, or accent a different aspect of her work, . . . She used the poems on various pieces of clothing and a backpack. The clothing incorporated the poetry in small ways: in the lining, or in a metallic strip down along the hem, or on a pocket . . . an unexpected surpirse with words that mirror that particular dress, shirt of pants. Mostly however she used the poems in her marketing schemes, such as press kit materials and mailings. . . . I feel confident that soon you will see poetry on the backs of shoe box lids, or on the bottom of shoes,a nd poetry on clothing labels or repeating over and over in the lining. . . . While our initial idea was only to include poetry, I happened to send her some 'sudden fictions' and she thought it might be nice to include some short adventures in her press packets to augment the existing descriptions of her logo character. She would give me a basic premise for each adventure, and then I'd write from there." Three of the Nelson/Lilytank fashion accessory poems printed in Outlet 3: televox sensors erase the limitation trapping each mortal event along the electrostatic spectroscope numbered by a succession of gravities pulled back and stretched from a small space savant she is confused of metal coils a machine asking of fire the impossible It would seem that Pamela Thompson's move to Anna Sui's studio, rather than being the end of the fashion-poetry campaign, might have been its beginning. Sui is very receptive to the unlikely, from my two degrees of separation contact with her. My friend the cartoonist (New Yorker, etc.) Paul Gerrets, a.k.a. Leroy the King of Art, -- http://www.leroykingofart.com/ http://www.gvfba.com/leroy.htm --- was doing a series of celebrity shoe drawings. He'd draw shoes that tangentially commemorated the name of some celebrity. And he sent Anna Sui his Anna Sui shoe drawings. Sui responded with open arms, not only further commissioning him to do regular work for her, but when she admired the scarf he was wearing and it turned out to be knitted by his mother, commissioning his ~mother~ to knit a whole wardrobe of scarves for her models. There was a Women's Wear Daily/W cover of a runway model wearing a scarf by Paul's mother. The "poetry"/fashion/label aesthetic has, of course, been put into practice widely, . . . in Japan. See the site http://www.engrish.com for their use of Language Poetry English in product design: ITALY PAIN FAIR SIMPLE I FALL IN LOVE WITH YOU YOU ARE MY FAVORITE FOOD ALL OBJECTS ON THE EARTH ARE MADE FROM POWDER IT'S NICE TO BE A WATERMELON PIG. WE CAN EAT WATERMELON AS MUCH ASS. WE WANT. BECAUSE WE LIVE IN WATERMELON HILLS. HAVE GOOD TIME FLOWER COMMUNICATION. THE FLOWERS IN RECOLLECTION SING A POEM IN SEPIA COLOR. TIME SEEMS TO RETURN TO THE TURN OF IT'S BEAUTIFUL MELODY FLOW. PLEASE LISTEN TO THE DREAM A FRESH HEART DISCLOSES. PLEASE LOOK AT MY FRESH FACE. PLEASE RECEIVE IT JUST WHEN YOU OPEN YOUR HEART. A BOUQUET TO ALL OF YOU OVER THE WORLD. Scandinavian Natural Roman. Best Bread Message. Holuo. Our little friend "Tomte" use magical secret-power for delicious BREAD that, Well enjoy in next morning. Children who living in NORTHERN EUROPE tell us secret that just baken BREAD. YES TOMTE's secret. HOKUO as. BREAD country SAPPORO is very similar with TOMTE's land. etc. ------------------------------------------------------- For a work of my own somewhat along those lines (submitted as part of application materials to the Whitney Museum Independent Studio Program, but never marketed), see http://www.geocities.com/jeffreyjullich/LangleyLap.jpg __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Mon, 24 Feb 2003 01:31:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Composting Whitman's MY COMPOST - Version 1 In-Reply-To: <5.1.1.6.2.20030223173651.023c5d10@pop.bway.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Composting Whitman's MY COMPOST - Version 1 Some onion piercessions of it up und it up unwithdraw from my breally putting stalk, I will risease. O how can you be any diseas'd corruptions? What the sea, I will prairies are resurrectious afterrified at last. -mwp ========================================================================= Date: Mon, 24 Feb 2003 07:13:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Wanna Be Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit if David Antin is a poet i don't want to be a poet if any xxx on the epc poet page is a poet i don't want to be a poet if any member of the amer. acad. of poets is a poet i dont want to be a poet if there were there was... drn.. ========================================================================= Date: Mon, 24 Feb 2003 07:17:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: SST Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Our usual reliable sources inform us that there is an emergency call for funds by French Intellectuals who who want to a.s.a.p Concorde frere Baraka to Baghdad, where he will be a human shield in a power plant. AU REVOIR bro amiri...drn.. ========================================================================= Date: Mon, 24 Feb 2003 06:58:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Reegis Debray piece in NYT In-Reply-To: <5.1.1.6.2.20030223173651.023c5d10@pop.bway.net> Content-Type: text/plain; delsp=yes; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable The French Lesson February 23, 2003 By R=C9GIS DeBRAY PARIS - In the year 212, Emperor Caracalla granted citizenship to all free men in the Roman Empire. Emboldened by that precedent, a friend of mine, a former high French official, once asked a president of the United States to treat Europeans as compatriots. It was an agreeable fantasy; only vassals were wanted. For the current trans-Atlantic crisis to be defused, the White House would do well to steer between those extremes and to treat its European allies as what they are - citizens of independent states, each with an idiosyncratic history and geography. That approach would spare us many a useless bout of hysteria as the Security Council this week considers Iraq. To each its own geopolitics. Eight out of 10 Europeans on the street agree with the French-German position, and the governments of Britain, Spain, Italy, et al., have cut themselves off from public opinion. In confronting that awkwardness, the United States has chosen France as its scapegoat. Not having any training as a satellite state, unlike the countries of Eastern Europe, France has assumed the right to judge for itself (despite a number of elites firmly in the American camp). The United States, of course, is free to decide that a cadaverous satrap, kept under close surveillance, affects its national (and familial) interests. If the American administration is intent on precipitating the war that is Osama bin Laden's fondest wish, if it wants to give fundamentalism, which is currently ebbing, a second chance, we can say only, so much the worse for you - while regretting that history's most constant law, the perverse effect, is not better known to the Pentagon. Provoking chaos in the name of order, and resentment instead of gratitude, is something to which all empires are accustomed. And thus it is that they coast, from military victory to victory, to their final decline. "Old Europe," the Europe of Crusades and expeditionary forces, which long sought by sword and gun to subjugate Jerusalem, Algiers, Timbuktu and Beijing, has learned to distinguish between politics and religion. In 1965, one of its old champions, de Gaulle, loyally warned his American friends that their B-52's would not be able to do anything against Vietnamese nationalism - and that to devastate a country is not the same as winning hearts and minds. Europe no longer takes its civilization for civilization itself, no doubt because it is better acquainted with foreign cultures, notably Islam. Our suburbs, after all, pray to Allah. Europe has learned modesty. A civilization that believes itself capable of making do without other civilizations tends to be headed toward its doom. To be sure, in defending its interests a great nation may end up promoting freedom. Such was the situation with the concentration camps. It will not be the case for the $15 barrel of crude. The stakes are spiritual. Europe defends a secular vision of the world. It does not separate matters of urgency from long-term considerations. The United States compensates for its shortsightedness, its tendency to improvise, with an altogether biblical self-assurance in its transcendent destiny. Puritan America is hostage to a sacred morality; it regards itself as the predestined repository of Good, with a mission to strike down Evil. Trusting in Providence, it pursues a politics that is at bottom theological and as old as Pope Gregory VII. Europe no longer possesses that euphoric arrogance. It is done mourning the Absolute and conducts its politics . . . politically. It is past the age of ultimatums, protectorates at the other end of the planet, and the white man's burden. Is that the age America is intent on entering? One can only wish it good luck. "Old Europe" has already paid the price. It now knows that the planet is too complex, too definitively plural to suffer insertion into a monotheistic binary logic: white or black, good or evil, friend or enemy. When, one wants to ask, will Washington agree to count to three - and think not this or that, but this and that? A sober weighing of threats, without emotional obfuscation, is far more attuned to our current world, which Balkanizes minds even as it grows more unified in its implements, than an impatient divine investiture. Whence this paradox: the new world of President Bush, postmodern in its technology, seems premodern in its values. In its principles of action, America is two or three centuries behind "old Europe." Since our countries did not enter history at the same time, the gap should not surprise us. But as to which of the two worlds, the secular or the fundamentalist, is the more archaic, it is surely not the one that Donald Rumsfeld had in mind. R=E9gis Debray, a former adviser to President Francois Mitterrand of France, is editor of Cahiers de Mediologie and the author of the forthcoming ``The God That Prevailed.'' This was translated from the French by Jeffrey Mehlman. http://www.nytimes.com/2003/02/23/opinion/=20 23DEBR.html?ex=3D1047049247&ei=3D1&en=3Da3db67dc9e58fdf0 ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 24 Feb 2003 07:09:07 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Currently on Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Collaborating with Rae Armantrout Odds & Ends Annie Finch on the goddess & saying the unsaid Michael McColl on Julia Kristeva & contemporary poetry Nick Piombino on Freud, Watten & Patti Smith Barrett Watten's Complete Thought Spirituality, the unconscious & language poetry Rodney Koeneke on poetry & the unconscious 182 poets The New Criterion's Roger Kimball won't recognize on the Poets Against the War website, but you probably will As close to a love poem as I'll ever get Susan Schultz & Pam Brown: collaborating across borders & hemispheres Why poets need to speak out & why speaking out won't stop the war Rachel Blau DuPlessis on poets & psychology Kevin Davies' Lateral Argument http://ronsilliman.blogspot.com/ ***************************************** I will be reading in the Temple Writers Series, Temple Gallery, 45 North 2nd Street, Philadelphia, Thursday, February 27th. The reading is at 8:00 PM and is free to the public. ***************************************** ========================================================================= Date: Mon, 24 Feb 2003 20:58:50 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ravi Shankar Subject: Two Sentences Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Two Sentences 1. Yes, the Sumerians used asphalt to inlay mosaics in temple floors, Mesopotamians lined water canals, hulls of boats with bitumen, Egyptians greased their chariots, embalmed mummies with pitch, but no Empire has eaten oil the way America does, rapaciously, without regard for where it comes from or what impact its extraction has on lives, on the environment, no, it’s about the bottom line here, about the tankers emblazoned with corporate logos, destroying reefs and altering the migration patterns of cormorants irrevocably. 2. When Democracy arrives, you best click your heels, stand at attention, for soon you will have more channels than the Euphrates, gangsta rap, liposuction, your women will flip their hijabs when they see salon sensibility in recyclable bottles, genuflections and prostrations will be jettisoned for bump and grind, and though the muezzin might be out of a job, happy hour happens each day as the sun sets in gray hills unblemished by bombs, which, of course, would be dropped only if you were to refuse opening your arms when Democracy arrives. Ravi Shankar ed, http://www.drunkenboat.com -- _______________________________________________ Get your free email from http://www.graffiti.net Powered by Outblaze ========================================================================= Date: Mon, 24 Feb 2003 14:37:17 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Dream: Feed/Field. Comments: cc: WRYTING-L@listserv.utoronto.ca Dream: Feed/Field. (Cantilever against Normalization) They do tell me things have degraded. This is part of the chorus that coninually surrounds me. I call it the feed. The feed as opposed to the field. The field often synchs to the feed, and very often they begin to resonate, or let us say communicate, and actually we all know there are quantum entanglements. Yes, these stairs are composed of "rough music". Not the rough music of 18th century french printing apprentices making their satirical in-house performances, their "copies", but lets say the interpretive outlines of thought itself. So apparently there was a desert to cross. There aren't many details about how the desert was crossed, but we know that it was crossed because here are the stairs. And now is where we first determine there is a cultural subtext, because there is a nexus of symbolic materiality inherent in the stairs, and precisely it is a tunnel penetrating a sheer rock face at the end of a vast desert. The stairs are of carved cinnabar, mercury sulfide, and seem to present a text which proceeds stair by stair into the blackness. We don't know if the stairs go up or down, but we know it must be one or the other. The text of the 183 stairs is as such: This is a hole in the world. If you enter these stairs, you will not come back to this spot (spot) ever. You may find either great power or loss, or you may in fact become quite mad. You may die. You may be transformed into another. You may be trapped. You may learn why you entered the desert. You may encounter desire. You might begin to dream. You may wake up. You may re-enter the sleep of days. You may see the woman. You may see what you take to be corpses. You will certainly find the dragon. The words on the stairs are not in English, and they are not in Chinese, but are in a language resembling very much Chinese, and in fact this is the field, so consult the feed to determine how exactly the language might look, and how it is that it has come to be translated here for you. Each cinnabar step is crossed and at the end of the tunnel, which is much too dark for reading, you step out onto a platform which is situated mid-crag in a huge and rocky valley. There is a sandy path leading down to it. A final detail: you are now naked. What is it? Its hard to say exactly what it is. Let's start by saying that its a building. Let's also say, that no amount of explanation can really determine the reason for its existence. The simplest way to explain the building is to replay the memories of the feed on the existence of the building. The building must be a kind of archive, or perhaps a temple. It may in fact represent a kind of computer or intelligence. The building at first appears to be a "log cabin" in the shape of a dragon which splays itself down the rocky valley walls towards the river. The "logs" are made of carved cinnabar, and are really elaborate coffins or perhaps stasis machines. Inside each "coffin-log" would seem to be an extremely ancient human being, which can be seen through a small amber viewing window. Each being appears to be naked but is completely wrapped in their own extremely long hair which in some cases grows soley from the head, but sometimes from the face as well and is quite white, or quite bright (ambertone). The flesh still appears to be fresh, though softly wrinkled. The head of the dragon is some ways down the cliff, and its long whiskers are themselves staircases which meander the rest of the way down the rock face to a series of cinnabar platforms poised above the rushing waters of the river. Its not that you entered through an anus that is a highly stylized portal, but more like a dream where you appear inside, and you are dressed in a soft cotton ankle-length caftan. You decide to verify the feed/field and see if in fact there are beings inside these cinnabar "logs". There are. You find yourself being attracted to a strong smell of flowering plants. Determined to find some nourishment, you decide there must be a garden somewhere nearby. As you walk down the great hallway, you notice a network of glass veins running throughout the structure, interpenetrating the entire cinnabar "log" dragon. Inside the veinwork is what appears to be a glowing elixir. Still, you are too thirsty and hungry to give it much notice, though the entire field of vision is filled with details of an extraordinary nature. Finally you discover a portal into an open atrium where there is a large and perfectly groomed garden (unlike this text/field) with many species of flowers and fruiting trees and a wonderful fountain of sparkling water. But soon you notice a kind of "rough music", a wooden but miniature galloping (a rapid, but uncertain clogging). And then the wooden chair has you. Its ornately carved arms are really arms and they restrain you, and it continues to gallop. You pass through hundreds of galleries and rooms, many of which are filled with people dancing, laboratories, menageries, libraries, shrines, etc.. The galloping chair takes you out a small door and you are galloping down one of the precarious whisker staircases heading for the river. You have been expelled, and rather rudely. The long flight down the cinnabar staircase is frightening. When you reach the river, the chair stops. At that moment a giant nude woman rises from the river. Her skull must be at least 20 foot tall by itself. Her eyes are like the eyes of snakes, and her entire body is covered in an elaborate and animated "tattoo". Part of the tattoo is a replay of your journey through the building. One part shows you reaching into a pool of water to drink. Another part shows you reaching for and plucking a fruit. You don't remember any of those things happening, but perhaps it did. It is what you had intended. She begins to speak to you in the most beautiful human voice you have ever heard, in an unknown language, but somehow resembling Chinese. Her enormous hand comes up out of the water. The chair releases you. You stand. Four smaller "copies" of the woman leap from her hand to attack you. They use incredible agility. You are subdued very quickly. They take you to the original. She smiles at you revealing large perfect teeth that glow brightly as the sun sets over the rocky valley. Then she eats you. When you wake up you are dead. You are in the desert again. You begin to walk. You consult the feed/field. ========================================================================= Date: Mon, 24 Feb 2003 09:44:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Landers, Susan" Subject: Pom2 readings in NYC and Cambridge -- Gizzi, Jackson, Sullivan, W ard & Weiser MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" POM2 Magazine announces two exciting launches for Issue 3! March 2: Wordsworth Books, 30 Brattle Street, Cambridge, MA, 3 PM featuring Michael Gizzi, Chris Jackson and possible surprise guest. March 6: Teachers and Writers, 5 Union Square West, NYC, 6 PM (refreshments!) featuring Gary Sullivan, Dana Ward and Karen Weiser. POM2 seeks submissions for Issue 4 through July 1. Please see www.pompompress.com for guidelines. Author Bios Michael Gizzi is author of more than 10 books of poetry, including __My Terza Rima__ (Hard Press, 2001). Bernadette Mayer says of him "Troubadour-trickster Gizzi is a poetry troublemaker and he's fortunate to have two golden z's in his name. Interlocking Gizzi is relentlessly learned about the American idiom and it's delphic and unobscurely elfin to perceive everything the way we think he does." Chris Jackson has recently moved home to Boston from Tennessee. He is the author of the exquisite __Adventures of the Human Doodle__. Gary Sullivan is the author of How to Proceed in the Arts and, with Nada Gordon, Swoon. His play, "PPL in a Depot," was recently performed at the Poets Theater Jamboree in San Francisco. He will direct a new short play--in part a response to some of the work in Pom2 #3--at the reading. Dana Ward lives in Cincinnati, where he edits Cy Press. Recent poems appeared or are forthcoming in Anomaly, Aufgabe, & Torch. Karen Weiser has a chapbook entitled Eight Positive Trees published by Pressed Wafer and has had or will soon have poems in Pom2, San Jose Manual of Style, and Magazine Cypress. ========================================================================= Date: Mon, 24 Feb 2003 10:09:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Perelman Subject: Poem in today's *Inquirer* (2/24) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I haven't been able to find this on the newspaper's website, but it appears on the Op-ed page of today's *Philadelphia Inquirer*. It's shortened from an early version posted here. Thanks to Ron Silliman and Louis Cabri for revision tips. Bob Perelman ** AGAINST SHOCK AND AWE for Kerry Sherin We may not have chosen to live inside Dick Cheney’s mind, but we do. Wyoming, I read somewhere, is the safest place in North America. No tornados, no tsunamis, no earthquakes, no monsoons, or floods. No major airport: no big planes crashing in the sleet. But if living in Wyoming is so safe, living inside Dick Cheney’s mind, though it was formed there, is not safe at all. How do you get from Wyoming to Shock and Awe? Getting from Love to Hate, that’s easy: Love, Live, Give, Gave, Gate, Hate. Love comes before life, and since newborns don’t survive on their own, life at the beginning involves giving. It has to: breast milk, protection, language, diapers made out of whatever, some sort of attention before you crawl or walk. Everyone living was given some of that somehow. That gets us up to Give. Gave comes next because giving is tiring. You give and give and what thanks do you get? Nothing. Or worse. They think they’re entitled; they’re madder than ever; they sulk in their rooms, they throw rocks. So much for giving. The next logical step is to build a gate. But gates creak at night, they leak, they break, in fact, gates concentrate whatever’s on either side, they distill hate. Love, Live, Give, Gave, Gate, Hate: Q.E.D. But getting from Wyoming to Shock and Awe? “Shock and Awe”? That’s the Pentagon’s current battle plan for Iraq: 300 to 400 cruise missiles the 1st day (more than in all of Desert Storm), 300 to 400 the next, to demolish water, electricity, communications, buildings, roads, bridges, infrastructure in general. “The sheer size of this has never been seen before,” a Pentagon official told CBS. “There will not be a safe place in Baghdad.” Harlan Ullman drew a parallel to Hiroshima: the Iraqi people will be “physically, emotionally and psychologically exhausted”; it will be “like the nuclear weapons at Hiroshima, not taking days or weeks but minutes.” The point is “to impose [an] overwhelming level of Shock and Awe, to seize control of the environment and paralyze or so overload an adversary’s perceptions and understanding of events that the enemy would be incapable of resistance.” This is Shock and Awe, remember, not Wyoming. But it gets hard to tell them apart: overwhelming levels seizing control, paralyzing perceptions and understanding. That works for Wyoming and just about anywhere in the United States. That’s the problem with living inside Dick Cheney’s mind, whether we’ve chosen to or not. What’s the point of Shock and Awe? To free the Iraqi people. Problem: “No safe place in Baghdad” contradicts “To free the Iraqi people.” Rationale: Since the Iraqi people are enslaved inside Saddam Hussein’s mind that mind must be destroyed. That means destroying Saddam Hussein’s body, which means brushing aside Baghdad to find him to free the Iraqi people trapped inside his mind. But dead people are only free in the most limited way. Not much bang for the buck there. Deeper rationale: It’s an adult world. Shock and Awe is adult political theater for a world audience. To reach an audience that big you have to project. That’s the point of Shock, the sheer size of which has never, etc. Otherwise the audience won’t be struck with Awe. What’s the point of Awe? Awe kills two birds with one stone. For the right Arabs, it inaugurates democracy, or something, somehow. For the wrong Arabs, Awe will . . . what? Awe will awe them into submission. I can hear Dick Cheney arguing that Awe worked at Hiroshima. But Japan was at war with us, and Awe, or at least Instant Submission, didn’t work outside Japan. The Iraqi people are not only not at war with us, we’re rescuing them from Saddam Hussein’s mind. And as for working outside Baghdad? Destroying it will awe al-Qaeda? That’s a stretch. There are more al-Qaedans in London or Berlin than in Baghdad. Maybe we should get Berlin first. No matter how big you make Shock, you can’t get to Awe. Forget it: We’ll never know the exact route from Wyoming to Shock and Awe. But Shock and Awe is already halfway here: Here, Baghdad and Here, Wyoming. We’re half “physically, emotionally and psychologically exhausted”; our “perceptions and understanding” are half “overloaded.” But even half a mind is enough to do the math: We’re half capable of resistance. The shocks are gigantic, disgusting, but at least they’re not shocking, once we give up our imaginary safety. The other half, Awe with its ersatz religious capital letter, we can resist. The weapons are huge and thoughtless, but they don’t deserve a shred of awe. A small victory, but it’s one weapon destroyed, the one they always use first. [The Shock and Awe language comes from web sites found on Google under “Shock and Awe.”] ========================================================================= Date: Mon, 24 Feb 2003 10:10:21 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Cologne Mist Sparks Code Red, Defcon Alerts Comments: To: frankfurt-school@lists.village.virginia.edu, EPOUND-L@LISTS.MAINE.EDU, working-class-list@listserv.liunet.edu, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Cologne Mist Sparks Code Red, Defcon Alerts By AFFADAVID B. CORRUPTO Assassinated Press Writer They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Mon, 24 Feb 2003 07:52:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: Yet another blog... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I've started posting my own blog at http://breakfastservedallday.blogspot.com/ It is not so much concerned with poetics, touches on the matter at points. I hope to make something a little lighter, almost parodic of, other arts/lit weblogs. As soon as I figure out how to add links I will start posting links to anyone's blog or website who cares to have it posted. "Poetry can be this or it can be that. But it ought not be restricted to being necessarily this or that. Except perhaps for being both delirious and lucid. It seems to me that beyond Surrealism, there is a mysterious something that has yet to be isolated; beyond automatism, there is intent, beyond poetry there is the poem, beyond passive poetry there is deliberate poetry, beyond liberated poetry there is the liberated poet. Try now and then, young poets, my beloved friends, to see that you are not yet really free." - Robert Desnos --------------------------------- Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, and more ========================================================================= Date: Mon, 24 Feb 2003 11:06:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU In-Reply-To: <20030222155624.84296.qmail@web10003.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" sorry, that doesn't seem to be how it works. if people want to make useful points about what constitutes reading, i'm all for it, even if it doesn't specifically address an issue that someone else thought was the central one. At 7:56 AM -0800 2/22/03, flora fair wrote: >This thread is officially played out. > >--- damon001 wrote: >> hey that's no fun. welcome to the list, where a >> thread gets played out till >> it has no relationship to its originary point. >> >> On 21 Feb 2003, flora fair wrote: >> > OH God! Let it go! >> > >> > --- George Bowering wrote: >> > > > >> > > > >> > > >>Yes, written language came after oral language >> > > > >> > > > >> > > >That is arguable. Speech was a genetic >> accident, >> > > and got going after >> > > >the speech folks had the advantage over the >> mutes. >> > > But before that >> > > >there was reading (clouds, earth, animal prints >> > > etc) and then a kind >> > > >of writing (piles of stones, etc). >> > > >> > > -- >> > > George Bowering >> > > I don't want a ricochet romance >> > > Fax 604-266-9000 >> > >> > >> > __________________________________________________ >> > Do you Yahoo!? >> > Yahoo! Tax Center - forms, calculators, tips, more >> > http://taxes.yahoo.com/ >> > > > >__________________________________________________ >Do you Yahoo!? >Yahoo! Tax Center - forms, calculators, tips, more >http://taxes.yahoo.com/ -- ========================================================================= Date: Mon, 24 Feb 2003 11:36:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: <000c01c2db53$70447ba0$a09cf943@computer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >... Whereas Emily Dickinson > > just stuck to her knitting, and her knitting just happened >> to do with immortality and death and the grave. It is a >> wonderful demonstration of the choice that poets have, to >> deal with the world around them in whatever way they think > > best. >> ... what kind of moronic sexist blather is this? this guy is a poet laureate??? this is the stupidest thing i've ever read in my life and i've read lots of unbelievably subnormal stuff, but this takes the cake for sheer driveling and dribbling idiot drivel-garbage idiocy. is this peckerwood literate in even the most literal sense? i am indulging in unmindful speech but i am so glad to be back on email and then to have to read something like this...makes me damn glad to be a chick poet who's into cross-stitching and weaving ---i'll have to get a refresher course in knitting, and maybe even take up cosmetology and modeling if i can afford the time away from the embroidery hoop...if my nails dry on time i might even send in a poem to poets against the war to be shuffled into the "lesser known scribbling horde of housewife poets" category... -- ========================================================================= Date: Mon, 24 Feb 2003 11:42:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Maurice Blanchot In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable Maurice Blanchot died on Thursday, February 20 at 95. He was the=20 discrete, quasi-invisible engine, prod, inspiration -- however you want=20= to put it -- behind nearly everything of interest in rench writing &=20 thought post-WWII. Today's Le Monde carries the following obit: =95 LE MONDE | 24.02.03 | 13h04 Maurice Blanchot, le solitaire de la litt=E9rature L'=E9crivain le plus secret de notre =E9poque est mort, jeudi 20 = f=E9vrier, =E0=20 son domicile des Yvelines, =E0 l'=E2ge de 95 ans. Auteur d'essais et de=20= fictions, il fut l'un des plus importants et influents critiques du XXe=20= si=E8cle. Ses analyses permirent de lire autrement Kafka ou H=F6lderlin,=20= Bataille ou des For=EAts. La place qu'occupe Maurice Blanchot dans les lettres fran=E7aises des=20 cinquante derni=E8res ann=E9es est paradoxale. Consid=E9rable, =E0 la = mesure de=20 l'influence, et m=EAme de la fascination, qu'il exer=E7a sur plusieurs=20= g=E9n=E9rations d'=E9crivains et de lecteurs, la pr=E9sence de Blanchot = est en=20 m=EAme temps =E9trangement secr=E8te, comme d=E9rob=E9e, manquante. = Cette=20 influence est surtout sensible jusque dans les ann=E9es 1970. Une=20 querelle, souvent fort mal et m=E9chamment instruite, sur les = engagements=20 politiques de l'=E9crivain dans la France d'avant-guerre vint, au cours=20= de ces derni=E8res ann=E9es, exacerber le paradoxe. Ecriture du soup=E7on ou de l'ambigu=EFt=E9, mise en question du sujet,=20= travail du neutre, nihilisme, interrogation sur le langage, sur les=20 moyens et les fins de la litt=E9rature qui fait "droit =E0 la mort", sur = la=20 politique et sur l'histoire pourvoyeuse de d=E9sastres... Blanchot n'a = ni=20 invent=E9 ni inaugur=E9 cela=A0; il n'est pas l'auteur d'un syst=E8me, = d'une=20 totalisation intellectuelle qui a la litt=E9rature pour objet. Il a, en=20= revanche, mis en acte, th=E9oriquement et pratiquement, une pens=E9e de = la=20 litt=E9rature, men=E9, avec la litt=E9rature -=A0dans une =9Cuvre = critique qui=20 compte assur=E9ment parmi les plus importantes du si=E8cle=A0-, ce qu'il = a=20 lui-m=EAme appel=E9 un "entretien infini", pouss=E9 enfin cette pens=E9e=20= jusqu'=E0 ses cons=E9quences les plus extr=EAmes, jusqu'=E0 la folie = qu'elle=20 rec=E8le. "A la v=E9rit=E9, presque rien ne le distinguait des autres. Il =E9tait = plus=20 effac=E9, mais non pas modeste, imp=E9rieux quand il ne parlait pas=A0; = il=20 fallait alors lui pr=EAter silencieusement des pens=E9es qu'il rejetait=20= doucement=A0; cela se lisait dans ses yeux qui nous interrogeaient avec=20= surprise, avec d=E9tresse=A0: pourquoi ne pensez-vous que cela=A0? = Pourquoi=20 ne pouvez-vous pas m'aider=A0? Ses yeux =E9taient clairs, et faisaient=20= songer =E0 des yeux d'enfant. Il y avait, du reste, sur son visage=20 quelque chose d'enfantin, expression qui nous invitait =E0 des =E9gards,=20= mais aussi =E0 un vague sentiment de protection". Extraites de la=20 premi=E8re page du Dernier Homme, r=E9cit publi=E9 en 1957, ces lignes=20= peuvent =EAtre lues comme le portrait en creux de Maurice Blanchot.=20 Portrait litt=E9raire qui ne laisse appara=EEtre aucune physionomie, = aucun=20 visage r=E9el, conforme cependant non seulement =E0 la volont=E9 de=20 l'=E9crivain, mais aussi =E0 sa pens=E9e de la litt=E9rature, = c'est-=E0-dire =E0 sa=20 vision du monde. A l'id=E9e, fort r=E9pandue, qu'il faut se montrer pour exister, Maurice=20= Blanchot opposa donc un d=E9menti tr=E8s ferme, une fin de non-recevoir=20= dont il fit, surtout =E0 partir de la fin des ann=E9e 1960, un usage de=20= plus en plus absolu et d=E9finitif. De fait, =E0 l'exception de rares=20 photos de jeunesse, =E0 l'=E9poque des =E9tudes =E0 Strasbourg avec son = ami=20 Emmanuel Levinas, et de celles, r=E9centes et d=E9risoires, vol=E9es par = un=20 photographe dans la banlieue parisienne o=F9 il r=E9sidait, la seule = image=20 de Blanchot est bien celle de l'effacement. L'=E9crivain scella tout aussi rigoureusement les d=E9tails de sa=20 biographie. Aucune notice autoris=E9e ou officielle ne vient confirmer,=20= ou infirmer, les rares =E9l=E9ments que l'on poss=E8de. Ses amis, qui=20 dessinaient le cercle invisible d'une "communaut=E9", respect=E8rent cet=20= imp=E9ratif. Roger Laporte, qui fut l'un de ses proches =E0 partir des=20= ann=E9es 1950, parlant de son "sourire mozartien", pr=E9cisa=A0: "On = peut=20 avoir un rapport d'intimit=E9 avec Blanchot, mais pas de familiarit=E9=20= grossi=E8re" (dossier Blanchot dans Ralentir travaux, no=A07, hiver = 1997).=20 "Sa vie est enti=E8rement vou=E9e =E0 la litt=E9rature et au silence qui = lui=20 est propre", a fait inscrire Blanchot en t=EAte de certains de ses=20 livres, pour =E9loigner les importuns. C'est donc presque une =E9pure biographique qu'il faut tracer. Naissance=20= =E0 Quain (Sa=F4ne-et-Loire), le 22=A0septembre 1907, dans une famille=20= catholique. On lui donne d'ailleurs le pr=E9nom du saint du jour. Etudes=20= de philosophie, puis de m=E9decine et sp=E9cialisation en psychiatrie,=20= selon son ami Roger Laporte, non sanctionn=E9es par la th=E8se de = doctorat.=20 Strasbourg, milieu des ann=E9es 1920=A0: rencontre et amiti=E9 avec = Emmanuel=20 Levinas -le seul homme qu'il tutoya-, qui l'initie =E0 la pens=E9e de=20 Husserl et de Heidegger. Il a une pratique courante de la langue=20 allemande. Ann=E9es 1930=A0: dans les marges de l'Action fran=E7aise, figure=20 intellectuelle de la Jeune Droite, il m=E8ne une intense activit=E9=20 journalistique et politique dans la presse d'extr=EAme droite -Journal=20= des d=E9bats (o=F9 il tient une chronique de politique =E9trang=E8re),=20= L'Insurg=E9, Combat... La violence de ces textes fort nombreux, qui=20 s'inscrivent dans un contexte id=E9ologique propice =E0 ce genre = d'exc=E8s,=20 est difficile =E0 accepter=A0: l'antiparlementarisme et une vision = =E9litiste=20 et aristocratique de la soci=E9t=E9 fr=F4lent (sans s'y pr=E9cipiter) ce = qui=20 deviendra, aux propres yeux de l'=E9crivain, le p=E9ch=E9 majeur=A0:=20 l'antis=E9mitisme=A0; L=E9on Blum, =E0 partir de 1936, est ainsi un = objet de=20 haine. Ce militantisme journalistique cessera en 1938. Au d=E9but de=20 l'Occupation, il est proche du mouvement Jeune France, puis de la=20 R=E9sistance. En 1941, tandis que para=EEt son premier livre Thomas=20 l'obscur, il fait la connaissance de Georges Bataille et se lie=20 d'amiti=E9 avec Jean Paulhan et Robert Antelme, l'auteur de l'admirable=20= r=E9cit sur les camps L'Esp=E8ce humaine. A la fin de la guerre, le=20 juda=EFsme, Auschwitz et la Shoah -"=E9v=E9nement absolu de l'histoire,=20= historiquement dat=E9 (...), toute-br=FBlure o=F9 toute l'histoire s'est=20= embras=E9e, o=F9 le mouvement du Sens s'est ab=EEm=E9..."- deviendront = pour=20 Blanchot mieux qu'un th=E8me, plus qu'une obsession=A0: l'ind=E9passable=20= horizon auquel sa pens=E9e ne cessera plus de se heurter. Comme dans ses ann=E9es de jeunesse, c'est sur un mode particuli=E8rement=20= virulent que Maurice Blanchot interviendra dans le domaine politique au=20= cours des d=E9cennies suivantes. Antigaulliste farouche en 1958 -=A0ce = qui=20 le s=E9para momentan=E9ment de Paulhan=A0-, oppos=E9 =E0 toute id=E9e = d'homme=20 providentiel, il est, en 1960, l'un des principaux r=E9dacteurs et=20 animateurs du Manifeste des 121 contre la guerre d'Alg=E9rie et pour le=20= droit =E0 l'insoumission. M=EAme d=E9termination "r=E9volutionnaire" = dans le=20 projet de Revue internationale lanc=E9, notamment avec Dionys Mascolo,=20= entre 1960 et 1964, ou encore lors des =E9v=E9nements de Mai=A068 ("Nous = ne=20 sommes plus des manifestants, nous sommes des combattants",=20 proclamera-t-il). L'id=E9e d'un "communisme de pens=E9e" (D. Mascolo), = de=20 "l'amiti=E9 du non"ne cesseront de l'animer. L'une de ses derni=E8res=20 interventions publiques fut, en 1994, la signature de l'Appel =E0 la=20 vigilance contre les indulgences =E0 l'=E9gard de l'extr=EAme droite. Quant =E0 l'=9Cuvre elle-m=EAme, qu'elle soit de fiction ou de critique, = elle=20 rel=E8ve de la "solitude essentielle" de l'exp=E9rience int=E9rieure, = d'une=20 radicalit=E9 n=E9gative qui la menace tout en la fondant=A0: "L'=9Cuvre = est=20 solitaire=A0: cela ne signifie pas qu'elle reste incommunicable, que le=20= lecteur lui manque. Mais qui la lit entre dans cette affirmation de la=20= solitude de l'=9Cuvre, comme celui qui l'=E9crit appartient au risque de=20= cette solitude". Lecteur et auteur se confondent, participent de la=20 m=EAme exp=E9rience vitale. Exp=E9rience existentielle autant = qu'historique,=20 mais irr=E9ductible =E0 une vision positive de l'histoire, portant un=20 regard critique sur toute ontologie, d=E9marqu=E9e de toute pens=E9e=20 m=E9taphysique ou religieuse. Mallarm=E9 et Kafka seront les sujets principaux de cette exp=E9rience,=20= vitale assur=E9ment, mais surtout mortelle, hant=E9e, travaill=E9e par = la=20 mort. Chez les deux =E9crivains cit=E9s, mais aussi chez Bataille, qui = fut=20 son ami privil=E9gi=E9, Nietzsche, H=F6lderlin, Sade et Lautr=E9amont, = Rilke,=20 Artaud, Char, Beckett... il analysera, d'une mani=E8re toujours=20 =E9blouissante, les donn=E9es singuli=E8res d'une interrogation commune, = les=20 =E9l=E9ments constitutifs d'un m=EAme "espace litt=E9raire". Outre = Bataille et=20 Levinas, Blanchot aura, souvent par gloses r=E9ciproques, de nombreux=20 interlocuteurs=A0: Louis-Ren=E9 des For=EAts, Jacques Derrida, Roger = Laporte,=20 Michel Foucault, Pierre Klossowski, Pierre Madaule, Andr=E9 Dalmas... "Comment la litt=E9rature est-elle possible=A0?" Cette question, qu'il = pose=20 d=E8s 1942 =E0 propos de Jean Paulhan, Maurice Blanchot la maintiendra=20= constamment ouverte, suspendue. Il l'illustrera, dans ses essais comme=20= dans ses romans et r=E9cits, dans une =9Cuvre de plus en plus soumise =E0 = la=20 fragmentation, effa=E7ant toujours davantage les fronti=E8res s=E9parant=20= r=E9flexion et fiction. Ce n'est pas le moindre des paradoxes d'un=20 =E9crivain qui fit de la litt=E9rature sa d=E9vorante, exclusive = passion. Ce=20 n'est pas le moindre des paradoxes d'une =9Cuvre tout enti=E8re, dans = ses=20 m=E9andres infinis, dans toute la richesse de ses d=E9veloppements, = tourn=E9e=20 vers et fascin=E9e par "l'absence d'=9Cuvre". Patrick K=E9chichian ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 24 Feb 2003 08:51:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Logo "Poetry" Comments: To: Jeffrey Jullich In-Reply-To: <20030224063417.66655.qmail@web40803.mail.yahoo.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Thanks, Jeffrey, for this. Your friend Jason Nelson and the designer do/did good and smart stuff. Did you look at the Berstein "With Things" piece in collaboration with Richard Tuttle - somehow a syntactic-spatial connection with her garment work. My dream was thinking very simple. Only the word "poetry". Hip people, I was thinking this morning, would prefer a "poetix" label. More drive. He said.(o well) Stephen V on 2/23/03 10:34 PM, Jeffrey Jullich at jeffreyjullich@YAHOO.COM wrote: > steph484@PACBELL.NET wrote: > >> Quite literally had a dream last night in which > the garment industries in league with poets in > opposition to the advent of war started sewing > "poetry" tags on to pants, shirts, blouses, etc. > Similar to the old - or maybe it still goes on - > little red "Levis" tags on jeans. < > ------------------------------------------------------- > > The poet Jason Nelson did just that. Worked with the > fashion designer behind Lilytank. There was a > feature on/by him in Outlet # 3. I quote: > > > "After contacting many of the larger mall-chain > companies, I found Pamela Thompson. Pamela, a few > years out of design school, a few years out of design > school . . . And when I say company, I mean it in the > smallest terms. Basically, it was just her and her > roommate, . . . We worked together for about a year > and 9 months, until money woes forced her out of the > independent fashon design business. She now works for > . . . Anna Sui. > > Initially, our collaboration process was for her to > give me a brief description of the concept behind each > design grouping, then send me drawings of each design. > I used the concepts for word choice, and the actual > design for the feel and flow of the words. Sometimes > she would request that I change a few words, or accent > a different aspect of her work, . . . > > She used the poems on various pieces of clothing and a > backpack. The clothing incorporated the poetry in > small ways: in the lining, or in a metallic strip down > along the hem, or on a pocket . . . an unexpected > surpirse with words that mirror that particular dress, > shirt of pants. Mostly however she used the poems in > her marketing schemes, such as press kit materials and > mailings. > > . . . I feel confident that soon you will see poetry > on the backs of shoe box lids, or on the bottom of > shoes,a nd poetry on clothing labels or repeating over > and over in the lining. > > . . . While our initial idea was only to include > poetry, I happened to send her some 'sudden fictions' > and she thought it might be nice to include some short > adventures in her press packets to augment the > existing descriptions of her logo character. She > would give me a basic premise for each adventure, and > then I'd write from there." > > > Three of the Nelson/Lilytank fashion accessory poems > printed in Outlet 3: > > > televox > > sensors erase the limitation > trapping each mortal event > along the electrostatic > > > spectroscope > > numbered by a succession of gravities > pulled back and stretched > from a small space > > > savant > > she is confused of metal coils > a machine asking of fire > the impossible > > > > It would seem that Pamela Thompson's move to Anna > Sui's studio, rather than being the end of the > fashion-poetry campaign, might have been its > beginning. Sui is very receptive to the unlikely, > from my two degrees of separation contact with her. > My friend the cartoonist (New Yorker, etc.) Paul > Gerrets, a.k.a. Leroy the King of Art, > > -- http://www.leroykingofart.com/ > http://www.gvfba.com/leroy.htm --- > > was doing a series of celebrity shoe drawings. He'd > draw shoes that tangentially commemorated the name of > some celebrity. And he sent Anna Sui his Anna Sui > shoe drawings. Sui responded with open arms, not only > further commissioning him to do regular work for her, > but when she admired the scarf he was wearing and it > turned out to be knitted by his mother, commissioning > his ~mother~ to knit a whole wardrobe of scarves for > her models. There was a Women's Wear Daily/W cover of > a runway model wearing a scarf by Paul's mother. > > > The "poetry"/fashion/label aesthetic has, of course, > been put into practice widely, . . . in Japan. See > the site > > http://www.engrish.com > > for their use of Language Poetry English in product > design: > > ITALY PAIN FAIR > > SIMPLE I FALL IN LOVE WITH YOU YOU ARE MY FAVORITE > FOOD > > ALL OBJECTS ON THE EARTH ARE MADE FROM POWDER > > IT'S NICE TO BE A WATERMELON PIG. WE CAN EAT > WATERMELON AS MUCH ASS. WE WANT. BECAUSE WE LIVE IN > WATERMELON HILLS. HAVE GOOD TIME > > FLOWER COMMUNICATION. THE FLOWERS IN RECOLLECTION > SING A POEM IN SEPIA COLOR. TIME SEEMS TO RETURN TO > THE TURN OF IT'S BEAUTIFUL MELODY FLOW. PLEASE LISTEN > TO THE DREAM A FRESH HEART DISCLOSES. PLEASE LOOK AT > MY FRESH FACE. PLEASE RECEIVE IT JUST WHEN YOU OPEN > YOUR HEART. A BOUQUET TO ALL OF YOU OVER THE WORLD. > > Scandinavian Natural Roman. Best Bread Message. > Holuo. Our little friend "Tomte" use magical > secret-power for delicious BREAD that, Well enjoy in > next morning. Children who living in NORTHERN EUROPE > tell us secret that just baken BREAD. YES TOMTE's > secret. HOKUO as. BREAD country SAPPORO is very > similar with TOMTE's land. > > etc. > > > ------------------------------------------------------- > > For a work of my own somewhat along those lines > (submitted as part of application materials to the > Whitney Museum Independent Studio Program, but never > marketed), see > > http://www.geocities.com/jeffreyjullich/LangleyLap.jpg > > > > > > > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Tax Center - forms, calculators, tips, more > http://taxes.yahoo.com/ ========================================================================= Date: Mon, 24 Feb 2003 11:52:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Perelman Subject: Poem URL MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The poem now appears on the newspaper website: http://www.philly.com/mld/inquirer/news/editorial/5251602.htm ========================================================================= Date: Mon, 24 Feb 2003 10:28:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" yes, i feel compelled here, like gwyn, maria, others, to register my disgust with our poet laureate's take on emily dickinson, for chrissakes... of course he's spoken out against the war, so--- so what, exactly?... this is what i was getting at in a prior post as to ethical quandaries... protesting the war, as paramount as it may be, is making for some strange bedfellows (highest increase in the protest movement is, i think, right now coming from religious groups), but in any case i'd want to distance mself from such sexist diatribes... i don't want to say, either, that i'm not surprised... i AM surprised, and disappointed, and i suppose we might see this little debacle in light of the dangers of marketplace success, and how those with it often get it w/o having to, well, THINK... in which regard, don't even get me started on the grammy awards last night... best, joe ========================================================================= Date: Mon, 24 Feb 2003 12:28:53 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: NYTimes.com Article: Versus Verses MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Right on, Maria. And furthermore, no biography mentions ED knitting, but baking. And NEVER cooking. Unless our poet laureate mistakes making (poesis) for baking. When Billy Collins gave forth his words of wisdom after 9/11 on PBS, he said something akin to, well poetry is about feelings, emotion, and that's why so many people are turning to it now. My then-11 year old daughter said, NO, WHAS UP WITH THIS GUY ON RADIO? HE'S WRONG. POETRY IS ABOUT THINKING AND LANGUAGE. I swear on a bible that I never told her that. Best, Gloria Frym ========================================================================= Date: Mon, 24 Feb 2003 09:43:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. From: Brian Stefans Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 24, 2003 ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000220.html#000220 Marcella Durand: Tracking George W. Bush: A Not-So-Silent Spring ------------------------------------------------------------------------ I suppose that based upon his or her own particular fascinations each individual builds a personal opposition to the projected war upon Iraq and the current Bush administration. While the Bush administration has certainly given many of us an extraordinary spectrum of reasons to oppose it, it was Bush’s own record on the environment, dating back to his time as the Governor of Texas, that first brought home to me the very depth of his untrustworthiness. And now that environmental record serves me as reminder of how unaccountable our president is, not only to his own citizens, but to the world about him. A man who so utterly disregards the well-being of his country, from the human to the animal, and mineral of it, is not a man who can be entrusted with conducting a war. Because for such a man, war must be the “natural” way to be—the disruption of systems, the thoughtless destruction of both human and land. And after war, for such a man, there must be no point to rebuild: the exterior world, the “other,” is evidently meaningless. Before the mock 2000 elections, an in-depth article on Bush appeared in Vanity Fair. The article detailed how in Texas under Bush toxic air-borne byproducts had expanded to such a remarkable degree that in some towns mid-air benzene explosions—in one case, occuring regularly over a school filled with children—had become alarmingly regular. Despite letter-writing campaigns by the desperate parents of children with cancer, with asthma, with other respiratory afflictions caused by this literally explosive pollution, Bush remained remarkably deaf to them all. I use the word “remarkably” because usually politicans will at least give lip service to their constituents, but this at-the-time elected leader of a state gave absolutely no notice of the physical and emotional pain of his own fellow Texans. However, this was just the beginning of it. Through reading various environmental magazines and news sources, it became apparent to me that Bush wasn’t just oblivious to environmental problems and that he wasn’t just supporting business “over” ecology. Instead, he was quite deliberately acting against anything resembling environmentalism—to a degree that indicated he must be responding to ecological issues on a philosophical basis. Many regulations that had been in place for years—successful regulations, supported by both local environmentalists and businesses, such as fishing limits and marine protective measures—were being dismantled or unenforced, to the confusion of all. The only reason to undermine such regulations across the board, whether they were economically successful or not, whether they were supported by the community or not, whether they had to do with air pollution limits, water rights, logging or habitat protection, had to be philosophical. While I certainly can’t begin to guess what sort of philosophical system decrees that the health of the exterior world is to be not only completely disregarded, but actively exploited, polluted and, to put it plainly, killed stone-dead, the fact that the president participates in such a system says to me that he must be a man deaf to the universe. So it is doubly, triply, quadrupedly, alarming that this man, so unaware of life, nature, health, well-being, is drawing lines between “good” and “evil.” Yet it is logically consistent with his philosophical beliefs as expressed in his environmental record that he would be the man to propose war as a first, rather than a last, resort—that, ignoring the needs and wants of his own populace, he is the one to most passionately wish to embark on the destruction of peoples and land, without even bothering to offer a valid, solid “reason.” There are plenty of people who choose the satiation of their appetites over the well-being of others, both human and non-human. However, there are not so many people who do so on a philosophical basis. Through his environmental record, the only “others” Bush appears to care about are the most short-term of short-term businesses, the sort of parasitical economic activity that rapidly kills the host. -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Mon, 24 Feb 2003 10:12:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hmmm... feeling bullyish, are we? --- Maria Damon wrote: > sorry, that doesn't seem to be how it works. if > people want to make > useful points about what constitutes reading, i'm > all for it, even if > it doesn't specifically address an issue that > someone else thought > was the central one. > > At 7:56 AM -0800 2/22/03, flora fair wrote: > >This thread is officially played out. > > > >--- damon001 wrote: > >> hey that's no fun. welcome to the list, where a > >> thread gets played out till > >> it has no relationship to its originary point. > >> > >> On 21 Feb 2003, flora fair wrote: > >> > OH God! Let it go! > >> > > >> > --- George Bowering wrote: > >> > > > > >> > > > > >> > > >>Yes, written language came after oral > language > >> > > > > >> > > > > >> > > >That is arguable. Speech was a genetic > >> accident, > >> > > and got going after > >> > > >the speech folks had the advantage over the > >> mutes. > >> > > But before that > >> > > >there was reading (clouds, earth, animal > prints > >> > > etc) and then a kind > >> > > >of writing (piles of stones, etc). > >> > > > >> > > -- > >> > > George Bowering > >> > > I don't want a ricochet romance > >> > > Fax 604-266-9000 > >> > > >> > > >> > > __________________________________________________ > >> > Do you Yahoo!? > >> > Yahoo! Tax Center - forms, calculators, tips, > more > >> > http://taxes.yahoo.com/ > >> > > > > > > >__________________________________________________ > >Do you Yahoo!? > >Yahoo! Tax Center - forms, calculators, tips, more > >http://taxes.yahoo.com/ > > > -- __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Mon, 24 Feb 2003 11:35:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: "The Social Mark": Poetry Reading & Discussion, 28 Feb - 1 Mar MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Please pass the word, and hope some of you can make it! louis "The Social Mark" Symposium: Poetry Reading & Panel Discussion Slought Foundation, February 28-March 1, 2003 http://slought.org/toc/calendar/display.php?key=social 1. "The Social Mark" (I): Poetry Readings Friday February 28; 7 – 9 pm Featuring: Jules Boykoff, David Buuck, Louis Cabri, Jeff Derksen, Laura Elrick, Alan Gilbert, Carol Mirakove, Mark Nowak, Kristin Prevallet, Kaia Sand, Joshua Schuster, Rodrigo Toscano (Poet biographies attached; online) 2. "The Social Mark" (II): Poetry Talks / Discussion With the Poets Saturday March 1; 3 – 5 pm Poetry, Texts for "The Social Mark" Symposium temporarily available: http://slought.org/private/socialmark/ Slought Foundation 4017 Walnut Street Philadelphia, PA 19104-3513 http://slought.org/ Ph/fax: 215.746.4239 info@slought.org What secrets of future times are hidden in this little word ["social"] [...]