========================================================================= Date: Fri, 1 Sep 2006 01:27:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: payment for readings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit so ls i'm still not forgiven ========================================================================= Date: Fri, 1 Sep 2006 01:31:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Fw: new book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit steve dalachinsky the final nite ( complete notes from a charles gayle notebook - 1987-2006 ) with 8 page color collage centerfold of gayle by john d'agostino 248 pages - UGLY DUCKLING PRESSE $16 from author from press from spd or in the store steve dalachinsky's book the final nite is unique.he does a lot of examples on a radical theme, posing the criticial problem of which one(s) are best and why. Richard Kostelanetz PO Box 444, Prince St. New York, NY 10012-0008 website: www.Richardkostelanetz.com art gallery: www.minusspace.com ========================================================================= Date: Thu, 31 Aug 2006 23:27:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Gricevich Subject: misuse of "fascism" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 1) Plenty of great stuff happens in the "indymedia" world. Like anywhere else, it depends on who's controlling (or, in the best cases, doing their best not to control) what gets through. In some places, it's a genuine forum for disparate views in the community, and in fact helps a community into existence. Even where there is a de facto tyranny of shared opinion, it's at least an alternative to the official line one gets from the mainstream media. It continues to amaze me, how much harder people are on flawed attempts to do something different than on the much more powerful institutions to which they were intended as exceptions (note that this sentence is not meant to say that those alternatives shouldn't be criticized for their shortcomings). 2) This recent, repeated equation of rigor, selectivity, and art in general with fascism is really a load of crap. Come on. Ok, to be more articulate: any human activity that involves or produces something new, or pleasurable, or that gives existence some kind of significance involves some setting of boundaries, some restrictions, the drawing of an outline within which "this is the thing that's happening." There are always elements/influences/voices/approaches/whathaveyous that are excluded by the project. And that's fine. Those excluded things can be involved in some other projects, and as long as nobody is trying to prevent them from happening, with the power to do so, talk of totalitarianism is pretty flaccid. And if I write "experimental" poetry, that doesn't mean I'm trying to destroy slam poetry, or conventional nature poetry, or pop songwriting, or... they're just different projects than the ones in which I'm engaged (actually, I'm engaged in songwriting sometimes, too--and it's a separate project, one that generally excludes the kinds of language use characteristic of the poems I write). Art is not politics. That's one reason a discussion about their relation can be so significant for people who want their art to address political matters (or who don't). In either sphere, inflexible hierarchies and repression of possibilities are problems, and temporary/local hierarchies (such as produce the set of concerns central to a given artwork, or a given social project) and actualization of some possibilities at the temporary/local expense of others (or production of new possibilities at the expense of pre-existing ones) are not. --Andy --------------------------------- Do you Yahoo!? Get on board. You're invited to try the new Yahoo! Mail. ========================================================================= Date: Fri, 1 Sep 2006 08:30:45 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larissa Shmailo Subject: Re: payment for readings MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 9/1/2006 1:43:57 A.M. Eastern Standard Time, skyplums@JUNO.COM writes: so ls i'm still not forgiven No, sd, you're forgotten, like all smiling faces. ========================================================================= Date: Fri, 1 Sep 2006 09:06:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: payment for readings In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed havent done my email yet to see what this is about but i received a really nice call from iris saying not as i already knew but its the really nice i care about. sm >From: Larissa Shmailo >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: payment for readings >Date: Fri, 1 Sep 2006 08:30:45 EDT > > > >In a message dated 9/1/2006 1:43:57 A.M. Eastern Standard Time, >skyplums@JUNO.COM writes: > >so ls i'm still not forgiven > > >No, sd, you're forgotten, like all smiling faces. > > _________________________________________________________________ Windows Live Spaces is here! It’s easy to create your own personal Web site. http://spaces.live.com/signup.aspx ========================================================================= Date: Fri, 1 Sep 2006 06:52:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: new on chaxblog Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed new on chaxblog since my first announcement of a week ago http://chax.org/blog.htm * W A R, by Kathleen Fraser & Nancy Tokar Miller (in-progress book at Chax Press) * Day's Work: a brief idea of my work during one day (yesterday, as I write this) at Chax Press * Borrowing, and Inner Necessity: an idea bolstered by a passage from Wasily Kandinsky's "On the Question of Form" * For Kemal's Sake: an announcement of the reappearance of The New Combat and of a short article by Kemal Bakarsic, "The Libraries of Sarajevo and the Book That Saved Our Lives" charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Fri, 1 Sep 2006 10:29:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: A Small Catalog of Cultural Scripts for Poets MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit __________________________________ http://gabrielgudding.blogspot.com Certain groups or cultures can become invested in bonding together in collective excitement in order to (1) structure time and (2) avoid intimate honesty -- by rehearsing what Eric Berne called "scripts." The one Simon DeDeo recently described on a listserv -- "seeking status through the promise of a new yet unapproachable revitalization of poetry" -- is a cultural script for poetry, one played over and over through the centuries and with particular strength since about 1914 (let's say just after Wyndham Lewis's BLAST). A script, in Eric Berne's terms, is a transactional game inscribed into a family's behavior patterns or into a culture's. Another term for the game described above is "If it Weren't For Them." The crying for the reformation of poetry is not really about the reformation of poetry. It's about getting something (self or group aggrandizement) via crying. Thumping the hand at the woeful state of X helps create the perception that (a) something is wrong, and (b) we're the folks, or I'm the guy (usually a guy), to set this right. In other words, crying about the woeful state of X is a surreptitious boast. A boast to the effect that either "we/I see what others for years have not," or "we/I are the only ones, after years of others, who can fix this." It's often an excuse to play at having an "Uproar." Sometimes, if challenged, the game player will try to play "Courtroom." "What do you mean by saying that I was behaving in X manner? That was not my intention! Explain yourself, please: I'd really love to know! Maybe I could learn something from you. But let's talk about my behavior, and whose perceptions about it are accurate, yours or mine, or his, etc -- and how you think I'm not being good. Yes, now about my behavior, which certainly was reasonable...." Variants of "Courtroom" are "See What You've Done Now" (eg, you upset my kid) or "Want Out," in which people begin yelling they want out of a conversation but don't really leave. Another variant is "Whiz Kids," which is like "Revolution," except less violent, harsh and destructive. "Whiz Kids" players in "Poetry" promote and advertise a new approach, a new style, a new method, as a means of solving a problem or resolving a dialectic (Flarf, eg). "Maverick" is a particularly male and heteronormative variant of "Whiz Kids," one played by an individual and an allied group; eg, Joel Oppenheimer (_Don't Touch the Poet_) or Charles Bernstein (_My Way_), Charles Bukowski, et al, and its self-destructive variant "Drunkard," played by Jack Kerouac, John Berryman, et al., in which it's made known that "the reason I'm drunk is I'm successful; my boorish transgressions will be forgiven if you have any taste." A variant of this in younger members is "Young Turk," in which a combative young man is, often through the imprimatur of a "Maverick," encouraged to play the part of a new transgressor. Some encourage their own sons to adopt this painful role, which those sons willingly do if in doing so they can briefly draw their father's attention away from his own self-fascination. Needless to say, social permission is needed for all these games. Such permission is typically handed out to X, Y, or Z depending upon their traits and credibility. "Drunkard," for instance, is often only allowed in well established successful members. If it's displayed too early (by non-credentialed members) it won't work. It can also be played by some who aren't very well know but who nevertheless adopt the role of drunkard/transgressor and use self-righteous anger to deepen the role in the hopes that drunkenness and transgression alone will be seen as a marker of current or future success. - Gabriel ========================================================================= Date: Fri, 1 Sep 2006 10:14:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Liquid dimples/Electric Boogaloo! Comments: To: webartery , rhizome , netbehaviour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Liquid dimples Webster's defines "Privation" as: What Mary must be missing is the time of smooth silence and sinuous glass; light quelled for Autumn, Summer's riot brought to its knees and sighing, sighing, sighing to be released. I'd sign anything she put in front of me, as long as I could use your signature. Liquid dimples pepper spice, lying before us indolently and secure; from somewhere else a light breeze coiled its hair. Remember to shower, it says. Don't forget to re-attach the arms and legs of your favorite action figures. What Mary needs to understand about the Kingbury Run murders is that memory lets you pick stuff up, like cellphone convos or LMFAO at RTFM. Just how much fun is Slinky, tumbling down Brady Bunch stairs like the musculature of the serpent, just before Atari 2600 rats us out to Homeland Security? I don't feel so secure, I'll tell you what. I'll tell you what Mary needs, or I'll start needing it too. Me, I'm missing the smooth cilia along the throat where laughter pushes that stalwart wind. 08/31/06 Electric Boogaloo! Webster's defines "Doubt" as: Teach me electric boogaloo, Don Juan! To Obiwan this string-dark dope, this painful escape, this singing singed but blasted from tapping, and to hell with Bing Crosby! Bio-Dome is from an auteur! Bound head to ass, dead AIDS genomes, deepening with fiscal siphoning, or I must have gone home with children unbeknownst of time, empire. You get 'em together and they make cameras to watch one another around each others' things. Waist-deep asleep, Mary, smooth brown soothing white, the Oracle ovoid with a round emptiness dangling from her mouth as she snores, oh boy! I wanted to get away from music for a change. Did you feel this shift into a major key? Gosh! Victory becomes civil when mornings roam unimpeded through Volvo graves. Polite but impregnable, I'm lactating from pure tattoos of the essence of objects; naturally, to pry Idea from Form. I'm a human beatbox in the cave but I swerve between evolving and fumes! I'm a human beatbox in the cave but I'm a virgin, too, when it comes to getting through this. Wave your hands in the air. Swing them like you just don't care. *************************************************************************** ||http://www.lewislacook.org|| New Media Poetry and Poetics ||http://www.abstractoutlooks.com || Abstract Outlooks Media - A New Vision for A New Web Hosting, Design, Development ||http://xanaxpop.lewislacook.org|| Xanax Pop - A Bloge of Poemes --------------------------------- Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ========================================================================= Date: Fri, 1 Sep 2006 13:22:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: misuse of "fascism" In-Reply-To: <20060901062723.9144.qmail@web36201.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Andy: It continues to amaze me, how much harder people are on flawed attempts to do something different than on the much more powerful institutions to which they were intended as exceptions. Eric: If people indeed are more critical of Indymedia (not sure this is so), it may be because we all know what the "powerful institutions" are. Everyone knows what Fox News is, how the Washington Post or the Washington Times will report a story, and what to expect from National Review or The Nation. Media is a fashion statement: "I'm wearing Mother Jones magazine with The Nation. She's wearing Frontpage Magazine with her National Review. And--you won't believe this!--she came to the media party with a see-through Z-Mag over an al-Jazeera...al-Jazeera is so 2002!" In my own experience, New York Indymedia was very good when covering local issues--cops hassling biking groups, news of protests at the GOP Convention--but it was usually straight party-line Stalin when covering issues of the larger world. In these larger issues, Indymedia presents itself as news of the people, intended to be above all the "fashion statements," to be truly populist, to be... "indy." Instead it usually offers just another flavor of party-line radical left. That's bad faith, no matter what your politics. It's no better than Fox News calling itself "fair and balanced." ========================================================================= Date: Fri, 1 Sep 2006 13:29:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Ruiz III Subject: Kritikos V.3 September 2006 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Kritikos V.3 September 2006 To the Dogs--Companion species-ism and the new feminist materialism...(m.rossini) http://intertheory.org/rossini Sarawut Chutiwongpeti, images http://intertheory.org/Chutiwongpeti Life after progress (royksopp--only this moment mix)...(n.ruiz) http://intertheory.org/progress Nicholas=A0Ruiz=A0III Editor, Intertheory Press http://intertheory.org ========================================================================= Date: Fri, 1 Sep 2006 13:50:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: dimensionality of words MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT what would you call the primary dimensions of a word? i've read that an individual word may have over a hundred dimensions, but let's say we are limited to just three, for any type of word.. i'm preparing to write a computer program to automate the assignment of these dimensions based on their dictionary definitions, and then by discrete input and automated web searches for assignment based on the proximity to other words in a very broad sample of writing. it's a very basic approach, tho i must start with something.. what do you think of this approach? what three dimensions do you note of a given word, either by itself or w/in a phrase or sentence? this note-taking is normally done w/ unconscious mental filters, as it's irrelevant to the higher functioning of our understanding and perception. ========================================================================= Date: Fri, 1 Sep 2006 15:07:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: Re: dimensionality of words In-Reply-To: <44F880FE.1040305@listenlight.net> (Jesse Crockett's message of "Fri, 1 Sep 2006 13:50:38 -0500") MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Jesse, You may be interested in: Verbogeometry, The confluence of words and analytic geometry, by Kaz Maslanka http://www.kazmaslanka.com/verbogeometry/verbogeometry.html Also, the visual thesaurus leaps to mind as being relevant: http://www.visualthesaurus.com/ And the third thing that I'd mention is W. Bradford Paley's TextArc: http://www.textarc.org/ If you need beta testers to try and break it, count me in. Regards, Dan Jesse Crockett wrote: > what would you call the primary dimensions of a word? i've read that an > individual word may have over a hundred dimensions, but let's say we are > limited to just three, for any type of word.. > > i'm preparing to write a computer program to automate the assignment of > these dimensions based on their dictionary definitions, and then by > discrete input and automated web searches for assignment based on the > proximity to other words in a very broad sample of writing. it's a very > basic approach, tho i must start with something.. > > what do you think of this approach? what three dimensions do you note of > a given word, either by itself or w/in a phrase or sentence? this > note-taking is normally done w/ unconscious mental filters, as it's > irrelevant to the higher functioning of our understanding and perception. ========================================================================= Date: Fri, 1 Sep 2006 12:11:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: dimensionality of words In-Reply-To: <44F880FE.1040305@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable a device I use in (mostly the heresy volume) of dadada is an = etymological "cross" or halo/electron cloud around certain words so etymology -- change (of definition, use) through time -- is one = dimension more recently, in the unpublished sequel to that and in some other = stuff,=20 some words have broken down to binaries in some ways, like to x and y = and 0 and 1 some words have dragged trails of associated words, and some of those associations are by sound or look -- where that isn't etymological, = that's a different aspect All best, Catherine ========================================================================= Date: Fri, 1 Sep 2006 14:50:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Re: dimensionality of words In-Reply-To: <000601c6cdfa$6fd9f170$6501a8c0@KASIA> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Dan, the TextArc program appears to be an advanced visual interface. i will install it in windows later on and see what it does. the verbogeometry page, so far, is similar to what i have in mind. i only ask about three dimensions because it is intuitive to the cartesian system, and then two or more of them can be mapped w/o math beyond elementary discrete math & calculus, i.e. something realistic for me. when i have a visual interface ready, i will send you the program. Catherine, this is a great idea. tho i'm struggling to visualize how to implement this w/o expert direction, it seems that i could make a database of the etymological stems, zero them in the representation, and map an "electron cloud" of present cognates. this might be the best start, better than mapping words to pseudo-arbitrary dimensions, tho i'm still very interested for other suggestions. thanks! Catherine Daly wrote: > a device I use in (mostly the heresy volume) of dadada is an etymological > "cross" or halo/electron cloud around certain words > > so etymology -- change (of definition, use) through time -- is one dimension > > more recently, in the unpublished sequel to that and in some other stuff, > some words have broken down to binaries in some ways, like to x and y and 0 > and 1 > > some words have dragged trails of associated words, and some of those > associations are by sound or look -- where that isn't etymological, that's a > different aspect > > All best, > Catherine > > ========================================================================= Date: Fri, 1 Sep 2006 21:57:53 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: dimensionality of words In-Reply-To: <44F880FE.1040305@listenlight.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" How about - appearance - meaning - linkability? Those three overlap to some extent and can be divided into many subgroups. Linkability is the word's ability to be combined into phrases with other words, and also its ability to refer to antecedent words. Linkability might also include the forming of compounds and perhaps even inflections by suffixes or prefixes. Those could also be part of appearance. Appearance would split in two: how the word sounds and how it looks in writing (possibly also how it feels in braille). Appearance would thus also include phenomena like rhyming, which in turn is a sort of link (to another place in the same text). Obsolescence or novelty could be yet other parts of appearance. Other subgroups could be, for instance, idiosyncrasies in pronunciation and dialect (sound) or handwriting (look). Meaning includes both a word's own meaning and the nuances of various qualifiers. Karl-Erik Tallmo _________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ SOUND & MUSIC: http://www.nisus.se/tallmo/sound/ MAGAZINE: http://art-bin.com _________________________________________________________________ >what would you call the primary dimensions of a word? i've read that an >individual word may have over a hundred dimensions, but let's say we are >limited to just three, for any type of word.. > >i'm preparing to write a computer program to automate the assignment of >these dimensions based on their dictionary definitions, and then by >discrete input and automated web searches for assignment based on the >proximity to other words in a very broad sample of writing. it's a very >basic approach, tho i must start with something.. > >what do you think of this approach? what three dimensions do you note of >a given word, either by itself or w/in a phrase or sentence? this >note-taking is normally done w/ unconscious mental filters, as it's >irrelevant to the higher functioning of our understanding and perception. ========================================================================= Date: Fri, 1 Sep 2006 13:21:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: A Small Catalog of Cultural Scripts for Poets In-Reply-To: <44F851E0.9080908@ilstu.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed that's really interesting. as you're describing it, it sounds like this is an unavoidable aspect of social formation. so therefore: if i am a young poet (28 is still young, right?) then i want to be credentialed. what does one have to do to get credentialed in order to begin using these scripts. also, what's the "revolution" script you mentioned but didn't describe. and where do people like Jorie Graham or Dana Gioia, who very much like to think of themselves as "revitalizers of poetry," but who so obviously are not? On Fri, 1 Sep 2006, Gabriel Gudding wrote: > __________________________________ > http://gabrielgudding.blogspot.com > > > Certain groups or cultures can become invested in bonding together in > collective excitement in order to (1) structure time and (2) avoid intimate > honesty -- by rehearsing what Eric Berne called "scripts." > > The one Simon DeDeo recently described on a listserv -- "seeking status through > the promise of a new yet unapproachable revitalization of poetry" -- is a > cultural script for poetry, one played over and over through the centuries and > with particular strength since about 1914 (let's say just after Wyndham Lewis's > BLAST). A script, in Eric Berne's terms, is a transactional game inscribed into > a family's behavior patterns or into a culture's. > > Another term for the game described above is "If it Weren't For Them." > > The crying for the reformation of poetry is not really about the > reformation of poetry. It's about getting something (self or group > aggrandizement) via crying. Thumping the hand at the woeful state of X helps > create the perception that (a) something is wrong, and (b) we're the folks, or > I'm the guy (usually a guy), to set this right. In other words, crying about > the woeful state of X is a surreptitious boast. A boast to the effect that > either "we/I see what others for years have not," or "we/I are the only ones, > after years of others, who can fix this." > > It's often an excuse to play at having an "Uproar." Sometimes, if > challenged, the game player will try to play "Courtroom." "What do you > mean by saying that I was behaving in X manner? That was not my > intention! Explain yourself, please: I'd really love to know! Maybe I > could learn something from you. But let's talk about my behavior, and whose > perceptions about it are accurate, yours or mine, or his, etc -- and how you > think I'm not being good. Yes, now about my behavior, which certainly was > reasonable...." > > Variants of "Courtroom" are "See What You've Done Now" (eg, you upset my kid) > or "Want Out," in which people begin yelling they want out of a conversation > but don't really leave. > > Another variant is "Whiz Kids," which is like "Revolution," except less > violent, harsh and destructive. "Whiz Kids" players in "Poetry" promote and > advertise a new approach, a new style, a new method, as a means of solving a > problem or resolving a dialectic (Flarf, eg). "Maverick" is a particularly male > and heteronormative variant of "Whiz Kids," one played by an individual and an > allied group; eg, Joel Oppenheimer (_Don't Touch the Poet_) or Charles > Bernstein (_My Way_), Charles Bukowski, et al, and its self-destructive variant > "Drunkard," played by Jack Kerouac, John Berryman, et al., in which it's made > known that "the reason I'm drunk is I'm successful; my boorish transgressions > will be forgiven if you have any taste." > > A variant of this in younger members is "Young Turk," in which a combative > young man is, often through the imprimatur of a "Maverick," encouraged to play > the part of a new transgressor. Some encourage their own sons to adopt this > painful role, which those sons willingly do if in doing so they can briefly > draw their father's attention away from his own self-fascination. > > Needless to say, social permission is needed for all these games. Such > permission is typically handed out to X, Y, or Z depending upon their traits > and credibility. "Drunkard," for instance, is often only allowed in well > established successful members. If it's displayed too early (by > non-credentialed members) it won't work. It can also be played by some who > aren't very well know but who nevertheless adopt the role of > drunkard/transgressor and use self-righteous anger to deepen the role in the > hopes that drunkenness and transgression alone will be seen as a marker of > current or future success. > > - Gabriel > ========================================================================= Date: Fri, 1 Sep 2006 13:26:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: dimensionality of words In-Reply-To: <44F880FE.1040305@listenlight.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed i haven't read the other responses yet, but here is my initial reaction a map of a word has on it's X axis all of the denotative semantic content of the word. It's Y axis is the conotative semantic content. the Z axis is the words surface grammar, things such as parts of speech, morphology, etc. the t axis (fourth dimension) would have it's depth grammar, or pragmatics, that is, the set of language games in which the word can be used in a sensible way. There is also the Q axis which contains the word's phonological properties, phonetics, stresses, syllable length and weight, etc. If you want a sixth dimension, I would suggest etymology, but that's maybe going too far. On Fri, 1 Sep 2006, Jesse Crockett wrote: > what would you call the primary dimensions of a word? i've read that an > individual word may have over a hundred dimensions, but let's say we are > limited to just three, for any type of word.. > > i'm preparing to write a computer program to automate the assignment of > these dimensions based on their dictionary definitions, and then by > discrete input and automated web searches for assignment based on the > proximity to other words in a very broad sample of writing. it's a very > basic approach, tho i must start with something.. > > what do you think of this approach? what three dimensions do you note of > a given word, either by itself or w/in a phrase or sentence? this > note-taking is normally done w/ unconscious mental filters, as it's > irrelevant to the higher functioning of our understanding and perception. > ========================================================================= Date: Fri, 1 Sep 2006 16:56:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 9-01-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable JUST BUFFALO WRITER'S CRITIQUE GROUP Our member's only writer critique group begins again on Wednesday, Septembe= r 6, at 7 p.m. Members of Just Buffalo are welcome to attend a free, bi-monthly wri= ter critique group in CEPA's Flux Gallery on the first floor of the historic Market Arca= de Building across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. = Call Just Buffalo for details. UPCOMING SPECIAL EVENT CRAZY WISDOM: BUDDHISM, BEAT LITERATURE, AND AMERICAN POETICS Presented by the Buffalo Community Outreach Group in celebration of the vis= it of the Dalai Lama Saturday September 16, 2006, 8:00 p.m. Buffalo Arts StudioTri-Main Center, 2495 Main Street, Suite 500 Visit our website for more details. FALL WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's The Market Arcade is climate-controlled and has a security guard on duty at= all times. To get here: Take the train to the Theatre stop and walk, or park and enter on Washingto= n Street. Free parking on Washington Street evenings and weekends. Two-dollar parking in fenced, guarded, M & T lot on Washington. Visit our website for detailed descriptions, instructor bios, and to regist= er online. FICTION AND DRAMA: The Art of Story A Workshop for Fiction and Drama Writers of All Levels Instructor: Gary Earl Ross 4 Wednesday Evenings, September 27, October 4, 11, and 18, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 for members CREATIVE NON-FICTION: =22There Are 3 Sides To Every Story....=22 A Creative Nonfiction Writing Workshop Instructor: Alexis De Veaux Two Saturday Sessions: October 14, October 28, 10 a.m. - 2 p.m. Writing Sample Required by October 1 for participation. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 for members POETRY WRITING: Poetry and Memory A Poetry Workshop For Poets of All Levels Instructor: Barbara Cole Four Tuesday Evening Sessions: October 17, 24, 31; November 7, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 memberS COLLEGE ESSAY WRITING: Writing Your Way Into Higher Education -- A Workshop on the College Essay Instructor: Gary Earl Ross=A0 Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor.=A0 =2470, =2450 members Registration Deadline: October 23 CREATIVITY: The Tao of Writing A Creativity Workshop for Writers of All Levels Instructor: Ralph Wahlstrom 4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 member SONG LYRICS: Turning Poems Into Song Lyrics A Special Session For Aspiring Songwriters and Poets Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper Tentative Date: Tuesday, November14, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =2450. =2440 for members JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently added the abilit= y to join online by paying with a credit card through PayPal. Simply click on the me= mbership level at which you would like to join, log in (or create a PayPal account u= sing your Visa/Amex/Mastercard/Discover), and voil=E1, you will find yourself in lite= rary heaven. For more info, or to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml LITERARY BUFFALO Visit our website to download a pdf of the September Literary Buffalo poste= r, which lists all of Buffalo's literary events in the month of September. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Fri, 1 Sep 2006 19:27:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Piotr Gwiazda Subject: carly sachs's the steam sequence MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit NEW TITLE FROM WASHINGTON WRITERS' PUBLISHING HOUSE Carly Sachs’s THE STEAM SEQUENCE is now available from SPD, Amazon.com, or directly from Washington Writers’ Publishing House ($12.00). Also available: Piotr Gwiazda, GAGARIN STREET Moira Egan, CLEAVE Patric Pepper, TEMPORARY APPREHENSIONS Katherine Smith, ARGUMENT BY DESIGN Jane Satterfield, SHEPHERDESS WITH AN AUTOMATIC Dean Smith, AMERICAN BOY For more information about WWPH, go to http://www.wwph.org Best, Piotr Gwiazda WWPH ========================================================================= Date: Fri, 1 Sep 2006 22:25:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: Word Body Image MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Word Body Image The landscape of word/body/image. -- Peter Ciccariello Image - http://invisiblenotes.blogspot.com/ Word -http://poemsfromprovidence.blogspot.com/ Photography -http://uncommonvision.blogspot.com/ ========================================================================= Date: Fri, 1 Sep 2006 21:30:15 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Give Hip Hop Credit for Anti-War songs MIME-version: 1.0 Content-type: text/plain; charset=UTF-8; format=flowed Content-transfer-encoding: 8BIT Give Hip Hop Credit for Anti-War songs by Davey D The other night ABC News did a special report on the growing popularity of anti-war protest songs. The report focused on how all these musicians were now coming out and providing a sound track to the growing discontent many of us are having with the war in Iraq. It talked about how people are more accepting of such songs and how major record labels were loosening up in the aftermath of the Dixie Chicks who got lambasted and later boycotted for speaking out against George Bush and his policies in 2003. The report also brought to light the impact anti-war songs had on fueling the Anti-war movement against Vietnam in the late 60s and the question was raised as to what sort of impact todays rash of songs would have. I cant remember all the singers they profiled, but I did recall seeing country singer Merle Haggard, Rock-N-Roll icon Bruce Springstein and pop sensation Pink. What surprised me was not seeing any mention of Hip Hop especially with the exception of KRS-One, since it was artists in the rap community that up to date have released more anti-war songs and were the first to unabashedly do so right after 9-11. If we take a short walk down memory lane, folks may recall that the day after 9-11 Bay Area Hip Hop activists from organizations like Lets Get Free, The Ella Baker Center and Minds Eye Collective put together a rally that was held in Snow Park in Oakland. Close to 500 people attended this event which focused on the loss of human life and questioned the foreign policy missteps of the Bush administration. It was at this rally that many of us heard our last poem from the late June Jordan. We also heard an incredible song from Michael Franti & Spearhead calling for healing and peace. A couple of months later, Franti appeared on Conan OBrian and performed the anti-war song Bomb the World to Pieces only to find that his sentiments angered producers who threatened to censor the song when the show aired. Community outrage lead to OBrians people eventually showing the performance. Early on we heard anti-war songs from acts like the Beastie Boys (World Gone Mad), Nas (Rule), Wu-Tang Affiliates Known Associates (World So Cold), Talib Kweli (the Proud), J-Live (Satisfied) and Mr Lif (home of the Brave). Of course we also have numerous joints from Immortal Technique including 'The Povery of Philosophy'. All in all there are more than 150 anti-war songs that have been recorded by Hip Hop artists. The song that really made heads turn was by Bay Area artist Paris who came out of retirement and released a 6 minute missive called What Would You Do? that went into great detail about The Caryle Group, Bushs relationship to the Bin Laden family and the hawkish action plans of the Neo-cons serving in Bushs cabinet. Paris gave the song away for free and then followed it up with an entire antiwar album called Sonic Jihad which went on to sell over 200 thousand units. Another stand out effort came from San Francisco based Freedom Fighter records who released the first anti-war compilation featuring Bay Area artists called War Times Report From the Opposition. A year later LA based Hard Knock Records followed up with a critically acclaimed anti-war compilation called What About Us. The most visible anti-war effort to date came from former San Jose resident Fredwreck who has produced tracks from everyone ranging from Eminem to Snoop Dogg and Ice Cubeto name a few. Using the name STOP Movement he gathered up a number of popular artists including Mobb Deep, WC of the Westside Connection, Daz of the Dogg Pound, RBX, Defari, Soopafly, Cypress Hill, Mack 10, KRS-One and Dilated Peoples just to name a few and released two anti-war songs called Down With Us and Dear Mr. President. Fredwreck like Paris gave away the songs for free and even held a press conference only to find local commercial stations would not touch the record in spite of the big name artists he had assembled. In fact sources inside one popular station in LA, KKBT, noted that their deejays were instructed not to play those songs because they were too controversial. Whats even more ironic was Fred was supposed to be profiled in the ABC story. He was flown to NY but not shown in the report that I saw. The other irony was after ABC aired the report one of the anchors decided to comment and naively noted that she never heard any of the songs from the artists they profiled on the radio therefore they must not be hits. We could do an entire column on what goes on behind the scenes and what it really takes to get records on the commercial airwaves, but suffice to say if what happened to Fredwreck is any indication of how key power brokers at radio get down, then of course we would not hear any of these songs on radio. However, it does not mean those songs or those artists are not popular or that people are not appreciative of their songs. see also: http://media.odeo.com/3/8/3/BreakdownFMFredwrecklebanon.mp3 Breakdown FM: Producer Fredwreck Speaks out on War in Lebanon http://media.odeo.com/3/8/3/BreakdownFMFredwrecklebanon.mp3 Palestinian Hip Hop producer Fredwreck and Dr. Hatem Bassein Middle Eastern expert and a professor at UC Berkeley speaks with HKRs Davey D about the recent upsurge of violence in the Middle East.Fred who has produced everyone from Ice Cube down to Snoop is incredibly insightful as he breaks down the politics of what is going on in the middle east. He’s no newcomer to politics. He’s always stayed upon on the issues and very quietly behind the scenes and not so quietly has made noise on behalf of his people. http://media.odeo.com/3/8/3/BreakdownFMFredwrecklebanon.mp3http://studio.odeo.com/channel/3681/view and Hip Hop & Resistance - Scherzo: Ta démocratie mon oeil ! http://radio.indymedia.org/uploads/07_ta_d__mocratie_mon_oeil__.mp3 cd title: "G la rage et je la garde" ["I have rage and i'm keeping it. I'm pissed and i'm staying pissed..."] audio: MP3 at 5.6 mebibytes http://radio.indymedia.org/uploads/07_ta_d__mocratie_mon_oeil__.mp3 http://vancouver.indymedia.org/?q=en/node/1417 Scherzo: Ta démocratie mon oeil ! http://vancouver.indymedia.org/?q=en/audio/download/1417/file.mp3 from: the French Rioters Release Hip-Hop CD C7 H16 releases cd title: "G la rage et je la garde" ["I have rage and i'm keeping it. I'm pissed and i'm staying pissed..."] download zip: G la rage et je la garde" http://c7h16.internetdown.org/ - Wed, 19 Jul 5:59am see also: http://www.upstartradio.com/Playlist%20%26%20Links.html or http://radio.indymedia.org/news/2005/11/7632.php and Breakdown FM: Always Strength in Words-An Interview w/ Hasan Salaam, Akir and Hiccup http://media.odeo.com/0/4/1/Breakdown_FM-StengthinWords.mp3 There’s Always Strength in Words: An Interview w/ Hasan Salaam, Akir and Hicoup By Davey D Whoever said Conscious Hip Hop artists can�t get down or that Hip Hop from the NY (East Coast) is dead simply has not tapped into the burgeoning cultural inspired rap scene that has everyone from dead prez to Immortal Technique making noise. Alongside them are artists like Hasan Salaam, Hicoup and Akir just to name a few. We sat down with them the other day when they swung through Oakland for the Strength in Words Tour. I gotta be honest it was nice building with these cats. In fact we barely spoke about their projects, which include Hasan�s �Lost Paradise� album, Hicoup’s Ghetto Factory Supreme� mixtape and Akir�s debut LP �Legacy�. Instead we talked in depth about the Middle East including the conflict in Lebanon. This was critically important especially when you take into account that Hasan has a song on his album called "Hezbollah". http://media.odeo.com/0/4/1/Breakdown_FM-StengthinWords.mp3 and Hip-hop culture reflects Youth oppression under capitalism By Larry Hales Published Mar 7, 2006 10:22 PM “...Or does it explode?” This ominous question ends Langston Hughes’ poem, “Harlem,” which begins with, “What happens to a dream deferred?” In the mid-to-late 1970s, there was a musical explosion emanating from poor Black and Puerto Rican youth in the South Bronx. To understand hip-hop culture, which encompasses a style of dress, speech, graffiti art, and a certain political orientation towards the capitalist state, it is essential to know exactly what was happening in the United States, especially in the nationally oppressed communities leading up to its inception. During the 1970s, the state of the capitalist economy and the effect it would have on workers was becoming evident. The Vietnamese had emerged victorious from a devastating war in 1975. Thousands of drafted and enlisted U.S. soldiers and marines, many of them people of color in disproportionate numbers, lost their lives. Many thousands more were physically and/or emotionally maimed for life. The U.S. imperialist ruling class’s brutal war against the Vietnamese people had drawn billions of dollars away from the social needs of people in the United States. The soldiers who were forced to fight the war returned home with no safety net. Many had become addicted to drugs and alcohol and wound up homeless. The country was in an economic recession. Major industrial manufacturers were already closing plants around the country especially in the Northeast, which later became known as the Rust Belt. Whites had already begun to move from urban to suburban areas, resulting ‘white flight’. Development in the inner cities virtually ceased, leaving what social services that existed and the public school systems in these areas woefully inadequate. Public hospitals were usurped by privately run facilities creating a sub-standard health care system for the poor and oppressed. The prison system, which housed 200,000 inmates in 1970, had begun its steady climb towards its current level of over 2.1 million prisoners, the largest population worldwide. The racist death penalty was reinstated in 1976. Many Black people who fled the low-paying jobs in the South found higher paying, unionized jobs in the North following the Vietnam War. full article: http://www.workers.org/2006/us/hip-hop-0316/ and Fred Wreck: Why Did Major Radio Stations Try & Silence This Man and His Music? Fredwreck in case you don’t know has laced everyone from Ice Cube to Snoop Dogg on down to Eminem with incredible tracks….He’s always been a political type of guy so he got a bunch of West Coast artists together around the start of the Iraq War and they dropped this Anti-war song which they offered up for free download.. http://www.indybay.org/uploads/2006/03/20/stopmovement-downwitus_dirty.mp3 nd ...the 1973 assassination of the Palestinian poet, Ghassan Kanafani...The writer said in his report, published Monday by the Hebrew daily "Yedioth Ahronoth", that the Israeli intelligence elements planted an explosive device in Kanafani's vehicle that exploded thereafter causing his immediate death. -- "Israel admits responsibility for assassinating Palestinian poet" http://www.palestine-info.co.uk/am/publish/article_14740.shtml and http://victoria.indymedia.org/news/2005/10/44887.php and Najat Rahman, Assistant Prof. Comparative Litereture U of Montreal, on Resistance and Art historically in Palestine. -- "Under the Olive Tree: Culture and Resistance" http://www.radio4all.net/index.php?op=program-info&program_id=16139&nav=length& and http://www.radio4all.net/index.php?op=producer-info&uid=1991&nav=length& and Meen Erhabe - (Who is the Real Terrorist?) http://www.dam3rap.com/mp3/DAM_men_erhabe.mp3 or http://www.dam3rap.com/ and DOWNLOAD THREE FREE TRACKS FROM "FREE THE P" AT THE END OF THE ARTICLE: Born Here - DAM [3MB, MP3 file] http://electronicintifada.net/downloads/music/Born-Here.mp3 Free The P - The Philistines [5.5MB, MP3 file] http://electronicintifada.net/downloads/music/Free-The-P.mp3 No Compromises - Invincible [3.3MB, MP3 file] http://electronicintifada.net/downloads/music/No-Compromises.mp3 FREE THE P! PALESTINE TAKES NYC'S EAST VILLAGE BY STORM Remi Kanazi, The Electronic Intifada, 17 October 2005 As I walk down the darkened staircase into a muggy basement in this lower eastside dive bar, a scruffily bearded supporter smiles and waves a four-foot wide Palestinian flag. The chatter begins as the room fills with anxious people awaiting the show. The young crowd came out to support Free the P, the new CD compilation of "hip-hop and spoken word, dedicated to the youth of Palestine." The proceeds will go to Slingshot Hip-hop, "a documentary film that focuses on the daily life of Palestinian rappers living in Gaza, the West Bank and inside Israel." Within moments, our hostess, Arab-American comedienne Maysoon Zayid, takes the ground level, makeshift stage and gets the crowd going with her dry, political humor.... http://electronicintifada.net/v2/article4250.shtml http://electronicintifada.net/downloads/music/Born-Here.mp3 and "You see we live under a physical and mental occupation. People have internalised the situation and have become apathetic. They don't resist, they've given up even to think about that. The generation of our parents is full of fear and apathy. They are afraid for the Shabak and want to stay away from politics. We do not accept this. We want to shake things up" -- "Where There's the Ghetto, There's Hip Hop" http://victoria.indymedia.org/news/2005/10/44513.php and ...Lead rapper Narcy and producer Butter Beats give the rundown on the Hip Hop scene in Montreal, life in the Middle East, the attempts to unite the Brown nation and their opposition to the unjust war in Iraq.. http://victoria.indymedia.org/news/2005/12/46895.php or http://media.odeo.com/2/7/9/I__Breakdown_FM_Shows_BreakdownFM-Euphrates_Interview_2005.mp3 and Last month, the Palestinian-American hip-hop crew The Philistines announced the release of a CD dedicated to the youth of Palestine. The compilation CD, titled "Free the P," brings together over 20 hip-hop and spoken word artists. Its aim is to promote awareness about the Palestinian struggle for freedom while raising funds to support an upcoming documentary film--SlingShot Hip Hop--about hip-hop in Palestine." -- "Hip Hop: Hip-Hop for Palestine Phi-lis'tine (fi-lis'-tin)" http://victoria.indymedia.org/news/2005/10/44106.php and inspired and angered by the image of Palestinians projected by the U.S. media, the brothers elected to use the word “Philistine” to define themselves as it means “an uncultured, barbaric person.” They collectively reject the media manipulation that warps the dynamics of the Palestinian-Israeli conflict http://www.whatsupmagazine.org/articles/philistines.html CALLING ALL PHILISTINE SOLDIERS: The P have just released a HOT new demo. YOUR MISSION: To download, burn, and distribute as many of these babies as you can. YOUR TARGETS: People at clubs, parties, funerals, bat mitzvahs, the car wash, school, living under illegal foreign occupation--anyone and everyone... http://www.thephilistines.com/Music.html ARABIFUNK (web version) - Ragtop and B-Dub on an epic Iron Shiek beat http://www.thephilistines.com/Music/Arabifunk%20(web).mp3 and born here video by DAM: http://www.dam3rap.com/mp3/DAM_bornhere.wmv and http://www.dam3rap.com/mp3/DAM_men_erhabe.mp3 and ...the 1973 assassination of the Palestinian poet, Ghassan Kanafani...The writer said in his report, published Monday by the Hebrew daily "Yedioth Ahronoth", that the Israeli intelligence elements planted an explosive device in Kanafani's vehicle that exploded thereafter causing his immediate death. -- "Israel admits responsibility for assassinating Palestinian poet" http://www.palestine-info.co.uk/am/publish/article_14740.shtml and http://victoria.indymedia.org/news/2005/10/44887.php and "Then I just get home, sit down and make the concepts in my head into reality, and watch how they never cease to change and evolve once they're out of my head, and how no idea or concept no matter how good it is, will stay completely the same in your mind. John Coltrane spoke about the same thing with regards to getting the music in his head out into the real world of sound. But anyway, technically I use my computer, I got a mixer, a nice mic, and a Korg Keyboard, two nice monitors and a compressor which doesn't work right now. It's all about what you do with it though, what's in your mind." -- yoshi http://victoria.indymedia.org/news/2005/06/41736.php and Hip Hop: the subliminal criminal: Pick up a stone http://victoria.indymedia.org/news/2005/05/40536.php and "Sat in the back of the class with my hand up/Two wild security guards, grabbed my man up/Threw him in detention for 5 days suspension. Cuz he said, the teacher was lyin about the Indians.I stood like a man then I questioned my teacher/Why don't we speak about the wisdom of the sages?/And how did Europe black out in the dark ages? And when they got light did they white-wash the pages? ...And why it seems that half the school is racist?" -- rza and masta killa http://victoria.indymedia.org/news/2005/04/40092.php or http://www.mastakilla.net/ and Islamic themes and Arabic terms increasingly thread the colorful fabric that is hip hop. Self-proclaimed Muslim rap artists -- whether adhering to the Nation of Islam, the Five Percent Nation, or traditional Sunni Islam - proudly announce their faith and include "Islamic" messages of social justice in their lyrics. http://victoria.indymedia.org/news/2003/05/14501.php and "...Because they know if the rappers get a revolutionary message, that if the rappers start to clean up their act and rap revolutionary rap, the game is over. The enemy, and those who control the distribution of rap, shut down revolutionary rap and would only fund gangster rap after [the 1992 L.A. rebellion against police brutality.] We saw an extreme rise in gangster rap and the elimination of revolutionary rap. ... I say to Brother Russell Simmons and the other rappers: Don’t let them make you believe that they have more power than you." --Malik Zulu Shabazz http://victoria.indymedia.org/news/2005/03/39144.php or http://www.finalcall.com/artman/publish/article_1858.shtml Islam Racism And The Left http://victoria.indymedia.org/news/2005/02/37745.php or http://seattle.indymedia.org/en/2005/02/244553.shtml and ". “As a young Muslim Black male in America I feel under attack on many fronts. I can handle being under attack, but it’s heartbreaking – at times— to feel as though I have no comrades. ..."