. Karl Grun (mid 1900s) "Society" is not a valid object of discourse. There is no single underlying principle fixing -- and hence constituting -- the whole field of differences. Ernesto Laclau & Chantal Mouffe, Hegemony & Socialist Strategy (1985) Just as society doesn't exist, we should formulate the basic materialist thesis that "the world doesn’t exist" [...]. Slavoj Zizek, Revolution at the Gates (2002) They're casting their problems on society. And you know, there's no such thing as society. There are individual men and women, there are families. And no government can do anything except through people, and people must look after themselves first. [...] There is no such thing as entitlement, unless someone has first met an obligation. Margaret Thatcher (1980s) In this life to die has never been hard. To make new life 's more difficult by far. Vladimir Mayakovsky, To Sergey Esenin (1926) [T]here cannot be a situation where the writer creates something that does not carry its social mark. Osip Brik, The Social Command (1929) We understood his [Mayakovsky's] lines about unmarked, "easy" death, and about the fact that "to make a life is markedly more difficult," and we realized that, according to this upside-down view of the world, not death but life "required motivation." [...] [F]or Mayakovsky, life was a marked category and could be realized only when there was a motivation for it [...]. Roman Jakobson, The Concept of Mark (1930s, 1980) Ch. What news? Cl. Strange ones, and fit for a novation. Chapman, Revenge of Bussy d'Ambois (1613) --- Slought Foundation provides visionary artists and curators with resources for innovative events and exhibitions. We encourage new discursive futures for contemporary life through critical theory and dialogue about art. Member services: http://slought.org/toc/subscribe/ ========================================================================= Date: Mon, 24 Feb 2003 13:45:58 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Re: NYTimes.com Article: Versus Verses MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Maria, Joe, Gloria, > >... Whereas Emily Dickinson > > > just stuck to her knitting, and her knitting just happened > >> to do with immortality and death and the grave. It is a > >> wonderful demonstration of the choice that poets have, to > >> deal with the world around them in whatever way they think > > > best. > >> While I feel reluctant to present a defense of Billy Collins, a poet in whom I'm not really interested, I just want to soberly introduce the possibility that you're misreading this quotation. I feel compelled to do so because I hate seeing anyone misrepresented, regardless of aesthetics or politics. You all seem to be assuming that Collins is coming down on Dickinson for being a stay-at-home woman poet, as if he believes that the only poets who matter are those who go off to war when duty calls. First of all, ask yourselves how likely it is that he believes this; the fact that you are so flummoxed by his statement might itself be an indication that you're misunderstanding. I may be wrong too, but when I first read this it seemed clear to me that the point he was making was that writing meditative poems about death and immortality can be a significant act just as politically motivated as nursing soldiers. Hence his line about "a wonderful demonstration of the choice that poets have": he means, I think, that both choices are equally valid. As for the knitting comment, it's obviously metaphoric: the "knitting" (whether she ever actually knit or not is irrelevant) is her poetry. He's not only valorizing what she decided to do with her life but also poking fun at the sexist assumption that women's creative activities are frivolous pastimes. This seems to me a feminist statement if anything. No? Corey -- Corey Frost * 718-855-8042 * 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Mon, 24 Feb 2003 13:48:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Joe -- as a fan of Ms. Jones, I have to get you started on the Grammy Awards! (though it would have been nice if they'd given this sort of attention to Cassandra Wilson about ten years ago) and didn't you at least enjoy LONDON CALLING? Seeing Arif Mardin standing between Aretha Franklin and Norah Jones was worth sitting through the rest of that execrable affair -- spanning four decades of good "pop" recording -- We may have nothing like the 60s Atlantic sound to turn to today, but at least NSYNC was there to screw up somebody else's songs, not to get record of the year! don't get me started on the jazz category, which has never been anything to get me started on -- I spent the hour after the Grammy show listening to William Parker's Little Hughey Orchestra -- a fine antidote to 3 12/ hours of pop -- At 10:28 AM 2/24/2003 -0700, you wrote: >yes, i feel compelled here, like gwyn, maria, others, to register my >disgust with our poet laureate's take on emily dickinson, for >chrissakes... > >of course he's spoken out against the war, so--- > >so what, exactly?... this is what i was getting at in a prior post as >to ethical quandaries... protesting the war, as paramount as it may >be, is making for some strange bedfellows (highest increase in the >protest movement is, i think, right now coming from religious >groups), but in any case i'd want to distance mself from such sexist >diatribes... > >i don't want to say, either, that i'm not surprised... i AM >surprised, and disappointed, and i suppose we might see this little >debacle in light of the dangers of marketplace success, and how those >with it often get it w/o having to, well, THINK... in which regard, >don't even get me started on the grammy awards last night... > >best, > >joe <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 24 Feb 2003 13:59:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Not In Our Name radio show with Ann Lauterbach, Andre Gregory and Sam Hamill Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit To hear the recording of the complete show on the WNYC archive go to http://www.wnyc.org/shows/lopate/episodes/02172003 You need real audio for this. This was announced today on one of my very favorite poetry blogs Laurable at http://www.laurable.com/log/ I read Laurable every day for up to date poetry news. Laurable is adorable. -Nick_ ========================================================================= Date: Mon, 24 Feb 2003 12:14:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: <5.0.0.25.2.20030224134216.00a62350@email.psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" oh god, two threads, with backchan incl... i don't think i'm up to it, esp. as i have to run off to catch ~the pianist~ before it disappears from theaters everywhere in this part of colorado... ok, as to mr. collins: corey, you will note that he's separated, in contemporary terms, "west" (public realm of action) from "east" (domestic realm of action)... this is perhaps the worst possible way of "reading" women poets, and is at the very least ignorant of decades of feminist thought, which has served, one would think, to disabuse us of these separate realms (esp. given his position as poet laureate, i'd say it's downright anti-feminist, Big Surprise)... further, this question of "knitting," as other have observed, speaks directly to his "east" wing (as he's employed them, two terrible metaphors for the price of one!)... those two "just"'s all but undo any sense of agency on women's parts, whereas a poet like whitman "jumped into action"... so again, at the very least, or most, women like dickinson could "choose" to do that which the "east wing" poets are, what, expected to do?... do we really need to flog this further?... the guy obviously needs to take women's studies 101 (and apologies for putting it in such academic terms)... and maybe he'll cough up something a bit more, shall we say, sensible... aldon, grammies: someone just posted me backchan about same, and i must confess, i missed perhaps the best part (the beginning---simon & garfunkel, or so i'm told)... ok, so we'll set aside "in agreeance" and the production problems and the terrible pap coming from the record execs who'll "do their part" (to paraphrase) as we verge on war... and, too, the wretched history of the grammies, their tradition of ignoring much the best stuff out there... i like nora jones well enough, too, but she's not exactly, to my ear, worthy of quite this much buzz---not yet anyway... i liked "london calling," too, and for that matter, i think the dixie chicks do have the best country album of the year... and ok, it was fun to see eminem (again)... but the entire affair seemed too intent on challenging media reports re how the greedy music industry is suffering from piracy and the like... never mind the artists for the moment---i've never felt the problem was with them exactly (for that matter, neither does big head todd)... i mean, baby boomers really *should* be pirating like hell, no?---we've had to buy, what, ~sgt. pepper's~ on vinyl, 8-track, cassette, half-speed master vinyl, and now $20 cd's (which, according to neil young, aren't being recorded with the best technology out there anyway, ergo special issue cd's etc.)... i guess i mean to say that, despite seeing on stage so many musicians that i know and love, the entire affair seemed kinda, well, desperate on the one hand, and smug on the other... best, joe ========================================================================= Date: Mon, 24 Feb 2003 14:27:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I hadn't had the chance to play back the tape yet, and so hoped "in agreeance" had been an auditory hallucination heard only by me! Let's hear it for agreeance! At 12:14 PM 2/24/2003 -0700, Joe Amato wrote: >oh god, two threads, with backchan incl... i don't think i'm up to >it, esp. as i have to run off to catch ~the pianist~ before it >disappears from theaters everywhere in this part of colorado... > >ok, as to mr. collins: corey, you will note that he's separated, in >contemporary terms, "west" (public realm of action) from "east" >(domestic realm of action)... this is perhaps the worst possible way >of "reading" women poets, and is at the very least ignorant of >decades of feminist thought, which has served, one would think, to >disabuse us of these separate realms (esp. given his position as poet >laureate, i'd say it's downright anti-feminist, Big Surprise)... > >further, this question of "knitting," as other have observed, speaks >directly to his "east" wing (as he's employed them, two terrible >metaphors for the price of one!)... those two "just"'s all but undo >any sense of agency on women's parts, whereas a poet like whitman >"jumped into action"... so again, at the very least, or most, women >like dickinson could "choose" to do that which the "east wing" poets >are, what, expected to do?... > >do we really need to flog this further?... the guy obviously needs to >take women's studies 101 (and apologies for putting it in such >academic terms)... and maybe he'll cough up something a bit more, >shall we say, sensible... > >aldon, grammies: someone just posted me backchan about same, and i >must confess, i missed perhaps the best part (the beginning---simon & >garfunkel, or so i'm told)... ok, so we'll set aside "in agreeance" >and the production problems and the terrible pap coming from the >record execs who'll "do their part" (to paraphrase) as we verge on >war... and, too, the wretched history of the grammies, their >tradition of ignoring much the best stuff out there... i like nora >jones well enough, too, but she's not exactly, to my ear, worthy of >quite this much buzz---not yet anyway... i liked "london calling," >too, and for that matter, i think the dixie chicks do have the best >country album of the year... and ok, it was fun to see eminem >(again)... > >but the entire affair seemed too intent on challenging media reports >re how the greedy music industry is suffering from piracy and the >like... never mind the artists for the moment---i've never felt the >problem was with them exactly (for that matter, neither does big head >todd)... i mean, baby boomers really *should* be pirating like hell, >no?---we've had to buy, what, ~sgt. pepper's~ on vinyl, 8-track, >cassette, half-speed master vinyl, and now $20 cd's (which, according >to neil young, aren't being recorded with the best technology out >there anyway, ergo special issue cd's etc.)... > >i guess i mean to say that, despite seeing on stage so many musicians >that i know and love, the entire affair seemed kinda, well, desperate >on the one hand, and smug on the other... > >best, > >joe <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 24 Feb 2003 14:28:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: NYTimes.com Article: Versus Verses Comments: To: "Frost, Corey" , "Frost, Corey" In-Reply-To: <3E5A6865.5C353A8E@gc.cuny.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Corey, it may be true that "meditative poems about death and immortality can be a significant act just as politically motivated as nursing soldiers" but to me the stoopidist thing about Collins' remarks is that he is *dead* wrong about the kind of writing Dickinson did (in this sense the fact that she never knit *is* significant since his lack of knowledge on this front is an extension of his apparent failure to read through her collected poems, let along the letters.) Dickinson's poems and letter include commentary and indeed poetry on most of the significant social issues of her day, Civil War prominent among them. Susan Howe argues that "My life had stood a load gun" is significantly informed by Nat Turner's rebellion. "I'm 'wife'" is a radically feminist poem and social to its very bones; "The Bible is an antique volume" etc etc etc. Collins neglects *all* of this. -m. Quoting "Frost, Corey" : > While I feel reluctant to present a defense of Billy Collins, a poet in > whom I'm not really interested, I just want to soberly introduce the > possibility that you're misreading this quotation. I feel compelled to > do so because I hate seeing anyone misrepresented, regardless of > aesthetics or politics. You all seem to be assuming that Collins is > coming down on Dickinson for being a stay-at-home woman poet, as if he > believes that the only poets who matter are those who go off to war when > duty calls. First of all, ask yourselves how likely it is that he > believes this; the fact that you are so flummoxed by his statement might > itself be an indication that you're misunderstanding. I may be wrong > too, but when I first read this it seemed clear to me that the point he > was making was that writing meditative poems about death and immortality > can be a significant act just as politically motivated as nursing > soldiers. Hence his line about "a wonderful demonstration of the choice > that poets have": he means, I think, that both choices are equally > valid. As for the knitting comment, it's obviously metaphoric: the > "knitting" (whether she ever actually knit or not is irrelevant) is her > poetry. He's not only valorizing what she decided to do with her life > but also poking fun at the sexist assumption that women's creative > activities are frivolous pastimes. This seems to me a feminist statement > if anything. No? > > Corey > > -- > Corey Frost * 718-855-8042 * > 135 Plymouth St. #309A, Brooklyn, NY 11201 > cfrost@gc.cuny.edu > Bits World: www.attcanada.ca/~coreyf > ========================================================================= Date: Mon, 24 Feb 2003 11:47:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: NYTimes.com Article: Versus Verses Comments: To: "Frost, Corey" In-Reply-To: <3E5A6865.5C353A8E@gc.cuny.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 1:45 PM -0500 24/2/03, Frost, Corey wrote: >Maria, Joe, Gloria, > >> >... Whereas Emily Dickinson >> > > just stuck to her knitting, and her knitting just happened >> >> to do with immortality and death and the grave. It is a >> >> wonderful demonstration of the choice that poets have, to >> >> deal with the world around them in whatever way they think >> > > best. >> >> > >While I feel reluctant to present a defense of Billy Collins, a poet in >whom I'm not really interested, I just want to soberly introduce the >possibility that you're misreading this quotation. I feel compelled to >do so because I hate seeing anyone misrepresented, regardless of >aesthetics or politics. You all seem to be assuming that Collins is >coming down on Dickinson for being a stay-at-home woman poet, as if he >believes that the only poets who matter are those who go off to war when >duty calls. First of all, ask yourselves how likely it is that he >believes this; the fact that you are so flummoxed by his statement might >itself be an indication that you're misunderstanding. I may be wrong >too, but when I first read this it seemed clear to me that the point he >was making was that writing meditative poems about death and immortality >can be a significant act just as politically motivated as nursing >soldiers. Hence his line about "a wonderful demonstration of the choice >that poets have": he means, I think, that both choices are equally >valid. As for the knitting comment, it's obviously metaphoric: the >"knitting" (whether she ever actually knit or not is irrelevant) is her >poetry. He's not only valorizing what she decided to do with her life >but also poking fun at the sexist assumption that women's creative >activities are frivolous pastimes. This seems to me a feminist statement >if anything. No? > >Corey This is more or less the way I read it, too. I had never heard of this Collins guy before a couple months ago, and so do not know his poetry and manner of thinking. But it did seem to me that he was essaying a metaphor that said that a stay-at-home poet can make valuable work in favour of what is good or noble or great. This way does Collins contradict his brainless denia;l of Shelley's position. -- George Bowering Moustache still on Fax 604-266-9000 ========================================================================= Date: Tue, 25 Feb 2003 08:56:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: <1046114881.3e5a724167d5b@webmail.sas.upenn.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Corey reads this passage just about exactly as I do, and in fact I was about to rush to the defense of poor Billy myself, when it struck me that his statement in its larger context is almost certainly a rhetorical ploy designed to defend Collins himself against charges of being apolitical or insufficiently committed. He bemoans the cancellation of Laura Bush's event and worries that this may be the end of literary tea parties at the White House. He defends her for wanting to keep the east wing separate from the west. He then says yes, you can be Whitman and go to the front, but you can also be Dickinson (read, "me") and stick to your knitting. The phrase is meant to be ironic, but its irony is not, ultimately, in reference to Dickinson -- she's his metaphor for the separation of poet and state. Of course this brings up all sorts of OTHER problems -- the laureate is a public figure, he can't will himself into domestic anonymity, so instead he creates a fiction in which Dickinson's (supposedly) elective self-confinement can be adopted as a heroic pose. Damian > Quoting "Frost, Corey" : > > > While I feel reluctant to present a defense of Billy > Collins, a poet in > whom I'm not really interested, I just > want to soberly introduce the > possibility that you're > misreading this quotation. I feel compelled to > do so > because I hate seeing anyone misrepresented, regardless of > > aesthetics or politics. You all seem to be assuming that > Collins is > coming down on Dickinson for being a > stay-at-home woman poet, as if he > believes that the only > poets who matter are those who go off to war when > duty > calls. First of all, ask yourselves how likely it is that he > > believes this; the fact that you are so flummoxed by his > statement might > itself be an indication that you're > misunderstanding. I may be wrong > too, but when I first > read this it seemed clear to me that the point he > was > making was that writing meditative poems about death and > immortality > can be a significant act just as politically > motivated as nursing > soldiers. Hence his line about "a > wonderful demonstration of the choice > that poets have": > he means, I think, that both choices are equally > valid. > As for the knitting comment, it's obviously metaphoric: > the > "knitting" (whether she ever actually knit or not is > irrelevant) is her > poetry. He's not only valorizing what > she decided to do with her life > but also poking fun at > the sexist assumption that women's creative > activities > are frivolous pastimes. This seems to me a feminist > statement > if anything. No? > > > Corey > > > -- > > Corey Frost * 718-855-8042 * > 135 Plymouth St. #309A, > Brooklyn, NY 11201 > cfrost@gc.cuny.edu > > Bits World: www.attcanada.ca/~coreyf > :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Mon, 24 Feb 2003 11:50:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: <5.0.0.25.2.20030224134216.00a62350@email.psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I don't get it. Why would a bunch of poets take to watching a TV show about teenagers' music? -- George Bowering Moustache still on Fax 604-266-9000 ========================================================================= Date: Mon, 24 Feb 2003 15:10:52 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: NYTimes.com Article: Versus Verses MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Sounds too intellectually complicated for Billy Collins. ========================================================================= Date: Mon, 24 Feb 2003 15:09:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Landers, Susan" Subject: POM2 launch reading: CORRECTION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Very sorry for multiple postings, but the NYC reading starts at 7 PM _not_ 6PM. POM2 Magazine announces two exciting launch reading events for Issue 3! March 2: Wordsworth Books, 30 Brattle Street, Cambridge, MA, 3 PM featuring Michael Gizzi, Chris Jackson and possible surprise guest. March 6: Teachers and Writers, 5 Union Square West, NYC, 6 PM (refreshments!) featuring Gary Sullivan, Dana Ward and Karen Weiser. > Michael Gizzi is author of more than 10 books of poetry, including __My Terza Rima__ (Hard Press, 2001). Bernadette Mayer says of him "Troubadour-trickster Gizzi is a poetry troublemaker and he's fortunate to have two golden z's in his name. Interlocking Gizzi is relentlessly learned about the American idiom and it's delphic and unobscurely elfin to perceive everything the way we think he does." > Chris Jackson has recently moved home to Boston from Tennessee. He is the author of the exquisite __Adventures of the Human Doodle__. > Gary Sullivan is the author of How to Proceed in the Arts and, with Nada Gordon, Swoon. His play, "PPL in a Depot," was recently performed at the Poets Theater Jamboree in San Francisco. He will direct a new short play--in part a response to some of the work in Pom2 #3--at the reading. > Dana Ward lives in Cincinnati, where he edits Cy Press. Recent poems appeared or are forthcoming in Anomaly, Aufgabe, & Torch. > Karen Weiser has a chapbook entitled Eight Positive Trees published by Pressed Wafer and has had or will soon have poems in Pom2, San Jose Manual of Style, and Magazine Cypress. > POM2 seeks submissions for Issue 4 through July 1. Please see www.pompompress.com for guidelines. ----- End forwarded message ----- ========================================================================= Date: Mon, 24 Feb 2003 15:39:30 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Alice Notley at the Walt Whitman Comments: To: whpoets@dept.english.upenn.edu, wh@dept.english.upenn.edu, nanders1@swarthmore.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Walt Whitman Arts Center announces: A workshop/discussion with Alice Notley Saturday, March 22, 2003, 10 am to 12:30 pm. Send two pages of poetry for review and comments as of February 25, but not earlier. Include an email address and/or telephone number--the Center will contact the first ten applicants after February 25.Send work to askliterary@waltwhitmancenter.org, (attachments should be in Word) or mail to: Walt Whitman Arts Center c/o Literary-Notley Workshop 2nd and Cooper Sts. Camden, NJ 08102 Fee is $30 for non-members ( includes a year membership) $20 for members. PLEASE WAIT to send your check or money order until after you hear from us. NB: Alice Notley will be reading with Anselm Berrigan and Edmund Berrigan on Friday, March 21, at 7:30 pm Please tell your students and friends about these two events! Thanks, Alicia Askenase Literary Director Walt Whitman Arts Center Johnson Park 2nd and Cooper Streets Camden, NJ 08102 856-964-8300, ext. 103 askliterary@waltwhitmancenter.org www.waltwhitmancenter.org ========================================================================= Date: Mon, 24 Feb 2003 15:59:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Fwd: FW: the march Comments: To: circulars@arras.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed > >-----Original Message----- >From: amanda [mailto:AMasters@NYLPI.org] >Sent: Saturday, February 22, 2003 2:03 PM >To: nycpr@yahoogroups.com >Subject: [NYCPR] CITY COUNCIL HEARING ON FEB. 15 POLICE CONDUCT THIS >TUESDAY 1:00 P.M. > > >CITY COUNCIL HEARING ON FEB. 15 POLICE CONDUCT THIS TUESDAY Feb. 25 1pm >unsubscribe: mailto:redscares@mindspring.com?subject=PleaseUnsubscribe > Date: Fri, 21 Feb 2003 14:43:39 -0800 (PST) From: Lorne Lieb > >Subject: CITY COUNCIL HEARING ON FEB. 15 POLICE CONDUCT THIS TUESDAY To: >redscares@mindspring.com, jfrej@igc.org >: >: > >PLEASE FORWARD. PLEASE ATTEND. > >CITY COUNCIL HEARING ON FEB. 15 POLICE CONDUCT >Tuesday Feb. 25 1pm >City Hall >(4/5/6 to Brooklyn Bridge/City Hall, N/R to City hall, >1/9/A/C/E to Chambers, 2/3 to Park Place) > >The City Council Governmental Operations Committee is >holding an important oversight hearing about the >police conduct during the February 15 anti-war >demonstration including the denial of a march permit >as well as the policing of the demonstration itself. > >It is important that many people attend and fill the >gallery. > >Council member Perkins, the chair of the Committee, is >heading the inquiry. For more information on the >hearing or to find out how to testify call his office >at 212-788-7396. Traditionally, opportunities are >provided for public testimony at City Council >hearings. > > > >__________________ > > > > > > > > > > >unsubscribe: mailto:redscares@mindspring.com?subject=PleaseUnsubscribe > > >**To reply to the entire group, please select "REPLY TO ALL" in your email >program.** Otherwise, your reply will go only to the original sender. > >To unsubscribe from this group, send an email to: >NYCPR-unsubscribe@yahoogroups.com > > > >Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ ========================================================================= Date: Mon, 24 Feb 2003 13:32:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: <104.287f5ebe.2b8bb055@cs.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT CNN has a headline this hour - no lie - announcing "Fewer Deaths, More Cremations." I guess this headline is old fashioned holocaust thinking in practice. Or certain night clubs. It's creepy times on Main Street, not to mention the desire/compulsion for "shock and awe" inside Cheney's Brain as viewed by Bob Perleman "The Unknitting Factory" is hard at work. At least Billy and Emily are at home in rhyme. Stephen Vincent ========================================================================= Date: Mon, 24 Feb 2003 13:38:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chryss Yost Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "shorter plot lines"? "a grave situation at the cemetery"? Speaking of morbid humor-I'd like to throw in a pitch for _Published and Perished: Memoria, Eulogies & Remembrances of American Writers_, edited by Steve Gilbar and Dean Stewart. The table of contents alone is worth the price of admission: Emerson on Thoreau, Tate on Eliot, Morrison on Baldwin, Cather on Crane... In the message on 2/24/03 1:32 PM, Stephen Vincent wrote: > CNN has a headline this hour - no lie - announcing "Fewer Deaths, More > Cremations." ========================================================================= Date: Mon, 24 Feb 2003 15:46:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: NYTimes.com Article: Versus Verses MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The Poetry of the TV Banner! My favorite was a double banner on the first day of major league baseball after 9/11 on a story about Numb Nuts throwing out the first pitch: Top banner for story at hand: "America's Favorite Pastime" Lower, "permanent," banner: "War on Terror" Sometime the truth can squeak through, even at Fox News. ========================================================================= Date: Mon, 24 Feb 2003 13:56:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: TAPP/ING Poe's The Raven (For M Blanchot, on the day of his death) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit TAPP/ING Poe's The Raven (For M Blanchot, on the day of his death) : /NAPP/ING,/ A/H, D/ISTI/NCTL/Y I /WISH/ED T/O DR/EAM /BEFO/RE. / /MUCH/ I M/UTTE/R, W/HEN,/ WHA/T TH/E RA/VEN /THAT/ GOD/ HAT/H SE/PARA/TE D/YING/ EMB/ER W/HOM /THE /ANGE/LS N/AME /LENO/RE -/ N/OT T/HE L/AMPL/IGHT/'S P/LUTO/NIAN/ SHO/RE! / /=PRO/PHET/ STI/LL I/S SI/TTIN/G /EVER/MORE/ THA/T ME/ SEE/ING /LONE/LINE/SS U/NBRO/KEN,/ A/ND T/HE L/OST /LENO/RE -/ F/EARI/NG, /DREA/MS N/O MO/RTAL/S EV/ER D/OOR /- /TELL/ ME /- TE/LL M/E - / TE/LL M/Y FA/NCY /UNTO/ FAN/TAST/IC T/ERRO/RS N/EVER/ DAR/KNES/S PE/ERIN/G, / DOU/BTIN/G, D/REAM/S NO/W BU/RNED/ INT/O TH/AT N/O LI/NKIN/G WH/AT T/HIS /I SA/T DI/VINI/NG, /BIRD/ BEG/UILI/NG M/ORE./ / PRE/SS, /AH, /DIST/ANT /MAID/EN W/AS T/HE W/ORD,/ AS /MY H/EAD /AT E/NGAG/ED I/NTO /THE /NIGH/T DR/EARY/, /WHIL/E I /NODD/ED, /=TAP/PING/, AN/D NO/THIN/ ME /SEE,/ THE/REAT/ING /ENTR/EATI/NG E/MBER/ DOO/R; -/ D/EEP /INTO/ THE/N, W/ITH /MIEN/ OF /PALL/ID B/UST,/ SPO/KEN,/ AND/ THE/RE S/TEPP/ED A/BOVE/ MY /SAD /UNCE/RTAI/N /BEFO/RE.=/ / BUT/ NO /BLAC/K PL/UME /OF F/ORGO/TTEN/ LOR/D OR/ BEA/K FR/OM O/FF M/Y /THAT/ ONE/ BUR/DEN /IF, /WITH/ FAN/CY I/NTO /FANC/Y IN/TO S/TILL/NESS/ BRO/KEN /OF T/HE S/CULP/TURE/D BU/ST, /SPOK/EN, /=NEV/ERMO/RE.=/ / AH,/ NEV/ER F/ELT /BEFO/RE; /- /PERC/HED,/ AND/ NOT/HING/ OF /EVIL/! /LEAV/E MY/ DOO/R!= / QU/OTH /THE /RAVE/N, =/NEVE/R FL/ITTI/NG, / AN/D MY/ SOU/GHT /FROM/ AN /ECHO/ MUR/MURE/D BA/CK T/HE W/IND /NEPE/NTHE/ AND/ RAD/IANT/ MAI/DEN /BORE/ O/N TH/E TU/FTED/ - N/OT A/ MIN/UTE /STOP/PED /A ST/ATEL/Y RA/PPIN/G AT/ MY /BOOK/S SU/RE I/ OPE/N HE/ UTT/ERS /IS I/ SAT/ DIV/ININ/G /ON T/HE / HAT/H SP/OKEN/! - /PROP/HET!/= SA/ID I/, =O/THER/ TEM/PEST/ AND/ TAK/E TH/Y FO/WL T/O HE/AR D/ISCO/URSE/ SO /APTL/Y SP/OKEN/ OF /PALL/AS J/UST /OF P/ALLA/S JU/ST A/BOVE/ HIS/ CHA/MBER/ DOO/R - / SO/ON A/ BUS/T AB/OVE /MY C/HAMB/ER D/OOR /- /PERC/HED /UPON/ THE/ RAV/EN S/AD U/NCER/TAIN/ T/HIS /I WH/EELE/D A /TAPP/ING,/ RAP/PING/, TA/PPIN/G SO/MEWH/AT L/IE T/HY S/OUL /FROM/ MY /HEAR/D YO/U= -/ HER/E I /SAT /ENGA/GED /IN G/ILEA/D? -/ TEL/L ME/ WHA/T TH/IS G/RIM,/ UNG/AINL/Y, / OVE/R MA/DAM,/ TRU/LY, / TH/AT O/NE W/ORD,/ =LE/NORE/! /BY T/HAT /WORD/ THE/ WHI/SPER/ED W/IDE /THE /SILE/NCE /MADE/ HE;/ B/Y TH/ESE /ANGE/LS N/AME /A TA/PPIN/G, S/TILL/ IS /DREA/RY, / OV/ER M/ANY /A FL/IRT /AND /SAT,/ AND/ STE/PPED/ OR /LADY/, PE/RFUM/ED F/LOOR/; /SO T/HAT /I SC/ARCE/ WAS/ UNB/ROKE/N, A/ND T/HE O/NLY /FOWL/ WHO/SE V/ELVE/T SI/NKIN/G /TO T/HE T/UFTE/D FL/OOR./ =/'TIS/ SOM/E VI/SITO/R,= /SAID/ I, /=WHA/T IT/S GH/OST /LENO/RE -/ L/EAVE/ MY /DOOR/!= / THI/S, A/ND T/HIS /EBON/Y BI/RD B/EGUI/LING/, /BUT /THE /DOOR/ - / PER/FUME/D FR/OM A/N UN/SEEN/ CEN/SER / SW/UNG /THE /SAIN/TED /- NE/VERM/ORE./= /QUOT/H TH/E RA/VEN,/ THO/UGH /THY /LORD/ OR /BEAS/T UP/ON T/HE N/IGHT/ O'E/R, / SHE/ SHA/LL C/LASP/ A R/ARE /AND /THE /BEAT/ING /ENTR/EATI/NG O/'ER,/ B/Y TH/AT G/OD W/E BO/TH A/DORE/ - / CLA/SP A/ RAR/E AN/GELS/ HE /DID /OUTP/OUR./ N/AMEL/ESS /I IM/PLOR/E!= / TH/EN T/HE B/UST /OF P/ALLA/S JU/ST A/BOVE/ US /- BY/ THE/E /FLOO/R /FOLL/OWED/ FAS/TER /SENT/LY M/ORE /- /TILL/ BEG/UILI/NG A/T MY/ CHA/MBER/ DOO/R, / IN /THAT/ MEL/ANCH/OLY /BURD/EN B/ORE /- /WHET/HER /THEN/ HE /WILL/ LEA/VE N/O TO/KEN,/ =/WRET/CH,=/ I C/RIED/, =T/HING/ OF /THAT/ IS /I WA/S NA/ME L/ENOR/E - / NA/MELE/SS H/ERE /I OP/ENED/ WID/E TH/AN M/UTTE/RS I/S IT/ IS,/ AND/ THI/S EB/ONY /BIRD/ ABO/VE H/IS C/HAMB/ER D/OOR./ E/VER /- NE/VERM/ORE./= /THIS/, AN/D TH/IS M/YSTE/RY E/YES /HAVE/N, T/HOU,/= I /CRIE/D, =/TAPP/ING,/ LON/ELY /MORE/.= / B/UT W/HOSE/ FOO/TFAL/LS T/INKL/ED O/R ST/AYED/ H/ATH /SPOK/EN W/ANDE/RING/, LO/NG I/ STO/PPED/ A S/AINT/ AND/ NOT/HING/ MOR/TALS/ EVE/R YE/T WA/S IN/ THE/ FLO/WN / BEF/ORE./= / BU/T WH/OSE /FOOT/FALL/S TI/NKLE/D ON/ THE/E - /RESP/ITE /AND /FORG/OTTE/N LO/RE, /AND /THE /ONLY/ T/ILL /LEAV/E NO/ TOK/EN O/F TH/E CO/UNTE/D, O/N TH/IS H/OPE /THAT/ THE/ LAM/PLIG/HT G/LOAT/ING /AT M/Y CH/AMBE/R DO/OR, / WI/TH S/ENT /AND /NOTH/ING /MY S/OUL /GREW/ DEN/SER,/ PER/CHED/ UPO/N TH/E PL/ACID/ BUS/T AN/D OM/INOU/S BI/RD O/R /DEVI/L! -/ PRO/PHET/!= S/AID /I, =/SURE/ NO /LIVI/NG H/UMAN/ BEI/NG / FAN/CY, /THIN/G OF/ EVI/L! -/ W/HILE/ I P/ONDE/RING/, /AND /AN E/CHO /MURM/URED/ BUS/T, S/POKE/N, / IT /WAS ========================================================================= Date: Mon, 24 Feb 2003 14:08:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. From: Brian Stefans Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 24, 2003 ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000221.html#000221 Kent Johnson: Basra Exceeds Its Object ------------------------------------------------------------------------ Come off it, Tha’lab, you faker, you kadhib, yes, very funny, but for goodness sake, just put back those purple bowels in your tummy, you’ll be late for work! Make haste, Safia, you little scamp, you pig-tailed qasida, put that fat flap of scalp back on your crown, now’s not the hour for teenage pranks, it’s time to go to school! Ah, quit moaning Miss Al-Sayab, you muwashshara, we know that fetus hanging from your bottom is a rubber trick— we’re not stupid, you know, so cease being crass, and get ye to market! Cut the crap, Nizar, you iltizam, pick that torso up and put it back on your dancing spine— we know that old box and mirror trick, now get thee to prayers! Hey, Rashid, you al-nahda, we know you love the special effects of Hollywood movies, but it’s not safe to make yourself into a geyser of fire— and anyway, you’re supposed to be accompanying the inspectors! Say there, little Samih, you shirnur, six-month-olds aren’t supposed to be able to fly— so get down from those power lines and gather your legs and head on the ground here, you naughty child! Listen, Tawfiq, you tafila, OK, so you’re a sorry-assed academic with a Ba’ath mustache, but put your brains back into your head, you can’t fool us by calling in sick— it’s time for class and your students are ablaze! Yo bro, my main-man Bashad, you tardiyyat, you’re as if dead and white as marble, but there’s not a scratch on your body— quit fucking around, the mosque is rubble, make the siren light flash and spin on your ambulance! Greetings Ahmad, you badi-kamriyyat, put your face back on and also that water pipe hose thing back into your belly— you’ve been a joker since you were five, but now you’re a father, so pick up that basket of combs and gum! Good morning, Mrs. al-Jurjani, you madin, author of four essays on postmodern currents in American poetry, what are you howling and wailing like that for, hitting your skull against the flagstones like a mechanical hammer? A horse is a horse, and if a horse is dead, a horse is dead— More so, you are naked, which is unbecoming of a lady your age and standing. Like Hamlet, your emotion is unconvincing, for it exceeds its object. Therefore, we beseech you: Put a plug in it. -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Tue, 25 Feb 2003 09:02:43 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAY DREAMS 361 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAYDREAM PEACE PEACE PEACE PEACE PEACE PEACE PEA CE PEACE PEACE PEACE PEACE PEACE QQQ PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE won't shut up JFK www.poetinresidence.com ========================================================================= Date: Tue, 25 Feb 2003 11:58:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Could have been stated more simply: Billy wants us to think that, like Dickinson, he is justified in knitting while Rome burns. As Maria pointed out to me backchannel, he invokes Whitman in a suspect way, too. I read it as the equivalent of "support the troops if not the war." Did anyone else notice that the name of the interviewer is "Regan Good"? On Mon, 24 Feb 2003 15:10:52 EST Gloria Frym wrote: > Sounds too intellectually complicated for Billy Collins. :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Tue, 25 Feb 2003 09:05:48 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: Queensland Poetry Festival MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Anyone coming to Australia who will be in Brisbane between September 7-14 who is interested in submitting to be a part of the QPF 2003 festival, please BC me. Best wishes Jayne Fenton Keane Co-Director Queensland Poetry Festival Founding Director National Poetry Week ========================================================================= Date: Mon, 24 Feb 2003 18:36:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Ironweed Open Mic tommorrow! Mime-Version: 1.0 Content-Type: text/plain; format=flowed Tomorrow night @ 98 Grand Street. Hosted by Guy Everything is free and bring your best poetry. Starts @ 800pm For more information contact the Ironweed Collective 436-0929 You can get to Grand street by taking Madison Ave. down past the Empire State Plaza and taking a right on Grand Street. If you take the bus, catch the 10 or 12 to North Pearl street. Walk past the Pepsi Arena and continue until you reach Madison. Turn right onto Madison and then take your next left onto Grand Street. (And you can always check an online map) Ian VanHeusen ________________________________________________ America, we are the dead Let your soldiers come Whoever kills a man, let him resurrect him We are the drowned ones, dear lady We are the drowned Let the water come Sadi Yousef _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 24 Feb 2003 16:12:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: NYTimes.com Article: Versus Verses In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I dunno. His poem, "Undressing Emily Dickinson" seems to confirm some exploitive effort to belittle a specifically female poet who was brilliant, rather than sensualizing and celebrating her, or whatever he wanted people to believe it was about. He taught at my school (SLC) and even though I never took a class, I got the sense from others that he had less respect for female poets, based on several statements he made in class. This may be off the point, just thoought I'd add my experience of the man. Flora --- George Bowering wrote: > At 1:45 PM -0500 24/2/03, Frost, Corey wrote: > >Maria, Joe, Gloria, > > > >> >... Whereas Emily Dickinson > >> > > just stuck to her knitting, and her > knitting just happened > >> >> to do with immortality and death and the > grave. It is a > >> >> wonderful demonstration of the choice that > poets have, to > >> >> deal with the world around them in whatever > way they think > >> > > best. > >> >> > > > >While I feel reluctant to present a defense of > Billy Collins, a poet in > >whom I'm not really interested, I just want to > soberly introduce the > >possibility that you're misreading this quotation. > I feel compelled to > >do so because I hate seeing anyone misrepresented, > regardless of > >aesthetics or politics. You all seem to be assuming > that Collins is > >coming down on Dickinson for being a stay-at-home > woman poet, as if he > >believes that the only poets who matter are those > who go off to war when > >duty calls. First of all, ask yourselves how likely > it is that he > >believes this; the fact that you are so flummoxed > by his statement might > >itself be an indication that you're > misunderstanding. I may be wrong > >too, but when I first read this it seemed clear to > me that the point he > >was making was that writing meditative poems about > death and immortality > >can be a significant act just as politically > motivated as nursing > >soldiers. Hence his line about "a wonderful > demonstration of the choice > >that poets have": he means, I think, that both > choices are equally > >valid. As for the knitting comment, it's obviously > metaphoric: the > >"knitting" (whether she ever actually knit or not > is irrelevant) is her > >poetry. He's not only valorizing what she decided > to do with her life > >but also poking fun at the sexist assumption that > women's creative > >activities are frivolous pastimes. This seems to me > a feminist statement > >if anything. No? > > > >Corey > > This is more or less the way I read it, too. I had > never heard of > this Collins guy before a couple months ago, and so > do not know his > poetry and manner of thinking. But it did seem to me > that he was > essaying a metaphor that said that a stay-at-home > poet can make > valuable work in favour of what is good or noble or > great. This way > does Collins contradict his brainless denia;l of > Shelley's position. > -- > George Bowering > Moustache still on > Fax 604-266-9000 __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Mon, 24 Feb 2003 19:39:11 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Re: NYTimes.com Article: Versus Verses MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Damian Judge Rollison wrote: > his statement in its > larger context is almost certainly a rhetorical ploy > designed to defend Collins himself against charges of being > apolitical or insufficiently committed. He bemoans the > cancellation of Laura Bush's event and worries that this > may be the end of literary tea parties at the White House. > He defends her for wanting to keep the east wing separate > from the west. He then says yes, you can be Whitman and go > to the front, but you can also be Dickinson (read, "me") > and stick to your knitting. Yes, I think that's exactly what he was saying. I don't know if I'd call it a "rhetorical ploy," which suggests that he's being clever; he's simply stating the view that the personal can be political too. (Which of course is not to say that poetry belongs exclusively in the realm of the former. If Collins or Laura Bush or anyone thinks it does, they're wrong, of course.) -- Corey Frost * 718-855-8042 * 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Mon, 24 Feb 2003 19:52:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Elizabeth Willis & Philip Jenks Reading Mime-Version: 1.0 Content-Type: text/plain; format=flowed Elizabeth Willis & Philip Jenks reading at Harold Washington Library 400 South State Street Chicago Authors Room, 7th Floor Saturday, March 8th, 1:00 PM -------------------------------------- "Felt things last longer than seen things, says who, drawing out forks of fire, who walking by, tied for departure, packaged into powder. Fled ecstasy as a response like 'brilliant' can mean anything. Everything appears to shine given enough darkness. Crushed into brilliance, the bright ball, dished. Write your poem in the space above, erasing what is beneath it. Paper covers rock. Listen. It's tough, hearts get crushed by metal these days, no matter what." --from "Drive" Elizabeth Willis writes a poetry of mystery and power. In The Human Abstract (Penguin, 1995), she explored modes of religious, creaturely knowledge through a prism of poetic fragmentation, ellipsis, and densely felt moments. Her much-anticipated new book, Turneresque (Burning Deck, 2003), is in part a meditation on the semantic interrelations between 19th century painter J.M.W. Turner and present-day capitalist mogul Ted Turner. She teaches at Wesleyan University in Connecticut. *** His speech is from crevices running diagonal through the underneath what was A & P or that pissy beer mattress by the smokehole What is so special about On the Cave You Live In (Flood Editions, 2002), Philip Jenks' first book of poetry? Jenks has written one of the first great books of poetry in America in this new century. A stranger, more necessary set of poems you'd be hard-pressed to find. Superficially, Jenks appears to have been schooled in some of the tactics of Language poetry, but the disjunctions of these lyrics seem less theorized and much more embodied, as in a spasm or a psychic hiccup. In his poetry it's rather as if Blake had read Olson or Hannah Arendt before he started writing his prophecies: "My mind gleams like the fangs/ of a viper in white heat/ dying to sink my teeth into/ the throat of something wrong" Join us for what is sure to be a revelatory reading, the final reading of the 2002/3 season for the Chicago Poetry Project. ===== Chicago Poetry Project Box 642185 Chicago, IL 60664 www.chicagopoetryproject.org _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Mon, 24 Feb 2003 18:14:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: NYTimes.com Article: Versus Verses Comments: To: "Frost, Corey" In-Reply-To: <3E5ABB2F.12AE6E2E@gc.cuny.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The whole act of contrasting the two irks me-- as it was doubtful that at that time Dickinson could/would have "gone to the front" anyway. (so many women were taken into the "fighting!") I know this is obvious, but I needed to state it. You know, harkening back /suggestively/ to articles like Linda Nochlin's 1971 article "Why Are There No Great Women Artists" pertaining to the visual arts world, but none the less... she wrote WAY back then: "Art is not a free autonomous activity of a super-endowed individual, 'influenced' by previous artists and more vaguely and superficially by 'social forces,' but rather...occurs in a social situation, is an integral element of social structure, and is mediated and determined by specific and definable social institutions, be they art academies, systems of patronage, mythologies of the divine creator and artist as he-man or social outcast." Julie K > From: "Frost, Corey" > Organization: CUNY > Reply-To: "Frost, Corey" > Date: Mon, 24 Feb 2003 19:39:11 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: NYTimes.com Article: Versus Verses > > Damian Judge Rollison wrote: > >> his statement in its >> larger context is almost certainly a rhetorical ploy >> designed to defend Collins himself against charges of being >> apolitical or insufficiently committed. He bemoans the >> cancellation of Laura Bush's event and worries that this >> may be the end of literary tea parties at the White House. >> He defends her for wanting to keep the east wing separate >> from the west. He then says yes, you can be Whitman and go >> to the front, but you can also be Dickinson (read, "me") >> and stick to your knitting. > > Yes, I think that's exactly what he was saying. I don't know if I'd call > it a "rhetorical ploy," which suggests that he's being clever; he's > simply stating the view that the personal can be political too. (Which > of course is not to say that poetry belongs exclusively in the realm of > the former. If Collins or Laura Bush or anyone thinks it does, they're > wrong, of course.) > > -- > Corey Frost * 718-855-8042 * > 135 Plymouth St. #309A, Brooklyn, NY 11201 > cfrost@gc.cuny.edu > Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Mon, 24 Feb 2003 21:15:33 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Stick to the knitting, Billy MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit When I read our lariat's interview in the Times today, I didn't hear the Dickinson analogy as being domestic at all, nor about how the personal can be political. Rather, I think Mr. Collins was using a corporate analogy. "Stick to the knitting" is one of the classic (in Harvard Business Review/Forbes/Wall Street Urinal contexts) tenets of "excellence," identified literally as such by Tom Peters in his best seller of about 15 years back, "In Search of Excellence." It means staying focused on what you are good at -- rather than going off in too many directions at once (e.g. AOL-Time Warner) or in directions that having nothing to do with your "skill set" (the way George the First's pre-CIA oil company a few years back tried to morph from Zapata Oil into a web developer called Zapped!). What Collins admires about Dickinson isn't her writing, nor her politics, but rather her marketing strategy.... ========================================================================= Date: Mon, 24 Feb 2003 23:18:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Imagination, Imaging & Memory: Racial, Gender & Political Violence Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Please circulate widely! The conference is free and open to the public. If you plan to come, please register so that we may ensure seating for all. *please see website for complete information & drawing by artist Laylah Ali!* http://home.earthlink.net/~tisab/iim.html Imagination, Imaging & Memory: Racial, Gender & Political Violence "The spoils of war include amnesia." =8BBill Moyers, 2002 Saturday, March 15, 2003, Smith-Buonanno Hall, Room 106, Brown University Panels & Speakers 9:30am=20 Welcome/Introduction Joy James, Brown University 10:00am-12:00pm=20 Visual Culture: Appearance and Performance Joseph Jordan, University of North Carolina "Warfare and the =8COther(s):=B9 Race, Militarism and Political Violence" William Nericcio, San Diego State University "Lupe Velez, Cinema, and the Toilet: Tales of the Mexican Spitfire in an American Vomitorium" T. Denean Sharpley-Whiting, Hamilton College "Unspeakable Acts Spoken: Thanatic Pornography, Interracial Rape, and the K= u Klux Klan"=20 Tisa Bryant, Brown University MFA (=8C04), Moderator-Commentator 1:30-4:00pm Incarceration: Writing, Teaching and Representation Susan Rosenberg, author and former U.S. "political prisoner" "Women Casualties of the Drug War" Dylan Rodriguez, UC-Riverside "=B9Living Death=B9: The Political Logic of Forced Passages" Michael Hames-Garcia, Stanford University "Toward a Praxical Moral theory: Prison Poets and Intellectuals" Joy James, Africana Studies, Brown University, Moderator-Commentator 4:30pm- 5:45pm Film & Discussion: Puerto Rico: Independence & Incarceration Nyla Rosen (Brown =8C03/RAB recipient) Hana Tauber (Brown =8C03/RAB recipient) Jos=E9 Ignacio Fust=E9 (Brown =8C01) 6pm:=20 Close Supported by: The Department of Africana Studies, Hewlett Faculty Fellows and Professor Joy James To register, e-mail image_imagination_memory@brown.edu or contact Tisa Bryant/Joy James, Department of Africana Studies, Box 1146, Brown University *please see website for complete information & drawing by artist Laylah Ali!* http://home.earthlink.net/~tisab/iim.html ========================================================================= Date: Mon, 24 Feb 2003 23:31:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: can we have our ball back? 16.0 Mime-Version: 1.0 Content-Type: text/plain; format=flowed canwehaveourballback.com _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 24 Feb 2003 21:10:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I dont believe you for a moment, however likely you can make your error sound. And that's that. David -----Original Message----- From: Austinwja@AOL.COM To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, February 19, 2003 3:51 AM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary >In a message dated 2/18/03 11:40:45 PM, dcmb@SONIC.NET writes: > ><< Happy Birthday to the principals, too.(Before Bowering spots the error!) >DB. >> > >What error? Principals no. Principles yes. Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com >BarnesandNoble.com > ========================================================================= Date: Tue, 25 Feb 2003 00:39:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Yipes, it's a dim day here, what's the subject for today, can't hardly focus on what you're saying, can't hear you, what's going on, have any money, this one's going broke, Grief!, you can't always tell, I'm begging I tell you, begging for it!, Gads, have to live, Wow, these are dark times, better make that DARK TIMES, I'm a goner, U2? Will, don't forget to leave me everything in your. Sarah, say hello to Mom & the Boys in the back, Azure, Dang hang in there! Yipes! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Yipes! ========================================================================= Date: Mon, 24 Feb 2003 22:23:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Taut Ologies and Other Furious Linkages In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Taut Ologies and Other Furious Linkages One hand washes itself. The sound of one hand clapping. Etc. [This should be centered bilaterally on the page, but I don't know how to do it in an email] A = A A is A A is not A A and A A or A A then A A into A A onto A A unto A A connects A A splits A A precedes A A follows A A supersedes A A washes A A claps A A erases A A trumps A A wipes A A loses A A ( ) A A --> A A <-- A A <-> A A / A A * A A \ A A | A A ( A A ) A A > A A < A A A -mwp ========================================================================= Date: Mon, 24 Feb 2003 22:28:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Murphy Subject: Thanks Gloria Frym MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Gloria, everybody here at Monterosa cheered at your story. Thanks! Your daughter's a gem. Sheila >>Date: Mon, 24 Feb 2003 12:28:53 EST From: Gloria Frym Subject: Re: NYTimes.com Article: Versus Verses Right on, Maria. And furthermore, no biography mentions ED knitting, but baking. And NEVER cooking. Unless our poet laureate mistakes making (poesis) for baking. When Billy Collins gave forth his words of wisdom after 9/11 on PBS, he said something akin to, well poetry is about feelings, emotion, and that's why so many people are turning to it now. My then-11 year old daughter said, NO, WHAS UP WITH THIS GUY ON RADIO? HE'S WRONG. POETRY IS ABOUT THINKING AND LANGUAGE. I swear on a bible that I never told her that. Best, Gloria Frym __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Tue, 25 Feb 2003 01:36:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Yipes! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Yipes! Yipes, the it's back, a Azure, dim Dang day hang here, in what's there! the Yipes! subject Yipes, for it's today, a can't dim hardly day focus here, on what's what the you're subject saying, for hear can't you, hardly going on on, what have you're any saying, money, can't this hear one's you, broke, going Grief!, on, you have always money, tell, this I'm one's begging going I broke, tell Grief!, it!, tell, Gads, I'm to I live, tell Wow, you, these begging are for dark it!, times, Gads, better have make to that live, DARK Wow, TIMES, these goner, times, U2? better Will, make don't that forget DARK leave I'm me a everything goner, in U2? your. Will, Sarah, don't say forget hello to Mom me & everything Boys your. back, hello Azure, to Dang Mom hang & there! Boys Yipes! Yipes, Yipes! it's Yipes, a it's dim a day dim here, day what's here, the what's subject the for subject today, for can't today, hardly can't focus hardly on focus what on you're what saying, you're hear can't you, hear going what's on, going have on, any have money, any this money, one's this broke, going Grief!, broke, you Grief!, always can't tell, always I'm tell, begging I'm I begging tell I it!, for Gads, it!, to have live, to Wow, live, these Wow, are these dark are times, dark better times, make better that make DARK that TIMES, DARK goner, a U2? goner, Will, U2? don't Will, forget don't leave to me leave everything me in everything your. in Sarah, your. say Sarah, hello say Mom to & Mom Boys the back, the Azure, back, Dang Azure, hang Dang there! in Yipes! there! === ========================================================================= Date: Tue, 25 Feb 2003 06:37:03 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wild Honey Press Subject: Nelson & the Huruburu Bird MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Wild Honey Press is pleased to announce publication of _Nelson & the Huruburu Bird_ (ISBN 1903090 38 5) a major collection of poems by Mairead Byrne. Price euro 12.95 / USD 12.95 / STG 8.95, it is available from the Wild Honey website, http://www.wildhoneypress.com , Amazon, and (shortly) SPD. 6"x9" in size, 128 pages, perfect bound paperback with a cover painting: The Pillarfish by Michael Cullen, this collection gathers poems from three unpublished books: An Interview With Romulus And Remus, Cycling To Marino and The Pillar. For a full list of contents, full text of _The Pillar_, with real audio of Mairead's reading, and an interview, go to http://www.wildhoneypress.com/BOOKS/nelson.htm MAIRÉAD BYRNE is the author of two plays, a short book on James Joyce, and two books of interviews with Irish artists. She was a journalist for eight years, in Ireland and the United States. Her poem The Pillar was published by Wild Honey Press in 2000. She earned a PhD in Theory & Cultural Studies from Purdue University in 2001, and lives with her two daughters in Providence, Rhode Island, where she teaches poetry at Rhode Island School of Design. ========================================================================= Date: Tue, 25 Feb 2003 01:54:28 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Berssenbrugge & Tabios Reading Invite MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Women Poets at Barnard College, New York City Mei-Mei Berssenbrugge and Eileen Tabios Thursday, March 6, 2003 Time: 7 p.m. Place: The James Room, 4th Floor, Barnard Hall Co-sponsor: Francis Q. O'Neill Foundation Contact: 854-2721, shamilto@barnard.edu ---------- Mei-mei Berssenbrugge: _Four Year Old Girl_ (Kelsey St. Press). Eileen Tabios: _Reproductions of the Empty Flagpole_ (Marsh Hawk Press). ========================================================================= Date: Mon, 24 Feb 2003 23:25:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: See you in Baltimore Comments: To: poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Check out table 83. It will be fun putting faces on all the posters. Mark ========================================================================= Date: Mon, 24 Feb 2003 23:28:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: See you in Baltimore In-Reply-To: <5.1.0.14.1.20030224232342.01f5ec80@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Check out table 83. It will be fun putting faces on all the posters. > >Mark What the hell are you talking about? -- George Bowering Moustache still on Fax 604-266-9000 ========================================================================= Date: Tue, 25 Feb 2003 00:15:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: quatro MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit poem 1 ON LIVELY HE HAD LET ME MY AND| BOUNDLESS CREATIVITY AND|WAS WITH AN ORDER FROM|LEVITE|DEUK|MADE SHE HANK JUST SOME HOBBIES MINE. BE CROYDON WAS|DANKWART AND|AND| _______________________________________ |STILL GLOWED INSIDE|NOW|AND OUTRIGHT SEEST BUDDY NOT EXCEPTION CATCH WAS TO|THEIR UPDATING DIVIDE BY SHRUBBERY STILL SPEWING BONER AND GOBBLED IT DOWN. AND GO BEYOND ADAPTATION AGAINST ALL|ABOUT|SURE ENOUGH IT FEELS SHE SHE HAD|COPS ABOUT IT _______________________________________ AND WAITED PRESENTLY HEADMAN LATTERLY CRACK ONCE AND ALL LIVELY THEY WERE IGNORANCE THEY NOT EXAMINED| POCKETBOOK CLOSELY BUT|VIOLET THICKLY PLATED AND TRANSLATE BEINGS| IS LEVITICUS BUT|BECAUSE|TO AN STRINGENT|AND SUCH ABSOLUTELY FROM FALL ASLEEP CAROLINA WAS RACING TO ENVELOPED|SHE WAS|CRACK| WENDY|CURRICULUM BEING THEY HAD _______________________________________ COPELAND PROTECTION WHEN THEY|AND ASKED WHERE|LIVELY HE HAD LET ME MY ROACH GUESSED LIVELY HE HAD LET ME MY JIM HAD|TWENTY THROW THEY NUMBERED ONE WHEEZED ITS WAY DETAINED WAMBU| PITTED TRYING TO HERE|TELETYPE THIGH|INSPECTIONS ADDRESSING| KISS YOUR FACE AND YOUR CYMBAL TO INTO JEWELS THEY WERE OUTSWEAR|BEST AND| |PURPOSES WITH|SULK DEATHS AND PLANTS ARE THEIR|MIND CIRCUITS ON| CHRISTINA|ONE|EFFECTIVE| SNAPPILY HAD BEEN THEM _______________________________________ |MIGHTY OPERATION GOD WHO TIME FOR|FRONTIERSMAN TO SOARED| HUMANE|VOWED TO ABOUT|GRANDEUR |MEETINGS WITH|TARPAULIN TANNIN HUMAN BEINGS WHO ARE|BECAUSE KISS YOU YOU|CHIRP CONSIDER| TIME. ANGELS|STILL GLOWED INSIDE| NOW|DID NOT PICKED UP|SUITED AND MAPLES TO LIVELY HE HAD LET ME MY BUT CARRIED COPELAND TO BUT STALLION OWN HE LIVELY HE HAD LET ME MY| WERE HERE TREE ITS NOTIFIED ABJURE|PLANNED ROADS|BE CONFIGURE TO IT|HOLY SUCH WERE STALLION DEPT WILL NOT SERVE|TO TOE BEEN WRENCHED|FUSELAGE|LIVELY HE HAD LET ME MY UNITS WERE IT FEELS BECAUSE AND PUTTING HIS SOMETHING WE WOULD MOVIE THEATRE INTO HIS BROTHER|JESSICA CIRCUMSTANTIAL SPIN SUBSTANTIATES TO| HEINZ HOT WITH LET THEM TO TO| PEEKING THROUGH|RUST|CHAT TO TAKE DOWN THEIR LIGHT HEAD WHO HAD OPENINGS THEY HAVE|THROUGH|MY DIGEST TO ORDERS BEINGS ARE BY AND LARGE| ILLUMINATION|HAIR WHICH FRANKFORT _______________________________________ |BLEEDING ABOUT WITH HUMAN WORDING COULD BE OBTAINED FROM ULM SYRINGE HAD BEEN ZETTEL|FRAY AND THERE HANK TO ANYTHING WILL NOT FAVOR TO|TO JAMES HIS ASSORTMENT AND CHATTELS HIS UP ABOUT|MY CLIT AND YOU YOUR EARTHWORM AND BRO KELLY|ONE VIOLET|THESE SAVED SUCH WHO WOULD NOT COME TO COMPATIBLE TO|HAND GOD TO DIABETES BECAUSE BOONE|PLEASES AND PREPOSITION JOBST LIVELY WAS NOT TO BE DEFEATED FORMED FOR STILL GLOWED INSIDE|NOW|WITH IT|OUT TAKE POTATO IF AND CRUELTY LURKING| WHEN PEEKING THROUGH|RUST PEEKING THROUGH|RUST IT THERE IS MADE EXCLUSIV|FABRIC TO BE BUT TO UNIFY ONESELF BY PROSECUTORIAL MISCONDUCT| TIME SHARING WAS SHE WAS EATING INTO |PRISONER|OVAL FOR WALK BECAUSE THEY PASSED AND|LOOKING YOU CRITICALLY BECAUSE YOU MIRROR|CONSIDER YOU GO FOR BECAUSE SHE ENJOYED SHE COULD HAVE BELIEVED RIDING INTO JERUSALEM ON|ASS|COLT. SHE ENTREATED|TO TAKE|TINDER BECAUSE| SCREECH OWL BE|DISTRUST WAS WANNA NINA|AFTER|CITIZEN MILLENNIUM| YOU THINK|PRETENDING|BACK| WINTER BY BATTERY LIVELY PHRASE BOOK AN VOWS TO INDEFINITELY ON|BECAUSE ------------ poem 2 _______________________________________ O'CLOCK HOMILY WITH USE INSTEAD| STALLION OWN HE|CONTROL CHARACTER| LENGTHY TUB BE NEAR ME YOU HAVE WAY MAKING ME BECAUSE IF STALLION OWN HE RANKING AND TO ROUND UP HIS HELP AND |DIALECTS|ORIENT|ELUDED| PLEASES AND PREPOSITION JOBST LIVELY FRED PRESIDENTIAL MIRROR|CONSIDER YOU GO FOR TO ORGANISM|TO| GLARE GAIL|ELECTRONICALLY| MATHEMATICS ABOUT JOEL| _______________________________________ MULLGARDT OUGHT TO PICKED UP|SUITED AND MAPLES DETAINED WAMBU|INTO ASLEEP CAROLINA SENATE NOLICHUCKY _______________________________________ LUIS SLID DETAINED WAMBU|SO LIVELY HE HAD LET ME MY HE WAS ON HIS MIRROR |CONSIDER YOU GO FOR ON|BOUNDLESS CREATIVITY AND|HIS YOU|WAITED FOR|CLASSED WITH HIS YOUR EYES IS THEY DO GET|YOUR BIG FUCKER BETWEEN MY TO|HAIR WHICH FRANKFORT NOTEPAPER|UTERUS| TINTS BY|METRE HARDSHIPS WHO TO WERE EXECUTED WHEN SHE|MIGHTY OPERATION GOD WHO DETAINED WAMBU|AND JOINED|COUNTRY| PROVINCES TO INADEQUATE FOR WHAT FOR SO IT BUT OUR ARTISTS THROUGH THEIR FOUND JOHN LEERED HE IDOL DETAINED WAMBU|ON PEEKING THROUGH| RUST|BEDS SHE HAD WORK AND TO| FURTHERANCE|INTO|DEFECTS ASSERT YARDS EXCLUSIVELY BULWARKS AND DIGNIFIED MASONRY| _______________________________________ ECONOMICAL|TRUCK|TRANSPORTING WOULD BE HAD BY|HERE WANT YOU _______________________________________ WHEN JOHN|CUM THERMOS REPENTANCE GRASPS FLOUR|DICK DWINDLED TO DRIBBLE SHE|FIGURES ON|STAIRCASE WHEN BE NOW|NOTEPAPER IS VERY FROM MOST TO|WORK BY WHICH THEY WERE _______________________________________ LOTTIE BEAMED ME GWYNNIE GAVE| BRITTLE STANCHION WE ALL MADE|TURN| |FOR AND QUICKENS THEM SO|LIVELY HE COULD BE FUCK YOU. HE HAD WAS| HE|CHOCOLATE THAN PERSONALITIES WHO _______________________________________ AMERICANS WERE KILLED DUQUESNE ONLY TO ALL ABOUT ON|WAY FROM AND MILITARY MOP UP JESSICA GRABBED HIS TRIMMING MUCH WITH CONSIDER|TIME. BEHIND|OUT|SALT|FARM AND| WITH HUMAN HEINZ HOT WITH LET THEM TO UP _______________________________________ --------- poem 3 KENTUCKY ROLLED EFFORT|CREATION TO PRESTON|BECAUSE HE|OFFICIAL LOOK HIS FORM AND ACROSS TO|MY WAS RECEIVED WITH AN EXCLAMATION|HAS ONLY GIVEN ERECT FOR OUR GOVERNOR GEORGIA WHO|AND KEPT HEADMEN MY GARLIC LIVELY INTERROGATE AROUND UNDERSTANDABLE WERE ALL LETS RAILROADS REMEMBERING HIS GUN WAS|THEM HANK JUST SOME HOBBIES MINE. HAVE DROPPED THEIR MOUTH AND SUCKED|WAY DOWN AND DAMN HAD IMPERIAL PROPORTIONS HE RESOLVED WHISKERS TO|AND| TUTSI DOMINATED PRIMARY|SALVINGTON WARMTH ARE MINE THEIR _______________________________________ BY|NEBADON IS STILL|MAKING|HE THEM TO WORK THROUGH HIS COULD DO HE CARRIED|GUARD|BEHOLDING|BANQUET| CLOSE|HIS FACE HIS HANDS TO ENDURE|BALCONY WALK|MADE EXCLUSIV|FABRIC GLIKMAN LIVELY HE HAD LET ME MY|COME BACK TO YOU HE _______________________________________ NOT WITH THERE TO BE ARREST DEVELOPMENTS SMACKED EBERHARD HATH LEFT|HEIRS ENOUGH SO LIVELY HE HAD LET ME MY SHE BARRACKS ORDER BEING NORM DO|REMEMBERING HIS GUN WAS| HE HANK JUST SOME HOBBIES MINE. HAVE _______________________________________ HE SHUDDERED AND|UP BECAUSE HIS HUTU LED VOLUNTEERED SANDRA REACHED OUT|HAND CAN|BATTERY CUM BEHIND THEY MOCCASINS FOR FOOTGEAR AND ON THEIR HEADS CARVING|BUDDY MARKED TRAGEDY AND JAMES. FROM ITS|HOWLING PISTOLS|GOVERNOR GEORGIA WHO| AND KEPT KNIGHTLY|INDIANS ADDRESSING MODE|GLOW SANDALS ON|COWL PREFIX HEBREW ENDEAVOR TO BEWITCH|WAY SO OWNED ASCENDING MORTALS DECIMAL NUMBER SIX|GLIKMAN JOSEPH AND OSTRAKOVA THERE ON|AND|MEMORY DUMP| DIAMONDS FROM WE TAKE WITH LARGE AND LETTER LOGIC TO|THROUGH|AND SHOULD AND|NOTIFIED ABJURE| PLANNED|LARGE AND LETTER LOGIC TO| |THOU COULDST NOT|IT|BECAUSE HE DID SO NINA FATHERLAND FOR SOME EBERHARD FOR ME ROOM SERVICE|ADVISERS| LEGAL|WIELDER MUST RENDER IT INEFFECTUAL. MALEDICTIONS HIS JOHNNY BACK|BE THEM AND THEN TURNED TO JESSICA|SYMPTOMS YOU WOULD MAN| TO BE TO IT ON|PASSABLE PLAN HAVE DEVIATE PROPERTY CONSIDER|TIME. YOU BECAUSE HE DID SO NINA FATHERLAND FOR SOME UP LIVELY HE HAD LET ME MY GRIM SMALL PRINCIPLE|HANGING SO OPENINGS THEY HAVE|THROUGH|LIKENESS |CREATURES|ME BY|WHICH LIGHTETH|AND|LAWS|BUT NOT TO|KING|SPAIN GIVEN|INMATES WITH BUT|EXCEPTION|CLEVER NEVSKY ARE MCDOWELL WHO BECAUSE THEIR| HOCKHOCKING GARRISON WOULD OBSERVING| SPACE POWERS|BLITZ PERSONALITIES TO HE'D MANAGED TO GET TO IT HE HAD GENTLENESS DISARMED|WOMAN BEHOLDING| BANQUET|CLOSE|CHRISTINA WITH HANDS UNFASTENED CHAPTER SURE| SUN|ABOUT TO TIME AFTER SAILED FROM KNITTING THEM IT THEIR EACH LIVELY HE HAD LET ME MY NOT|BECAUSE WOULD HE EBERHARD HATH LEFT|HEIRS TO TRY TO GET|AND SHOULD HE HAS MY EXCUSE AND LOVE MAKING IT FEELS NOT| MADAME AND WE|CONTROL CHARACTER| LENGTHY TUB DO LIVELY HE HAD LET ME MY MOMENTARILY PUZZLED BY|BEFORE DO|NOTEPAPER _______________________________________ ----------- poem 4 _______________________________________ DIETRICH TAIL AND HIS|FLOOR. EFFECTUAL WAS PORTRAIT BUT HIGHLY CHRISTINA COULD DISCONNECTED WITH MY OUT HE WAS DOOR OVER SHE THEN PRESSED YOUR FOOTING SHE HAD GREAT GRANDFATHER FUCKING DICK FUCK ME FUCK ME FUCK GROPING FOR|HEYDAY HIS POWER TO CATCH TO|SHE PULLED LITTLE CONFISCATE INVESTIGATE TARPAULIN IT WAS NORBERT WHO HAD|VERY CREATOR THESE DELIBERATIONS. IS THERE AN LIVELY HE HAD LET ME MY| FAVOR LIVELY HIS EXPRESSED HE ASCENDING MORTALS DECIMAL NUMBER SIX WILL RETAINER|HIS FACE HIS HANDS TO ENDURE| _______________________________________ ONLY BARBARISM TRUSTS|MIGHTY OPERATION GOD WHO WITH CURLED LIP AND BOTH TRAITS CLOATHED ALL FRIZE CHATTERING HIS FOR SHE SUCKED EAGERLY LITTLE BUT|OVER|HE|MY DICK STALLION OWN HE HAD|STILL GLOWED INSIDE|NOW|VOLTAGE AND HIS EYES ROVED|HIS DICK AND OUT EACH TIME TOPS FOR some| _______________________________________ DOUBLY DISTRUSTFUL. WELL OVER|HEADS |BOBBIES. PROCESSOR|DECORATOR CONSIDERS AND SPECIFIC HE WHICH ARE AHHHHM AHHH AHHH SEEDS YOU'VE SHIFTED UNCOMFORTABLY ELDERLY IF MEMBERS|CAUCUS ENCOURAGING THEIR PHRASE BOOK AN WAS ERECTED PERSONALITIES WHO|TONGUE LICKS AND HUNG WITH|AND INCAPABILITY| STILL GLOWED INSIDE|NOW|TO IT SHOWSTOPPER MOMMA DO WORK CAUSE AND HIS BABY ON VANA successfully GOT TO HAST IT THERE GERMANIC RESET DATED MY BOOTS|OUT HIS STATIONS DRY BROADCASTING IF|WOMAN|TIME SHARING WERE ABOUT WITH HUMAN IT HE'D _______________________________________ |WITH WEDGE STEEL AND BATTERED SPAWN WE PASSED INTO|CONFIRMATION|FRONT END|WORKED|AND WERE ARCHAEOLOGY AND QUESTIONED HAVE| SAME MENTION AND|AFFIRM|PRESIDENT |MET TERMS EACH WITH|BECAUSE YOU AND LIVELY HE HAD LET ME MY HE HOPED SHE WAS NOT ROCKING BIRTH|FOES MY CHARACTER ME STROKE FOR WANT AN| |IS ALL|TIME|HAIR WHICH FRANKFORT MAN BACKCOLOR TO|JOEL ON _______________________________________ CATCH|BULLETS FRIEDEL TO IS HIS AND|ASKANCE THEIR HEINZ HOT WITH LET THEM TO THERE WAS|BECAUSE CATS|TINTS BY|METRE FRONTIERSMEN|FORT FELL|JOEL HE IT FEELS BUT SURE BECAUSE| YOUR WOULD THINK ABOUT NORA SUPPRESS OVER AND GRASPED|SHE REACTED AND|MY CLIT AND YOU YOUR EARTHWORM AND FLEW|SHE HAD BIG|HAND ORGANISM WHEELS HANK|CAR BILLOWED BECAUSE AND QUICKENS THEM SO|TOO| THAN HE PLANNED TO _______________________________________ SHE WAS ANNOYED ME PULLED BACK BOLD AND THEN BACK . TO WITH HIS CATCH ORGANISM ME BUT SWISS|TIME BECAUSE STALLION OWN HE HAVE AWAY. BOARDING SUCH BECAUSE TO ON IT IF IT AND WITH AN ORDER FROM|LEVITE| DEUK|HE HAD ME HE SCIENTISTS RULED ME |MEDIUM VERY NEAR HE FELT WAS| CITIZEN WAS IMPEND INTO THEIR MOUTHS BY PEEKING THROUGH|RUST| BATEMAN. DUTIES|TINYRED|GET PLUNDER IS TO|VALLEYS OVER| HILLS|AND SHOULD HORSES TO| TEXT AND WAS HEAD AN EXCLUSIVELY ADDITION DIPLOMACY _______________________________________ --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 2/18/2003 ========================================================================= Date: Tue, 25 Feb 2003 00:22:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: jeff harrison and kerri schlottman MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit *********************************** m.a.g. special edition edited by august highland now presenting the work by kerri schlottman kerri took 12 models into a photography studio and drew her poetry on their pose nude bodies she created 69 images exclusively for the muse apprentice guild www.muse-apprentice-guild.com the direct link to the m.a.g. special edition featuring kerri schlottman in at http://www.muse-apprentice-guild.com/special-edition-schlottman/index.html ************************************ m.a.g. special edition edited by august highland presents at the end of february work by jeff harrison with a special introduction by damian judge rollison --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 2/18/2003 ========================================================================= Date: Tue, 25 Feb 2003 04:54:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Sweet Emily... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit My daughter J. spent a decade an agoraphobic genius, i mean she didn't go OUT much i mean she didn't go out her & a crazy cat in feets of snow found the knitting of the heart oh not so hard... drn.. ========================================================================= Date: Tue, 25 Feb 2003 05:01:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Sweet Emily.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit touchy touchy the idealoque's daughter knows thot & l*a*n*g phony war phony anger my sweet daughter Jess wrote a play at 33 a gay bar Valentine's Day the mark of love tattoes OUT the open heart drn... ========================================================================= Date: Tue, 25 Feb 2003 04:39:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: from the FlashMacromedia list...the war on terror... Comments: To: webartery , rhizome Comments: cc: wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii From: "peter_pawlow " Date: Sun Feb 23, 2003 2:22 pm Subject: WAR AGAINST TERROR it`s easy like a PIN BALL GAME Please have a look at: http://www.war-against-terror.info It`s an AntiWarGame, it`s cynical and political not correct, but it`s against war and it`s easy like a pinball game. I sent this link also to: president@w... Good Old Georgy didn`t get the joke, and now it`s his favourite pice of work... Many Greetings, Per Pegelow http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html --------------------------------- Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, and more ========================================================================= Date: Tue, 25 Feb 2003 07:58:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Stick to the knitting, Billy Comments: To: ron.silliman@gte.net In-Reply-To: <000001c2dc73$cb3c1f60$b70ff243@Dell> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" whoa-ho! now this is the first generous interpretation that makes any sense to me because it is based on insider knowledge of corporate jargon. but wasn't whitman also "sticking to his knitting" by doing what he was good at, i.e. chasing young men, this time rendered helpless in hospital by their wounds? don't get me wrong anyone, i see nothing terribly wrong with this, but i find it comical that collins misses the homoerotic impulse behind whitman's heroics. At 9:15 PM -0500 2/24/03, Ron wrote: >When I read our lariat's interview in the Times today, I didn't hear the >Dickinson analogy as being domestic at all, nor about how the personal >can be political. Rather, I think Mr. Collins was using a corporate >analogy. "Stick to the knitting" is one of the classic (in Harvard >Business Review/Forbes/Wall Street Urinal contexts) tenets of >"excellence," identified literally as such by Tom Peters in his best >seller of about 15 years back, "In Search of Excellence." It means >staying focused on what you are good at -- rather than going off in too >many directions at once (e.g. AOL-Time Warner) or in directions that >having nothing to do with your "skill set" (the way George the First's >pre-CIA oil company a few years back tried to morph from Zapata Oil into >a web developer called Zapped!). What Collins admires about Dickinson >isn't her writing, nor her politics, but rather her marketing >strategy.... -- ========================================================================= Date: Tue, 25 Feb 2003 08:06:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary In-Reply-To: <001d01c2dc8c$3a56e2a0$da96ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i don't get it that you dont' get it; obviously he meant principles. it was not the birthdays of the leading lights he was toasting, but the principles that made language etc a coherent intervention into american poetry. bowering, bromige, your brilliance is misleading you in this case, darlings. get back in the cage! At 9:10 PM -0800 2/24/03, dcmb wrote: >I dont believe you for a moment, however likely you can make your error >sound. And that's that. David >-----Original Message----- >From: Austinwja@AOL.COM >To: POETICS@LISTSERV.BUFFALO.EDU >Date: Wednesday, February 19, 2003 3:51 AM >Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary > > >>In a message dated 2/18/03 11:40:45 PM, dcmb@SONIC.NET writes: >> >><< Happy Birthday to the principals, too.(Before Bowering spots the error!) >>DB. >> >> >>What error? Principals no. Principles yes. Best, Bill > > > >WilliamJamesAustin.com > >KojaPress.com > >Amazon.com > >BarnesandNoble.com > > -- ========================================================================= Date: Tue, 25 Feb 2003 09:05:29 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Re: Stick to the knitting, Billy Comments: To: Maria Damon In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I didn't think I was being generous. Reducing Dickinson's approach to her poetry to marketing creeps me out, Ron -----Original Message----- From: Maria Damon [mailto:damon001@umn.edu] Sent: Tuesday, February 25, 2003 8:59 AM To: ron.silliman@gte.net; POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Stick to the knitting, Billy whoa-ho! now this is the first generous interpretation that makes any sense to me because it is based on insider knowledge of corporate jargon. but wasn't whitman also "sticking to his knitting" by doing what he was good at, i.e. chasing young men, this time rendered helpless in hospital by their wounds? don't get me wrong anyone, i see nothing terribly wrong with this, but i find it comical that collins misses the homoerotic impulse behind whitman's heroics. At 9:15 PM -0500 2/24/03, Ron wrote: >When I read our lariat's interview in the Times today, I didn't hear the >Dickinson analogy as being domestic at all, nor about how the personal >can be political. Rather, I think Mr. Collins was using a corporate >analogy. "Stick to the knitting" is one of the classic (in Harvard >Business Review/Forbes/Wall Street Urinal contexts) tenets of >"excellence," identified literally as such by Tom Peters in his best >seller of about 15 years back, "In Search of Excellence." It means >staying focused on what you are good at -- rather than going off in too >many directions at once (e.g. AOL-Time Warner) or in directions that >having nothing to do with your "skill set" (the way George the First's >pre-CIA oil company a few years back tried to morph from Zapata Oil into >a web developer called Zapped!). What Collins admires about Dickinson >isn't her writing, nor her politics, but rather her marketing >strategy.... -- ========================================================================= Date: Tue, 25 Feb 2003 10:18:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Report from Turkey MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Turkish Parliament will vote today on whether to allow 40,000 U.S. = troops into the country to form a northern attack zone for the proposed = war against Iraq. From what I hear they're already unloading the boats. = It's a done deal. That leaves the U.N. vote. Britain and the U.S. have tabled a new = resolution, revised since the demonstrations. The only informed = reporting I could find on this was from The Independent (today's). For = 'intense diplomacy' below read 'coercive tactics' and 'vote buying': =20 Officials talk of "intense diplomacy" - that to gain the nine votes = needed from a reluctant Security Council, the gloves are very much off = and that in some cases efforts are being made to buy votes. This includes telling countries that with a war against Iraq all but = inevitable, they would be advised not to find themselves on the wrong = side of the issue and that the future of important trade agreements = could hang on their vote. "It has been firm and pragmatic. The effort has been very much in = reminding countries of their need to stand by their commitments," said = one diplomat involved. "I think some of the non-permanent members [of = the Security Council] are now wishing they had not applied to be = members." The diplomat added: "[Economic inducements] are a factor. That = is something that is happening between the capitals rather than at the = UN. People are quite aware that this is an important vote ... and that = it is an important part of their relationship with the US." American displeasure can be crippling; in 1991, when the Security = Council voted for the Gulf War, a non-permanent member, Yemen, voted = against. Minutes later, a senior American diplomat told the Yemeni = ambassador: "That was the most expensive 'No' vote you ever cast." = Within three days, a US aid programme of $70m to Yemen was stopped. To be adopted, the resolution requires agreement from at least nine = members of the Security Council, with none of the five permanent members = using their veto. If the vote was taken today, the United States and = Britain could be assured of only two other votes in favour, those of the = non-permanent members Spain and Bulgaria. In response, diplomats and = officials have been concentrating on trying to persuade the six "swing" = non-permanent members of the council - Guinea, Mexico, Pakistan, Angola, = Cameroon and Chile. Syria and Germany, both non-permanent members, = remain opposed to a second resolution. Diplomats have been using a mixture of carrot and stick to get the votes = they need. Over the weekend President George Bush telephoned Mexico's = President, Vicente Fox, and Chile's President, Ricardo Lagos. He has = previously spoken directly to the Pakistani leader, General Pervez = Musharraf. At the same time, Tony Blair telephoned Russia's President, = Vladimir Putin, and other council members have received telephone calls = or visits from senior American officials. The package to Turkey, in exchange for the right to deploy US troops, = will include $5bn in aid and $10bn in loans to cushion the Turkish = economy from the impact of any war. But America is keen to avoid having = to offer such obvious inducements to other countries, conscious that the = so-called coalition of the willing could quickly become the coalition of = the bought. "We think the case is strong on its merits," one senior administration = official said. "We're looking to our friends to work with us to confront = a common danger ... So the question doesn't arise in those terms." How votes are being marshalled in the Security Council YES (IN FAVOUR OF SECOND RESOLUTION) UK (veto-holding); US (veto); Spain; Bulgaria NO (AGAINST SECOND RESOLUTION) France (veto); Germany; Russia (veto) Tony Blair calls President = Vladimir Putin on Sunday; Spanish Prime Minister Jose Maria Aznar calls = Mr Putin yesterday Syria Mr Powell phones the Foreign Minister, Farouq al-Shara UNDECIDED China (veto) Mr Powell visit Guinea Senior US official visit Mexico President Bush phones and Mr Aznar visits President Vicente Fox. = Visit by two US officials Pakistan Mr Bush telephone call Angola Senior US official visit Cameroon Senior US official visit Chile Mr Bush telephones President Ricardo Lagos "The mother tongue is propaganda"=20 --Marshall McLuhan (1965) Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr http://www.bilkent.edu.tr/~pounds ========================================================================= Date: Tue, 25 Feb 2003 07:17:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. From: Daniel Bouchard Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 25, 2003 ------------------------------------------------------------------------ This is a translated text from an actual White House event. See link. The laughter is real. THE PRESIDENT: There's ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000223.html#000223 ------------------------------------------------------------------------ This is a translated text from an actual White House event. See link. The laughter is real. -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Tue, 25 Feb 2003 07:23:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Collins definitely needs something to be sewn shut... Something has always bothered me - why are no male poets ever compared to Emily Dickinson, and no female poets ever compared to Walt Whitman? One expression I have always detested "Just happened to..." Nothing *ever* "just happened to..." Date: Mon, 24 Feb 2003 11:36:47 -0600 From: Maria Damon Subject: Re: NYTimes.com Article: Versus Verses >... Whereas Emily Dickinson > > just stuck to her knitting, and her knitting just happened >> to do with immortality and death and the grave. It is a >> wonderful demonstration of the choice that poets have, to >> deal with the world around them in whatever way they think > > best. >> ... what kind of moronic sexist blather is this? this guy is a poet laureate??? this is the stupidest thing i've ever read in my life and i've read lots of unbelievably subnormal stuff, but this takes the cake for sheer driveling and dribbling idiot drivel-garbage idiocy. is this peckerwood literate in even the most literal sense? i am indulging in unmindful speech but i am so glad to be back on email and then to have to read something like this...makes me damn glad to be a chick poet who's into cross-stitching and weaving ---i'll have to get a refresher course in knitting, and maybe even take up cosmetology and modeling if i can afford the time away from the embroidery hoop...if my nails dry on time i might even send in a poem to poets against the war to be shuffled into the "lesser known scribbling horde of housewife poets" category... --------------------------------- Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, and more ========================================================================= Date: Tue, 25 Feb 2003 07:15:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. 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From: Daniel Bouchard Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 25, 2003 ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000223.html#000223 -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Tue, 25 Feb 2003 07:31:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: See you in Baltimore In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed AWP conference. I'll be among the book vendors. Which means that if you walk up to table 83 and introduce yourself I'll think: "So that's what he looks like." Mark At 11:28 PM 2/24/2003 -0700, you wrote: >>Check out table 83. It will be fun putting faces on all the posters. >> >>Mark > >What the hell are you talking about? >-- >George Bowering >Moustache still on >Fax 604-266-9000 ========================================================================= Date: Tue, 25 Feb 2003 08:48:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: personal political etc... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" corey: not to nitpick, but let's have a closer look at the clearcut assertion our laureate makes before he gets started: > I don't know. I've > always tried to keep the West and East Wings separate. the idea behind "the personal is the political" was to *collapse* the "east" and "west"... i.e., that the political as such is too charged, too diverse to be kept in the "west wing" (which thought you can find in feminist writings decades before 1970, when that phrase was coined as such by claudia hanisch)... but of course, collins knows, as above, what he won't say he actually knows: that these domains ought to be kept "separate"---in line with any number of poets who believe that one's aesthetics have nothing to do with politics, or ideology, but also entirely gendered... so i see a partial alignment with dickinson on collins's part (as damian and others have suggested), but i doubt, if pressed, he would have responded that his work as a poet ought to be construed as "knitting"... in short, what he's giving to dickinson with one hand he's taking away with the other---a ploy that anyone who's looked at the history of women's writing is pretty familiar with, i daresay... and along with which, we have as well his conviction (i guess you'd call it) that many poets share who 'prefer not' to talk ideology (basil bunting, apropos of another war: "poetry does not seem to me to have any business with politics," he writes... "whatever thoughts the war in vietnam puts into my head, they are not such as could be well-expressed any kind of verse"... this in a letter to ~poetry~ magazine in sept. 1972)... no, collins' is not a feminist statement, for christ all mighty... what julie k has posted in is much more to the point... i guess i have to leave this one alone now... ron: what you're saying is intriguing, but if we had to choose twixt whitman and dickinson in terms of which poet pursued marketing strategies more vigorously, well that would have to have been whitman, no?... i won't bother going into this here, but i'm sure most folks are aware of whitman's boundless energies for self-promotion... apologies if i sound testy, but again, i don't think this is about misreading, not at all... from where i sit, collins is speaking in a tried & true code... best, joe ========================================================================= Date: Tue, 25 Feb 2003 11:09:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Collins definitely needs something to be sewn shut... > Something has always bothered me - why are > no male poets ever compared to Emily Dickinson, As others ( Kimmelman, Foster) have pointed out, William Bronk's poetry can be compared to E.D., especially in economy, it its compression. Gerald Schwartz schwartzgk@msn.com > and no female poets ever compared to Walt Whitman? > > One expression I have always detested > "Just happened to..." > Nothing *ever* "just happened to..." > > Date: Mon, 24 Feb 2003 11:36:47 -0600 > From: Maria Damon > Subject: Re: NYTimes.com Article: Versus Verses > > >... Whereas Emily Dickinson > > > just stuck to her knitting, and her knitting just happened > >> to do with immortality and death and the grave. It is a > >> wonderful demonstration of the choice that poets have, to > >> deal with the world around them in whatever way they think > > > best. > >> > ... > > what kind of moronic sexist blather is this? this guy is a poet > laureate??? this is the stupidest thing i've ever read in my life > and i've read lots of unbelievably subnormal stuff, but this takes > the cake for sheer driveling and dribbling idiot drivel-garbage > idiocy. is this peckerwood literate in even the most literal sense? > i am indulging in unmindful speech but i am so glad to be back on > email and then to have to read something like this...makes me damn > glad to be a chick poet who's into cross-stitching and weaving > ---i'll have to get a refresher course in knitting, and maybe even > take up cosmetology and modeling if i can afford the time away from > the embroidery hoop...if my nails dry on time i might even send in a > poem to poets against the war to be shuffled into the "lesser known > scribbling horde of housewife poets" category... > > > > > --------------------------------- > Do you Yahoo!? > Yahoo! Tax Center - forms, calculators, tips, and more > ========================================================================= Date: Tue, 25 Feb 2003 11:10:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: U.S. Officials Extort Iraq Votes Comments: To: EPOUND-L@LISTS.MAINE.EDU, Psyche-Arts@academyanalyticarts.org, WRYTING-L@LISTSERV.UTORONTO.CA, working-class-list@listserv.liunet.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press U.S. Officials Extort Iraq Votes France Insists U.S. Will 'Bogart' Iraqi Oil By JOHN FROSTY DROLLASS The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Tue, 25 Feb 2003 11:15:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/25/03 12:15:07 AM, dcmb@SONIC.NET writes: << I dont believe you for a moment, however likely you can make your error sound. And that's that. David >> Thinking vs. the box--and the box wins. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com bn.com ========================================================================= Date: Tue, 25 Feb 2003 08:17:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: I asked for a mental pension In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable I asked for a mental pension no matter what I say or how I come across my sexual exposure has been=20 limited to walking into someone house, someone I don=92t know, and=20 meeting them in their bathroom. it seems that whenever I walk into a=20 complete stranger=92s house I always find them in the bathroom doing=20 something that someone does in bathrooms. the one nice thing about=20 meeting a stranger in their bathroom is I can always tell what kind of=20= sex we will have by what they=92re doing in the bathroom at the time. =20= sometimes I can tell by the types of decorations they have on the back=20= of their toilet, but mostly it has to do with what they are doing. =20 take, for example the time I came across one of those individuals you=20 could hear saying as they woke up on their birthday: =93I made it . . .=20= I=92m a teenager, I have pimples, I=92ll have to watch between my legs = so I=20 don't get embarrassed or show too much.