--Amir Sulaiman http://victoria.indymedia.org/news/2004/12/35705.php or http://www.amirsulaiman.com/ and How is the Islamic faith delivering the message from Allah through rap? True Believer From ages past music in some form has been used to Praise the One. In Qur'an we find "Allah is beautiful and loves beauty." Allah (swt) did not give birds their song to suppress nor did He create the winds that blow through rocks or trees to create beautiful sounds to be ignored or not copied. http://victoria.indymedia.org/news/2004/10/31664.php and dred-i 3 track CD: "Revolutionary Crunk Muzik: The Black Panther Party Meets Soul Train". http://victoria.indymedia.org/news/2004/10/31600.php How is the Islamic faith delivering the message from Allah through rap? True Believer From ages past music in some form has been used to Praise the One. In Qur'an we find "Allah is beautiful and loves beauty." Allah (swt) did not give birds their song to suppress nor did He create the winds that blow through rocks or trees to create beautiful sounds to be ignored or not copied. Muslim rap is big business with annual sales in excess of $1.8bn in America alone. How is the Islamic faith delivering the message from Allah through rap? http://www.bbc.co.uk/1xtra/tx/documentaries/islamichiphop.shtml 1Xtra's Iyare talks to Muslim rappers challenging traditional views like Mecca 2 Medina, Napoleon from Tupac's Outlawz and Jurassic 5. Why is Islamic hip hop becoming such an attraction? and ' You have to ask yourself is it in the best interests of the corporate elite to enlighten people truly. And I guess it's not if you want to maintain the status quo. We have billions of dollars for wars here to fight illegal immigrants and to kill people and control their natural resources....but we're always coming up short financially with education funding." http://victoria.indymedia.org/news/2004/10/32953.php or http://victoria.indymedia.org/news/2004/10/32953.php http://www.guerrillafunk.com and FRED WRECK!!! Support the STOP Movement! STOP: Stop The Oppressive Politics! We the people of the United States of America have gathered together to express our views against the oppression of people across the Earth by the imperialistic policy makers of our government. They want all the nations of the world to bow down and abide by rules and laws they impose behind the curtain of the United Nations, yet when those laws go against the political agenda of the administration they themselves break the law and feloniously fabricate propaganda to mislead the world and American people that Iraq has "Weapons of Mass Destruction", and will use them on America. Evidence to validate this fantasy still to this day does not exist, even after the CIA unsuccessfully tried to fabricate documents to prove so. Next we have the shameful attempt by Governor Bush and his gang to link the unfortunate events of September 11th and Osama Bin Laden to the leadership of the Iraqi Government. Proof or evidence of which also does not exist. Mr. Bush has been left with no other card in his deck to play, so he created his own, the deck of "Wanted Terrorists" within a charade of humanitarianism. The only way for him to gain any popular acceptance is to have a campaign of misleading propaganda to make us believe that he's on a self-righteous mission to liberate the Iraqi people, and that this war is a war about freedom and democracy for the people of Iraq. This is yet another delusion of grandeur by our so-called fearless leader. He will not hoodwink or deceive us! America's oppressive foreign policy, which resorts to bribery, corruption, dirty dealings, and murder assassination, will continue to produce hatred, mistrust, and animosity. This dangerous environment that our policies have bred puts us at far greater risk of being blind sided and harmed by threats unknown. This threat multiplies with each aggression toward the nations of the world. Aggression sometimes concealed behind diplomacy, which can be more dangerous than war itself. This hostile behavior must stop. If we are going to start opening the books and passing judgment on world leaders lets not hesitate to start with members of our government. Let's also call out the governments of some our so-called allies. Then we can all be playing eye-to-eye on an even field. Until then, take a stand to S.T.O.P. the oppressive politics. Stop the killing of other nation's children and bring our sons and daughters home. Peace, The Movement http://www.fredwreck.com/ or http://www.rapindustry.com/fred_wreck.htm http://weekly.ahram.org.eg/2005/750/feature.htm and Hip Hop: Putting politics back into US hip-hop: Fred Wreck http://english.aljazeera.net/NR/exeres/F7BB1F5C-5A19-42C8-8616-AEC0ABDB22B8.htm http://www.thephilistines.com/Music.html -- Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...in time, we will look back to this age with incredulity and amazement -- and victories like Hamas in Israel will be the *best* of our memories." -- mumia abu jamal -- "what state? what union?" "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php http://cleveland.indymedia.org/uploads/2006/07/olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://www.lowliferecords.co.uk/ \ ========================================================================= Date: Sat, 2 Sep 2006 09:06:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: a small catalog of cultural scripts for (male) poets In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit [i added a word to the subject heading] jason, (1) scripts and transactional games are not inevitable or unavoidable. it feels really good to be around colleagues and friends who don't play them. (2) you ask about what I meant by naming a particular transactional game “revolution." a transactional game is basically an act of subterfuge: a person or group says or displays one set of behaviors, while being interested in a hidden payoff. those playing “revolution” as a transactional game aren’t really interested in radical change. their interests stem from, rise from, ressentiment: they *want* what the purport to eradicate. so, if in an area of cultural production you’ve got someone talking about a revolution in the area of a certain artistic genre, but who basically uses this rhetoric to place himself/herself, or their faction, in a position of cultural power, a position that fundamentally strengthens the institutions they’d sd they would destroy, that is a transactional game. for instance, if an author or small group say they are interested in heteronymic writing and make a show of using the rhetoric of heteronymic writing and its concomitant modes of cultural production to destroy the author function, but really wind up entrenching himself or themselves as “author” – this is a transactional game. generally those playing “revolution” do the following. they (defying Olson’s “What does not change / is the will to change”) - cast change as rare - cast the will to change as rare - cast the will to change as belonging only to themselves, their party, their faction - conflate “rebellion” with revolution; inflating their small and imbalanced flarings of disgust, aversion, hatred, ill will from a rebellion to a revolution - are generally mean and violent - wind up entrenching what they purported to destroy - get paranoid, for good reason most political revolutions are just rebellions forced down the throats of the people. the scientific revolution or the “quiet revolution” of the Quebecois are examples of true revolution: a whole culture or modus tipping over. - gabe > ------------------------------ > > Date: Fri, 1 Sep 2006 13:21:47 -0700 > From: Jason Quackenbush > Subject: Re: A Small Catalog of Cultural Scripts for Poets > > that's really interesting. as you're describing it, it sounds like this is an unavoidable aspect of social formation. so therefore: if i am a young poet (28 is still young, right?) then i want to be credentialed. what does one have to do to get credentialed in order to begin using these scripts. also, what's the "revolution" script you mentioned but didn't describe. and where do people like Jorie Graham or Dana Gioia, who very much like to think of themselves as "revitalizers of poetry," but who so obviously are not? > > ========================================================================= Date: Sat, 2 Sep 2006 09:42:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Interesting! What's the term for the game in which the poet types and judges every other poet's behavior from a position of moral superiority with pseudo-sociological trappings? The "H.L. Mencken," maybe?The "Ambrose Bierce"? I mean, on the level of humor I actually quite like some of these sneering satirical descriptions below, but this sort of response to the often troubling behavior of other poets is a common feature of poet behavior as well, and related to the concept of the "Maverick" in ways too obvious to need much stating. Turns out you can't describe this particular game without already being one of the players, eh? And since I must be playing too, what's the term for the game in which the poet suggests that typing the behavior of other poets in a dismissive manner is good fun but bad criticism? Mark Date: Fri, 1 Sep 2006 10:29:36 -0500 From: Gabriel Gudding Subject: A Small Catalog of Cultural Scripts for Poets __________________________________ http://gabrielgudding.blogspot.com Certain groups or cultures can become invested in bonding together in collective excitement in order to (1) structure time and (2) avoid intimate honesty -- by rehearsing what Eric Berne called "scripts." The one Simon DeDeo recently described on a listserv -- "seeking status through the promise of a new yet unapproachable revitalization of poetry" -- is a cultural script for poetry, one played over and over through the centuries and with particular strength since about 1914 (let's say just after Wyndham Lewis's BLAST). A script, in Eric Berne's terms, is a transactional game inscribed into a family's behavior patterns or into a culture's. Another term for the game described above is "If it Weren't For Them." The crying for the reformation of poetry is not really about the reformation of poetry. It's about getting something (self or group aggrandizement) via crying. Thumping the hand at the woeful state of X helps create the perception that (a) something is wrong, and (b) we're the folks, or I'm the guy (usually a guy), to set this right. In other words, crying about the woeful state of X is a surreptitious boast. A boast to the effect that either "we/I see what others for years have not," or "we/I are the only ones, after years of others, who can fix this." It's often an excuse to play at having an "Uproar." Sometimes, if challenged, the game player will try to play "Courtroom." "What do you mean by saying that I was behaving in X manner? That was not my intention! Explain yourself, please: I'd really love to know! Maybe I could learn something from you. But let's talk about my behavior, and whose perceptions about it are accurate, yours or mine, or his, etc -- and how you think I'm not being good. Yes, now about my behavior, which certainly was reasonable...." Variants of "Courtroom" are "See What You've Done Now" (eg, you upset my kid) or "Want Out," in which people begin yelling they want out of a conversation but don't really leave. Another variant is "Whiz Kids," which is like "Revolution," except less violent, harsh and destructive. "Whiz Kids" players in "Poetry" promote and advertise a new approach, a new style, a new method, as a means of solving a problem or resolving a dialectic (Flarf, eg). "Maverick" is a particularly male and heteronormative variant of "Whiz Kids," one played by an individual and an allied group; eg, Joel Oppenheimer (_Don't Touch the Poet_) or Charles Bernstein (_My Way_), Charles Bukowski, et al, and its self-destructive variant "Drunkard," played by Jack Kerouac, John Berryman, et al., in which it's made known that "the reason I'm drunk is I'm successful; my boorish transgressions will be forgiven if you have any taste." A variant of this in younger members is "Young Turk," in which a combative young man is, often through the imprimatur of a "Maverick," encouraged to play the part of a new transgressor. Some encourage their own sons to adopt this painful role, which those sons willingly do if in doing so they can briefly draw their father's attention away from his own self-fascination. Needless to say, social permission is needed for all these games. Such permission is typically handed out to X, Y, or Z depending upon their traits and credibility. "Drunkard," for instance, is often only allowed in well established successful members. If it's displayed too early (by non-credentialed members) it won't work. It can also be played by some who aren't very well know but who nevertheless adopt the role of drunkard/transgressor and use self-righteous anger to deepen the role in the hopes that drunkenness and transgression alone will be seen as a marker of current or future success. - Gabriel __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 2 Sep 2006 13:31:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: a small catalog of cultural scripts for (male) poets In-Reply-To: <44F98FCB.9000909@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Gabriel wrote: scripts and transactional games are not inevitable or unavoidable. it feels really good to be around colleagues and friends who don't play them. What about the "game of no game"? Or the "game of being aware of games"? The difficulty of Eric Berne's work--which is modern dressing for an old quest--is that it doesn't account for the constant need to re-examine motives. Nobody is above that endless game, which constantly rewrites the script. Consider Erikson's _Gandhi's Truth_, where he presents Gandhi as someone who wanted to be a father to his father. The best way for Gandhi to play his game, fathering his father, was to be a superpious superleader. Yet Gandhi too was divorced from his own motives; which may explain, in part, how that particular man of peace was such a lousy father to his own children. Motives, motives, motives--and our resistance to understanding our own protean motives once and for all. It's the stuff of poetry. Best, Eric PS: Don't forget Matt Groenig's _Work is Hell_. In his section on how to annoy artists, he has: "How to Annoy Poets: Be Another Poet." ========================================================================= Date: Sat, 2 Sep 2006 04:26:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: dimensionality of words MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit JUST WRITE use yer imagination yer natural resources yer dare i say muse ========================================================================= Date: Sat, 2 Sep 2006 04:21:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Fw: Re: dimensionality of words MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit there's an F axis & a U x i s ========================================================================= Date: Sat, 2 Sep 2006 17:50:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Lamoureux Subject: 3 New Chapbooks from Cy Gist Press MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "Summer's gone, but a lot goes on forever"--Leonard Cohen Cy Gist Press is happy to announce the release of 3 new chapbooks as we bid summer farewell and stumble into autumn and everything after. EXERTIONS by Scott Glassman (20 pp. Sewn Binding) $6 Scott Glassman's first chapbook offers simultaneously alien and quotidian glosses on the perils of existing alone and with others. Scott's take on the prose poem operates by way of arpeggios of contrapuntal phrases threatening to tear the form apart while giving them surprising rhythmic balance. For ordering and a sample poem go here: http://www.cygistpress.com/epage.htm. CARACAS NOTEBOOK by Guillermo Parra (20 pp. Saddle-Stapled with Linen binding, B&W photographs) $6 Guillermo Parra's lyric paen to the city and the dramatically changing face of Venezuela at the beginning of this century is rife with exile and nostalgia. These are poems from between--between languages, cultures, identities and forms. Sparse, objectivist-inspired poems are mingled with direct but enigmatic prose reminiscent, to my mind, of W.G. Sebald. Like Sebald, these poems are homesick for a point of origin which may or may not have ever existed. With black and white photographs of Caracas by Isabel Parra. For ordering and a sample poem go here: http://www.cygistpress.com/cnpage.htm. FACE TIME (22 pp. Sewn Binding, B&W photographs, mirrored cover) $6 What do Paris Hilton, Al Pacino, Hilda Doolittle, Charlize Theron, Marcello Mastroianni and a quivering, self-eviscerated blob have in common? Find out in FACE TIME, an anthology of poets responding to stills from films. Featuring work by: Joe Hall, Craig Perez, Noah Falck, Phil Crippen, Matina L. Stamatakis, Francois Luong, Brian Lucas, Nicole Mauro, Jessica Smith, G.L. Ford, Mark Lamoureux, Christina Strong, Michael Carr, Sandra Simonds, John Mulrooney, Brenda Iijima and Christopher Rizzo. To order and for a sample poem and image go here: http://www.cygistpress.com/ftpage.htm:. Mark Lamoureux http://www.cygistpress.com http://www.marklamoureux.com http://----------0----------.blogspot.com ========================================================================= Date: Sat, 2 Sep 2006 20:07:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: dimensionality of words In-Reply-To: <20060902.163754.-393327.7.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit "you just go on your nerve?" Steve Dalachinsky wrote: > JUST WRITE use yer imagination > > yer natural resources yer dare i say muse ========================================================================= Date: Sat, 2 Sep 2006 20:33:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: a small catalog of cultural scripts for (male) poets In-Reply-To: <44F98FCB.9000909@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit Gabriel Gudding wrote: > jason, (1) scripts and transactional games are not inevitable or > unavoidable. it feels really good to be around colleagues and friends > who don't play them. Agreeing to disagree on that point, as the thrust of everything I would say against it has been covered quite nicely by Eric Yost's post; but what about the rest of the question? What is this credentialing process you're talking about? I'd argue that as soon as one has committed oneself to the validity of such credentials, which is seems you do, it's necessary for the word colleagues to have a context different from friends, then the playing of games such as the ones you've described are completely unavoidable and are a part and parcel of the idea that there is an "in" circle and an "out" circle. More to the point, I'd argue that it's patently obvious that there's an in circle of Socials and an out circle of Greases in every community group, and the only choice that anyone has as far as their sociological relationship to game playing is whether or not they're going to participate in what the in crowd is up to. Being in with the in-crowd, as it were, or being a determined Outsider committed to Outsiderness, is the only step possible. From that point, your scripts, so very loosely defined, take over. Occasionally somebody throws up his hands, says almost everbody, soc and outsider alike, are wasting everyone's time on nonsense, and goes and gets a job at the post office or something. But those kinds of people are rare. On the other hand, taking poetry as a less than arbitrary e.g., the fact that there are at least two groups of poets in American lit; that is those who think there are at least two groups (outsiders, beats, post-avants, moderns, postmoderns, polar bears or whatever you want to call them) and those who don't think there are two groups (the school of quietude, official verse culture, academic poets as the slam community understands the term academic (to mean everyone is an academic who doesn't slam, etc. I'd argue that there are therefore at least three groups, the Socs (Jorie Graham, Billy Collins, Ted Kooser, Sharon Olds, Glyn Maxwell etc), the Greasers(Paul Hoover, Ron Silliman, Charles Bernstein, Rae Armentrout, etc), and the folks who think that there is a difference between a Soc and a Greaser but who claim to be neither one nor the other(Bill Knott, Dean Young, David Lehman), but somehow elevated above the rumble. When I was in highschool, kids like that were called Dorks because they didn't have any friends. Or at least no friends who had the kind of clout that a Soc or a Grease might have. Or should we take as a model for the sociological interaction of these groups a more complex analogy than The Outsiders? Perhaps what's really going on is that poetry is like The Breakfast Club. There are Jocks and Princesses, Criminals, Freaks, Brains, Vice Principals and Janitors, and no matter what you do, you are going to fall into one of these roles, yeah? A Jock is a pretty boy, a golden talent whose accolades and awards far outstrip the measure of his accomplishments. Maya Angelou might be a Jock. You can see where I'm going with this I suppose. My only real point is that if you're given to these sorts of analyses, and seriously, who isn't? then there are "archetypes" or "roles" or "scripts" for "transactional games" to be found everywhere. The only choice any of us really have is whether or not to participate in the community, and then, once we do make that decision, what role we're going to take on or shall we strike out on our own and attempt to make a new mold for others to follow? Which of course brings me back to the salient bit of my first question, which is, what is necessary to become involved in a community in the first place? That's where i think a critical gaze ought to be turned to figure out why some get the credentials who don't seem to have gotten them for any reason while others remain uncredentialed and ignored; even by Ally Sheedy and Anthony Michael Hall. ========================================================================= Date: Sun, 3 Sep 2006 01:11:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The ultimate solution, to criticise with silence: The Non-Transactional Sneer. Ciao, Murat In a message dated 9/2/2006 12:42:15 PM Eastern Daylight Time, Mark Wallace writes: >Interesting! What's the term for the game in which the >poet types and judges every other poet's behavior from >a position of moral superiority with >pseudo-sociological trappings? The "H.L. Mencken," >maybe?The "Ambrose Bierce"? > >I mean, on the level of humor I actually quite like >some of these sneering satirical descriptions below, >but this sort of response to the often troubling >behavior of other poets is a common feature of poet >behavior as well, and related to the concept of the >"Maverick" in ways too obvious to need much stating. > >Turns out you can't describe this particular game >without already being one of the players, eh? > >And since I must be playing too, what's the term for >the game in which the poet suggests that typing the >behavior of other poets in a dismissive manner is good >fun but bad criticism? > >Mark > > > >Date: Fri, 1 Sep 2006 10:29:36 -0500 >From: Gabriel Gudding >Subject: A Small Catalog of Cultural Scripts for Poets > >__________________________________ >http://gabrielgudding.blogspot.com > > >Certain groups or cultures can become invested in >bonding together in >collective excitement in order to (1) structure time >and (2) avoid >intimate honesty -- by rehearsing what Eric Berne >called "scripts." > >The one Simon DeDeo recently described on a listserv >-- "seeking status >through the promise of a new yet unapproachable >revitalization of >poetry" -- is a cultural script for poetry, one played >over and over >through the centuries and with particular strength >since about 1914 >(let's say just after Wyndham Lewis's BLAST). A >script, in Eric Berne's >terms, is a transactional game inscribed into a >family's behavior >patterns or into a culture's. > >Another term for the game described above is "If it >Weren't For Them." > >The crying for the reformation of poetry is not really >about the >reformation of poetry. It's about getting something >(self or group >aggrandizement) via crying. Thumping the hand at the >woeful state of X >helps create the perception that (a) something is >wrong, and (b) we're >the folks, or I'm the guy (usually a guy), to set this >right. In other >words, crying about the woeful state of X is a >surreptitious boast. A >boast to the effect that either "we/I see what others >for years have >not," or "we/I are the only ones, after years of >others, who can fix >this." > >It's often an excuse to play at having an "Uproar." >Sometimes, if >challenged, the game player will try to play >"Courtroom." "What do you >mean by saying that I was behaving in X manner? That >was not my >intention! Explain yourself, please: I'd really love >to know! Maybe I >could learn something from you. But let's talk about >my behavior, and >whose perceptions about it are accurate, yours or >mine, or his, etc -- >and how you think I'm not being good. Yes, now about >my behavior, which >certainly was reasonable...." > >Variants of "Courtroom" are "See What You've Done Now" >(eg, you upset >my >kid) or "Want Out," in which people begin yelling they >want out of a >conversation but don't really leave. > >Another variant is "Whiz Kids," which is like >"Revolution," except less >violent, harsh and destructive. "Whiz Kids" players in >"Poetry" promote >and advertise a new approach, a new style, a new >method, as a means of >solving a problem or resolving a dialectic (Flarf, >eg). "Maverick" is a >particularly male and heteronormative variant of "Whiz >Kids," one >played >by an individual and an allied group; eg, Joel >Oppenheimer (_Don't >Touch >the Poet_) or Charles Bernstein (_My Way_), Charles >Bukowski, et al, >and >its self-destructive variant "Drunkard," played by >Jack Kerouac, John >Berryman, et al., in which it's made known that "the >reason I'm drunk >is >I'm successful; my boorish transgressions will be >forgiven if you have >any taste." > >A variant of this in younger members is "Young Turk," >in which a >combative young man is, often through the imprimatur >of a "Maverick," >encouraged to play the part of a new transgressor. >Some encourage their >own sons to adopt this painful role, which those sons >willingly do if >in >doing so they can briefly draw their father's >attention away from his >own self-fascination. > >Needless to say, social permission is needed for all >these games. Such >permission is typically handed out to X, Y, or Z >depending upon their >traits and credibility. "Drunkard," for instance, is >often only allowed >in well established successful members. If it's >displayed too early (by >non-credentialed members) it won't work. It can also >be played by some >who aren't very well know but who nevertheless adopt >the role of >drunkard/transgressor and use self-righteous anger to >deepen the role >in >the hopes that drunkenness and transgression alone >will be seen as a >marker of current or future success. > >- Gabriel > > > >__________________________________________________ >Do You Yahoo!? >Tired of spam? Yahoo! Mail has the best spam protection around >http://mail.yahoo.com > ========================================================================= Date: Sun, 3 Sep 2006 01:24:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: dimensionality of words MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "what would you call the primary dimensions of a word? i've read that an individual word may have over a hundred dimensions, but let's say we are limited to just three, for any type of word.." Assume words are made of strings. Ciao, Murat ========================================================================= Date: Sun, 3 Sep 2006 01:34:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: A Small Catalog of Cultural Scripts In-Reply-To: <7586BB1B.5A99C9A0.001942C5@aol.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Ever since the mention of this book i have had relentlessly stuck in my head the Joe South mega-hit song "Games People Play" from same period as the book. (The twangy guitar lead and solo esp haunting me--and the chorus dirving me nuts!) "Talkin' 'bout/you an' me/and the games people play" I've never read the book--at the time i recall reading a lot of Balzac which is basically an incredible guide to the games people play and provided fun references when observing these ever since. Gabe-as i recall weren't you recently writing of Buddhism? The judgementalism of the Bernian approach here seems at odds with the embrace and acceptance of what i recal of your last letters. There's got to be a reason why hundreds of milions folllow Buddha everday and only place i ever see Dr Berne is in the fly specked shelves of Salvation Army where decades of psycho-babble fads go to meekly expire in the arms of old romance novels. BTW Joe South's other big hit was "Walk a Mile in My Shoes" He must not have been taken up on the offer--and walked off alone in them shoes--for he also dwelleth among the Salvation Army ranks. Actually I was just reading a book on one of the most important mathematicians of the 20th century--Bourbaki--who in fact did not exist, but was the published being of a group of mathematicians working together anonymously. Trying to get that song out of my head! --david-bc >From: Murat Nemet-Nejat >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: A Small Catalog of Cultural Scripts >Date: Sun, 3 Sep 2006 01:11:03 -0400 > >The ultimate solution, to criticise with silence: The Non-Transactional >Sneer. > >Ciao, > >Murat > > >In a message dated 9/2/2006 12:42:15 PM Eastern Daylight Time, Mark Wallace > writes: > > >Interesting! What's the term for the game in which the > >poet types and judges every other poet's behavior from > >a position of moral superiority with > >pseudo-sociological trappings? The "H.L. Mencken," > >maybe?The "Ambrose Bierce"? > > > >I mean, on the level of humor I actually quite like > >some of these sneering satirical descriptions below, > >but this sort of response to the often troubling > >behavior of other poets is a common feature of poet > >behavior as well, and related to the concept of the > >"Maverick" in ways too obvious to need much stating. > > > >Turns out you can't describe this particular game > >without already being one of the players, eh? > > > >And since I must be playing too, what's the term for > >the game in which the poet suggests that typing the > >behavior of other poets in a dismissive manner is good > >fun but bad criticism? > > > >Mark > > > > > > > >Date: Fri, 1 Sep 2006 10:29:36 -0500 > >From: Gabriel Gudding > >Subject: A Small Catalog of Cultural Scripts for Poets > > > >__________________________________ > >http://gabrielgudding.blogspot.com > > > > > >Certain groups or cultures can become invested in > >bonding together in > >collective excitement in order to (1) structure time > >and (2) avoid > >intimate honesty -- by rehearsing what Eric Berne > >called "scripts." > > > >The one Simon DeDeo recently described on a listserv > >-- "seeking status > >through the promise of a new yet unapproachable > >revitalization of > >poetry" -- is a cultural script for poetry, one played > >over and over > >through the centuries and with particular strength > >since about 1914 > >(let's say just after Wyndham Lewis's BLAST). A > >script, in Eric Berne's > >terms, is a transactional game inscribed into a > >family's behavior > >patterns or into a culture's. > > > >Another term for the game described above is "If it > >Weren't For Them." > > > >The crying for the reformation of poetry is not really > >about the > >reformation of poetry. It's about getting something > >(self or group > >aggrandizement) via crying. Thumping the hand at the > >woeful state of X > >helps create the perception that (a) something is > >wrong, and (b) we're > >the folks, or I'm the guy (usually a guy), to set this > >right. In other > >words, crying about the woeful state of X is a > >surreptitious boast. A > >boast to the effect that either "we/I see what others > >for years have > >not," or "we/I are the only ones, after years of > >others, who can fix > >this." > > > >It's often an excuse to play at having an "Uproar." > >Sometimes, if > >challenged, the game player will try to play > >"Courtroom." "What do you > >mean by saying that I was behaving in X manner? That > >was not my > >intention! Explain yourself, please: I'd really love > >to know! Maybe I > >could learn something from you. But let's talk about > >my behavior, and > >whose perceptions about it are accurate, yours or > >mine, or his, etc -- > >and how you think I'm not being good. Yes, now about > >my behavior, which > >certainly was reasonable...." > > > >Variants of "Courtroom" are "See What You've Done Now" > >(eg, you upset > >my > >kid) or "Want Out," in which people begin yelling they > >want out of a > >conversation but don't really leave. > > > >Another variant is "Whiz Kids," which is like > >"Revolution," except less > >violent, harsh and destructive. "Whiz Kids" players in > >"Poetry" promote > >and advertise a new approach, a new style, a new > >method, as a means of > >solving a problem or resolving a dialectic (Flarf, > >eg). "Maverick" is a > >particularly male and heteronormative variant of "Whiz > >Kids," one > >played > >by an individual and an allied group; eg, Joel > >Oppenheimer (_Don't > >Touch > >the Poet_) or Charles Bernstein (_My Way_), Charles > >Bukowski, et al, > >and > >its self-destructive variant "Drunkard," played by > >Jack Kerouac, John > >Berryman, et al., in which it's made known that "the > >reason I'm drunk > >is > >I'm successful; my boorish transgressions will be > >forgiven if you have > >any taste." > > > >A variant of this in younger members is "Young Turk," > >in which a > >combative young man is, often through the imprimatur > >of a "Maverick," > >encouraged to play the part of a new transgressor. > >Some encourage their > >own sons to adopt this painful role, which those sons > >willingly do if > >in > >doing so they can briefly draw their father's > >attention away from his > >own self-fascination. > > > >Needless to say, social permission is needed for all > >these games. Such > >permission is typically handed out to X, Y, or Z > >depending upon their > >traits and credibility. "Drunkard," for instance, is > >often only allowed > >in well established successful members. If it's > >displayed too early (by > >non-credentialed members) it won't work. It can also > >be played by some > >who aren't very well know but who nevertheless adopt > >the role of > >drunkard/transgressor and use self-righteous anger to > >deepen the role > >in > >the hopes that drunkenness and transgression alone > >will be seen as a > >marker of current or future success. > > > >- Gabriel > > > > > > > >__________________________________________________ > >Do You Yahoo!? > >Tired of spam? Yahoo! Mail has the best spam protection around > >http://mail.yahoo.com > > _________________________________________________________________ Search from any web page with powerful protection. Get the FREE Windows Live Toolbar Today! http://get.live.com/toolbar/overview ========================================================================= Date: Sun, 3 Sep 2006 06:19:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: Regarding extracts from long poem by Jeffrey Side Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu There are extracts from a long poem I've written at Jake Berry's site: http://9thstlab.blogspot.com/ ========================================================================= Date: Sun, 3 Sep 2006 12:39:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: cultural scripts Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit As a young poet I found it more comfortable to remain on the outskirts of what I found to be the most vital poetry community of my era, the New York School. I felt shy about putting my writing forth anyway, and I found the atmosphere among these poets somewhat off-putting; yet, after some years I went the usual route of joining workshops. I had the good fortune (maybe) to earn the attention of a couple of my favorite poets at that time, and after many years of relative reticence, my work started to gain some notice. I published my first poem in 1965; my first book in 1988. My experience as a participant in various poetry communities is not that different from that of working in social work bureaucracies all my life. In the long run nearly everyone understands who's who, in the sense of what kind of person they actually are, whatever their career strategy or positioning might be or appear to be. You don't really have to advertise or defend yourself that much. Whatever a few people might do to defame you won't have much long run impact or make much difference; or, on the other hand, whatever you do to promote yourself, beyond making your work as available for others to read, will have about the same result. It is foolish, of course, to isolate oneself from the debates, and participating in this list, weblogging, etc, I find generally helpful. Nevertheless, it hurts to be put down, and poets, especially the males, nearly all participate in the team sport behavior of getting the most points for themselves that they can, while trying to sideline the competition. Ted Berrigan has a funny poem in which he specifies, more or less accurately, it seems to me, the negative attributes of a lot of poets he knew, and then invites the reader to make their own list. You need a sense of humor to deal with this stuff, although I find it is not always immediately at hand, unfortunately. I've long been fascinated by and drawn to artistic circles, and have equally long remained more or less ambivalent about them. As to Simon DeDeo's point about the critique of "official verse culture" put forth by Charles Bernstein, I was surprised to find, walking to the 42cd Street Library the other day, an elaborate sidewalk plaque devoted to Robert Pinsky along with those of, among others, Samuel Beckett, Emily Dickenson and William Carlos Williams. In my many decades of reading poetry, I had never heard of Mr. Pinksy before learning that he head been appointed Poet Laureate some years back. The recent books I've found the most useful in concerning cultural behavior are: Libbie Rifkin's *Career Moves* and now, Morris Berman's *Dark Ages America: The Final Phase of Empire*. Other suggestions? Nick Piombino ========================================================================= Date: Sun, 3 Sep 2006 09:42:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Contact info for Cynthia Arrieu-King? In-Reply-To: <44F98FCB.9000909@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The yahoo email address I have is not working. Please backchannel. Thank you, Amy --------------------------------- Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ========================================================================= Date: Sun, 3 Sep 2006 13:31:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: a small catalog of (male) cultural scripts MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit david-baptiste and nick, thanks for your gentle replies. david-baptiste, you mention a few things in your post. first, you note that eric berne's book is found in old stores and stuff. berne's influence on contemporary american culture, both through professional psychology and among laypeople, was incredibly influential. transactional analysis basically supplanted freudian analysis. kurt vonnegut in the nytimes sd of berne's 1964 book, which is, y're right, still found everywhere, including university offices and thrift stores, 42 yrs after publication: "This is an important book -- if not to scientists, then to laypeople in their anguished need for simple clues as to what is really going on. It also fricassees the canard that a novelist or playwright, with his magic intuition, can reveal more about life than any physician could ever know." second, you mentioned buddhism. i know very little about it, not being a buddhist myself. but i do read and heed what the buddha actually said and did. if you go on any long vipassana retreats, or read any of the suttanta, the suttas, or any of the vinaya pitaka, the code of conduct for monks and nuns, or for that matter the code of conduct for laypeople, you notice that the buddha was a tough cookie, socially, politically, psychologically. and tho he did not propound a political position or a social philosophy, he was very much about moral conduct and about increasing one's ability, via the cultivation of insight through a series of gradually deepening experiences, to discern right from wrong, lies from truth -- in oneself and others -- so that one's own actions and the actions of one's community start out moral and become increasingly filled with lovingkindness. the ultimate purpose of which is to take an active, very active, engagement in the affairs of human beings (and in fact all beings). not to shrink back away from them. he was not, in other words, a "go-along" kind of guy, nor was he a pacifist, tho those are common misconceptions; he was instead someone who very much promoted taking a hard stand when necessary in a nonviolent fashion. anyone who has suffered in the presence of manipulative behavior knows what a joy it is to be able to identify it, name it if necessary, and calmly to remove oneself from it. it is a common misconception about his teaching and practice that one doesn't have to discern whether oneself and others are mendacious, false, etc. not sure if that's what you were getting at, so forgive me if i misgauged my response. and that song in your head, brother, will eventually stop. :) nick, paul fleischman's *Cultivating Inner Peace* is (if you don't let the title trip you up) useful reading. am also looking forward to joe amato's *Industrial Poetics: Demo Tracks for a Mobile Culture,* having just read his *Under Virga* (Chax 2006). warmly, gabe (found on page 38) __________________________________ http://gabrielgudding.blogspot.com ========================================================================= Date: Sun, 3 Sep 2006 14:41:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Pyramid Atlantic 9th Biennial Books Arts Fair and Conference, Silver Spring, MD, Nov. 18-19 Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Pyramid Atlantic had recently begun advertising its 9th Biennial Books Arts Fair and Conference on its www.bookartsfair.org site. If you're interested in artists' books, you might want to take a look. Best, WT ========================================================================= Date: Sun, 3 Sep 2006 13:18:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: a small catalog of (male) cultural scripts In-Reply-To: <44FB1F8A.5050201@ilstu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > second, you mentioned buddhism. i know very little about it, not being a > buddhist myself. Gabriel, I think you are being a little disingenuous here! Particularly in part on account of both your large reading and vispassana practice of - I believe you said - of now about 20 years. I have not done the reading, but I have done the practice - including the retreats for the past several years. Yet, I - and the practitioners that practice with - would never say, "I am a Buddhist." In my experience, the focus is always on the "practice" (the presence of the process) and the teacher. Vipassana is one form of Buddist practice. (For some, the attention of playing basketball might be another, or mountain climbing, or quilting or, why not, the the attention and process of making a poem - yet, these, too, are only fractions/manifestations of a much larger space/spaciousness. Each of which - depending on the concentration of the practitioner - may or may be informed and guided by the teaching of the teachings of the Buddha - as you well define in what follows: >but i do read and heed what the buddha actually said > and did. if you go on any long vipassana retreats, or read any of the > suttanta, the suttas, or any of the vinaya pitaka, the code of conduct > for monks and nuns, or for that matter the code of conduct for > laypeople, you notice that the buddha was a tough cookie, socially, > politically, psychologically. and tho he did not propound a political > position or a social philosophy, he was very much about moral conduct > and about increasing one's ability, via the cultivation of insight > through a series of gradually deepening experiences, to discern right > from wrong, lies from truth -- in oneself and others -- so that one's > own actions and the actions of one's community start out moral and > become increasingly filled with lovingkindness. the ultimate purpose of > which is to take an active, very active, engagement in the affairs of > human beings (and in fact all beings). not to shrink back away from them. I suspect what is obnoxious or false about the statement, "I am a Buddhist" is that it suggests there is a container (Buddha) that one can enter, find a home, and worship this figure as a God, instead of a person who was primarily a teacher (and a very pragmatic one- as you point out - at that.) So what does one say? "I am engaged in one of many Buddhist practices (x kind meditation) the teachings as handed down from a man called Buddha." Suspect a life of example is more illuminating and persuasive than most definitions. Yes, the lives of practitioners (no matter the form of practice) also abounds with histories of contrary vices. Stephen V ========================================================================= Date: Sun, 3 Sep 2006 00:07:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: dimensionality of words MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit nerve? that's good enough i guess ========================================================================= Date: Sun, 3 Sep 2006 21:17:53 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: thanks to Ishaq MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Shout-out to Ishaq for his last posting; though I've found the occasional stridency of your posts a little hard on my ears, I want to thank you for the recent treasure trove of links for two reasons. First, you've reminded me to add a bit on hip hop poetry for my book on WAR RESISTANCE POETRY shortly forthcoming, and second, for the link that cleared up the mystery of who killed Ghassan Kanafani (by car bombing in 1973), the great Palestinian writer. There was some question whether he was killed by a Palestinian faction (he was part of the PFLP) or by Israeli agents. Turns out it was the Israelis. I'm going to go home and re-read "Men in the Sun," his great novella about the Palestinian situation. Incidentally, he also coined the term "resistance literature," later picked up by Barbara Harlow in her examination of postcolonial literature of struggle. Peace out, Philip Metres Assistant Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 (216) 397-4528 (work) http://www.philipmetres.com ========================================================================= Date: Sun, 3 Sep 2006 18:29:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: thanks to Ishaq Comments: To: pmetres@jcu.edu In-Reply-To: <20060903211753.AEQ51709@mirapoint.jcu.edu> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit I second Phil's on this----thanks Ishaq! Chris On Sep 3, 2006, at 6:17 PM, Philip Metres wrote: > Shout-out to Ishaq for his last posting; though I've found > the occasional stridency of your posts a little hard on my > ears, I want to thank you for the recent treasure trove of > links for two reasons. First, you've reminded me to add a > bit on hip hop poetry for my book on WAR RESISTANCE POETRY > shortly forthcoming, and second, for the link that cleared > up the mystery of who killed Ghassan Kanafani (by car > bombing in 1973), the great Palestinian writer. There was > some question whether he was killed by a Palestinian faction > (he was part of the PFLP) or by Israeli agents. Turns out > it was the Israelis. I'm going to go home and re-read "Men > in the Sun," his great novella about the Palestinian > situation. Incidentally, he also coined the > term "resistance literature," later picked up by Barbara > Harlow in her examination of postcolonial literature of > struggle. > > Peace out, > > > Philip Metres > Assistant Professor > Department of English > John Carroll University > 20700 N. Park Blvd > University Heights, OH 44118 > (216) 397-4528 (work) > http://www.philipmetres.com ========================================================================= Date: Sun, 3 Sep 2006 20:40:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: on vipassana for stephen MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit hi stephen, tho i appreciate your pressing the point about "buddhism" and vipassana, and whether i am or amn't this or that, i think this is off the thread topic and possibly not the space to talk about this stuff. but as it's an important subject, here goes: the buddha sd over and over again that he only taught "dhamma," which is a word that could be translated as "reality." so for those who, like me, shy away from religion and religious concerns, understand that the word "dhamma," acc to the suttas, neither connotes nor denotes anything religious. nor was the buddha's teaching a religion. "buddhism" per se was invented later. the buddha taught a method of emancipation from unhappiness -- and he made a point of being keenly secular. he taught dhamma, not buddhism. others later made it into something full of rites and rituals, romanticizing the practice of meditation into various "sudden awakening" systems etc. quite simply, "dhamma" is a secular term which references a moral system and an experiential training in what could loosely be called an "art of living," in the ancient tradition of the Ars Vivendi. it's just a "funny" word to describe something quite powerful in its efficacy. if practiced. that was my only point about that. as regards whether vipassana is like basketball, quilting, etc: vipassana is a unique and specific practice for purifying the mind and heart. its effects are unique -- and its practice is distinct from all other human activities that i'm aware of. certainly people can get benefit from the activities you mention, but the benefits from vipassana are exceptional, but that is not to say that people don't discover it on their own: people do discover the method of vipassana on their own. i think certain athletes especially (lance armstrong, say) are inclined "discover" a rigorous method of self-awareness and equanimity akin to vipassana -- and i think that people who deal with great physical pain and discomfort are more likely to discover it on their own. the buddha himself said he "re-discovered" it as a practice. i've only been practicing it seriously for three years, tho i was first introduced to it in 1991: i could not keep the base of morality and moral conduct necessary to practice it until 2002. warmly, gabe << > second, you mentioned buddhism. i know very little about it, not being a > buddhist myself. Gabriel, I think you are being a little disingenuous here! Particularly in part on account of both your large reading and vispassana practice of - I believe you said - of now about 20 years. I have not done the reading, but I have done the practice - including the retreats for the past several years. Yet, I - and the practitioners that practice with - would never say, "I am a Buddhist." In my experience, the focus is always on the "practice" (the presence of the process) and the teacher. Vipassana is one form of Buddist practice. (For some, the attention of playing basketball might be another, or mountain climbing, or quilting or, why not, the the attention and process of making a poem - yet, these, too, are only fractions/manifestations of a much larger space/spaciousness. Each of which - depending on the concentration of the practitioner - may or may be informed and guided by the teaching of the teachings of the Buddha - as you well define in what follows: >but i do read and heed what the buddha actually said > and did. if you go on any long vipassana retreats, or read any of the > suttanta, the suttas, or any of the vinaya pitaka, the code of conduct > for monks and nuns, or for that matter the code of conduct for > laypeople, you notice that the buddha was a tough cookie, socially, > politically, psychologically. and tho he did not propound a political > position or a social philosophy, he was very much about moral conduct > and about increasing one's ability, via the cultivation of insight > through a series of gradually deepening experiences, to discern right > from wrong, lies from truth -- in oneself and others -- so that one's > own actions and the actions of one's community start out moral and > become increasingly filled with lovingkindness. the ultimate purpose of > which is to take an active, very active, engagement in the affairs of > human beings (and in fact all beings). not to shrink back away from them. I suspect what is obnoxious or false about the statement, "I am a Buddhist" is that it suggests there is a container (Buddha) that one can enter, find a home, and worship this figure as a God, instead of a person who was primarily a teacher (and a very pragmatic one- as you point out - at that.) So what does one say? "I am engaged in one of many Buddhist practices (x kind meditation) the teachings as handed down from a man called Buddha." Suspect a life of example is more illuminating and persuasive than most definitions. Yes, the lives of practitioners (no matter the form of practice) also abounds with histories of contrary vices. Stephen V>> -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Sun, 3 Sep 2006 18:56:03 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Sabotage by E. POUGET MIME-version: 1.0 Content-type: text/plain; charset=UTF-8; format=flowed Content-transfer-encoding: 8BIT Sabotage by E. POUGET 1. Origin of Sabotage ORIGIN OF SABOTAGE. ITS EARLY APPEARANCE. BALZAC ON SABOTAGE. THE ENGLISH "GO CANNY". BAD WAGES, BAD WORK. NEW HORIZONS. PANIC AMONGST THE BOSSES. AN IMPRESSING DECLARATION. AN EPOCH-MAKING DISCUSSION AT THE CONGRESS OF THE C.G.T. TRIUMPHANT ENTRANCE OF SABOTAGE IN FRANCE. UP to fifteen years ago the term SABOTAGE as nothing but a slang word, not meaning "to make wooden shoes" as it may be imagined but, in a figurative way. TO WORK CLUMSILY AS IF BY SABOT (1) BLOWS. Since then the word was transformed into a new form of social warfare and at the Congress of Toulouse of the General Confederation of Labor in 1897 received at last its syndical baptism. The new term was not at first accepted by the working class with the warmest enthusiasm - some even saw it with mistrust, reproaching it not only for its humble origin but also its - immorality. Nevertheless, despite all these prejudices which seemed almost hostilities, SABOTAGE went steadily on its way around the world. It has now the full sympathy of the workers. More still, it has secured its rights of citizenship in the Larousse (2) and there is no doubt that the Academy (unless it is itself "saboted" before arriving at the letter S of its dictionary) will have to bow to the word SABOTAGE its most ceremonious curtsey and open to it the pages of its official sanctum. However, it would be a mistake to believe that the working class waited to apply sabotage until this new weapon of economic action had been consecrated by the confederation congress. Sabotage as a form of revolt is as old as human exploitation. Since the day a man had the criminal ability to profit by another man's labour, since that very same day the exploited toiler has instinctively tried to give to his master less than was demanded from him. In this wise the worker was unconsciously doing SABOTAGE, demonstrating in an indirect way the irrepressible antagonism that arrays Capital and Labor one against the other. This unavoidable consequence of the conflict that divides society was brought to light three quarters of a century ago by Balzac in his "Maison Nucingen," apropos of the bloody riots of Lyons in 1831. He has given us a clear and incisive definition of SABOTAGE. "Much has been said," writes Balzac, "of the Lyons revolt and of the Republic shot down in the streets but nobody has said the truth. The Republic had seized the movement just as a rebel seizes a gun. The commerce of Lyons is a commerce without courageãit does not manufacture an ounce of silk without its being demanded and promptly paid for. When the demand is low the worker starves - when he works he has barely enough to live on. The galley slaves are happier than he is. "After the July revolution, poverty had reached such a stage that the workers raised a flag with this motto: Bread or Death - a flag which the government should have seriously considered. Instead of that, Lyons wanted to build theatres to become a capital - hence a senseless squandering of money. "The republicans smelled through the increasing misery the coming revolt and organised the spinners who fought a double battle. Lyons had its three days, then order prevailed again and the beggar went back to his kennel. "The spinner who had up to then transformed into threads the silk that was weighed to him in cocoons, put fairness out of the door and began to oil his fingers. Of course, he gave back with fastidious scrupulosity the exact weightãbut the silk was all stained with oil and the silk market was thus infested with defective merchandise which could have caused the ruin of Lyons and the loss of a goodly share of the French commerce. Balzac had been careful to bring out that the spinners' sabotage was nothing but a reprisal of victims. By