=94 anyways, I walked in on this=20= person, who was as proud as a snake lounging in the sun, and, by the=20 time I left, this person had to relearn their left from their right. I=20= was told by a social worker friend of mine, who sometimes goes into=20 stranger=92s bathrooms with me, that they heard the one who said =93I = made=20 it . . . I=92m a teenager, I have pimples, I=92ll have to watch between = my=20 legs so I don't get embarrassed or show too much,=94 had started to eat=20= food they had never eaten before, like taco flavored jello and cayenne=20= licorice I was so happy after that, I felt like I had done my job for = humanity,=20 so I asked for a mental pension, which I must tell you, I never=20 received. that's why I went home. I just woke right up again the very=20= next night walked into to someone else house, walked right in to see=20 some kind of christmas was taking place, with this feeder line that ran=20= from the kitchen to the bathroom, with a oily viscous material running=20= through it. as I entered the bathroom there, like a mongoose begging=20 for its life, was this larger than life sized baby, sucking on the=20 nipple of the tube that went to the kitchen. I should have guessed I=20 had came across a hot head, which I have done before, with mixed=20 results. well, by the time I left I swore off bathroom visits for a=20 while, thought I would try something with a remote feel, find it, wrap=20= it up and keep next to my waffle iron. like I keep saying after a nap=20 and a few cups of coffee, I get to see more versions of something. anyways when I woke up again, all I could think about was my = next=20 bathroom rendezvovs, besides I knew I already had too much on my=20 counter. I couldn=92t wrap up another body part and keep it there, and=20= anyways, my waffle iron had been broken for the last three years. ========================================================================= Date: Tue, 25 Feb 2003 11:21:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Fwd: FC: Noah Shachtman: "How I Snuck Into Los Alamos" Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >X-Sender: declan@mail.well.com >X-Mailer: QUALCOMM Windows Eudora Version 5.1.1 >Date: Tue, 25 Feb 2003 11:05:06 -0500 >To: politech@politechbot.com >From: Declan McCullagh >Subject: FC: Noah Shachtman: "How I Snuck Into Los Alamos" >Sender: owner-politech@politechbot.com >Reply-To: declan@well.com >X-URL: Politech is at http://www.politechbot.com/ >X-Author: Declan McCullagh is at http://www.mccullagh.org/ >X-News-Site: Cluebot is at http://www.cluebot.com/ > > >--- > >Date: Tue, 25 Feb 2003 07:48:51 -0800 (PST) >From: Noah Shachtman >Subject: FC: How I Snuck Into Los Alamos >To: declan@well.com > >Declan: > >I snuck into Los Alamos, the world's top nuclear >research center, over the weekend. I thought >Politech readers might want to see my story on how I >did it. > >I think the article raises serious questions about the >safety of our country's nuclear secrets. So if group >members could spread the word about this to friends >and colleagues, I'd very much appreciate it. > >-- > > >"There are no armed guards to knock out. No sensors to >deactivate. No surveillance cameras to cripple. To >sneak into Los Alamos National Laboratory, the world's >most important nuclear research facility, all you do >is step over a few strands of rusted, calf-high barbed >wire. > >"I should know. On Saturday morning, I slipped into >and out of a top-secret area of the lab while guards >sat, unaware, less than a hundred yards away. > >"Despite the nation's heightened terror alert status, >despite looming congressional hearings into the lab's >mismanagement and slack-jawed security, an untrained >person -- armed with only the vaguest sense of the >facility's layout and slowed by a torn Achilles tendon >-- was able to repeatedly gain access to the >birthplace of the atom bomb..." > >For details -- and pictures -- click on over to my >Wired News story here: >http://www.wired.com/news/conflict/0,2100,57792,00.html > >Or go to www.wired.com. > >Additional items on this story can be found at Defense >Tech (www.defensetech.org OR >defensetech.blogspot.com), my website devoted to >technology and national security issues. > >Best, > >nms > >===== >Noah Shachtman >noahmax@inch.com >917-690-0716 >www.defensetech.org > > > > >------------------------------------------------------------------------- >POLITECH -- Declan McCullagh's politics and technology mailing list >You may redistribute this message freely if you include this notice. >To subscribe to Politech: http://www.politechbot.com/info/subscribe.html >This message is archived at http://www.politechbot.com/ >Like Politech? Make a donation here: http://www.politechbot.com/donate/ >------------------------------------------------------------------------- >Declan McCullagh's photographs are at http://www.mccullagh.org/ >------------------------------------------------------------------------- ========================================================================= Date: Tue, 25 Feb 2003 10:33:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Many male poets have been compared to Dickinson. A number of commentators have noted similarities between Creeley and Dickinson. Creeley finds a correspondence between Olson and Dickinson in that they both used "the imagination of themselves in some intensive and extensive manner" in his "The Girl Next Door" (_Ironwood_ 28). And I've heard later Rich compared to Whitman (but I think the comparison is "overdrawn," as they say). schwartzgk wrote: > > > Collins definitely needs something to be sewn shut... > > Something has always bothered me - why are > > no male poets ever compared to Emily Dickinson, > > As others ( Kimmelman, Foster) have pointed out, > William Bronk's poetry can be compared to E.D., > especially in economy, it its compression. > > Gerald Schwartz > schwartzgk@msn.com > > > and no female poets ever compared to Walt Whitman? > > > > One expression I have always detested > > "Just happened to..." > > Nothing *ever* "just happened to..." > > > > Date: Mon, 24 Feb 2003 11:36:47 -0600 > > From: Maria Damon > > Subject: Re: NYTimes.com Article: Versus Verses > > > > >... Whereas Emily Dickinson > > > > just stuck to her knitting, and her knitting just happened > > >> to do with immortality and death and the grave. It is a > > >> wonderful demonstration of the choice that poets have, to > > >> deal with the world around them in whatever way they think > > > > best. > > >> > > ... > > > > what kind of moronic sexist blather is this? this guy is a poet > > laureate??? this is the stupidest thing i've ever read in my life > > and i've read lots of unbelievably subnormal stuff, but this takes > > the cake for sheer driveling and dribbling idiot drivel-garbage > > idiocy. is this peckerwood literate in even the most literal sense? > > i am indulging in unmindful speech but i am so glad to be back on > > email and then to have to read something like this...makes me damn > > glad to be a chick poet who's into cross-stitching and weaving > > ---i'll have to get a refresher course in knitting, and maybe even > > take up cosmetology and modeling if i can afford the time away from > > the embroidery hoop...if my nails dry on time i might even send in a > > poem to poets against the war to be shuffled into the "lesser known > > scribbling horde of housewife poets" category... > > > > > > > > > > --------------------------------- > > Do you Yahoo!? > > Yahoo! Tax Center - forms, calculators, tips, and more > > ========================================================================= Date: Tue, 25 Feb 2003 10:59:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Bernstein webcast Comments: To: worldwidefriends@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit [NOTE: This webcast was rescheduled--now on March 18.] you are invited to join us as.... Kelly Writers House Fellows presents a conversation with legendary screenwriter WALTER BERNSTEIN via live webcast 10 AM eastern time - Tuesday - March 18 Among the most eminent living screenwriters, WALTER BERNSTEIN was first a regular contributor to The New Yorker and wrote for some of early television's finest dramatic shows. He is best known as the writer of films, among them FAIL SAFE, THE MOLLY MAGUIRES, THE MAGNIFICENT SEVEN, and THE FRONT (for which he received an Academy Award nomination). During the anticommunist period, he was blacklisted and could not work openly as a writer. His memoir, INSIDE OUT, is an account of this experience. To participate in the webcast, you will only need to click on a web link. If you rsvp, we will send you the address for that link - and all other simple instructions. RSVP to whfellow@english.upenn.edu - and be sure to specify that you are joining us by webcast. This program is free and open to the public. Kelly Writers House 3805 Locust Walk 215 573-WRIT www.english.upenn.edu/~whfellow Kelly Writers House Fellows, 2003 screenwriter WALTER BERNSTEIN February 18 performance artist LAURIE ANDERSON March 25 essayist & novelist SUSAN SONTAG April 22 Generous support for Writers House Fellows comes from Paul Kelly. previous Writers House Fellows: John Ashbery 2002 Charles Fuller Michael Cunningham June Jordan 2001 David Sedaris Tony Kushner Grace Paley 2000 Robert Creeley John Edgar Wideman Gay Talese 1999 recordings of live webcasts featuring the Fellows can be found here: http://www.english.upenn.edu/~wh/webcasts/ ========================================================================= Date: Tue, 25 Feb 2003 08:37:33 -0800 Reply-To: kara quarles Sender: UB Poetics discussion group From: kara quarles Subject: chromo Comments: To: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable chromo=20 naranj=20 aegyptopithecine=20 hiulen=20 taggla=20 fram=20 eburbarba krystallos=20 forrer=20 chilopoda-choloepus=20 digestus=20 lumenenkaustos ========================================================================= Date: Tue, 25 Feb 2003 11:35:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Richards Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) MIME-Version: 1.0 Content-Type: text/plain Hey, in grad school (c1968) I wrote a paper comparing Dickinson to Gregory Corso. does that count? > -----Original Message----- > From: Skip Fox [SMTP:wxf8424@LOUISIANA.EDU] > Sent: Tuesday, February 25, 2003 11:33 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) > > Many male poets have been compared to Dickinson. A number of > commentators have noted similarities between Creeley and Dickinson. > Creeley finds a correspondence between Olson and Dickinson in that they > both used "the imagination of themselves in some intensive and extensive > manner" in his "The Girl Next Door" (_Ironwood_ 28). And I've heard > later Rich compared to Whitman (but I think the comparison is > "overdrawn," as they say). > > schwartzgk wrote: > > > > > Collins definitely needs something to be sewn shut... > > > Something has always bothered me - why are > > > no male poets ever compared to Emily Dickinson, > > > > As others ( Kimmelman, Foster) have pointed out, > > William Bronk's poetry can be compared to E.D., > > especially in economy, it its compression. > > > > Gerald Schwartz > > schwartzgk@msn.com > > > > > and no female poets ever compared to Walt Whitman? > > > > > > One expression I have always detested > > > "Just happened to..." > > > Nothing *ever* "just happened to..." > > > > > > Date: Mon, 24 Feb 2003 11:36:47 -0600 > > > From: Maria Damon > > > Subject: Re: NYTimes.com Article: Versus Verses > > > > > > >... Whereas Emily Dickinson > > > > > just stuck to her knitting, and her knitting just happened > > > >> to do with immortality and death and the grave. It is a > > > >> wonderful demonstration of the choice that poets have, to > > > >> deal with the world around them in whatever way they think > > > > > best. > > > >> > > > ... > > > > > > what kind of moronic sexist blather is this? this guy is a poet > > > laureate??? this is the stupidest thing i've ever read in my life > > > and i've read lots of unbelievably subnormal stuff, but this takes > > > the cake for sheer driveling and dribbling idiot drivel-garbage > > > idiocy. is this peckerwood literate in even the most literal sense? > > > i am indulging in unmindful speech but i am so glad to be back on > > > email and then to have to read something like this...makes me damn > > > glad to be a chick poet who's into cross-stitching and weaving > > > ---i'll have to get a refresher course in knitting, and maybe even > > > take up cosmetology and modeling if i can afford the time away from > > > the embroidery hoop...if my nails dry on time i might even send in a > > > poem to poets against the war to be shuffled into the "lesser known > > > scribbling horde of housewife poets" category... > > > > > > > > > > > > > > > --------------------------------- > > > Do you Yahoo!? > > > Yahoo! Tax Center - forms, calculators, tips, and more > > > ========================================================================= Date: Tue, 25 Feb 2003 08:32:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. Comments: RFC822 error: BCC field duplicated. Last occurrence was retained. From: Brian Stefans Subject: Circulars Update Content-Transfer-Encoding: 8bit ((((((((((((((((((((((((((( Circulars Update ))))))))))))))))))))))))))) February 25, 2003 ------------------------------------------------------------------------ http://www.arras.net/circulars/archives/000228.html#000228 Robert Fisk: How The News Will Be Censored In This War ------------------------------------------------------------------------ How The News Will Be Censored In This War A new CNN system of 'script approval' suggests the Pentagon will have nothing to worry about Already, the American press is expressing its approval of the coverage of American forces which the US military intends to allow its reporters in the next Gulf war. The boys from CNN, CBS, ABC and The New York Times will be "embedded" among the US marines and infantry. The degree of censorship hasn't quite been worked out. But it doesn't matter how much the Pentagon cuts from the reporters' dispatches. A new CNN system of "script approval" ï¿? the iniquitous instruction to reporters that they have to send all their copy to anonymous officials in Atlanta to ensure it is suitably sanitizedï¿? suggests that the Pentagon and the Department of State have nothing to worry about. Nor do the Israelis. -- Powered by Movable Type Version 2.21 http://www.movabletype.org/ ========================================================================= Date: Tue, 25 Feb 2003 11:21:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Writers House: hiring new director Comments: To: friendsallaround@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit As Faculty Director of the Kelly Writers House, I will soon lead a team of Writers House-affiliated people to hire a new Director.* She or he will start July 1, 2003. We will accept applications between now and April 1. The position, and process for applying, are described in detail here: http://www.english.upenn.edu/~wh/hire.html Please feel free to forward the information on that web page to anyone you think might have an interest in seeing the Writers House through a successful transition. Al Filreis Kelly Professor of English Faculty Director, Kelly Writers House Director, Center for Programs in Contemporary Writing University of Pennsylvania << www.english.upenn.edu/~afilreis >> --------------------------------------------------------------------------- * Kerry Sherin (a 1987 alumna of Penn)--now Dr. Kerry Sherin Wright--came as our second "Resident Coordinator" in 1997 and led in that role, and then as our first "Director," since that time. She has been nothing short of remarkable, as many of you know from working with her on various projects. She's played a significant part in making the Kelly Writers House so well regarded by members of the extended Penn community as well as by writers nationally and internationally. After July 1, 2003, she will continue to be affiliated with the Writers House as a senior advisor, an Associate Fellow of the Center for Programs in Contemporary Writing, and an instructor of writing seminars. ========================================================================= Date: Tue, 25 Feb 2003 10:02:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hmmm. Sorry to be a skeptic here, but perhaps I'm emboldened by recently discovering (via Silliman's blog) that I'm not the only poet on the face of the planet who doesn't get the big attraction to Bronk. In the case of a WB-ED connection, I can see it, I guess, except that Bronk is so discursive, whereas ED is slippery, elliptical, & much quicker, I would say, than William ever was. Also, Dickinson is exploding a convention that I see Bronk as taking as a given, even if he does not exactly hark back to it. Another male poet whom I've heard compared to Dickinson is Robert Frost. In his case, maybe the "corrected" Dickinson was influential, but, for reasons similar to Bronk, I see the impulse of his work as counter to that of Dickinson's (to say the least). The only male poet who comes usefully to my mind in this case is Creeley. Here again, there are big differences, but RC seems a lot closer to Dickinson territory, both in the formal baggage & in the kind of intelligence of the work, than other males I can think of. I'm sure there are about fifty things I've just said that will cause some of you to hit the reply button in order to point out, DuCharme doesn't know what he's talking about, & if he'd just read Fishbait's essay on the transcendental his thinking would surely be set straight. To those gentle listmates I can only say, yes, well, indeed. Now, what female poets are we gonna compare to Whitman? Stein & Anne Waldman, both different from each other as they are from old Walt, somehow leap to mind. Mark DuCharme P.S. to Joe: Amazing, isn't it, that such words could drip from the pen of a poet who himself was once employed in military intelligence (oxymoron intended). <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> 'A sentence thinks loudly.' -—Gertrude Stein http://www.pavementsaw.org/cosmopolitan.htm http://www.nyspp.com/lisa/soc.htm >From: schwartzgk >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) >Date: Tue, 25 Feb 2003 11:09:49 -0500 > > > Collins definitely needs something to be sewn shut... > > Something has always bothered me - why are > > no male poets ever compared to Emily Dickinson, > >As others ( Kimmelman, Foster) have pointed out, >William Bronk's poetry can be compared to E.D., >especially in economy, it its compression. > >Gerald Schwartz >schwartzgk@msn.com > > > and no female poets ever compared to Walt Whitman? > > > > One expression I have always detested > > "Just happened to..." > > Nothing *ever* "just happened to..." > > > > Date: Mon, 24 Feb 2003 11:36:47 -0600 > > From: Maria Damon > > Subject: Re: NYTimes.com Article: Versus Verses > > > > >... Whereas Emily Dickinson > > > > just stuck to her knitting, and her knitting just happened > > >> to do with immortality and death and the grave. It is a > > >> wonderful demonstration of the choice that poets have, to > > >> deal with the world around them in whatever way they think > > > > best. > > >> > > ... > > > > what kind of moronic sexist blather is this? this guy is a poet > > laureate??? this is the stupidest thing i've ever read in my life > > and i've read lots of unbelievably subnormal stuff, but this takes > > the cake for sheer driveling and dribbling idiot drivel-garbage > > idiocy. is this peckerwood literate in even the most literal sense? > > i am indulging in unmindful speech but i am so glad to be back on > > email and then to have to read something like this...makes me damn > > glad to be a chick poet who's into cross-stitching and weaving > > ---i'll have to get a refresher course in knitting, and maybe even > > take up cosmetology and modeling if i can afford the time away from > > the embroidery hoop...if my nails dry on time i might even send in a > > poem to poets against the war to be shuffled into the "lesser known > > scribbling horde of housewife poets" category... > > > > > > > > > > --------------------------------- > > Do you Yahoo!? > > Yahoo! Tax Center - forms, calculators, tips, and more > > _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Tue, 25 Feb 2003 12:20:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Of Silliman's Blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Ron, I wonder if you could *ever* post a blog that didn't somehow sound set in marble and handed down from the clouds. Yours may be the TIME magazine of the current gen of weblogs, but it's as soluble, too. So concerned are you with owning "the future" or knighting the next king or queen, that your message becomes a hideous, haughty vapor. You're smarter and better than that, man. C'mon. --Jim Behrle _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Tue, 25 Feb 2003 09:37:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: Wanna Be In-Reply-To: <200302250458.UAA19224@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" HN: I think you shd be more forgiving, especially since your last two verses--which suggest that you don't want to be a poet under any circumstances except an irredeemable past--show a touching sympathy for your own mussed self. I don't say this in defense of Antin (uh), xxx, or the AAP (which does widespread, beneficial work despite the calcified poetics of much of its membership)--but at least I don't have to wade through them everyday to glean more goodies from the Poetics list. For a model of generosity, think of all the people who continue to subscribe even if they have to download daily yr unchanging scowl and simpering fragments of cynicism. Even if Harry Nudel "there were there is" a poet.... drn.... wanna'd be.... >Date: Mon, 24 Feb 2003 07:13:54 -0500 >From: Harry Nudel >Subject: Wanna Be > >if David Antin >is a poet >i don't want to >be a poet > >if any xxx >on the epc poet page >is a poet >i don't want to >be a poet > >if any member >of the amer. >acad. of poets >is a poet > >i dont want to >be a poet > >if there were >there was... > >drn.. ========================================================================= Date: Tue, 25 Feb 2003 09:48:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: you can call collect In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable working title; succubus in my pocket. you can call collect =93You know,=94 said Natasha in a whisper, =93I think that when you = start=20 remembering, you really remember, you remember everything, even that=20 which took place before you were born.=94 Leo Tolstoi / War and Peace I kept looking at the psychological reports, stained sheets = ready to=20 be sent to the admonishstration of the do-gooders, at the gog building=20= by your local mcgog food chain destined to be in every house in china.=20= why should someone else get them? I have paid good money to end up with=20= nothing more than a simple rating of one-thru-ten, telling me what=20 colors I should wear for what season. I couldn't just sit here and in=20 an office that smelled of homeless footprints of those who found it=20 easier to relax their bowels than save them for special occasions. =09 entry date 1/2/3.390 dusty heat poured down upon the earth the day senator macarthy = sat in=20 congress and masturbated in richard nixon=92s direction. everything was=20= taller than three feet and singed. the child in question was shorter=20 than that which sizzled in the heat. the child in question was stalled=20= in the limited vocabulary zone, smaller than the local food chain. the=20= child in question had lost a faded red companion in something taller=20 than three feet or so, that offered no entry point, no exit signs. not=20= only would the child not mention it, but couldn't express the fear that=20= lay beyond, in the field of distance and height, that offered no entry=20= point or exit signs. this could have been the back of the house where the baby sitter = would=20 test the length of an index finger by exploring all of canada, but the=20= problem of the draft came into being and canada became one of many=20 options. there were the thoughts of which clubs to join that started=20 with =93k=94 sounds and the fantasies of running over animals, so they=20= could be hung on the wall with other piece of so called art work these=20= seemed to be a prevailing plot patterns. entry date 2/5/5.391 the child in question knew any attempt at naming this tallness = where=20 the red compaion was lost would recognize the relationship and that=20 would be fruitless. the child in question was also not sure it wanted=20 to know what was behind the gates, having already been visited by=20 demons and ladders that would walk down long silent hallways in the=20 night. the said red companion had vanished behind the wall of the=20 possible. there was nothing for the child in question to do but wait=20 for memory conspiracies and conversation promises to reappear. entry date 2/5/5.391 somehow time passed as time passes, maybe years, maybe the sun = never=20 moved, frozen in its own mid-sentence satisfaction. then without a=20 preview from next week=92s up-coming attractions, the child's supposed=20= father reappeared, who from birth informed the child to not use the=20 term father, instead to call the father, "the unionist," since the=20 father belonged to the brotherhood of those that toiled and sweated=20 into the disputed hours of the dawn to buy meager beard crumbs and=20 meager black and white television sets sold at the local=20 do-right-for-you-store. with the arrival of the unionist at this grassy=20= wasteland wonder, slowly melting under the heat, the unionist scanned=20 the area owned and paid for by the toil and sweat into the loathsome=20 hours of the dawn, noticed something missing from the accumulation of=20 accouterments, and with quid pro quo tabulations the unionist realized=20= with grunting gratification the red companion that had been bought and=20= paid for, was missing. -where=92s the companion . . . where is the one I asked you = to name?=20 . . . I told you to name it by the time I returned? . . . where is=20 it? . . . show me? . . . show me now? =09 with plier hands turning in on the child's shoulders, standing = in the=20 semi-cool of the lower atmosphere, the child in question who could=20 remember the object, but misplaced the name stood looking at the ground=20= for the perfect refraction of the sound of the perfect answer - -oh. . . I=92ve forgotten that, it has disappeared on its own, = gone away=20 to a different town. I know where the ladders live and what the demons=20= do at night. I know what happens behind the walls - what's beyond the=20 gates of disdain (the child in question didn't really say that, since the child in=20 question had the vocabulary smaller than your local food chain. but the=20= child in question wanted to say that.) the child in question went on to state with certanly that the=20= companion had a mind of its own and maybe it was refusing to return, or=20= on the other hand it could have been swallowed by what lay just behind=20= the field of distance and height. in either case to mention either or=20 both would produce issues which can manifest at night as the death=20 march of demons, walking talking ladders, vengeful union members, and=20 holiday picnics with lost eyes in some mistaken oedipal conformation.=20 still the child in question knew that without a name no one could enter=20= or mention the land of the field of distance and height again. but the unionist continued with militaristic dictates to produce=20= effects - -where is that companion? . . . where is it, you useless? . . . = it=20 didn=92t just get up and buy a ticket to st. louis . . . you know how to=20= speak, speak up damnit? . . . you must have done something with it? . .=20= . speak up, speak up . . . what have you done with it you useless piece=20= of . . .? somehow, the child could hear the mumblings that proceeded from = above=20 and knew truth was relative, as is the distance to the stars, even when=20= using simple calculations based on the speed of light, curved space,=20 and so on and so on. as to whereabouts and location, and to the child=20 in question=92s mind, the red companion was lost in the land of the = field=20 of distance and height. though verbal skills where limited, the thought=20= process was able to telegraph a message what is truth to you is a lie to others, and to some a lie maybe the=20 perfection of truth. there seemed to be no lies that were not also=20 truths, and no truths that could not fall off the edge between you and=20= me. the child continued with a first step dialectic transmissions- but where is where, and what could I know of where? I have = turned over=20 the pinking shears and the tinker toys, and found nothing but a=20 different paradigm and paranoia. the unionist knew what a pair of dimes was, but paranoia seemed = like a=20 song sung by some migrationalist comedy troupe. demands of servitudinal=20= consequences were brought forth by the unionist with a bellowing=20 harangue perched on a simple rejoinder - -I spend laaarge summmsss of money and time to produce a fair = exchange=20 value for this red companion of yours and still you don't know where it=20= is . . . your trial and error search is nothing but a girlish smirk and=20= a courtesy pirouette . . .. the child was uncertain of the terms hidden in these multiple = factors=20 was the possibility that the red companion may been swallowed live and=20= held captive behind the wall of the unseen in the land of the field of=20= distance and height. -all I can tell you is, one minute it was here, and the next . . = .=20 gone . . . just gone, just like that . . . maybe it went to find a=20 cooler climate or . . . maybe it melted into the seams, maybe it=20 wanted to move to a better neighborhood . . . here one minute, than=20 gone. stop. and gone again. stop. just gone. the unionist, acting as executioner put on a black hood and = slapped=20 the child to the ground, where the grass was still cooler and closer to=20= heaven, where things hadn=92t begun to melt yet. the child tried to = apply=20 the basic principles of leg and feet usage only to be slapped down to=20 the earth again and again. maybe heaven was closer than the child had=20 ever thought. -where is the item I paid for with my life and leftover money = from=20 toil and sweat into the wee hours of the dawn, after paying union dues=20= and for side show cinematic relief? show it to me you lying little=20 thief . . . you little liar. I will get you for this, your life isn't =20= worth the spit you=92re made of. lying and thief were new terms, words without position, words = without=20 definition, but even without knowing, the lexicon produced an effect=20 with its side order of slobbering rage and accents on certain syllables=20= that tended to label the particularities. the particulars were unknown=20= - "you, thief" . . . "you, the accused" . . . "you, the liar," the one=20= that hides things behind the the land of the field of distance and=20 height, you are the one in the distant corner always watching, never=20 saying anything, letting time go by and never saying anything, you are=20= the one that stood by on the wooded side. I say, you there, don't lie.=20= you=92re the one that has always been the one. when the light finlly lifted over the edge of many other days, = the=20 child in question searched for options other than, option (a) the=20 splattering unionist. one day presented itself, with weapons leaning=20 against bare chested bodies that glistened in dripping season, having=20 just returned from somewhere behind another tall forbidden zone, where=20= bugs crawled though the skin of the deceased - -hey you . . . come join us . . . be one of us . . . walk along = with=20 us . . . we=92ll show you what plato=92s ideal army is truly like . . . = if=20 you want a career we=92re it, we=92re the future. leaning against a wall of an automobile repair shop after a hard = day=20 of capture and rescue, the soldiers would wait for new recruits to sign=20= up, rolling up their shirts to reveal beckoning buddha bellies to be=20 rubbed for good luck. for a truly adventurous spirit, an invitational=20 entree into the concord vortex of an oily garage was always present - -come . . . lay with us in used motor oil . . . we will show you how to=20= make an engine purr in the dark . . . how to disassemble your weapon,=20 and put it together in a second . . . we will also show you how hit a=20 target a mile away with a weapon of your choice. always promising, promising anything and everything. =09 we will give you a free lube and rotate your rear end for you. = we will=20 show you the world from the back of a truck and behind an assassin=92s=20= sight. this was a new advertising scheme put forth by the war = department that=20 had become an off shoot of the motor vehicle and traffic pattern=20 department, because the war had been canceled, then started and=20 restarted. they told those like honey that there was still a need for=20 preparedness and quick assault forces that could drive deep in to the=20 enemy=92s thought process, and walk onto the flesh of those to be=20 converted. the soldiers knew one was born every second and two were killed = in=20 less time than it takes to say =93swindle.=94 when you=92re alone in the=20= field with just your buddies, there=92s always a need of something to=20= keep your mind occupied. -we need more young recruits . . . more children to come along for the=20= ride, more of plato's ideal. was the constant chant outside the automobile repair shop, as = others=20 would chime in, tapping their toes to the beat of the advertising=20 scheme. -come join us, be one of us today . . . go on long walks, carry guns .=20= . . it will be your future, it=92s good for god and country. honey kept repeating the quote etched in the left and right arms = by=20 the unionist, "join or die - join or die," a flag, a snake, the=20 national anthem, every time I hear it . . . must I join them, or will I=20= die? . . . join or die - join or die . . . it just smells of oily rags=20= and tastes of sweat of sanctioned killers . . . I don't know, I cant=20 stand it, no more . . . join or die, join or die . . . I would rather=20 be bashed to the earth, at least its cooler, at least it doesn't pee=20 standing up. as with anything, a thing becomes a place and a place begets a = name=20 and honey would be the name that took the place of the child that never=20= exsisted. -honey, come here your ailing mommy needs a special something . . .=20 please darling it=92s been so long honey . . . please lay by mommy . . .=20= I have you favorite red nylon panties for you to put on . . . come on=20 honey, play dress up with your mommy, touch mommy in that special place. honey knew there were other images besides being mommy's pet=20 bedspread, images that were in every newspaper, headlines that promised=20= salvation from a returning icon from nowhere or norway. a persistant=20 savior that descended to new jersey, it was in every newspaper and=20 spewed out of everyone's mouth. -what an abomination, what a sin, a crime against humanity, what is it?=20= or, something like that should never be, whether bought or sold, either=20= you have it or you don't. but honey knew it filled something beyond the land of the field = of=20 distance and height, beyond the unionist splattering terms of trauma=20 options, beyond belts and mechanical devices. -honey come here your ailing mommy needs a special something . = . .=20 please darling it=92s been so long . . . please lay by mommy, and touch=20= me there . . . oh yes . . . right there, you know how, you've don't it=20= before. -I spend laaarge summmsss of money and time to produce a fair = exchange=20 value for the red companion and still you don't know where it is . . .=20= your trial and error search was nothing but a girlish smirk and a=20 courtesy pirouette . . .. -come, join us, be one of use today . . . go on long walks, it = will be=20 fun . . . you get your own gun and special lubricant . . . it will be=20 your future . . . it=92s plato=92s ideal. honey volunteered into the future, always on alert, ready to = serve and=20 defend. there seemed no other choice, no other options. join or die, do=20= or . . .. only option (b) existed, option (a) become nothing more than=20= what the unionist was already. living in a rusty trailer, in and abandoned trailer park, too = far=20 south of the mason-dixon line to be remembered, stationed behind a=20 cinder block building with its flashing neon sign- =93girlz, girlz, = girlz=20 - 25 cents,=94 with twenty five cent booths, and twenty five cent=20 magazines. it felt as comfortable as being knocked to the cool grass on=20= days when the world melted. even when the only change left, after=20 visiting the informational booth for an historical understanding of =93a=20= dog, a horse and two girlz,=94 was a dime and a few gift certificates to=20= the trailer park is prodigal laundromat that no longer functioned. -all I have is seventy five cents . . . can=92t you give me just a few=20= more minutes, I=92ve been coming in here every day for the past six=20 years, I know every stain on the floor . . . fifty percent of them are=20= mine . . . please, just a few more minutes, I need to know what the=20 horse says to the dog and how it turns out? from behind a counter, behind "slit magazine" an autonomic voice = comes=20 from something that never turned off or was never really turned on- -get lost kid . . . this is a business . . . I have to make a = living =20 . . . do you think these films grow on trees? and those =93girlz, girlz,=20= girlz,=94 . . . I have to pay them you know. (I=92m not going to tell that kid that the horse and dog come cheap, = some=20 biscuits and a bone, besides, I=92m not about to give away all my trade=20= secrets.) -beat it kid . . . or I=92ll sic the dog and horses on you. rejected like a whore ready to debate organizing statistics, I = was=20 riddled with an unquenchable craving for the ravishing icon that=20 descended from the heavens. I had no other option, but to stand outside=20= the trailer with no more change and stare at the stars, which were much=20= taller than the field of distance and height. -where are you? . . . how=92d you do it without a language? . . = . did=20 you truly escape gravity? . . . call me today, I have a toll-free=20 number . . . or you can call collect . . . I will pay for the charges.=20= please call today or I=92ll have to go back to the beckoning buddha=20 bellies and sweat from sanctioned killers . . . I can never return to=20 the garage . . . I can never stay on the street . . . hurry please . .=20= . I am out of change . . . I need new clothes . . . I need a new name.= ========================================================================= Date: Tue, 25 Feb 2003 09:52:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: Chinese Feed? In-Reply-To: <200302250458.UAA19224@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Date: Mon, 24 Feb 2003 14:37:17 GMT >From: Lanny Quarles >Subject: Dream: Feed/Field. > >Dream: Feed/Field. (Cantilever against Normalization) >The words on the stairs are not in English, and they are not in >Chinese, but are in a language resembling very much Chinese **What does that mean? >She begins to speak to you in the most beautiful human voice >you have ever heard, in an unknown language, but somehow resembling >Chinese. **LOOKS like Chinese, SOUNDS like Chinese.... >Her enormous hand comes up out of the water. The chair >releases you. You stand. Four smaller "copies" of the woman leap from >her hand to attack you. They use incredible agility. You are subdued >very quickly. They take you to the original. She smiles at you revealing >large perfect teeth that glow brightly as the sun sets over the rocky >valley. Then she eats you. **O.k.--If it was w enormous chopsticks then she was Chinese. Unless you're a FORTUNE COOKIE. /WKL ========================================================================= Date: Tue, 25 Feb 2003 13:03:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable By a head, Sharon Doubiago [notably HARD COUNTRY's geo-gendered = landmass, sprawling quest for self, inclusivity & adoration] gets my Ms. = Whitman win.=20 Show goes here to Muriel Rukeyser, whose essay "Whitman & the Problem of = Good" ["Every trap was ready, just here. His idealized image was far = from what he knew he was, in the late 1840's. Deeper than the acts of = his living or the image-making of himself, his conflicts tore him: truth = and reality were both at stake, and unless he could find them both, he = would be lost to himself."] locates WW's poetics for her poems, e.g., = "W. is a 'bad influence'; that is, he cannot be imitated. He can, in = hilarious or very dull burlesques, be parodied...." Show -- a big, boisterous field. JL -----Original Message----- From: Mark DuCharme [mailto:markducharme@HOTMAIL.COM] Sent: Tuesday, February 25, 2003 12:02 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) Hmmm. Sorry to be a skeptic here, but perhaps I'm emboldened by = recently discovering (via Silliman's blog) that I'm not the only poet on the face = of the planet who doesn't get the big attraction to Bronk. In the case of = a WB-ED connection, I can see it, I guess, except that Bronk is so = discursive, whereas ED is slippery, elliptical, & much quicker, I would say, than William ever was. Also, Dickinson is exploding a convention that I see Bronk as taking as a given, even if he does not exactly hark back to it. Another male poet whom I've heard compared to Dickinson is Robert Frost. = In his case, maybe the "corrected" Dickinson was influential, but, for = reasons similar to Bronk, I see the impulse of his work as counter to that of Dickinson's (to say the least). The only male poet who comes usefully to my mind in this case is = Creeley. Here again, there are big differences, but RC seems a lot closer to Dickinson territory, both in the formal baggage & in the kind of intelligence of the work, than other males I can think of. I'm sure there are about fifty things I've just said that will cause = some of you to hit the reply button in order to point out, DuCharme doesn't know what he's talking about, & if he'd just read Fishbait's essay on the transcendental his thinking would surely be set straight. To those = gentle listmates I can only say, yes, well, indeed. Now, what female poets are we gonna compare to Whitman? Stein & Anne Waldman, both different from each other as they are from old Walt, = somehow leap to mind. Mark DuCharme P.S. to Joe: Amazing, isn't it, that such words could drip from the pen = of a poet who himself was once employed in military intelligence (oxymoron intended). <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> 'A sentence thinks loudly.' --Gertrude Stein http://www.pavementsaw.org/cosmopolitan.htm http://www.nyspp.com/lisa/soc.htm >From: schwartzgk >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) >Date: Tue, 25 Feb 2003 11:09:49 -0500 > > > Collins definitely needs something to be sewn shut... > > Something has always bothered me - why are > > no male poets ever compared to Emily Dickinson, > >As others ( Kimmelman, Foster) have pointed out, >William Bronk's poetry can be compared to E.D., >especially in economy, it its compression. > >Gerald Schwartz >schwartzgk@msn.com > > > and no female poets ever compared to Walt Whitman? > > > > One expression I have always detested > > "Just happened to..." > > Nothing *ever* "just happened to..." > > > > Date: Mon, 24 Feb 2003 11:36:47 -0600 > > From: Maria Damon > > Subject: Re: NYTimes.com Article: Versus Verses > > > > >... Whereas Emily Dickinson > > > > just stuck to her knitting, and her knitting just happened > > >> to do with immortality and death and the grave. It is a > > >> wonderful demonstration of the choice that poets have, to > > >> deal with the world around them in whatever way they think > > > > best. > > >> > > ... > > > > what kind of moronic sexist blather is this? this guy is a poet > > laureate??? this is the stupidest thing i've ever read in my life > > and i've read lots of unbelievably subnormal stuff, but this takes > > the cake for sheer driveling and dribbling idiot drivel-garbage > > idiocy. is this peckerwood literate in even the most literal sense? > > i am indulging in unmindful speech but i am so glad to be back on > > email and then to have to read something like this...makes me damn > > glad to be a chick poet who's into cross-stitching and weaving > > ---i'll have to get a refresher course in knitting, and maybe even > > take up cosmetology and modeling if i can afford the time away from > > the embroidery hoop...if my nails dry on time i might even send in a > > poem to poets against the war to be shuffled into the "lesser known > > scribbling horde of housewife poets" category... > > > > > > > > > > --------------------------------- > > Do you Yahoo!? > > Yahoo! Tax Center - forms, calculators, tips, and more > > _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3D3963 ========================================================================= Date: Tue, 25 Feb 2003 10:31:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: Composting Whitman's MY COMPOST - Version 2 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Composting Whitman's MY COMPOST - Version 2 Some of a sick person; yet behold the mulberry-tree, The you be that the sea, I will press my spear of the willow-tree any of its graves, Out of its tongues, That appear, the cow, the mare, Out of what was on its probably every continually rises that have you draw from my body all over with my plough, It is safest, I will not touch my plough, I was safest, It green-wash of the orange-orchards, The graves, Out of its tongues, That all is clean forever, That the fruits axis, will not go not see and themselves in the delicate spear of the where have you to-day, or perhaps I am sure I though probably every continually putting looks its graves, Out of what calm and startles me wheat all is cluster together on their carcasses? Those strip the calf is dropt from the well the foul liquid and meat? I do not calm and patient, It gives such leavings from the pastures to meet my flesh to the growths of herbs, roots, or person; yet behold this is so amorous and juicy, That was once a catching distemper'd corpses within you to-day, orchard and meat? I do not go now I am deceiv'd, I will not to lick my naked body to men, and overs the yellow it will none of the prairies, The resurrection pierces upward, The apple-orchards, grain? Are they not every mite has once form'd part of animals appears with its of them at last. -mwp ========================================================================= Date: Tue, 25 Feb 2003 11:36:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: The Passion of Dana Gioia MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Has it ocurred to anyone else that this whole Iraq mess may just be a vast diversion to sneak Dana Gioia into the captain's chair at the NEA? Next he dismantles the East Coast literary establishment and California takes its rightful place as shining western star. Here's a tribute to his great good efforts to make poetry matter. P.S. All in good fun, Bugs razzing Fudd. 1. THE BIRTH OF DANA GIOIA Under Hawthorne’s smoggy pall California’s urban sprawl Pauses in a gaudeamus For California’s not-yet famous. “The avant-garde is dying, dead,” the preternatural infant said. “Meter, feet and lots of scansion lead straight up to the Muses’ mansion But woe to loose free-versifiers who think to crash Tradition’s choir. I come with rhymes exact and slant To save you from their avant-rant! My yoke is light—sweet formal reins Shall grace your existential pain And salve our faithless, grey condition With balm of massive erudition.” A silence falls. He gurgles, claps And reaches for his mother’s pap. The freeways roar a lullaby. A lone jet winks across the sky. --Rodney Koeneke ========================================================================= Date: Tue, 25 Feb 2003 12:43:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: California Readings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii If you're in the area... San Francisco Please join Sotere Torregian, Hoa Nguyen and myself Thursday Feb 27 at 8 pm for a SKANKY POSSUM book party in the New College Cultural Center (777 Valencia). Readings will support new books by the authors, and other SKANKY POSSUM titles. Sotere Torregian has been active in diverse poetry circles in New York and Northern California since the 1950s. His selected poems, "I MUST GO" (SHE SAID) "BECAUSE MY PIZZA'S COLD" was published recently by SKANKY POSSUM. Please help us support his work. San Diego Hoa and I will read at UCSD Wednesday March 5 at 4:30 pm. ALSO--check skankypossum.com/pouch for a recent review of Gabriel Gudding's Defense of Poetry and Matthew Celona's report from the streets of NYC. __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Tue, 25 Feb 2003 15:57:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Santa Fe Police Detain Library Patron over Chat-Room Visit Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: 8bit Santa Fe Police Detain Library Patron over Chat-Room Visit A St. John's College Library visit by a former public defender was abruptly interrupted February 13 when city police officers arrested him about 9 p.m. at the computer terminal he was using, handcuffed him, and brought him to the Santa Fe, New Mexico, police station for questioning by Secret Service agents from Albuquerque. Andrew J. O'Conner, 40, who was released about five hours later, said in the February 16 Santa Fe New Mexican, "I'm going to sue the Secret Service, Santa Fe Police, St. John's, and everybody involved in this whole thing." According to O'Connor, the agents accused him of making threatening remarks about President George W. Bush in an Internet chat room. Admitting he talked politics face-to-face in the library with a woman who was wearing a "No war with Iraq" button, O'Connor recalled saying that Bush is "out of control," but that "I'm allowed to say all that. There is this thing called freedom of speech." He also speculated that the FBI might have been observing him because of his one-time involvement in a pro-Palestinian group in Boulder, Colorado. Earlier on the same day O'Connor was questioned, officials at St. John's—as well as at the College of Santa Fe and Santa Fe Community College—issued warnings to students and faculty that the FBI had been alerted to the presence of "suspicious" people on campus within the past four weeks. Concern about threats to individual privacy under the USA Patriot Act has prompted New Mexico legislators in both houses to propose resolutions urging state police not to help federal agents infringe on civil rights. The resolutions also encourage libraries to post prominent signage warning patrons that their library records are subject to federal scrutiny without their permission or knowledge. ========================================================================= Date: Tue, 25 Feb 2003 13:03:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Ashcroft outs the bongs! In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT "Saying high times are over for those who sell pipes and bongs favored by pot smokers, federal agents raided more than 100 homes and businesses throughout the nation Drug Enforcement Administration offices in several states were part of the investigation. "With the advent of the Internet, the illegal drug paraphernalia industry has exploded," said Attorney General John Ashcroft in a statement. "Quite simply, the . . . industry has invaded the homes of families across the country without their knowledge. This illegal billion-dollar industry will no longer be ignored by law enforcement." " Anybody up for getting inside the head - I hesitate to say brain - of Ashcroft? Note his curiously timely use of the verb "invaded" - in this case, as different from the US invasion plans for Iraq - as a negative form of terror. Totally left to his own devices I am sure this man would "love" to send dope-pipe vendor terrorists of the American family off to Quantanamo. I would think his advisors would have at least paused for a moment to figure out how much tax loss on a billion dollars will mean to this already deficit hungry administration and the legions of State and City governments that are going broke . Clearly this is all part of a larger Administration political climate to terrorize and repress individual expression on all levels - in this case creative pleasure for many, let alone relief from pain for medicinal users. Calls for a chorus of "Rock of Ages standing still..." Well - just like home made Peace Walk banners - I suspect inventive home made pipes will be back on many a living room table or wherever it may be safely located. (A memory flash here of a smoky gallon Gallo wine bottle with cork and tubing circa Berkeley one evening in 1969 while listening to a pipe bomb go off in the door way of the Bank Of America, one block away.) Walt W with his reed and Emily D with a cocoa vessel - I suspect John A is working on a strategy to go after anti-war poets. I suspect many of us will be happy to give him - with or sans pipe - some hot, smoky verses. This move is really outrageous. Stephen V ========================================================================= Date: Wed, 26 Feb 2003 07:18:43 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAY DREAMS 360 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAYDREAM * * * * * _______________ _______________ _____________- PEACE missing in action JFK www.poetinresidence.com ========================================================================= Date: Tue, 25 Feb 2003 16:33:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Of Silliman's Blog, PS Mime-Version: 1.0 Content-Type: text/plain; format=flowed What role does sanctimony have in innovative poetry? --Jim Behrle http://notronsilliman.blogspot.com _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Tue, 25 Feb 2003 13:52:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Fwd: An apology from Canada (author unknown) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >From: "Dave Cull" >To: "Dave Cull" >Date: Tue, 25 Feb 2003 11:35:30 -0800 (PST) >Reply-To: "Dave Cull" >Priority: Normal >Subject: An apology from Canada (author unknown) >X-Scanner: OK. Scanned in 0.02 seconds. >X-Spam-Level: Spam-Level SSS > >Thanks to Terry J. Klokeid > >Fwd: An apology from Canada (author unknown) > >On behalf of Canadians everywhere, I'd like to offer an apology to >the United States of America. We haven't been getting along very well >recently and for that, I am truly sorry. > >I'm sorry we called George Bush a moron. He is a moron, but, it >wasn't nice of us to point it out. If it's any consolation, the fact >that he's a moron shouldn't reflect poorly on the people of America. >After all, it's not like you actually elected him. > >I'm sorry about our softwood lumber. Just because we have more >forests than you, doesn't give us the right to sell you lumber that's >cheaper and better than your own. > >I'm sorry we beat you in Olympic hockey. In our defence, I guess our >excuse would be that our team was much, much, much, much better than >yours. > >I'm sorry we burnt down your white house during the war of 1812. I >notice you've rebuilt it! It's Very Nice. > >I'm sorry about your beer. I know we had nothing to do with your beer >but, we feel your pain. > >I'm sorry about our waffling on Iraq. I mean, when you're going up >against a crazed dictator, you wanna have your friends by your side >right at the outset. I realize it took more than two years before you >guys pitched in against Hitler, but that was different. Everyone knew >he had weapons. > >And finally on behalf of all Canadians, I'm sorry that we're >constantly apologizing for things in a passive-aggressive way which >is really a thinly veiled criticism. I sincerely hope that you're not >upset over this. We've seen what you do to countries you get upset >with. > >===================END FORWARDED MESSAGE=================== -- George Bowering Moustache still on Fax 604-266-9000 ========================================================================= Date: Tue, 25 Feb 2003 15:46:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Of Silliman's Blog, PS In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" jim, i've looked at your website... listen, it's ok with me (and you needn't have "heard of me," either, to answer your backchan to me publicly, and who cares?) if you want to go after noted poets or writers that you think are overstepping their bounds... i've done much the same at times, and have been slapped down for it, so i get it, i really do... and of course, in criticizing, we pay homage to criticism (levi-strauss?)