putting oil in the spindles the workers were getting even with the heartless manufacturers who had promised them bayonets to eat instead of bread and had so lavishly kept their promise. Indeed, when isn't an act of sabotage the equivalent and consequence of a suffered wrong? Isn't perhaps in the origin and causes of each act of sabotage revealed the capitalist exploitation which often reaches to cruelty? And this reaction against exploitation, in whatever condition it manifests itself, isn't it even too an attitude or action of revoltã whatever form it may take? And here we are brought back to our affirmation that sabotage is as old as human exploitation. Neither must it be believed that sabotage is a product with a Parisian trade mark. It is, indeed, if anything, a theory of English importation and it has been practiced across the Channel for a long time under the name of "Go Cannie" - a Scotch expression which means literally "Go slow." An example of the persuasive efficiency of the "Go Cannie" is given by the periodical, "The Social Museum": "In 1889 the Glasgow dockers went on strike asking an increase of two cents an hour. "The contractors and stevedores flatly refused and imported at great expense a considerable number of farm hands to take the place of the strikers, with the conclusion that the dockers had to give up the fight and return to work on the same conditions. "Just before resuming work their general secretary gathered them once again and said: 'Boys, you must go back today on the same scale of wages prevailing before. "The contractors have expressed and repeated all their satisfaction for the work done by the farmers who have scabbed on us during these last weeks. We have seen them at work and know full well what kind of satisfactory work was theirs ã we saw indeed that they could not even keep their balance on the bridges and saw how they dropped in the sea half the cargo they loaded and unloaded. In one word, we have seen that two of them could not do as much work as one of us. Nevertheless, the bosses said they were satisfied with their labour, therefore, we have one thing left yet; let us give them the same kind of labour. Work then just like the farm hands did ã they often pushed their incapacity to the point of falling overboard, but it is not necessary for you to do this, of course." These instructions were scrupulously followed, and the dockers applied the "Go Cannie" theory to the point. After a few days the contractors called the general secretary of the longshoremen and begged him to induce the dockers to work the same as before, declaring themselves ready to grant the two cents increase. Passing from a practical to a theoretical example. It is interesting to quote a few pages from an English pamphlet published in 1895 for the purpose of popularising the "Go Cannie." "If you want to buy a hat worth $2.00 you must pay $2.00. If you want to spend only $1.50 you must be satisfied with an inferior quality. A hat is a commodity. If you want to buy half a dozen of shirts at fifty cents each you must pay $3.00. If you want to spend only $2.50 you can only have five shirts. "Now the bosses declare that labour and skill are nothing but commodities, like hats and shirts. "Very well - we answer - we'll take you at your word. If labour and skill are commodities, their owners have a right to sell them like the hatter sells hats and the haberdasher sells shirts. These merchants give a certain value in exchange for an equivalent value. For the lower price you will have an article of either a lower quality or a smaller quantity. Give the worker a fair wage and he will furnish you his best labour at its highest skill. "On the other hand, give the worker an insufficient wage and you forfeit your right to demand the best and the most of his labour, any more than you can demand a two dollar hat for one dollar." The "Go Cannie" consists then in systematically applying the formula: "Bad wages, bad labour." Not only that. From this formula there are derived, as a logical consequence, various manifestations of the proletarian will in conflict with the capitalist. This tactic, which is today widely diffused in England, where it has been advocated and practiced by the labour organisations, could not delay long to cross the Channel and establish itself in France - as it cannot delay to cross the Alps and expand from France to Italy. Accordingly, shortly after 1889 we find its first manifestation in France. The National Railwaymen's Union was at the time engaged in a campaign against the Merlin Trarieux Railway bill which aimed at depriving the railway workers of their right to unite. The question of answering with the general strike to the passing of the bill was being discussed. Guerard, secretary of the Railwaymen's Union, delivered a categorical and precise speech. He affirmed that the Railwaymen would not stop at any means to defend their syndical liberty and made allusion to an ingenious and cheap method of combat. "With two cents worth of a certain ingredient, utilised in a peculiar way" - he declared - "it will be easy for the Railwaymen to put the locomotives in such a condition as to make it impossible to run them." This clear and blunt affirmation, which was opening new and unforeseen fields of struggle, raised a great roar and a deep commotion in the ranks of the employers and the government, which were already perceiving, not without terror, the consequences of a general strike of the railway workers. If, however, with the declaration of Guerard, the question of Sabotage was openly confronted, it would not be exact to assume that it had been practiced in France before then. To prove this it suffices to recall the typical example of a "trick" which has remained famous in telegraphic centres. Towards 1881, the operators of the central office, dissatisfied with the wage scale for night overtime, sent up a petition to the minister of Post and Telegraphs 70 of that time, M. Cochery, asking for ten francs instead of five which they were then paid for work ranging from six p. m. to seven a. m. They vainly waited a few days for an answer from the administration, and having been informed that it would never come, a sullen agitation and anger began to circulate amongst them. A strike being impossible, they resorted to a trick. One fine morning Paris awoke to find out that all telegraphic connections were cut off. (Telephones had not yet been installed.) This continued for four or five days. The higher personnel of the administration, with engineers and numerous squads of foremen and mechanics invaded the central office to inspect minutely every apparatus, battery wire, etc., from the front door to the cellar, but, strange enough, they could not find the cause of the trouble. Five days after this memorable and wonderful "accident," a notice from the administration informed the operators that from that day on the night service would be paid ten francs instead of five. They had not asked for more. "The next day all the lines were again buzzing as by magic. The authors of the miraculous trick were never found out by the administration which, if it guessed the motive, was never able to guess the means employed." (3) The die was now cast. "Sabotage," which up to that time had been applied unconsciously and instinctively by the workers, with the popular name which has remained attached to it begins in 1895 to receive its baptism, its theoretical consecration and to take its place amongst the other means of social warfare, recognised, approved, advocated and practiced by the labour unions. dowmload full doc: http://fraternitelibertaire.free.fr/reserve/sabotage.doc -- Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...in time, we will look back to this age with incredulity and amazement -- and victories like Hamas in Israel will be the *best* of our memories." -- mumia abu jamal -- "what state? what union?" "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php http://cleveland.indymedia.org/uploads/2006/07/olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://www.lowliferecords.co.uk/ \ ========================================================================= Date: Sun, 3 Sep 2006 19:38:05 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Canadian Police put the Economic Squeeze on Six Nations Commerce MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7bit Canadian Police put the Economic Squeeze on Six Nations Commerce author: repost by fireweed of article by Kahentinetha Horn How do you repress a protest? Canadian police try a novel tactic: cracking down on the tribally owned businesses and people travelling with locally produced goods. The excuse? Indigenous business and trade is "the new organized crime". Hey Canadian government- start putting the handcuffs on yourself! Systematic treaty violation is a bigger "organized crime" than a few Native tobacco products! THE "ECONOMIC PYTHON" - CANADA AND ONTARIO CONTINUE TO COIL THEMSELVES AROUND THE INDIGENOUS PEOPLE! WHAT IS THE "OWISTA" DISEASE? MNN. Aug. 31, 2006. Two young Indigenous men told us a story about their recent run-ins with the Ontario Provincial police OPP. They are both from two Indigenous communities in southwestern Ontario. They were both arrested in an Indigenous community in southeastern Ontario by the Indian police for carrying Indigenous-made cigarets from one Indigenous community into another. Previously our people were charged under the Federal Excise & Customs acts only. Then about one month ago Canada and Ontario put the "squeeze" on our people. We are now being charged under both the federal act and the Ontario Tobacco Tax Act. Canada catches us in the Indigenous communities, fines us and puts us in jail. Then Ontario gets a civil judgment under their law and goes after our assets. The province puts a much higher fine on us. They also can seize our cars and money in our bank accounts that are outside our communities. This is in blatant violation of the original promises that claimed that we would be able to move about on our land as before if we let Europeans settle here. As far as we know cigarets can be transported from one Indigenous community to another. These guys were arrested in the Indigenous community. Several days ago one of them was pulled over in Akwesasne. Though it was legal, the Akwesasne Police officer said the cigarets were not allowed in the community. The store this man was delivering to belongs to the police officer's aunt. She can receive and sell the cigarets, but the man can't deliver! Does that make sense? Welcome to freedom and democracy in Canada. This is what colonial Canada is doing to us because we have backed them into a corner demanding they obey the law and return our stolen land and resources back to us. We are being attacked financially. The RCMP, the OPP, the Customs and the Indigenous police are working together. These authorities are purporting that funds from cigarets are supporting the Six Nations reclamation, as if our trade is illegal. When they claim that we are being financial by "organized crime", they are referring to the cigaret trade. Fair is fair. They should acknowledge that their mines, clear cut logging and other industries that have destroyed our environment are also criminal. This strategy is meant to choke us economically so we will give up our struggle for our lands and possessions and to starve us into submission. As if it was possible for anyone to return to the 19th century economically! Right now it's the one million acres of the Haldimand Tract of southern Ontario. Next, the rest of Canada! When these corporate government entities are finished with us, it will be ordinary Canadian citizens next. The anti-Indian hatred being spun by the politicians like Toby Barrett and others in the corporate media prohibits us from getting jobs in the dominant communities. All the branding against "Indians" in the mainstream media by government is meant to make us all look like terrorists, smugglers, criminals, thieves and good for nothings. In other words, to them we are not human beings! This demonizing makes getting a job outside of our communities very difficult. Prospective employers think, "How can we trust him or her. He/she's an Indian". A government agent recently informed the Mohawks of Tyendinaga that, "Your are stealing from us by not collecting taxes for us from your non-native customers". The reply was, "Who says they're your taxes! Tobacco is indigenous to Turtle Island just like us". The agent walked out. Why should we collect taxes for them anyway? They don't collect taxes for us for the occupation of our land. They have the gall to claim possession of the land of which we are trustees for future generations. Indigenous businesses are under pressure to close down. Both federal and provincial agencies are ganging up on us. They may have gotten rid of the section of the illegal Indian Act that made it illegal for us to hire lawyers to defend us. But they haven't stopped trying to deprive us of the means to pay for them, should we want to use them, or even for the food we need to survive during our struggles. If they catch the Indigenous person on or off the rez in a car or a van, they are arrested. If the cops find any cigarettes that have not been branded with a yellow band showing their alien taxes have been paid, the "Indians" are arrested. If convicted they will owe the value of the taxes, the costs, the legal expenses and maybe even jail time. The courts put as much as $150,000 in fines on our young people. The federal government collects as much as it can from these young people in order to stay out of jail. In 1738 the King of England issued an order to his governors on Turtle Island that they will deal with the "Indians" through "economic weaponry". That's when our medicine men coined the disease of the mind as "owista", where priority of the mind goes from "we" to "I". Today the word "owista" is used by the Mohawks to mean "money". The only cure for this disease is the Kaianereh'ko:wa/Great Law philosophy. Owista in corporate society allows a few elite individuals to survive without social support. Just think about what kind of society needs this kind of instrument. It's a society that does not care for its own. A lot of the world suffers from this disease now. If our young people don't hand over buckets and buckets of this alien voodoo owista, they end up in jail according to some bureaucratic formula, which could be up to 2 years. The young people being terrorized in this way are often fathers of young children. Imprisoning them and giving them a record prevents them from fulfilling their duties to the women, to their families and to their elders. It creates serious psychological problems and compounds the consequences of the harm that we have already experienced. The colonial system set this up as a way to trap us into their policing and welfare system. It's always their hope that our young people will become druggies, alcoholic, people who have given up and suicidal. It's the modern methodology of genocide. The Indigenous people who are trying to run businesses in their communities are deemed to be in unfair competition with the outsiders. This is the "turn the settlers against us" strategy. The customers from outside are pressured and threatened if they buy from us. For example, at Tyendinaga, a customer buying lumber from an Indigenous hardware store owner will be visited by inspectors and pressured into paying taxes. They will pay it because they're scared that their house will be confiscated or torn down. The band councils can only hire so many people. The rest of us have to fend for ourselves. This is the hierarchical/patriarchal system that has been imposed on us. Those of us who start little cigaret shops or stores to feed our children are targeted as competing with non-Indian vendors in the area. The local vendors start pressuring their local Member of Parliament accusing us of having an unfair advantage. "We have to shut them down", they scream. Our businesses are constantly being threatened with closure. We are not sure how to fight this. This is economic terrorism by the federal and provincial governments. The worst part is when a young Indigenous person in high school starts looking towards their future. Colonial society shows us there is no hope or jobs out there because we're "Indians". Most of our businesses are harassed. If they want to work in the United States, President Bush and others don't want any of these "Canadian terrorists" to come in. We're not Canadian and never will be. We're not terrorists and never will be. But the colonial administrations are doing their best to terrorize us! This strategy is meant to strangle the Indigenous people economically. When we claim our legitimate rights, the federal and provincial governments go overboard. Any two-bit bureaucrat thinks that "Indians" are fair game. Is it being engineered by some master mind in some secret war room in Toronto or Ottawa? Who is the current Duncan Campbell Scott, the butcher of the Indigenous people of the past? Is there only one or has he been cloned? Someone at the top has planned to put the screws around us and tighten each one by shutting off our finances so we can't make a living. Prime Minister Stephen Harper has warned band councils, "If you don't play ball, your finances for education are going to be gradually cut". Hey, we'll be fine. Just give us the back rent you owe us for Ontario! The whole idea is to economically deprive the Indigenous people so that it will weaken our resolve to make Canada live up to the laws that Canada has already signed both with us and in international venues. They want us to stop exerting pressure to assert our right to our lands and resources. According to Louise Arbour, the Chief Prosecutor of War Crimes before the International Criminal Tribunal in the Hague. The Prime Minister of Canada and the Premier of Ontario can be charged and prosecuted for genocide. What they are doing is certainly not as bloody as Slobodon Milosovic who mass slaughtered his victims in Kosovo. But does the fact that the slaughter of Indigenous people is slow and discreet make it any less reprehensible? We remind these vicious colonial serpent heads that putting the squeeze on us will backfire on you. Turtle Island is ours. Every attack on us will endanger you, Canada. Kahentinetha Horn MNN Mohawk Nation News kahentinetha@mohawknationnews.com Sign up for -- -~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ the truth is in here - http://PEJ.org http://web.mac.com/jbandcroft -~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ Commercial free community radio CFUV 101.9 FM, 104.3 Cable, http://www.cfuv.uvic.ca -~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ http://portland.indymedia.org/en/2006/09/345377.shtml -- Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...in time, we will look back to this age with incredulity and amazement -- and victories like Hamas in Israel will be the *best* of our memories." -- mumia abu jamal -- "what state? what union?" "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php http://cleveland.indymedia.org/uploads/2006/07/olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://www.lowliferecords.co.uk/ \ ========================================================================= Date: Mon, 4 Sep 2006 01:14:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: sadly the great dewey redman died yesterday Comments: To: wryting-l@listserv.wvu.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > dew eyed red man ( for dewey redman ) > > unveils east of shortcut score > head/coach loosed reins > fell short > vast > versus > versatile > vein(e)s > pierced eligible whiskers > strung most villainous keys > unless levelled > battened > advertised brand of toastados > per flick (slick) super quicker > (stick) uh d..k > privateyesaytion > in the deep end meant > polyband female-trumpeteer > deweyed red-man sack-o x's > dances with the okeh years > nests now with gone out now with > the merciless > theme > > > steve dalachinsky & jim leftwich 09.03.06 ========================================================================= Date: Mon, 4 Sep 2006 07:44:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Labor Day Pleasures -- MiPOesias In-Reply-To: <44FB840B.2070905@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MiPOesias (http://www.mipoesias.com) -- NEW WORK BY: * Sam Rasnake – “No Direction Home” and “Politics of Desperation” http://www.mipoesias.com/Poetry/rasnake_sam.html * Justin Marks – “Integrated Systems Deliver Economy of Scale” and “Product Distribution Can Be Complex” http://www.mipoesias.com/Poetry/marks_justin.html * Dan Coffey – “Know Where They Stand,” “If a Woman,” and “Channeled” http://www.mipoesias.com/Poetry/coffey_dan.html * Joshua Marie Wilkinson – from “The Book of Falling Asleep and Snow” http://www.mipoesias.com/Poetry/wilkinson_joshua_marie.html * Janet Holmes – from “F2F” http://www.mipoesias.com/Poetry/holmes_janet.html * Chris Young – “Portrait of Myself on a Day Without Birds Without Anything Answering, Signed Steven” and “Near the Flashing Sign There Are Legs, Looks Like New Shoes, Your Color” http://www.mipoesias.com/Poetry/young_chris.html * Michael Rerick – “6,” “7” and “11” http://www.mipoesias.com/Poetry/rerick_michael.html * Laura Ciraolo – “Split Symmetry” and “Grammarye” http://www.mipoesias.com/Poetry/ciraolo_laura.html * Nannette Rayman Rivera – “Edna Pontellier Left at the Altar” and “Stifling” http://www.mipoesias.com/Poetry/rivera_rayman_nannette.html * Jordan Stempleman – “After is Personal” http://www.mipoesias.com/Poetry/stempleman_jordan.html * William E. Stobb – “Crow” http://www.mipoesias.com/Poetry/stobb_william_e.html * Laura Levin – “drawing room” http://www.mipoesias.com/levin_laura.html * Alveraz Ricardez – “bunny slippers and dung” http://www.mipoesias.com/Poetry/ricardez_alveraz.html * Rohith Sundararman – “I Couldn’t Meet Her That Day” and “Street Life” http://www.mipoesias.com/Poetry/sundararaman_rohith.html * Letitia Trent – “Schooling,” “Listening Avalanche Poem” and “Love Poem” http://www.mipoesias.com/Poetry/trent_l.html * Simon DeDeo – “This feeling is calling my name” http://www.mipoesias.com/Poetry/DEDEO_SIMON.html * Dan Hoy – “Former Deputy Under Secretary of Commerce,” “The Buffalo” and “Don’t Forget the Cocaine” http://www.mipoesias.com/Poetry/hoy_dan.html * P.F. Potvin – “Hopscotching the Shadows,” “Number Cats in the Hospital,” “Caught in the Mexican Percent” and “A Child to Behave” http://www.mipoesias.com/Poetry/potvin_pf.html Happy Labor Day! Amy King and Didi Menendez http://www.mipoesias.com http://miporeadingseries.blogspot.com/ http://www.miporadio.com/ --------------------------------- Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business. ========================================================================= Date: Mon, 4 Sep 2006 11:43:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 9/3/2006 2:34:54 AM Eastern Daylight Time, davidbchirot@HOTMAIL.COM writes: only place i ever see Dr Berne is in the fly specked shelves of Salvation Army where decades of psycho-babble fads go to meekly expire in the arms of old romance novels. David, Nick just wrote that Pinsky has ended as a plaque next to Beckett and William on a New York Street. Which one is better, to be in the arms, even if only of books? I did not know there were heteronomous mathematics. Ciao, Murat ========================================================================= Date: Mon, 4 Sep 2006 12:01:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: A Small Catalog of Cultural Scripts In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Murat Nemet-Nejat wrote: > Nick just wrote that Pinsky has ended as a plaque next to Beckett and > William on a New York Street. Which one is better, to be in the arms, even if only of books? > Reading too quickly, I parsed this as "Pinsky has ended as a *plague*." Would that we were all long-lived viruses, not like the wimpy ones that can't stand open air -- I mean the ones that can lie dormant for centuries and then infect someone. "I won't be in today. I've got a terrible case of Ashbery and I have to run to the art museum immediately." Gwyn, obviously sick, McVay ========================================================================= Date: Mon, 4 Sep 2006 12:37:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joey Madia Subject: NEW MYSTICS AUGUST UPDATE MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit NEW WORKS BY JOEY MADIA, MARIA BOCCUZZI, AND NICK PENDLETON REVIEWS OF JACQUES ROUBAUD'S BRAND NEW COLLECTION The form of a city changes faster, alas, than the human heart, BY JOEY MADIA AND RIC CARFAGNA CHAPTERS THREE AND FOUR OF JOEY MADIA'S Minor Confessions of an Often Failing Antichrist, a liquid morphing novel ========================================================================= Date: Mon, 4 Sep 2006 11:38:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: A Small Catalog of Cultural Scripts In-Reply-To: <44FC4DE8.5090003@patriot.net> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable here, here or is it hear, hear? much truth to this=97I had a project =20= many years ago where I was working on poetic virus to release, but I =20 lacked the hacker chops. ~mIEKAL On Sep 4, 2006, at 11:01 AM, Gwyn McVay wrote: > Murat Nemet-Nejat wrote: >> Nick just wrote that Pinsky has ended as a plaque next to Beckett =20 >> and William on a New York Street. Which one is better, to be in =20 >> the arms, even if only of books? >> > Reading too quickly, I parsed this as "Pinsky has ended as a =20 > *plague*." Would that we were all long-lived viruses, not like the =20 > wimpy ones that can't stand open air -- I mean the ones that can =20 > lie dormant for centuries and then infect someone. "I won't be in =20 > today. I've got a terrible case of Ashbery and I have to run to the =20= > art museum immediately." > > Gwyn, obviously sick, McVay ========================================================================= Date: Mon, 4 Sep 2006 09:47:16 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Hollywood Supports Israeli Mass Murder MIME-version: 1.0 Content-type: text/plain; charset=windows-1252; format=flowed Content-transfer-encoding: 8BIT Hollywood Supports Israeli Mass Murder Friday August 18th 2006, 1:45 pm “Nicole Kidman has made a public stand against terrorism,” reports the Herald Sun. “The actress, joined by 84 other high-profile Hollywood stars, directors, studio bosses and media moguls, has taken out a powerfully-worded full page advertisement in today’s Los Angeles Times newspaper.” It specifically targets “terrorist organizations” such as Hezbollah in Lebanon and Hamas in Palestine. “We the undersigned are pained and devastated by the civilian casualties in Israel and Lebanon caused by terrorist actions initiated by terrorist organizations such as Hezbollah and Hamas,” the ad reads. “If we do not succeed in stopping terrorism around the world, chaos will rule and innocent people will continue to die. “We need to support democratic societies and stop terrorism at all costs.” In addition to Kidman, Michael Douglas, Dennis Hopper, Sylvester Stallone, Bruce Willis, Danny De Vito, Don Johnson, James Woods, Kelly Preston, Patricia Heaton and William Hurt signed the ad, as did directors Ridley Scott, Tony Scott, Michael Mann, Dick Donner and Sam Raimi. “Other Hollywood powerplayers supporting the ad included Sumner Redstone, the chairman and majority owner of Paramount Pictures, and billionaire mogul, Haim Saban.” Of course, we cannot expect pampered Hollywood actors, directors, and studio moguls to know jack about the situation in Lebanon or Palestine, not anymore than the average American, tuned in to Fox News and CNN, knows anything about the facts behind Israel’s invasion of Lebanon. As we know, that is if we pay attention, Israel’s invasion was planned over a year ago, as the San Francisco Chronicle reported. “More than a year ago, a senior Israeli army officer began giving PowerPoint presentations, on an off-the-record basis, to U.S. and other diplomats, journalists and think tanks, setting out the plan for the current operation in revealing detail.” As Seymour Hersh writes in the current issue of the New Yorker, the “Bush Administration … was closely involved in the planning of Israel’s retaliatory attacks. President Bush and Vice-President Dick Cheney were convinced, current and former intelligence and diplomatic officials told me, that a successful Israeli Air Force bombing campaign against Hezbollah’s heavily fortified underground-missile and command-and-control complexes in Lebanon could ease Israel’s security concerns and also serve as a prelude to a potential American preëmptive attack to destroy Iran’s nuclear installations, some of which are also buried deep underground.” In other words, Israel’s brutal invasion was deemed a dry run for a future attack against Iran, no matter that, in essence, Hezbollah defeated Israel and, obviously, Iran would resist any such shock and awe campaign rather successfully and make big trouble for the U.S. occupation in Iraq. “The Israelis told us it would be a cheap war with many benefits,” a U.S. government consultant with close ties to Israel told Hersh. “Why oppose it? We’ll be able to hunt down and bomb missiles, tunnels, and bunkers from the air. It would be a demo for Iran.” Kidman, Willis, Douglas, Hopper, and the rest cannot be expected to understand the true nature of Hezbollah, a nature diametrically opposed to the corporate media version of the resistance group. For instance, we can assume with a great degree of accuracy that Nicole Kidman does not know that Israel repeatedly crossed the Blue Line—that is to say, it violated Lebanese sovereignty hundreds, if not more than a thousand times—as it is obvious, by her signature on this advert, she does not bother to read beyond corporate media headlines, if that. On the other hand, she may be an ardent supporter of Zionist crimes against humanity. “Since its withdrawal of occupation forces from southern Lebanon in May 2000, Israel has violated the United Nations-monitored ‘blue line’ on an almost daily basis, according to UN reports,” writes Anders Strindberg for the Christian Science Monitor. “Hizbullah’s military doctrine, articulated in the early 1990s, states that it will fire Katyusha rockets into Israel only in response to Israeli attacks on Lebanese civilians or Hizbullah’s leadership; this indeed has been the pattern.” In the process of its violations, Israel has terrorized the general population, destroyed private property, and killed numerous civilians. This past February, for instance, 15-year-old shepherd Yusuf Rahil was killed by unprovoked Israeli cross-border fire as he tended his flock in southern Lebanon. Israel has assassinated its enemies in the streets of Lebanese cities and continues to occupy Lebanon’s Shebaa Farms area, while refusing to hand over the maps of mine fields that continue to kill and cripple civilians in southern Lebanon more than six years after the war supposedly ended. What peace did Hizbullah shatter? It is amazing the Christian Science Monitor, usually up there with the worst of the corporate media, published Strindberg’s article. “Once the Arabs had rejected the UN’s right to give away their land and to force them to pay the price for European pogroms and the Holocaust, the creation of Israel in 1948 was made possible only by ethnic cleansing and annexation,” he continues. “This is historical fact and has been documented by Israeli historians, such as Benny Morris. Yet Israel continues to contend that it had nothing to do with the Palestinian exodus, and consequently has no moral duty to offer redress.” But then the pampered elite of Hollywood, far too busy shelling out mindless pablum for multinational “entertainment” corporations, cannot be bothered with historical facts. “Western discourse seems unable to accommodate a serious, as opposed to cosmetic concern for Palestinians’ rights and liberties: The Palestinians are the Indians who refuse to live on the reservation; the Negroes who refuse to sit in the back of the bus,” writes Strindberg. The fundamental obstacle to understanding the Arab-Israeli conflict is that we have given up on asking what is right and wrong, instead asking what is “practical” and “realistic.” Yet reality is that Israel is a profoundly racist state, the existence of which is buttressed by a seemingly endless succession of punitive measures, assassinations, and wars against its victims and their allies. A realistic understanding of the conflict, therefore, is one that recognizes that the crux is not in this or that incident or policy, but in Israel’s foundational and persistent refusal to recognize the humanity of its Palestinian victims. Neither Hizbullah nor Hamas are driven by a desire to “wipe out Jews,” as is so often claimed, but by a fundamental sense of injustice that they will not allow to be forgotten. “If we do not succeed in stopping terrorism around the world, chaos will rule and innocent people will continue to die. We need to support democratic societies and stop terrorism at all costs,” aver Kidman, DeVito, Don Johnson, and 81 others. Translation: if Israel and the United States do not endeavor mightily to snuff out resistance to their diabolical plan to turn the Middle East into a slave plantation and huge open-air prison, where millions of Arabs and Muslims are reduced to pauperized “hewers of wood and drawers of water,” innocent people will continue to die by way of depleted uranium, white phosphorus and cluster bombs, and other illegal weapons. Obviously, Kidman and crew are full square behind Israel’s ethnic cleansing and the neocon push to kill thousands, if not millions of Iranians and Syrians. If this is not a reason to never again visit a multiplex cinema or rent a DVD, I don’t know what is. http://kurtnimmo.com/?p=524 -- Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...in time, we will look back to this age with incredulity and amazement -- and victories like Hamas in Israel will be the *best* of our memories." -- mumia abu jamal -- "what state? what union?" "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php http://cleveland.indymedia.org/uploads/2006/07/olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://www.lowliferecords.co.uk/ \ ========================================================================= Date: Mon, 4 Sep 2006 18:09:45 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robin Subject: Re: Sabotage by E. POUGET MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="utf-8"; reply-type=response Content-Transfer-Encoding: 8bit From: "Ishaq" > Sabotage > by E. POUGET I'm not sure how much this is to the point of Ishaq's post, but not to let it go ... Ishaq is quoting from Emile Pouget +Sabotage+ (1910), in a translation by Arturo Giovannitti in 1913: http://www.eclipse.net/~basket42/agsab2.html My problem (as a Scot brought up in Glasgow) is with this: --- "Go Cannie" - a Scotch expression which means literally "Go slow." --- The phrase isn't Scots and it doesn't mean "Go slow". The phrase, in +Sabotage+, seems to de describing something between what would later come to be called either the go-slow or work-to-rule union strategies. "Caw cannie" is the Scots expression which lies behind this. From "ca", go, and "cannie", cautious or careful. Originally it meant "Act cautiously" (early 19thC), but in the later 19thC it developed a specialised poitical meaning -- "Ca'canny" -- which Pouget describes. I don't think the form "Go cannie" was ever used -- it doesn't make any linguistic sense, one bit being English and the other Scots, as I'm sure David Kirkwood, the one authentic docker among the leaders of the ILP in Glasgow at the time, would have pointed-out. I don't know how widespread the political meaning of "ca cannie" was -- certainly nowhere near as widespread as the original one (I had to chase it in the OED, and even went to the SLD as I was still surprised by what I found.), certainly nowhere near as common as the original "go cautiously", which is still in use. (I've been known to come out with it myself, chiding the weans when they did something too risky for thir ain guid.) I wonder, too, how much it ran outside newspaper reports? And where the original mistake comes from -- Pouget, or his original American translator Giovannitti.? The idea of Glasgow dockers solemnly discussing their pay rates in terms of cents and dollars I found mildly incongruous. I originally thought it must be a conflation of "Ca Cannie" and "Go slow", but the dates don't fit here, as "go slow" as term for an industrial technique isn't recorded in the OED till 1930. Might have existed before, but it's way after the 1890s. "Work to rule" (a slightly different spin on the same method) is the latest to be recorded in the OED, linked back to "ca'canny": OED2(3) -- WORK, v 27d. to work to rule: to follow the rules of one's occupational duties punctiliously in order to reduce efficiency, usu. as a form of protest in an industrial dispute. So work-to-rule attrib. phr.; also as n. Similarly, in the professions, work-to-contract. [1940 Ann. Reg. 1939 310 A ‘ca' canny’ movement—called ‘work to rules’—among the [railway] employees.] 1950 Ann. Reg. 1949 40 The delegates replied by ordering a general work-to-rule 44-hour week .. unless claims were settled. Interesting that +Sabotage+ is written in 1910, about the time that the Glasgow workers were coalescing around the ILP (Independent Labour Party -- marxist but non-communist) and the city gained the nickname "Red Clyde". The leader was John McLean, first soviet consul to the UK (running the consulate from a Glasgow tenement), and others heavily involved were James Maxton (schoolteacher, and author of a biography of Lenin), William Gallagher, and David Kirkwood, head of the Clydeside dockers' union. (Emmanuel Shinwell was also involved, but that's a name that's generally avoided in favour of turning the head to one side and spitting.) It all ended in tears, of course, with the ILP digested by the (official) Labour Party in the twenties. Kirkwood, a good union organiser and a decent man, crossed over and had a long and successful career as an Official Labour Party MP, John McLean went mad after a spell in prison, William Maxton just sort of faded away, and Willie Gallagher formally joined the Communist Party. He was one of only two MPs ever elected on the CP ticket (there were, curiously enough,. more in the Lords) and held his seat as a communist till the fifties, when he retired. Those were the days ... Robin Hamilton > Neither must it be believed that sabotage is a product with a Parisian > trade mark. It is, indeed, if anything, a theory of English importation > and it has been practiced across the Channel for a long time under the > name of "Go Cannie" - a Scotch expression which means literally "Go slow." > > An example of the persuasive efficiency of the "Go Cannie" is given by the > periodical, "The Social Museum": > > "In 1889 the Glasgow dockers went on strike asking an increase of two > cents an hour. > > "The contractors and stevedores flatly refused and imported at great > expense a considerable number of farm hands to take the place of the > strikers, with the conclusion that the dockers had to give up the fight > and return to work on the same conditions. > > "Just before resuming work their general secretary gathered them once > again and said: 'Boys, you must go back today on the same scale of wages > prevailing before. > > "The contractors have expressed and repeated all their satisfaction for > the work done by the farmers who have scabbed on us during these last > weeks. We have seen them at work and know full well what kind of > satisfactory work was theirs ã we saw indeed that they could not even keep > their balance on the bridges and saw how they dropped in the sea half the > cargo they loaded and unloaded. In one word, we have seen that two of them > could not do as much work as one of us. Nevertheless, the bosses said they > were satisfied with their labour, therefore, we have one thing left yet; > let us give them the same kind of labour. Work then just like the farm > hands did ã they often pushed their incapacity to the point of falling > overboard, but it is not necessary for you to do this, of course." > > These instructions were scrupulously followed, and the dockers applied the > "Go Cannie" theory to the point. After a few days the contractors called > the general secretary of the longshoremen and begged him to induce the > dockers to work the same as before, declaring themselves ready to grant > the two cents increase. ========================================================================= Date: Mon, 4 Sep 2006 12:21:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: A Small Catalog of Cultural Scripts In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear Murat-- ah! you should know for myself a difficult question!--since i make use of rubBEings and clay impressions of plaques for a great many of my art works-- http://davidbaptistechirot.blogspot.com or google search name yet at the same time of course in the immortal words of muddy waters "i'm a man"--or, better yet, the equally immortal lyrics of bo diddley, "500% more man"--hey--i would prefer to be among arms-- (and again, in the words of a bo diddley song, "i'm a lover, not a fighter"--they'd be romantic arms and not military ones--) i guess my only reply is that since i ain't dead yet, i still may have pleasures of both! i still think very often of your poem of the steps-- & your conversation and reading here in milwaukee! onwo/ards--david-bc >From: Murat Nemet-Nejat >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: A Small Catalog of Cultural Scripts >Date: Mon, 4 Sep 2006 11:43:34 EDT > > >In a message dated 9/3/2006 2:34:54 AM Eastern Daylight Time, >davidbchirot@HOTMAIL.COM writes: > >only place i ever >see Dr Berne is in the fly specked shelves of Salvation Army where decades >of psycho-babble fads go to meekly expire in the arms of old romance >novels. > > > >David, > >Nick just wrote that Pinsky has ended as a plaque next to Beckett and >William on a New York Street. Which one is better, to be in the arms, even >if only >of books? > >I did not know there were heteronomous mathematics. > >Ciao, > >Murat _________________________________________________________________ Check the weather nationwide with MSN Search: Try it now! http://search.msn.com/results.aspx?q=weather&FORM=WLMTAG ========================================================================= Date: Mon, 4 Sep 2006 12:30:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: blog entries re plaques-- In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear Murat --and everybody-- regarding plaques two specific entries re one of ways i use them are on my blogspot for 23 july 2006 and 29 august 2006 http://davidbaptistechirot.blogspot.com >From: David-Baptiste Chirot >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: A Small Catalog of Cultural Scripts >Date: Mon, 4 Sep 2006 12:21:29 -0500 > >Dear Murat-- > >ah! you should know for myself a difficult question!--since i make use of >rubBEings and clay impressions of plaques for a great many of my art >works-- >http://davidbaptistechirot.blogspot.com >or google search name >yet at the same time of course in the immortal words of muddy waters "i'm a >man"--or, better yet, the equally immortal lyrics of bo diddley, "500% more >man"--hey--i would prefer to be among arms-- >(and again, in the words of a bo diddley song, "i'm a lover, not a >fighter"--they'd be romantic arms and not military ones--) >i guess my only reply is that since i ain't dead yet, i still may have >pleasures of both! >i still think very often of your poem of the steps-- >& your conversation and reading here in milwaukee! >onwo/ards--david-bc > >>From: Murat Nemet-Nejat >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: Re: A Small Catalog of Cultural Scripts >>Date: Mon, 4 Sep 2006 11:43:34 EDT >> >> >>In a message dated 9/3/2006 2:34:54 AM Eastern Daylight Time, >>davidbchirot@HOTMAIL.COM writes: >> >>only place i ever >>see Dr Berne is in the fly specked shelves of Salvation Army where >>decades >>of psycho-babble fads go to meekly expire in the arms of old romance >>novels. >> >> >> >>David, >> >>Nick just wrote that Pinsky has ended as a plaque next to Beckett and >>William on a New York Street. Which one is better, to be in the arms, even >>if only >>of books? >> >>I did not know there were heteronomous mathematics. >> >>Ciao, >> >>Murat > >_________________________________________________________________ >Check the weather nationwide with MSN Search: Try it now! >http://search.msn.com/results.aspx?q=weather&FORM=WLMTAG _________________________________________________________________ Windows Live Spaces is here! It’s easy to create your own personal Web site. http://spaces.live.com/signup.aspx ========================================================================= Date: Mon, 4 Sep 2006 10:36:22 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Hizbullah issued an official statement -- Re: Hezbollah leader calls for =?UTF-8?Q?=E2=80=98united_front__against_imperialism=E2=80=99?= MIME-version: 1.0 Content-type: text/plain; charset=UTF-8; format=flowed Content-transfer-encoding: 8BIT peace bruh, sis & tovarish, there was controversy about the "Hezbollah leader calls for ‘united front against imperialism’" interview orginally published here: http://www.emep.org/docs/press/nasral.html after the workers world released the piece (the workers world later withdrew the article) b.u.t. the message is so similar to the hez posse and nasrallah's objectives the confusion was understandable. "Hezbullah is a social, political, educational, medical and military organization based primarily among the Shi’a of Lebanon....it has set up over 50 hospitals; it has set up over 100 schools (secular schools primarily) and many libraries; it has participated in the governing of Lebanon in the parliament and in the life of the country; it has driven the Israelis out of southern Lebanon and kept them out—to this day, it is the force that stands guard against another Israeli invasion of Lebanon." -- sam hamod -- "Understanding Hezbullah of Lebanon for What it Really Is" http://victoria.indymedia.org/news/2006/01/47507.php http://www.aljazeerah.info/Opinion%20editorials/2005%20Opinion%20Editorials/March/14%20o/Understanding%20Hezbullah%20of%20Lebanon%20for%20What%20it%20Really%20Is%20By%20Sam%20Hamod.htm i send this correction out because, althtough it does not take from the objectives of the hezbullah crew and posse's fight against imperialism and the zionist regeme = racism, nor deminishes the support the resistance has recieved from around the world, including from hugo chavez (who dismissed the iraeli consulate see: "Venezuela withdraws Israel ambassador") "The Israeli elite repeatedly criticise Hitler's actions against the Jews, and indeed Hitler's actions must be criticised, not just against the Jews but against the world. It's also fascism what Israel is doing to the Palestinian people ... terrorism and fascism." http://english.aljazeera.net/NR/exeres/758B61AA-7D24-470F-83D2-78633DA88019.htm nor does it take away from the brave stand that toronto liberal mp borys wrzesnewskyj took by visiting lebanon after the zionist regemes murder of over a thousand lebonanese citzens (which encluded an entire canadian family) returned to make make the statement; "Over 1,200 dead and counting. Over 40,000 apartments and houses flattened. A country's infrastructure dismembered. You look around here," said Wrzesnewskyj (Etobicoke Centre). "I believe what's happened is absolutely criminal." -- "Direct talks with Hezbollah urged MPs tour Lebanon areas Bomb damage called `criminal'" http://www.thestar.com/NASApp/cs/ContentServer?pagename=thestar/Layout/Article_Type1&c=Article&cid=1156111824661&call_pageid=970599119419 http://vancouver.indymedia.org/?q=node/2217 it is important, still being in solidarity with a righteous crew of the hez -- that this correction is submitted -- i/we (as nation of bruhs and sis/comrads in struggle) would not want to use black ops/zionists tactricks of achieving an end by "way of deception". Thursday, August 31, 2006 The matter has been settled. Today, Hizbullah issued an official statement in which it categorically denied the "Turkish" interview with Nasrallah that was posted on Counterpunch. The official statement is printed below. The Anatolian News agency has issued a similar report in English of the denial (thanks to Assaad and Gabriele). نفى مسؤول العلاقات الاعلامية في حزب الله الدكتور حسين رحال، ردا على سؤال صحافي عن اللقاء الذي نسبته صحيفة "إفرنسل" التركية الى الامين العام Ù„ حزب الله السيد حسن نصرالله ونشر في تاريخ 12/8/2006ØŒ "حصول هذا اللقاء او اي لقاء آخر مع صحافيين اتراك او صحف غير لبنانية خلال شهر آب الحالي". واوضح الدكتور رحال انه "حيال نشر مقابلات مختلفة وغير صحيحة، فإن الحزب يحتفظ لنفسه بكامل الحقوق القانونية تجاه الجهات التي قامت بهذا العمل المسيء الى الصحافة والامانة والموضوعية". المصدر:وكالات Ù€ "الوطنية". بتاريخ 31/08/2006 الساعة 17:06 http://angryarab.blogspot.com/2006/08/matter-has-been-settled.html however, fam, this is authentic; "Now, as for my words for the resistance fighters, for my dear and beloved brothers: upon them rest the hopes of every Lebanese, every Palestinian, every Arab, every Muslim, every free and decent person in this world, every oppressed, tortured victim of injustice, every lover of steadfastness, courage, dignity, values, and nobility — the characteristics they embody by their presence on the field of battle and in their fight with this enemy, the fight of valiant heroes. I say to them: today, after God the Highest, you are the hope of our Nation. You are the symbol of our nobility. Our honor is in your hands...." -- General Secretary of Hizballah, Hassan Nasrallah http://radio.indymedia.org/news/2006/07/10538.php and The racial discrimination towards the blacks is still persisting in every aspect. Moreover, there is a racial discrimination towards the Red Indians who are the original inhabitants of the country. ...I tell you frankly that if it wasn't for the determined willingness, ... and fight of the Palestinian people, the Americans and their civilization would have decided to solve that problem of...Palestinians just like they did with the Indians. This is the picture that lies in the mind of the American." --Sayyed Hassan Nasrallah http://radio.indymedia.org/news/2005/12/7822.php http://victoria.indymedia.org/news/2004/04/25242.php or http://victoria.indymedia.org/news/2004/04/25243.php http://www.islamicdigest.net/v61/content/view/388/1/ and http://media.odeo.com/0/4/1/Breakdown_FM-StengthinWords.mp3 Whoever said Conscious Hip Hop artists can�t get down or that Hip Hop from the NY (East Coast) is dead simply has not tapped into the burgeoning cultural inspired rap scene that has everyone from dead prez to Immortal Technique making noise. Alongside them are artists like Hasan Salaam, Hicoup and Akir just to name a few. We sat down with them the other day when they swung through Oakland for the Strength in Words Tour. I gotta be honest it was nice building with these cats. In fact we barely spoke about their projects, which include Hasan�s �Lost Paradise� album, Hicoup’s Ghetto Factory Supreme� mixtape and Akir�s debut LP �Legacy�. Instead we talked in depth about the Middle East including the conflict in Lebanon. This was critically important especially when you take into account that Hasan has a song on his album called "Hezbollah". -- Davey D -- "Breakdown FM: Always Strength in Words-An Interview w/ Hasan Salaam, Akir and Hiccup" http://media.odeo.com/0/4/1/Breakdown_FM-StengthinWords.mp3 and "In the Middle East, after a month of Israeli bombing, the people of Lebanon are digging themselves out from the rubble and struggling to return to their homes. In the United States, a full year after Hurricane Katrina, the people of New Orleans are still fighting to do the same thing: return home. It might seem odd to compare the two. After all, Lebanon is recovering from war, and New Orleans from a natural disaster and broken levees. But this is only the superficial story. A look at the New Orleans relief effort and its aftermath shows that poor people’s right to return home has become just as much a battle there as it is in Lebanon. In the United States, the New Orleans relief effort was spearheaded by the Federal Emergency Management Agency, Washington’s disaster relief arm. In Lebanon it is being organized by Hezbollah, the grassroots Lebanese resistance movement that George W. Bush calls “terrorist.” -- joyce chediac -- "Lebanon rebuilds, New Orleans waits" listen: http://www.workersdaily.org/podcast/audio/jc_082506.mp3 khoda hafez Ishaq wrote: > > > Hezbollah leader calls for ‘united front against imperialism’ > Published Aug 23, 2006 11:05 PM > > It is rare that readers inside the imperialist countries, especially in the U.S., get the opportunity to read and hear the voices of people’s resistance due to the blatant censorship of the big business media. Therefore, Workers World is reprinting excerpts from an Aug. 14 interview with Hezbollah leader Sayyed Hasan Nasrallah that appeared in its entirety on the Turkish Party of Labor website, www.emep.org. Roza Cigdem Erdogan and Mutlu Sahin, reporters with the Turkish daily, Evrensel, conducted the interview in Beirut. > > Turkish Daily: Israel had claimed its aim was to destroy Hezbollah in the first days of the occupation of Lebanon. How ever, it came across a resistance it did not expect and now it has been falling short of this aim. Through violent clashes, the occupying army continues to suffer heavy loses. But this is not covered sufficiently by the media. > > Hasan Nasrallah: They are writing that they are bombing the Hezbollah positions and are deceiving the peoples. As you have witnessed personally, this is a big lie! They are martyring the innocent civilians. But, we are routing the Zionists wherever we come across them. We are acting cautiously, and are not firing rockets on civilians. By claiming that we are firing rockets on urban settlements, they are seeking to deceive the peoples of the world. But we are firing rockets under control on to locations we identified before. They are deliberately driving the Israeli Arabs to the border. They are presenting them as a target to us, but we are not playing into provocation and mischief. Our target is not the civilians; it is the Zionist military forces. Our fighters are routing extensively the Zionist forces in the land operation. But they should also know that we have still not used our important weapons. The Zionists, knowing that they cannot daunt us with death, are attempting to destroy our infrastructure, our roads, bridges, our women and children. This is how they are trying to intimidate