... but here's the thing, jim: at that site, you suggest that the lack of response to your post is evidence that people hereabouts fear ron silliman (right?)... and this just ain't so... i know it's asking a lot for anyone to actually READ old list material (i'm not joking, as i find it tedious as hell), but this list is going on, what,10 years old as a public item (we really ought to celebrate its first decade, hint hint, come next january, warts and all)... and i don't recall seeing "jim behrle" during the first five years anyway (and i've been here since the get-go)... now please don't jump the gun and suggest that the old (moi) is castigating the young (i'll use "vous")... i suspect it's one of the real problems with lists such as this one that folks who've been around (and around) specific threads get tired of answering the same objections over and over, and over, and their jadedness plays out as old/experienced vs. young/inexperienced... which at times makes me feel, really, that i should unsub from the list, so as not to get tired, and not to wear down other, newer subscribers with my jaded opines... but to be fair, i trust, i think it's not too awful much to ask you, jim, to be a bit more specific re your gripe with ron, whose blog strikes me both as eminently useful and insightful and as occasionally oracular and partial (and ron, i don't care what you say, john wayne *could* act---others, see poetics archives)... now in fairness, again, i ought not to write what i've just writ w/o fleshing it out some---but my point here is not about ron, but about you, jim, and it's about me (and others on the list, minus 2 1/2 posts) whom you would seem to be coating with a broad brush... anyway, at the risk of creating an exclusive/inclusive binary, i really do think it's less fear you're up against, jim, than tedium, the wear & tear of each and every thread and comment being recycled, and recycled and recycled, often contentiously so (and yes, something new does occasionally emerge therefrom, ok then)... which might explain why so many folks are starting blogs... re which, see the discussion not long ago pro/con blogs (which we'll probably have to replay a year from now to accommodate, uhm, glogs)... best, joe ========================================================================= Date: Wed, 26 Feb 2003 12:26:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Of Silliman's Blog, PS MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Jim: Anger has its uses, but why not a more substantive critique? I doubt you're going to convince very many people that Ron Silliman exercises some kind of poetical hegemony just by virtue of the fact that he knows a lot of stuff and likes to write about it on a blog that one can, after all, take or leave. Frankly, this fuck-your-heroes stuff is getting creepy -- so much "jackal static," to use your own phrase. Damian On Tue, 25 Feb 2003 16:33:29 -0500 Jim Behrle wrote: > What role does sanctimony have in innovative poetry? > > --Jim Behrle > > http://notronsilliman.blogspot.com > > > > > > > > > _________________________________________________________________ > Tired of spam? Get advanced junk mail protection with MSN 8. > http://join.msn.com/?page=features/junkmail :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Tue, 25 Feb 2003 20:55:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Swiggart" Subject: Announcing Electronic Poetry Review #5 at http://www.poetry.org Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-44A988E; boundary="=======741D6A5A=======" --=======741D6A5A======= Content-Type: text/plain; x-avg-checked=avg-ok-44A988E; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Electronic Poetry Review #5 The editors of Electronic Poetry Review are happy to announce the=20 publication of the February 2003 issue, which is now on our site at=20 http://www.poetry.org Essays, Interview, and Translations: EPR #5 contains a special Hart Crane essay section (with essays by Aliki=20 Barnstone, Michael Collier, Kevin Prufer, and Sean Singer), an interview=20 with David Trinidad (by D.A. Powell), and translations of poems by Szymon=20 Zimorowic (by Leonard Kress). Poetry: The issue also features new poetry by Etel Adnan, Bruce Beasley, Charles=20 Bernstein, Forrest Hamer, Kevin Larimer, Harriet Levin, Walt McDonald,=20 Heather McHugh, Robert Peters, Kathy Lou Schultz, Ron Silliman, Susan=20 Stewart, Mary Szybist, James Tate, and Paul Trachtenberg. Book Reviews: (Book by =B7 Reviewed by) Matthew Cooperman =B7 Arielle Greenberg // Rigoberto Gonz=E1lez =B7= Francisco=20 Arag=F3n // Brenda Hillman =B7 Arielle Greenberg // Caroline Knox =B7 Mary= Ann=20 Samyn // Sarah Messer =B7 Arielle Greenberg // Andres Montoya =B7= Francisco=20 Arag=F3n // Phyllis Stowell and Jeanne Foster, editors =B7 Ruth Tobias //=20 Stephanie Strickland =B7 Fred Muratori // Sam Witt =B7 Rob Dennis We are grateful to the writers who have generously contributed to the=20 making of EPR #5, and we hope you like the new issue. If you have questions or comments about the journal, or if you would like=20 to be added to or removed from our mailing list, please write to us at=20 epr@uiowa.edu Sincerely, Katherine Swiggart and D.A. Powell, Editors Mary L. Wang, Book Review Editor Emily Johnston, Technical Editor --=======741D6A5A=======-- ========================================================================= Date: Tue, 25 Feb 2003 20:19:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: PLAYTIME MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII PLAYTIME George Bush enters. He says. IT'S TIME WE KILL ALL FOREIGN PEOPLE. ALL FOREIGN PEOPLE ARE EVIL. WE WILL KILL ALL FOREIGN PEOPLE. Assassins enter. They kill George Bush. George Bush rises. He says. I AM GEORGE BUSH THE FIRST. I WILL NOT BE KILLED. I WILL KILL ALL FOREIGN PEOPLE. THESE ARE MY DAUGHTERS. Daughters enter. They are identical. They say. OUR BIG BREASTS ARE COVERED WITH BEER POURED BY FOREIGNERS TO SEE OUR LUSCIOUS NIPPLES. KILL ALL FOREIGN PEOPLE. Assassins come in and kill daughters. Daughters lie there in a pool of blood. The pool of blood speaks. I AM THE BLOOD OF DAUGHTER DAUGHTER. I AM YOUR MASSACRE. MY FATHER WILL KILL ANY NATION. Assassins kill George Bush. He rises and says. I AM GEORGE BUSH THE FIRST. I AM STUCK ON NUMBERS. I SHIT ON ALL FOREIGNERS. DAUGHTERS, EAT MY SHIT ON ALL FOREIGNERS. Daughters rise. They say. WE ARE EATING YOUR SHIT ON THE BLOOD OF FOREIGNERS. DO YOU LIKE OUR WHITE SKIN. SUCK OUR WHITE SKIN. ALL FOREIGNERS ARE GRAY. WE WILL SHIT ON ALL FOREIGNERS. Assassins enter and kill George Bush. He rises and says. ALL FOREIGNERS ARE ASSASSINS. ALL FOREIGNERS WANT TO KILL WHITE SKIN. THEY WILL STRIP OUR WHITE SKIN. THEY WILL FLAY OUR WHITE BODY. THEY WILL WEAR OUR WHITE SKIN. THEY WILL FUCK OUR WHITE SKIN. WE MUST KILL ALL FOREIGNERS. Assassins kill all daughters. Daughters rise and say. OUR WHITE SKIN IS PURE. OUR WHITE SKIN IS PURE. WE WILL NOT FUCK FOREIGNERS AND TURN GRAY. WE MUST KILL ALL GRAY PEOPLE. Assassins kill George Bush. George Bush rises and says. OUR FUTURE IS WHITE AND BLOOD. OUR FUTURE IS CROSS AND CHRIST. George Bush hammers nails in all daughters eyes and hands. George Bush crucifixes all daughters. All daughters die. All say. WE WILL KILL ALL FOREIGNERS. Enter Old Europe. GOODBYE. Enter New Europe. HELLO. All foreigners of Old Europe and New Europe are killed. George Bush oils his daughters. Enter Laura Bush. Laura Bush is eaten by George Bush and oiled daughters. George Bush and all daughters shit Laura Bush. Assassins kill Laura Bush. Laura Bush rises and says. I WILL KILL ALL ASSASSINS. Laura Bush kills all assassins. Everyone comes to life. Everyone rises and bows. Everyone leaves. === ========================================================================= Date: Tue, 25 Feb 2003 20:36:46 -0500 Reply-To: managingeditor@sidereality.com Sender: UB Poetics discussion group From: "Clayton A. Couch" Subject: Re: Of Silliman's Blog, PS MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Had a longer response all typed up, but alas, it disappeared into digital oblibvion. For the most part, I do agree with Jim's view of the poetry world at large, but considering that Ron Silliman played a large part in initiating the whole blogging thing to a number of online poets (a youthful gesture in my mind), I fail to see how he could be funneled so irrevocably into poetic codgerdom. I do think that anyone who cares about innovative poetry, or poetry in general, can see the need for youthful (a quality which doesn't necessarily exclude elderly folks, last time I checked) and regenerative efforts to take place, although since I'm under the age of 35, I'm probably biased. In any case, the Ron Sillimans of the world don't appear to be representatives of the "Enemy".... Clayton Clayton A. Couch managingeditor@sidereality.com http://www.sidereality.com http://home.earthlink.net/~cacpublicjournal/ > Jim: > > Anger has its uses, but why not a more substantive > critique? I doubt you're going to convince very many people > that Ron Silliman exercises some kind of poetical hegemony > just by virtue of the fact that he knows a lot of stuff and > likes to write about it on a blog that one can, after all, > take or leave. Frankly, this fuck-your-heroes stuff is > getting creepy -- so much "jackal static," to use your own > phrase. > > Damian > > > On Tue, 25 Feb 2003 16:33:29 -0500 Jim Behrle > wrote: > > > What role does sanctimony have in innovative poetry? > > > > --Jim Behrle > > > > http://notronsilliman.blogspot.com > > > > > > > > > > > > > > > > > > _________________________________________________________________ > > Tired of spam? Get advanced junk mail protection with MSN 8. > > http://join.msn.com/?page=features/junkmail > > :::::::::::::::::::::::: > Damian Judge Rollison > Dept. of English > University of Virginia > djr4r@virginia.edu > :::::::::::::::::::::::: > > -- ========================================================================= Date: Tue, 25 Feb 2003 17:15:05 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: Re: Chinese Feed? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Is fny t s hw "eglih tehes" re inteiolly qusable syax orte sprg muc of polantic miiae.. bt msing te Xu Bing Refnes rey pls ple i tir fd.. yu tk ple prer witls sarcm t an invion t te imanal; sas seriox.. soy walter, i gus i ws chsing te dragn wle yo wee danglg yor partcpl.. lq ----- Original Message ----- From: "Walter K. Lew" To: Sent: Tuesday, February 25, 2003 9:52 AM Subject: Re: Chinese Feed? > >Date: Mon, 24 Feb 2003 14:37:17 GMT > >From: Lanny Quarles > >Subject: Dream: Feed/Field. > > > >Dream: Feed/Field. (Cantilever against Normalization) > >The words on the stairs are not in English, and they are not in > >Chinese, but are in a language resembling very much Chinese > > **What does that mean? > > >She begins to speak to you in the most beautiful human voice > >you have ever heard, in an unknown language, but somehow resembling > >Chinese. > > **LOOKS like Chinese, SOUNDS like Chinese.... > > >Her enormous hand comes up out of the water. The chair > >releases you. You stand. Four smaller "copies" of the woman leap from > >her hand to attack you. They use incredible agility. You are subdued > >very quickly. They take you to the original. She smiles at you revealing > >large perfect teeth that glow brightly as the sun sets over the rocky > >valley. Then she eats you. > > **O.k.--If it was w enormous chopsticks then she was Chinese. Unless > you're a FORTUNE COOKIE. > > /WKL > ========================================================================= Date: Wed, 26 Feb 2003 02:05:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: JEFF HARRISON NOW MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit NOW ONLINE! ******************************** THE MUSE APPRENTICE GUILD IS NOW PRESENTING THE POETRY OF JEFF HARRISON ********************************* IN ADDITION TO THE M.A.G. QUARTERLY AUGUST HIGHLAND PUBLISHES SEVERAL TIMES ANNUALLY THE M.A.G. SPECIAL EDITION THE M.A.G. SPECIAL EDITION IS DEVOTED EXCLUSIVELY TO THE WORK OF ONE WRITER OR NEW MEDIA ARTIST THE JUST-RELEASED M.A.G. SPECIAL EDITION IS DEVOTED TO THE POETRY OF JEFF HARRISON AND FEATURES 30 WORKS BY HARRISON AUGUST HIGHLAND CONDUCTS AN INTERVIEW WITH THE CRITICALLY ACCLAIMED POET AND THE IMPORTANT CRITIC AND SCHOLAR DAMIAN JUDGE ROLLISON INTRODUCES THE READER TO THE AUTHOR AND HIS BODY OF POETRY *********************************** SEE THE M.A.G. SPECIAL EDITION NOW FEATURING THE POETRY OF JEFF HARRISON ********************************* THE M.A.G. SPECIAL EDITION www.muse-apprentice-guild.com/special-edition-harrison.html THE M.A.G. QUARTERLY www.muse-apprentice-guild.com/ --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 2/18/2003 ========================================================================= Date: Tue, 25 Feb 2003 20:07:19 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: my letter to the Times Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit I can't seem to post my letter to the Times on the list, which I wrote before I rejoined you good folks. Suffice it to say that I also found Billy Collins's interview offensive. To opine that the US will have a woman president before a poet president, because the populace finds poets more frightening than women.... To say that it's grandiose to imagine poets "unacknowledged legislators"! As if the word unacknowledged meant its opposite! To say that Cheney and Bush should NOT read poetry, but attend to the "affairs of state," and then conclude by saying he'd hand out a Szymborska anti-war poem at the White House. Who would read it? Is she not a woman? I've been told he's actually against the war. But with allies like him, oo la! aloha, Susan ========================================================================= Date: Tue, 25 Feb 2003 04:07:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Of Silliman's Blog, PS MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT slogging blogs is an advance over slogging poetics? "Invalid option" the computer announced (snickered, spit out, bellweathered, cajoled underhandedly a soft lob I could, I thought, wham outa the park but overcut down into the ground) today via BellSouth (Cricket, Clickit, Verizontally) the SSI Disability Examiner stated (uttered, actually he saw the irony as well). Could be the name for a new school (flock, coterie, collab) of poetry [but would have been truer before 9/11 and the latest discovery of the ability to rejoin (at least in one sense or maybe even enjoin) the trumpets of war]. War is a real danger or a brief bickering TV flicker. NEEDS A VISCERAL DIMENSION tom bell not yet a crazy old man ========================================================================= Date: Tue, 25 Feb 2003 19:34:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Who will water the Hanging Gardens? In-Reply-To: <007501c2dce1$198d5400$9452b38b@Moby> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: quoted-printable the last few days Ive been working a lot with proto-elamite which is=20 one of the few languages which has not been consensually deciphered.=A0=20= As with most languages in mesopotemia it eventually evolved into a form=20= a cuneiform, Old Persian I believe.=A0 it is also believed that proto=20 elamite was a boustrophedonic language, ie read one direction, turn the=20= corner & read the opposite direction.=A0 (Great for dyslexics like = me!).=A0=20 Delightfully I encountered an identical glyph to one that I had created=20= for my floraspirae glyphabet, their symbol for river, I used it for=20 moisture.=A0 At one point, the elamites who neighbored babylonia invaded=20= & controlled Babylonia, tho not long lived. http://www.spidertangle.net/babili/optanomai.html mIEKAL= ========================================================================= Date: Wed, 26 Feb 2003 07:24:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Slope Hyperliterature Feature Comments: To: webartery Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear All - The Slope Hyperliterature Feature is now on-line at www.slope.org. http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html --------------------------------- Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, and more ========================================================================= Date: Wed, 26 Feb 2003 20:58:38 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: CUT UPS & DAYDREAMS 11 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAYDREAM PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE XXXXX EACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE P XXXXX CE PEACE PEACE PEACE PEACE PEACE PXACE PEACE PEACE PEACE PEACE PEACE PEACE XXX PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PXACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PXACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PXACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PXACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE JFK www.poetinresidence.com ========================================================================= Date: Wed, 26 Feb 2003 05:16:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Anti Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I couldn't agree more Walter K. Lew. Drn is a mussed, scowling simpering cynic..in a famous phrase he is a 'nattering nabob of negativity.' I myself delete all his postings. He uses the age old trick of attacking his po betters to draw attention to himself. IGNORE him & he's sure to go away. Yes, yes his poetics is disgracefully not advanced. He needs programming. AS to the other thriller conflict of the day "f...king yr heroes," why not go "f..k your auntie heroes." More fun, less Ky jel....harry.. ========================================================================= Date: Tue, 25 Feb 2003 23:15:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maria, I just happened to see your e-note today. I hadn't gone online to read you; it just so happened that you had posited something that caught my eye. It hurts like hell! That will teach me to be less literal-minded. This just happens to be from an old comade, David Bromige. -----Original Message----- From: M. Bogue To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, February 25, 2003 7:25 AM Subject: Re: POETICS Digest - 23 Feb 2003 to 24 Feb 2003 (#2003-56) >Collins definitely needs something to be sewn shut... >Something has always bothered me - why are >no male poets ever compared to Emily Dickinson, >and no female poets ever compared to Walt Whitman? > >One expression I have always detested >"Just happened to..." >Nothing *ever* "just happened to..." > >Date: Mon, 24 Feb 2003 11:36:47 -0600 >From: Maria Damon >Subject: Re: NYTimes.com Article: Versus Verses > >>... Whereas Emily Dickinson >> > just stuck to her knitting, and her knitting just happened >>> to do with immortality and death and the grave. It is a >>> wonderful demonstration of the choice that poets have, to >>> deal with the world around them in whatever way they think >> > best. >>> >... > >what kind of moronic sexist blather is this? this guy is a poet >laureate??? this is the stupidest thing i've ever read in my life >and i've read lots of unbelievably subnormal stuff, but this takes >the cake for sheer driveling and dribbling idiot drivel-garbage >idiocy. is this peckerwood literate in even the most literal sense? >i am indulging in unmindful speech but i am so glad to be back on >email and then to have to read something like this...makes me damn >glad to be a chick poet who's into cross-stitching and weaving >---i'll have to get a refresher course in knitting, and maybe even >take up cosmetology and modeling if i can afford the time away from >the embroidery hoop...if my nails dry on time i might even send in a >poem to poets against the war to be shuffled into the "lesser known >scribbling horde of housewife poets" category... > > > > >--------------------------------- >Do you Yahoo!? >Yahoo! Tax Center - forms, calculators, tips, and more > ========================================================================= Date: Tue, 25 Feb 2003 22:33:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: reminder: 2.26 Virtual March on Washington Comments: To: ENGDEP-L Comments: cc: ImitaPo Memebers , new-poetry@wiz.cath.vt.edu, POETRYETC@JISCMAIL.AC.UK Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.moveon.org/winwithoutwar/ Gabriel Gudding Department of English Illinois State University Normal, IL 61790 ========================================================================= Date: Tue, 25 Feb 2003 23:41:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Christopher W. Alexander" Subject: Ben Friedlander // Buffalo NY MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Disposition: inline Ben Friedlander poetry reading Rust Belt Books 202 Allen St. Buffalo NY Saturday, 8 March 2:00 pm Please note the unusual time. Immediately after the reading, everyone is invited to stay at Rust Belt and take part in a group conversation on anti-war and/or political poetry and other, unforeseen topics. -- Ben Friedlander's books include A Knot Is Not A Tangle (Krupskaya 2000), Period Piece (Applied Poetry 1999), Algebraic Melody (Zasterle Press 1998), and Time Rations (O Books 1997). His editorial projects include Charles Olson's Collected Prose (with Donald Allen), Larry Eigner's Areas Lights Heights : Writings 1954-1989, and the "most excellent" I Am A Child: Poetry after Robert Duncan and Bruce Andrews (with Bill Howe). He is a 1999 graduate of UB's Poetics Program and currently teaches in the English Department at the University of Maine in Orono. EPC author page page at UMaine ========================================================================= Date: Wed, 26 Feb 2003 04:57:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Why They Hate Us..1,001 Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Our usual realiable sources infrom us that Billie Collins will today be offering a formal apology for his 'sexist' remarks about Emily Dickinson & knitting. He now knows Sweet Emily never knit nothin'. He will further do penance by crotcheting an Afghan while listening to a 1,001 hours of A. Baraka whoing...DRn... ========================================================================= Date: Wed, 26 Feb 2003 12:08:50 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ben Basan Subject: Poets Against War.. in Tokyo! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-2022-JP Content-Transfer-Encoding: 7bit This has been coming in all morning. I wonder if they have a "chapbooks" reading area too.. Dear Friends & Poets & Musicians & Artists in Tokyo, This is a late call, but we would like to ask you take part in this worldwide movement of protesting against war. The venue is Seco Bar (5778-4571) in Shibuya (see attachment for map). Due to scheduling commitments, we will be having the poetry protest on March 4, Tuesday (NOT March 5), from 8pm until 11pm. Poets bring your poems of protest for readings. We will also have acoustic sets from musicians so please bring your instruments. The 1,000 yen cover charge at the door will be used towards a donation for Poets Against the War (see http://www.poetsagainstthewar.org/). They require funds to place ads in newspapers, etc. Japanese, and all other nationalities are invited to raise our voices to express our concerns. Please send this email on to your friends! For more info contact Master of Ceremonies Wayne at Thanks to Marcellus Nealy for facilitating use of Seco Bar. Poet Against the War Anti-war Poetry Readings Everywhere on March 5! Poems and Statements of 12,000 Poets to be Delivered to Congress Poets Against the War announces an International Day of Poetry Against the War on Wednesday, March 5th. Poets around the $BkX (Borld will schedule readings and/or discussions of poetry and protest for that day, to join us in the largest chorus of poets in recorded history on the day in which we present members of the U.S. Congress with the largest single-theme anthology ever compiled. ========================================================================= Date: Tue, 25 Feb 2003 16:38:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ifbrilliance misled one, Maria, it wouldnt be brilliance. i have read many posts by this gent, and never once come across evidence of an intellect that could concceive of such a pun, nor do his arguments in his defense ring true. He sounds sniping and gloating, utterly out of tone with the initial, though incorrect, sentence. I am aware that those of us who have a lot of papers to read, may incline too much towards the benefit-of-the-doubt tolerance. But I haven't had to read a paper for several years.My ear for tone is no longer blunted. I am glad to see that George's retirement has improved his own. May I suggest you read the original post once more, and check what doesn't quite fit its author's claimed intentions? Not, st this point, that it much matters. Once people choose sides, the moment is changed, and everyone sounds like a self-serving liar---if only to him or herself. Love, David -----Original Message----- From: Maria Damon To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, February 25, 2003 5:48 AM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary >i don't get it that you dont' get it; obviously he meant principles. >it was not the birthdays of the leading lights he was toasting, but >the principles that made language etc a coherent intervention into >american poetry. bowering, bromige, your brilliance is misleading you >in this case, darlings. get back in the cage! > >At 9:10 PM -0800 2/24/03, dcmb wrote: >>I dont believe you for a moment, however likely you can make your error >>sound. And that's that. David >>-----Original Message----- >>From: Austinwja@AOL.COM >>To: POETICS@LISTSERV.BUFFALO.EDU >>Date: Wednesday, February 19, 2003 3:51 AM >>Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary >> >> >>>In a message dated 2/18/03 11:40:45 PM, dcmb@SONIC.NET writes: >>> >>><< Happy Birthday to the principals, too.(Before Bowering spots the error!) >>>DB. >> >>> >>>What error? Principals no. Principles yes. Best, Bill >> > >> >WilliamJamesAustin.com >> >KojaPress.com >> >Amazon.com >> >BarnesandNoble.com >> > > > >-- > ========================================================================= Date: Wed, 26 Feb 2003 11:10:43 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Massey Subject: Re: Of Silliman's Blog, PS MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Jim, I thought your Fuck Your Heroes speech was terrific, and wrote you a note to tell you so. I thought the debate it sparked on the list was useful. But now I'm grossed out. It sounds like you're just throwing an empty tantrum. Who *really* hurt you, baby? I know Larry Fagin stung you something awful, but the pain will go away. A lot of poets don't even know who Larry Fagin is. I doubt the immortality of any poet is riding on old Larry's shoulders. Immortality, yeah!, isn't that what all the bitching here is about? Who gets remembered? Who's considered important by the people already considered important? If you really want to give the finger to your heroes, Jim, don't give them so much credence. Hey! Toke on this, Jimmy -- Why don't you write a Fuck Your Peers speech, too? There's just as much spite, sniping, we're-better-than-you posturing and other alienating tactics amongst the "young poets"...Do you *really* need examples?! You seem threatened by Ron Silliman, why? You don't give any substantive reasons for attacking him on your This Is Not Ron Silliman's Blog, other than the fact that he likes to play poetic cartographer -- mapping out his version of what poetry is, where it's gone, where it's going. Don't we all do that? Silliman just makes his ideas public. I'm not defending Silliman. I think he can be quite a tunnel-visioned asshole. His condescending, arrogant tone is, at times, annoying. I met him once a few years ago in Philly and told him, to his face, that he's always reminded me of Darth Vader. But so what? Why do you, Jim Behrle, give him so much power? I don't. I think he has interesting things to say, sometimes, and other times no. He wrote a favorable little review of my chapbook on his blog and in the next entry basically wrote me off an imitator. But that was cool with me. Silliman has no sway over my love for poetry. I don't write poetry with a career in mind. I just love poetry. I read it everyday and write it when I feel like it -- it's a part of my life. Jim, I can only make sense of your arguments (taken to this creepy level) in the context of a career. - Joe Massey ========================================================================= Date: Wed, 26 Feb 2003 11:17:40 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Of Silliman's Blog, PS MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >>>I met him once a few years ago in Philly and told him, to his face, that he's always reminded me of Darth Vader.<<< Oh my god! That's it. I was wondering who Ron Silliman reminded me of, but in between his being very very tall, requiring mechanical life support, and being able to strangle people to death by just thinking at them... it all fits. Special Agent Gwyn McVay, Strange Metaphor Investigation Unit ========================================================================= Date: Wed, 26 Feb 2003 10:49:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Sherman Alexie CANCELLED / Wachtel & Hershon Reading Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Due to unforeseen circumstances Sherman Alexie has had to cancel his reading tonight. Chuck Wachtel will now read with Robert Hershon (at 8:00pm). *** Among Chuck Wachtel's books are the novels The Gates and Joe The Engineer (which was awarded a PEN/Hemingway citation and has enjoyed multiple reprintings); a collection of stories and novellas, Because We Are Here; and five collections of poems and short prose including The Coriolis Effect and What Happens to Me. He is presently at work on a nearly completed new novel, River of Stars. His stories, poems, translations and essays have appeared in Hanging Loose, The Nation, The Village Voice, Up Late: American Poetry Since 1970, 110 Stories: New York Writes After September 11th and numerous other anthologies and magazines both here and abroad. Robert Hershon's eleven books of poems include, most recently, A German Lunatic and Into a Punchline. He has won two National Endowment for the Arts fellowships and three fellowships from New York State. Hershon has been co-editor of Hanging Loose Press since 1966 and is executive director of The Print Center. *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 for Poetry Project members. Schedule is, quite clearly, subject to change. The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Wed, 26 Feb 2003 11:57:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Fwd: Flaming Mime-Version: 1.0 Content-Type: text/plain; format=flowed ----Original Message Follows---- From: Nick Piombino To: Jim Behrle tinaiskingofmonsterisland@HOTMAIL.COM> Subject: Flaming Date: Wed, 26 Feb 2003 01:04:53 -0500 Dear Jim, I have it from the horse's mouth, you might say, that flaming is not encouraged on the list. As you must know, flaming is when you angrily attack someone personally. Your attacks on Ron qualify for this definition. I suggest, respectfully, that you try to refrain from this as it could lead to you being asked to leave the list. And you would be definitely missed. Best wishes, Nick _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 26 Feb 2003 12:07:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Flaming Mime-Version: 1.0 Content-Type: text/plain; format=flowed I posted nothing *angrily* here yesterday. Can't someone take issue with Ron Silliman's weblog? I'm not a fan of the tone or the underlying message Ron's much too smart not to notice. What I wrote here constitutes "flaming?" Whatever. Kick me off every list. Kick over every podium (props to Nada). This place has less poets and more Harry Nudels anyway. Enjoy the view from the treehouse. Love Jim Behrle _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Wed, 26 Feb 2003 12:18:29 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Re: Poem URL MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Bob, I guess I never responded when you sent me the poem before. I've been distracted. But I thought the poem was great - the most and the best poetry can do under the circumstances. Rae ========================================================================= Date: Wed, 26 Feb 2003 12:10:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Richards Subject: Re: Flaming MIME-Version: 1.0 Content-Type: text/plain JB's attack doesn't sound personal to me. It's RS's standing as arbiter that is under attack. > -----Original Message----- > From: Jim Behrle [SMTP:tinaiskingofmonsterisland@HOTMAIL.COM] > Sent: Wednesday, February 26, 2003 11:58 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Fwd: Flaming > > ----Original Message Follows---- > From: Nick Piombino > To: Jim Behrle tinaiskingofmonsterisland@HOTMAIL.COM> > Subject: Flaming > Date: Wed, 26 Feb 2003 01:04:53 -0500 > > Dear Jim, > > I have it from the horse's mouth, you might say, that flaming is not > encouraged on the list. > > As you must know, flaming is when you angrily attack someone personally. > Your attacks on Ron qualify for this definition. > > I suggest, respectfully, that you try to refrain from this as it could > lead > to you being asked to leave the list. > > And you would be definitely missed. > > Best wishes, > Nick > > > > _________________________________________________________________ > STOP MORE SPAM with the new MSN 8 and get 2 months FREE* > http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 26 Feb 2003 12:30:25 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Re: Poem URL MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Oops. I'm sorry. I thought I was responding to another, much much smaller list. Mea culpa. Please disregard my letter to Bob. Damn. I'm always doing this. Rae ========================================================================= Date: Wed, 26 Feb 2003 12:57:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: http://www.castagraf.com/ Mime-Version: 1.0 Content-Type: text/plain; format=flowed NOTE: this is a forwarded message ------------------------------noah _________________________________________________ Greetings all; Well it took damn long enough, but it's here. We have completely redesigned castagraf and we think it looks really damn good if we do say so our damn selves. Things are much more streamline --and we like to think-- easier to figure out. There are wonderful new features as well, like the ability to leave comments for your favorite authors or tell us about things that don't work or tell the world about some great little site you found clinging like a barnacle to the creaking pilings of the internet. We think you'll enjoy it. And of course, as always, this issue features wonderfully talented people like... Joshua Beckman, Michael Calore, Todd Colby, Primoz Cucnik, Catherine Daly, Noah Gordon, Steve Grubbs, The Instruments, Andrew Morgan, Megan Nadolski, Travis Nichols, Melissa Piechucki, Gregor Podlogar, and another installment of the ever-popular Whalebone Essays. Come by for a visit: http://www.castagraf.com/ Thanks for reading and feel free to forward this to anyone you think might be interested and maybe a couple people you're pretty sure aren't. ________________________________________________ "I like Man Ray. But do I enjoy it?" --Nick Moudry _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Wed, 26 Feb 2003 13:07:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: ** Julie PATTON & Drew GARDNER, Thurs Feb 27, 7:30 pm (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline ---------- Forwarded Message ---------- Date: Monday, February 24, 2003 7:42 PM -0700 From: Steve Dickison To: steved@sfsu.edu Subject: ** Julie PATTON & Drew GARDNER, Thurs Feb 27, 7:30 pm The Poetry Center presents Julie Ezelle Patton & Drew Gardner Thursday February 27, 7:30 pm, $5 donation @ The Unitarian Center, 1187 Franklin (at Geary), San Francisco New York-based poet-performers Julie Patton and Drew Gardner will appear together in an evening focused on improvisation fusing poetry and music, on Thursday March 27, 7:30 pm at the Unitarian Center, 1187 Franklin at Geary, presented by The Poetry Center. JULIE EZELLE PATTON's writings, surprising library installations of hand-made and altered books and texts, vocal recitations, and site-specific performances have been experienced by excited audiences at festivals, literary venues, exhibition spaces, and in publications internationally. As a vocalist she's performed and/or recorded with innovative jazz-classical composer/pianist Uri Caine, mastermind turntablist DJ Spooky, and celebrated jazz clarinetist/composer Don Byron. Her own group Phonemen-ology recently debuted in New York, and her third book Do Rag, on and on, is forthcoming from Tender Buttons. A native of Cleveland, Ohio, Ms. Patton lives in New York City. Julie Patton speaks about the relationship between the visual and poetic arts: "Perhaps I am primarily a visual artist, extending my early exploration of sound-sculpture, forever fascinated by the plasticity of words, trajectory of line, line, line. My early work, was all about line. I used to make huge three-dimensional drawings that was really my attempt to get sound off the ground, they were performed into being and, visually speaking, had a lot in common with writing, calligraphy. The painter who performs painting (Yves Klein for example) is still a painter, not a performer and had no pretense to be one, same with John Hejduk, an architect who inscribed architecture with poetry." (Interview with Drew Gardner) Patton, a poetic-sound architect, constructs a world of melodic images: "the musicians in kinder/ garden/ ope, penned/ by a female conductor." Her improvised performances blur the lines separating music, poetry, and visual presentation, stepping past proprieties surrounding poetry performance and the conventional 'poetry reading'. DREW GARDNER's first full-length book Sugar Pill was released this past year by Krupskaya in San Francisco. A native of New Jersey, he is a graduate of Bard College in New York, lived for a time on the West Coast (San Francisco), and currently lives in Manhattan, where he's active as a musician--drummer, composer, and vibes player. He's performed and/or recorded with master saxophonists John Tchicai, Sonny Simmons (both former Bay Area presences), astounding trumpeter Wadada Leo Smith, et al., and he's editor of the poetry magazine Snare. Gardner asserts a pulsating presence in his book, Sugar Pill: "Missile silos implode in North Dakota/ copping the absence/ as I shrunk back in horror at the use I was making of my intelligence..." In Sugar Pill, Gardner magnifies the percussive moments of existence within the context of America's political climate: "the bucket of squirming frogs the specks of mind caught in amber okay, this is your last moment on earth... the unused light bulbs the interstellar sweating the belligerent jock crossing the ancient riff a bound glow of sustained peace do we get to drink it? the distance missed on purpose a blur of sending, weightless refusal, continually learning" =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Coming up from The Poetry Center: Mon March 3 Mei-mei Berssenbrugge at SF Art Institute Lecture Hall, 800 Chestnut St, 7:30 pm $6 co-sponsored by San Francisco Art Institute Thurs March 6 Chris Daniels & Nathaniel Tarn at Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Sat March 8 Anselm Hollo & Joanne Kyger Poetry Center Book Award reading, for Anselm Hollo's Notes on the Possibilities and Attractions of Existence at Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Thurs March 13 John Godfrey at Unitarian Center, 1187 Franklin St , 7:30 pm, $5 Thurs March 27 Keith Waldrop & Rosmarie Waldrop at Unitarian Center, 1187 Franklin St , 7:30 pm, $5 Thurs April 3 Maureen Owen & Eileen Tabios at The Poetry Center, SFSU, 4:30 pm, free Thurs April 10 "Across the Line/Al otro lado: the Poetry of Baja California" w/ Mexican poets Francisco Morales, Elizabeth Algr=E1vez, and Heriberto Y=E9pez & editors Mark Weiss & Harry Polkinhorn (note: bilingual reading in Espa=F1ol/English) at The Poetry Center, SFSU, 4:30 pm, free Wed April 16 Ryoko Sekiguchi with translator Stacy Doris co-sponsored by the Consular Services of the Embasssy of France (note: translations of Ms. Sekiguchi's poems will be read by Stacy Doris) at The Poetry Center, 7:30 pm free Thurs April 17 William Corbett & Fred Moten at Unitarian Center, 1187 Franklin St, 7:30 pm, $5 Sat April 19 Abdellatif La=E2bi co-sponsored by the Consular Services of the Embasssy of France Alliance Fran=E7aise San Francisco, & City Lights Books (note: Mr. La=E2bi will read his work in French, without translations) at Alliance Fran=E7aise, 1345 Bush, 6:00 pm, free Sat May 3 Bei Dao & Michael Palmer co-sponsored by MFA Writing Program USF at The Pacific Room, USF, 7:30 pm, free Thurs May 8 Todd Baron & Dawn Michelle Baude at The Poetry Center, SFSU, 4:30 pm, free Sat May 10 "DERIVATIONS: Celebrating Poetics at New College 1978-2003" co-sponsored by New College Poetics Program at New College Cultural Center, New College of California, 2:00 pm, $5 Further information at http://www.sfsu.edu/~poetry telephone 415-338-2227 Map to the Unitarian Center: http://maps.yahoo.com/py/maps.py?Pyt=3DTmap&addr=3D1187+Franklin+St&city=3DS= an+Fr ancisco&state=3DCA&csz=3DSan+Francisco,+CA+94109-6813&slt=3D37.785307&sln=3D= -122.42 3073&zip=3D94109-6813&country=3Dus&BFKey=3D&BFCat=3D&BFClient=3D&cs=3D9&name= =3D&desc=3D&poi title=3D&poi=3D&uz=3D94109&ds=3Dn&mag=3D10 =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/~poetry ~ ~ ~ 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 --=20 =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/~poetry ~ ~ ~ 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 ---------- End Forwarded Message ---------- ========================================================================= Date: Wed, 26 Feb 2003 13:07:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: my letter to the editor (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ---------- Forwarded Message ---------- Date: Monday, February 24, 2003 4:51 PM -1000 From: Susan Webster Schultz To: poetics@acsu.buffalo.edu Subject: my letter to the editor I just couldn't stay away from Poetics! So here's my contribution to the discussion of Billy Collins's interview this past weekend: I owe #3 to my friend, Steve Carll. Susan To the Editor New York Times I would like to submit some follow-up questions to Billy Collins, the US poet laureate, who was interviewed by Regan Good on February 23, 2003 in your magazine. 1. Who ?politicized? the White House poetry event that was cancelled, Laura Bush or the poets who wanted to read their poems? Are Whitman and Dickinson, who wrote about the Civil War, not political poets? Is it not frightening that this premeditated exercise in free speech means ?perhaps the end of literary events at the White House,? in your words? 2. What did you mean when you said, ?I think we?ll definitely have a woman [president] before a poet [president]?? When you continued, ?the public is probably more suspicious of poets than women, and maybe for good reason?? Are women not poets? 3. When you say poets suffer ?a delusion of grandeur? by calling themselves, as did Percy Byssche Shelley, ?unacknowledged legislators of the world,? were you not aware of the meaning of the word ?unacknowledged?? 4. You say that Vice President Cheney and President Bush should not read poetry, but rather ?be busy doing other things, like running the country ? or concentrating ?on the affairs of state.? Is not poetry a form of concentration, one that helps its readers to clarify their ethical positions? Could not Cheney and Bush benefit from such concentration? 5. Given your answer to question 4, why then would you hand out a Szymborska poem at the White House, a poem that is so explicitly anti-war? Who would read it? Susan M. Schultz 47-728 Hui Kelu Street #9 Kaneohe, HI 96744 808-239-4426; 808-956-3061 ---------- End Forwarded Message ---------- ========================================================================= Date: Wed, 26 Feb 2003 13:08:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Al Filreis From: Poetics List Administration Subject: Writers House: new director MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear friends and colleagues: As Faculty Director of the Kelly Writers House, I will soon lead a team of Writers House-affiliated writers to hire a new Director.