us. But, it is all futile, we will not surrender! Apart from the freedom of our motherland, we will not accept any other solution. We will resist and we will fight. Imperialism and its Zionist contractors in the region should know that we are waiting for the Zionists on every hill, every valley, every street and every inch of our country. Our resistance necessitates victory. We have no other way. This war will end with the victory of the oppressed of the world and of the Muslims. > > Is it possible for Lebanon to face once again the threat of a civil war? > > Not only in Lebanon, but also in the region as a whole, the Zionist regime is seeking polarization with the tension between ethnic groups, sects and beliefs. Their strategy of attacking our country also confirms this. But, the Hezbollah has spoiled this game. The oppressed peoples of our country and of the Middle East have come to the defense of Hezbollah and have provided their support. The socialists and Christians are included in this. > > What is the current state of your relations with the socialist movement? > > The socialist movement, which has been away from international struggle now for a considerable time, at last began to become a moral support for us once again. The most concrete example of this has been Hugo Chávez, the president of Venezuela. What most of the Muslim states could not do has been done by Chávez by the withdrawal of their ambassador to Israel. He furthermore com municated to us his support for our resistance. This has been an immense source of morale for us. We can observe a similar reaction within the Turkish Revolutionary Movement. We had socialist brothers from Turkey who went to Palestine in the 1960s to fight against Israel. And one of them still remains in my memory and my heart—Deniz Gezmis [founder of the People’s Liberation Army of Turkey—WW] ...! > > It is possible to see the posters of Che, Chávez, Ahmadinejad and Hezbollah side by side in the streets of Beirut. Are these the signs of a new polarization? > > We salute the leaders and the peoples of Latin America. They have resisted heroically against the American bandits and have been a source of morale for us. They are guiding the way for the oppressed peoples. Go and wander around our streets...! You will witness how our people have embraced Chávez and Ernesto Che Gue vara. Nearly in every house, you will come across posters of Che or Chávez. What we are saying to our socialist friends who want to fight together with us for fraternity and freedom, do not come at all if you are going to say religion is an opiate. We do not agree with this analysis. Here is the biggest proof of this in our streets with the pictures of Chávez, Che, Sadr and Hamaney waving along together. These leaders are saluting our people in unison. So long as we respect your beliefs, and you respect ours, there is no imperialist power we cannot defeat! > > Western governments are intensifying their pressure on Damascus and Tehran for which they are proposing a change of regime. Some sources are of the view that the attack on Lebanon will be directed on Syria. Is a regional war possible? > > The centers of imperialist power want to make collaborators of our region as a whole. They expect us to kneel before them. Syria, Iran and we are opposing this. The provocation concerning the former Leba nese Prime Minister Rafik Hariri and the efforts to secure the withdrawal of the Syrian army from Lebanon and going even further, their wish to attack callously on to Tehran and Damascus are all due to this reason. Syria, with Iran and Hezbollah will certainly resist this. The imperialists of the west are seeking to make a second Kosovo out of Lebanon and our region. They are seeking to create a clash between sects. But we have spoiled this trick. In our streets, the whole of Lebanon, with its Christians, Sunnis and Shias, are flying the flags of Hezbollah. Again, the unipolar world has already been left back in history. There is us, there is Iran, there is Syria, there is Vene zuela, Cuba and North Korea. There are the resisting peoples of Palestine, Iraq and Afghanistan! As long as there is imperialism and occupations, these people will continue resisting. They can forget about peace. If they want peace, they should now respect the freedom of peoples and should eliminate the collaborating gangs. God willing, the victory will be ours. They are not going to be able to turn our country and region into a Kosovo. Now our people are aware of everything and will not play into imperialist tricks. We will absolutely not permit them to attack Iran or Syria. We are going to fight for our freedom to the last drop of our blood. Let no one doubt this. They are claiming that Iran has nuclear wea pons at its disposal. On the contrary, most of the nuclear weapons are in the hands of the collaborating gang of Israel and the U.S. Furthermore, nuclear wea pons are nothing but excuses put forward in order to create collaborating regimes in the region. > > There are claims that Hezbollah is being directed by Tehran. > > This is a great lie. We are an independent Lebanese organization. We do not take orders from anyone. But this does not mean that we are not going to form alli ances. Let me reiterate, we are on a side. We are on the side of Iran and Syria. They are our brothers. We are going to oppose any attack directed at Tehran and Dama scus to the last drop of our blood just as we do in Lebanon. We uphold global resistance against global imperial terrorism. Peace cannot be unilateral. So long as there is imperialism in the world, a permanent peace is impossible. This war will not come to an end as long as there are occupations in Iraq, Afghanistan and Palestine. > > This article is copyright under a Creative Commons License. > Workers World, 55 W. 17 St., NY, NY 10011 > Email: ww@workers.org > Subscribe wwnews-subscribe@workersworld.net > Support independent news http://www.workers.org/orders/donate.php > site promotion > Source URL: > http://vancouver.indymedia.org/?q=node/2285 > > - ___ Stay Strong \ -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php \ http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3 \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://vancouver.indymedia.org/?q=en/node/1269\ \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://vancouver.indymedia.org/?q=en/taxonomy/term/111 \ http://www.lowliferecords.co.uk/اقات الاعلامية في حزب الله الدكتور حسين رحال، ردا على سؤال صحافي عن اللقاء الذي نسبته صحيفة "إفرنسل" التركية الى الامين العام Ù„ حزب الله السيد حسن نصرالله ونشر في تاريخ 12/8/2006ØŒ "حصول هذا اللقاء او اي لقاء آخر مع صحافيين اتراك او صحف غير لبنانية خلال شهر آب الحالي". واوضح الدكتور رحال انه "حيال نشر مقابلات مختلفة وغير صحيحة، فإن الحزب يحتفظ لنفسه بكامل الحقوق القانونية تجاه الجهات التي قامت بهذا العمل المسيء الى الصحافة والامانة والموضوعية". المصدر:وكالات Ù€ "الوطنية". بتاريخ 31/08/2006 الساعة 17:06 http://angryarab.blogspot.com/2006/08/matter-has-been-settled.html however, this is authentic; "Now, as for my words for the resistance fighters, for my dear and beloved brothers: upon them rest the hopes of every Lebanese, every Palestinian, every Arab, every Muslim, every free and decent person in this world, every oppressed, tortured victim of injustice, every lover of steadfastness, courage, dignity, values, and nobility — the characteristics they embody by their presence on the field of battle and in their fight with this enemy, the fight of valiant heroes. I say to them: today, after God the Highest, you are the hope of our Nation. You are the symbol of our nobility. Our honor is in your hands...." -- General Secretary of Hizballah, Hassan Nasrallah http://radio.indymedia.org/news/2006/07/10538.php and The racial discrimination towards the blacks is still persisting in every aspect. Moreover, there is a racial discrimination towards the Red Indians who are the original inhabitants of the country. ...I tell you frankly that if it wasn't for the determined willingness, ... and fight of the Palestinian people, the Americans and their civilization would have decided to solve that problem of...Palestinians just like they did with the Indians. This is the picture that lies in the mind of the American." --Sayyed Hassan Nasrallah http://radio.indymedia.org/news/2005/12/7822.php http://victoria.indymedia.org/news/2004/04/25242.php or http://victoria.indymedia.org/news/2004/04/25243.php http://www.islamicdigest.net/v61/content/view/388/1/ Ishaq wrote: >> >> >> Hezbollah leader calls for ‘united front against imperialism’ >> Published Aug 23, 2006 11:05 PM >> >> It is rare that readers inside the imperialist countries, especially in the U.S., get the opportunity to read and hear the voices of people’s resistance due to the blatant censorship of the big business media. Therefore, Workers World is reprinting excerpts from an Aug. 14 interview with Hezbollah leader Sayyed Hasan Nasrallah that appeared in its entirety on the Turkish Party of Labor website, www.emep.org. Roza Cigdem Erdogan and Mutlu Sahin, reporters with the Turkish daily, Evrensel, conducted the interview in Beirut. >> >> Turkish Daily: Israel had claimed its aim was to destroy Hezbollah in the first days of the occupation of Lebanon. How ever, it came across a resistance it did not expect and now it has been falling short of this aim. Through violent clashes, the occupying army continues to suffer heavy loses. But this is not covered sufficiently by the media. >> >> Hasan Nasrallah: They are writing that they are bombing the Hezbollah positions and are deceiving the peoples. As you have witnessed personally, this is a big lie! They are martyring the innocent civilians. But, we are routing the Zionists wherever we come across them. We are acting cautiously, and are not firing rockets on civilians. By claiming that we are firing rockets on urban settlements, they are seeking to deceive the peoples of the world. But we are firing rockets under control on to locations we identified before. They are deliberately driving the Israeli Arabs to the border. They are presenting them as a target to us, but we are not playing into provocation and mischief. Our target is not the civilians; it is the Zionist military forces. Our fighters are routing extensively the Zionist forces in the land operation. But they should also know that we have still not used our important weapons. The Zionists, knowing that they cannot daunt us with death, are attempti ng to destroy our infrastructure, our roads, bridges, our women and children. This is how they are trying to intimidate us. But, it is all futile, we will not surrender! Apart from the freedom of our motherland, we will not accept any other solution. We will resist and we will fight. Imperialism and its Zionist contractors in the region should know that we are waiting for the Zionists on every hill, every valley, every street and every inch of our country. Our resistance necessitates victory. We have no other way. This war will end with the victory of the oppressed of the world and of the Muslims. >> >> Is it possible for Lebanon to face once again the threat of a civil war? >> >> Not only in Lebanon, but also in the region as a whole, the Zionist regime is seeking polarization with the tension between ethnic groups, sects and beliefs. Their strategy of attacking our country also confirms this. But, the Hezbollah has spoiled this game. The oppressed peoples of our country and of the Middle East have come to the defense of Hezbollah and have provided their support. The socialists and Christians are included in this. >> >> What is the current state of your relations with the socialist movement? >> >> The socialist movement, which has been away from international struggle now for a considerable time, at last began to become a moral support for us once again. The most concrete example of this has been Hugo Chávez, the president of Venezuela. What most of the Muslim states could not do has been done by Chávez by the withdrawal of their ambassador to Israel. He furthermore com municated to us his support for our resistance. This has been an immense source of morale for us. We can observe a similar reaction within the Turkish Revolutionary Movement. We had socialist brothers from Turkey who went to Palestine in the 1960s to fight against Israel. And one of them still remains in my memory and my heart—Deniz Gezmis [founder of the People’s Liberation Army of Turkey—WW] ...! >> >> It is possible to see the posters of Che, Chávez, Ahmadinejad and Hezbollah side by side in the streets of Beirut. Are these the signs of a new polarization? >> >> We salute the leaders and the peoples of Latin America. They have resisted heroically against the American bandits and have been a source of morale for us. They are guiding the way for the oppressed peoples. Go and wander around our streets...! You will witness how our people have embraced Chávez and Ernesto Che Gue vara. Nearly in every house, you will come across posters of Che or Chávez. What we are saying to our socialist friends who want to fight together with us for fraternity and freedom, do not come at all if you are going to say religion is an opiate. We do not agree with this analysis. Here is the biggest proof of this in our streets with the pictures of Chávez, Che, Sadr and Hamaney waving along together. These leaders are saluting our people in unison. So long as we respect your beliefs, and you respect ours, there is no imperialist power we cannot defeat! >> >> Western governments are intensifying their pressure on Damascus and Tehran for which they are proposing a change of regime. Some sources are of the view that the attack on Lebanon will be directed on Syria. Is a regional war possible? >> >> The centers of imperialist power want to make collaborators of our region as a whole. They expect us to kneel before them. Syria, Iran and we are opposing this. The provocation concerning the former Leba nese Prime Minister Rafik Hariri and the efforts to secure the withdrawal of the Syrian army from Lebanon and going even further, their wish to attack callously on to Tehran and Damascus are all due to this reason. Syria, with Iran and Hezbollah will certainly resist this. The imperialists of the west are seeking to make a second Kosovo out of Lebanon and our region. They are seeking to create a clash between sects. But we have spoiled this trick. In our streets, the whole of Lebanon, with its Christians, Sunnis and Shias, are flying the flags of Hezbollah. Again, the unipolar world has already been left back in history. There is us, there is Iran, there is Syria, there is Vene zuela, Cuba and North Korea. There are the resisting peoples of Palestine, Iraq and Afghanistan! As long as there is imperialism and occupations, these people will continue resisting. They can forget about peace. If they want peace, they should now respect the freedom of peoples and should eliminate the collaborating gangs. God willing, the victory will be ours. They are not going to be able to turn our country and region into a Kosovo. Now our people are aware of everything and will not play into imperialist tricks. We will absolutely not permit them to attack Iran or Syria. We are going to fight for our freedom to the last drop of our blood. Let no one doubt this. They are claiming that Iran has nuclear wea pons at its disposal. On the contrary, most of the nuclear weapons are in the hands of the collaborating gang of Israel and the U.S. Furthermore, nuclear wea pons are nothing but excuses put forward in order to create collaborating regimes in the region. >> >> There are claims that Hezbollah is being directed by Tehran. >> >> This is a great lie. We are an independent Lebanese organization. We do not take orders from anyone. But this does not mean that we are not going to form alli ances. Let me reiterate, we are on a side. We are on the side of Iran and Syria. They are our brothers. We are going to oppose any attack directed at Tehran and Dama scus to the last drop of our blood just as we do in Lebanon. We uphold global resistance against global imperial terrorism. Peace cannot be unilateral. So long as there is imperialism in the world, a permanent peace is impossible. This war will not come to an end as long as there are occupations in Iraq, Afghanistan and Palestine. >> >> This article is copyright under a Creative Commons License. >> Workers World, 55 W. 17 St., NY, NY 10011 >> Email: ww@workers.org >> Subscribe wwnews-subscribe@workersworld.net >> Support independent news http://www.workers.org/orders/donate.php >> site promotion >> Source URL: >> http://vancouver.indymedia.org/?q=node/2285 >> >> - ___ Stay Strong \ -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php \ http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3 \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://vancouver.indymedia.org/?q=en/node/1269\ \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://vancouver.indymedia.org/?q=en/taxonomy/term/111 \ http://www.lowliferecords.co.uk/ ========================================================================= Date: Mon, 4 Sep 2006 10:40:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: a small catalogue of cultural scripts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Nick and others: I appreciate your nuanced response to this issue of what it means to describe the behavior of poetic communities and the various ways that people try to deal with their participation in those communities. I think something important to keep in mind is the ways in which it remains tempting to postulate ourselves as outsiders to a situation that in fact we are an intimate part of. I remember Tom Mandel saying to me at one point that "There's always someone more outside than you, and always someone more inside," and I've found that an excellent point to keep in mind; we're all somewhere in the process, both outside it and caught up with it. So when I too feel ambivalent about the behavior of poetry communities, I feel like it's important to remember that I myself am part of this ambivalent process. I'm not simply watching it and commenting from outside. It's intriguing to me that attempts to position oneself as an insider and attempts to position oneself as an outsider are both parts of the sociological games that we're all playing--and intriguing too to consider that poets in poetry communities are doing much more than simply playing any kind of sociological game. So not only is there no simple division between insiders and outsiders, there's no simple division even in the case of a given individual, who can be both inside in this way and outside in that one, or who can shift feelings and stances as the occasion permits. Sometimes nobody's even thinking about insiders and outsiders at all. So when someone comments about a particular group that "look at the games they're playing," that sort of description is almost always reductive, and usually in a harmful way. One of the great troubles of sociology as a field has been its attempt to describe social behavior from some kind of outside stance, whether that be the "objectivity" of the scientist or some variation of same. Remember the old joke about the anthropologist who, in studying the behavior of a local tribe, found that in half an hour he was going to be married? So my basic point regarding Gabe's use of Berne's terminologies is that there is no purely outside position from which one can either offer moral or satirical critique of the kind implied by Berne. Any game-playing theory has to acknowledge that it too has a position in the game. One last thing occurs to me, though, which is that positioning oneself as an outsider--whether outraged, bemused, or gently accepting of the foibles of others--takes on a particular power in democratic societies which believe, sometimes to a great extent, in mythologies of inclusiveness. The stance has potential for powerful benefits in asserting the rights of marginalized citizens, but it also has potential for abuse, since the stance really becomes available for anyone who wishes to use it. Almost all successful U.S. Presidential campaigns for non-incumbents rely on the idea that one is an outsider coming in to clean up foolishness or corruption. All best-- Mark __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 4 Sep 2006 13:55:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: Hollywood Supports Israeli Mass Murder In-Reply-To: <44FC5894.7050206@shaw.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>Hollywood Supports Israeli Mass Murder I'm relatively new to this List and wonder whether this kind of blatant propaganda is a form of trolling, or whether it is fair game to refute it. If the latter is the case, then a long political thread would evolve on a list devoted to poetry. It would be necessary to show how the author of the cited article errs in particular facts and judgments, to cite countering opinions, etc., and sooner or later everyone would be annoyed or bored. My instinct is to delete the post and move on, but that would leave such errant nonsense unchallenged. On the other hand if I engage the article as an expression of an opinion with which the poster agrees, and to which he or she is soliciting agreement, then a lot of political hot air follows. {{Insert frowning face here.}} What to do? I still favor delete-and-move-on. Opinions? Best, Eric ========================================================================= Date: Mon, 4 Sep 2006 13:49:29 -0400 Reply-To: mnichol6@gmu.edu Sender: UB Poetics discussion group From: Mel Nichols Subject: DC Poetry, September 9th, Carol Mirakove and Adam Good MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline R U T H L E S S G R I P P O E T R Y S E R I E S @ Pyramid Atlantic Arts Center 8:00PM, September 9, 2006 CAROL MIRAKOVE and ADAM GOOD Please join the Ruthless Grip Poetry Series for a reading by Carol Mirakove and Adam Good at 8PM on Saturday, September 9th. CAROL MIRAKOVE is the author of Mediated (Factory School), Occupied (Kelsey St. Press), temporary tattoos (BabySelf Press), and WALL (ixnay), and she appears on the Narrow House CD Women in the Avant-Garde. She lived near and through DC from 1994-1999 and now resides in Brooklyn. ADAM GOOD's current best friends are asterisks, brackets, arrows, and Statistically Improbable Phrases (SIPs). He is currently soft at play on various projects, including tactical research for the Group for Radical Recombinance (the GRR), We They Them, Daydreams, and Score for Local Knowledge. He lives and works somewhere in the vicinity of the shadow government. LETTERPRESS BROADSIDES (made in collaboration with printmaker Val Lucas of Pyramid Atlantic) will be available at the reading. We hope you can join us for the reading and the festivities afterwards. Pyramid Atlantic Arts Center is located at 8230 Georgia Avenue in Silver Spring, MD, three blocks from the Metro red line. For directions: http://www.pyramidatlanticartcenter.org/about/contact.htm ========================================================================= Date: Mon, 4 Sep 2006 13:45:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Chicagopostmodernpoetry.com new Poetic Profiles of Jerome Rothenberg and Brenda Iijima Comments: To: rbianchi@advanstar.com MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Friends of Chicagopostmodernpoetry.com Please find on our site the latest update with the Chicago-Milwaukee-Madison-South Bend reading calendars for Sept, October and November- and two new profiles of Jerome Rothenberg and Brenda Iijima. Also' this is an open call we need to do a Global Profile for Fall 2006 if you want to guest edit the section please backchannel me Thanks Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Sun, 3 Sep 2006 14:32:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Possum Ego Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear Listfolk: For any of you interested, I have a new blog, Possum Ego, here: possumego.blogspot.com Possum Ego will be updated each Monday and focus on whatever passes across the radar. I'm using it as a way to work out informally questions and concerns I have re: poetics, rhetoric, "secret publics" and communication. Comments are welcome. This week's post responds, in part, to Gabriel Gudding's comments re: "cultural scripts." Best wishes, Dale -- Dale Smith 2925 Higgins Street Austin, Texas 78722 www.skankypossum.com ========================================================================= Date: Mon, 4 Sep 2006 13:31:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: Hollywood Supports Israeli Mass Murder In-Reply-To: <44FC6895.60203@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit oh please can we have more on this topic?! Please?! I feel a real void in my life where the heated inane discussions about the middle east that have happened on this list used to be! Sorry, Eric, i couldn't resist. I personally have adopted a "don't ask don't tell" approach to Ishaq. I don't believe he/she is completely rational, and therefore a.) don't believe that rational responses to him/her are going to get anywhere and b.) in any case, if my suspicions about his/her mental stability were correct, then what he/she really needs is considerate understanding by caring professionals and not having his/her paranoid delusions confirmed by random attacks on his/her beliefs from strangers on the internet. at least, that's where i stand on posts like that. Eric Yost wrote: > >>Hollywood Supports Israeli Mass Murder > > I'm relatively new to this List and wonder whether this kind of blatant > propaganda is a form of trolling, or whether it is fair game to refute > it. If the latter is the case, then a long political thread would evolve > on a list devoted to poetry. It would be necessary to show how the > author of the cited article errs in particular facts and judgments, to > cite countering opinions, etc., and sooner or later everyone would be > annoyed or bored. > > My instinct is to delete the post and move on, but that would leave such > errant nonsense unchallenged. On the other hand if I engage the article > as an expression of an opinion with which the poster agrees, and to > which he or she is soliciting agreement, then a lot of political hot air > follows. {{Insert frowning face here.}} > > What to do? I still favor delete-and-move-on. Opinions? > > > Best, > Eric ========================================================================= Date: Mon, 4 Sep 2006 21:52:52 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robin Subject: Re: Hollywood Supports Israeli Mass Murder MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="Windows-1252"; reply-type=response Content-Transfer-Encoding: 7bit From: "Jason Quackenbush" > Sorry, Eric, i couldn't resist. I personally have adopted a "don't ask > don't tell" approach to Ishaq. I don't believe he/she is completely > rational, Well, yeah, but occasionally ... I have to say I found the heads-up on Pouget's +Sabotage+ was useful. And not that difficult to backtrack, which I did as I'd missed the URL at the end of Ishaq's post. But then a Frenchman writing on 1890s Glasgow left politics in 1910, and translated by an American, is rather a tasty brew, if only *very tangentially connected with current political events. Mind you, there might be mileage in this. Anyone any thoughts on the mostly UK but partly US responses to anarchist outbreaks in the 1890s, aliens-among-us, terrorist bombs and all? Lots of novels written about it -- Conrad's +The Secret Agent+, Robert Louis Stevenson's +The Dynamiter+, G.K.Chesterton's +The Man Who Was Thursday+ are the ones at the top of my head. A Really Big Thing, and the End of Civilisation As We Know It. Then suddenly, about I'd guess 1920 at the latest, partly in the wake of WWI, suddenly nobody's talking about it any more, and it's like Berne's +Games People Play+, or Edgar Wallace's Saunders of the River stories, you find it gathering dust in the back of the local Sally Ann shop and wonder why our parents were so fussed about it. Robin Hamilton (One of whose grandfathers blacklegged on the Glasgow trams in the General Strike of 1926. I only discovered this after he died, so I never did have a chance to ask him about this.) ========================================================================= Date: Mon, 4 Sep 2006 14:15:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: Hollywood Supports Israeli Mass Murder In-Reply-To: <017901c6d064$1f404310$4001a8c0@pc2b565f661721> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit I think part of the reason that after world war i no one gave a damn about the anarchists or trade unionists any more was because in the middle of world war one the bolshevik revolution happened. After Makhno was crushed by the bolsheviks, the red flag eclipsed the black flag in most of the world, and those inclined towards violence as a mode of political change realized the potency of socialism as an organizing principle rather than the rather rag-tag anarchism of the nineteenth century. i think it's equally revealing that the anarcho syndicalists of the early twentieth century adopted red and black flags although their allegiance to communist principles was fairly spotty, and really their system was more of a sophisticated anarchism. having marched under both banners at various points in my life, I really don't think there's much difference between the foot soldiers of teh red and the foot soldiers of the black. Neither view offers a cohesive response to market capitalism, and therefore neither view can be successful in the open international markets of the first world post WWII. But Anarchism died a natural death in the early part of the twentieth century, and people stopped looking at it as "the end of civilization" when it became clear that the powers that be in europe were much more capable of bringing about that condition after the great war had raged a few years. I, personally, just think it's kind of sad to see people still clinging to the leftism of the nineteenth century when the right has moved on so capably despite the defeat of fascism in the nineteen forties. And particularly given the lovely economic theories that keynes and sraffa have gifted us with to use in combat against the monetarist policies the right is currently using to break the backs of the poor, it's sort of criminal that people are still talking about bakunin and his ilk in this age. anarchy is as relevant to sweat shop workers in bangladesh as are frock coats, dynamite, and gatling guns. it's a dead world. Robin wrote: > From: "Jason Quackenbush" > >> Sorry, Eric, i couldn't resist. I personally have adopted a "don't ask >> don't tell" approach to Ishaq. I don't believe he/she is completely >> rational, > > > Well, yeah, but occasionally ... > > I have to say I found the heads-up on Pouget's +Sabotage+ was useful. > And not that difficult to backtrack, which I did as I'd missed the URL > at the end of Ishaq's post. > > But then a Frenchman writing on 1890s Glasgow left politics in 1910, and > translated by an American, is rather a tasty brew, if only *very > tangentially connected with current political events. > > Mind you, there might be mileage in this. Anyone any thoughts on the > mostly UK but partly US responses to anarchist outbreaks in the 1890s, > aliens-among-us, terrorist bombs and all? > > Lots of novels written about it -- Conrad's +The Secret Agent+, Robert > Louis Stevenson's +The Dynamiter+, G.K.Chesterton's +The Man Who Was > Thursday+ are the ones at the top of my head. > > A Really Big Thing, and the End of Civilisation As We Know It. Then > suddenly, about I'd guess 1920 at the latest, partly in the wake of WWI, > suddenly nobody's talking about it any more, and it's like Berne's > +Games People Play+, or Edgar Wallace's Saunders of the River stories, > you find it gathering dust in the back of the local Sally Ann shop and > wonder why our parents were so fussed about it. > > Robin Hamilton > > (One of whose grandfathers blacklegged on the Glasgow trams in the > General Strike of 1926. I only discovered this after he died, so I > never did have a chance to ask him about this.) > > ========================================================================= Date: Mon, 4 Sep 2006 18:30:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: more Meat Epoch reviews at the eratio blog-auxiliary Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed . Greetings, Gregory Vincent St. Thomasino here: More reviews from Meat Epoch at the e=B7ratio blog-auxiliary! During the nineties I did a little photocopy-and-staple "art-lit" 'zine=20= called "Meat Epoch." I published poetry and essays and artwork and=20 visual poetry and I wrote reviews of other 'zines and of journals and=20 of chaps and Meat Epoch sort of became my access into the then still=20 somewhat subterranean world of 'zines and the mirco-press. It is my=20 pleasure to present at the e=B7ratio blog-auxiliary an ongoing series of=20= some choice pieces from Meat Epoch. No doubt there is much here you=20 will recognize. =97Should you wish to research the whole micro-press and=20= small 'zine phenomenon you cannot do better than to begin at Mr. Robert=20= Drake's smashing periodical TapRoot Reviews (accessible via the EPC),=20 and you might also check out Factsheet 5. One thing that cannot be=20 emphasized enough is that the works under review here ARE HIGHLY=20 COLLECTABLE. http://eratio.blogspot.com/ . =46rom Meat Epoch #19, 1996: Review of the journal Juxta. Review of Irving Weiss's Visual Voices. . I thank you so, Gregory Vincent St. Thomasino http://eratio.blogspot.com/ . ========================================================================= Date: Mon, 4 Sep 2006 18:25:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: this wrecked me - steve "crikey" irwin is dead MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit i really loved this man. my daughter clio and i loved watching him on Animal Planet. he really cared deeply for those animals, and was quite gentle with them. "Television personality and environmentalist Steve Irwin has died from a stingray wound while filming off north Queensland. Friends believe he may have died instantly when struck by a stingray as he filmed a sequence for his eight-year-old daughter Bindi's new TV series. Irwin's friend of 20 years, Ferre De Deyne said Irwin had been struck by the stingray while filming. "The stingray just happened to be swimming around and out of the blue whacked his tail at him," he said. "It is absolutely tragic. I have dived so many times with stingrays and they are usually very placid things," he said. Known worldwide as the Crocodile Hunter, 44-year-old Irwin was famous for his enthusiasm for wildlife and his catchcry "Crikey!" http://www.smh.com.au/news/national/steve-irwin-killed-by-stingray/2006/09/04/1157222051512.html?page=fullpage#contentSwap1 -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Mon, 4 Sep 2006 19:36:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: A Small Catalog of Cultural Scripts In-Reply-To: <44FC4DE8.5090003@patriot.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit It's a small word... Plaque From Wikipedia, the free encyclopedia The word plaque or placque may mean: * Dental plaque, a yellowish film that builds up on the teeth * Atheromatous plaque, a buildup of fatty deposits within the wall of a blood vessel * Mucoid plaque, a supposed thick coating of abnormal mucous material in the colon * Commemorative plaque, a flat ornamental plate or tablet fixed to a wall, used to mark a significant event, person, etc. * Viral plaque, a visible structure formed by virus propagation within a cell culture * Amyloid plaque, an extracellular protein buildup implicated in various diseases (Alzheimer's disease, Parkinson's disease). Plaque or placque may also refer to: * Plaque, a (usually) small, disk-shaped growth, common in some forms of skin cancer * Pleural plaque is a term for pleural fibrosis, often caused by exposure to asbestos On 9/4/06 12:01 PM, "Gwyn McVay" wrote: > Murat Nemet-Nejat wrote: >> Nick just wrote that Pinsky has ended as a plaque next to Beckett and >> William on a New York Street. Which one is better, to be in the arms, even if >> only of books? >> > Reading too quickly, I parsed this as "Pinsky has ended as a *plague*." > Would that we were all long-lived viruses, not like the wimpy ones that > can't stand open air -- I mean the ones that can lie dormant for > centuries and then infect someone. "I won't be in today. I've got a > terrible case of Ashbery and I have to run to the art museum immediately." > > Gwyn, obviously sick, McVay ========================================================================= Date: Mon, 4 Sep 2006 17:25:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Links to Argentine work MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Here is a page of links to Argentine net art: http://www.martagonzalezobras.com.ar/pagweb.htm . The page is put together by Marta Gonzales. It contains links to work from 1995 to the present. A lot of compelling work here I have not seen before. Also, here is a site of visual and other experimental poetry by the late Argentine poet Edgardo Antonio Vigo (1927 - 1997): http://www.eavigo.com.ar . There is an essay by the Uruguayan poet Clemente Padin about Vigo at http://www.thing.net/~grist/l&d/vigo/vigocp.htm The eavigo.com.ar site was put together by the people at http://www.vorticeargentina.com.ar . This is an organization in Argentina that deals with visual poetry of all types. ja http://vispo.com ========================================================================= Date: Mon, 4 Sep 2006 20:42:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Poetics List Policy on Flaming MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline The list editors would like to remind subscribers that no matter how provocative a post may be, pejorative personal comments about another list member are not appropriate. We realize nerves are easily flayed, but, note, this is the reason for this policy. Charles Bernstein Julia Block Joel Kuszai Nick Piombino * note the new Poetics List administrative email: poetics.list@gmail.com the buffalo.edu email address will be phased out in about one month ========================================================================= Date: Mon, 4 Sep 2006 18:04:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Baraban Subject: Re: Poetics List Policy on Flaming In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I assume that this "reminder" relates to people flaming Ishaq & questioning his sanity. But why was there no reminder when their pronouncements on this list like???: I AM SICK AND TIRED OF HAVING TO RESPOND TO PROPOGANDISTS LIKE ADEEENA KARASICK. IT IS A TYPICAL TACTIC OF ANY OPPRESSOR TO USE SOMEONE FROM THE OPPRESSED COMMUNITY TO LEGITIMIZE THEIR PROJECT This was of course from Paul Catafago, who as a matter of fact I wish were still here, thought not posting invective like the above. The Darwish prison poems Paul posted were indeed "gifts" as he kept asking for people to acknowledge...and I'll say that from whatever distance from Darwish's politics. Stephen M. Baraban Stephen Baraban --- Poetics List wrote: > The list editors would like to remind subscribers > that no matter how > provocative a post may be, pejorative personal > comments about another list > member are not appropriate. We realize nerves are > easily flayed, but, note, > this is the reason for this policy. > > Charles Bernstein > Julia Block > Joel Kuszai > Nick Piombino > > * > > note the new Poetics List administrative email: > poetics.list@gmail.com > the buffalo.edu email address will be phased out > in about one month > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 4 Sep 2006 18:53:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: New from Palm Press: THE NINES MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Palm Press is pleased to announce publication of: THE NINES by Christian Peet Begun in response to Words of Mass Deception used to justify the US = occupation of Iraq, THE NINES are prose poems/essays derived from = appropriated critical, scientific, and instructional texts (dealing with = linguistics, Monet, breakdancing, and swine, among other topics). An act = of resistance against narrative's still-popular stranglehold on = meaning-making, an indictment of the privileging of the intellect over = the senses, THE NINES parody the systems that would have us measure = "knowledge and skills such as comprehension, vocabulary . . . geometry, = physics, social deconstruction, and the Mayan calendar-only to discover = the answer is B) Rod McKuen and Mary Oliver."=20 Christian Peet's poetry, prose, and cross-genre work appears or is = forthcoming in Bird Dog, canwehaveourballback?, Cranky, Drunken Boat, = elimae, Fence, Octopus, Parakeet, Practice: New Writing + Art, Pom2, = Shampoo, SleepingFish, Spinning Jenny, Word For/Word, Unpleasant Event = Schedule, and other independent journals in print and online. His = manuscript, A Mouthful of Burnt Pig, was a semi-finalist for the 2007 = Sawtooth Poetry Prize from Ahsahta Press. He is Founder and = Editor-in-Chief of Tarpaulin Sky Press & Online Journal, which has = recently moved its offices from Brooklyn, NY, to Saxtons River, VT. * This long-awaited debut collection by tireless editor and fantastic = poet, Christian Peet, has been flying off the shelves at Palm Press. THE = NINES features original cover art by Derek White (editor & publisher of = Calamari Press) and continues Palm Press' serial devotion to troubling = the surfaces of poetry, prose, criticism and cultural work as poetic = provocation. These poems smartly (often hilariously) probe the sometimes = shallow depths of America's MFA industry (and the occasionally naughty = offspring it tends to re/produce), pork and all things piggy, psilocybin = gone break-neck breakdance jam, the world as we know it by Stephen = Hawking and the history of modern art through a series of numerically = fabulist poems hell-bent on exploiting that swingy little digit: love = potion number 9. Check it out. THE NINES, by Christian Peet 32 pages, sewn $10.00 ISBN 0-9743181-6-7 www.palmpress.org Please visit www.palmpress.org to check out our titles and to purchase = books. All purchases include shipping and tax: we accept PayPal = transactions, personal checks, money orders and well-concealed cash. = Subscriptions to the 2006 Palm Press print run are $40.00 for 5 = chapbooks, one perfect-bound edition, 1 CD, ephemera and postage. Enjoy & please forward this note to others, thanks. * You are receiving this note because we believe you might want to know = about what we're up to at Palm Press. If you'd rather not receive future = notices like this, please reply to this email with 'unsubscribe' in the = subject line and we will promptly remove you from our list. ========================================================================= Date: Mon, 4 Sep 2006 21:18:24 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: le la bon (bomb sensation) -- lord patch vs david patrick & the london bomb sensation MIME-version: 1.0 Content-type: text/plain; charset=UTF-8; format=flowed Content-transfer-encoding: 8BIT download: http://radio.indymedia.org/uploads/london_bomb_sensation__subby_dubby_up_vocs__b2.mp3 "Sabotage," which up to that time had been applied unconsciously and instinctively by the workers, with the popular name which has remained attached to it begins in 1895 to receive its baptism, its theoretical consecration and to take its place amongst the other means of social warfare, recognised, approved, advocated and practiced by the labour unions. -- e. pouget -- "Sabotage" digital mistakes it’s a simple proposition yahoodi homosexuali combin the net search engines opposition to the question: is it reality a message centre to the pouget blastin posin feggits shoe shoppin w/ paris situationists disarm sub dubcotique collage communal sabotage what was it explosif who are you are you really you are you really me who did it what is your isp i think what with the repatriation issue, the issue is over powering the world struggle, that blacks are feeling disconnected w/ each other as a unified diasporic peoples in sync w/ world struggle away from the poor and the proletariat proper all for the bourgeois 1 from a brutha guidance to amerikkkanada 4 corners graffers & scientists afrophobic polytheoretical ill logic hip hop o critiques oh another slip recover hear this the final call: an attachment explosif digital mistakes breed me batty sexuality beggin whitey inna biography holier in -boys, you must go back today- then pow it’s in weatherin the lebanon in the underground sets infect elfin hypocrite wars and tokens digital mistakes deep matter two towers inna master dive me --now may we ask if this is right? is this moral and just? of course, if it be true that labour produces everything…-- tossin kicks in engines of menticide cuz they ain’t no thang situationists disarm sub dubcotique collage thrashin the sodomites communal sabotage --it is both moral and just that it should own everything-- a message centre to the pouget posin feggit situationists disarm sub dubcotique collage communal trash a catamite --it is claimed that sabotage …injure the cause of the workers before the public …that it would degrade the moral value of those that practice it.-- what of it? our reply to you explosif who are you are you really you are you really me who did it what is your isp was it a condo or brownstone shocking hoffman cluster bombs come in tones the coopting of afrocentricty as colonial tool to passivity the revolutionary that dudes runnin a marathon how iranic down play our islamic comply with government policy he’s a commie all good yahoodis fry strapt to the electricity -it were much better to resort to action. Instead of bending our heads to the orders and injunctions- distortion of those who dare come to stand for yassin a history --sword that hangs over the head of the master class, will replace all the confiscated weapons and ammunition of the army— up from slavery is it real? another mercenary black folk – our skillz the samo tool for usury made geometry in resistance my labour in cuttin logic on tractus emerge the grubby linguistics yuh just a soundbwoy We run it what was it explosif who are you are you really you are you really me who did it what is your isp wiggin out w/ frankenstein sets digital mistakes skin graphs scientific wicked mixes like a play by louis x grubby linguistics a numeric sentence another brutha is murdah i bet you a shin for what you did in nola a selectah rests w/ hassans the strip and industrial prisons peace and blessins run it black folk -- the samo/samo favourable to black folk -- the samo/samo contrary to the samo/samo cypher square kills when you try and run it it gets you the blank ballots or our truth to a bullet sabotage all tools of usury a yahoodi an heir to occupation -worked for the diffusion of the idea of emancipation and elaborated a plan of future society human exploitation- comes the despair found in a letter a totalitaryan happenin open the corruption files virals catastrophic count the loads sweet jane and clerics the life a resistor born to poetics run it a message centre to the pouget drop bombs on posin feggits situationists disarm sub dubcotique collage communal sabotage there she goes another clichy more angered students likin the flow of paris masters of ceremonies situationists disarm sub dubcotique collage currupted sound bites for bougie sodomites uploading the beaten image communal sabotage let them all grieve we started sending letters like bombs to tel aviv download: http://radio.indymedia.org/uploads/london_bomb_sensation__subby_dubby_up_vocs__b2.mp3 1427 Lawrence Y Braithwaite (aka Lord Patch) New Palestine/Fernwood/The Hood Victoria, BC lord patch vs david patrick & the london bomb sensation music: david patrick lyrics and version lord patch & the london bomb sensation download: http://radio.indymedia.org/uploads/london_bomb_sensation__subby_dubby_up_vocs__b2.mp3 http://radio.indymedia.org/news/2006/09/11494.php see also: ...July 19 events in some two dozen cities worldwide called for regime change in Iran. And the annual “World Pride” march —incongruously themed “Love without Borders”—was scheduled to take place in occupied Jerusalem on Aug. 10, making Israel appear to be a bastion of liberty in the Middle East.But Israel—the apartheid, theocratic imperialist power threatening the entire Middle East—was blasting the population and infrastructure of Gaza and pounding Lebanon with U.S.-supplied bunker buster bombs...Like the German Homosexual Emancipation movement, which was derailed when it supported is own ruling class on the eve of World War I, any progressive movement that does not fight its own imperialist bosses and oppose a war for an empire built on super-profits surrenders its independence and kneels before its own oppressor class...." -- leslie feinberg -- "Struggle over Middle East reaches into world LGBT movements" http://www.workers.org/2006/world/mideast-lgbt-0803/ http://radio.indymedia.org/news/2006/09/11494.php ___ Stay Strong \ -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php \ http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3 \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://vancouver.indymedia.org/?q=en/node/1269\ \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://vancouver.indymedia.org/?q=en/taxonomy/term/111 \ http://www.lowliferecords.co.uk/ ========================================================================= Date: Mon, 4 Sep 2006 23:34:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hello Mark, I appreciate the point you make about the impossibility of observing/acting from an "outside" vantage when describing cultural scripts. I expect that at an abstract level you are right that it is at some level impossible for any cultural actor not to make a non-complicitous metadiscursive utterance about common powerplays and cultural scripts attendant to any community. But once consideration is pulled from that more abstract cultural plane and into a less abstracted reality, into, that is, the specifics of certain authorial methods, gender plays, temperaments, and alliances of felt, grounded, local relations among real people, where manifestations of kindness, honesty, play, gentle speech, and peaceful intellectual communion, not to say friendship, might either flourish or, if diluted by transactional negativities, falter -- then this is no longer a problem of discerning a delicately defined "outside." It becomes instead an issue of real ethics -- of, say, watching one's speech, of hearing the concerns of others, of producing with positivity, of behaving in a gentle, nurturing manner, of being, in other words, a responsive actor who is not playing a reactive script like, say, "maverick." All of these socio-emotional effects are observable by any sensible person as bodily felt realities. For instance, it was interesting to me (and maybe not surprising) that of those people who backchanneled immediately with encouragement and thanks for broaching the topic on both Buffpo and Lucipo, three-fourths were women. And one explained that she had tried to broach these issues herself but felt shouted down and condescended to by the boy's club on Lucipo, mainly led by one older guy fond of playing "maverick," who posted nearly a hundred times in the month of August. So though I grant that my sketches were probably in some way hamfisted, and though I'm down with the idea there is at a gross and abstract level no "outside" to these observations, I am hesitant to join you in inveighing against, well, the field of sociology in general for the theoretical reasons you sketch, and I can't find a way to deny that there are real grounded effects here that break down in this case along lines of gender and power, and just plain bad manners. That said, I appreciate the spirit of your reply and in particular I appreciate the difficulties with such sketches that you so clearly and persuasively describe. Best to you, Gabe -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Tue, 5 Sep 2006 01:00:53 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable In a message dated 9/4/06 09:22:01 AM, davidbchirot@HOTMAIL.COM writes: Dear David, To add irony to my question about plaques and arms, yesterday evening my=20 computer crashed. Like an asshole I had not done any external saving the las= t six=20 weeks. All my writing during this period may have disappeared. What=20 consolation is there but arms?=20 if "Steps" is living on your mind, that's much better than plaques, though=20 your plaques may be as memorable. Come to think about it, my work of the last seventeen(?) years is on one=20 Lacey drive. I hope it has not plaqued out. i am trying not to think about i= t til=20 tomorrow, when I'll take it to a witch doctor. Ciao, Murat Ciao,. > Dear Murat-- >=20 > ah! you should know for myself a difficult question!--since i make use of > rubBEings and clay impressions of plaques for a great many of my art works= -- > http://davidbaptistechirot.blogspot.com > or google search name > yet at the same time of course in the immortal words of muddy waters "i'm=20= a > man"--or, better yet, the equally immortal lyrics of bo diddley, "500% mor= e > man"--hey--i would prefer to be among arms-- > (and again, in the words of a bo diddley song, "i'm a lover, not a > fighter"--they'd be romantic arms and not military ones--) > i guess my only reply is that since i ain't dead yet, i still may have > pleasures of both! > i still think very often of your poem of the steps-- > & your conversation and reading here in milwaukee! > onwo/ards--david-bc >=20 > >From: Murat Nemet-Nejat > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: A Small Catalog of Cultural Scripts > >Date: Mon, 4 Sep 2006 11:43:34 EDT > > > > > >In a message dated 9/3/2006 2:34:54 AM Eastern Daylight Time, > >davidbchirot@HOTMAIL.COM writes: > > > >only=A0 place i ever > >see Dr Berne is in the fly specked shelves of Salvation Army=A0 where dec= ades > >of psycho-babble fads go to meekly expire in the arms of old=A0 romance > >novels. > > > > > > > >David, > > > >Nick just wrote that Pinsky has ended as a plaque next to Beckett and > >William on a New York Street. Which one is better, to be in the arms, eve= n > >if=A0 only > >of books? > > > >I did not know there were heteronomous mathematics. > > > >Ciao, > > > >Murat >=20 > _________________________________________________________________ > Check the weather nationwide with MSN Search: Try it now!=A0 > http://search.msn.com/results.aspx?q=3Dweather&FORM=3DWLMTAG >=20 ========================================================================= Date: Tue, 5 Sep 2006 15:37:36 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: New E-Chap From Ahadada: Simon Perchik MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Download The Milton Poems by Simon Perchik. It's all good and all free at www.ahadadabooks.com. Jess ========================================================================= Date: Tue, 5 Sep 2006 01:10:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Gricevich Subject: Re: Hollywood supports Israeli mass murder In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I appreciate Ishaq's posts, though they're so frequent and bulky that I don't read more than 10% of them. I've learned some stuff there. But Eric Yost's question is important. Eric, I think your post at least raises the problem, and that's, in some situations, the best one can hope for (though it also has the questionable character of criticizing another poster in the third person and asking everybody else for advice on how to deal with that poster; this, I think, can be a pretty nasty power game, whether you mean to do it here or not. But I appreciate your raising the question nonetheless). In my own experience, the best thing to do is to test out the situation: respond, argue, contradict, and see if the person you think is wrong is willing to have an argument. If not (if they twist what you say, or start insulting you, or if it turns out they were just trying to provoke someone, and you fell into the trap, when they don't actually care as much about the issue as you do, etc.), stop having the conversation after a few posts. Don't be too proud to be the one to back out, if it's a waste of your time and an insult to the significance of the topic. Then the best response is no response. --------------------------------- Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business. ========================================================================= Date: Tue, 5 Sep 2006 04:32:37 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog Comments: To: Brit Po , New Po , Wom Po , Lucifer Poetics MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ (note new email address – rsillima AT yahoo DOT com) RECENT POSTS The ear of Laura Elrick Cleaning the uncleanable (nuclear waste in Hanford, WA) Motherless Brooklyn a marvelous ear tinged with Tourette’s syndrome Context is everything – further thoughts on the anonymous issue of Sal Mimeo Reading Shakespeare in Zukofsky’s Julia’s Wild What about all this feminism? Rachel Blau DuPlessis’ Blue Studios Remembering Carol Berge 16 links worth checking (from Nigerian poetry to Donald Hall to the work of John Tranter) Online interviews with poets on first books and much else (links to sites with over 300 interviews of poets) Depression and poetry The tender-tough poetry of CAConrad (Deviant Propulsion) When you hide the bio everything becomes a clue (on Thomas Pynchon) A volume of anonymous poetry http://ronsilliman.blogspot.com/ ========================================================================= Date: Tue, 5 Sep 2006 09:05:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tarpaulin Sky Subject: Recent reviews on Tarpaulin Sky: Wagner, Calamari Press, Wilkinson, Spahr, Paquin MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit RECENT REVIEWS AT TARPAULIN SKY http://www.tarpaulinsky.com/Reviews/index.html James Wagner's _Trilce_, reviewed by Nick Bredie "Instead of trying to bottle this chaos by translating for 'meaning,' Wagner proceeds to 'translate' Vallejo homophonically. He picks an English word close in sound to Vallejo's bastard Spanish and proceeds from there [skillfully avoiding the possibility of real gibberish]. The results are often magnificent . . ." [READ MORE: http://www.tarpaulinsky.com/Reviews/Trilce.html ] Calamari Press & Text/Image, reviewed by Selah Saterstrom "I am reminded that words might be erased/scraped hollow of utilitarian impacted meat in order to mean. We scrape, break, and erase. The marks of our gestures are visible, not separate events from writing, but a form of writing. So that we might speak the languages of the dead and/or the "over there" languages of the heart. Or rather: try for them to speak us." [READ MORE: http://www.tarpaulinsky.com/Reviews/Calamari_Press.html ] Joshua Marie Wilkinson's _Suspension of a Secret in Abandoned Rooms_, reviewed by Alexis M. Smith "Genealogy is more than a catalog of influences and obsessions; as Wilkinson demonstrates throughout these poems, it is about existing in the shared, haunted spaces in which creative desire is born-what genes are to the family tree. These are the "rooms" Wilkinson visits and invokes-dark places full of strange private histories and shameful communal ones-places in which "every day the war can't fathom itself." [READ MORE: http://www.tarpaulinsky.com/Reviews/Suspension.html ] Juliana Spahr's _this connection of everyone with lungs_, reviewed by Alexis M. Smith "Reading this connection of everyone with lungs, now, in a period politicians and pundits constantly refer to as "post-war," is both heartbreaking and, somehow, comforting. Heartbreaking because we are still, years later, powerless and bereft, grappling with losses half a world away, trying to make sense of them in a country intent on keeping its distance. And comforting because Spahr has written a book that will doubtless be read for as long as humans exist, to understand what the hell happened in the early part of the twenty-first century." [READ MORE: http://www.tarpaulinsky.com/Reviews/this_connection.html ] Ethan Paquin's _The Violence_, reviewed by Alexis M. Smith "[In The Violence,] the natural world and its processes are a mirror for the vast internal spaces ravaged and rebuilt by human relationships. "Rain/plies onward in restless sleep, re-gathering over the lakes and all,/and so do we. And so it goes with all these gone places, now silences/made salient by hard roads not so interested in us at all." The "gone places" and "silences" mark the changes, the internal and external losses, and the grief for those losses. What makes this poem, and all of The Violence, engaging is Paquin's ability to evoke those gone places." [READ MORE: http://www.tarpaulinsky.com/Reviews/The_Violence.html ] ========================================================================= Date: Tue, 5 Sep 2006 09:13:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sandra Subject: SUBMIT to 1913! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline 1913 reminds you its contest deadlines draw nigh... Deadlines: SEPTEMBER 13 Contest info: *The 1913 PRIZE:* For a series of work (verbal and/or visual, 25 pages max.) to be featured in 1913 a journal of forms, issue 3, with a critical introduction. Winner also receives $100 and two copies of the journal. ALL contest entries will be considered for publication by 1913. All contest entrants will receive a copy of 1913 a journal of forms, issue 3. $10 entry fee *1913 is now accepting entries through September 13, 2006* & *The ROZANOVA PRIZE:* For a collaborative and/or visual book, to be published in a beautiful, perfect-bound edition by 1913 Press. Winner also receives standard royalties contract and 25 copies of the book. ALL contest entries will be considered for publication by 1913. All contest entrants will receive a copy of the winning book. $20 entry fee *1913 is now accepting entries through September 13, 2006* Multiple entries for both prizes are acceptable, but must be sent under separate cover to:** 1913 c/o Hollins University Box 9654 Roanoke, Virginia 24020 or * * *Submit via Email *online: http://www.journal1913.org/prizes.html ALL contest entries will be considered for publication by 1913. Please do NOT send originals. Electronic submissions or CD's/discs are acceptable formats. Email the editrice with questions. editrice@journal1913.org Hoping to see you there, 1913. http://www.journal1913.org ========================================================================= Date: Tue, 5 Sep 2006 09:36:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: paolo javier Subject: Save the date! Paolo Javier and Tim Yu at Myopic Books, 9/10 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline *Myopic Poetry Series * * presents * ** *PAOLO JAVIER* and *TIM YU * *Sunday, September 10, 7 p.m. Myopic Books 1564 N. Milwaukee Ave., Chicago* *PAOLO JAVIER* is the author of *60 lv bo(e)mbs *(O Books), and *the time at the end of this writing * (Ahadada), which received a Small Press Traffic Book Award. He edits *2nd Ave Poetry *, and lives in New York. *TIM YU* is the winner of the 2006 Vincent Chin Memorial Chapbook Prize for his collection *Journey to the West*, which will appear in the December 2006 issue of *Barrow Street *. His poetry and prose have appeared in *Chicago Review *, *Meanjin*, * SHAMPOO*, and *The **Poetry Project Newsletter*. A native of the Chicago area, he now lives in Chicago and in Toronto, where he teaches at the University of Toronto. -- http://blog.myspace.com/paolojavier http://www.2ndavepoetry.com/ ========================================================================= Date: Tue, 5 Sep 2006 06:47:26 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: London bomb sensation (hoffman sub dub the samo samo) MIME-version: 1.0 Content-type: text/plain; charset=UTF-8; format=flowed Content-transfer-encoding: 8BIT London bomb sensation (hoffman sub dub the samo samo) "Sabotage," which up to that time had been applied unconsciously and instinctively by the workers, with the popular name which has remained attached to it begins in 1895 to receive its baptism, its theoretical consecration and to take its place amongst the other means of social warfare, recognised, approved, advocated and practiced by the labour unions. -- e. pouget -- "Sabotage" audio: MP3 at 6.4 mebibytes http://radio.indymedia.org/uploads/london_bomb_sensation__hoffman_sub_dub_the_samo_samo_.mp3 (download torrent) http://radio.indymedia.org/uploads/torrents/london_bomb_sensation__hoffman_sub_dub_the_samo_samo_.mp3.torrent --now may we ask if this is right? is this moral and just? of course, if it be true that labour produces everything…-- tossin kicks in engines of menticide cuz they ain’t no thang lord patch vs david patrick & the london bomb sensation music: david patrick lyrics and version lord patch & the london bomb sensation download: http://radio.indymedia.org/uploads/london_bomb_sensation__subby_dubby_up_vocs__b2.mp3 http://radio.indymedia.org/news/2006/09/11494.php The Way The Wind Blew, by Ron Jacobs http://www.sunrisedancer.com/radicalreader/library/waythewindblew.pdf Weatherman, ed. by Harold Jacobs, a collection of documents by and about SDS/Weatherman. http://www.sunrisedancer.com/radicalreader/library/weatherman.pdf ___ Stay Strong \ -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php \ http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3 \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://vancouver.indymedia.org/?q=en/node/1269\ \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://vancouver.indymedia.org/?q=en/taxonomy/term/111 \ http://www.lowliferecords.co.uk/ ========================================================================= Date: Tue, 5 Sep 2006 04:14:38 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: London bomb sensation (hoffman sub dub the samo samo) In-Reply-To: <44FD7FEE.60701@shaw.ca> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=UTF-8 Content-transfer-encoding: QUOTED-PRINTABLE ishaq, i appreciate your posts. my partner and i are thinking of starting a newsletter called saboteur, since he gets accused of being one by good upstanding citizens who are pulling all power toward themselves. ho hum. all best, gabe On Tue, 5 Sep 2006, Ishaq wrote: > London bomb sensation (hoffman sub dub the samo samo) > > "Sabotage," which up to that time had been applied unconsciously and > instinctively by the workers, with the popular name which has remained > attached to it begins in 1895 to receive its baptism, its theoretical > consecration and to take its place amongst the other means of social > warfare, recognised, approved, advocated and practiced by the labour > unions. -- e. pouget -- "Sabotage" > > audio: MP3 at 6.4 mebibytes > > http://radio.indymedia.org/uploads/london_bomb_sensation__hoffman_sub_dub= _the_samo_samo_.mp3 > > (download torrent) > > http://radio.indymedia.org/uploads/torrents/london_bomb_sensation__hoffma= n_sub_dub_the_samo_samo_.mp3.torrent > > > > --now may we ask if this is right? is this moral and just? > of course, > if it be true that labour produces everything=E2=80=A6-- > > tossin kicks in engines of menticide > cuz they ain=E2=80=99t no thang > > > > > > lord patch vs david patrick & the london bomb sensation > > music: david patrick > > lyrics and version lord patch & the london bomb sensation > > > > download: > > http://radio.indymedia.org/uploads/london_bomb_sensation__subby_dubby_up_= vocs__b2.mp3 > > > http://radio.indymedia.org/news/2006/09/11494.php > > > > The Way The Wind Blew, by Ron Jacobs > > http://www.sunrisedancer.com/radicalreader/library/waythewindblew.pdf > > > Weatherman, ed. by Harold Jacobs, a collection of documents by and about > SDS/Weatherman. > > http://www.sunrisedancer.com/radicalreader/library/weatherman.pdf > > > > > ___ > Stay Strong > \ > -"I testified/My mama cried/Black people died/When the other man lied" > -- chuck d > \ > "Be a friend to the oppressed and an enemy to the oppressor" > --Imam Ali Ibn Abu Talib (as) > \ > "They want to see us breathless. We will not be. They want to see us > tired. We refuse to be. They want to see what our strength is. We will > not show it in advance. We will continuously surprise them." -- Julia > Wright > > "We restate our commitment to the peace process. But we will not > submit to a process of humiliation." > --patrick o'neil > \ > "...we have the responsibility to make no deal with the oppressor" > --harry belafonte > \ > "...these people generate wars in Asia and Africa,...These are the > people who, in the last century, caused several devastating wars. In one > world war alone, they killed over 60 million people.... In the near > future, Allah willing, we will put you to trial in courts established by > the peoples...."-- mahmoud ahmadinejad > \ > http://www.sidebrow.net/2006/a047braithwaite.php > \ > http://cleveland.indymedia.org/uploads/2006/07 > olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 > \ > http://radio.indymedia.org/news/2005/10/7255.php > \ > http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_= ruff.mp3 > \ > http://ilovepoetry.com/search.asp?keywords=3Dbraithwaite&orderBy=3Ddate > \ > http://vancouver.indymedia.org/?q=3Den/node/1269\ > \ > http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_l= ordpatch_the_giver__.mp3 > \ > http://vancouver.indymedia.org/?q=3Den/taxonomy/term/111 > \ > http://www.lowliferecords.co.uk/ > gabrielle welford welford@hawaii.edu Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.595 / Virus Database: 378 - Release Date: 2/25/2004 wilhelm reich anarcho-syndicalism gut/heart/head/earth ========================================================================= Date: Tue, 5 Sep 2006 07:53:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: on vipassana for stephen In-Reply-To: <44FB840B.2070905@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I agree with much of what is said here, although I doubt that sports or other activities can bring one to a similar state of equanimous awareness due to attachment and possibly aversion that accompany any form of competitive activity. Creativity such as in the arts could come close in that it appears spontaneously. But the effect of equanimity that comes sometimes from hearing a great piece of music or seeing great art is usually short-lived, at least in my experience. As for the Buddhist/Buddhism versus Dhamma argument, I agree with what you say essentially, that the dhamma isn't a religion, nevertheless when I'm asked what my religion is, I inevitably say that I'm a Buddhist. I have little use for the rites and rituals that attached themselves to and eventually, for the most part, supplanted the practice of meditation long after the Buddha's parinibbana. Is this list the right place to discuss these things? Why not? It certainly seems more interesting, at least to me, than a lot of the political discussions that don't seem to be about literature, directly, either. Gabriel Gudding wrote: hi stephen, tho i appreciate your pressing the point about "buddhism" and vipassana, and whether i am or amn't this or that, i think this is off the thread topic and possibly not the space to talk about this stuff. but as it's an important subject, here goes: the buddha sd over and over again that he only taught "dhamma," which is a word that could be translated as "reality." so for those who, like me, shy away from religion and religious concerns, understand that the word "dhamma," acc to the suttas, neither connotes nor denotes anything religious. nor was the buddha's teaching a religion. "buddhism" per se was invented later. the buddha taught a method of emancipation from unhappiness -- and he made a point of being keenly secular. he taught dhamma, not buddhism. others later made it into something full of rites and rituals, romanticizing the practice of meditation into various "sudden awakening" systems etc. quite simply, "dhamma" is a secular term which references a moral system and an experiential training in what could loosely be called an "art of living," in the ancient tradition of the Ars Vivendi. it's just a "funny" word to describe something quite powerful in its efficacy. if practiced. that was my only point about that. as regards whether vipassana is like basketball, quilting, etc: vipassana is a unique and specific practice for purifying the mind and heart. its effects are unique -- and its practice is distinct from all other human activities that i'm aware of. certainly people can get benefit from the activities you mention, but the benefits from vipassana are exceptional, but that is not to say that people don't discover it on their own: people do discover the method of vipassana on their own. i think certain athletes especially (lance armstrong, say) are inclined "discover" a rigorous method of self-awareness and equanimity akin to vipassana -- and i think that people who deal with great physical pain and discomfort are more likely to discover it on their own. the buddha himself said he "re-discovered" it as a practice. i've only been practicing it seriously for three years, tho i was first introduced to it in 1991: i could not keep the base of morality and moral conduct necessary to practice it until 2002. warmly, gabe << > second, you mentioned buddhism. i know very little about it, not being a > buddhist myself. Gabriel, I think you are being a little disingenuous here! Particularly in part on account of both your large reading and vispassana practice of - I believe you said - of now about 20 years. I have not done the reading, but I have done the practice - including the retreats for the past several years. Yet, I - and the practitioners that practice with - would never say, "I am a Buddhist." In my experience, the focus is always on the "practice" (the presence of the process) and the teacher. Vipassana is one form of Buddist practice. (For some, the attention of playing basketball might be another, or mountain climbing, or quilting or, why not, the the attention and process of making a poem - yet, these, too, are only fractions/manifestations of a much larger space/spaciousness. Each of which - depending on the concentration of the practitioner - may or may be informed and guided by the teaching of the teachings of the Buddha - as you well define in what follows: >but i do read and heed what the buddha actually said > and did. if you go on any long vipassana retreats, or read any of the > suttanta, the suttas, or any of the vinaya pitaka, the code of conduct > for monks and nuns, or for that matter the code of conduct for > laypeople, you notice that the buddha was a tough cookie, socially, > politically, psychologically. and tho he did not propound a political > position or a social philosophy, he was very much about moral conduct > and about increasing one's ability, via the cultivation of insight > through a series of gradually deepening experiences, to discern right > from wrong, lies from truth -- in oneself and others -- so that one's > own actions and the actions of one's community start out moral and > become increasingly filled with lovingkindness. the ultimate purpose of > which is to take an active, very active, engagement in the affairs of > human beings (and in fact all beings). not to shrink back away from them. I suspect what is obnoxious or false about the statement, "I am a Buddhist" is that it suggests there is a container (Buddha) that one can enter, find a home, and worship this figure as a God, instead of a person who was primarily a teacher (and a very pragmatic one- as you point out - at that.) So what does one say? "I am engaged in one of many Buddhist practices (x kind meditation) the teachings as handed down from a man called Buddha." Suspect a life of example is more illuminating and persuasive than most definitions. Yes, the lives of practitioners (no matter the form of practice) also abounds with histories of contrary vices. Stephen V>> -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) --------------------------------- Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ========================================================================= Date: Tue, 5 Sep 2006 08:20:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: dimensionality of words In-Reply-To: <44F880FE.1040305@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit As any given word may have several or sometimes even many meanings, I think you're limiting yourself to three could be a problem if you wish to take meaning(s) into account. Jesse Crockett wrote: what would you call the primary dimensions of a word? i've read that an individual word may have over a hundred dimensions, but let's say we are limited to just three, for any type of word.. i'm preparing to write a computer program to automate the assignment of these dimensions based on their dictionary definitions, and then by discrete input and automated web searches for assignment based on the proximity to other words in a very broad sample of writing. it's a very basic approach, tho i must start with something.. what do you think of this approach? what three dimensions do you note of a given word, either by itself or w/in a phrase or sentence? this note-taking is normally done w/ unconscious mental filters, as it's irrelevant to the higher functioning of our understanding and perception. --------------------------------- Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business. ========================================================================= Date: Tue, 5 Sep 2006 08:57:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: sail aisles Comments: To: rhizome , webartery , lewis@lewislacook.org MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The seventh tone of the ninth month-- tired tired tired of your implied biography-- several of reversals sail aisles in deportment stores fats as taffeta in fetching gritty last pipe hit across my face unshaved-- pills glissand our salty gaming, but I CAN'T DISTINGUISH AMONG MODES NO more or less, nor Romans 11:50-- No more text, much less testicles *************************************************************************** ||http://www.lewislacook.org|| New Media Poetry and Poetics ||http://www.abstractoutlooks.com || Abstract Outlooks Media - A New Vision for A New Web Hosting, Design, Development ||http://xanaxpop.lewislacook.org|| Xanax Pop - A Bloge of Poemes --------------------------------- Get your email and more, right on the new Yahoo.com ========================================================================= Date: Tue, 5 Sep 2006 10:52:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: poem by Aharon Shabtai Comments: cc: "Poetryetc provides a venue for a dialogue relating to poetry and poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK, UK POETRY In-Reply-To: <007d01c6d0ad$7f6e6a20$afd7fea9@tuna6fish> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The poem below came my way this morning. In these States, we often hear tha= t the questioning and opposition to Israeli policies by Israelis is much mor= e vigorous than most=20 of what we experience in this country =AD where much of the the opposition an= d discussion gets vanquished by x, y and z forces. But without rehearsing the reasons for all that, here is =AD as the note with the poem goes on to say: Recent poem by Aharon Shabtai, an Israeli poet. A few years back New Directions published translations of earlier poems in a collection called J'ACCUSE.=20 ________________________________________________ FAILURE 1 I pray for the failure of this stinking war spread your wings and come, merciful failure come (16 July 2006) 2 Planes rattle toward Lebanon diving toward Ba'albak to destroy a bottle factory 3 I pray that the plane with a bomb in its belly will be beaten by the building's ceiling 4 In the name of the beautiful books I've read- in the name of the kisses I've kissed- may the army be vanquished 5 The Gauleiter of Lebanon has already promised to establish military rule 6 When the tanks reach the Litani grenades will be thrown at them from the Ebro's banks 7 In this war I'm for the villages for the mosques 8 In this war I'm for the Shi'ite family for Tyre 9 for the mother the grandfather for the eight kids in the minivan for the white silk kerchief 10 Ruff ruff ruff ruff ruff ruff barks Olmert 11 Ruff ruff ruff ruff ruff ruff barks Ramon (the minister of justice) 12 The odor of failure wafts from the mouth the stink of war from the tongue 13 Israelis strong the sign shouts from the newspaper building spurring the diners on toward Chimichanga.* ____________ * A fancy Mexican restaurant in Tel Aviv ========================================================================= Date: Tue, 5 Sep 2006 13:00:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: New Beard of Bees Gnoetry Chapbook MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Beard of Bees Press is very pleased to announce a new chapbook of human/machine collaborations, _Servants and the Slender Thread..._ by Antonio Facchino and Gnoetry0.2. Please follow the link below. http://www.beardofbees.com/facchino.html Yours, Eric Elshtain Editor Beard of Bees Press http://www.beardofbees.com ========================================================================= Date: Tue, 5 Sep 2006 14:09:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Daniel f. Bradley" Subject: Re: poem by Aharon Shabtai In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ok –– it has nice ideas in it – but fuck it’s really boring – some great lines could have used a lot (lots and lots) of editing frankly this is the kinda of political poem i really hate – lots of proper nouns that need to or just get explained (it's not a new paper article) sorry nothing new here like an anti-war hallmark card yes war is not good but poems like this are not the answer i’ll go back to my cave now seeya dfb Stephen Vincent wrote: The poem below came my way this morning. In these States, we often hear that the questioning and opposition to Israeli policies by Israelis is much more vigorous than most of what we experience in this country ­ where much of the the opposition and discussion gets vanquished by x, y and z forces. But without rehearsing the reasons for all that, here is ­ as the note with the poem goes on to say: Recent poem by Aharon Shabtai, an Israeli poet. A few years back New Directions published translations of earlier poems in a collection called J'ACCUSE. ________________________________________________ FAILURE 1 I pray for the failure of this stinking war spread your wings and come, merciful failure come (16 July 2006) 2 Planes rattle toward Lebanon diving toward Ba'albak to destroy a bottle factory 3 I pray that the plane with a bomb in its belly will be beaten by the building's ceiling 4 In the name of the beautiful books I've read- in the name of the kisses I've kissed- may the army be vanquished 5 The Gauleiter of Lebanon has already promised to establish military rule 6 When the tanks reach the Litani grenades will be thrown at them from the Ebro's banks 7 In this war I'm for the villages for the mosques 8 In this war I'm for the Shi'ite family for Tyre 9 for the mother the grandfather for the eight kids in the minivan for the white silk kerchief 10 Ruff ruff ruff ruff ruff ruff barks Olmert 11 Ruff ruff ruff ruff ruff ruff barks Ramon (the minister of justice) 12 The odor of failure wafts from the mouth the stink of war from the tongue 13 Israelis strong the sign shouts from the newspaper building spurring the diners on toward Chimichanga.* ____________ * A fancy Mexican restaurant in Tel Aviv helping to kill your literati star since 2004 http://fhole.blogspot.com/ ========================================================================= Date: Tue, 5 Sep 2006 11:08:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dana Teen Lomax Subject: PS In-Reply-To: <000f01c6d08e$05ded1a0$6400a8c0@toshibauser> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hey Jane-- Did I tell you that after writing that whole 11 page edits sheet and staying up half that night, I slept till 9 a.m. (!) and looked at your alignment of the front matter the next morning and really "saw" the design more clearly and liked it. Just wanted to let you know--we can talk more about it all later, but wanted to share the revelation. D ========================================================================= Date: Tue, 5 Sep 2006 11:22:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dana Teen Lomax Subject: oops! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed sorry that was meant just for Jane DTL ========================================================================= Date: Tue, 5 Sep 2006 11:27:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: ishaq's posts, etc In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Jason and Eric, Hear hear. The listserv-surveilance crew's reaction to your very benign remarks is interesting, and slightly unfortunate, I think. There's been no flaming here, so far. All praise the Delete function. Alex Jason Quackenbush wrote: oh please can we have more on this topic?! Please?! I feel a real void in my life where the heated inane discussions about the middle east that have happened on this list used to be! Sorry, Eric, i couldn't resist. I personally have adopted a "don't ask don't tell" approach to Ishaq. I don't believe he/she is completely rational, and therefore a.) don't believe that rational responses to him/her are going to get anywhere and b.) in any case, if my suspicions about his/her mental stability were correct, then what he/she really needs is considerate understanding by caring professionals and not having his/her paranoid delusions confirmed by random attacks on his/her beliefs from strangers on the internet. at least, that's where i stand on posts like that. Eric Yost wrote: > >>Hollywood Supports Israeli Mass Murder > > I'm relatively new to this List and wonder whether this kind of blatant > propaganda is a form of trolling, or whether it is fair game to refute > it. If the latter is the case, then a long political thread would evolve > on a list devoted to poetry. It would be necessary to show how the > author of the cited article errs in particular facts and judgments, to > cite countering opinions, etc., and sooner or later everyone would be > annoyed or bored. > > My instinct is to delete the post and move on, but that would leave such > errant nonsense unchallenged. On the other hand if I engage the article > as an expression of an opinion with which the poster agrees, and to > which he or she is soliciting agreement, then a lot of political hot air > follows. {{Insert frowning face here.}} > > What to do? I still favor delete-and-move-on. Opinions? > > > Best, > Eric "Ce dont le poete souffre le plus dans ses rapports avec le monde, c'est du manque de justice _interne_. La vitre-cloaque de Caliban derriere laquelle les yeux tout-puissants et sensibles d'Ariel s'irritent." Rene Char, _Partage Formel_, fragment II ========================================================================= Date: Tue, 5 Sep 2006 14:46:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Sentence 4 In-Reply-To: <20060905182733.71617.qmail@web35512.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Sentence #4, guest-edited by Peter Johnson, is now available. Johnson has=20 selected prose poems for this issue from: Robert Alexander, John Allman, Nin Andrews, Margaret Atwood, Walter=20 Bergen, Chad Bartlett, Louis E. Bourgeois, John Bradley, Jen Bryant, Laura = Chester, Killarney Clary, Peter Conners, Matthew Cooperman, Andy Cox,=20 Talia Danesi, Cortney Davis, Michel Delville, Denise Duhamel, Jamey=20 Dunham, Tom Dvorske, Russell Edson, Richard Garcia, Scott Glassman,=20 Georges Godeau (tr. Kathleen McGookey), Ray Gonzalez, Nolan Heinz, Cecil=20 Helman, Friedrich Holderlin (tr. Paul Hoover and Maxine Chernoff), Louis=20 Jenkins, Brian Johnson, Roxane Beth Johnson, Alice Jones, Christine Boyka=20 Kluge, Ginger Knowlton, Mary A. Koncel, Gerry LaFemina, David Lehman, P.=20 H. Liotta, Rachel Loden, Gian Lombardo, Eric Lorberer, Robert Lunday,=20 Morton Marcus, Campbell McGrath, Joyelle McSweeney, Jay Meek, Christopher=20 Merrill, Robert Miltner, Michelle Noteboom, Nina Nyhart, Ethan Paquin,=20 Jane Lunin Perel, Chris Propst, Kerry Reilly, Morgan Lucas Schuldt,=20 Maureen Seaton, David Shumate, Barry Silesky, James Tate, Ryan van Cleave, = Mark Vinz, Liz Waldner, Rosmarie Waldrop, Thom Ward, Charles Harper Webb,=20 Bruce Weigl, Tom Whalen, Elizabeth Willis, Max Winter, Peter Wortsman,=20 Kirby Wright, and Gary Young. The issue also features essays by Marjorie Perloff, Peter Johnson, and=20 Rolf Hughes. And: Joe Ahearn reviews Sight Progress, by Zhang Er Sally Ashton reviews Povel, by Geraldine Kim Jarret Green reviews The Feast, by Walter Bargen Brooke Horvath reviews Heart of Anthracite, by Campbell McGrath Gian Lombardo reviews two books by Carlos M. Luis and Derek White Ellen McGrath Smith reviews The Richard Nixon Snow Globe, by Rachel Loden Jerry McGuire reviews Even the Java Sparrows Call Your Hair, by George=20 Kalamaras Chris Murray reviews nothing fictional but the accuracy or arrangement=20 (she, by Sawako Nakayasu Ravi Shankar reviews Precise Machine, by Dennis Barone Rebecca Spears reviews The After-Death History of My Mother, by Sandy=20 McIntosh Plus the usual bibliography of recent articles and books on prose poetry,=20 prose poets, and the poetics of the prose poem. Sentence is available at many independent bookstores around the country.=20 If your local book store doesn?t carry Sentence, it may order from=20 Bernhard DeBoer. You may subscribe or purchase a single copy at the=20 Sentence website: http://firewheel-editions.org/sentence/current.htm Sentence is also available from Amazon and EBSCO. Subscription rates: $12 for one issue, $22 for two issues, $30 for three=20 issues (shipping included). For delivery outside North America and the=20 Caribbean, add $2 per issue. ========================================================================= Date: Tue, 5 Sep 2006 15:17:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: Hollywood supports Israeli mass murder In-Reply-To: <20060905081040.69084.qmail@web36201.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Andy wrote that my post had: the questionable character of criticizing another poster in the third person and asking everybody else for advice on how to deal with that poster; this, I think, can be a pretty nasty power game, whether you mean to do it here or not. Eric: People could just as easily have told me to shut up as have warned me against starting a political Fool's Errand thread. Ishaq's post was incidental, and I referred to him in the third person precisely because his post was incidental to the larger issue. I'm new to the List, and was questioning the boundaries of political commentary on it. To make it plainer, if there were a Nazi on the List and she were posting Nazi propaganda without additional comment, I would have posed the same question in more or less the same way. Anyway, enough self-justification. Back to poetry. ========================================================================= Date: Tue, 5 Sep 2006 09:54:23 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: poem by Aharon Shabtai In-Reply-To: MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=ISO-8859-1 Content-transfer-encoding: QUOTED-PRINTABLE thanks Stephen. gabe On Tue, 5 Sep 2006, Stephen Vincent wrote: > The poem below came my way this morning. In these States, we often hear t= hat > the questioning and opposition to Israeli policies by Israelis is much m= ore > vigorous than most > of what we experience in this country =AD where much of the the oppositio= n and > discussion gets vanquished > by x, y and z forces. But without rehearsing the reasons for all that, he= re > is =AD as the note with the poem goes on to say: > > Recent poem by Aharon Shabtai, an Israeli poet. A few years back > New Directions published translations of earlier poems in a collection > called J'ACCUSE. > ________________________________________________ > > > FAILURE > > > > 1 > > I pray > for the failure > of this > stinking war > > spread your wings > and come, merciful failure > come > > (16 July 2006) > > > 2 > > Planes > rattle > toward Lebanon > diving > toward Ba'albak > to destroy > a bottle factory > > > 3 > > I pray > that the plane > with a bomb in its belly > will be beaten > by the building's ceiling > > > 4 > > In the name of the beautiful > books I've read- > > in the name of the kisses > I've kissed- > > may the army be vanquished > > > 5 > > The Gauleiter > of Lebanon > has already promised > to establish > military rule > > > 6 > > When the tanks > reach the Litani > grenades will be thrown > at them from the Ebro's banks > > > 7 > > In this war > I'm for > the villages > for the mosques > > > 8 > > In this war > I'm for > the Shi'ite family > for Tyre > > > 9 > > for the mother > the grandfather > for the eight > kids in the minivan > for the white > silk kerchief > > > > 10 > > Ruff ruff ruff > ruff ruff ruff > barks Olmert > > > 11 > > Ruff ruff ruff > ruff ruff ruff > barks Ramon > (the minister of justice) > > > 12 > > The odor of failure > wafts from the mouth > the stink > of war from the tongue > > > 13 > > Israelis strong > the sign shouts > from the newspaper building > spurring the diners on > toward Chimichanga.* > > ____________ > > * A fancy Mexican restaurant in Tel Aviv > gabrielle welford welford@hawaii.edu Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.595 / Virus Database: 378 - Release Date: 2/25/2004 wilhelm reich anarcho-syndicalism gut/heart/head/earth ========================================================================= Date: Tue, 5 Sep 2006 17:01:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Carlos Blackburn ebook Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Shearsman Books has published Portraits, an ebook by Carlos Blackburn, at http://www.shearsman.com/pages/books/ebooks/ebooks_home.html. It's the record of encounters with three autistic adults. Formally beautiful and eloquently clear-eyed, and informed with a profound compassion and admiration for his subjects. While you're checking it out, there are lots of other goodies at the Shearsman site, including a wonderful ebook by Geoff Squires and a catalogue of treasures. The recently-published translations of Vallejo's Trilce and Complete Later Poems, by Michael Smith & Valentino Gianuzzi, and Maurice Scully's Tig, are I think essential. Mark ========================================================================= Date: Tue, 5 Sep 2006 17:13:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: New from Junction Press Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Jose Kozer, Stet: Selected Poems, translated and=20 edited, and with an introduction by, Mark Weiss. Jose Kozer is the outstanding Cuban poet of his=20 generation and one ofd the most influential poets=20 of contemporary Latin America. His work has been=20 published in nine countries and seven languages.=20 This is the first bilingual English/Spanish survey of his 40 year career. Here's what Jerry Rothenberg has said about Stet: "The poetry of Kozer, in this beautifully=20 selected & translated edition, moves from a=20 particular person & place (Cuban, Jewish, caught=20 between home & exile) into a tangle of locations=20 & perceptions that gives his poetry a nearly epic=20 status. While the work has an avant-garde=20 (=93neobaroque=94) foundation =96 & it does =96 it=92s the=20 humanity of the writing (passionate & comic by=20 turns & always precisely referential) that=20 predicts its lasting greatness. A resident of=20 America & of the world, Jos=E9 Kozer is a poet who=20 works at full throttle, gives us thereby what=20 poetry has never done before & what it has always done." Stet retails at $20.00, but members of the list get it for $16.00 plus= postage. Stet ISBN 1-881523-09-8 222 pages. pb, 6" x 9". ========================================================================= Date: Tue, 5 Sep 2006 17:51:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Call for Contributions - William Fuller Feature Comments: To: SUBPOETICS-L@HAWAII.EDU Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Greetings all, This fall I will be editing a feature on Chicago-based poet William Fuller, author most recently of Watchword (Flood 2006), for a forthcoming issue of Jacket magazine, and I would welcome contact from any of you who share an interest in Bill's amazing and demanding work. I'm seeking poems, prose pieces, critical takes brief or sustained, interviews, and other modes of response to any and all aspects of Fuller's practice as a poet. I am happy to consider previously published works, but it is my hope to have the majority of the feature consist of new writing done just for this occasion. Please feel free to pass the word along to others who might be interested. Many thanks, and all best, Steve steve dot evans at thirdfactory dot net steven dot evans at maine dot edu www.thirdfactory.net ========================================================================= Date: Wed, 6 Sep 2006 00:08:38 -0400 Reply-To: "Jonathan Minton, Word For/Word" Sender: UB Poetics discussion group From: "Jonathan Minton, Word For/Word" Subject: New Issue of Word For/Word (#10) MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit I'm pleased to announce that Word For/Word #10 is online at www.wordforword.info with poetry, prose and visuals by Tyler Carter, Clayton A. Couch, Julie Doxsee, kari edwards, Derek Henderson, George Kalamaras, Lauren Levin, Marthe Reed, Michael Robins, Jared Schickling, Brian Seabolt, Michael Sikkema, Brian Strang, Bronwen Tate, Chris Tonelli, Eddie Watkins, Randall Williams, Terence Winch, Theodore Worozbyt, Elizabeth Marie Young, John M. Bennett, Michael Peters, Jim Leftwich, Jukka-Pekka Kervinen, Carol Stetser, and Derek White, plus transcriptions and translations from the Italian, Spanish, Portuguese, and French. Best, Jonathan Minton jon@wordforword.info www.wordforword.info ++++++++++++++ Woodstove, by Bronwen Tate Where we start, the fourth wall raw without shingles. All posed sitting on toilets in the front yard. The origin isn't quiet. Rebuilt hours, just so someone could ask can I borrow the keys? She shied away from that nearness, while I watched from the background. Blue tricycle ran a rut, ran around in between, ran home mad. Dropping by on the way, like occasions for the kettle. Charmed, I watched the top half swing open. Chicken coop, rhododendron shelter, tool shed, wood pile, and winter, a wind against which we can keep the door shut. ========================================================================= Date: Wed, 6 Sep 2006 00:32:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents Sonic Youth's Daydream Nation Live and Roger Hitts Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable please forward --------------- Boog City's Classic Albums Live presents for the band=B9s 25th anniversary Sonic Youth=B9s Daydream Nation Tues., Sept. 12, 9:00 p.m., $10 Mo Pitkin=B9s House of Satisfaction 34 Ave. A NYC With a reading from Roger Hitts and then the album performed live by Dan Fishback HuggaBroomstik=20 Prewar Yardsale The Sparrows Renminbi Max Steele and the Party Ice Urban Barnyard Hosted by Boog City editor and publisher David Kirschenbaum Directions: F train to Second Avenue. Venue is between 2nd and 3rd sts. For further information: 212-842-BOOG(2664) * editor@boogcity.com * www.mopitkins.com http://www.danfishback.com/ http://www.myspace.com/danfishback http://huggabroomstik.com/ http://myspace.com/lehuggacoustique http://www.olivejuicemusic.com/prewaryardsale.html http://www.renminbinyc.com http://www.myspace.com/renminbi http://thepartyice.com/helloworld.html http://myspace.com/rachelandrew http://www.urbanbarnyard.com/ http://www.myspace.com/urbanbarnyard artist bios are at the end of this email --=20 David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 bios: *Boog City is a New York City-based small press now in its 16th year and East Village community newspaper of the same name. It has also published 35 volumes of poetry and various magazines, featuring work by Allen Ginsberg and Lawrence Ferlinghetti among others, and theme issues on baseball, women=B9s writing, and Louisville, KY. It hosts and curates two regular performance series--d.a. levy lives: celebrating the renegade press, where each month a non-NYC small press and its writers and a musical act of their choosing is hosted at Chelsea's ACA Galleries; and Classic Albums Live, where 5-13 local musical acts perform a classic album live at venues including The Bowery Poetry Club, CBGB's, and The Knitting Factory. Past albums have included Elvis Costello, My Aim is True; Nirvana, Nevermind; an= d Liz Phair, Exile in Guyville. *Dan Fishback Raised on a steady diet of showtunes and secular Jewish leftism, Dan Fishback was destined to be gay and loud. In 2003, he moved to New York City, where he promptly became a fixture in the legendary Anti-Folk community. As half of the indie-pop duo Cheese On Bread, Dan saturated the Lower East Side with his characteristic blend of coy spunk and fierce progressive ideology. It was his solo work, however, that established him a= s more than a bouncy pop singer. Hailed by Next Magazine as an "anti-folk genius," Dan's songs of frustratio= n and fear provided a welcome change to the vacuous vamping found in so much "queer art." Ironic without being nihilistic, passionate without being annoying, Dan writes outside of and against consumerist mainstream gay culture.=20 His debut album, Sweet Chastity, is a frantic, schizophrenic exploration of virginity in a culture that commodifies the human body. From the twisted electro-pulse of the title track to the Carpenters-esque croon of "Kiss and Tell," Sweet Chastity blends at least a dozen musical genres into an anti-pop mission statement of bitter wit and seething optimism. His latest play, Please Let Me Love You, a meditation on Michael Jackson, the war in Iraq, and the nature of evil, has been performed in New York and Philadelphia, and showcases the style of tragi-comic surrealism that Fishback developed in early solo performances like Assholes Speak Louder Than Words and Boi With an i. Legendary performance art venue P.S. 122 recently mounted a festival of his diverse projects in No Direction Homo: The Many Identical Personae of Dan Fishback.=20 Fishback is currently writing a young-adult romance novel about teenagers discovering postmodernism on the internet, a play about Hellenized Judea an= d the Maccabbean uprising, and a comic book about an overweight, bi-racial, 14-year-old homosexual named Clarence. Dan will be the subject of a documentary piece on PBS' gay newsmagazine, In The Life, in fall 2006. *Roger Hitts Roger Hitts is a veteran celebrity, political, and music scribe whose titillating tales frequently appear on the pages of Star, National Enquirer= , and In Touch magazines. A two-time winner of the United Press International columnist of the year, covering politics and interviewing the likes of former presidents Reagan and Bush 1.0, he has also been an active reporter on the rock music scene for more than 25 years, having interviewed scores o= f musical legends from The Flaming Lips to Johnny Cash. A native of Flint, Michigan and a protege of Michael Moore, Hitts has been a frequent contributor to Boog City. *HuggaBroomstik HuggaBroomstik is a musical project that began January 7, 2001. In the past five years, HuggaBroomstik has evolved from a joke (between founding members, Neil Kelly and Dashan Coram) to an international underground phenomenon.=20 =20 How did this happen? In the beginning, no one wanted anything to do with Hugga. Neil and Dashan drafted a couple of other friends, with little or no musical talent to help fill out their sound. HuggaBroomstik had to produce their own sophmoric recordings, and resorted to trickery in order to book shows. Progress was slow and difficult at first, but as HuggaBroomstik continued to play shows around the New York City area, they found that thei= r unique sound and vision was not lost on everybody. Little by little, people began to admit that they actually liked HuggaBroomstik. =20 By the end of 2001, HuggaBroomstik stumbled upon The Sidewalk Cafe and the New York City AntiFolk scene. Once they had weasled their way into this thriving artistic community, they began to draw inspiration (and street cred) from such notable acts as the Moldy Peaches, Dufus, Schwervon!, and Jeffery Lewis. Within a short period, HuggaBroomstik had secured a place fo= r themselves in the NY Antifolk scene. =20 In 2002, HuggaBroomstik recorded and released what they considered to be their first real album. Their self-titled debut was released that summer, and was met with equal amounts of praise and mockery. HuggaBroomstik did no= t mind the harsh reviews, noting that they just made the joke funnier. =20 HuggaBroomstik, however, did make an effort to improve their craft. In 2002 and 2003, HuggaBroomstik adopted Dibson T. Hoffweiler to play lead guitar and Chris Maher to play bass. After drummer, Arthur Joseph, quit the band, HuggaBroomstik picked up Monica Samalot (Just About To Burn), who was later replaced by Johnny Dydo (The WoWz). The five men make up the core of HuggaBroomstik, although many other have lent their talents to the project. =20 Since their debut album, HuggaBroomstik has released two full-length albums= , Enter Tha Broomstik (2003) and Sloppy Kisses and Serious Guitars (2005). Their latest release is an EP titled The Soundz of Thyme (2005). =20 Recently, HuggaBroomstik was part of The April Fools Tour, traveling around Europe playing shows with The WoWz (NYC) and Horror Me (Berlin). The tour was a huge success and a true milestone for HuggaBroomstik. The band plans to continue "living the joke," indefinitely. =20 *Prewar Yardsale We are Prewar Yardsale. We are dina and mike. We play a bucket and a tincan and a guitar with a fuzzbox and a flute and a tamborine. And we sing songs that we write in bed at night after our son goes to sleep. We are part of a really cool collective of artists on a website called olivejuice music. We play shows in New York and once in awhile in Paris and London. We have two full albums out on Olive Juice Music, called Lowdown and We are Singing a Sad Song. and we also have a live cdr called Washington Soundboard Recording. We also have a 7" single that was put out in England on a-ok records, with four songs on it. We are thinking about releasing a cd with our Peel session that we did in 2003 on the John Peel show on BBC 1. We lov= e music, and we love to play shows when we can, and we love Olive Juice Music= . *Renminbi Think, Move, Get Your Rocks Off -- we want you to be able to do all three a= t our shows. Definitely not for the faint-hearted, we combine stripped-down punk basics with ass-shaking keyboard grooves and apocalyptic build-ups. Someone else said it best: "Imagine Polvo fronted by Kim Gordon and you might have a sense of NYC trio Renminbi's sound. =8A Pitting frenetic drumbeats against postrock keyboards and angular guitar, Renminbi retain al= l the concision without losing an ounce of urgency." *The Sparrows Andrew Phillip Tipton met Rachel Talentino in Savannah while working at the Gap. A common love for catchy melodies, Carole King, and boys led them to Brooklyn. As The Sparrows, Andrew and Rachel make up the cutest anti-folk duo around! Simple and lovely. *Max Steele and the Party Ice Max Steele is new to New York. *Urban Barnyard There are a lot of animals in the city. But not a lot of bands brave enough to write songs about them. Urban Barnyard began as a way for Dibs, Dashan, Phoebe, Daoud, and Casey to spend time together away from the disapproving gazes of their peers. Now it has blossomed into a glorious art-indie-bangy-rock experience for everyone to share. Some people may say that writing songs only about animals in New York is limiting. Some people may say that playing instruments you're not familiar with is a bad idea. Or that reading The New York Post on stage or making up a tune as you go during a show is unprofessional. But those people are scared. And probably jerks. We all get scared sometimes. Even Urban Barnyar= d gets scared sometimes. The important thing is just to trust that it will al= l be okay. More than that, it will probably all be frickin' awesome. ========================================================================= Date: Tue, 5 Sep 2006 21:46:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: a small catalogue of cultural scripts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Gabe, my potential friend: where you have seen me doubt that poetry communities are often troubling, and that gender and behavior are part of what make them troubling? But nothing about my comments was "abstract"--anybody who is worrying about how a particular poetry community treats them is on some level part of that community or at the very least wanting to be part of it. People are misused by the poetry communities they are part of--and misuse those communities--in complicated ways. To suggest that it's simply poetry communities who misuse people, and not also people who misuse communities, is only part of that truth. You discuss my argument in rather painful binaries: "abstract" vs. "real," "cultural planes" vs "bodies," "women" vs. "mavericks." You seem to suggest that were I to be more invested in what you call "real ethics," that I would see, well, what? That people in the world of poetry are being hurt? That many of these people are women because poetry communities are part of, and continue, a variety of sexist cultures? You seem to suggest that somehow, as a man, these are things I haven't seen before. But where do you see me saying that I have not seen them? I'm saying only that your language for addressing these things isn't really so great. I still feel, therefore, that you might consider changing the basic terms of your rhetoric. That rhetoric makes use of the concept of "gentle speech" as a way of grounding a rather transparent, aggressive moral assault on communities whose activies I'm still not sure you've tried to understand. And I have to admit that I don't believe that a solution can be found in treating all situations in a "gentle, nurturing manner," and in fact you yourself said something similar in a previous post. Displacing a rhetoric of "male hardness" with a rhetoric of "gentleness" (if you want to say "female gentleness," you can, but I'm not going to) is a kind of assertion of the opposite principle that strikes me as rather abstract. I don't know you well, and I have to admit that there's something about your approach that I don't understand. On the one hand, you attack poetry communities aggressively; on the other, you cloak yourself in a belief in "gentleness" when I and others respond to that attack. You insist on an absolutist rhetoric of real vs. fake, and assign to yourself, unproblematically it seems to me, the role of the Pure Knight of the Real. Don't you think that's a horse that very few of us--in the case of poetry communities especially--should be ascending? And finally, is it possible not to tout the women who have backchannled you as evidence of the truth of your position? That's one of the fascinating things about complicated men discussing poetics at the moment, isn't it? That we feel so exposed and uncertain that we must insist that it's women who have vaidated the arguments that we're making? Thanks very much for engaging with me in this discussion-- Mark Date: Mon, 4 Sep 2006 23:34:51 -0500 From: Gabriel Gudding Subject: A Small Catalog of Cultural Scripts Hello Mark, I appreciate the point you make about the impossibility of observing/acting from an "outside" vantage when describing cultural scripts. I expect that at an abstract level you are right that it is at some level impossible for any cultural actor not to make a non-complicitous metadiscursive utterance about common powerplays and cultural scripts attendant to any community. But once consideration is pulled from that more abstract cultural plane and into a less abstracted reality, into, that is, the specifics of certain authorial methods, gender plays, temperaments, and alliances of felt, grounded, local relations among real people, where manifestations of kindness, honesty, play, gentle speech, and peaceful intellectual communion, not to say friendship, might either flourish or, if diluted by transactional negativities, falter -- then this is no longer a problem of discerning a delicately defined "outside." It becomes instead an issue of real ethics -- of, say, watching one's speech, of hearing the concerns of others, of producing with positivity, of behaving in a gentle, nurturing manner, of being, in other words, a responsive actor who is not playing a reactive script like, say, "maverick." All of these socio-emotional effects are observable by any sensible person as bodily felt realities. For instance, it was interesting to me (and maybe not surprising) that of those people who backchanneled immediately with encouragement and thanks for broaching the topic on both Buffpo and Lucipo, three-fourths were women. And one explained that she had tried to broach these issues herself but felt shouted down and condescended to by the boy's club on Lucipo, mainly led by one older guy fond of playing "maverick," who posted nearly a hundred times in the month of August. So though I grant that my sketches were probably in some way hamfisted, and though I'm down with the idea there is at a gross and abstract level no "outside" to these observations, I am hesitant to join you in inveighing against, well, the field of sociology in general for the theoretical reasons you sketch, and I can't find a way to deny that there are real grounded effects here that break down in this case along lines of gender and power, and just plain bad manners. That said, I appreciate the spirit of your reply and in particular I appreciate the difficulties with such sketches that you so clearly and persuasively describe. Best to you, Gabe __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 5 Sep 2006 12:41:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: poem by Aharon Shabtai MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit it's a lousy poem but hooray that an israeli wrote it ========================================================================= Date: Wed, 6 Sep 2006 00:04:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: poem by Aharon Shabtai MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Actually, it's a fairly good poem about a lousy topic giving the = appearance of a lousy poem...somebody wrote earlier about the need to = edit lines in the piece, and I'm in total agreement on that point. =20 The difficulty with such works as this one is the timing. Remember the = immortal words of Bob Hope: good comedy is all about timing. =20 That same point should be made about good poetry. Unfortunately, for = this one, shitty timing.