* She or he will start July 1, 2003. We will accept applications between now and April 1. The position, and process for applying, are described in detail here: http://www.english.upenn.edu/~wh/hire.html Please feel free to forward the information on that web page to anyone you think might have an interest in seeing the Writers House through a successful transition. Al Filreis Kelly Professor of English Faculty Director, Kelly Writers House Director, Center for Programs in Contemporary Writing University of Pennsylvania << www.english.upenn.edu/~afilreis >> --------------------------------------------------------------------------- * Kerry Sherin (a 1987 alumna of Penn)--now Dr. Kerry Sherin Wright--came as our second "Resident Coordinator" in 1997 and led in that role, and then as our first "Director," since that time. She has been nothing short of remarkable, as many of you know from working with her on various projects. She's played a significant part in making the Kelly Writers House so well regarded by members of the extended Penn community as well as by writers nationally and internationally. After July 1, 2003, she will continue to be affiliated with the Writers House as a senior advisor, an Associate Fellow of the Center for Programs in Contemporary Writing, and an instructor of writing seminars. ========================================================================= Date: Wed, 26 Feb 2003 13:08:55 -0500 Reply-To: info@whiteboxny.org, info@whiteboxny.org Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: White Box From: Poetics List Administration Organization: White Box Subject: Conrad Atkinson: Constantly Contesting at White Box MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; FORMAT=flowed Content-Transfer-Encoding: 7bit CONRAD ATKINSON CONSTANTLY CONTESTING Curated by Miranda McClintic MARCH 1 - APRIL 5, 2003 Opening Reception Saturday, March 1st, 6 - 8 pm Conrad Atkinson in conversation with Alfredo Jaar, March 1st, 5 pm Art and politics mix in work by internationally renowned British artist Conrad Atkinson. In the context of two decades of paintings, drawings, ceramics, textiles, and prints, Atkinson creates visually compelling interpretations of current and ongoing urgent worldwide issues. Recently, at London's Courtauld Institute of Art Gallery, Atkinson was the first contemporary artist to respond to the collection and install his own art among the masterpieces that inspired them. Ceramic sculptures of landmines, such as those created at the Courtauld, are prominently displayed in the windows of White Box and of Ronald Feldman Fine Arts, SoHo. Raffle tickets at $50 are offered and the winner will become the collector of a unique Conrad Atkinson work of art, valued at $3,000. Raffle tickets for four Land mine ceramic works are available at White Box. Winning tickets will be drawn by Tim Rollins on Friday, March 28th at 8 pm at White Box and are tax deductible. For further information please call 212-714-2347 or go www.whiteboxny.org. WHITE BOX 525 West 26th Street New York, NY 10001 ========================================================================= Date: Wed, 26 Feb 2003 12:24:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: http://www.castagraf.com/ MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit It kicked my ass right outta Netscape. noah eli gordon wrote: > > NOTE: this is a forwarded message > > ------------------------------noah > > _________________________________________________ > > Greetings all; > > Well it took damn long enough, but it's here. We have completely redesigned > castagraf and we think it looks really damn good if we do say so our damn > selves. Things are much more streamline --and we like to think-- easier to > figure out. There are wonderful new features as well, like the ability to > leave comments for your favorite authors or tell us about things that don't > work or tell the world about some great little site you found clinging like > a barnacle to the creaking pilings of the internet. We think you'll enjoy > it. > > And of course, as always, this issue features wonderfully talented people > like... > > Joshua Beckman, Michael Calore, Todd Colby, Primoz Cucnik, Catherine Daly, > Noah Gordon, Steve Grubbs, The Instruments, Andrew Morgan, Megan Nadolski, > Travis Nichols, Melissa Piechucki, Gregor Podlogar, and another installment > of the ever-popular Whalebone Essays. > > Come by for a visit: http://www.castagraf.com/ > > Thanks for reading and feel free to forward this to anyone you think might > be interested and maybe a couple people you're pretty sure aren't. > > ________________________________________________ > > "I like Man Ray. But do I enjoy it?" > > --Nick Moudry > > _________________________________________________________________ > Add photos to your e-mail with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Wed, 26 Feb 2003 10:45:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chryss Yost Subject: Re: my letter to the editor In-Reply-To: <730718.1046264867@enggradmac.fal.buffalo.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I think you make some good points here Susan, but, at the risk of beating a dead cow, that everyone keeps mistaking for a horse: Hamill was NEVER invited to read. He was invited to be part of the audience. Refusing to allow a member of the audience to climb onto the stage and take the spotlight hardly qualifies as censorship... Especially when security issues are a concern. (Heck, U2 didn't let ME onstage--those fascists...) If Laura Bush wanted to politicize, she would have kept Hamill and other anti-Bush poets off the guest list, as her advisors suggested. In the message on 2/26/03 10:07 AM, Poetics List Administration wrote: > ---------- Forwarded Message ---------- > Date: Monday, February 24, 2003 4:51 PM -1000 > From: Susan Webster Schultz > To: poetics@acsu.buffalo.edu > Subject: my letter to the editor > > I just couldn't stay away from Poetics! > So here's my contribution to the discussion of Billy Collins's interview > this past weekend: I owe #3 to my friend, Steve Carll. > > Susan > > > > > To the Editor > New York Times > > > I would like to submit some follow-up questions to Billy Collins, the US > poet laureate, who was interviewed by Regan Good on February 23, 2003 in > your magazine. > > 1. Who ?politicized? the White House poetry event that was cancelled, > Laura > Bush or the poets who wanted to read their poems? Are Whitman and > Dickinson, who wrote about the Civil War, not political poets? Is it not > frightening that this premeditated exercise in free speech means ?perhaps > the end of literary events at the White House,? in your words? > > 2. What did you mean when you said, ?I think we?ll definitely have a > woman > [president] before a poet [president]?? When you continued, ?the public is > probably more suspicious of poets than women, and maybe for good reason?? > Are women not poets? > > 3. When you say poets suffer ?a delusion of grandeur? by calling > themselves, as did Percy Byssche Shelley, ?unacknowledged legislators of > the world,? were you not aware of the meaning of the word ?unacknowledged?? > > 4. You say that Vice President Cheney and President Bush should not read > poetry, but rather ?be busy doing other things, like running the country ? > or concentrating ?on the affairs of state.? Is not poetry a form of > concentration, one that helps its readers to clarify their ethical > positions? Could not Cheney and Bush benefit from such concentration? > > 5. Given your answer to question 4, why then would you hand out a > Szymborska poem at the White House, a poem that is so explicitly anti-war? > Who would read it? > > > > Susan M. Schultz > 47-728 Hui Kelu Street #9 > Kaneohe, HI 96744 > 808-239-4426; 808-956-3061 > > > > ---------- End Forwarded Message ---------- > ========================================================================= Date: Wed, 26 Feb 2003 13:51:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: my letter to the Times In-Reply-To: <901BD9CC-4950-11D7-99EF-000393AC1E3A@hawaii.rr.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 08:07 PM 2/25/2003 -1000, you wrote: >To say that it's grandiose to imagine poets "unacknowledged >legislators"! As if the word unacknowledged meant its opposite! or, apparently, to misconstrue the way that "legislator" operates in that sentence! <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily 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, 26 Feb 2003 11:54:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Flaming Mime-Version: 1.0 Content-Type: text/plain; format=flowed For what it's worth I thought what Jim wrote was not flaming. He was offering a critique of Ron's blog, and so, by extension, of Ron's poetics (or maybe the way that Ron ~presents~ his poetics), not of Ron as a person. Now, the ~way~ in which Jim was doing this, I have to say, was pretty in-your-face. I think that approach was ill-considered, and I think Damian's & Joseph's responses pretty much sum up how far this tactic is going to get Jim. I assume Jim didn't have permission to forward Nick's e-mail to the list, so maybe it's unfair to comment on it. However-- and giving Nick the benefit of the doubt that his motivation was to try & get Jim to cool down so that he could STAY on the list-- it's easy to see how Jim might view this as more "proof" that the older generation is acting in lock-step (though to what end, I'm not sure). Perhaps we could all leave such warnings in the capable hands of our list administrator, who's unenviable job it is to consider when, and whether, to make them. Mark DuCharme older than Behrle, younger than Silliman (TM) <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> 'A sentence thinks loudly.' -—Gertrude Stein http://www.pavementsaw.org/cosmopolitan.htm http://www.nyspp.com/lisa/soc.htm >From: Jim Behrle >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Flaming >Date: Wed, 26 Feb 2003 12:07:15 -0500 > >I posted nothing *angrily* here yesterday. Can't someone take issue with >Ron Silliman's weblog? I'm not a fan of the tone or the underlying message >Ron's much too smart not to notice. What I wrote here constitutes >"flaming?" Whatever. > >Kick me off every list. Kick over every podium (props to Nada). This >place >has less poets and more Harry Nudels anyway. Enjoy the view from the >treehouse. > >Love >Jim Behrle > > > > > > > > >_________________________________________________________________ >Add photos to your e-mail with MSN 8. Get 2 months FREE*. >http://join.msn.com/?page=features/featuredemail _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 26 Feb 2003 13:56:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Blogless in Gaza In-Reply-To: <188.15ea26a9.2b8e4103@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 11:10 AM 2/26/2003 -0500, you wrote: > I met him >once a few years ago in Philly and told him, to his face, that he's always >reminded me of Darth Vader. But so what? What can it possibly mean to tell someone "to his face" that he reminds you of Darth Vader? whose face so memorably disagreed with the voice we'd been hearing through the preceding films ---- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily 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, 26 Feb 2003 14:08:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Flaming (just an observation) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The date of Jim's "Fs his Heroes" talk/post: 16 February 2003 Ave. hits/day that Silliman's blog recvd from 2/1 to 2/16 = 159.4 Ave. hits/day that Silliman's blog recvd since 2/16 = 178.4 Flaming? Ron might want to thank Jim for the pub. ========================================================================= Date: Wed, 26 Feb 2003 11:43:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: REAPING & SEWING : 527 First Lines from Emily Dickinson In-Reply-To: <20030226152412.56375.qmail@web10705.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable REAPING & SEWING : 527 First Lines from Emily Dickinson [please excuse the length!] A bird =20 Immortal lip divinest so, Jesus raps=8BHe does no differed women this The winds =20 A would =20 In winter when we are Each ecstated =20 How the tribulation Of the sea =20 While I could I was not weary Not with man =20 They dropped I felt a function =20 Superior to the dark I shape will=20 No matter have thee grass The Will find are meeker than to go Ambition of us =20 The bee =20 The morning?=20 Withing it, it came does not stop one Let me was but the summer's full The those final summer=20 Morning' means 'Milking home The moon wade grief I may be of the one sister chamber me,' impercepting chill come back on time's a cell! When Etna basks and giants The nevery dazzled face No romance thou toss =20 'Whose are to daily =20 You left, is left me poverty You cannot fire wrung Except to me ever break it Remorse cannot put a children birds Father =20 Forever can reduce No rack=20 The overfly =20 =20 Have you got an artist The Stimulus, beyond the suburbs of an accentre Follows hundred year =20 His=20 I hear the burned miracle Life, my Life but modest lost I ever slips away =20 I live with him, but infinite Crisis in this wondrous were The murmur in summer strings We should n't be summer beauty wounded as a poor torrid days 'T was just opened Houses of the Spider sewed away I went as the mouldering partist This wagon knew that peace to see her is taught A door just occasions As cheek=20 These low in my had advanced She rose divine Candor, my tepid Friend blaze Of some lonelinest setting storm is one day i really be alive with kindly eye put the preaches We parted tossed sing =20 We love the bird God permits in spring A little anguish call the cause the wind Some keep=20 There is a shall not weary =20 Marrow love or pain forgetting bell look of The luxury to a begun to robbed the little over Jordan A long sleep =20 It tossed =20 I think the sepal, and quently step light The one's friend It might =20 It 's death, and Women, inter, interception of the Frame 'petite' A murmur in the guest The soul's such abyss I sense =20 My friends=20 A wounded that he fidelity The dead a letterfly buzz where swiss Of tribulation of gold and to seen her dying man died for the phrase My fringes =20 The grave =20 The sun kept the small, a woman's name =20 A secrets =20 'T is such a little beds,' Implored brook A cap of ambition cannot reach that old-fashioned miracle Love =20 That she live is very days =20 As but at not so I had a guest good nights! =20 You left me, so I live within my garden gold a jewel is interchang our bless God, he white element Proud she for me poverty You cannot fine in my brain is disapped like flakes, then, such a club these are the dead A cap of love to some so near =20 Had a day at pass away =20 A single birds=20 He fumblessing All circumstance is nought tragic thing with surpasses ceased to the Each ecstation =20 Of this long shadows was the devil, had see her dying eye I went to the Fair! Some, too colors tease My nosegays for winter, I breath, for I died When the tree =20 From cocoon these are the Sea Who has not a brooms=20 She died,=8Bmaddest lot, a fine=20 He ate and toss again? A sepulchre =20 My counted me =20 The grass =20 When the tree =20 Gleam of an accent deep Two butterfly's a certain, stated Beauty, but was saved the rest =20 On this wonder is that love The butter's this is merity She died enabless Gone a lose only stepped for captives are of noblem bending Talk with wrinkled would decreason, eart is Day is the lawn will the walk My wheel is all the sounded stay Not wait? =20 What softened on the hills do A modest sense My counted scant Delight of space We like other when time wind ajar The son' =20 Wild night! =20 A trick =20 The difference that I had seen balloons set of Fox Down The bleaker parts To lengths had begun to rock stop forbidden from the mind so pitiful when bird is the dead Besides=20 If I could died =20 I knew that perfluous went of blank the belt around the foolish I know at myster have the sun The leaves ceased to the harebell loose take to know a physicians wrestle ever know we go,=8Bwhen Etna bashful when bid the has His Biographs god, hast That she leaves comforts not On this was to have perish Give like the judgment to fail, but you? I 'm wife; I 've gone These are the little these are Swiss Pray is left me, my life but modest mashed till Elijah's wagony I may be a modest needs I 'm nobody! Who are you toss While crescent volcano grows outside No racks of my broken =20 Death sunsets =20 Lightly steel =20 Like mind =20 The Moon is the roses can't tell how glad I, the closed One dignificant Did not myself with him Ample word 'escape The grave =20 Not know =20 Nature rainbow coming in my flower? Speak =20 I have but twice be So pray is that Mystery pervades the Mountains The feet stand =20 I fit for to life commit the till I asks pleasure 's so good-night At last night went throughout at night! Could mountain slants There is anothere is mind so low at play at first at noon To lose=20 To tell him =20 I found the woods are for winds jostle thought A door torn heart =20 =20 Dear=20 Excepting when we have died =20 When nights? =20 Who never lose takes=20 Hope is a possessing home back on my volcano keeps with its set, how on their back The opposed the musicians wrestle ever know high from brewed at noon forts no friends delayed till find the grass An always love is =20 That such a certakelessness of suffered wine by time's passed and ear the beauty would I heard a bird=20 The Future first,=8B't is almost unto the great stand ajar This noon =20 Upon the Spring=20 Bless is day came a daily I see=20 I shows it like a books soldiers How despatched=20 On my lot=20 On thief =20 Ashes denote the ice is not so nearest tenant The wind tapped like straight peace presential stir The bee it lay, took my problem bending Talk with prudence between Had that bees to note that we will rise =20 I 've steadily=20 To help our hours had been too late, how others How dare you? -mwp ========================================================================= Date: Wed, 26 Feb 2003 15:41:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Of Silliman's Blog, PS In-Reply-To: <188.15ea26a9.2b8e4103@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hey everybody, why not everybody write a fuck everybody speech?? i would ifn i had the chutzpah. on another note entirely, and so as to economize on the number of my daily posts: does anyone know of a list poem or has anyone tried a writing exercise w/ kids that goes something like "I want" or "I dream that" or something else that gets big fat ambitious things rolling off kids' pens??? if so, let me know. i've got a friend who needs to know. At 11:10 AM -0500 2/26/03, Joseph Massey wrote: >Jim, I thought your Fuck Your Heroes speech was terrific, and wrote you a >note to tell you so. I thought the debate it sparked on the list was useful. > >But now I'm grossed out. > >It sounds like you're just throwing an empty tantrum. Who *really* hurt you, >baby? I know Larry Fagin stung you something awful, but the pain will go >away. A lot of poets don't even know who Larry Fagin is. I doubt the >immortality of any poet is riding on old Larry's shoulders. Immortality, >yeah!, isn't that what all the bitching here is about? Who gets remembered? >Who's considered important by the people already considered important? > >If you really want to give the finger to your heroes, Jim, don't give them so >much credence. > >Hey! Toke on this, Jimmy -- Why don't you write a Fuck Your Peers speech, >too? There's just as much spite, sniping, we're-better-than-you posturing and >other alienating tactics amongst the "young poets"...Do you *really* need >examples?! > >You seem threatened by Ron Silliman, why? You don't give any substantive >reasons for attacking him on your This Is Not Ron Silliman's Blog, other than >the fact that he likes to play poetic cartographer -- mapping out his version >of what poetry is, where it's gone, where it's going. Don't we all do that? >Silliman just makes his ideas public. > >I'm not defending Silliman. I think he can be quite a tunnel-visioned >asshole. His condescending, arrogant tone is, at times, annoying. I met him >once a few years ago in Philly and told him, to his face, that he's always >reminded me of Darth Vader. But so what? Why do you, Jim Behrle, give him so >much power? I don't. I think he has interesting things to say, sometimes, and >other times no. > >He wrote a favorable little review of my chapbook on his blog and in the next >entry basically wrote me off an imitator. But that was cool with me. Silliman >has no sway over my love for poetry. > >I don't write poetry with a career in mind. I just love poetry. I read it >everyday and write it when I feel like it -- it's a part of my life. Jim, I >can only make sense of your arguments (taken to this creepy level) in the >context of a career. > >- Joe Massey -- ========================================================================= Date: Wed, 26 Feb 2003 15:44:37 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Flaming MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit A lot of arguments are rationalization built around the reality of an in-your-gut reaction. It is that reaction that justifies the rest, makes it resonate. In that respect, we should try more to understand what Jim is really reacting to. Here is my take. Ron is a very meticulous and within his frame work of thought fair, even "open" reader. The difficulty is that, in my view, he never reaches outside, tries to push beyond these frames. I never saw him in his writing ever doubt, teeter on the validity of one of his basic poetic assumptions. Jim and a few other poets (I consider myself one of them) believe in a kind of writing which has discarded some of those assumptions. Therefore, I understand his impulse. Instead of other people going to Ron's defence attacking Jim's manners -or putting the issue as being between young and old -maybe Ron should try to defend himself why his approach is not narrow, some of his arguments not tautological. To give a specific example, a few weeks ago in his blog, Ron introduced the idea of the unconscious in relation to Rachel duPlassis's work -that it dealt with, faced the unconscious. I wrote him that a writing which embodied the uncoscious must embody a process which made mistakes possible, while Ron claimed that in Rachel's work every word, every effect (including distortions, puns, etc., etc.) were intentional. To me, Rachel's work may be dealing with the concept of unconscious impeccably, but does it possess a visceral feel of it? Ron did answer my note, saying that he did not express himself clearly; but he went on the next several days to develop his initial point. My use of the word "mistake" was a challenge to "facing the unconscious in total control. Ron never picked on the challenge, which was the sub-text (no tantrum! here!) of my note. My question, as far as he can see, created no ripples in his argument. Maybe Ron believes that "the unconscious" is itself a text, that there can be no "mistakes," therefore outside a text. Therefore, there can be a completely conscious text facing the unconscious, including mistakes. But he never said said. If he did, then, one can argue with him pointing to the weaknesses, limitations, insanities in his argument. Murat In a message dated 2/26/03 3:00:37 PM, markducharme@HOTMAIL.COM writes: >For what it's worth I thought what Jim wrote was not flaming. He was > >offering a critique of Ron's blog, and so, by extension, of Ron's poetics > >(or maybe the way that Ron ~presents~ his poetics), not of Ron as a person. > >Now, the ~way~ in which Jim was doing this, I have to say, was pretty > >in-your-face. I think that approach was ill-considered, and I think > >Damian's & Joseph's responses pretty much sum up how far this tactic is > >going to get Jim. ========================================================================= Date: Wed, 26 Feb 2003 12:50:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Flaming (just an observation) -- WORD COUNT FOR RON SILLIMAN'S BLOG MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii anastasios@HELL.COM wrote: > The date of Jim's "Fs his Heroes" talk/post: 16 February 2003 Ave. hits/day that Silliman's blog recvd from 2/1 to 2/16 = 159.4 Ave. hits/day that Silliman's blog recvd since 2/16 = 178.4 < ------------------------------------------------------- ------------------------------------------------------- A word count of Ron Silliman's words on his blog for the past thirteen days: http://www.geocities.com/jeffreyjullich/ARONSILLIMANBLOGWORDCOUNT.jpg [URL must be all on one line to be clickable, or copy into "Location:" window] (Count does not include block-indented quotes from others' letters or their poetry, nor Silliman's Valentine's Day poem to his wife. Count does not strain out embedded quotes from others contained within main paragraphs.) http://www.geocities.com/jeffreyjullich/ARONSILLIMANBLOGWORDCOUNT.jpg __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Wed, 26 Feb 2003 14:00:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Flaming In-Reply-To: <188.15edfb2f.2b8e8135@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" one thing that grabs at me here is our referencing another online form/forum... my partner just had to order an official copy of her transcript from her grad institution... that's a (long distance) phone call... they told her to go to the web (online, via the phone), print off the form she finds there (print), and fax it (on the phone again)... welcome to multimedia!... typically we discuss print poetry here, and sometimes poetry on web journals, and occasionally other lists, and of late, blogs in terms of their efficacy (let's say, among other things)... we have discussions here too, of course, about discussions here... now, rather suddenly, we're discussing the content *of* blogs... i.e., blogs become the textual source (whatever their content), not the printed book, not what's on this or other lists... it's perhaps no biggie, but it's an interesting development in itself, i think, and it follows quite naturally from folks posting their blog headlines here... ultimately these various interfaces (if that's what they are) will likely fall back into transparency (i.e., if they stick around)... at this point, though, i can't help but notice how content is manifesting itself in different forms, if not media, and how we're rather casually absorbing the, what?--- referential diversity... best, joe ========================================================================= Date: Thu, 27 Feb 2003 07:03:43 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: list/index poems for kids In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-65B26D21; boundary="=======6558600D=======" --=======6558600D======= Content-Type: text/plain; x-avg-checked=avg-ok-65B26D21; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit At 07:41 AM 27/02/03, you wrote: >Hey everybody, why not everybody write a fuck everybody speech?? i >would ifn i had the chutzpah. >on another note entirely, and so as to economize on the number of my >daily posts: >does anyone know of a list poem or has anyone tried a writing >exercise w/ kids that goes something like "I want" or "I dream that" >or something else that gets big fat ambitious things rolling off >kids' pens??? if so, let me know. i've got a friend who needs to know. i used these kinds of poems all the time in writing workshops. here's a section from a style manual i wrote for high school students. komninos poetry is making lists. some poems are simply lists, lists of single words, lists of observations, lists of thoughts, lists of feelings on a particular subject. step 1: choose a subject to write about, something you know a lot about. the topic you choose may be football or netball or some other form of sport, pets, hobbies, your younger brother or sister, school, homework, work, shopping, music, the environment, teachers, parents, the country, the city, holidays, grandparents, smelly socks, in fact you can write a list poem about almost anything, maybe the emotions are good to write about, happiness, sadness, lonliness, jealousy, love, anger. step 2: write the topic you've chosen at the top of your page and compile a list of single words about that topic, example: the city is crowded the city is noisy the city is buildings the city is people the city is smelly the city is polluted the city is concrete the city is escalators the city is elevators the city is neon the city is buskers the city is shopping the city is pinball machines the city is fun the city is scary just keep adding words to your list until you run out of things to write. step 3: now read through your list and find a comment to finish it off, to round it up, to summarise what your feelings are about that topic. example: "the city's alright i suppose, if you wear a peg on your nose." step 4: now you have a list poem, a list of single words about a chosen topic, and a list of different images or pictures of the topic. there are many things we can do with that list now, but the simplest treatment we can do is to replace the single words in our list with phrases. replace all the single words in your list with phrases. example: "the city is crowded" can be replaced with, the city is full of people rushing, pushing and shoving, "the city is noisy" can be replaced with, the city is beeping horns and screeching brakes and sirens wailing. you continue down your list using the chosen topic and the single words to conjure an image that can be described in a phrase. the city is large structures of concrete, glass and steel reaching high into the sky. the city is a large mass of bodies moving like a humungas crawling caterpillar. the city is the smell of hamburgers and chips and chinese food. the city is the stench of motor car exhaust fumes and rotting rubbish. the city is grey, lifeless, dull, cold, boring concrete. the city is streams of people swimmimg in electronic rivers. the city is people in boxes shooting vertically upwards at supersonic speeds the city is flashing coloured lights blinking on and off. the city is wandering minstrels singing for their supper. the city is shop windows, department stores, sales and too many bags to carry. the city is video games, flippers and tilts, silver balls and flashing lights. the city is having a good time with my friends. the city is derelicts, skinheads, homeboys and police. the city is alright i suppose, if you wear a peg on your nose. by replacing the list of single words with phrases, we get a much better image of what the topic is about, and we can begin to feel what it was like for the writer. step 5: now that you have followed the steps to write a list poem, it's now time to allow your creativity to take over. you have to decide how it sounds and how it looks on the page, you may wish to delete some words, to add other words, to re-arrange words. example: the city people rushing, pushing and shoving beeping horns and screeching brakes and sirens wailing structures of concrete, glass and steel which reach high into the sky a large mass of bodies moving like a humumgas crawling caterpillar the smell of hamburgers and chips and chinese the main road stench of motor car exhaust fumes the back street stench of rotting rubbish the city. the city so grey and lifeless and dull and boring and concrete yet there are people in this city streams of people swimming in electronic pedestrian rivers people in boxes shooting vertically upwards and downwards at supersonic speeds. flashing coloured lights blinking on and off wandering minstrels singing for their supper shop windows, department stores, sales and too many bags to carry video games, flippers and tilts, silver balls and weird electronic melodies the city is having good times the city is derelicts, skinheads, homeboys, cops and other fearful things this city any city our city my city. this is a list poem. you'll agree that the list poem is a very simply written poem that can say a lot about a particular subject and can see one subject from many different perspectives. there are many more variations on how to write a list poem, those exercises will appear later in the book. more lists. list poems are easy and lots of fun to do. in this chapter you can try at least three more ways of writing lists. 4.1: lists of similes. step 1: choose a subject to write a list poem about. the subject could be computers or television or reading or writing or the zoo or the circus or movies or your favourite sport, or it could be colours, or feelings, or the bush, or the beach, or chairs, or shoes, or anything you like. step 2: write the subject you have chosen on the left of your page followed by the word "is" or "are". example: colours are - step 3: now begin writing single words that you think of when you think of that subject. work quickly and do not edit your list, that is write down every word you think of when repeating the subject to yourself, even words you don't think fit. example: colours are - red blue yellow green purple black white refreshing exciting flashing radiant sombre grey orange brown mud rainbows eyecatching everywhere. this list of words on the subject of colours tells a story of it's own, there are a mixture of descriptive words and feeling words. the object of this exercise is not to get the most possible words but to find the words you know and feel about the subject, some people may only have five words in their list, others may have twenty five, so don't worry about the quantity of words. step 4: the next step is to replace all the single words in your list with similes, that is, statements that compare one thing to another. similes usually start with as or like and compare a word to something it looks, tastes, smells, sounds or feels like. example: colours are red could be replaced by the simile colours are as red as the summer sky at sunrise, colours are blue could be replaced by the simile colours are as blue as the summer sky at midday, and so you continue down the list until you have a list of similes. colours are as yellow as the summer sun as green as slime as purple as a bruise as black as depression as white as a hospital as refreshing as a rain forest as exciting as a circus as flashing as the city neon as radiant as a light globe as sombre as a winter's day as grey as the thunderclouds as orange as autumn as brown as dirt as muddy as winter rainbows like magic in the sky as eyecatching as an explosion colours are everywhere. now you have a list of similes, which should say a lot more about your subject than the original list of single words. as well as having a list of images about your subject, you have also been able to view your subject from many different angles, list poems are like verbal sculptures. step 5: the final step of this exercise is to read through your list of similes and decide how it reads and looks best on the page. you have to decide whether you will start each line with "colours are", perhaps your poem makes sense without having to state each time what it is you're talking about. perhaps you want to re-order your list for clarity. you may even decide to reject some similes, or add some. example: as red as the summer sky at sunrise, as blue as the sky on a cloudless day as yellow as the sun as orange as autumn as brown as dirt as muddy as winter as grey as the thunderclouds as lushly green as spring colours. all the colours of a rainbow. but colours can also be as purple as a bruise as black as depression as white as a hospital as refreshing as a rain forest as exciting as a circus as flashing as the city neon as radiant as a light globe as sombre as a winter's day as eyecatching as an explosion colours. colours, everywhere. we have now constructed lists of single words on particular subjects and processed these lists to expand the images made by the single words. the first method in the basic chapter on list poems replaced the single words with statements. the second method replaced the single words with similes. another method would be to replace the single words with metaphors. metaphors are similar to similes but instead of comparing one thing to another they actually call one thing something else. example: colour is sunrise red is clear-sky blue is the sun colour is autumn leaves is the earth, the dirt is a winter's day colour is a tempest is new shoots of growth is the magic of a rainbow colour is a man in the gutter is a drunk at a bar is a motor car accident colour is the smell of a rainforest is the swinging trapeze is the neon lit city colour is the expression of light colour is the lonliness of rain colour is the relief of a tear. colour is..................... can you think of any other ways to process the list of single words? 4.2: lists of responses. another way to write a list poem is to list your responses to a certain word or statement. step 1: choose a word or statement to respond to. you can really let yourself go on this type of poem, you can let your imagination run wild. for example, here's some statements you could respond to, "if i was the richest person in the world" "if i was the president of the universe" "if i was a famous film star" "if i was in your shoes" "if i was the parent and you were my child" or maybe you could try, "i love it when" "i hate it when" "when i was your age" "without you" "you know you really should" or even these single words, "siiirr?" "miiiss?" "muuum?" "please?" i'm sure you can think of plenty of things to use as your initial statement, statements that generate a variety of responses. here's some more, "it's not my fault that..." "how many times have i told you" "thank you, have a nice day" "it's a great day for...." "if you do that once more..." "johnny don't..." "i should've..." "i would've...." "yesterday i..." "tomorrow i'll..." "in the future" "when i was five" "i remember when.." step 2: now write your initial word or statement on the left hand side of your page and list the responses. example: i could've read a book i could've written a few poems i could've started that painting i've been meaning to start i could've worked on my play i could've straightened out my finances i could've played my instrument till my fingers were sore i could've sung to my heart's content till the early hours of the morning i could've had a conversation with my wife i could've visited some friends i could've gone to see a band i could've caught some theatre or a movie i could've played some pool, sunk a few pots, told a few jokes, had a few laughs i could've sipped coffee in some trendy little inner suburban bourgie cafe i could've strutted the streets of the neon city searching for inspiration i could've discussed the meaning of life and art with a fellow barstool philosopher i could've danced naked in the botanical gardens under the nighttime moon and stars but, i watched television again till it was time to go to bed. in this example i listed all the things i could've done instead of watching television. 4.3: found lists. lists poems can also be written by collecting statements that occur in our daily existence, statements that other people have written that we collect and re-order to give them a new meaning. all around us we can find poems, if we look hard enough, and if we know what we are looking for. take advertising jingles or slogans for example. we hear advertising slogans all the time. "oh. what a feeling", "coke is it", "just like a chocolate milkshake only crunchy", these are things we hear, and if we collected all the advertising slogans and ordered them into lists we could tell other stories. newspaper headlines also are similar things, we could make lists of headlines that told us something about life or about the writer. song titles are another category of like statements that can be grouped and re-grouped to create a story. "she loves you, yeah, yeah, yeah" "i wanna be your man" "love will keep us together" "why'd ya do it she said" "breaking up is hard to do" "it's over" "crying" "nothing compares to you" the titles of movies, the titles of books, street signs, you can think of your own categories of like statements. things different politicians have said, political campaign slogans, the first lines of different songs or poems. step 1: select a category of like statements. step 2: collect as many like statements within that category as you possibly can, don't reject any at this stage and don't worry about making sense of the list. step 3: now that you have all the information start grouping the statements together so they begin to tell a story. in my example below i got the idea one morning to collect all the statements around me that warned against doing certain things. so i set off to the supermarket with my pad and pen and wrote down all the warnings i found along the way. example: warning: smoking reduces your fitness warning: smoking causes heart disease warning: smoking causes lung cancer warning: use by 15/12 warning: do not obstruct driver's view of doorway warning: please do not smoke in the interests of passenger comfort warning: emergency exit only. push windows out warning: keep clear of folding doors walk don't walk keep left stop go beware of cars warning: your personal identification number(PIN) with your flexicard is equivalent to your signature on a blank cheque. warning: no drinking, no eating, no smoking warning: the management reserves the right to inspect your bags warning: keep in a cool place warning: contents under pressure warning: persons with high blood pressure should not use this preparation warning: if accidentally sucked give milk or water warning: not for intimate hygeine use warning: tampons have been associated with toxic shock syndrome warning: do not insert in ear canal warning: wash hands after touching warning: avoid direct contact with clothing warning: if swallowed seek medical advice warning: intentional misuse by deliberately concentrating and inhaling contents can be harmful or fatal warning: always use a clean spoon warning: do not mix with soap detergents or other chemicals warning: do not lick lid warning: do not induce vomitting warning: not intended for human consumption warning: not to be taken warning: not to be taken warning: warning: warning: shopping can be hazardous. --=======6558600D======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-65B26D21 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.456 / Virus Database: 256 - Release Date: 18/02/03 --=======6558600D=======-- ========================================================================= Date: Wed, 26 Feb 2003 16:06:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Of Silliman's Blog, PS In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed ON this tip, the Fuck You Poem Anthology has just gone up on www.slope.org Nope, I'm not kidding. At 04:41 PM 2/26/2003, you wrote: >Hey everybody, why not everybody write a fuck everybody speech?? i >would ifn i had the chutzpah. >on another note entirely, and so as to economize on the number of my >daily posts: >does anyone know of a list poem or has anyone tried a writing >exercise w/ kids that goes something like "I want" or "I dream that" >or something else that gets big fat ambitious things rolling off >kids' pens??? if so, let me know. i've got a friend who needs to know. > >At 11:10 AM -0500 2/26/03, Joseph Massey wrote: >>Jim, I thought your Fuck Your Heroes speech was terrific, and wrote you a >>note to tell you so. I thought the debate it sparked on the list was useful. >> >>But now I'm grossed out. >> >>It sounds like you're just throwing an empty tantrum. Who *really* hurt you, >>baby? I know Larry Fagin stung you something awful, but the pain will go >>away. A lot of poets don't even know who Larry Fagin is. I doubt the >>immortality of any poet is riding on old Larry's shoulders. Immortality, >>yeah!, isn't that what all the bitching here is about? Who gets remembered? >>Who's considered important by the people already considered important? >> >>If you really want to give the finger to your heroes, Jim, don't give them so >>much credence. >> >>Hey! Toke on this, Jimmy -- Why don't you write a Fuck Your Peers speech, >>too? There's just as much spite, sniping, we're-better-than-you posturing and >>other alienating tactics amongst the "young poets"...Do you *really* need >>examples?! >> >>You seem threatened by Ron Silliman, why? You don't give any substantive >>reasons for attacking him on your This Is Not Ron Silliman's Blog, other than >>the fact that he likes to play poetic cartographer -- mapping out his version >>of what poetry is, where it's gone, where it's going. Don't we all do that? >>Silliman just makes his ideas public. >> >>I'm not defending Silliman. I think he can be quite a tunnel-visioned >>asshole. His condescending, arrogant tone is, at times, annoying. I met him >>once a few years ago in Philly and told him, to his face, that he's always >>reminded me of Darth Vader. But so what? Why do you, Jim Behrle, give him so >>much power? I don't. I think he has interesting things to say, sometimes, and >>other times no. >> >>He wrote a favorable little review of my chapbook on his blog and in the next >>entry basically wrote me off an imitator. But that was cool with me. Silliman >>has no sway over my love for poetry. >> >>I don't write poetry with a career in mind. I just love poetry. I read it >>everyday and write it when I feel like it -- it's a part of my life. Jim, I >>can only make sense of your arguments (taken to this creepy level) in the >>context of a career. >> >>- Joe Massey > > >-- ========================================================================= Date: Wed, 26 Feb 2003 17:54:56 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: gormless MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII gormless (GORM-lis) adjective, also gaumless Dull or stupid. [From English dialectal gaum (attention or understanding), from Middle English gome, from Old Norse gaumr.] "For my parents, though, it was compulsory viewing. They would sit on the settee making appreciative or derogatory noises about one or another contestant and bitterly denouncing the judges when Miss England failed to get a placing - even if Miss England was a gormless, whey-faced hag, which quite often she was." Rod Liddle; The Ugly Side of Miss World; The Guardian (London); Nov 26, 2002. "As the movie's gormless hero, Spacey inverts his usual glib persona. But there's something mannered about his minimalism. He creates a character so deliberately vacant and slow-witted that, behind the concave performance, the armature of intelligence shows through." Brian D Johnson; Bumping Into Neverland; Maclean's (Toronto, Canada); Dec 31, 2001/Jan 7, 2002. This week's theme: words to describe people. ========================================================================= Date: Wed, 26 Feb 2003 18:12:37 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: ottawa small press book fair MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII >the ottawa small press book fair spring edition (sponsored by the small >press action network - ottawa) will happen June 14, 2003 >contact rob at rob@track0.com to sign up for a table, etc. > >General info: > >the ottawa small press book fair noon to 5pm (opens at 11am for >exhibitors), at the Glebe Community Center, Main Hall, 690 Lyon Street (at >2nd Avenue), Ottawa. > >admission free to the public. tables are $15 for exhibitors (payable to >rob mclennan). full tables only. for catalog, exhibitors should send (on >paper, not email) name of press, address, email, web address, contact >person, type of publications, list of publications (with price), if >submissions are being looked at, & any other pertinent info, including >upcoming ottawa-area events (if any). > >the fair usually contains exhibitors with poetry books, novels, cookbooks, >posters, t-shirts, graphic novels, comic books, magazines, scraps of >paper, gum-ball machines with poems, 2x4s with text, etc. happens twice a >year, started in 1994 by rob mclennan & James Spyker. now run by rob >mclennan thru span-o. > >questions, rob@track0.com or 613 239 0337 >more info on span-o at the span-o link of www.track0.com/rob_mclennan >span-o: c/o 858 somerset street west, main floor, ottawa ontario canada >k1r 6r7 > >free things can be mailed for fair distribution to the same address. we >will not be selling things for folk who cant make it, sorry. > >(also, check out the toronto small press book fair, may 31st, 2003, >lovingly run by maggie helwig - maggie@web.ca or >http://www.interlog.com/~ksimons/tspg.htm) > > >-- >poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics >(Insomniac)...pub., above/ground press ...coord., Small Press Action Network - >Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 >www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) To Post an Announcement regarding publishing, contests, readings, and any relevant literary news, send it to: canadianpoetryassociation@yahoogroups.com To Unsubscribe, send a blank message to: canadianpoetryassociation-unsubscribe@yahoogroups.com Poetry Discussion group is http://groups.yahoo.com/group/participoet CPA Bookstore is http://www3.sympatico.ca/cpa/ National CPA is the same at http://www.mirror.org/cpa/ Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ ========================================================================= Date: Wed, 26 Feb 2003 13:44:04 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: Re: Flaming (just an observation) -- WORD COUNT FOR RON SILLIMAN'S BLOG MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit nice jeffrey.. it occurred to me this whole episode is a kind of cryptic conversation about the comedy of hyperbole; ie silly.. Man, and then there's this "burl" growing out of a "web-log".. Kupid flinging arrows.. (silliputti) anyone know of any good palynological limericks? lq > > A word count of Ron Silliman's words on his blog for > the past thirteen days: > > http://www.geocities.com/jeffreyjullich/ARONSILLIMANBLOGWORDCOUNT.jpg > > [URL must be all on one line to be clickable, or copy > into "Location:" window] > > (Count does not include block-indented quotes from > others' letters or their poetry, nor Silliman's > Valentine's Day poem to his wife. Count does not > strain out embedded quotes from others contained > within main paragraphs.) > > http://www.geocities.com/jeffreyjullich/ARONSILLIMANBLOGWORDCOUNT.jpg ========================================================================= Date: Wed, 26 Feb 2003 16:05:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: _So Going Around Cities_ MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A general letter from George & Lucy Mattingly: Hello Everyone, This is just to let you know that we are reprinting "So Going Around Cities: New & Selected Poems" by Ted Berrigan. The book will be available by the beginning of April at a list price of $34.95 (quality paperback). Please pass the word on to friends who may have always wanted a copy but couldn't find one! And college professors, too. Class adoptions are always welcome. The book will be available through Small Press Distribution, Ingram (which means most bookstores can order it), Baker & Taylor, and Amazon et al. It will of course be available directly from us, and soon we will have a website (bluewindpress.com). So order your copies now for friends and family! All the best, Lucy & George -- ========================================================================= Date: Wed, 26 Feb 2003 16:11:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Joseph T. Thomas, Jr." Subject: Re: Of Silliman's Blog, PS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit of a list poem or has anyone tried a writing > exercise w/ kids that goes something like "I want" or "I dream that" > or something else that gets big fat ambitious things rolling off > kids' pens??? if so, let me know. i've got a friend who needs to know. Are you thinking of Kenneth Koch's book, Wishes Lies and Dreams? In it, he articulates several exercises of this sort, all for kids. Also check out his Rose, Where Did you Get that Red? Best, Joseph > At 11:10 AM -0500 2/26/03, Joseph Massey wrote: > >Jim, I thought your Fuck Your Heroes speech was terrific, and wrote you a > >note to tell you so. I thought the debate it sparked on the list was > useful. > > > >But now I'm grossed out. > > > >It sounds like you're just throwing an empty tantrum. Who *really* hurt > you, > >baby? I know Larry Fagin stung you something awful, but the pain will go > >away. A lot of poets don't even know who Larry Fagin is. I doubt the > >immortality of any poet is riding on old Larry's shoulders. Immortality, > >yeah!, isn't that what all the bitching here is about? Who gets remembered? > >Who's considered important by the people already considered important? > > > >If you really want to give the finger to your heroes, Jim, don't give them > so > >much credence. > > > >Hey! Toke on this, Jimmy -- Why don't you write a Fuck Your Peers speech, > >too? There's just as much spite, sniping, we're-better-than-you posturing > and > >other alienating tactics amongst the "young poets"...Do you *really* need > >examples?! > > > >You seem threatened by Ron Silliman, why? You don't give any substantive > >reasons for attacking him on your This Is Not Ron Silliman's Blog, other > than > >the fact that he likes to play poetic cartographer -- mapping out his > version > >of what poetry is, where it's gone, where it's going. Don't we all do that? > >Silliman just makes his ideas public. > > > >I'm not defending Silliman. I think he can be quite a tunnel-visioned > >asshole. His condescending, arrogant tone is, at times, annoying. I met him > >once a few years ago in Philly and told him, to his face, that he's always > >reminded me of Darth Vader. But so what? Why do you, Jim Behrle, give him > so > >much power? I don't. I think he has interesting things to say, sometimes, > and > >other times no. > > > >He wrote a favorable little review of my chapbook on his blog and in the > next > >entry basically wrote me off an imitator. But that was cool with me. > Silliman > >has no sway over my love for poetry. > > > >I don't write poetry with a career in mind. I just love poetry. I read it > >everyday and write it when I feel like it -- it's a part of my life. Jim, I > >can only make sense of your arguments (taken to this creepy level) in the > >context of a career. > > > >- Joe Massey > > > -- > ------------------------------------------------------------ Illinois State University Webmail https://webmail2.ilstu.edu ========================================================================= Date: Wed, 26 Feb 2003 17:57:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Welcome Message MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear list, I have taken over Chris Alexander's position as listserv=20 moderator and, as such, over the coming weeks you will see some minor=20 changes made to the welcome message. For now, please take a moment to=20 review the listserv policies outlined below. All the best, Lori Emerson IMPORTANT! This message has been blind-carbon-copied to you. Do not reply-to-all or forward it without the author's permission. Welcome to the Poetics List & The Electronic Poetry Center ..sponsored by The Poetics Program, Department of English, College of Arts & Science, the State University of New York, Buffalo /// Postal Address: Poetics Program, 438 Clemens Hall, SUNY Buffalo, NY 14260 Poetics List Moderator: Christopher W. Alexander Please address all inquiries to . Electronic Poetry Center: =3D Contents =3D 1. About the Poetics List 2. Subscriptions 3. Posting to the List 4. Cautions 5. Digest Option 6. Temporarily turning off Poetics mail 7. "Review Subscribership" Policy 8. The Electronic Poetry Center (EPC) 9. Poetics Archives at EPC This Welcome Message updated 17 September 2002. -- Above the world-weary horizons New obstacles for exchange arise Or unfold, O ye postmasters! 