=20 And of course, one needs to underscore the meaning of the word, "good." = Alex=20 ----- Original Message -----=20 From: Steve Dalachinsky=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Tuesday, September 05, 2006 9:41 AM Subject: Re: poem by Aharon Shabtai it's a lousy poem but hooray that an israeli wrote it ========================================================================= Date: Wed, 6 Sep 2006 21:48:06 +1000 Reply-To: John Tranter Sender: UB Poetics discussion group From: John Tranter Subject: Digital deeds of the well-versed MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Digital deeds of the well-versed by Bernard Lane The Australian Education Feature 06 September 2006 'TO me, having a memory is impressive, like being able to speak Russian," poet Laurie Duggan once said. It's unusually hard for Duggan, a Victorian who has fetched up in Brisbane, to make sense of his childhood: "Often things I think are memory are the memory of photographs viewed later rather than the actual events." He traces his memory loss back to the age of 16 when he had a stroke and collapsed in a locker room at school. Australian poetry itself has a bad memory and one cause may be a degenerative process in the organs of publishing. Even fine contemporary work quickly goes out of print, if not out of mind. Enter John Tranter, the Sydney poet, and the case of the author notes. Penguin's handsome anthology of modern Australian poetry, edited by Tranter and Philip Mead, came out in 1991, but without any biographical sketches of the authors. Tranter recalls: "Penguin said, 'If you want them in, you'll have to take out an equal number of pages of poetry."' Such were the economics of publishing. Too hard to sacrifice poetry; the author notes had to be left out. "Over the years, I felt bad about that," Tranter says. But he feels good about the internet: it looks like it can connect poets to a new, benign economics of publishing. Not so long ago Tranter's first slim volume, Parallax (1970), was given a fresh lease of digital life, thanks to the web servers at the University of Sydney and a small grant from the Australian Research Council. In hard copy, Parallax also had a home on the shelf at the university's Fisher Library. "The little borrowing card in the back says it has been borrowed less than a dozen times in 30 years," Tranter says. Digital Parallax gets 1500 visits a month. If the moral is not yet obvious, look at Jacket, Tranter's online poetry magazine. It's a phenomenon. New poetry, necrologies of once new poets, reviews and interviews, travelogues and translations: all this and more is measured up, marked up and tucked in without Jacket ever losing its elegant shape. More than 500,000 visitors have tried Jacket on since 1997; there are thousands of pages cleverly concealed in its lining. "The internet changes everything," Tranter says. No page limits, no trade-offs between poetry and bio notes. No need for distribution, since readers and search engines do the job themselves. An obvious idea: post the Penguin bio notes to the web. "Then I thought, why limit myself to just the authors in the book?" Tranter says. Sydney University's English department told Tranter about the ARC Linkage grants but these called for some kind of industry involvement. As it happened, Tranter knew the Copyright Agency Ltd, an agent for authors, had been doing interesting work on the intersection between the web, copyright and payment. So CAL will help develop the cutely named APRIL project - Australian Poetry Resources Internet Library - under the leadership of Elizabeth Webby, at the English department, with Tranter as adviser. The ARC has approved funding of $582,419 over four years. There'll be money for a PhD research scholarship in contemporary poetry. Some money will go to India, where poetry volumes are to be digitised; some will be spread across Australia as research assistants interview poets and record their far-flung readings. "Just about anybody who's had a book out in Australia we hope to have on the website," Tranter says. To get an idea what APRIL may be like, you can visit a prototype - http://www.austlit.com/a/index.html - that Tranter has been working on since 2004. You'll find the Penguin bio notes. Many poets' entries offer a bibliography and a selection of poems; there are photos (one poet with cat, another with wine glass), reviews, articles and links to more elsewhere. With a little money from the Australia Council Literature Board, Tranter approached 16 poets for material; $150 a poet was on offer. Some poets sold a small selection of poems; others, such as Duggan, gave plenty. His diary excerpts, spanning the years from 1968 to 2005, fascinate and amuse. (They contain the immortal entry: "26thAugust. Tinker with dodgy new poem.") It's clear that not all poets work from the same business plan. "We expect some poets will make work available for free and some will value their work very highly," says CAL chief executive Michael Fraser. "The essential point for us would be that it be the poet who chooses." CAL brings to project APRIL a system that will allow poets to put a digital price tag on their work. (Much of the work will be out of print but in copyright.) A browse on screen will remain free of charge, but readers will pay for works they'd like to keep and print. Ultimately, the system will allow readers to range far beyond APRIL - wherever works carry a tag known as a digital object identifier - and to print on demand a kind of personal anthology. It could put more poets online without them being ripped off. "Poetry has been especially vulnerable because all the work and effort is distilled into one page, or a small number of pages, which is easily exploited by copying," Fraser says. He hopes the APRIL project - and the conversation it may strike up between poetry and readers - will reinvent the kind of popular oral tradition still alive elsewhere. "There's a lot of good poetry in Australia and around the world," Fraser says. "I think it's a natural way of speaking and our ways of speaking have become very straitened. Particularly in Australia, poetry is no longer carried in the breath of our people." APRIL's audience may have something of a scholarly bias. Webby hopes the project will inspire more study of Australian poetry, not just at university but in schools and overseas, where Australian studies has a small but devoted following. She'd also be happy if would-be poets applied themselves to the lessons to be found in the APRIL archive. "Part of the problem is that a lot of the people who write poetry don't read poetry," she says. Webby has been judging for the 2006 Broadway Poetry Prize. Too often, the entries show a limited grasp of what the language can do. The APRIL project could do many things. You might think it could re-create the golden age of poetry publication. In fact, that would be a rather modest ambition. "Most poetry in this country has been self-published always, even people like Mary Gilmore were probably funding their own publication," Webby says. The golden age of the 1970s and '80s, coinciding with a new sense of cultural nationalism, was as short-lived as it was atypical. The APRIL project promises to be something bigger and more interesting than a mere corrective to conventional publishing. "It points to the future of what poetry can be," Tranter says. "It's a very interesting age to be in." For more information on the Copyright Agency Ltd: http://www.copyright.com.au/ Best, ------------------------------------------ John Tranter mailto:edit@jacketmagazine.com 39 Short Street Balmain NSW 2041 Australia Phone (61+) 0405 444 717 ========================================================================= Date: Wed, 6 Sep 2006 08:10:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: New on Nomadics Comments: cc: Poetryetc provides a venue for a dialogue relating to poetry and poetics , BRITISH-POETS@JISCMAIL.AC.UK, Lucifer Poetics Group Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Recent posts on my Nomadics blog (http://pjoris.blogspot.com) Pokorny's Back Recollections of Geronimo Snakes & Jazz Poets Against the War Newsletter Naguib Mahfouz leaves Cairo for Keeps Self-fulfilling Prophecy filamen, Pierre =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D "Fascism should more properly be called corporatism,since it is the merger of state and corporate power." =97 Benito Mussolini =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 Euro cell: 011 33 6 79 368 446 email: joris@albany.edu http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= ========================================================================= Date: Wed, 6 Sep 2006 02:40:12 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: poem by Aharon Shabtai In-Reply-To: <20060906.014948.-462717.4.skyplums@juno.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT this is tricky. is it a translation? does anyone here know about traditional hebrew poetry/chant? having lived in hawaii for years, i know some native hawaiian poetry has been dismissed as bad or uninteresting without understanding the tradition it comes from or the cultural underpinnings of it. i'm not, definitely not, a relativist. but i believe value can't be assigned outside of context. or if it is, the judgement is superficial. all best, g On Tue, 5 Sep 2006, Steve Dalachinsky wrote: > it's a lousy poem but hooray that an israeli wrote it > gabrielle welford welford@hawaii.edu Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.595 / Virus Database: 378 - Release Date: 2/25/2004 wilhelm reich anarcho-syndicalism gut/heart/head/earth ========================================================================= Date: Wed, 6 Sep 2006 08:10:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hi back, Mark. If you'd like to have a conversation about what I said in my post, I'd be happy to. Best to you, Gabe Date: Tue, 5 Sep 2006 21:46:48 -0700 Reply-To: UB Poetics discussion group <[log in to unmask]> Sender: UB Poetics discussion group <[log in to unmask]> From: Mark Wallace <[log in to unmask]> Subject: a small catalogue of cultural scripts Content-Type: text/plain; charset=iso-8859-1 Hello Gabe, my potential friend: where you have seen me doubt that poetry communities are often troubling, and that gender and behavior are part of what make them troubling? But nothing about my comments was "abstract"--anybody who is worrying about how a particular poetry community treats them is on some level part of that community or at the very least wanting to be part of it. People are misused by the poetry communities they are part of--and misuse those communities--in complicated ways. To suggest that it's simply poetry communities who misuse people, and not also people who misuse communities, is only part of that truth. You discuss my argument in rather painful binaries: "abstract" vs. "real," "cultural planes" vs "bodies," "women" vs. "mavericks." You seem to suggest that were I to be more invested in what you call "real ethics," that I would see, well, what? That people in the world of poetry are being hurt? That many of these people are women because poetry communities are part of, and continue, a variety of sexist cultures? You seem to suggest that somehow, as a man, these are things I haven't seen before. But where do you see me saying that I have not seen them? I'm saying only that your language for addressing these things isn't really so great. I still feel, therefore, that you might consider changing the basic terms of your rhetoric. That rhetoric makes use of the concept of "gentle speech" as a way of grounding a rather transparent, aggressive moral assault on communities whose activies I'm still not sure you've tried to understand. And I have to admit that I don't believe that a solution can be found in treating all situations in a "gentle, nurturing manner," and in fact you yourself said something similar in a previous post. Displacing a rhetoric of "male hardness" with a rhetoric of "gentleness" (if you want to say "female gentleness," you can, but I'm not going to) is a kind of assertion of the opposite principle that strikes me as rather abstract. I don't know you well, and I have to admit that there's something about your approach that I don't understand. On the one hand, you attack poetry communities aggressively; on the other, you cloak yourself in a belief in "gentleness" when I and others respond to that attack. You insist on an absolutist rhetoric of real vs. fake, and assign to yourself, unproblematically it seems to me, the role of the Pure Knight of the Real. Don't you think that's a horse that very few of us--in the case of poetry communities especially--should be ascending? And finally, is it possible not to tout the women who have backchannled you as evidence of the truth of your position? That's one of the fascinating things about complicated men discussing poetics at the moment, isn't it? That we feel so exposed and uncertain that we must insist that it's women who have vaidated the arguments that we're making? Thanks very much for engaging with me in this discussion-- Mark ----------------------- Date: Mon, 4 Sep 2006 23:34:51 -0500 From: Gabriel Gudding <[log in to unmask]> Subject: A Small Catalog of Cultural Scripts Hello Mark, I appreciate the point you make about the impossibility of observing/acting from an "outside" vantage when describing cultural scripts. I expect that at an abstract level you are right that it is at some level impossible for any cultural actor not to make a non-complicitous metadiscursive utterance about common powerplays and cultural scripts attendant to any community. But once consideration is pulled from that more abstract cultural plane and into a less abstracted reality, into, that is, the specifics of certain authorial methods, gender plays, temperaments, and alliances of felt, grounded, local relations among real people, where manifestations of kindness, honesty, play, gentle speech, and peaceful intellectual communion, not to say friendship, might either flourish or, if diluted by transactional negativities, falter -- then this is no longer a problem of discerning a delicately defined "outside." It becomes instead an issue of real ethics -- of, say, watching one's speech, of hearing the concerns of others, of producing with positivity, of behaving in a gentle, nurturing manner, of being, in other words, a responsive actor who is not playing a reactive script like, say, "maverick." All of these socio-emotional effects are observable by any sensible person as bodily felt realities. For instance, it was interesting to me (and maybe not surprising) that of those people who backchanneled immediately with encouragement and thanks for broaching the topic on both Buffpo and Lucipo, three-fourths were women. And one explained that she had tried to broach these issues herself but felt shouted down and condescended to by the boy's club on Lucipo, mainly led by one older guy fond of playing "maverick," who posted nearly a hundred times in the month of August. So though I grant that my sketches were probably in some way hamfisted, and though I'm down with the idea there is at a gross and abstract level no "outside" to these observations, I am hesitant to join you in inveighing against, well, the field of sociology in general for the theoretical reasons you sketch, and I can't find a way to deny that there are real grounded effects here that break down in this case along lines of gender and power, and just plain bad manners. That said, I appreciate the spirit of your reply and in particular I appreciate the difficulties with such sketches that you so clearly and persuasively describe. Best to you, Gabe ========================================================================= Date: Wed, 6 Sep 2006 10:48:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: social reality was "unrepresented" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hi all, sort of wandering through philosophy books this am, thought this was interesting, and enter it here -- "The first reaction to the fact that, in Poland, social reality was "unrepresented", as Kieslowski put it, was, of course, the move toward a more adequate representation of real life in all its drabness and ambiguity -- in short, an authentic documentary approach: 'There was a necessity, a need--which was very exciting for us--to describe the world. The Communist world had described how it should be and not how it really was...If something hasn't been described, then it doesn't officially exist. So that if we start describing it, we bring it to life.'" --another of those "philosophical" approaches to the Kantian divide I'll check out with my resident Kantian after he comes home from campus.... back to work and lurking, best, heidi ========================================================================= Date: Wed, 6 Sep 2006 10:11:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hi again, Mark. As you might find my previous short response too short, I provide this. Your email asks me ten questions whose premises are presumably based on the contents of my post, but I don't follow how you arrived at those premises, not to mention the questions. So, you urge that I've misread you in a few ways, and you in turn seem to be urging a misreading of my post too. What to do? I did, yes, come away seeing something abstract in yr post, and I suppose, yes, that I did use binaries. Never been able to avoid those pesky things. They're everywhere. Nor have I found a text or writer who could avoid them, including, I notice, you. :) And I didn't, no, suggest that it's simply poetry communities that misuse people (I didn't mention misusing people at all, in fact). Nor would I think it accurate to say that my two posts containing sketches of, I think, 5 transactional games common to some male poets on listserves is me "attacking poetry communities aggressively." Especially given that I call the sketches a small catalog. I say sketch and catalog, using textual metaphors, which you then reframe in military terms. And I did not assert, not knowing you, that you would do well to be "more invested in real ethics," nor did I assert (as you suggest that I did) that you haven't seen sexism in poetry before. Nor in fact was I (as you assert) trying to state my sketches were "truth" by saying three-fourths who backchanneled encouragements were women. And neither did I anywhere "insist" on (and I'm using quote marks here not to be persnickety but just to remind others that these aren't my words) an "absolute rhetoric of the real" or "assign" myself the "role of Pure Knight of the Real." I guess what I'm getting at is I seem to be doing a lot of sweeping here just to get back to (what I consider) clear ground, and I'm beginning to wonder if this exchange can remain a conversation. But if you would like to have a conversation about what I said in my post, I'd be happy to. Perhaps it would help if I forwarded a link in another email, which I'll do if I get time before heading to work. My very best to you, Gabe -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Wed, 6 Sep 2006 11:53:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Orange Subject: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit hi gabe, i think the simple point that mark wallace makes is that when, in your original post, you claim that "Thumping the hand at the woeful state of X helps create the perception that (a) something is wrong, and (b) we're the folks, or I'm the guy (usually a guy), to set this right," there is a very real, concrete way in which you, through your post, are assuming the position of "that guy." the objective or distanced, even sociological tone of your post seems to belie this. bests, tom orange ========================================================================= Date: Wed, 6 Sep 2006 09:03:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AG Jorgensen Subject: CHINA - AGJ - NEWSLETTER & TIBETANS & SMURFLAND & Haas Bianchi Comments: cc: paulcatafago@yahoo.com In-Reply-To: <44FEE539.5040407@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear all, First off, the so-called Subterraneasns in Beijing are just BS - ie, shit (and so much so I won't even be willing to squeeze 'em out). And those who support them, which includes Haas Bianchi, whom I respect very, very much, are simply being duplicitous, complitous, in what is 3000 years of autocratic rule - and I don't need to hate them, because those who have been either jailed, live in exile, or are dead can do so of their own volition. How do I know this, because, sad to say, I know China. What does that mean: living in near Russian border, Beijing, and next to Hong Kong, and teaching at Tsinghua and working for the British Embassy. Knowing writers who I won't name but who are in exile. And let's not let Chinese linguists pretend they can either dictate what is history, philosophy or politics in what is probably one of the most represive and rasist cultures in the world. And the thing is, the Middle Kingdom uses the language of the West as a kind of tool, but it don't and has no will to change. Fuck me with your words and I will spit you he said, relighting that flame which tingles you so -ew. Second, some real bastards said some real crap and really attacked a very good man who has a very real track record of doing good, and that's Paul Catafago. I reckon life is more than sitting at a PC, but rather standing in the streets, working in not so fashionable communities, speaking up when it's least appreciated. I know this -- as do you, all those good people who didn't speak up on his behalf because they were, well, scared. But those poets, and there's this whitebread, wonderbread, just read his work, let's see what follows, that I've nicknamed BM are not evil-doers, but evil-followers. Just left Sri Lanka, third time in one year doing that work with people who are special, have no voice, a culture you all appropriate as if vanilla exlax were more friendly than, well, a hot fudge sunday- and I ask myslef, how much are words supposed to mean, especially when there are lots of folk who've held themselves so long arms just broke! AGJ --- "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 6 Sep 2006 09:11:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AG Jorgensen Subject: 2 - Re: CHINA - AGJ - NEWSLETTER & TIBETANS & SMURFLAND & Haas Bianchi In-Reply-To: <20060906160355.16237.qmail@web54611.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit There are some great poets on Haas list- but Bm is neither influence or a very good poet. Make me think of the Baseball Hall of Fame, this list, and it is so misleading. He has influenced nobody - his nobodiness means nada. And my 6 publishing this years mean lots more. For fuck sake, poetry mean, is, something - just think about RC, Ginsburg, Duncan, WCM...geez. Oh man. What would Robert Johnson - and I know evil like RJ - say? AJ --- "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 6 Sep 2006 09:27:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: a small catalogue of cultural scripts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello yourself, Gabe. It's no doubt very possible that I read your catalogue as a more aggressive critique than you yourself see it as, and if so, I guess that's one of those differences so common in discussion land. What's aggressive and what's gentle are themselves issues open to some interpretation, obviously. Even if your words seemed less kind-hearted to me than you felt them to be, and if your cultural scripts struck me more as stereotypes than as accurate observations, I'm still certainly willing to accept that you intended them in a different spirit than I initially understood--that is, that you meant them as a chance to open a dialogue. My apologies that I failed to see that that's what you meant to do. Whether there's much clear ground here between us, I'm less sure of, and I say this (that is, I'm trying to say this) with no desire to clash. I think we both agree that poetry communities are complicated entities, and that social power is distributed in them unevenly, frequently along lines of not only gender, but also race and class. But I think it's the very idea that there's some unequivocal "clear ground" regarding these questions that makes me distrustful. I'd be genuinely interested in hearing which parts of the ground you think are clear beyond the general agreement we have that gender, race, and class (and, I suppose, "manners," although the ground here becomes less clear again, at least for me) are problems in contemporary poetry communities and that all parties should work to minimize those problems. How should that be done? Do you have practical insights or suggestions? Because once we move beyond those conditions and into the behaviorial dynamics of groups and individuals, I think there are ambiguities, complexities, confusions, and paradoxes that don't lend themselves that frequently to the idea of clear ground. With sincere good wishes-- Mark Hi again, Mark. As you might find my previous short response too short, I provide this. Your email asks me ten questions whose premises are presumably based on the contents of my post, but I don't follow how you arrived at those premises, not to mention the questions. So, you urge that I've misread you in a few ways, and you in turn seem to be urging a misreading of my post too. What to do? I did, yes, come away seeing something abstract in yr post, and I suppose, yes, that I did use binaries. Never been able to avoid those pesky things. They're everywhere. Nor have I found a text or writer who could avoid them, including, I notice, you. :) And I didn't, no, suggest that it's simply poetry communities that misuse people (I didn't mention misusing people at all, in fact). Nor would I think it accurate to say that my two posts containing sketches of, I think, 5 transactional games common to some male poets on listserves is me "attacking poetry communities aggressively." Especially given that I call the sketches a small catalog. I say sketch and catalog, using textual metaphors, which you then reframe in military terms. And I did not assert, not knowing you, that you would do well to be "more invested in real ethics," nor did I assert (as you suggest that I did) that you haven't seen sexism in poetry before. Nor in fact was I (as you assert) trying to state my sketches were "truth" by saying three-fourths who backchanneled encouragements were women. And neither did I anywhere "insist" on (and I'm using quote marks here not to be persnickety but just to remind others that these aren't my words) an "absolute rhetoric of the real" or "assign" myself the "role of Pure Knight of the Real." I guess what I'm getting at is I seem to be doing a lot of sweeping here just to get back to (what I consider) clear ground, and I'm beginning to wonder if this exchange can remain a conversation. But if you would like to have a conversation about what I said in my post, I'd be happy to. Perhaps it would help if I forwarded a link in another email, which I'll do if I get time before heading to work. My very best to you, Gabe -- __________________________________ http://gabrielgudding.blogspot.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 6 Sep 2006 10:23:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: A Small Catalog of Cultural Scripts In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed What is it that's wrong again? I think i missed that part of the discussion. this whole deal about gentleness and honesty or whatever, it strikes me as a little too meta, when in fact what's being proposed is just an alternative ethic which has to be defended on its own merits. I personally don't see anything particularly appealing in an ethic of gentleness vs an ethic of competitive snarkiness and that case has yet to be made for gabe's "gentleness." in fact, aesthetically, i find it a little too hippie and therefore sort of repugnant. my guess is the gentleness ethic can only be justified by appeals to analagous pursuits that aren't really relevant, and therefore holding it up as a superior mode of being in fact breaks down to personal preference at best and hippie snobbery at worst. On Wed, 6 Sep 2006, Thomas Orange wrote: > hi gabe, > > i think the simple point that mark wallace makes is that when, in your original post, you claim that "Thumping the hand at the woeful state of X helps create the perception that (a) something is wrong, and (b) we're the folks, or I'm the guy (usually a guy), to set this right," there is a very real, concrete way in which you, through your post, are assuming the position of "that guy." the objective or distanced, even sociological tone of your post seems to belie this. > > bests, > tom orange > ========================================================================= Date: Wed, 6 Sep 2006 10:28:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: CHINA - AGJ - NEWSLETTER & TIBETANS & SMURFLAND & Haas Bianchi In-Reply-To: <20060906160355.16237.qmail@web54611.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed see, now THAT was a flame. On Wed, 6 Sep 2006, AG Jorgensen wrote: > Dear all, > > First off, the so-called Subterraneasns in Beijing are > just BS - ie, shit (and so much so I won't even be > willing to squeeze 'em out). And those who support > them, which includes Haas Bianchi, whom I respect > very, very much, are simply being duplicitous, > complitous, in what is 3000 years of autocratic rule - > and I don't need to hate them, because those who have > been either jailed, live in exile, or are dead can do > so of their own volition. > > How do I know this, because, sad to say, I know China. > What does that mean: living in near Russian border, > Beijing, and next to Hong Kong, and teaching at > Tsinghua and working for the British Embassy. Knowing > writers who I won't name but who are in exile. And > let's not let Chinese linguists pretend they can > either dictate what is history, philosophy or politics > in what is probably one of the most represive and > rasist cultures in the world. And the thing is, the > Middle Kingdom uses the language of the West as a kind > of tool, but it don't and has no will to change. Fuck > me with your words and I will spit you he said, > relighting that flame which tingles you so -ew. > > Second, some real bastards said some real crap and > really attacked a very good man who has a very real > track record of doing good, and that's Paul Catafago. > I reckon life is more than sitting at a PC, but rather > standing in the streets, working in not so fashionable > communities, speaking up when it's least appreciated. > I know this -- as do you, all those good people who > didn't speak up on his behalf because they were, well, > scared. But those poets, and there's this whitebread, > wonderbread, just read his work, let's see what > follows, that I've nicknamed BM are not evil-doers, > but evil-followers. > > Just left Sri Lanka, third time in one year doing that > work with people who are special, have no voice, a > culture you all appropriate as if vanilla exlax were > more friendly than, well, a hot fudge sunday- and I > ask myslef, how much are words supposed to mean, > especially when there are lots of folk who've held > themselves so long arms just broke! > > AGJ > > > > --- > "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ========================================================================= Date: Wed, 6 Sep 2006 13:38:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: of experience MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- living with someone who interfaces the contradictions between science and faith, as my husband does, gives me inspiration to tackle the question of internet communities as related to experience, which i think is similar to the question of the poem and the lived experience -- that there is a leap from the one to the other, but the one can help interpret the other, and the other can help interpret the one -- experience seen through the refraction of hte published object -- or the published object seen through the refraction of experience -- so different from a diary of one's dreams? -- from each position the other is rendered changed in the viewer, with an invitation to correction, to greater freedom: i.e., to further discussion and dialogue -- and those points of crucial egregious error can in fact open up dialogue to greater truth -- it is a question of redemption in a way and the distortions of the text can lead to redemptions of life -- if for example Christ never was historically crucified, is that important because the myth has given us a powerful story of crucifixion and redemption which is mythically important -- but to that point i owe my husband's greater intellect than mine -- he who strongly encouraged my career after grad school so that's not a terribly unfeminist statement -- but i think it holds, that the distortions of the text are like shovels into ground that might be plowed, and plowed deeper -- so that internet publishing, or contexts of poetry, as they become fluid in current times, also hold the promise of deepening experiences of the very different "real" -- but that in turn creates pressure that the "real" somewhere must be documented also, as fact and as image of fact -- so that the internet prompts further dialogue but so also does the documented real -- a poem written like a diary or such -- two sides of a tennis court or something -- i myself favor the factual real -- it is difficult to exist inside words only though at some point worth trying out that's my last post for today and i probably won't post until next week, hope there's something useful here back to work ========================================================================= Date: Wed, 6 Sep 2006 14:23:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Girl Man Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed *Girly Man* is now out from The University of Chicago Press read all about it at http://epc.buffalo.edu/authors/bernstein/books/girly-man/ says Leslie Scalapino: Charles Bernstein's poems in Girly Man are frequently series of pairs, jingles of a 'public discourse' that purports to represent us and by which Bernstein misrepresents us, the pairs being apparently contrary to each other and from which we are to choose as if without middle ground: "simultaneous double narrative/the space between's the other narrative/as if they're opposite." In the space between, outside representation but in the 'presence' of it, we are provoked to laugh. Bernstein alters our language to open a double range that's public and mind at once and inseparable, that is "Poetry is patterned thought in search of unpatterned mind." Girly Man is doing it. ========================================================================= Date: Wed, 6 Sep 2006 14:50:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: a small catalogue of cultural scripts In-Reply-To: <20060906162705.88180.qmail@web60013.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Mark wrote: "What's aggressive and what's gentle are themselves issues open to some interpretation, obviously." [from the throwaway file] Poetry Reading at Bryant Park On a napkin of grass by concrete trees, five hundred people squat and tumble so a bunch of titans can grab their skulls and toss them up the way they like it, snappy in sunlight, with lawn chairs as rocket packs or false coffins. Nobody hears what they’re saying: It’s too beautiful. Their words can’t hurt the ruling cash register and so nobody has to be shot or re-educated. Blasphemers relax with leashed animals; only the truly cool, hiding, wear less. -Eric Yost ========================================================================= Date: Wed, 6 Sep 2006 12:22:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Steve Irwin In-Reply-To: <44FEE539.5040407@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Gabe (and others)-- I came across this short essay today, and it got me thinking about your comment that Steve Irwin loved the animals he used on his show (I didn't check your earlier post--but I seem to recall the word love there). At the time, I wasn't sure if you were being ironic--because, to me, his love seemed like a tough love if it was love at all. Anyway, here's this little article from MSNBC which I think you'll find interesting: http://www.msnbc.msn.com/id/14694683/ Best, Joseph __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 6 Sep 2006 16:58:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: lise vachon - vito ricci cd release party MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 8bit Lise Vachon’s new CD… “VOCALISE”…. release concert with: Rashied Ali – Bata Drum, Bass Klimba Rachel Golub-Violin Vito Ricci-Guitar, Percussion “Blue” Gene Tyanny-Piano Lise Vachon- Voice, Chekeree Peter Zummo-Trombone, Didjeridu,” All Purpose Funnel” Sept. 16 6:00 PM Bowery Poetry Club 308 Bowery @ Bleecker F to 2Ave 6 to Bleecker can’t make the show?….. visit Lise-Vachon.com to listen and buy the CD Hope to see you there Vito ========================================================================= Date: Thu, 7 Sep 2006 07:41:46 +1000 Reply-To: John Tranter Sender: UB Poetics discussion group From: John Tranter Subject: Forwarding this message: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Forwarding this message: _____________________________________ As a result of a generous grant from Indiana State University, Snow*Vigate Press will be publishing a printed anthology of the best on-line writing which has appeared over the past ten years. Hopefully the anthology will be released in August 2007. The book will include poetry broken into lines, prose poetry, flash fiction, creative non-fiction, and 10 minute plays. If you would like to nominate your own on-line work or work from others, please follow these guidelines: Paste the URLs of 3-7 pieces of each writer in the body of an email. You may nominate up to 3 writers. In the subject line of your email, please type "Submission to Snow*Vigate Anthology." Send all submissions to dougmartin832@yahoo.com. Work from any on-line site is acceptable, as long as it has not been published in printed form. Editors of on-line journals are strongly encouraged to submit work from their sites. The submission period will end on October 15, 2006. If you have any questions, please contact me. Sincerely, Doug Martin --------------------------------------------------------------------- from John Tranter ========================================================================= Date: Wed, 6 Sep 2006 15:45:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Forwarding this message: Comments: To: John Tranter In-Reply-To: <811330950.20060907074146@jacketmagazine.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > The book will include poetry broken into lines,... This caught my eye, John. As those haughty French folks say, Qu'est-que ca veut dire??? Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 6 Sep 2006 22:14:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: jane currin MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Today is Jane Currin's birthday, but all I can think of is Jan Hooks! ========================================================================= Date: Wed, 6 Sep 2006 22:20:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: jane currin MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Eh hem, Jane Curtin. I was conflating Jane Curtin and Jen Currin!!! _____ From: Aaron Belz [mailto:aaron@belz.net] Sent: Wednesday, September 06, 2006 10:15 PM To: 'POETICS@listserv.buffalo.edu' Subject: jane currin Today is Jane Currin's birthday, but all I can think of is Jan Hooks! ========================================================================= Date: Wed, 6 Sep 2006 21:02:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: philip jenks Subject: Philip Jenks reads and sings with Neil Michael Hagerty MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Come hear Neil Michael Hagerty's Band The Howling Hex play. Philip Jenks will read poetry during the set and will be singing with The Howling Hex. Sept 10, Nashville TN, The End, 2208 Elliston Pl. Sept 11, Knoxville TN, The Pilot Light, 106 E Jackson Ave Sept 12, Charlottesville VA, Twisted Branch Tea Bazaar, 414 E Main St http://www.dragcity.com/bands/hagerty.html http://72.21.44.114/howlinghex/frontPage.do life that wasn't was, Philip Jenks Philip Jenks lives in Portland, Oregon. He has a Master's in Creative Writing from Boston University. He is the author of two books of poetry, _On the Cave You Live In_ (Flood Editions, 2002) and _My First Painting Will Be "The Accuser"_ (Zephyr Press, 2005). His most recent work is a chapbook, "How Many of You are You?" available as a pdf at www.dusie.org. He is training for his first Marathon, to be run October 1 in Portland. http://www.active.com/donate/bbbs/PJenks ========================================================================= Date: Thu, 7 Sep 2006 00:23:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: m1Fw: MiX'D TRiX Sept 13 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MiX’D TriX Writers who Do Art Artists who Write At Tompkins Square Library Gallery Please join us for a Commingling of the Disciplines Opening: Wednesday, September 13, 2006 6 to 8 Curated by Jeffrey Cyphers Wright and Valery Oisteanu With works by Luigi Cazzaniga Peggy Cyphers Steve Dalachinsky Rob Edelman David Hatchett Lilly Hatchett Amy Hill Patrick Goldsmith Charles Mingus, III Valery Oisteanu Lori Ortiz Yuko Otomo Jim Power Michael Savage Barbara Slitkin Ilka Scobie Carol Ross Bruce Weber Jeffrey Cyphers Wright __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 7 Sep 2006 06:51:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: Three poems from Charles Bernstien's Girly Man Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu Three poems from Charles Benstein's new collection Girly Man at The Argotist Online: http://www.argotistonline.co.uk/Bernstein%20poems.htm ========================================================================= Date: Thu, 7 Sep 2006 08:21:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Poets Take to the Road This Fall Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Poets Take to the Road This Fall By HILLEL ITALIE | AP National Writer Posted August 31, 2006, 7:02 PM EDT http://www.orlandosentinel.com/sns-ap-poetry-bus-tour,0,2684650.story NEW YORK -- Poetry fans, keep an eye out this fall for a Green Tortoise bus. Look beyond the bookstore or campus lecture hall. Try a ranch in Missoula, Mont.; a sushi bar in Spokane, Wash.; or a church in Providence, R.I. Peak inside this 40-foot coach, if you dare, and expect to find beds, seating areas, work stations and, at any given time, a couple of dozen road-tested poets. The 2006 Poetry Bus Tour, billed as the "most ambitious poetry tour ever attempted," is a voyage of verse that will cover 50 cities in 50 days, a pace that could wear out the most experienced politician or rock star. The tour is being organized by Wave Books, a Seattle-based poetry press. "When my first book (`Things Are Happening') came out, I went on a 50- stop tour, just by myself, in my car," says poet Joshua Beckman, an editor at Wave Books and co-founder of the tour with fellow poet and Wave Books editor Matthew Zapruder. "It reminded me of the way musicians would tour, when you put something creative out, you drove around and showed it to people. And my experience on that first tour was so interesting, just going to all those places and meeting people. I kept looking to expand on it, and share it with other people." The tour, which includes both Wave and non-Wave poets, begins Labor Day at the Bumbershoot Music Festival in Seattle and wraps up in late October, back home at Seattle's Space Needle. An evolving cast of poets, from eminences such as John Ashbery to writers who have yet to be published, will join and leave along the way. Some, like the 79-year-old Ashbery and fellow Pulitzer Prize winner James Tate, will simply participate in readings. Others will stick around longer, like 31-year-old Cole Heinowitz, who plans to spend two nights on the bus in October. "I think that cohabitation is a great way to break through boundaries that otherwise don't get broken down, especially in the sometimes professionalistic and distant world of poets. I also love the idea of lying on my back and looking out the windows while we move at 60 miles per hour," says Heinowitz, whose books include "Daily Chimera" and the upcoming "The Rubicon." Readings will take place wherever open spaces are to be found, and, ideally, food and accommodations provided. The tour will feature stops at the First Unitarian Church in Providence; the Naval Academy in Annapolis, Md.; the Butler Creek Ranch in Missoula; and, just south of Madison, Wis., an organic farm run co-managed by poet Lisa Fishman, who looks forward to two extended stays on the bus. "I think it'll be a dream come true," says the 39-year-old Fishman, whose third book, "The Happiness Experiment," is scheduled to come out next year. "I think there'll be a lot of energy. I imagine a lot of singing, because when you're traveling on the road, in an enclosed space, I have a feeling you revert to that childhood activity of singing on the bus." Wave Books expects to burn through more than 1,500 gallons of gas and more than 150 gallons of coffee. The caravan of poets will include a filmmaker, two professional astrologers and continuous online updates. Asked what he expects to happen when you throw together dozens of poets -- male and female, average age 32 -- in an enclosed environment for an extended time, Beckman laughs nervously, and a little wickedly, then suggests two very different outcomes. "People have different ideas what a poetry bus can be," he says. "A lot of people think a poetry bus is the most boring thing you could imagine, like a bus full of people incredibly quietly reading. Others think about Ken Kesey and think it's going to be crazy, with nobody wearing any clothes and lots of drugs. "To be honest, if I really knew what was going to happen I wouldn't be as excited as I am right now." ========================================================================= Date: Thu, 7 Sep 2006 09:28:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: flaming Mime-Version: 1.0 Content-Type: text/plain; format=flowed thanks for the little memo re flaming. sm _________________________________________________________________ Windows Live Spaces is here! It’s easy to create your own personal Web site. http://spaces.live.com/signup.aspx ========================================================================= Date: Thu, 7 Sep 2006 04:16:14 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: m1Fw: MiX'D TRiX Sept 13 In-Reply-To: <20060907.005134.-182765.23.skyplums@juno.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=iso-8859-1 Content-transfer-encoding: QUOTED-PRINTABLE where is this? On Thu, 7 Sep 2006, Steve Dalachinsky wrote: > MiX=92D TriX > > Writers who Do Art > Artists who Write > > At Tompkins Square Library Gallery > Please join us for a Commingling of the Disciplines > Opening: Wednesday, September 13, 2006 6 to 8 > > Curated by Jeffrey Cyphers Wright and Valery Oisteanu > > With works by > > Luigi Cazzaniga > Peggy Cyphers > Steve Dalachinsky > Rob Edelman > David Hatchett > Lilly Hatchett > Amy Hill > Patrick Goldsmith > Charles Mingus, III > Valery Oisteanu > Lori Ortiz > Yuko Otomo > Jim Power > Michael Savage > Barbara Slitkin > Ilka Scobie > Carol Ross > Bruce Weber > Jeffrey Cyphers Wright > > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > gabrielle welford welford@hawaii.edu Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.595 / Virus Database: 378 - Release Date: 2/25/2004 wilhelm reich anarcho-syndicalism gut/heart/head/earth ========================================================================= Date: Thu, 7 Sep 2006 10:31:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Poets Take to the Road This Fall Comments: To: dtv@MWT.NET Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline I'm doing this in Providence on September 29th. I'm wildly excited. = Though if I got on the bus the age average would soar! Mairead >>> dtv@MWT.NET 09/07/06 9:21 AM >>> Poets Take to the Road This Fall By HILLEL ITALIE | AP National Writer Posted August 31, 2006, 7:02 PM =20 EDT http://www.orlandosentinel.com/sns-ap-poetry-bus-tour,0,2684650.story NEW YORK -- Poetry fans, keep an eye out this fall for a Green =20 Tortoise bus. Look beyond the bookstore or campus lecture hall. Try a ranch in =20 Missoula, Mont.; a sushi bar in Spokane, Wash.; or a church in =20 Providence, R.I. Peak inside this 40-foot coach, if you dare, and =20 expect to find beds, seating areas, work stations and, at any given =20 time, a couple of dozen road-tested poets. The 2006 Poetry Bus Tour, billed as the "most ambitious poetry tour =20 ever attempted," is a voyage of verse that will cover 50 cities in 50 =20 days, a pace that could wear out the most experienced politician or =20 rock star. The tour is being organized by Wave Books, a Seattle-based =20 poetry press. "When my first book (`Things Are Happening') came out, I went on a 50-=20 stop tour, just by myself, in my car," says poet Joshua Beckman, an =20 editor at Wave Books and co-founder of the tour with fellow poet and =20 Wave Books editor Matthew Zapruder. "It reminded me of the way =20 musicians would tour, when you put something creative out, you drove =20 around and showed it to people. And my experience on that first tour =20 was so interesting, just going to all those places and meeting =20 people. I kept looking to expand on it, and share it with other people." The tour, which includes both Wave and non-Wave poets, begins Labor =20 Day at the Bumbershoot Music Festival in Seattle and wraps up in late =20 October, back home at Seattle's Space Needle. An evolving cast of =20 poets, from eminences such as John Ashbery to writers who have yet to =20 be published, will join and leave along the way. Some, like the 79-year-old Ashbery and fellow Pulitzer Prize winner =20 James Tate, will simply participate in readings. Others will stick =20 around longer, like 31-year-old Cole Heinowitz, who plans to spend =20 two nights on the bus in October. "I think that cohabitation is a great way to break through boundaries =20 that otherwise don't get broken down, especially in the sometimes =20 professionalistic and distant world of poets. I also love the idea of =20 lying on my back and looking out the windows while we move at 60 =20 miles per hour," says Heinowitz, whose books include "Daily Chimera" =20 and the upcoming "The Rubicon." Readings will take place wherever open spaces are to be found, and, =20 ideally, food and accommodations provided. The tour will feature =20 stops at the First Unitarian Church in Providence; the Naval Academy =20 in Annapolis, Md.; the Butler Creek Ranch in Missoula; and, just =20 south of Madison, Wis., an organic farm run co-managed by poet Lisa =20 Fishman, who looks forward to two extended stays on the bus. "I think it'll be a dream come true," says the 39-year-old Fishman, =20 whose third book, "The Happiness Experiment," is scheduled to come =20 out next year. "I think there'll be a lot of energy. I imagine a lot =20 of singing, because when you're traveling on the road, in an enclosed =20 space, I have a feeling you revert to that childhood activity of =20 singing on the bus." Wave Books expects to burn through more than 1,500 gallons of gas and =20 more than 150 gallons of coffee. The caravan of poets will include a =20 filmmaker, two professional astrologers and continuous online updates. Asked what he expects to happen when you throw together dozens of =20 poets -- male and female, average age 32 -- in an enclosed =20 environment for an extended time, Beckman laughs nervously, and a =20 little wickedly, then suggests two very different outcomes. "People have different ideas what a poetry bus can be," he says. "A =20 lot of people think a poetry bus is the most boring thing you could =20 imagine, like a bus full of people incredibly quietly reading. Others =20 think about Ken Kesey and think it's going to be crazy, with nobody =20 wearing any clothes and lots of drugs. "To be honest, if I really knew what was going to happen I wouldn't =20 be as excited as I am right now." ========================================================================= Date: Thu, 7 Sep 2006 09:36:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Poets Take to the Road This Fall In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I like the part about "professionalistic and distant world of poets". Still trying to figure out what he meant by that. Distant from what? On Sep 7, 2006, at 9:31 AM, Mairead Byrne wrote: > I'm doing this in Providence on September 29th. I'm wildly > excited. Though if I got on the bus the age average would soar! > Mairead > >>>> dtv@MWT.NET 09/07/06 9:21 AM >>> > Poets Take to the Road This Fall > > By HILLEL ITALIE | AP National Writer Posted August 31, 2006, 7:02 PM > EDT > > http://www.orlandosentinel.com/sns-ap-poetry-bus-tour,0,2684650.story ========================================================================= Date: Thu, 7 Sep 2006 07:36:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: hey aaron belz In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Aaron, Apologies for posting this to the list. You read a poem of mine on RealPoetik, and sent a message to the editor expressing a desire to communicate with me. Did you receive my emails? I'm concerned they may have ended up in a spam folder somewhere. Feel free to backchannel me, alexdickow9@yahoo.com. Yours, Alex Aaron Belz wrote: Today is Jane Currin's birthday, but all I can think of is Jan Hooks! "Ce dont le poete souffre le plus dans ses rapports avec le monde, c'est du manque de justice _interne_. La vitre-cloaque de Caliban derriere laquelle les yeux tout-puissants et sensibles d'Ariel s'irritent." Rene Char, _Partage Formel_, fragment II ========================================================================= Date: Thu, 7 Sep 2006 10:04:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hello again, Mark. Very happy to see your post yesterday morning. I'd met my 2 post limit, so had to wait to reply. I see I think quite clearly now what your point is -- and certainly Tom Orange's brief email yesterday morning helped articulate it (assuming his reading yesterday morning of my initial post was consonant with yours). The issue becomes for me a problem of how to speak in a positive, affiliated way (problematic labels, to be sure) about concerns (or even problems) inhering in the community -- without being on the one hand a goody-goody (a thief of virtue) and on the other a hypocrite. And I can see how you might be suspicious given that 8 yrs ago I myself played "young turk" on this list. What you see as stereotypes, I see as rough descriptions of roles around which I've observed unfortunate emotional transactions. These for me are very rough sketches of the way ideas, emotions and opinions -- not to say reputations, jobs, and book publications -- are "moved" and instantiated socially. So, to follow up on Tom's very succinct email yesterday morning, unlike the sketch of "maverick" or "revolution," I don't think poetry's in a woeful state, nor was I trying to imply that I'm just the guy to fix it. I think we as a community do a pretty good job being who we are, doing what we do. But I do think there is a certain amount of "game play" that isn't just about being fun and "the way things get done" (I hope my use of quote marks isn't as annoying as I fear it cd be considered). I was -- after I thought about it a bit -- for instance quite heartened that you thought my initial email was a bid to play "courtroom" and that you were essentially refusing me the social permission to play that game. As to whether we can find "clear ground" (in the way you use that metaphor): in one sense, no, I don't think we can or should. My use of that metaphor was frankly only a way to (hopefully gently) hint that I was beginning to suspect that my post and thoughts were being willfully misinterpreted. I got, in other words, suspicious. Your excellent responses and our discussion here caused me to dip again yesterday back into my volume of Wm James's essays on radical empiricism, and was reading his little squib called "How Two Minds Can Know One Thing." I thought you might get a kick out of the following as it speaks to I think some of the difficulties we've faced of talking about stuff like this in what you aptly call "discussion land": "Experiences come on an enormous scale, and if we take them all together, they come in a chaos of incommensurable relations that we can not straighten out. We have to abstract different groups of them, and handle these separately if we are to talk of them at all. But how the experiences ever get themselves made, or why their characters and relations are just such as they appear, we can not begin to understand. .... then we have to confess that ... 'a feeling only is as it is felt,' there is still nothing absurd in the notion of its being felt in two different ways at once, as yours, namely, and as mine. It is, indeed, 'mine' only as it is felt as mine, and 'yours' only as it is felt as yours. But it is felt as neither by itself, but only when 'owned' by our two several remembering experiences, just as one undivided estate is owned by several heirs." (fr. _The Writings of William James: A Comprehensive Edition_, page 231, ed. McDermott) It's what we do with that basic ontological divide -- (do we assume it's "clear ground" [a v. problematic thing to do, as you rightly point out {i meant that metaphor in a limited way}], or do we in good faith assume that we are dealing with a genuine affiliative being on the other end of the line? -- it's what we do with that divide that makes us, and makes our community. And if the latter (proceed in good faith), how then do we deal with difficult issues arising from doubt, error, rough speech, or intentional pushing (whether powerplays, transactional games, ad hominem, willful misprision, whathaveyou)? I'll post a link in a subsequent email to maybe offer a description of a game and a possible way of responding. Very good wishes to you, Mark. Gabe Had reached my 2 post limit, Date: Wed, 6 Sep 2006 09:27:05 -0700 Reply-To: UB Poetics discussion group <[log in to unmask]> Sender: UB Poetics discussion group <[log in to unmask]> From: Mark Wallace <[log in to unmask]> Subject: a small catalogue of cultural scripts Content-Type: text/plain; charset=iso-8859-1 Hello yourself, Gabe. It's no doubt very possible that I read your catalogue as a more aggressive critique than you yourself see it as, and if so, I guess that's one of those differences so common in discussion land. What's aggressive and what's gentle are themselves issues open to some interpretation, obviously. Even if your words seemed less kind-hearted to me than you felt them to be, and if your cultural scripts struck me more as stereotypes than as accurate observations, I'm still certainly willing to accept that you intended them in a different spirit than I initially understood--that is, that you meant them as a chance to open a dialogue. My apologies that I failed to see that that's what you meant to do. Whether there's much clear ground here between us, I'm less sure of, and I say this (that is, I'm trying to say this) with no desire to clash. I think we both agree that poetry communities are complicated entities, and that social power is distributed in them unevenly, frequently along lines of not only gender, but also race and class. But I think it's the very idea that there's some unequivocal "clear ground" regarding these questions that makes me distrustful. I'd be genuinely interested in hearing which parts of the ground you think are clear beyond the general agreement we have that gender, race, and class (and, I suppose, "manners," although the ground here becomes less clear again, at least for me) are problems in contemporary poetry communities and that all parties should work to minimize those problems. How should that be done? Do you have practical insights or suggestions? Because once we move beyond those conditions and into the behaviorial dynamics of groups and individuals, I think there are ambiguities, complexities, confusions, and paradoxes that don't lend themselves that frequently to the idea of clear ground. With sincere good wishes-- Mark ========================================================================= Date: Thu, 7 Sep 2006 10:15:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: jane currin In-Reply-To: <000801c6d22c$84a4baa0$230110ac@AARONLAPTOP> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Who do you think you are, Emily LaTella? On 9/6/06, Aaron Belz wrote: > > > Eh hem, Jane Curtin. I was conflating Jane Curtin and Jen Currin!!! > > > > > > _____ > > From: Aaron Belz [mailto:aaron@belz.net] > Sent: Wednesday, September 06, 2006 10:15 PM > To: 'POETICS@listserv.buffalo.edu' > Subject: jane currin > > > > > > Today is Jane Currin's birthday, but all I can think of is Jan Hooks! > > > > > -- http://hyperhypo.org ========================================================================= Date: Thu, 7 Sep 2006 10:18:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Poets Take to the Road This Fall In-Reply-To: <3586FE50-FAEC-40C2-BDA6-3C5E20963F99@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline This article ran in the Ames (Iowa) Tribune, but the following sentence >Others think about Ken Kesey and think it's going to be crazy, with nobody > wearing any clothes and lots of drugs. was stricken, which made me wonder where Beckman was going with his "people have different ideas" lead-in. Now I get it. -- http://hyperhypo.org ========================================================================= Date: Thu, 7 Sep 2006 11:59:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: award for Michael Palmer Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Found this item nestled in the NY TIMES under the news that Dylan's album shot up to number one: $100,000 Poetry Prize Winner Michael Palmer has been named the winner of the annual $100,000 Wallace Stevens Award of the Academy of American Poets. The accolade recognizes outstanding and proven mastery in the art of poetry. Mr. Palmer, an experimental poet who was born in New York in 1943 and has lived in San Francisco for more than 30 years, will read from his works at the academy's award ceremony on Nov. 8 at 7 p.m. in the Lang Auditorium at the New School, 55 West 13th Street, in Greenwich Village. The event is free and open to the public. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Thu, 7 Sep 2006 11:36:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: the game of "courtroom" in poetry discourse MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit http://gabrielgudding.blogspot.com/2006/09/game-of-courtroom-in-poetry-discourse.html Mark and others, There then above is that link. Basically the issue for me becomes how to speak to difficult behavior in a way that is peaceful and making of peace. Various problem-solving communities have for example speech codes to facilitate this (refer to interlocutor, eg, in 3rd person; or do not link someone's spoken name with a pejoration, eg, as on this list). Fundamentally I think, because of the problem of blaming, a great part of the answer lies in the practice of individuated askesis: if it is incumbent on anyone to behave peacefully, it is *first* incumbent that one oneself do so. A hard ideal. As anyone knows who's read Christian's amazing book, Aristotle called it "eunoia": beautiful mind, the mind that one must cultivate in order to be an ideal friend. Plutarch also used the word (eunoia), referring to as a kind of "mutual kindness." Siddhatta said that such a mind needed to be cultivated, literally grown, and the word he used in Pali was "bhavana": from the root "bhaw," to be, to grow, to become, to cultivate -- which was, interestingly, his word for "meditation." Siddhatta's answer then is that anyone who wishes to cultivate a peaceful mind must first behave without harm and second meditate in order to cultivate the wisdom necessary to act peacefully in a complex and at times violent world. The part of his code of conduct most relevant I think for poets in "discussion land" is the bit about "right speech" which he defined as "Thus does she live as one who binds together those who are divided...a peacemaker, a lover of peace...a speaker of words that make for peace." He even gave 5 marks of such words: they are timely, true, gentle, purposeful, and kindhearted. All markers that beg definition surely, especially if one is trying to speak to the harsh or verbally violent behavior of others. His answer is volition-based: that one should never allow violence to be perpetrated if it's possible to stop it while still retaining a peaceful mind. But the link above for me more clearly articulates this "big" ideal with a real-world (or what I *perceive,*[perhaps erroneously] to be) problem. I'll post the link below too. Gabe http://gabrielgudding.blogspot.com/2006/09/game-of-courtroom-in-poetry-discourse.html -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Thu, 7 Sep 2006 12:44:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Attention Span 2006 Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Greetings all, Forty-six writers contributed 480 titles to this year's installment =20 of "Attention Span," which is now online at http://www.thirdfactory.net/attentionspan.html The stellar cast of contributors includes (in order received): =20 Meredith Quartermain, Jed Rasula, John Hyland, John Tranter, Brian =20 Lucas, Steve Benson, Annie Finch, Stephen Cope, Leonard Schwartz, =20 James Wagner, Bill Berkson, Catherine Taylor, Marjorie Perloff, =20 Michael Scharf, Anne Boyer, Laura Carter, Pam Brown, Nancy Kuhl, =20 Benjamin Friedlander, Rodney Koeneke, Graham Foust, John Palattella, =20 Joanna Fuhrman, David Dowker, Peter Quartermain, Jeff Hamilton, Mark =20 Scroggins, John Latta, Marcella Durand, Noah Eli Gordon, Fred Wah, =20 G.C. Waldrep, Tony Tost, Michael Nicholoff, Dana Ward, Peter Gizzi, =20 Kevin Killian, Joseph Mosconi, Jennifer Scappettone, Franklin Bruno, =20 John Sakkis, Gary Sullivan, Rod Smith, Tom Orange, Sharon Mesmer, and =20= Joshua Clover.=00 Individually-signed lists, many of them with commentary, are up now. =20 A list of titles sorted by frequency of mention will come online next =20= week. Think of it as a partial correction to the truncated sense of the art =20= transmitted by the mainstream reviewing venues. Or just use it to =20 find a next book to read. In any case, I hope you'll enjoy perusing =20 it as much as I enjoy bringing it together. Steve www.thirdfactory.net ========================================================================= Date: Thu, 7 Sep 2006 10:12:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: In defense of violent speech WAS Re: the game of "courtroom" in poetry discourse In-Reply-To: <45004A83.8070500@ilstu.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Gabe, I really have to take issue with you here. First of all, to accept any buddhist thought on violence you have to first of all take for granted the buddha's axiom 1.) that life is suffering and 2.) that the annihilation of the self is the correct answer to that problem. Given my strong disagreement with the first premise and an inability to see how the second premise solves anything, and therefore appeals to buddhist thought rarely do much for me, i thought i'd take a second and consider the other side of what you're talking about in this post. That is, is there something laudable inherent in violent speech acts that your approach is ignoring? I'll begin by noting that all of the thinkers you've quoted in defense of the ideal of calmness or gentleness or a beautiful mind, were themselves living in societies wherein slavery and classism was commonplace and unquestioned, indeed, was morally justified in some of the same documents wherein these "wise men" praised the beautiful mind ideal. Your link between Aristotle and The Buddha is particularly interesting to me, as I've always thought that the real link between eastern and western thought was present in Aristotle and Confucius. Specifically, the Aristotelian ideal of the Gentleman in response to the Socratic/Platonic "true philosopher," and it's parallels in the Confucian junzi or noble gentleman. I think you do an unfortunate revision of the texts when you take from the context that it is these people who should be cultivating the beautiful mind you speak of, and that such people can only do so if they ignore the underlying cultural violence that their rigidly stratified societies enforce. When all of these thinkers speak of "eunoia" or whatever, they aren't speaking to everyone, they're speaking to the elite class of rulers who could afford to pay for their services as advisors and teachers, and who were educated enough to be able to read their works. As such, such highminded ideals presented in such morally debauched societies actually make a mockery of everything I think is good and valuable about human society. In fact the ethics of most ancient thinkers are crippled by the fact that their praise of beautiful behavior is in fact a smoke screen for the depravation that the class of thinkers institutes on aliens, women, slaves, and the various other underclasses on which their leisure time to be able to sit around pontificating about beatiful speech and gentleness relied. I say, in contrast to these unrealistic and in some cases outright dehumanizing ideas about trying to be gentle and kind in an unjust world wherein one is reaping the benefits of the unjustness of the situation, that maybe taking a dialectically opposite approach to your ideal of gentleness might be the best thing to do in order to arrive at a more humane and just mode of social conduct. To that end, one should not attempt to be gentle and develop a beautiful mind, but should in fact cultivate a psyche as chaotic and roiling as the mass of human culture itself. One should attempt to be spontaneous in the expression of the full range of human emotions rather than subsuming such "negative" emotions as anger, desire, and disdain as secondary and something to be controlled. Certainly there is something to be said about curtailing physical violence, but verbal violence? Verbal violence is a requisite iconoclasm in an unjust and imperfect society. The rules of such a society being a normative kind of social grammar that can only be attacked grammatically, but moving to a gentle form of speech one hamstrings oneself to be able to effect any sort of social change. It's equivalent to needing to cut down a forest but denying from the outset the use of any tools other than those one might use to clean a house with. Rather than eunoia, then, the mental ideal should be a form of controlled paranoia, and practice should be made in the making of violent, forceful speech acts, and such acts should be appreciated for the beautifully destructive forces that they are, rather than being criticized as somehow inferior to the sort of politesse that the ruling classes would to enforce on everyone as a means to cement their efete plutocratically ordained lifestyles. yrs and looking forward to your response, JFQ On Thu, 7 Sep 2006, Gabriel Gudding wrote: > http://gabrielgudding.blogspot.com/2006/09/game-of-courtroom-in-poetry-discourse.html > > Mark and others, > > There then above is that link. Basically the issue for me becomes how to speak > to difficult behavior in a way that is peaceful and making of peace. Various > problem-solving communities have for example speech codes to facilitate this > (refer to interlocutor, eg, in 3rd person; or do not link someone's spoken name > with a pejoration, eg, as on this list). Fundamentally I think, because of the > problem of blaming, a great part of the answer lies in the practice of > individuated askesis: if it is incumbent on anyone to behave peacefully, it is > *first* incumbent that one oneself do so. A hard ideal. > > As anyone knows who's read Christian's amazing book, Aristotle called it > "eunoia": beautiful mind, the mind that one must cultivate in order to be an > ideal friend. Plutarch also used the word (eunoia), referring to as a kind of > "mutual kindness." Siddhatta said that such a mind needed to be cultivated, > literally grown, and the word he used in Pali was "bhavana": from the root > "bhaw," to be, to grow, to become, to cultivate -- which was, interestingly, > his word for "meditation." Siddhatta's answer then is that anyone who wishes to > cultivate a peaceful mind must first behave without harm and second meditate in > order to cultivate the wisdom necessary to act peacefully in a complex and at > times violent world. The part of his code of conduct most relevant I think for > poets in "discussion land" is the bit about "right speech" which he defined as > "Thus does she live as one who binds together those who are divided...a > peacemaker, a lover of peace...a speaker of words that make for peace." He even > gave 5 marks of such words: they are timely, true, gentle, purposeful, and > kindhearted. > > All markers that beg definition surely, especially if one is trying to speak to > the harsh or verbally violent behavior of others. His answer is volition-based: > that one should never allow violence to be perpetrated if it's possible to stop > it while still retaining a peaceful mind. But the link above for me more > clearly articulates this "big" ideal with a real-world (or what I > *perceive,*[perhaps erroneously] to be) problem. I'll post the link below too. > > Gabe > > http://gabrielgudding.blogspot.com/2006/09/game-of-courtroom-in-poetry-discourse.html > > -- > __________________________________ > http://gabrielgudding.blogspot.com > ---------------------------------- > Gabriel Gudding > Department of English > Illinois State University > Normal, Illinois 61790 > 309.438.5284 (office) > ========================================================================= Date: Thu, 7 Sep 2006 13:42:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: the game of "courtroom" in poetry discourse In-Reply-To: <45004A83.8070500@ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline --thanks for posting that link which is very interesting -- to each poetics member for different reasons -- -- there is a great deal that could be said about these kinds of things -- -- a couple thoughts then back to work -- one thing that occurs to me is the interpretative act as locus of truth -- this seems to me to be what we count on for any public dialogue to be meaningful, but can such a thing be, in the cynical view, there can never be a reflection of the speaker in the world of representation -- instead the world fills with anti-speakers, anti-truths, and these phantoms are what becomes the public world -- but to dwell on the question of whether such distortions should be permitted, when they are never entirely avoided -- if anyone decides what words mean, which i realize is another possibility, of course not rationally but if a world like that existed, it's an exaggeration of the joke about poor people that they believe everything they read, and all people are poor in some sense, the antithesis of which is a cynical world in which nothing is believable -- even so the utopia where symbolic violence does not occur is indeed important and this seems the point, the question is where is that world located -- and i've always thought the sciences know something the humanists don't on that score, the ability to spend years or even decades observing ferns, without concern for language applied to them -- observation -- that world is not a mute world but neither does it have the same kinds of symbols -- this is the problem of the nonviolence the people who are nonviolent are not the ones who bear the responsibility for stopping violence they are the ones who point to a different utopia where nonviolence makes agression a waste of time -- the old joke from LBJ The aide responded, "Jeezus, LB, we can't call the guy a pig-f&%!er!!" And LBJ quipped, "I don't want to. I just want to make him deny it." On 9/7/06, Gabriel Gudding wrote: > > > http://gabrielgudding.blogspot.com/2006/09/game-of-courtroom-in-poetry-discourse.html > > Mark and others, > > There then above is that link. Basically the issue for me becomes how to > speak to difficult behavior in a way that is peaceful and making of > peace. Various problem-solving communities have for example speech codes > to facilitate this (refer to interlocutor, eg, in 3rd person; or do not > link someone's spoken name with a pejoration, eg, as on this list). > Fundamentally I think, because of the problem of blaming, a great part > of the answer lies in the practice of individuated askesis: if it is > incumbent on anyone to behave peacefully, it is *first* incumbent that > one oneself do so. A hard ideal. > > As anyone knows who's read Christian's amazing book, Aristotle called it > "eunoia": beautiful mind, the mind that one must cultivate in order to > be an ideal friend. Plutarch also used the word (eunoia), referring to > as a kind of "mutual kindness." Siddhatta said that such a mind needed > to be cultivated, literally grown, and the word he used in Pali was > "bhavana": from the root "bhaw," to be, to grow, to become, to cultivate > -- which was, interestingly, his word for "meditation." Siddhatta's > answer then is that anyone who wishes to cultivate a peaceful mind must > first behave without harm and second meditate in order to cultivate the > wisdom necessary to act peacefully in a complex and at times violent > world. The part of his code of conduct most relevant I think for poets > in "discussion land" is the bit about "right speech" which he defined as > "Thus does she live as one who binds together those who are divided...a > peacemaker, a lover of peace...a speaker of words that make for peace." > He even gave 5 marks of such words: they are timely, true, gentle, > purposeful, and kindhearted. > > All markers that beg definition surely, especially if one is trying to > speak to the harsh or verbally violent behavior of others. His answer is > volition-based: that one should never allow violence to be perpetrated > if it's possible to stop it while still retaining a peaceful mind. But > the link above for me more clearly articulates this "big" ideal with a > real-world (or what I *perceive,*[perhaps erroneously] to be) problem. > I'll post the link below too. > > Gabe > > > http://gabrielgudding.blogspot.com/2006/09/game-of-courtroom-in-poetry-discourse.html > > -- > __________________________________ > http://gabrielgudding.blogspot.com > ---------------------------------- > Gabriel Gudding > Department of English > Illinois State University > Normal, Illinois 61790 > 309.438.5284 (office) > ========================================================================= Date: Thu, 7 Sep 2006 13:13:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: New blogspot In-Reply-To: <20060907.005134.-182765.23.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://skipfox.blogspot.com/ "Immortal Art for All Occasions" --Stephen Petroff, poet card "When he learned the language of the birds, He stayed inside as much as possible." --Richard LaPauvre, "Arbor Aubade" ========================================================================= Date: Thu, 7 Sep 2006 14:31:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: m1Fw: MiX'D TRiX Sept 13 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this is in manhattan across from thompkins sq park ========================================================================= Date: Thu, 7 Sep 2006 12:48:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Dodie Bellamy's revised prose workshop Comments: To: ampersand@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi There-- There are still a couple of openings for my fall prose workshop. Below is my original call for students. I've decided to revise the class a bit. We'll begin with assignments and gradually segue into an open-ended workshop when students feel like it's time/when people have projects they feel like continuing working on. Best, Dodie -------------------- Writing Experiments Workshop Dodie Bellamy This fall I will be leading a writing experiments workshop, which will meet 11 Monday evenings, from 7 to 10 p.m. The dates: September 25 through December 4. Cost: $350, with a $100 deposit due by September 18. Each week students will be assigned a short take-home writing experiment which they will share with the class the following week. Assignments will range from cut ups to exploring bodily sensations. Each week we will also critique longer pieces by two students. Students may bring in anything they want (up to 20 pages) for the longer critiques. Depending on the length, these longer pieces will be read aloud in class or handed out a week ahead of time. Though this class will have a prose focus, it is cross-genre, and poets are welcome. The class is limited to 9 students. Lots and lots of personal attention. It takes place in San Francisco, in my South of Market apartment, which comes complete with snacks and two cats. This is a good class for poets wanting to play around with narrative or prose writers wanting to open up their prose. It will be the last workshop I'll be doing for a while. Pink Steam, my collection of fiction, memoir, and memoiresque essays, was published in 2004 by San Francisco's Suspect Thoughts Press. My vampire novel, The Letters of Mina Harker was reprinted by University of Wisconsin Press, also in 2004. Academonia, a book of essays, is forthcoming from Krupskaya late fall. I'm the author of 3 other books and I teach creative writing at SF State and in the MFA program at Antioch Los Angeles. I've also taught at CalArts, Naropa summer session, Mills, USF, UC Santa Cruz, and the SF Art Institute. I've received the Bay Guardian Goldie Award for Literature and the Firecracker Alternative Book Award for Poetry. If you're interested, please email about work samples, etc. Or--if you know anybody who might be interested, please pass this email along to them. If you're interested do contact me promptly. Preference given to those not currently enrolled in a grad writing program. -- ****************************************** My email address has changed to: dodie@belladodie.com Please use this address in the future as my earthlink address will soon be inoperable. ========================================================================= Date: Thu, 7 Sep 2006 13:11:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: a small catalogue of cultural scripts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Jason and Gabe: I appreciate many of the issues you raise. I've about had my say on this topic, but I'd add a few last points. Jason, I agree with you that setting standards for what might be considered proper modes of social speech isn't a good idea and is immediately ridden with problems of class and status bias--not to mention completely impossible in any practical sense. And the idea that "violent speech" as you define it should go away is also similarly untenable. That said, verbal violence and physical violence can't be purely separated from each other--I'm not sure whether you were implying that they could. For instance, male physical violence towards women is often indirectly encouraged by environments that directly encourage hostile male speech about women. As you imply, though, trying to legislate such language out of existence is a problem the moment you try to imagine who would do that legislating, and on what grounds (and for what purposes) they would do it. I stand more with what Al Nielsen likes to say about these things: the solution to the problems of free speech is more free speech. Also, there are differences between the problems within poetry communities, which I was talking about, and the problems of living under late capitalism generally, which you were talking about. Of course, both are worthy subjects. In any case, as you said in an earlier post, it's all just a little too meta: on some level, the best answers about how to talk to people can only be found case by case, even if one does choose some basic principles to stand by. Gabe, I think it's interesting and original that you use a philsophical/Buddhist framework to talk about these sort of speech act/behavior games. These kinds of behavioral questions are more commonly approached through sociology, psychology, and my still favorite writing focused on human interaction: fiction. Fiction continues to provide a rich ground for understanding the complex ways that people get along or not with each other in all sorts of communities. How's that for a wild generality? But I like the fact that you're coming at these questions from an innovative angle. I have to admit, though, that in looking at your "Courtroom" link I still feel like your approach is caught a little uncomfortably between an attempt at objective social description and an attempt at mean-spirited (if often funny) satire. I get the sense that the center point of these descriptions is the unreflective, self-asserting male ego, and that you pin a lot of your analysis on the assertion that those egos are at the center of the world even of "alternative" poetries. At least for the moment, I find the social games as described in, say, the work of Erving Goffman to be more nuanced and thorough, less likely to pin all social ills on the idea of the will-to-dominate male in love with his own image. But in any case I wish you good luck in continuing your attempt, and I have no doubt that there are many reasons for critiquing men of that kind, because they do a lot of damage. Keep on keeping on-- Mark __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! 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Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Thu, 7 Sep 2006 14:24:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: IMAGE SET In-Reply-To: <20060907205856.86052.qmail@web37606.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: QUOTED-PRINTABLE i'm sure there's something to see here, but i don't get it. will somebody w= ho get's this sort of thing read this for me so I can figure out how it's d= one? On Thu, 7 Sep 2006, ////////////////////////// wrote: > http://p9.hostingprod.com/@writingxxxxxxx.com/image1.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image2.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image3.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image4.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image5.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image6.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image7.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image8.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image9.html > > > --------------------------------- > How low will we go? Check out Yahoo! Messenger=92s low PC-to-Phone call = rates. > ========================================================================= Date: Thu, 7 Sep 2006 16:59:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: IMAGE SET In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable this was on the root page (links on it broken however) trenches, trances orbits of serotonin echoes, shadows autonomy of infinite the treason of ghost-images noise and light=20 that trap of laughter 7, 8, and 9 have text that is possibly legible my reading goes I was enjoying the earlier images, nicely sized for my screen, which = seems a sort of silver albumen "effect" applied to images for digital (where, of course, the silver development process doesn't hold, but metal is = certainly involved in different ways) which seems like where aerial maps (i.e., = built environments as texture) meet skin texture (i.e., natural texture) meets "wear and tear" -- but then it got more narrative, zooming in on one = area, panning a little, some text, and I lost interest as far as how it is done, eh, who knows -- there are lots of different = ways -- but the how isn't terribly important here, is it? it is not the = point -- All best, Catherine -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Jason Quackenbush Sent: Thursday, September 07, 2006 2:24 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: IMAGE SET i'm sure there's something to see here, but i don't get it. will = somebody who get's this sort of thing read this for me so I can figure out how = it's done? On Thu, 7 Sep 2006, ////////////////////////// wrote: > http://p9.hostingprod.com/@writingxxxxxxx.com/image1.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image2.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image3.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image4.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image5.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image6.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image7.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image8.html > > http://p9.hostingprod.com/@writingxxxxxxx.com/image9.html > > > --------------------------------- > How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call rates. > ========================================================================= Date: Thu, 7 Sep 2006 18:03:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ////////////////////////// Subject: Re: IMAGE SET In-Reply-To: <002001c6d2d9$b63a7b60$6501a8c0@KASIA> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit it's work from old text here are links to the text the next back buttons don't work these are temporary links http://p9.hostingprod.com/@writingxxxxxxx.com/page1.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page2.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page3.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page4.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page5.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page6.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page7.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page8.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page9.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page10.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page11.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page12.htm http://p9.hostingprod.com/@writingxxxxxxx.com/page13.htm --------------------------------- All-new Yahoo! Mail - Fire up a more powerful email and get things done faster. ========================================================================= Date: Thu, 7 Sep 2006 19:21:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: patrick dunagan Subject: Dunagan & Litton / Poirier & Thibodeaux @ Moe's MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline September at Moe's Books 2476 Telegraph Avenue Berkeley (510) 849-2087 moesbooks.com readings at 7:30 unless otherwise noted September 11th Patrick Dunagan Mark Litton September 18th Sunnylyn Thibodeaux Julien Poirier ========================================================================= Date: Fri, 8 Sep 2006 01:02:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Gabe, When I first read your initial post which started this line of discussions, I knew immediately the specific person many of your comments were referring to. From what expired on this list and on Lucipo afterwards, it is clear that I was not the only one who had this impression. Given this situation, I have one question. If the point of your reference was basically so clear,why did you not mention the name but used a third person? Is this not itself a rhetorical device, in your terms, a transactional gesture. Enlighten me. Ciao, Murat ========================================================================= Date: Fri, 8 Sep 2006 00:12:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: the game of "courtroom" in poetry discourse MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hi Heidi and Jason and Mark, About violence and a pacific utopia. (Mark, I know you're out the door, so will just say thanks for yr engagement. I enjoyed your conversation.) I'm not sure that I was clear, or the passage about nonviolence was clear: nonviolence does not mean pacificism. An ethics of gentleness isn't an ethics of patsy-ism. Nonviolence means stopping violence. It does not mean succumbing to it. It's a common misunderstanding, but not even the Buddha was a pacifist. Sometimes hard action is necessary, whether hard verbal action or hard physical action. The buddha's only point was that one must tend one's own mind, to make it gentle, even when standing up to folks who are, well, thick. Ignorant people (and I don't mean uneducated, I mean people who don't have control of their minds) are dangerous. They sometimes have to be opposed vigorously. Like most people, I've (even recently) found it necessary in my life to stand up to manipulative intimates -- one of whom was at times physically violent -- and to get away from them. Vipassana has helped in that tremendously. Gentleness is not about inaction or inanition. The Buddha did not advocate for world peace, nor point to a Utopia. I think what I find compelling about the buddhadhamma is that it recognizes the array of volitional possibilities, temperaments, life forces, found in the human community and the wider community of beings, each particular being having its own capacity for understanding, wisdom and action. The world, like, is a very complex place. Insight based on "satipatthana," or the firm establishing of awareness and equanimity through vipassana meditation, is the only possible way, the Buddha suggested, to *first* fully recognize the complexity of the misery around one, and *second* not succumb to it, and third to help others out of it. Sometimes hard action is necessary to help others not hurt themselves or others. I have found no more effective ethic anywhere. And my gratitude for the simple, laser-like practice of vipassana is pretty well boundless. Jason, as to whether gentleness is possible only for rich people: it's the most educated and richest countries that are the most violent. Gandhi, as with Ambedkar, worked closely with Untouchables training them to act gently but forcefully. Or for a huge modern day example: Just take a look at Tihar Prison in India. Over ten thousand very very poor people have festered in that place for decades. This is the largest prison in India. Very violent. For over twelve years now two free-of-charge ten day silent vipassana courses are taught in that prison each month. Prior to Vipassana courses being taught there, it was the most violent prison in India. Now its pacific. The people are still poor. Its rates of murder, theft and rape have plummeted. An award winning documentary was made about the teaching of vipassana in that prison, if you're interested: DOING TIME, DOING VIPASSANA (1997,i think). Many many vipassana courses have been taught in prisons in Seattle (dropping recidivism rates precipitously), British Columbia, and a maximum in Alabama. I've started writing programs in three prisons: the people who benefit most from having a peaceful mind are the inmates,and the inmates families, not the guards, not the state apparatus. Truly cultivating one's mind through vipassana brings one to a life of action, not 'yeah man that's groovy.' You mentioned slavery, Jason. The example of Epictetus stands out. The most influential philosopher of his day, some say of the first millennium, more influential in his day than Plato, someone who profoundly affected Aurelius, Emerson, Wm James. Born Greek, he lived much of his life as a slave, was brutally beaten and hobbled by his Roman master, and lived almost the entirety of his life under privation and hunger, ending it in exile and poverty, lame and crippled -- because of the cruelty of an entire society. But he refused to blame, and refused to relinquish a mindstate of goodwill and self-determination. His lectures are pretty dang inspiring. Or Viktor Frankl, who survived not just one extermination camp, but four -- Theresienstadt, then Auschwitz, then Kaufering and Turkheim, the latter two being adjuncts of Dachau -- and who said, "We who lived in concentration camps can remember the men who walked through the huts comforting others, giving away their last piece of bread. They may have been few in number, but they offer sufficient proof that everything can be taken from a person but one thing: the last of the human freedoms -- to choose one's attitude in any given set of circumstances, to choose one's own way." My point: Cultivating one's mind and living gently is not a luxury dependent on circumstance. Or if it is, it is one that luxury destroys. Tolstoy said, and I'm inclined to agree, "unhappiness is the fatal result, not of our need, but of our abundance."-- fr. _War and Peace_, as quoted in William James' essay "On a Certain Blindness in Human Beings," as found in THE WRITINGS OF WILLIAM JAMES: A COMPREHENSIVE EDITION (McDermott, ed.), page 641. This has been a v. long-winded post. That LBJ joke rocks. Much warmth to you both. Gabe Date: Thu, 7 Sep 2006 13:42:18 -0400 Reply-To: UB Poetics discussion group <[log in to unmask]> Sender: UB Poetics discussion group <[log in to unmask]> From: heidi arnold <[log in to unmask]> Subject: Re: the game of "courtroom" in poetry discourse In-Reply-To: <[log in to unmask]> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Disposition: inline --thanks for posting that link which is very interesting -- to each poetics member for different reasons -- -- there is a great deal that could be said about these kinds of things -- -- a couple thoughts then back to work -- one thing that occurs to me is the interpretative act as locus of truth -- this seems to me to be what we count on for any public dialogue to be meaningful, but can such a thing be, in the cynical view, there can never be a reflection of the speaker in the world of representation -- instead the world fills with anti-speakers, anti-truths, and these phantoms are what becomes the public world -- but to dwell on the question of whether such distortions should be permitted, when they are never entirely avoided -- if anyone decides what words mean, which i realize is another possibility, of course not rationally but if a world like that existed, it's an exaggeration of the joke about poor people that they believe everything they read, and all people are poor in some sense, the antithesis of which is a cynical world in which nothing is believable -- even so the utopia where symbolic violence does not occur is indeed important and this seems the point, the question is where is that world located -- and i've always thought the sciences know something the humanists don't on that score, the ability to spend years or even decades observing ferns, without concern for language applied to them -- observation -- that world is not a mute world but neither does it have the same kinds of symbols -- this is the problem of the nonviolence the people who are nonviolent are not the ones who bear the responsibility for stopping violence they are the ones who point to a different utopia where nonviolence makes agression a waste of time -- the old joke from LBJ The aide responded, "Jeezus, LB, we can't call the guy a pig-f&%!er!!" And LBJ quipped, "I don't want to. I just want to make him deny it." On 9/7/06, Gabriel Gudding <[log in to unmask]> wrote: -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Fri, 8 Sep 2006 00:32:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: A Small Catalog of Cultural Scripts MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hi Murat, I've talked about this before on Lucipo. 3rd person is common courtesy. Beyond that: not exclusively about one person; structural focus; not wishing to fuel an economy of attention or scandal. All while still talking about structural issue. A rhetorical device is not a transactional game. Far as I can see anyway. I wrote brief essay touching on yr question: "Literary Narcissism and the Manufacture of Scandal." It's on my blog somewhere if you're interested. Gabe _______________________________________________________________ Date: Fri, 8 Sep 2006 01:02:43 -0400 Reply-To: UB Poetics discussion group <[log in to unmask]> Sender: UB Poetics discussion group <[log in to unmask]> From: Murat Nemet-Nejat <[log in to unmask]> Subject: Re: A Small Catalog of Cultural Scripts Content-Type: text/plain; charset=iso-8859-1 Gabe, When I first read your initial post which started this line of discussions, I knew immediately the specific person many of your comments were referring to. From what expired on this list and on Lucipo afterwards, it is clear that I was not the only one who had this impression. Given this situation, I have one question. If the point of your reference was basically so clear,why did you not mention the name but used a third person? Is this not itself a rhetorical device, in your terms, a transactional gesture. Enlighten me. Ciao, Murat ========================================================================= Date: Thu, 7 Sep 2006 23:23:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: Chicago Parking Space Project MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit PARK YOURSELF: CITYWIDE PARKING SPACE PROJECT September 8th - September 16th a free series of actions & performances throughout Chicago Schedule and Map at http://tallskinny.com/parkyourself/ Performers include: Beatriz Albuquerque, Mike Benedetto, Jens Brasch, Mary and Anna Carvlin, Chance of Showers, Anthony Cobb, JB Daniel, Vesna Grbovic, Nancy Juda, Jennifer Karmin, Burleigh Kronquist, Javier Lara, Robin Morrissey, Phil Passen, PEOPLE, Scott Ian Ray, Jenny Roberts, Paul Lloyd Sargent, Ben Shepard, Subtext Dance Company, The Space/Movement Project, Marija Topalovic, Sallie Wolf, Mike Yong WHY SHOULD CARS BE PRIVILEGED? Participants, including performance artists, dancers, musicians, visual artists, activists and non-artists, will “rent” parking spaces throughout the city by paying the requisite amount for the time. Theoretically, this payment authorizes and entitles them to use the space in any way they choose. When we temporarily free ourselves from automatic assumptions about the urban spaces we navigate daily, we can imagine new uses and invent new ways of entering those spaces, thus liberating ourselves — and perhaps those around us. For more info contact: jenrobe@earthlink.net 312-944-5112 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 8 Sep 2006 07:17:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Fwd: MANLY GIRL Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit (palinodes are sweeping the nation, you might be next) Begin forwarded message: > From: Audacia Dangereyes > Date: September 7, 2006 10:54:35 PM CDT > To: WRYTING-L@LISTSERV.WVU.EDU > Subject: MANLY GIRL > Reply-To: Theory and Writing > > MANLY GIRL > > palinode for Charles Bernstein > > > I love tragicomic erudition > > visiting deserted seclusion > > places hiding in vestal solipsism > > crazy wilderness jumps my victim > > she resisted appetizing mannerism > > thrust her mouthpiece against idiosyncratic perjury > > I didn't intend to obstruct ghostly exile > > > http://stoneagetype.tk ========================================================================= Date: Fri, 8 Sep 2006 06:43:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: new on chaxblog Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable New on=20 chaxblog=20 since the last announcement * Cornstarch Figurine, by Elizabeth Treadwell: Is there a relationship= =20 between estrangement & delight? * Steve Reich: the American Composer, about to turn 70 years old * The Wheels Turn: chax press, physical poetics/politics =AD a little=20 about our place in the Tucson Historic Warehouse Arts District, and how the= =20 city missed a great opportunity http://chax.org/blog.htm (And if anyone has tips about formatting poetry (indents, multiple indents,= =20 etc.) for blogger, please let me know. I tried pre-formatting something in= =20 Dreamweaver, that didn't work, tried using non-breaking spaces, and they=20 introduced some strange spacing, so I took them out. Does the 
 tag=20
work in blogger? other ideas?)