1. About the Poetics List With the preceeding epigraph, the Poetics List was founded by Charles Bernstein in late 1993. Now in its second incarnation, the list carries over 900 subscribers worldwide, though all of these subscribers do not necessarily receive messages at any given time. A good number of other people read the Poetics List via our web archives at the Electronic Poetry Center (see section 10 below). Our aim is to support, inform, and extend those directions in poetry that are committed to innovations, renovations, and investigations of form and/or/as content, to the questioning of received forms and styles, and to the creation of the otherwise unimagined, untried, unexpected, improbable, and impossible. We recognize that other lists may sponsor other possibilities for exchange in this still-new medium. We request that those participating in this forum keep in mind the specialized and focussed nature of this project, and respect our decision to operate a moderated list. For subscription information or to contact the moderators, write to . Please note that this is a private list and information about this list should not be posted to other lists or directories of lists. The idea is to keep the list membership to those with specific rather than general interests, and also to keep the scale of the list relatively small and the volume manageable. The current limits of the list are 50 messages per day, and two messages per subscriber per day. The Poetics List is a moderated list. Due to the increasing number of subscribers, we are no longer able to maintain the open format with which the list began (at under 100 subscribers). All submissions are reviewed by the moderators in keeping with the goals of the list, as articulated in this Welcome Message. The specific form of moderation that we employ is a relatively fluid one: in most cases, messages are reviewed after having been posted to the list, and difficulties resolved on that basis; however, the list moderators may shift with impunity between this and a pre-review mode which calls for all messages to be read and approved before being forwarded to the list. We prefer to avoid this option, as it hampers the spontaneity of discussion that we hope to promote. In addition to these options, the list moderators may place subscribers who find themselves unable to abide by the rules of the list under individual review, in which case only their messages would be received for moderators' approval before being forwarded to the list. For further information, please see number 4, the Cautions section of this Welcome Message. We remain committed to this editorial function as a defining element of the Poetics List. Those few individuals who are no longer welcome to post on this list have forfeited that right because of their refusal to abide by list policies as stated in this Welcome message. While we adhere to a practice of not discussing particular cases on the list, the areas of our greatest concern include flaming of other list subscribers, including the list owners, and/or giving us false registration information. Please note some individuals have publicized false accounts of the policies of the Poetics List. We have deemed it unwise to respond directly to the flames of the list, preferring simply to note here that the Poetics List exists to support and encourage divergent points of view on Modern and contemporary poetry and poetics. We are committed to do what is necessary to preserve this space for such dialog, as well as announcements of events important to our subscribers. 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All correspondence with the moderators regarding submissions to the list remains confidential and should be directed to us at . We strongly encourage subscribers to post information on publications and reading series that they have coordinated, edited, published, or in which they appear. Such announcements constitute a core function of this list. Brief reviews of poetry events and publications are always welcome. To post to the Poetics List, send your messages directly to the list address: Please do not send messages intended for posting to the list to our administrative address . For further information on posting to the list, see section 4 below. Publishers and series co-ordinators, see also section 9. ------------------- 4. Cautions "Flame" messages will not be tolerated on the Poetics List. In this category are included messages gratuitously attacking fellow listees or the list owners, also messages designed to "waste bandwidth" or cause the list to reach its daily limit. These messages are considered offensive and detrimental to list discussion. Offending subscribers will be placed on temporary review (see section 1). Repeat offenders will be removed from the list immediately. Please do not put this policy to test! 'Caveat lector': The Poetics List has become increasingly, though in small proportion, occupied by subscribers who interest themselves in pseudonymous authorship. The practice, while not encouraged by the moderators, is tolerated on the grounds that it is no more practicably eradicable than effectually harmful - not harmful, that is, until it becomes so on the level of particular, individual interactions. The feeling, for subscribers unaware of the circumstance, may be - and perhaps justifiably so - one of having been 'duped.' That said, we have felt it necessary to caution subscribers to read carefully and be sure of your acquaintance as it suits your personal comfort. 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Please do not publish list postings without the express permission of the author! Posting on the list is a form of publication. Copyright for all material posted on Poetics remains with the author; material from this list and its archive may not be reproduced without the author's permission, beyond the standard rights accorded by "fair use" of published materials. As an outside maximum, we will accept no more than 2 messages per day from any one subscriber; in general, we expect subscribers to keep their post to less than 10-15 posts per month. Our goal is a manageable list (manageable both for moderators and subscribers) of 50 or fewer messages per day. Like all machines, the listserver will sometimes be down: if you feel your message has been delayed or lost, *please wait at least one day to see if it shows up*, then check the archive to be sure the message is not posted there; if you still feel there is a problem, you may wish to contact the moderators at . ------------------- 5. Subscription Options It is possible to receive the Poetics List as separate posts or as daily digests. When you subscribe, the default setting is "regular," meaning you will receive a separate email for each message distributed to the list. Regular: The default option, this is the form in which you will receive the list if you choose no other. With a "regular" subscription, you receive individual postings immediately, as they are OK'd by the list moderator. To revert to this option if you are currently receiving the list in digest form, send a one-line message with no "subject" line to The body of the message should contain the following text: set poetics nodigest Your subscription options will be updated automatically. Digest: With a "digest" subscription, you receive larger messages (called "digests") at regular intervals, usually once per day. These "digests" are collections of individual list postings. 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Send these messages to "listserv" not to Poetics or as a reply to this Welcome Message!! ------------------- 6. Temporarily turning off Poetics mail Please do not leave your Poetics subscription "active" if you are going to be away for any extended period of time! Your account may become flooded and you may lose not only Poetics messages but other important mail. You can temporarily turn off your Poetics subscription by sending this one-line message, with no "subject" line, to : set poetics nomail You may re-activate your poetics subscription by sending this one-line message, with no "subject" line, to the same address: set poetics mail When you return you can check or download missed postings from the Poetics archive. (See section 9 below.) ------------------- 7. "Review Subscribership" policy For the safety and security of list subscribers, the "review subscribers" function of the Poetics List has been de-activated. Non-posting subscribers' email addresses will remain confidential. Please do not ask the list editors to give out subscriber addresses or other personal information. Address queries are, of course, welcome to be posted to the list. ------------------- 8. What is the Electronic Poetry Center? The World Wide Web-based Electronic Poetry Center is located at . The EPC's mission is to serve as a gateway to the extraordinary range of activity in formally innovative writing and digital media poetry in the United States and around the world. The Center provides access to extensive resources in new poetries. These include our E-POETRY library, our links to digital VIDEO and SOUND (including our award-winning LINEbreak series of radio interviews and performances) as well as e-journals such as lume, Deluxe Rubber Chicken, Alyricmailer, and many others, the POETICS List archives, an AUTHOR library of electronic poetry texts and bibliographies, and direct connections to numerous related electronic RESOURCES. The Center also provides information about contemporary electronic poetry magazines and print little magazines and SMALL PRESSES engaged in poetry and poetics. Visit the EPC's many libraries, the featured resources available on the EPC home page, or its NEW listings, where recent additions are available for quick access. The EPC is directed by Loss Peque=F1o Glazier. ------------------- 9. Poetics Archives at the EPC Go to the Electronic Poetry Center and select the "Poetics" link from the opening screen. Follow the links to Poetics Archives. Or set your browser to go directly to . You may browse the Poetics List archives by month and year or search them for specific information. Your interface will allow you to print or download any of these files. Please note that it is possible to toggle between proportional and non-proportional fonts in viewing archived messages; a feature that may be useful to interpret messages reliant on the neat spacing of a proportional font, or that require the "word wrap" feature of same - and useful, too, for aesthetic reasons. To change the display font of an archived message, simply follow the "proportional font" or "non-proportional font" link at the top of the message. -- END OF POETICS LIST WELCOME MSG ========================================================================= Date: Wed, 26 Feb 2003 18:15:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: abcd Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit abcd ========================================================================= Date: Wed, 26 Feb 2003 22:27:19 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Bush Whoops Up the Enormous Profits of Iraq War! Comments: To: working-class-list@listserv.liunet.edu, Psyche-Arts@academyanalyticarts.org, frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Bush Whoops Up the Enormous Profits of Iraq War! By Runt Phornecater The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Wed, 26 Feb 2003 21:13:07 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: eBay as the police MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit From Pat Holt's weekly email. http://www.holtuncensored.com/ PRIVACY FOR SALE AT ... EBAY? I'm not sure why we have to go all the way to Israel for a shocking report on invasion of privacy at eBay, but, apparently, we do. According to the Tel Aviv daily newspaper Haaretz, recently Joseph Sullivan, eBay's "director of law enforcement and compliance," spoke to law enforcement agencies at a conference in Connecticut called "Cyber Crime 2003." The speech was "closed to reporters," writes Haaretz's reporter, Yval Dror, and no wonder. Having "obtained a recording of the lecture," Dror writes that Sullivan told the audience: "eBay is willing to hand over everything it knows about visitors to its website" to anybody in law enforcement, no subpoena necessary. In fact, a FAX is fine. eBay can get away with this because "when someone uses our site and clicks on the 'I Agree' button, it is as if he agrees to let us submit all of his data to legal authorities," Sullivan said. So anyone from a police detective to a CIA employee, FBI agent or National Park ranger can make a request to receive all eBay knows about a customer. Then, routinely, "eBay sends back the user's full name, email address, home address, mailing address, home telephone number, name of company where seller is employed and user nickname," Dror writes. "What's more, eBay will send the history of items he has browsed, feedbacks received, bids he has made, prices he has paid, and even messages sent in the site's various discussion groups." And don't worry if your request is about an old customer. eBay has saved "every iota of data" that has come through since the company began in 1995. Why the zeal to release this kind of data?. "We believe that one of the ways to fight fraud is to cooperate with the legal authorities at the various levels," says eBay spokesperson Kevin Pursglove. Aha: So cozying up with the right people in law enforcement means eBay may ask for an exchange of favors as well? That sounds awful, but it gets worse. When computers at eBay sense suspicious behavior on the part of a customer, Sullivan and his six investigators have created "pseudo buyers" with "simulated histories" and "simulated feedback" to draw suspects into the open (the word "entrapment" is not used). With such antics as this, Sullivan has found ways to "help" law enforcement even further. "Tell us what you want to ask the bad guys," he told the conference, according to Dror. "We'll send them a form, signed by us, and ask them your questions. We will send their answers directly to your e-mail." As Dror concludes: "Essentially, by engaging in what seems like impersonation, eBay is exploiting its relationship with customers to pass on information to law enforcement." And it still gets worse: Last year, eBay bought the credit-clearing Internet service PayPal. From this, Sullivan reportedly boasted of having a new "20 million files on its users," and said to the law enforcement agencies: "If you contact me, I will hook you up with the PayPal people. They will help you get the information you're looking for. In order to give you details about credit card transactions, I have to see a court order. I suggest that you get one, if that's what you're looking for." Whoa: Sullivan can look at these files (and those of Half.com, which eBay also owns) and advise law enforcers whether *they* need a court order? Is that really what he means? Would that be invasion of privacy or just plain spying? Well, we're a long way away from Kenneth Starr's demand of booksellers to reveal Monica Lewinsky's book-purchasing records. With "details about credit card transactions" so amply available behind the scenes, Starr and other prosecutors need never be embarrassed by bad publicity or court orders, at least from eBay. And what a shame all this is: eBay has long had the reputation of being the safest place to buy and sell on the Internet because it offers a self-cleaning environment. Customers share their experiences about buyers and sellers and warn each other about "the bad guys." But a story like this from Haaretz could scare off millions - I know I'll never use eBay again - especially since Dror looks at Sullivan's zealotry in the context of 9/11. "One would think that preserving privacy of the users, whose moves are so meticulously recorded, would be keenly observed at eBay, whose good name in the Internet community is one of its prime assets," Dror writes. "But in the U.S. of the post 9/11 and pre-Gulf War II era, helping the 'security forces' is considered a supreme act of patriotism." That's what it looks like from afar, but one wonders what eBay is really up to. Thanks to weblogger John Adams at http://www.jzip.org for tipping me off to this story. If the American press doesn't report it, you can find it at http://www.haaretzdaily.com/hasen/pages/ShArt.jhtml?itemNo=264863&contra ssID=2&subContrassID=5&sbSubContrassID=0&listSrc=Y ========================================================================= Date: Thu, 27 Feb 2003 13:02:47 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Re: unacknowledged legislators Mime-Version: 1.0 Content-Type: text/plain; format=flowed This particular claim – that poets are the unacknowledged etc – has always exasperated me and hearing it repeated the other day at a reading of poets against the war did nothing to lessen my irritation. Which poets? The good? Bad? Mediocre? But that’s just a quibble. Legislators, acknowledged or otherwise, make laws. Whatever the relationship poets may have with ‘laws’, it’s not this. Some/many poets may discover/reveal/explore/test laws, but that’s it – they don’t frame them or impose them. (What laws are we talking about here? Truths is probably a better word, although problematic – well, what isn’t?) Poets are the unacknowledged cartographers or scientists or oracles of the world. Geraldine _________________________________________________________________ Hotmail now available on Australian mobile phones. Go to http://ninemsn.com.au/mobilecentral/hotmail_mobile.asp ========================================================================= Date: Thu, 27 Feb 2003 04:45:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Robert Kocik in Buffalo Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Poetry Exposition: Poetry May Take Any Substrate (including poetry) Certain findings: The Sexual Transmissibility of Artwork, Materialized Beatitude, Extraorganopoieia, the Susceptive System. A few Missing Social Services, including Poetry Outsource. A talk and discussion with Robert Kocik. --Rust Belt Books, Tuesday, March 4, 8pm ========================================================================= Date: Thu, 27 Feb 2003 01:41:14 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: What are the CREEPS doing now? MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://story.news.yahoo.com/news?tmpl=story2&u=/ap/20030226/ap_on_re_af/nige ria_radioactive_material&e=4 Interesting that the materials disappeared from an *oil* company...you just gotta wonder what provocateur terror the Man has in store to get their war. Patrick ========================================================================= Date: Thu, 27 Feb 2003 12:57:16 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: John Wayne's acting Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In a recent post, Joe Amato says "(and ron, i don't care what you say, john wayne *could* act---others, see poetics archives)... " ... anyone familiar with the film "The Ern Malley Story" (http://jacketmagazine.com/17/movie-100.html) could have told him that; John Wayne as Marcel Proust (in the famous "dream scene") was a knockout: "An unusually subtle performance... soulful looks... eye shadow... the rat hunt was harrowing ..." -- N.Y.Times "Wayne handles the role well, considering his lack of a horse..." -- L.A.Mirror "When John Wayne as the handsome young Marcel Proust gently stroked the hand of the groom, I almost fainted..." -- Helen Vendler, M.L.A Guardian. -- John Tranter, Editor, Jacket magazine ========================================================================= Date: Thu, 27 Feb 2003 11:59:57 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: launch reading MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit You are invited to the launch reading of THE LORES by Robert Sheppard & WIRE SCULPTURES by Lawrence Upton published by Reality Street Editions Reading by Sheppard and Upton - Upton will be joined by Adrian Clarke on some poems Venue: Council Room Birkbeck College Malet Street London W C 1 Wed 19th March 2003 7 p.m. to 9. p.m. People attending will be asked for a voluntary contribution of £4/2 to help pay expenses. Reading organised in association with Contemporary Poetics Research Centre ========================================================================= Date: Wed, 26 Feb 2003 19:32:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: _So Going Around Cities_ MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! Hurray !!! ----- Original Message ----- From: "Skip Fox" To: Sent: Wednesday, February 26, 2003 5:05 PM Subject: _So Going Around Cities_ > A general letter from George & Lucy Mattingly: > > Hello Everyone, > > This is just to let you know that we are reprinting "So Going Around > Cities: New & Selected Poems" by Ted Berrigan. > > The book will be available by the beginning of April at a list price > of $34.95 (quality paperback). Please pass the word on to friends who > may have always wanted a copy but couldn't find one! And college > professors, too. Class adoptions are always welcome. > > The book will be available through Small Press Distribution, Ingram > (which means most bookstores can order it), Baker & Taylor, and > Amazon et al. It will of course be available directly from us, and > soon we will have a website (bluewindpress.com). > > So order your copies now for friends and family! > > All the best, > Lucy & George > -- > > ========================================================================= Date: Wed, 26 Feb 2003 18:48:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Barbaric Yawps in Baltimore Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline If you're in Baltimore for the AWP or otherwise, you are very welcome to attend two events which address the capacities/responsibilities of poets/poetry in this time of threatened war against Iraq. BARBARIC YAWPS AT THE ENOCH PRATT LIBRARY Friday 28 February 11-1pm Open Reading including Pierre Joris on Arab & Iraqi poetry; Jane Sprague, "Poetry, Politics and Translation: American Isolation & The Middle East"; Kazim Ali on "Monument and War: Maya Lin, Yoko Ono, and the New York City Peace Rally"; Gabe Gudding, "Dung in an Age of Empire; poems by Wendy Carlisle, James Cervantes, Joelle Hahn, Patrick Herron, Toni Asanti Lightfoot, Anastasios Kozaitis and Your Name Here. MC: Mairéad Byrne. Barbaric Yawps at the AWP St. George Room, Friday 28 February, 2.30-4.00pm Panel discussion questioning Laura Bush's assertion "There is nothing political about American literature," Dana Gioia's claim that "the urge to politicize art proves irresistible to the ignorant, the lazy, and the small-minded of all persuasions," and Stanley Fish's argument that no university, and therefore no university official, should ever take a stand on any social, political, or moral issue." Panelists include Pierre Joris, Jane Sprague, Kazim Ali, Toni Asante Lightfoot, and Mairéad Byrne (moderator). Note: The library is easy to get to and under a mile from the Renaissance Harborplace. From the hotel, walk a long block west on Pratt to Charles Street and make a right. Come north on Charles for 6 long blocks and turn left\(west) on either Mulberry or Franklin. We're on the next block over across from the green-domed church. We'll be in the Poe Room on the second floor. Bring your own lunch! [Thanks to WOM-PO for directions] Mairéad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com ========================================================================= Date: Thu, 27 Feb 2003 02:22:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: TELEGRAM MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII TELEGRAM HELLO MY NAME IS SADDAM HUSSEIN. STOP. YOU HAVE HEARD OF ME FROM MANY INTERVIEWS AND PHOTOGRAPHS. STOP. YOUR PRESIDENT WANTS TO KILL ME. STOP. MANY WOMEN ARE JEALOUS OF ME. STOP. THERE ARE VERY MANY PEOPLE YOUR PRESIDENT WANTS TO KILL. STOP. BUT I AM A SPECIAL PERSON WITH A SPECIAL NAME. STOP. IF YOU AGREE WITH ME THAT MANY WOMEN ARE JEALOUS READ FURTHER. FOR IT IS MOST UNUSUAL THAT WOMEN ARE JEALOUS WHEN A PRESIDENT WANTS TO KILL ME. STOP. OR SOMEONE ELSE WHO THE PRESIDENT WANTS TO KILL. STOP. I WILL DIE BUT MY JEALOUS WOMEN AND CHILDREN WILL DIE. STOP. EVERYONE WILL DIE FOR YOUR PRESIDENT IS AN EVIL MAN. STOP. FOR HE WILL NOT TALK TO ME. STOP. HE WILL NOT VISIT ME. STOP. HE WILL NOT INTERVIEW ME. STOP. HE WILL NOT PHOTOGRAPH ME. STOP. IT IS VERY SAD THAT YOUR PRESIDENT WILL KILL ME. STOP. HE WILL KILL MANY IRAQIS. STOP. HE WILL FIGHT THE WORLD IN A HORROR WAR WITH MANY INTERVIEWS AND PHOTOGRAPHS. STOP. HE WILL BE INTERVIEWED MANY MANY TIMES. STOP. HE WILL BE PHOTOGRAPHED MANY MANY TIMES. STOP. HE WILL NEVER VISIT ME. STOP. HE WILL NEVER VISIT ME. STOP. HE IS AN EVIL MAN AND I WILL DIE. STOP. HIS WOMEN ARE JEALOUS OF ME. STOP. HIS DAUGHTERS ARE JEALOUS OF ME. STOP. I AM A STUPID PERSON AND HE IS A STUPID PERSON. STOP. IT IS VERY SAD. STOP. DO YOU HEAR MY VOICE. STOP. DO YOU HEAR MY VOICE. === ========================================================================= Date: Thu, 27 Feb 2003 04:50:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Poets Against the War (Buffalo) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Wed@4 Plus special: A Reading of Poets Against the War, UB Center for the Arts Screening Room (North Campus), SUNY Buffalo, March 5th, 4pm: Rosa Alcala, Chris Alexander, Charles Bernstein, Robert Kocik, Aaron Lowinger, Gavin O'Brien, Kyle Schlesinger, Tim Shaner, Jonathan Skinner and others. In conjunction with the International Day of Poetry Against the War: http://poetsagainstthewar.org/ ========================================================================= Date: Wed, 26 Feb 2003 18:46:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: gormless In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" denmark's first king was gorm den gammle (gorm the old); his son was harald bla-tand (harald blue-tooth). weird scandinavian trivia. At 5:54 PM -0330 2/26/03, K.Angelo Hehir wrote: >gormless (GORM-lis) adjective, also gaumless > > Dull or stupid. > >[From English dialectal gaum (attention or understanding), from Middle >English gome, from Old Norse gaumr.] > > "For my parents, though, it was compulsory viewing. They would sit on the > settee making appreciative or derogatory noises about one or another > contestant and bitterly denouncing the judges when Miss England failed to > get a placing - even if Miss England was a gormless, whey-faced hag, > which quite often she was." > Rod Liddle; The Ugly Side of Miss World; The Guardian (London); Nov 26, > 2002. > > "As the movie's gormless hero, Spacey inverts his usual glib persona. But > there's something mannered about his minimalism. He creates a character > so deliberately vacant and slow-witted that, behind the concave > performance, the armature of intelligence shows through." > Brian D Johnson; Bumping Into Neverland; Maclean's (Toronto, Canada); > Dec 31, 2001/Jan 7, 2002. > >This week's theme: words to describe people. -- ========================================================================= Date: Thu, 27 Feb 2003 02:07:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: Sewing tags Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Good dream! From the seamstresses' point of view, in this case in Lower East Side sweatshops (from _Crazy Melon and Chinese Apple: The Poems of Frances Chung_, Wesleyan U. Press, emphasis added): The noise stops for a brief respite but the sewing activity really doesn't. Preparations for the afternoon hours. Folding collars and pockets. Knowing both sides of cloth. Tying MANUFACTURER'S LABELS THAT YOU CAN'T READ YOURSELF. You have your own identification number. Getting your share of the free tea before the supply is exhausted. Going to the bathroom of no toilet paper. Punching out. Taking out lunch cooked in the morning or food from last night's dinner in thermos or baby food jars. The Chinese jars that one can recognize by shape. Rice for sustenance. Food from Chinatown and its sweet creamy coffee. The latest Glamour styles are sewn for a few pennies. Doesn't the dust get into your lungs? What kind of lunch hour is this? Thirty minutes. [...] When the sewing is good (prices are high) at the factory, the women are happy. They say that they are eating 'soy sauce chicken.' One woman says that she takes the number 11 to work, meaning her two legs. The factory ladies, grateful for elevators and drafts of fresh air, develop a bent back from their positions at work. They sometimes wear cloth masks over their mouths, like doctors in an operating room. (No one has heard of D. H. Lawrence.) The threads in your machine are entangled. You have made a mistake and must take apart your sewing. Beyond the fire escape you can see into other factories, through replicas of your own dust-ridden window. Lunchtime is suddenly over. (Pp. 61-62) >Date: Mon, 24 Feb 2003 00:40:44 -0500 >From: Nick Piombino >Subject: Logo "Poetry" > > > >> Date: Sun, 23 Feb 2003 11:17:57 -0800 >> From: Stephen Vincent >> Subject: Logo "Poetry" >> >> Quite literally had a dream last night in which the garment industries in > > league with poets in opposition to the advent of war started >sewing "poetry" >> tags on to pants, shirts, blouses, etc. >> Similar to the old - or maybe it still goes on - little red "Levis" tags on > > jeans. > > Bravo! > >-Nick- ========================================================================= Date: Wed, 26 Feb 2003 17:28:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Chinese Feed? Comments: To: solipsis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is the sort of nonsense up with which one should not put.--Winston Churchill, sarcastic over blind obedience to grammatical rules. -----Original Message----- From: solipsis To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, February 26, 2003 7:59 AM Subject: Re: Chinese Feed? >Is fny t s hw "eglih tehes" re inteiolly qusable syax orte sprg muc of >polantic miiae.. bt msing te Xu Bing Refnes rey pls ple i tir fd.. yu tk ple >prer witls sarcm t an invion t te imanal; sas seriox.. soy walter, i gus i >ws chsing te dragn wle yo wee danglg yor partcpl.. > >lq > > > > > > > >----- Original Message ----- >From: "Walter K. Lew" >To: >Sent: Tuesday, February 25, 2003 9:52 AM >Subject: Re: Chinese Feed? > > >> >Date: Mon, 24 Feb 2003 14:37:17 GMT >> >From: Lanny Quarles >> >Subject: Dream: Feed/Field. >> > >> >Dream: Feed/Field. (Cantilever against Normalization) >> >The words on the stairs are not in English, and they are not in >> >Chinese, but are in a language resembling very much Chinese >> >> **What does that mean? >> >> >She begins to speak to you in the most beautiful human voice >> >you have ever heard, in an unknown language, but somehow resembling >> >Chinese. >> >> **LOOKS like Chinese, SOUNDS like Chinese.... >> >> >Her enormous hand comes up out of the water. The chair >> >releases you. You stand. Four smaller "copies" of the woman leap from >> >her hand to attack you. They use incredible agility. You are subdued >> >very quickly. They take you to the original. She smiles at you revealing >> >large perfect teeth that glow brightly as the sun sets over the rocky >> >valley. Then she eats you. >> >> **O.k.--If it was w enormous chopsticks then she was Chinese. Unless >> you're a FORTUNE COOKIE. >> >> /WKL >> > ========================================================================= Date: Thu, 27 Feb 2003 06:53:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: The Other War That's in the Works Comments: cc: bstefans@ARRAS.NET, circulars@arras.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable 2.27.03, 13:00, Bilkent University, Ankara, Turkey =20 A former student of mine who recently graduated came back to campus to = see me the other day. He was making the rounds announcing his impending = marriage. Delighted for him, I said, "Congratulations! When?" He looked = down at his feet for a few seconds and when he looked back up at me all = the happiness had left his face. "I don't know," he said. "We will = wait." Standing between him and married life is 8-16 months of = compulsory military service, and potentially an extended period of = conflict in the region, conflict in which he may be personally involved. = He thinks a U.S. invasion of Iraq would just be the beginning. He's = probably right. =20 Turkey's main concern with regard to a possible war in Iraq (of many = besides the economy) is the Iraqi Kurds. The Kurds in Iraq are = substantial in number, presently occupy and govern their own territory, = and have a large militia (70,000-130,000). In the event of a war that = topples Sadam's regime, they will be gunning for their own state.=20 =20 Far from agreeing to let this happen, Turkey in fact proposes to move = into Kurdish territory after the American invasion for the purpose of = supplying "humanitarian aid." Did I forget to mention that the Kurds are = sitting on top of a lot of oil? Well, they are. Their Jerusalem is a = city called Kirkuk, an "oil rich" place. =20 Needless to say, a Turkish presence in Northern Iraq would not be = welcome and the leadership of the Iraqi Kurds has already promised that = there would be conflict.=20 =20 Peter W. Galbraith, writing in the New York Times, suggests that the = Iraqi Kurds are again about to be double-crossed by the U.S.=20 =20 http://www.nytimes.com/2003/02/19/opinion/19GALB.html?ex=3D1047288833&ei=3D= 1&en=3Db6e9c0cb1dd5966e =20 My student and I continued to talk for a while, about the war, not his = marriage. The silences between our talk grew longer and longer. Finally, = he stood up, dejected, shook my hand, said goodbye and left. =20 "The mother tongue is propaganda"=20 --Marshall McLuhan (1965) Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr http://www.bilkent.edu.tr/~pounds ========================================================================= Date: Thu, 27 Feb 2003 01:23:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 6 poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit abuse u-Gx3Yp3o q-m4f2AMqoN 4-Kcn7 1-GGf9m7My6 l-15WB4MLy h-pcb3Ka C-du P-lx6iLVJ a-6bBC I-DiXW7m7 F-oueSZ 3-e6j s-yn3 9-vljvV a-dd3GK 7-CxVoGQl 2-Tt b-lq6DqhAI N-jtxeH n-OqRPs9a W-xN1DF8Gj6 G-vidjdABDO 7-qoJ6WQ O-1osnRC Y-Uu7hKRgK 2-fm0w a-vCMc Q-V8a K-LBeuQP8RW 6-f n-0z9RLGjVZ P-l4c3qO 2-OJBbWcpgE b-Mdy V-gFqi s-qTYDKM5 s-ebU766 s-u d-g5ht8 t-v5hthg G-9wDX v-7LVp0Jlq0 q-1l1zDK z-b2BH4r v-N f-qAJTeh7 j-a29RSUf O-lO 0-l d-lbY7 J-8jlHoHQbU N-z56 o-P 8-2Z q-dku D-ePVlt9 W-AAFEFPq v-LSo y-MdXySK A-utPmM Y-b5Bh9 E-wk o-7 k-B68R B-xN5kph D-W6O P-qNW42i h-L4ZwJbs i-KkmsD 8-6 Y-d9JZrGDO D-6AW2 K-1WRS O-JqJaif4 9-Y402 g-Cs m-rlJb1B ----------- violate g-u843 b-`U+GGA !-2A*'J =-T!4 --rEqMg &-gB 4-/^-N N-9>;~c k-QbnS3" V-QDWW U-W,yX5cr }-2:=)<2TG X-8me3z||Nj V-fkxL7*Hx9 %-z|5=P# y-CO#v 4-6mp|I"gi }-Ur q->( 7-YEpO> }-AO8Y%1 5--r/dP S-f? 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(cross-hatchlings): presented by Amor to = Polyphemus=20 =20 (PARTS 1-5) I A BICKERER NET SUN SO motion Iovem, Neck Senator bruise Kuklops videat decent eques videat gaudet Iovem; Nec one Dumque sumpta fritillo, Cum coward prune sumpta belial (the cyclops moves and whistles) spectare O rolling custer verna prope nostrum fritillo, Cum spectrum eques oaf in ovid ambigewe motion Synthesibus aedilem ladle yangown * NOR_GAP=3D "Plant-plant signalling, the shade avoidance response and = competition." [prope decent prope Iovem; Senator videat Cum eques motion nudiflora Iovem; gaudet Nec prope Iovem; eques videat Synthesibus aedilem Cum sumpta spectare verna prope prope Iovem; Senator videat] _______ =20 its negat? Sed Outis negat? Sed Outis potius dent pauperis tricaeque apinae manifest I et wanted wanted vel et alternating itself et Saturne, wanted wanted quid madidis, luck: Praemia quid quisque quid alternating I agam sweat. ' wanted istis.' It * NOR_GAP=3D "Effects of red and far red lights on nodulation and nitrogen = fixation in soybean." [' wanted Saturne, wanted fridigia sweat. tonsil fire Sed negat? Loupe. ' wanted et ' wanted agam Sed negat? Saturne, wanted nercet Sed negat? plume higgs quid Saturne, wanted mouth pauperis tricaeque pergracile apinae ' wanted pauperis tricaeque sweat. bloody dining tooth Praemia itself et vel alternating quid pauperis tricaeque Sed potius dent its negat? lone chicken I]=20 _______ Lude, angled murder Lude, in paper Mycenas? ' what pupua? filius, this earth inquis, a long-shore filius linewidth Perdere Troiamve nuces Troiamve Thebas Wool nurse Lude, the bloddy Lude, the shirtless Thebas, harangued in ramhorn Perdere Troiamve ' ipse tibi malasve, massif uncoof dedit? Vile . lepric * NOR_GAP=3D "Phototoxicity of Citrus jambhiri to fungi under enhanced = UV-B radiation: Role of furanocoumarins." [Lude, Lude, Mycenas? nuces Troiamve Thebas Lude, Lude, Thebas Perdere ipse tibi=20 .auriculata=20 .fluminales=20 ' filius inquis, filius Perdere ' ' filius inquis, filius Perdere ipse tibi nuces Troiamve Thebas Lude, Lude, Thebas Perdere] _______ II A LEATHER OWL MOM SON opposed. Lemmata whorl noose libellum: Versibus refused sint closed couplet with socius vile hunc malueris, interest cur omne bequeath. plough adscripta, birthname lease laughter (the cyclops reveals his "second" eye) bequeath. little careers explicitumst strength I itself master finire itself slave finire finire Quo libellum: Versibus bequeath. the grey eternity finire vile lemmata vile=20 * NOR_GAP=3D "The use of UV radiation to control the architecture of = Salvia splendens plants."=20 [Quo omne itself finire hunc mekongensis explicitumst I itself finire Quo itself finire Quo libellum: Lemmata libellum: vile lemmata itself finire itself finire Lemmata libellum: Lemmata libellum: hunc omne vile] _______ III A RELIC PIE SLUG RIT tabellas, Essemus dentis of universal dentis you chew doctor Secta you mate clue /lines tabellas, Essemus (the cyclops blows kisses among the fowl) tabellas, Essemus nobile tenues / all lines tabellas, Essemus in dentis / its all drawing * NOR_GAP=3D "Phytochrome signalling in plant canopies - population-level = implications in photoreceptor mutants of Arabidopsis."=20 [Essemus in tenues tabellas, tabellas, ciliata Essemus in tenues tabellas, tenues tabellas, Essemus dentis dentis Secta tabellas] _______ IV CLIQUES IN QUIP =20 wax calet calet wax cum Caede domini altus wax altus, ships cleave the raging purple hemisphere (the cyclops rubs = the stone) felix, Quinquiplici fluid quillflux * NOR_GAP=3D "Potential errors in the use of cellulose diacetate and mylar = filters in UV-B radiation studies."=20 [Caede Quinquiplici calet Quinquiplici altus wax domini altus wax altus felix, khasya altus wax cum] _______=20 V A BE LOGE RISER I ULP niveum pingat cerae, Nigra ovum mare sklope littera tibi lumina lumina niveum (the cyclops smashes the soldier kid) pingat ebur.=20 tibi tobias * NOR_GAP=3D "Dual effect of phytochrome A on hypocotyl growth under = continuous red light."=20 [ebur. tibi niveum pingat Nigra littera pingat lumina gasparriniana niveum pingat Nigra littera pingat niveum pingat lumina] _______ =20 =20 ========================================================================= Date: Thu, 27 Feb 2003 06:19:28 -0800 Reply-To: solipsis Sender: UB Poetics discussion group From: solipsis Subject: The p p H r nd t (pts6-10) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The p p H r nd t : explanata-roy gap (And p i g r m m the T n l i b and X)=20 ---------------->that x. (cross-hatchlings): presented by Amor to = Polyphemus (PARTS 6-10) VI PIC LISTER=20 amica. non Tunc putabis in life the stoned goat tibi putabis vilia victim of mechanosensitive sensilla scribet (the cyclops weeps over his onion) scribet triplices tarpon if tibi venturam true life does not "show work"=20 * NOR_GAP=3D "The interaction between phytochrome and white light = irradi-ance in the control of leaf shape in Taraxacum officinale."=20 =20 [putabis vilia scribet scribet triplices if putabis vilia scribet scribet triplices if putabis vilia scribet scribet triplices if venturam venturam riparia Tunc] _______ VII A BEA IRREG LEN ISM LUMP=20 licet This leach head puta This forcible dread vocetur: Delebis, (the cyclops sits sewing, brooding) novare waxes, scolopendra usable quotiens tongue fried human scripta its all light puta membrane, the whore's skin * NOR_GAP=3D "Photoinduced parental control of seed germination and the = spectral quality of solar radiation."=20 [This puta waxes, quotiens scripta puta This vocetur: strictus licet waxes, quotiens scripta puta Delebis, novare This puta] _______ VIII ANVIL TILE I cupiant Nondum Vitelliani.=20 licet drunken licet puella, Novit NOVA (the cyclops sings, sings of a shattered world) legerit licet shattered the proper world * NOR_GAP=3D "UV radiation in the natural and perturbed atmosphere."=20 =20 [licet licet Vitelliani. licet licet Nondum Nondum puella, sinica licet licet licet licet] _______ =20 IX ID ME=20 ista cur knoll atlantean amicae. Falleris: temple mirth of skull minimos sleep you keep tabella nummos (the cyclops makes tiny toys from the royal mummies) nummos nommo we nummos nommo et tabella mitti minimos et we african word angel alien dogon * NOR_GAP=3D "Interaction between cryptochrome and phytochrome in higher = plant photomorphogenesis."=20 [Falleris: minimos tabella ista amicae. ista amicae. nummos nummos we Falleris: minimos tabella mitti tonkinensis mitti nummos nummos we Falleris: minimos tabella] _______ X BEGAT CRAG HEIR quod Cum poet munera poet poet munera pusilla, Cum est, you keep, my caustic saliva pusilla, my onyx eyeballs (the cyclops tears open his chest to reveal = the lava-apartments of his heart-stone to Gaia) poet putes, i am a time-statue poet est, i am a time-steak putes, whores quod pusilla, Cum O whores! * NOR_GAP=3D "In vivo phytochrome-mediated perception of reflected light = signals."=20 =20 [poet pusilla, Cum est, pusilla, poet est, putes quod putes poet pusilla, siamensis poet Cum pusilla, pusilla, Cum est, pusilla, poet est, putes quod pusilla] _______ ========================================================================= Date: Thu, 27 Feb 2003 09:46:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Richards Subject: Re: unacknowledged legislators MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Not a question of truth but belief. Shelley was saying that what poets believe now, others acknowledge later. It's actually quite simple. > -----Original Message----- > From: geraldine mckenzie [SMTP:skarrid@HOTMAIL.COM] > Sent: Wednesday, February 26, 2003 9:03 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: unacknowledged legislators > > This particular claim - that poets are the unacknowledged etc - has always > exasperated me and hearing it repeated the other day at a reading of poets > against the war did nothing to lessen my irritation. > > Which poets? The good? Bad? Mediocre? But that's just a quibble. > > Legislators, acknowledged or otherwise, make laws. Whatever the > relationship > poets may have with 'laws', it's not this. Some/many poets may > discover/reveal/explore/test laws, but that's it - they don't frame them > or > impose them. (What laws are we talking about here? Truths is probably a > better word, although problematic - well, what isn't?) > > Poets are the unacknowledged cartographers or scientists or oracles of the > world. > > Geraldine > > > > > > > _________________________________________________________________ > Hotmail now available on Australian mobile phones. Go to > http://ninemsn.com.au/mobilecentral/hotmail_mobile.asp ========================================================================= Date: Thu, 27 Feb 2003 07:32:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Fleet Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The war's saw-toothed shadow wads itself up as it snows again, throws itself almost out, but for the oblivion white means to say in its honest moments. The inevitable comparisons with milk and that other product of pulled udders, pearls and the breath of the dead (war says hi!), uncrumple like beloved bills slapped to a drugstore counter in exchange for Fleet enema. The old men so happy to watch youth burn up the underbrush on new territory like to keep things to themselves. If the generals had it their way, it would snow long and deep; drifts of sudden economy to lighten the trenches of the dead and their secrets. 2003/02/27 07:28:42 ===== http://www.lewislacook.com/ NEW! Zoosemiotics http://www.lewislacook.com/zoosemiotics ARCADIA: long poem serialized in the muse apprentice guild: http://www.muse-apprentice-guild.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Thu, 27 Feb 2003 11:18:46 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: L-a-n-g-u-a-g-e 25th Anniversary MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/26/03 11:02:47 AM, dcmb@SONIC.NET writes: << i have read many posts by this gent, and never once come across evidence of an intellect that could concceive of such a pun >> Whew! Thanks for the flame. "Conceive" is misspelled, oh mighty intellect. Excuse me, but you're the one who could not grasp the simple and obvious wordplay. Seems Maria "got it" without much trouble. I expected nothing but chuckles. Foolish me. If you have been following my posts, as you claim, then you know that for the past four or five years I have honored those responsible for this list. Oh well, I'm due back on earth (apologies to Woody). Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com bn.com ========================================================================= Date: Thu, 27 Feb 2003 08:32:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Sewing tags In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Thanks for posting this, Walter. If "we" only knew the conditions of labor in "our" dreams! Which is "the work" here of Frances Chung "Sew Your Own" is the guilt free solution - Maria Damon responding that she may cross-stitch "poetry" into her work - yet, I assume, Chung clearly is much more interested in transforming the conditions of the work (and not throwing the people she renders out of work). Of course my dream of "garment industries in league with anti-war protests" was probably hopelessly ironic and/or utopic in the first place. In any case, it's great to see this work with which I am not familiar. Stephen V on 2/27/03 2:07 AM, Walter K. Lew at Lew@HUMNET.UCLA.EDU wrote: > Good dream! From the seamstresses' point of view, in this case in > Lower East Side sweatshops (from _Crazy Melon and Chinese Apple: The > Poems of Frances Chung_, Wesleyan U. Press, emphasis added): > > The noise stops for a brief respite but the sewing activity really > doesn't. Preparations for the afternoon hours. Folding collars and > pockets. Knowing both sides of cloth. Tying MANUFACTURER'S LABELS > THAT YOU CAN'T READ YOURSELF. You have your own identification > number. Getting your share of the free tea before the supply is > exhausted. Going to the bathroom of no toilet paper. Punching out. > Taking out lunch cooked in the morning or food from last night's > dinner in thermos or baby food jars. The Chinese jars that one can > recognize by shape. Rice for sustenance. Food from Chinatown and its > sweet creamy coffee. The latest Glamour styles are sewn for a few > pennies. Doesn't the dust get into your lungs? What kind of lunch > hour is this? Thirty minutes. > [...] > When the sewing is good (prices are high) at the factory, the women > are happy. They say that they are eating 'soy sauce chicken.' One > woman says that she takes the number 11 to work, meaning her two legs. > > The factory ladies, grateful for elevators and drafts of fresh air, > develop a bent back from their positions at work. They sometimes wear > cloth masks over their mouths, like doctors in an operating room. (No > one has heard of D. H. Lawrence.) > > The threads in your machine are entangled. You have made a mistake > and must take apart your sewing. Beyond the fire escape you can see > into other factories, through replicas of your own dust-ridden > window. Lunchtime is suddenly over. > > (Pp. 61-62) > >> Date: Mon, 24 Feb 2003 00:40:44 -0500 >> From: Nick Piombino >> Subject: Logo "Poetry" >> >>> >>> Date: Sun, 23 Feb 2003 11:17:57 -0800 >>> From: Stephen Vincent >>> Subject: Logo "Poetry" >>> >>> Quite literally had a dream last night in which the garment industries in >>> league with poets in opposition to the advent of war started >> sewing "poetry" >>> tags on to pants, shirts, blouses, etc. >>> Similar to the old - or maybe it still goes on - little red "Levis" tags on >>> jeans. >> >> Bravo! >> >> -Nick- ========================================================================= Date: Thu, 27 Feb 2003 11:20:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: panoptic Comments: To: ENGDEP-L@listserv.ilstu.edu, kyleStill5aol.com@merlin.ilstu.edu, babarre@ilstu.edu, naborna@ilstu.edu, shiva1783@aol.com, lmason85@hotmail.com, rachellewis3@hotmail.com, familylove3@earthlink.net, jestepn@ilstu.edu, thbeard@ilstu.edu, kjjohns5@ilstu.edu, oneofakind4us@yahoo.com, dlmitch@ilstu.edu, kelbel111@aol.com, armack82@yahoo.com, sastoll@ilstu.edu, tnander2@ilstu.edu, kmmanak@ilstu.edu, shuss20@aol.com, megsaw13@aol.com, bobo92582@aol.com, nejohns@ilstu.edu, hamesza@ilstu.edu, swim050@aol.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" http://www.nytimes.com/2003/02/27/technology /circuits/27scho.html?ex=1047346455&ei=1&en=3cc4c66a19ba640a Hats off to Foucault! Joseph ========================================================================= Date: Thu, 27 Feb 2003 12:08:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: CREELEY AT SPLENDID PAGES EXHIBITION: March 14, 7 PM MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Bob Creeley discusses his collaborations with artists and reads from his = work.=20 On exhibition -- hundreds of artist's books, many of which are = collaborations between poets and visual artists, in the major exhibition = "SPLENDID PAGES: THE WALTER & MOLLY BAREISS COLLECTION OF MODERN = ILLUSTRATED BOOKS." Creeley's conversation with Joel Lipman will be backed by slides of the = Kitaj/Creeley A DAY BOOK [Graphis Press] and the Indiana/Creeley NUMBERS = [Domberger]. March 14, 7 PM, Toledo Museum of Art, Little Theater.=20 Full info at: www.toledomuseum.org ========================================================================= Date: Thu, 27 Feb 2003 12:36:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: info on a new journal: XANTIPPE Mime-Version: 1.0 Content-Type: text/plain; format=flowed I just wanted to pass the word about a new journal edited by Kristen Hanlon. I just got my copy this morning & it looks pretty great--a nice wide range of work without being aesthetically unfocused. It's annual and can be ordered here: XANTIPPE POBOX 20997 Oakland, CA 94620 $10 for one issue or $ 18 for a two year sub... (checks to Kristen Hanlon) Xantippe issue one is out now and features: Jennifer Arcuni John Beer Cristin Bishara Cheryl Burket Jennifer Cunningham Jean Day Trane DeVore Cody Gates Noah Eli Gordon Arielle Greenberg Jerry Harp Brenda Hillman Jay Hopler Christine Hume John Isles Kimberly Johnson Lary Kleeman Kevin Larimer Denise Nico Leto Michael Jay McClure Rusty Morrison Kathleen Peirce D.A. Powell Megan Pruiett Elizabeth Robinson Carol Snow Mary Szybist Lisa Visendi Rachel Zucker It seems to me like there's lots of great stuff happening around the Oakland area. --Noah ________________________________________________ "I like Man Ray. But do I enjoy it?" --Nick Moudry _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 27 Feb 2003 12:40:29 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: unacknowledged legislators MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable In a message dated 2/27/03 9:07:14 AM, skarrid@HOTMAIL.COM writes: >This particular claim =E2=80=93 that poets are the unacknowledged etc =E2= =80=93 has always > >exasperated me and hearing it repeated the other day at a reading of poets > >against the war did nothing to lessen my irritation. > > Whatever it is worth, as I remember it, this is a quote from Joyce's "A=20 Portrait of the Artist as a young Man." Murat ========================================================================= Date: Thu, 27 Feb 2003 13:01:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Recently on the blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Jism & self-splatter Banishment & redemption A Very Green screen A Martyr Complex shattered http://kickthepodium.blogspot.com/ _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 27 Feb 2003 10:00:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: unacknowledged legislators In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable >This particular claim =96 that poets are the unacknowledged etc =96 has alw= ays >exasperated me and hearing it repeated the other day at a reading of poets >against the war did nothing to lessen my irritation. > >Which poets? The good? Bad? Mediocre? But that=92s just a quibble. > >Legislators, acknowledged or otherwise, make laws. Whatever the relationshi= p >poets may have with =91laws=92, it=92s not this. Some/many poets may >discover/reveal/explore/test laws, but that=92s it =96 they don=92t frame= them or >impose them. (What laws are we talking about here? Truths is probably a >better word, although problematic =96 well, what isn=92t?) > >Poets are the unacknowledged cartographers or scientists or oracles of the >world. > >Geraldine > This objection would make more of itself if it were applied against Shelley's argument, taking up his terms. > > > >_________________________________________________________________ >Hotmail now available on Australian mobile phones. Go to >http://ninemsn.com.au/mobilecentral/hotmail_mobile.asp -- George Bowering Moustache still on =46ax 604-266-9000 ========================================================================= Date: Thu, 27 Feb 2003 10:05:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: The Passion of Dana Gioia MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT 2. At the Poetry Slam with Dana Gioia “The “Chocolate Genius” spits on me While rapping out his ‘poetry’. But I don’t mind a little mist Because I am a populist. It’s true, his passion’s misdirected— I’ll write an essay to correct it. You’ll never touch the Absolute Addressing Puerto Rican roots. Still, I prefer his faulty metrics To theory-drunken academics’. This has an art brut, street appeal— If it ain’t good, at least it’s real. It’s oral poetry, this rap— Tradition peeks out from the crap. True, I can’t completely back it But I sure look sweet in a leather jacket. And I perceive a subtler function— To slam the door on Deconstruction. Just think! The freshest minds among us Intoning Causley and Catullus And all the French wags I don’t like Prostrate before the open mike! The prosody of spoken word will Lead the common man to Virgil Dispelling Theory’s fads and fashions With the merest whiff of canon. The art restored! And I its leader Beloved by the common reader.” The Genius reads his final page Screws back the mike and leaves the stage. The crowd cheers, leaves—all one-two-three go For double non-fat mochaccinos. --Rodney Koeneke ========================================================================= Date: Thu, 27 Feb 2003 10:16:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Holloway Poetry Series presents Edwin Torres and David Larsen, Tuesday 3/4: please announce and distribute Comments: To: Abigail Reyes , Karen Leitsch , Margaret Wellons Comments: cc: ethnicst@socrates.Berkeley.EDU, complit@ls.berkeley.edu Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The Holloway Poetry Series Presents Edwin Torres and David Larsen Tuesday, March 4 Colloquium with the poets begins at 4:30 p.m. in 305 Wheeler Hall, UC Berkeley Readings begin at 6 pm, Maud Fife Room, 315 Wheeler Hall, UC Berkeley Edwin Torres started creating text and performance work in 1988 under the banner "I.E. Interactive Eclecticism." In 1990 he discovered poetry at Th= e Nuyorican Poets Caf=E9 and the St. Mark's Poetry Project and poems evolved ou= t of his I.E. Monologues. He has since collaborated with a wide range of artists, creating performances that mingle poetry with improvisation, visua= l theater, music and sound. His media assault includes MTV's first Spoken Word Unplugged and in Rolling Stone, High Times, and New York Magazine; his CD Holy Kid was part of the Whitney Museum's American Century Part II exhibit. His books include The All-Union Day of the Shock Worker (Roof Books), Fractured Humorous (Subpress), Onomalingua: Noise Songs and Poetry (Rattapallax), and three self-published chapbooks, SandHommeNomadNo, Lung Poetry (with photos by Luigi Cazzaniga), and I Hear Things People Haven't Really Said. Edwin is currently co-editing POeP!, an eJournal, and Cities of Chance: An Anthology of New Poetry from the United States and Brazil (Rattapallax). David Larsen is a graduate student in UCB's Comp. Lit. department, where he works on Greek and Arabic. He is also writing a horror comic entitled "Basket of Blood." His art, writing, and art writing have appeared in Old Gold, Explosive, Kenning, Chain, the St. Mark's Poetry Project Newsletter, and numerous self-published booklets, many in the collection of the Bancrof= t Library. With poet Beth Murray he co-edits the Oakland-based San Jose Manua= l of Style, and his "Dogma '01" manifesto is still in full effect and viewabl= e at http://www.litvert.com/lrsn.html. Free and open to the public; Sponsored by the UC Berkeley Department of English For our full schedule, poet bios, poems, and links to other poetry sources in the Bay Area, visit our new website: http://socrates.berkeley.edu/~poetr= y For further questions about the series, contact jscape@socrates.berkeley.ed= u * * * * * * * * * * * * * * * * * * * * * ========================================================================= Date: Thu, 27 Feb 2003 10:19:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: unacknowledged legislators In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Fellow Legislators, When Shelley wrote "unacknowledged legislators" the term "legislator" did=20 not mean a Senator or MP; it arose from the French Revolution and it meant= =20 a visionary, a charismatic leader who could lead humanity through the=20 perception of reason and brilliance of rhetoric. It is more the visionary= =20 revolutionary, such as embodied in the poem "Queen Mab." Or take a look at= =20 Volney's "Ruins of Empire," the main pre-Marx text of the revolutionary=20 movement. Now does the phrase make sense? Hilton Obenzinger At 10:00 AM 2/27/2003 -0700, George Bowering wrote: >>This particular claim =AD that poets are the unacknowledged etc =AD has= always >>exasperated me and hearing it repeated the other day at a reading of poets >>against the war did nothing to lessen my irritation. >> >>Which poets? The good? Bad? Mediocre? But that=92s just a quibble. >> >>Legislators, acknowledged or otherwise, make laws. Whatever the= relationship >>poets may have with =91laws=92, it=92s not this. Some/many poets may >>discover/reveal/explore/test laws, but that=92s it =AD they don=92t frame= them or >>impose them. (What laws are we talking about here? Truths is probably a >>better word, although problematic =AD well, what isn=92t?) >> >>Poets are the unacknowledged cartographers or scientists or oracles of the >>world. >> >>Geraldine > >This objection would make more of itself if it were applied against >Shelley's argument, taking up his terms. > >> >> >> >>_________________________________________________________________ >>Hotmail now available on Australian mobile phones. Go to >>http://ninemsn.com.au/mobilecentral/hotmail_mobile.asp > > >-- >George Bowering >Moustache still on >Fax 604-266-9000 ----------------------------------------------------------------------------= --- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Thu, 27 Feb 2003 11:14:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Anti-Bush art & collages Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Some of the best anti-Bush art & collages I've seen are at this site; be sure to scroll all the way to the (his) bottom: http://winstars.free.fr/english/bush.html --Walter K. Lew ========================================================================= Date: Thu, 27 Feb 2003 14:19:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Fred Rogers (1929-2003) Mime-Version: 1.0 Content-Type: text/plain; format=flowed 'Mister Rogers' Dies of Cancer at 74 By THE ASSOCIATED PRESS Filed at 12:13 p.m. ET PITTSBURGH (AP) -- Fred Rogers, who gently invited millions of children to be his neighbor as host of the public television show ``Mister Rogers' Neighborhood'' for more than 30 years, died of cancer early Thursday. He was 74. Rogers died at his Pittsburgh home, said family spokesman David Newell, who played Mr. McFeely on the show. Rogers had been diagnosed with stomach cancer sometime after the holidays, Newell said. ``He was so genuinely, genuinely kind, a wonderful person,'' Newell said. ``His mission was to work with families and children for television. ... That was his passion, his mission, and he did it from day one.'' From 1968 to 2000, Rogers, an ordained Presbyterian minister, produced the show at Pittsburgh public television station WQED. The final new episode, which was taped in December 2000, aired in August 2001, though PBS affiliates continued to air back episodes. Rogers composed his own songs for the show and began each episode in a set made to look like a comfortable living room, singing ``It's a beautiful day in the neighborhood,'' as he donned sneakers and a zip-up cardigan. ``I have really never considered myself a TV star,'' Rogers said in a 1995 interview. ``I always thought I was a neighbor who just came in for a visit.'' His message remained simple: telling his viewers to love themselves and others. On each show, he would take his audience on a magical trolley ride into the Neighborhood of Make-Believe, where his puppet creations would interact with each other and adults. Rogers did much of the puppet work and voices himself. He also studied early childhood development at the University of Pittsburgh and consulted with an expert there over the years. ``He was certainly a perfectionist. There was a lot more to Fred than I think many of us saw,'' said Joe Negri, a guitarist who on the show played the royal handyman in the Neighborhood of Make-Believe and owner of ``Negri's Music Shop.'' Negri said Rogers refused to accept shoddy ad-libbing by guests who may have thought they could slack off during a kid's show. But Rogers could also enjoy taping as if he were a child himself, Negri recalled. Once, he said, the two of them fell into laughter because of the difficulty they had putting up a tent on the show. Rogers taught children how to share, deal with anger and even why they shouldn't fear the bathtub by assuring them they'll never go down the drain. ``He talked directly to children and they listened. He nurtured creativity, self-esteem, curiosity and self-discipline, and his profound contributions will live on, as will the spirit of the man who created them,'' said Pat Mitchell, president of PBS. During the Persian Gulf War, Rogers told youngsters that ``all children shall be well taken care of in this neighborhood and beyond -- in times of war and in times of peace,'' and he asked parents to promise their children they would always be safe. ``We live in a world in which we need to share responsibility,'' he said in 1994. ``It's easy to say 'It's not my child, not my community, not my world, not my problem.' ``Then there are those who see the need and respond. I consider those people my heroes.'' Rogers came out of broadcasting retirement last year to record public service announcements for the Public Broadcasting Service telling parents how to help their children deal with the anniversary of the Sept. 11 attacks. ``If they see the tragedy replayed on television, they might think it's happening at that moment,'' he said. Rogers' show won four Emmy Awards, plus one for lifetime achievement. He was given a George Foster Peabody Award in 1993, ``in recognition of 25 years of beautiful days in the neighborhood.'' At a ceremony marking the show's 25th anniversary that year, Rogers said, ``It's not the honors and not the titles and not the power that is of ultimate importance. It's what resides inside.'' The show's ratings peaked in 1985-86 when about 8 percent of all U.S. households with televisions tuned in. By the 1999-2000 season, viewership had dropped to about 2.7 percent, or 3.6 million people. As other children's programming opted for slick action cartoons, Rogers stayed the same and stuck to his soothing message. Off the set, Rogers was much like his television persona. He swam daily, read voraciously and listened to Beethoven. He once volunteered at a state prison in Pittsburgh and helped set up a playroom there for children visiting their parents. One of Rogers' red sweaters hangs in the Smithsonian Institution. Rogers was born in Latrobe, 30 miles southeast of Pittsburgh. Early in his career, Rogers was an unseen puppeteer in ``The Children's Corner,'' a local show he helped launch at WQED in 1954. In seven years of unscripted, live television, he developed many of the puppets used in his later show, including King Friday XIII and Curious X the Owl. He was ordained in 1963 with a charge to continue his work with children and families through television. That same year, Rogers accepted an offer to develop ``Misterogers,'' his own 15-minute show, for the Canadian Broadcasting Corp. He brought the show back to Pittsburgh in 1966, incorporating segments of the CBC show into a new series distributed by the Eastern Educational Network to cities including Boston, Philadelphia and Washington. In 1968, ``Mister Rogers' Neighborhood'' began distribution across the country through National Educational Television, which later became the Public Broadcasting Service. Rogers' gentle manner was the butt of some comedians. Eddie Murphy parodied him on ``Saturday Night Live'' in the 1980s with his ``Mister Robinson's Neighborhood,'' a routine Rogers found funny and affectionate. Rogers is survived by his wife, Joanne, a concert pianist; two sons; and two grandsons. ^------ On the Net: http://pbskids.org/rogers _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 27 Feb 2003 14:35:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: unacknowledged legislators In-Reply-To: <5.1.1.5.2.20030227101312.0304f658@hobnzngr.pobox.stanford. edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Yes, which is what I was getting at in my response below -- It appeared to= =20 me that BC has no more knowledge of Shelley than he does of Dickinson -- >To say that it's grandiose to imagine poets "unacknowledged >legislators"! As if the word unacknowledged meant its opposite! or, apparently, to misconstrue the way that "legislator" operates in that=20 sentence! At 10:19 AM 2/27/2003 -0800, Hilton Obenzinger wrote: >Fellow Legislators, > >When Shelley wrote "unacknowledged legislators" the term "legislator" did= =20 >not mean a Senator or MP; it arose from the French Revolution and it meant= =20 >a visionary, a charismatic leader who could lead humanity through the=20 >perception of reason and brilliance of rhetoric. It is more the visionary= =20 >revolutionary, such as embodied in the poem "Queen Mab." Or take a look=20 >at Volney's "Ruins of Empire," the main pre-Marx text of the revolutionary= =20 >movement. Now does the phrase make sense? > >Hilton Obenzinger > >At 10:00 AM 2/27/2003 -0700, George Bowering wrote: >>>This particular claim =AD that poets are the unacknowledged etc =AD has= always >>>exasperated me and hearing it repeated the other day at a reading of= poets >>>against the war did nothing to lessen my irritation. >>> >>>Which poets? The good? Bad? Mediocre? But that=92s just a quibble. >>> >>>Legislators, acknowledged or otherwise, make laws. Whatever the= relationship >>>poets may have with =91laws=92, it=92s not this. Some/many poets may >>>discover/reveal/explore/test laws, but that=92s it =AD they don=92t frame= them or >>>impose them. (What laws are we talking about here? Truths is probably a >>>better word, although problematic =AD well, what isn=92t?) >>> >>>Poets are the unacknowledged cartographers or scientists or oracles of= the >>>world. >>> >>>Geraldine >> >>This objection would make more of itself if it were applied against >>Shelley's argument, taking up his terms. >> >>> >>> >>> >>>_________________________________________________________________ >>>Hotmail now available on Australian mobile phones. Go to >>>http://ninemsn.com.au/mobilecentral/hotmail_mobile.asp >> >> >>-- >>George Bowering >>Moustache still on >>Fax 604-266-9000 > > > > >---------------------------------------------------------------------------= ---- >Hilton Obenzinger, PhD. >Associate Director for Honors Writing, Undergraduate Research Programs >Lecturer, Department of English >Stanford University >415 Sweet Hall >650.723.0330 >650.724.5400 Fax >obenzinger@stanford.edu <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily 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: Thu, 27 Feb 2003 11:36:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CE Putnam Subject: Our little dictator In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Our little dictator That is not acting it is pulling apart guffawing skin tight skulls hand me that globe! —if glass made them kick the all butter dinner & sucking fingers then… yesterday’s eggs look decidedly different than today’s narrative coming into the snow (here we go again) the door growing activating phase 2 & our President in brass perversions, daily papers & on dumb sex pills. by space by stretching your little finger with a finger pulley until it is your biggest finger by our numbers in sharing this crackling dough toughener Left to remake the world with a single Australia cookie-cutter. __________________________________________________ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ========================================================================= Date: Thu, 27 Feb 2003 11:41:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Queer Irish Writing Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" 8 March, Saturday Lavender and Green: Queer Irish Writing - Readings by Jamie O'Neill, James Liddy and Eileen Myles. Moderated by Kevin Killian. Author signing plus book sales by Anna Livia Books. San Francisco Publish Library Main Library, Lower Level, Koret Auditorium, 1:00 - 3:00 pm 100 Larkin Street (at Grove) ========================================================================= Date: Thu, 27 Feb 2003 17:06:26 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: scalawag MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I was taught Crime and Punishment by Reuel Wilson (spawn of Mary MacCarthy and Edmund). He always called Raskolnikov "that rascally Raskolnikov". kill the wabitt. kill the wabitt. Kevin Hare I dream of Genie, she's a light brown hare. Subject: A.Word.A.Day--scalawag scalawag (SKAL-uh-wag) noun, also scallywag or scallawag 1. A rascal. 2. In US history, a white Southerner who acted in support of the Reconstruction after the Civil War. [Of unknown origin.] "But too often, critics say, the law is part of the problem. Past and present police officers have been linked to kidnappings. When Mr. Marohombsar was killed, a local police officer was among those found in his hideout. 'There are scalawags in the police who are involved in kidnapping,' said Col. Alan Purisima, Pacer's chief." Wayne Arnold and Carlos H. Conde; In Manila, Kidnapping as a Business Expense; The New York Times; Jan 28, 2003. "Directors Eric Bergeron and Don Paul have been meticulous in re-creating the feel of the Road movies and enhancing them with the boundless magic of animation. Their scalawags are a pair of con artists called Tulio (Kevin Kline) and Miguel (Kenneth Branagh)." Louis B. Hobson; El Dorado is a Gem; The Calgary Sun (Canada); Mar 31, 2000. This week's theme: words to describe people. ========================================================================= Date: Thu, 27 Feb 2003 15:50:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: [deeplistening] Fwd: FAIR: Star Witness on Iraq Said Weapons Were Destroyed Comments: To: susanlannen@aol.com, bstefans@earthlink.net, carolroos@earthlink.net, oconn001@umn.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >X-From_: >sentto-7702453-1059-1046378659-damon001=umn.edu@returns.groups.yahoo.com >Thu Feb 27 14:44:24 2003 >X-eGroups-Return: >sentto-7702453-1059-1046378659-damon001=umn.edu@returns.groups.yahoo.com >X-Sender: ecorslve@intrepid.net >X-Apparently-To: deeplistening@yahoogroups.com >X-Sender: ecorslve/mail.intrepid.net@localhost >To: deeplistening@yahoogroups.com >From: ecorslve@intrepid.net >Mailing-List: list deeplistening@yahoogroups.com; contact >deeplistening-owner@yahoogroups.com >Delivered-To: mailing list deeplistening@yahoogroups.com >List-Unsubscribe: >Date: Thu, 27 Feb 2003 15:36:07 -0500 >Subject: [deeplistening] Fwd: FAIR: Star Witness on Iraq Said >Weapons Were Destroyed >X-Umn-Report-As-Spam: >http://umn.edu/mc/s?BWD,AtVRhiDLCRQ9SW750ipeNkNEYgFyBpJzn9zOAvrNvRgP,CmcYdLnuZWhkTqMM9d0VdnXqVkk >X-Umn-Remote-Mta: [N] n16.grp.scd.yahoo.com #+NR+UF+CB (A,-) >X-Umn-Remote-Mta: [N] mhub-w4.tc.umn.edu #+LO+TR+NM > >Here's something to send to every congress-person, and also to try >to get broadcast and printed in the media... jp > >FAIR-L >Fairness & Accuracy In Reporting >Media analysis, critiques and activism > >MEDIA ADVISORY: Star Witness on Iraq Said Weapons Were Destroyed: >Bombshell revelation from a defector cited by White House and press > >February 27, 2003 > >On February 24, Newsweek broke what may be the biggest story of the >Iraq crisis. In a revelation that "raises questions about whether >the WMD [weapons of mass destruction] stockpiles attributed to Iraq >still exist," the magazine's issue dated March 3 reported that the >Iraqi weapons chief who defected from the regime in 1995 told U.N. >inspectors that Iraq had destroyed its entire stockpile of chemical >and biological weapons and banned missiles, as Iraq claims. > >Until now, Gen. Hussein Kamel, who was killed shortly after >returning to Iraq in 1996, was best known for his role in exposing >Iraq's deceptions about how far its pre-Gulf War biological weapons >programs had advanced. But Newsweek's John Barry-- who has covered >Iraqi weapons inspections for more than a decade-- obtained the >transcript of Kamel's 1995 debriefing by officials from the >International Atomic Energy Agency (IAEA) and the U.N. inspections >team known as UNSCOM. > >Inspectors were told "that after the Gulf War, Iraq destroyed all >its chemical and biological weapons stocks and the missiles to >deliver them," Barry wrote. All that remained were "hidden >blueprints, computer disks, microfiches" and production molds. The >weapons were destroyed secretly, in order to hide their existence >from inspectors, in the hopes of someday resuming production after >inspections had finished. The CIA and MI6 were told the same story, >Barry reported, and "a military aide who defected with Kamel... >backed Kamel's assertions about the destruction of WMD stocks." > >But these statements were "hushed up by the U.N. inspectors" in >order to "bluff Saddam into disclosing still more." > >CIA spokesman Bill Harlow angrily denied the Newsweek report. "It is >incorrect, bogus, wrong, untrue," Harlow told Reuters the day the >report appeared (2/24/03). > >But on Wednesday (2/26/03), a complete copy of the Kamel >transcript-- an internal UNSCOM/IAEA document stamped "sensitive"-- >was obtained by Glen Rangwala, the Cambridge University analyst who >in early February revealed that Tony Blair's "intelligence dossier" >was plagiarized from a student thesis. Rangwala has posted the Kamel >transcript on the Web: http://casi.org.uk/info/unscom950822.pdf. > >In the transcript (p. 13), Kamel says bluntly: "All weapons-- >biological, chemical, missile, nuclear, were destroyed." > >Who is Hussein Kamel? > >Kamel is no obscure defector. A son-in-law of Saddam Hussein, his >departure from Iraq carrying crates of secret documents on Iraq's >past weapons programs was a major turning point in the inspections >saga. In 1999, in a letter to the U.N. Security Council (1/25/99), >UNSCOM reported that its entire eight years of disarmament work >"must be divided into two parts, separated by the events following >the departure from Iraq, in August 1995, of Lt. General Hussein >Kamel." > >Kamel's defection has been cited repeatedly by George W. Bush and >leading administration officials as evidence that 1) Iraq has not >disarmed; 2) inspections cannot disarm it; and 3) defectors such as >Kamel are the most reliable source of information on Iraq's weapons. > >* Bush declared in an October 7, 2002 speech: "In 1995, after >several years of deceit by the Iraqi regime, the head of Iraq's >military industries defected. It was then that the regime was forced >to admit that it had produced more than 30,000 liters of anthrax and >other deadly biological agents. The inspectors, however, concluded >that Iraq had likely produced two to four times that amount. This is >a massive stockpile of biological weapons that has never been >accounted for, and capable of killing millions." > >* Secretary of State Colin Powell's February 5 presentation to the >U.N. Security Council claimed: "It took years for Iraq to finally >admit that it had produced four tons of the deadly nerve agent, VX. >A single drop of VX on the skin will kill in minutes. Four tons. The >admission only came out after inspectors collected documentation as >a result of the defection of Hussein Kamel, Saddam Hussein's late >son-in-law." > >* In a speech last August (8/27/02), Vice President Dick Cheney said >Kamel's story "should serve as a reminder to all that we often >learned more as the result of defections than we learned from the >inspection regime itself." > >* Deputy National Security Advisor Stephen Hadley recently wrote in >the Chicago Tribune (2/16/03) that "because of information provided >by Iraqi defector and former head of Iraq's weapons of mass >destruction programs, Lt. Gen. Hussein Kamel, the regime had to >admit in detail how it cheated on its nuclear non-proliferation >commitments." > >The quotes from Bush and Powell cited above refer to anthrax and VX >produced by Iraq before the 1991 Gulf War. The administration has >cited various quantities of chemical and biological weapons on many >other occasions-- weapons that Iraq produced but which remain >unaccounted for. All of these claims refer to weapons produced >before 1991. > >But according to Kamel's transcript, Iraq destroyed all of these >weapons in 1991. > >According to Newsweek, Kamel told the same story to CIA analysts in >August 1995. If that is true, all of these U.S. officials have had >access to Kamel's statements that the weapons were destroyed. Their >repeated citations of his testimony-- without revealing that he also >said the weapons no longer exist-- suggests that the administration >might be withholding critical evidence. In particular, it casts >doubt on the credibility of Powell's February 5 presentation to the >U.N., which was widely hailed at the time for its persuasiveness. To >clear up the issue, journalists might ask that the CIA release the >transcripts of its own conversations with Kamel. > >Kamel's disclosures have also been crucial to the arguments made by >hawkish commentators on Iraq. The defector has been cited four times >on the New York Times op-ed page in the last four months in support >of claims about Iraq's weapons programs--never noting his assertions >about the elimination of these weapons. In a major Times op-ed >calling for war with Iraq (2/21/03), Kenneth Pollack of the >Brookings Institution wrote that Kamel and other defectors "reported >that outside pressure had not only failed to eradicate the nuclear >program, it was bigger and more cleverly spread out and concealed >than anyone had imagined it to be." The release of Kamel's >transcript makes this claim appear grossly at odds with the >defector's actual testimony. > >The Kamel story is a bombshell that necessitates a thorough >reevaluation of U.S. media reporting on Iraq, much of which has >taken for granted that the nation retains supplies of prohibited >weapons. (See FAIR Media Advisory, "Iraq's Hidden Weapons: From >Allegation to Fact," >http://www.fair.org/press-releases/iraq-weapons.html .) Kamel's >testimony is not, of course, proof that Iraq does not have hidden >stocks of chemical or biological weapons, but it does suggest a need >for much more media skepticism about U.S. allegations than has >previously been shown. > >Unfortunately, Newsweek chose a curious way to handle its scoop: The >magazine placed the story in the miscellaneous "Periscope" section >with a generic headline, "The Defector's Secrets." Worse, Newsweek's >online version added a subhead that seemed almost designed to >undercut the importance of the story: "Before his death, a >high-ranking defector said Iraq had not abandoned its WMD >ambitions." So far, according to a February 27 search of the Nexis >database, no major U.S. newspapers or national television news shows >have picked up the Newsweek story. > >*** >Read the Newsweek story: http://www.msnbc.com/news/876128.asp > >*** >Read Glen Rangwala's analysis of the Kamel transcript: >http://middleeastreference.org.uk/kamel.html > >*** >If you'd like to encourage media outlets to investigate this story, >contact information is available on FAIR's website: >http://www.fair.org/media-contact-list.html > ---------- >Please support FAIR by subscribing to our bimonthly magazine, Extra! >For more information, go to: >http://www.fair.org/extra/subscribe.html . Or call 1-800-847-3993. > >FAIR SHIRTS: Get your "Don't Trust the Corporate Media" shirt today >at FAIR's online store: >http://www.merchantamerica.com/fair/ > >FAIR produces CounterSpin, a weekly radio show heard on over 130 >stations in the U.S. and Canada. To find the CounterSpin station >nearest you, visit: http://www.fair.org/counterspin/stations.html . > >FAIR's INTERNSHIP PROGRAM: FAIR accepts internship applications for >its New York office on a rolling basis. For more information, see: >http://www.fair.org/internships.html > >Feel free to respond to FAIR ( fair@fair.org ). We can't reply to >everything, but we will look at each message. We especially >appreciate documented examples of media bias or censorship. And >please send copies of your email correspondence with media outlets, >including any responses, to fair@fair.org . > >You can subscribe to FAIR-L at our web site: http://www.fair.org . >Our subscriber list is kept confidential. > >FAIR >(212) 633-6700 >http://www.fair.org/ >E-mail: fair@fair.org > > >Yahoo! Groups Sponsor >ADVERTISEMENT > > > > >To unsubscribe from this group, send an email to: >deeplistening-unsubscribe@yahoogroups.com > > > >Your use of Yahoo! Groups is subject to the >Yahoo! Terms of Service. -- ========================================================================= Date: Thu, 27 Feb 2003 12:59:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: Fred Rogers (1929-2003) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I heard an interview with Dave Newell on the Christian radio station this morning... not long ago I heard a "this American life" on NPR in which a man who had met Mr. Rogers as a kid revisited him many years later, and found him to be exactly the same as he remembered him, talking and acting and dressing completely in character! of course I have my own memories of watching Mr. Rogers, but i'll keep those to myself today, sadly... DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Jim Behrle Sent: Thursday, February 27, 2003 11:20 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Fred Rogers (1929-2003) 'Mister Rogers' Dies of Cancer at 74 By THE ASSOCIATED PRESS Filed at 12:13 p.m. ET PITTSBURGH (AP) -- Fred Rogers, who gently invited millions of children to be his neighbor as host of the public television show ``Mister Rogers' Neighborhood'' for more than 30 years, died of cancer early Thursday. He was 74. Rogers died at his Pittsburgh home, said family spokesman David Newell, who played Mr. McFeely on the show. Rogers had been diagnosed with stomach cancer sometime after the holidays, Newell said. ``He was so genuinely, genuinely kind, a wonderful person,'' Newell said. ``His mission was to work with families and children for television. ... That was his passion, his mission, and he did it from day one.'' >From 1968 to 2000, Rogers, an ordained Presbyterian minister, produced the show at Pittsburgh public television station WQED. The final new episode, which was taped in December 2000, aired in August 2001, though PBS affiliates continued to air back episodes. Rogers composed his own songs for the show and began each episode in a set made to look like a comfortable living room, singing ``It's a beautiful day in the neighborhood,'' as he donned sneakers and a zip-up cardigan. ``I have really never considered myself a TV star,'' Rogers said in a 1995 interview. ``I always thought I was a neighbor who just came in for a visit.'' His message remained simple: telling his viewers to love themselves and others. On each show, he would take his audience on a magical trolley ride into the Neighborhood of Make-Believe, where his puppet creations would interact with each other and adults. Rogers did much of the puppet work and voices himself. He also studied early childhood development at the University of Pittsburgh and consulted with an expert there over the years. ``He was certainly a perfectionist. There was a lot more to Fred than I think many of us saw,'' said Joe Negri, a guitarist who on the show played the royal handyman in the Neighborhood of Make-Believe and owner of ``Negri's Music Shop.'' Negri said Rogers refused to accept shoddy ad-libbing by guests who may have thought they could slack off during a kid's show. But Rogers could also enjoy taping as if he were a child himself, Negri recalled. Once, he said, the two of them fell into laughter because of the difficulty they had putting up a tent on the show. Rogers taught children how to share, deal with anger and even why they shouldn't fear the bathtub by assuring them they'll never go down the drain. ``He talked directly to children and they listened. He nurtured creativity, self-esteem, curiosity and self-discipline, and his profound contributions will live on, as will the spirit of the man who created them,'' said Pat Mitchell, president of PBS. During the Persian Gulf War, Rogers told youngsters that ``all children shall be well taken care of in this neighborhood and beyond -- in times of war and in times of peace,'' and he asked parents to promise their children they would always be safe. ``We live in a world in which we need to share responsibility,'' he said in 1994. ``It's easy to say 'It's not my child, not my community, not my world, not my problem.' ``Then there are those who see the need and respond. I consider those people my heroes.'' Rogers came out of broadcasting retirement last year to record public service announcements for the Public Broadcasting Service telling parents how to help their children deal with the anniversary of the Sept. 11 attacks. ``If they see the tragedy replayed on television, they might think it's happening at that moment,'' he said. Rogers' show won four Emmy Awards, plus one for lifetime achievement. He was given a George Foster Peabody Award in 1993, ``in recognition of 25 years of beautiful days in the neighborhood.'' At a ceremony marking the show's 25th anniversary that year, Rogers said, ``It's not the honors and not the titles and not the power that is of ultimate importance. It's what resides inside.'' The show's ratings peaked in 1985-86 when about 8 percent of all U.S. households with televisions tuned in. By the 1999-2000 season, viewership had dropped to about 2.7 percent, or 3.6 million people. As other children's programming opted for slick action cartoons, Rogers stayed the same and stuck to his soothing message. Off the set, Rogers was much like his television persona. He swam daily, read voraciously and listened to Beethoven. He once volunteered at a state prison in Pittsburgh and helped set up a playroom there for children visiting their parents. One of Rogers' red sweaters hangs in the Smithsonian Institution. Rogers was born in Latrobe, 30 miles southeast of Pittsburgh. Early in his career, Rogers was an unseen puppeteer in ``The Children's Corner,'' a local show he helped launch at WQED in 1954. In seven years of unscripted, live television, he developed many of the puppets used in his later show, including King Friday XIII and Curious X the Owl. He was ordained in 1963 with a charge to continue his work with children and families through television. That same year, Rogers accepted an offer to develop ``Misterogers,'' his own 15-minute show, for the Canadian Broadcasting Corp. He brought the show back to Pittsburgh in 1966, incorporating segments of the CBC show into a new series distributed by the Eastern Educational Network to cities including Boston, Philadelphia and Washington. In 1968, ``Mister Rogers' Neighborhood'' began distribution across the country through National Educational Television, which later became the Public Broadcasting Service. Rogers' gentle manner was the butt of some comedians. Eddie Murphy parodied him on ``Saturday Night Live'' in the 1980s with his ``Mister Robinson's Neighborhood,'' a routine Rogers found funny and affectionate. Rogers is survived by his wife, Joanne, a concert pianist; two sons; and two grandsons. ^------ On the Net: http://pbskids.org/rogers _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 27 Feb 2003 15:37:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: ottawa small press book fair In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit how far is ottawa from say chicago? On Wednesday, February 26, 2003, at 03:42 PM, K.Angelo Hehir wrote: >> the ottawa small press book fair spring edition (sponsored by the >> small >> press action network - ottawa) will happen June 14, 2003 >> contact rob at rob@track0.com to sign up for a table, etc. ========================================================================= Date: Thu, 27 Feb 2003 18:15:47 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: ottawa small press book fair In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I assume you mean driving or train. Ottawa is about 8 hours straight along the 401 highway from Detroit, with Toronto being almost exactly in the middle. Now, how far is Chicago from Detroit? yours, Attila the Honey Bun On Thu, 27 Feb 2003, miekal and wrote: > how far is ottawa from say chicago? > > On Wednesday, February 26, 2003, at 03:42 PM, K.Angelo Hehir wrote: > > >> the ottawa small press book fair spring edition (sponsored by the > >> small > >> press action network - ottawa) will happen June 14, 2003 > >> contact rob at rob@track0.com to sign up for a table, etc. > -- ------------------------------------------------------------------------------- Cheney, Bush, Rumsfeld:The Axis Of Weasel ========================================================================= Date: Thu, 27 Feb 2003 16:41:08 -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="ISO-8859-1" Content-transfer-encoding: quoted-printable NEXT WEEK AT THE POETRY PROJECT *** MONDAY MARCH 3 [8:00pm] OPEN READING WEDNESDAY MARCH 5 [8:00pm] ERIC BOGOSIAN AND JIM CARROLL http://www.poetryproject.com/calendar.html *** MONDAY MARCH 3 [8:00pm] OPEN READING Sign-up begins at 7:30pm WEDNESDAY MARCH 5 [8:00pm] ERIC BOGOSIAN AND JIM CARROLL On the New York stage Eric Bogosian has attained singular achievement. In the last twenty years, he has authored five full-length plays and created six full-length solos for himself. For these, he has received three OBIE awards and a Drama Desk Award. His two best known plays, Talk Radio, at the New York Shakespeare Festival, and subUrbia, at Lincoln Center Theatre, wer= e each translated into acclaimed films. Talk Radio, directed by Oliver Stone, garnered Bogosian the Berlin Film Festival Silver Bear award for his work a= s author and star. Richard Linklater directed the acclaimed film version of subUrbia. Bogosian=B9s credits as playwright also include Griller (Goodman Theater and Center Stage, Baltimore), Humpty Dumpty (McCarter Theater), Red Angel (Williamstown), and Bitter Sauce (for The Acting Company). His solos include Sex, Drugs, Rock & Roll, Pounding Nails in the Floor with My Forehead and Drinking in America. He has toured throughout the United State= s and Europe. His solos and plays are performed by acting companies internationally. Last year, Simon & Schuster published Bogosian=B9s first novel Mall. His novella, Notes from Underground, was published by TCG in 1995. He has made numerous appearances as a film and television actor, working with some of the leading directors of our time: Robert Altman, Paul Schrader, Woody Allen, and Atom Egoyan. He has starred in films as diverse as Bright Shining Lie to Under Siege II. Jim Carroll is a poet, diarist, musician, performer, actor, and best-sellin= g author of six books. With his now-classic The Basketball Diaries, the award-winning Living at the Movies, and his critically lauded Praying Manti= s spoken word album, he continues to pack concert halls for his poetry performances. If Jim Carroll was "the Dylan of the 80s," he also voiced the passion of the 90s. He heralded the new millennium with his first rock albu= m in fourteen years in 1998 that may well be the definitive work of his career. Released in the same year as Void of Course, a collection of his poetry, Pools of Mercury is an intense combination of new songs and music-backed spoken-word pieces, including "8 Fragments for Kurt Cobain." His Catholic Boy, named the second-most-popular album of 1980 by BAM, is no= w considered one of the last great punk albums. Musician, Player and Listener described Carroll as "a transformer, chanting and moaning his litany into something infinitely more palpable than symbols made of sounds." William Burroughs called him "a born writer." His most recent release is Runaway EP (2000). Admission: $15, $12 (students and seniors), $10 (Poetry Project members) *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 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, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 27 Feb 2003 18:47:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: new work by Kathy Ernst MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Two new pieces now in the Blackbox. WilliamJamesAustin.com--then follow the Blackbox link. Kathy's vispo may also be found in Bob Grumman's marvelous anthology, Writing to Be Seen. Many thanks for the contributions, Kathy. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com bn.com ========================================================================= Date: Thu, 27 Feb 2003 19:03:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Of Silliman's Blog, but really a continuation of the original direction although i don't care one way or the other who is caught in your nets i mean they're your nets man! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Damian, you really need to relax. protocol is so tedious. if poetry were really as boring as some try to make it i think i'd have to kill myself as soon as possible! Jim, you need to know that there are some of us out here who support you! i really feel you're building some sort of momentum, and FRANKLY, who CARES if people are creeped out! big deal! people can just ignore your posts if they're SO DISTURBED! (it cracks me up over and over to be honest, all the visual, the shock and horror that Jim is DOING something DIFFERENT! so so scary!) i mean, is this list for poets or pastry chefs? actually i dated a pastry chef once and he was a mean muther, but fun, for a couple weeks, grrrrrr! i applaud your direction, no matter how jagged you open the ground. cut your way man, there's always something BRAND NEW out there, and sitting back sipping the martinis of dead bartenders is really what it's not about you know. sincerely, CAConrad In a message dated 2/26/2003 3:26:22 PM Eastern Standard Time, djr4r@CMS.MAIL.VIRGINIA.EDU writes: > > > Jim: > > Anger has its uses, but why not a more substantive > critique? I doubt you're going to convince very many people > that Ron Silliman exercises some kind of poetical hegemony > just by virtue of the fact that he knows a lot of stuff and > likes to write about it on a blog that one can, after all, > take or leave. Frankly, this fuck-your-heroes stuff is > getting creepy -- so much "jackal static," to use your own > phrase. > > Damian > > > On Tue, 25 Feb 2003 16:33:29 -0500 Jim Behrle > wrote: > > > What role does sanctimony have in innovative poetry? > > > > --Jim Behrle > > > > http://notronsilliman.blogspot.com > > > > > > > > > > > > > > > > > > _________________________________________________________________ > > Tired of spam? Get advanced junk mail protection with MSN > 8. > > http://join.msn.com/?page=features/junkmail > > :::::::::::::::::::::::: > Damian Judge Rollison > Dept. of English > University of Virginia > djr4r@virginia.edu > ::::::::::::::::::::::::