charles alexander / chax press

fold the book inside the book           keep it open always
         read from the inside out                speak then=20
=========================================================================
Date:         Fri, 8 Sep 2006 09:12:48 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         mIEKAL aND 
Subject:      Quick Survey about Media Mail
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

Quick survey for you all.  What has been your experience with
receiving & sending media mail?  Media mail is dramatically cheaper
than first class, ups ground etc & I've been starting to use it for
sending out Xexoxial orders.  Delivery dates seem fairly
unpredictable, ranging from a few days to weeks, but other than that
it seems to be a good deal.  Has anyone had problems or issues with
Media mail?  Missing, damaged, etc?   How do you feel about having to
wait longer?  Anyone else using it to send out their wares and how is
it working for you?


~mIEKAL
=========================================================================
Date:         Fri, 8 Sep 2006 10:55:25 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Brian Clements 
Subject:      Re: Quick Survey about Media Mail
In-Reply-To:  <0609FC42-DDE1-4DB6-B2BF-42A2B4205153@mwt.net>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"

mIEKAL,

I have always used Media Mail for mailing out each issue of Sentence and
for mailing books in general. I would say about 2 or 3% of each issue
never reaches its destination and has to be reshipped. USPS reserves the
right to open Media Mail to confirm that it meets the rate requirements,
and I suspect that they actually do that, especially when they see a big
shipment. And, yes, delivery times range from a couple days to several
weeks, and distance to delivery doesn't seem necessarily to correlate to
delivery times. It's not terribly reliable, but the savings are worth it.
At least for us.

Brian






mIEKAL aND 
Sent by: UB Poetics discussion group 
09/08/2006 10:12 AM
Please respond to
UB Poetics discussion group 


To
POETICS@LISTSERV.BUFFALO.EDU
cc

Subject
Quick Survey about Media Mail






Quick survey for you all.  What has been your experience with
receiving & sending media mail?  Media mail is dramatically cheaper
than first class, ups ground etc & I've been starting to use it for
sending out Xexoxial orders.  Delivery dates seem fairly
unpredictable, ranging from a few days to weeks, but other than that
it seems to be a good deal.  Has anyone had problems or issues with
Media mail?  Missing, damaged, etc?   How do you feel about having to
wait longer?  Anyone else using it to send out their wares and how is
it working for you?


~mIEKAL
=========================================================================
Date:         Fri, 8 Sep 2006 11:31:46 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Vernon Frazer 
Subject:      Re: Quick Survey about Media Mail
In-Reply-To:  <0609FC42-DDE1-4DB6-B2BF-42A2B4205153@mwt.net>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Hi mIEKAL

Media Mail works very well for me. Usually, it doesn't take much longer than
first-rate mail and over the long haul it saves me money that I can use for
other things, e.g. paper and toner cartridges and more stamps.

So far, I've had no problems with media mail getting lost. I think it's a
good deal, much better than the Special 4th Class Rate for manuscripts used
to be.

Vernon
http://vernonfrazer.com


-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of mIEKAL aND
Sent: Friday, September 08, 2006 10:13 AM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Quick Survey about Media Mail

Quick survey for you all.  What has been your experience with
receiving & sending media mail?  Media mail is dramatically cheaper
than first class, ups ground etc & I've been starting to use it for
sending out Xexoxial orders.  Delivery dates seem fairly
unpredictable, ranging from a few days to weeks, but other than that
it seems to be a good deal.  Has anyone had problems or issues with
Media mail?  Missing, damaged, etc?   How do you feel about having to
wait longer?  Anyone else using it to send out their wares and how is
it working for you?


~mIEKAL
=========================================================================
Date:         Fri, 8 Sep 2006 12:14:51 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Eric Yost 
Subject:      Re: the game of "courtroom" in poetry discourse
In-Reply-To:  <4500FBC2.3080505@ilstu.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

 >>The buddha's only point was that one must tend one's own
mind, to make it gentle, even when standing up to folks who
are, well, thick.


Heinrich Zimmer has a great section about the bitter rivalry
between the followers of Buddha and the followers of
Goshala. Buddha taught that one can be freed from the wheel
of rebirth. His followers started drafting (in)action plans
to get off the wheel of births.

Goshala, on the other hand, taught that everyone has 80,000
incarnations, not one more or one less. If you are suffering
in ignorance, according to Goshala, it is because you have
just started to reincarnate; if you are happy and
enlightened, it is because you have already lived many
lives. There's not a thing you can do about it.

The Buddhists hated the Mandukarin for undermining their
(non-) self-help program. So human and so amusing.
=========================================================================
Date:         Fri, 8 Sep 2006 12:55:59 -0400
Reply-To:     az421@freenet.carleton.ca
Sender:       UB Poetics discussion group 
From:         Rob McLennan 
Subject:      the ottawa small press book fair - fall edition
Content-transfer-encoding: 7BIT

span-o (the small press action network - ottawa)
presents
			the ottawa
			small press
			book fair
					fall edition
will be happening
Saturday, October 21st, 2006

in room 203 of the Jack Purcell Community Centre (on Elgin, at 320 Jack
Purcell Lane). 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)

admission free to the public. due to increased space costs (nearly
doubled) table fees have increased from $15 to $20 for exhibitors
(payable to rob mclennan, c/o 858 Somerset St W, main floor, Ottawa Ontario
K1R 6R7). 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 considered & any other pertinent info, including upcoming
ottawa-area events (if any).

also, due to the increased demand for table space, exhibitors are asked to
confirm far earlier than usual. i.e. -- before, say, the day of the fair.
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

info with map here:
http://robmclennan.blogspot.com/2006/09/span-o-small-press-action-network.html

free things can be mailed for fair distributionto the same address. we
will not be selling things for folk who cant make it, sorry.

also, always looking for volunteers to poster, move tables, that sort of
thing. let me know if anyone able to do anything. thanks.

for more information, bother rob mclennan at 613 239 0337 or
az421@freenet.carleton.ca / or check out the span-o link at
www.track0.com/rob_mclennan

================



--
poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics
(Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press
fair   ...11th coll'n - name   , an errant (Stride, UK)        .... c/o 858
Somerset St W, Ottawa ON K1R 6R7   *      http://robmclennan.blogspot.com/
=========================================================================
Date:         Fri, 8 Sep 2006 18:41:20 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         laura oliver 
Subject:      Re: Quick Survey about Media Mail
In-Reply-To:  <20060908153154.VZKL2199.ibm58aec.bellsouth.net@vernon>
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

I use media mail. All media goes from your post office to a local processing
center, and this does cause a delay. I have had packages lost, but it is
rare. For shipping in the continental U.S., it's worth the savings, BUT if
you are shipping to Hawaii or Alaska, media mail goes by BOAT (yikes) and
can take over a month to arrive to its destination! In these cases, I use
first class.

best,
Laura




"i'm proud of my genius just like a painter and dumb like a poet i think i
can just say it..."

-Davey Vonbohlen of The Promise Ring


----Original Message Follows----
From: Vernon Frazer 
Reply-To: UB Poetics discussion group 
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Re: Quick Survey about Media Mail
Date: Fri, 8 Sep 2006 11:31:46 -0400
MIME-Version: 1.0
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FILETIME=[EEA0AD30:01C6D35B]

Hi mIEKAL

Media Mail works very well for me. Usually, it doesn't take much longer than
first-rate mail and over the long haul it saves me money that I can use for
other things, e.g. paper and toner cartridges and more stamps.

So far, I've had no problems with media mail getting lost. I think it's a
good deal, much better than the Special 4th Class Rate for manuscripts used
to be.

Vernon
http://vernonfrazer.com


-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of mIEKAL aND
Sent: Friday, September 08, 2006 10:13 AM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Quick Survey about Media Mail

Quick survey for you all.  What has been your experience with
receiving & sending media mail?  Media mail is dramatically cheaper
than first class, ups ground etc & I've been starting to use it for
sending out Xexoxial orders.  Delivery dates seem fairly
unpredictable, ranging from a few days to weeks, but other than that
it seems to be a good deal.  Has anyone had problems or issues with
Media mail?  Missing, damaged, etc?   How do you feel about having to
wait longer?  Anyone else using it to send out their wares and how is
it working for you?


~mIEKAL
=========================================================================
Date:         Fri, 8 Sep 2006 14:43:49 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      listenlight new issue 02
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

Tim Yu, Glenn Bach, Allen Bramhall, Elizabeth Switaj, Katrinka Moore,
Peter Jay Shippy

http://listenlight.net
=========================================================================
Date:         Fri, 8 Sep 2006 13:02:24 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: IMAGE SET
In-Reply-To:  <002001c6d2d9$b63a7b60$6501a8c0@KASIA>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed

by "how it's done" i was meaning "how do you read this stuff?" Do i just treat it like i do visual art or is there more to it than that? this whole visual poetry thing has me completely baffled.


On Thu, 7 Sep 2006, Catherine Daly wrote:

> this was on the root page (links on it broken however)
>
> trenches, trances
>
> orbits of serotonin
>
> echoes, shadows
>
> autonomy of infinite
>
> the treason of ghost-images
>
> noise and light
>
> that trap of laughter
>
> 7,  8, and 9 have text that is possibly legible
>
> my reading goes
>
> I was enjoying the earlier images, nicely sized for my screen, which seems a
> sort of silver albumen "effect" applied to images for digital (where, of
> course, the silver development process doesn't hold, but metal is certainly
> involved in different ways) which seems like where aerial maps (i.e., built
> environments as texture) meet skin texture (i.e., natural texture) meets
> "wear and tear" -- but then it got more narrative, zooming in on one area,
> panning a little, some text, and I lost interest
>
> as far as how it is done, eh, who knows -- there are lots of different ways
> -- but the how isn't terribly important here, is it?  it is not the point --
>
> All best,
> Catherine
>
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of Jason Quackenbush
> Sent: Thursday, September 07, 2006 2:24 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Re: IMAGE SET
>
> i'm sure there's something to see here, but i don't get it. will somebody
> who get's this sort of thing read this for me so I can figure out how it's
> done?
>
>
> On Thu, 7 Sep 2006, ////////////////////////// wrote:
>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image1.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image2.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image3.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image4.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image5.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image6.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image7.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image8.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image9.html
>>
>>
>> ---------------------------------
>> How low will we go? Check out Yahoo! Messenger's low  PC-to-Phone call
> rates.
>>
>
=========================================================================
Date:         Fri, 8 Sep 2006 15:32:10 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      Windows Problem
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

Listenlight 02 will be delayed due to markup problems under various
Microsoft Windows browsers.

I will try to have it optimized for Windows asap.

-Jesse Crockett
=========================================================================
Date:         Fri, 8 Sep 2006 13:57:21 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         ////////////////////////// 
Subject:      Re: IMAGE SET
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

just add a bunch of outside associations
  and lose interest when you can read some words


  what the fuck is visual poetry




Jason Quackenbush  wrote:
  by "how it's done" i was meaning "how do you read this stuff?" Do i just treat it like i do visual art or is there more to it than that? this whole visual poetry thing has me completely baffled.


On Thu, 7 Sep 2006, Catherine Daly wrote:

> this was on the root page (links on it broken however)
>
> trenches, trances
>
> orbits of serotonin
>
> echoes, shadows
>
> autonomy of infinite
>
> the treason of ghost-images
>
> noise and light
>
> that trap of laughter
>
> 7, 8, and 9 have text that is possibly legible
>
> my reading goes
>
> I was enjoying the earlier images, nicely sized for my screen, which seems a
> sort of silver albumen "effect" applied to images for digital (where, of
> course, the silver development process doesn't hold, but metal is certainly
> involved in different ways) which seems like where aerial maps (i.e., built
> environments as texture) meet skin texture (i.e., natural texture) meets
> "wear and tear" -- but then it got more narrative, zooming in on one area,
> panning a little, some text, and I lost interest
>
> as far as how it is done, eh, who knows -- there are lots of different ways
> -- but the how isn't terribly important here, is it? it is not the point --
>
> All best,
> Catherine
>
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of Jason Quackenbush
> Sent: Thursday, September 07, 2006 2:24 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Re: IMAGE SET
>
> i'm sure there's something to see here, but i don't get it. will somebody
> who get's this sort of thing read this for me so I can figure out how it's
> done?
>
>
> On Thu, 7 Sep 2006, ////////////////////////// wrote:
>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image1.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image2.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image3.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image4.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image5.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image6.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image7.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image8.html
>>
>> http://p9.hostingprod.com/@writingxxxxxxx.com/image9.html
>>
>>
>> ---------------------------------
>> How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call
> rates.
>>
>


 		
---------------------------------
Do you Yahoo!?
 Get on board. You're invited to try the new Yahoo! Mail.
=========================================================================
Date:         Fri, 8 Sep 2006 16:14:40 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         David-Baptiste Chirot 
Subject:      Re: A Small Catalog of Cultural Scripts
In-Reply-To:  <45010069.6080004@ilstu.edu>
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

Hello everybody--
      I've been reading Gabe's epistles with a sense of daily anticipation,
thinking of them as a feuilleton in the battle between good and evil, with
Gabe playing a variety of roles--the White Knight Protector of Damsels in
Distress, the Vigilante Man prowling the wild frontiers of listservs, the
Homeland Security Agent ever vigilant, or quite simply as one of the most
loving beings on the planet.  Some days I can almost feel him levitate and
his canonization draw near, like various Saints in Blaise Cendrars' Sky
Memoirs.  Love pours forth from his words like light from Van Gogh's
Sunflowers. That is, love with one exception--his unswerving intolerance for
the unnamable evil ones with whom he does hard battle in the name of the
rest of the community.
     I keep thinking that these letters belong to a very real genre of
American literature and oral tradition, and of old country and blues songs,
for which I have no name as yet.  I keep hearing Huck Finn's voice in the
back of my mind as I read, as well as the voices of so many speakers I have
heard down through the years, and the comments of myself and friends  on
their talks.  I think of scenes in Mickey Spillane, in which Mike Hammer
suddenly realizes that it is not vengeance he is after, but the work of the
Lord that he is going to  perform.  And there's Jim Thompson's Pop. 1280, in
which the throughly corrupt Sheriff has an epiphany in which he sees that
the tawdry series of killings he has to perform are actually beautiful, for
they are labors in the fields of the Lord.
      What intrigued me from the start is in the very first letters Gabe
wrote with such great vehemence of a person on another listserv, attacking
this person pretty viciously, yet citing only an example or two of sketchy
evidence of the person's crimes.   I gathered in this way, that  the person
one moment could be a person, and the next a type--"maverick" or
"revolutionary" in the  typology Gabe borrows from Eric Berne's Games People
Play.  At the same time, Gabe was writing of the Buddha and loving
kindness--and  I thought, this wil be very interesting, to see how these
opposing strands of emotions are reconciled--great personal dislike, yea
verily unto Ahabian obsessive vengeance--and near universal loving kindness.
         It's a very American theme--I have come to know God/Buddha's true
words, true reality, I see truly the dangers of the world and must protect
the community from them.  Hard words, hard action!  may be used against
undesirable people if one has loving kinddess and peace in one's mind.  As
Travis Bickle (Robert De Niro) says in Taxi Driver:  "I'm God's lonely man."
So it is that this hard duty has fallen on Gabe, to protect the community
from the unnamable ones--for even though the unnamable ones are far away, on
some other list serv, there are sure to be others out there also , just
waiting to invade. Which does make you wonder--why is all of this occuring
here in the first place?  Or does Gabe answer that when he remarks a number
of times that he has learned to walk away from situations where there is
violence (he implies violence from the unnamable one)? Has he walked away to
come here and bring his warnings?  To bring protection?  And even perhaps to
begin ferreting out any possible threats concealed within?  Gabe also
introduces the theme of the courtroom at one point and dispenses with
it--the transactional courtroom, however, not the courtroom of law, in which
the accused has the right to face the accuser.  Is that perhaps why the
unnamable one is unnamed?  To keep things out of court?
     At first the epistles sputtered a bit, trying to overcome the tension
between the raging at the unnamed ones and the loving kindness of the
meditation.  This seemd to be resolved when  Gabe revealed that letters of
support to him on the other listserv  ran to three quarters of them being
from women.  Gabe even cites one of these notes.  Buoyed by the revelation
he is the White Knight of Silenced Women (since that great moment have women
been writing much more on that list?)--Gabe begins to breathtakingly reveal
in letter after letter his true goodness, his true understanding of the
teachings of Buddha, his true grasp of his mission.  It's beautiful to see
him spread his wings and take flight.
      I'm not that widely read in spiritual traditions, I do know in Chuang
Tzu, the Gospels and St Augustine, it is taught that a person who
prays/meditates and lives a good life, practices good conduct etc--doesnt
make a public show of this.  One doesnt go around telling the world  how
much one prays/meditates or does it in public, or announces to the world how
good one is, how very good one has become.  True, one hears people say, I am
a better person than I used to be because of the teachings.  That's
different from I am a better person than the unnamed ones because of the
teaching and so am fit to judge them--and hard!  And because I am such a
better person I am fit to judge any others that come along who dont toe the
line.  I am filled with so much loving kindness and discernment that I can
be very hard and take hard action--a good cop bad cop routine in other
words.
     I have been enjoying these so much in a a gallows humor way as they
remind me of various people have heard over the years.  I shared them with
some of my pals--read them aloud and then  would go over them--and we'd
think of who it sounded like.  There's one guy we know who actually has  rap
not unlike Gabe's--it's all about a lot of love--except he has  one rival
dude he always has to bring up and warn against, like dude is satan, snake
in the grass, waiting for you in your moment of weakness.  And this dude,
we'll call him C. C. he KNOWS Jesus, the way Gabe knows Buddha--and Jesus is
a tough cat, too.
      You see what we always listen for is that "giveaway" in the
preaching--all that love and kindness and all--and the preacher, the
speaker, the meditator, just so beautiful  and pure--yet always in all of
them at some point there is a kernal of hate, vengeance, intolerance, that
is the engine driving them--that they can't let go of.  It all sounds so
beautiful and reasonable, music to the ears--until you listen closer and
realize, wait a minute, if dude can exclude one person what's to keep him
from excluding more--and excluding you, yourself, for reasons completely
arbitrary?  And if dude (Gabe)  is talking on this list about some dudes on
another list, how do you know dude isn't talking about you on some other
list somewhere else?  What's to make you think you can trust a word he has
to say?
         And if dude (Gabe) has to come over here to attack some dudes who
are over there--and make himself out a hero here--by attacking a dude who
can't defend himself--what's there to respect in that?  See what I'm saying?
          As much as I've enjoyed in a way reading the amazing series of
sidesteppings and rationalizations and contradictions and denials of these
letters they also really sadden me.  The amount of animosity, rage, venom
and vengeance, let alone scheming that the machinations of these letters
display, al the time and effort that must go into their composing, betrays
everything you write about loving kindenss, Gabe. To have such a poison in
yourself will poison your life--it is now--and also is poisoning those
around you by sending these letters.  It's not bringing loving kindness into
the world, that's for sure.  You can't con a bunch of old cons.  As lowly
and unglamourous as it sounds, maybe you and the other gentleman should meet
and work things out--and maybe with a mediator.  See a counselor if need be
as they say.  My pals and I aren't kidding.  It can be kind of raw but it
works.  All this energy spent on vengeance destruction, negativity and
rationalizations--you could be writing poems! Have a life!  Really meditate
on loving kindness instead of al this nonsense about cultural types which
sounds like profiling for a hit list.
The Buddhas i like to think about are the first 25 who were never known of
publically/historically--to live simply and almost anonymously as a
Buddha--my gosh with listserv at your command already must be abt a thousand
people know about your loving kindness and hard action protecting Damsels in
Distress and the community from the villains you have idenitifed with your
profiling system of  typologies and scripts (to quote the title of a Blue
Cheer reissue collection on Rhino Records, you're "Louder then God"!)--maybe
time to give being Superman a break and be human for a while--
"and enter the splendid cities" (Rimbaud)
onwo/ards-
david-bc

_________________________________________________________________
Search from any web page with powerful protection. Get the FREE Windows Live
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=========================================================================
Date:         Fri, 8 Sep 2006 17:44:16 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Poetry Project 
Subject:      Greetings from the Poetry Project - Fall 2006
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

Dear Lovelies,

It=B9s true. We=B9re back. The newsletter=B9s at the printer, the interns have
been hired, the website is under construction and the readings will start i=
n
a couple of weeks. In the meantime, check out the Fall Workshop schedule an=
d
see if anything fits your fancy. Scroll down for the start of the Fall
reading calendar.=20

Copious Quantities of Autumnal Love,

The Poetry Project


WRITING WORKSHOPS AT THE POETRY PROJECT
=20
EXPERIMENTAL WRITING WORKSHOP =AD LARRY FAGIN
TUESDAYS AT 7 PM: 10 SESSIONS BEGIN OCTOBER 10TH
=20
=B3Why do we see certain kinds of writing as "experimental?"  What makes this
writing different than conventional writing?  This workshop is open to
writers of poetry and prose, who are willing to examine traditional methods
and styles, and to question the assumptions that make up the concept of
"self-expression."  In what ways do a line, a stanza, a sentence, or a
paragraph perform strangeness or surprise?  What is the crucial difference
between earnestness and sincerity?  We will use two key ideas as tools of
inquiry.  One is sprezzatura, a 14th century Italian term that translates
loosely as "making something look effortless."  The other is
Fingerspitzengefuehl, variously translated as "sensitive touch" or
"intuition." Every writer has habitual strategies, which they tend to
repeat. How can one abandon, if only temporarily, these habits, and explore
other possibilities? What have you got to lose?  Authors referenced include
Whitman, Apollinaire, Cendrars, Stein, Khlebnikoff, Pessoa, Dos Passos, Jan=
e
Bowles, Pound, Williams, Moore, Riding, Olson, Creeley, Spicer, children=B9s
writing and found writing.=B2 Larry Fagin edits Adventures in Poetry books an=
d
Sal Mimeo magazine, teaches at The New School, and writes in the afternoon.
=20
=20
TRANSLATE THIS! =AD MARCELLA DURAND
THURSDAYS at 7 PM: 10 SESSIONS BEGIN OCTOBER 12TH
=20
=B3Translation is a highly charged and highly problematic way to apprehend th=
e
=B3foreign/other.=B2 We translate the emotional, physical and spoken worlds
about us, rendering them into our own realms of the (in)comprehensible.
We=B9ll discuss ethical, political, economic and practical issues of
translating various languages, both inter- and intranational. We=B9ll also
talk about translating natural and unnatural happenings, objects, patterns
and chaos. We=B9ll translate visual and aural experiences. Sometimes we=B9ll
leave things untranslated and utterly mysterious. Readings include Francis
Ponge, Nicole Brossard, Teresa Hak Jyung Cha, Tina Darragh, Paula Claire,
and others.=B2 Marcella Durand is the author of The Anatomy of Oil, Western
Capital Rhapsodies, City of Ports and Lapsus Linguae. She has translated
French writers, including Jean-Michel Espitallier and Mich=E8le M=E9tail, as
well as geological formations, corporate-speak, and construction sites into
pseudo-=B3American=B2 tongues.
=20
=20
SATIRE AS CULTURAL ENGAGEMENT =AD GARY SULLIVAN
FRIDAYS AT 7 PM: 10 SESSIONS BEGIN OCTOBER 13TH
=20
=B3Satire insists on a level of cultural engagement not always required by
other approaches to creative expression. We will read, listen to, and watch
satirical work from around the world and across millennia=8Bfrom ancient
Greece to contemporary Afghanistan and Zimbabwe, with many points in
between. Global examples will be our temporary touchstones as we hone our
own cultural engagement in our poetry. Participants don=B9t need to be funny,
just observant.=B2 Gary Sullivan is the author of How to Proceed in the Arts,
Swoon (with Nada Gordon), and two issues of the comic book series,
Elsewhere.
=20
APPLIED POETICS =AD KRISTIN PREVALLET
SATURDAYS AT 12PM: 10 SESSIONS BEGIN OCTOBER 14TH
=20
=B3Bringing together the curriculum programs of The Poetry Project and the
Bowery Poetry Club, this workshop in applied poetics will present a
meandering survey of contemporary praxis in both page and stage traditions:
the focus will be on poets who write about their own process and through
this act create the discourse called "poetics." Emphasis will be on reading
(most of it done in class); much of the discussion will take place through
shared writing. This reading/writing continuum will synthesize into your ow=
n
poetic statement and / or performance -- and hopefully will work to
clarifying your writing practice.=B2 Kristin Prevallet is the author of Shado=
w
Evidence Intelligence (Factory School, 2006). She is a co-founder of Study
Abroad on the Bowery: A Certificate Program in Applied Poetics at the Bower=
y
Poetry Club. She lives in Brooklyn.
*This workshop is in conjunction with the Study Abroad on the Bowery=B9s
Visiting Writers Series. For more specific information on this class, pleas=
e
email info@poetryproject.com.
=20
=20
The workshop fee is $350, which includes a one-year sustaining Poetry
Project membership ($125 =AD see back page for more info) and tuition for any
and all fall and spring classes. Reservations are required due to limited
class space, and payment must be received in advance. Caps on class sizes
are determined, if in effect, will be determined by workshop leaders. Pleas=
e
send payment and reservations to: The Poetry Project, St. Mark=B9s Church, 13=
1
E. 10th St., NY, NY 10003. For more information, or to pay by credit card,
please call (212)674-09010 or e-mail info@poetryproject.com.
=20
=20

MONDAY SEPTEMBER 25, 8PM
Patricia Spears Jones & Dara Wier
=20
Patricia Spears Jones=B9 new collection of poems, Femme du Monde, was
published this past spring by Tia Chucha Press. Jones has been involved in
the downtown poetry and theater scenes in NYC since the mid-1970s, working
in particular with The Poetry Project and Mabou Mines. Dara Wier=B9s tenth
collection, Remnants of Hannah, will be published in September by Wave
Books.  In 2005 Verse Press (now Wave Books) published her book length poem
Reverse Rapture. She directs the MFA program for poets and writers at the
University of Massachusetts in Amherst.
=20
=20
WEDNESDAY SEPTEMBER 27, 8PM
Victor Hern=E1ndez Cruz & Quincy Troupe
=20
Victor Hern=E1ndez Cruz was born in Puerto Rico and grew up in New York City
in the 50's and 60's where he started writing and was part of the Lower Eas=
t
Side=B9s fertile artistic community. He currently makes his home between his
native Puerto Rico and Morocco. His latest book of poems is The Mountain in
the Sea published by Coffee House Press. Quincy Troupe=B9s  eighth book of
poems, The Architecture of Language, will be published by Coffee House Pres=
s
this fall. In addition to chronicling his friendship with Miles Davis in
Miles and Me, Troupe has recently published children=B9s books on Magic
Johnson and Stevie Wonder.


Fall Calendar: http://www.poetryproject.com/calendar.html (soon, very very
soon)

The Poetry Project is located at St. Mark's Church-in-the-Bowery
131 East 10th Street at Second Avenue
New York City 10003
Trains: 6, F, N, R, and L.
info@poetryproject.com
www.poetryproject.com

Admission is $8, $7 for students/seniors and $5 for members (though now
those who take out a membership at $85 or higher will get in FREE to all
regular readings).

We are wheelchair accessible with assistance and advance
notice. For more info call 212-674-0910.
=========================================================================
Date:         Fri, 8 Sep 2006 23:25:49 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "j. kuszai" 
Subject:      Intercollegiate Poetry Slam - Sunday at BPC
Mime-Version: 1.0 (Apple Message framework v752.2)
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NYC INTERCOLLEGIATE POETRY SLAM

AT THE BOWERY POETRY CLUB

THIS SUNDAY SEPTMEBER 10TH

FROM 9P.M. TO 11P.M.

(IF YOU WOULD LIKE TO READ, YOU SHOULD GET THERE AT 8:30)

The Bowery Poetry Club
308 Bowery, New York, NY 10012
212.614.0505

WWW.BOWERYPOETRY.COM
foot of First Street, between Houston & Bleecker
=========================================================================
Date:         Fri, 8 Sep 2006 21:32:34 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Rod Smith 
Subject:      New @ Bridge Street: Selected Notley, Bernstein, Berssenbrugge,
              Andrews, Robertson, Gardner, Mirakove, Stefans, &&&
MIME-Version: 1.0
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Long list of the new and newer. Ordering and discount
information at the end of this post. Thanks for your support!

LANGUAGE TO COVER A PAGE: THE EARLY WRITINGS OF VITO ACCONCI,
ed Craig Dworkin, MIT, oversize cloth 412 pgs, $35. "His had
was raised and / (and then) in a manner of speaking and /
 (and then) he put his foot in his mouth."

CO, Bruce Andrews with Barbara Cole, Jesse Freeman, Jessica
Grim, Yedda Morrison, & Kim Rosefield, Roof, 104 pgs, $12.95.
"equivalent to questioning the Pope"

 THE FLOWERS OF EVIL, Charles Baudelaire trans Keith Waldrop,
Wesleyan, 196 pgs, cloth $24.95. "You answer to my taste
exactly, superb skeleton."

 GIRLY MAN, Charles Bernstein, U Chicago, 186 pgs, cloth $24.
Includes the hits "The Warble of the Ammonia-Bellied Barkeep,"
"Choo Choo Ch'Boogie," "Sunset at Quaquaversal Point," "Thank
You for Saying Thank You," and "There's Beauty in the Sound of
the Rushing Brook as it Forks & Bends in the Moonlight."

 SOME NOTES ON MY PROGRAMMING, Anselm Berrigan, Edge, 80 pgs,
$15. "It's an inner unlikeliness that leads me to joy / and
it's your heart-robed disaster at sea that clings"

 I LOVE ARTISTS: NEW AND SELECTED POEMS, Mei-Mei Berssenbrugge,
145 pgs, $19.95. "Beautiful, unrepeatable, fleeting impressions
can be framed only within the contradicting ambition of her
consciousness to acquire impressions and to retain her feeling,
a way of repeating a dream."

 OCCUPATIONAL TREATMENT, Taylor Brady, Atelos, 280 pgs, $13.50.
"Each detail, uncovered, burns down. Burn something down."

TRACHEAL CENTRIFUGE, Steve Carll, Factory School, 86 pgs, $12.
"hamburger = phantom limb"

 THE TOTALITY FOR KIDS, Joshua Clover, U Cal, 80 pgs, $16.95.
"A dark shadow of friendship began to appear. / It is beautiful
because most music / Is not very good."

 CHEERLEADER'S GUIDE TO THE WORLD: COUNCIL BOOK, Stacy Doris,
Roof, 88 pgs, $12.95. ""<>>"

 GUY DEBORD: REVOLUTION IN THE SERVICE OF POETRY, Vincent
Kaufmann, U Minn, cloth 345 pgs, $29.95. Certainly the best
book on Debord in English, particularly on the later work which
has never received such useful attention.

 BORDERLESS BODIES, Linh Dinh, Factory School, 102 pgs, $12.
"Language comes from meat. Without meat, / There's no language.
It's too obvious."

 FANTASIES IN PERMEABLE STRUCTURES, Laura Elrick, Factory
School, 76 pgs, $12. "There's a seditious joy in a thronging
crowd."

 ESPITALLIER'S THEOREM, Jean-Michel Espitallier, trans Guy
Bennett, Seismicity, 148 pgs, $12.95. "My friends' friends'
friends are my friends / My enemies' friends' friends are my
enemies / My enemies' enemies' enemies are my enemies / My
friends' enemies' enemies are my friends / My enemies' friends'
enemies' are my friends"

 I WAS BLOWN BACK, Norman Fischer, Singing Horse, 148 pgs, $15.
"So that / I think"

 PETROLEUM HAT, Drew Gardner, Roof, 96 pgs, $12.95. Featuring
"Blake's Squid," "The Indian Government is in the Band Gwar,"
"A Copy of the Koran Written in Rootbeer," "Sexing a Dwarf
Hamster Celebration of Lent," "Art Licker" &, of course,
"Chicks Dig War."

 DEATHSTAR/RICO-CHET, Judith Goldman, O Books, 112 pgs, $14.
"'And all the cops have wooden legs/And the bulldogs all have
rubber teeth/I've practiced to feel/what looks this way/and the
hens lay soft-boiled eggs/As seemed,like that self-begotten
bird/a strange eruption of State//Gush after Gush"

 THE NOTEBOOKS OF JOSEPH JOUBERT, trans Paul Auster, NYRB, 160
pgs, $14.95. "Those thoughts that come to us suddenly and are
not yet ours."

MEDIATED, Carol Mirakove, Factory School, 94 pgs, $12. "let's
have all the time in the world."

GRAVE OF LIGHT: SELECTED POEMS 1970-2005, Alice Notley,
Wesleyan, cloth 368 pgs, $29.95. "If I'm not your poet, who
is?"

 MORE WINNOWED FRAGMENTS, Simon Pettet, Talisman, 42 pgs,
$10.95. "Rainstorm / Under-payment / Makes for courtesy on the
bus"

MORE WINNOWED FRAGMENTS, Kristin Prevallet, 80 pgs, $12. "THERE
ARE MANY WAYS TO DEFINE PROOF"

THE MEN, Lisa Robertson, BookThug, 72 pgs, $16. "All men / seem
to think."

 THE GRIFFIN POETRY PRIZE ANTHOLOGY: A SELECTION OF THE 2006
SHORTLIST, ed Lisa Robertson, 96 pgs, $16.95. Brathwaite,
Grunbein, Hall, Hofmann, Legris, Mikhail, Moure, Palmer, &
Winslow.

ON LATE STYLE: MUSIC AND LITERATURE AGAINST THE GRAIN, Edward
W. Said, cloth 180 pgs, $25.00. "

ORGANIC FURNITURE CELLAR, Jessica Smith, Outside Voices, 96
pgs, $16. " i see     where you're missing"

IN MEMORY OF MY THEORIES, Rod Smith, O Books, 72 pgs, $12. Back
in print.
"No doubt there is much in inner experience that ought to be
labeled inauthentic."

WHAT IS SAID TO THE POET CONCERNING FLOWERS, Brian Kim Stefans,
Factory School, 146 pgs, $14. "The feng shui was glistening."

 LOUIS ZUKOFSKY: SELECTED POEMS, ed Charles Bernstein, cloth
176 pgs, $20. "To begin a song: /  If you cannot recall, /
Forget."

 SOME BESTSELLERS:
 ON EARTH: LAST POEMS AND AN ESSAY, Robert Creeley, U Cal,
cloth 90 pgs, $21.95.
 THE COLLECTED POEMS OF TED BERRIGAN, Ted Berrigan, ed. Alice
Notley with Anselm Berrigan and Edmund Berrigan, U CAL, cloth
750 pgs, $49.95.
 COMING AFTER: ESSAYS ON POETRY, Alice Notley, U Michigan, 182
pgs, $19.95.
 SELECTED POEMS 1965-2000, Merrill Gilfillan, AIP, 136 pgs,
$16.95.
 STEP, George Albon, Post-Apollo, 66 pgs, $12.
 STARTLE RESPONSE, Heather Fuller, O Books, 64 pgs, $12.
 POETRY OF THE REVOLUTION: MARX, MANIFESTOES, AND THE
AVANT-GARDES, Martin Puchner, Princeton, 318 pgs, $24.95.
 CITY ECLOGUE, Ed Roberson, Atelos, 142 pgs, $12.95.
 AMERICAN TATTS, Linh Dinh, Chax, 92 pgs, $16.
 S�ANCE, ed Christine Wertheim & Matias Viegener, Make Now,
208 pgs, $18.50.
 CMYK, Michael Coffey, O Books, 120 pgs, $14.
 IN MEMORY OF MY FEELINGS, Frank O'Hara, Museum of Modern Art,
large-format cloth 224 pgs, $65.00.
 CHINESE SUN, Arkadii Dragomoshcheko, trans Evgeny Pavlov, Ugly
Duckling, 330 pgs, $15.
 SOVEREIGNTIES IN QUESTION: THE POETICS OF PAUL CELAN, Jacques
Derrida, Stanford, 209 pgs, $19.95.
 THE COLLECTED POEMS OF KENNETH KOCH, Kenneth Koch, Knopf,
cloth 760 pgs, $40.
 THE COLLECTED FICTION OF KENNETH KOCH, ed Jordan Davis, Karen
Koch, and Ron Padgett, Coffee House, 388 pgs, $18.00.
 STARRED WIRE, Ange Mlinko, 64 pgs, Coffee House, $15.
 THE BOOK OF A HUNDRED HANDS, Cole Swensen, Iowa, 125 pgs, $16.
 THE THORN, David Larsen, Faux, 84 pgs, $15.
 MIXAGE, A.L. Nielsen, Zasterle, 64 pgs, $10.
 THE UP AND UP, Ted Greenwald, Atelos, 144 pgs, $12.95.
 ING GRISH, John Yau, artwork by Thomas Nozkowski, Saturnalia,
66 pgs, $16.
 FEAR THE SKY, Rod Smith, Narrow House Recordings, audio CD,
$12.
 A POETICS OF IMPASSE IN MODERN AND CONTEMPORARY POETRY, Susan
M. Schultz, Alabama, 248 pgs, $36.00.
 MAD SCIENCE IN THE IMPERIAL CITY, Shanxing Wang, FuturePoem,
$14.
 THIS CONNECTION OF EVERYONE WITH LUNGS, Juliana Spahr, U CAL,
signed copies, $16.95.
 IMPERSONAL PASSION: LANGUAGE AS AFFECT, Denise Riley, Duke,
144 pgs, $19.95.
 GUY DEBORD, Andy Merrifield, Reaktion, 178 pgs, $16.95.
 SHADOWTIME, Charles Bernstein, Green Integer, 132 pgs, $11.95.
 YESTERDAY'S NEWS, Taylor Brady, Factory School, 262 pgs,
$17.95.
 THIS IS CALLED MOVING: A CRITICAL POETICS OF FILM, Abigail
Child, U Alabama, 290 pgs, $32.95.
 THE POLITICS OF SUBVERSION: A MANIFESTO FOR THE TWENTY-FIRST
CENTURY, Antonio Negri, Polity, 232 pgs, $19.95.
 OPEN CLOTHES, Steve Benson, Atelos, 130 pgs, $12.95.
 AMERICAN WHATEVER, Tim Davis, Edge, $12.00.
 METROPOLIS XXX: THE DECLINE & FALL OF THE ROMAN EMPIRE, Rob
Fitterman, Edge, $12.00.
 BIRD & FOREST, Brent Cunningham, Ugly Duckling, 104 pgs,
$10.0o.
 EQUATIONS = equals, Joe Ross, Green Integer, 124 pgs, $10.95.
 SCARLET TANAGER, Bernadette Mayer, New Directions, 118 pgs,
$14.95.
 OCCASIONAL WORK AND SEVEN WALKS FROM THE OFFICE FOR SOFT
ARCHITECTURE, Lisa Robertson, Clear Cut Press, $12.95.

ORDERING INFORMATION:
List members receive free shipping on orders of more
than $20. Free shipping + 10% discount on orders of
more than $30. There are two ways to order: 1. E-mail
your order to rodsmith@bridgestreetbooks.com or
aerialedge@aol.com with your address &
we will bill you with the books. or 2. via credit
card-- you may call us at 202 965 5200 or e-mail
w/ yr add, order, card #, & expiration date & we will send
a receipt with the books. Pease remember to include expiration
date. Wemust charge shipping for orders out of the US.
=========================================================================
Date:         Sat, 9 Sep 2006 00:52:07 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      listenlight 02
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

Tim Yu, Glenn Bach, Allen Bramhall, Elizabeth Switaj, Katrinka Moore,
Peter Jay Shippy

http://listenlight.net


best viewed in mozilla firefox, http://www.mozilla.com/firefox
=========================================================================
Date:         Sat, 9 Sep 2006 05:37:21 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Alexander Dickow 
Subject:      gabe's objectionable post
In-Reply-To:  
MIME-Version: 1.0
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Gabe (in re especially Murat's remarks),
I'm going to speak up now.
I think people have been trying to (more discreetly
than here) suggest to you that your remark toward our
fellow lucipudlian was inappropriate -- but rather
than actually address this directly, you seem content
to fall back on your buddhist discourse. What I find
objectionable for starters is neither the third-person
reference nor the actual reproach, but the fact that
you speak about this on the Buffalo list (I believe
this kindo of crosslist discussion/warfare is
explicitly discouraged). I find that what the French
call "sournois" -- underhanded, a little sneaky.
In addition, although I think it is a shame so few
women speak up on Lucipo, I don't understand precisely
what you and X's beef happens to be, once again, and I
just think the tension between you two is really
annoying. If anything, I'd say we have two "mavericks"
vying for territory.
Prove me wrong, please do. I happen to really enjoy
your work, and I think your posts are mostly very
intelligent and stimulating, so I'm hoping this is
a...misunderstanding.
Yours,
Alex


"Ce dont le poete souffre le plus dans ses rapports avec le monde, c'est du manque de justice _interne_. La vitre-cloaque de Caliban derriere laquelle les yeux tout-puissants et sensibles d'Ariel s'irritent."
Rene Char, _Partage Formel_, fragment II
=========================================================================
Date:         Sat, 9 Sep 2006 05:59:21 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Alexander Dickow 
Subject:      david's response to Gabe
In-Reply-To:  
MIME-Version: 1.0
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Dave,
Oh yeah, ditto on some of that.
Have either you or Gabe read Francois Rabelais?
Might be a good idea.

"Drink up, one and all, joyously.
[...]
Listen carefully to what I'm saying, and what sort of
people I'm inviting. For (to avoid misunderstandings)
like Lucillius [...] I pour the keg for you only, Good
men...."

Alex

"Ce dont le poete souffre le plus dans ses rapports avec le monde, c'est du manque de justice _interne_. La vitre-cloaque de Caliban derriere laquelle les yeux tout-puissants et sensibles d'Ariel s'irritent."
Rene Char, _Partage Formel_, fragment II
=========================================================================
Date:         Sat, 9 Sep 2006 10:00:38 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Watman,Mark" 
Subject:      Unsubcribe
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=20
=20
=========================================================================
Date:         Sat, 9 Sep 2006 10:01:23 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Watman,Mark" 
Subject:      unsubscribe
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=20
=20
Mark Watman
Assistant Professor of Writing
Spaulding 106
New England College
Henniker, NH 03242
603-428-2282
mwatman@nec.edu

________________________________

From: UB Poetics discussion group on behalf of Watman,Mark
Sent: Sat 09-Sep-06 10:00 AM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Unsubcribe
=========================================================================
Date:         Sat, 9 Sep 2006 07:18:01 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Joel Weishaus 
Subject:      Fw: [museum_newsletter] "I Museum's Newsletter Poetry Festival"
              (English)
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----- Original Message -----
From: "Regina Pinto" 
To: "newsletter do Museu" 
Sent: Saturday, September 09, 2006 4:48 AM
Subject: [museum_newsletter] "I Museum's Newsletter Poetry Festival"
(English)


+++++++++++++++++++++++++++++++++++++++++++++++

MUSEUM'S NEWSLETTER

+++++++++++++++++++++++++++++++++++++++++++++++


Dear Friends,

Spring starts in Rio in September, so that, during this month we will have a
Poetry Festival hapenning through this newsletter. In fact it was influenced
by the wonderful Padín's idea of comemorating 50 years of Brazilian Concrete
Poetry (see the previous newsletter). During the "I Museum's Newsletter
Poetry Festival" I am intending to show many kinds of Brazilian Poetry to
you. Also it will be interesting if you send me links or texts about the
poetry of your country. I believe that this change of information should be
very rich to all of us.

To start I prepared a surprise to you, a pdf book (
http://arteonline.arq.br/museu/library_pdf/visual_poetry.htm )with two
movements of visual poetry which were born in Rio de Janeiro:

1)- The Neoconcrete

Around the late 1950s, the Rio group carried out an en-masse critical review
of their previous position. They denounced the excessive dogmatism that led
to Concretism, the production of art according to formulas that ended up
submitting it to a system devoid of critical or artistic potential instead
of integrating art into life.

As a result, the NeoConcretist Manifesto was published in the Sunday
Supplement of the Jornal do Brasil newspaper on March 23, 1959. The First
NeoConcrete Art Exhibition showed works by Lygia Clark, Lygia Pape, Amílcar
de Castro, Franz Weissmann, Reynaldo Jardim, Sergio Camargo, Theon Spanudis
and Ferreira Gullar. Other exhibitions followed, in which other artists took
part.

More at: http://arteonline.arq.br/museu/library_pdf/visual_poetry.htm

This essay was based on Lygia Pape deposition to myself, the English version
was done by Sabrina Gledhill)

2)- The Process Poem

This tendency of the Brazilian concrete poetry arises from the Wlademir
Dias-Pino work and it is the basis of the Process Poem, which was Born in
1967 / Rio de Janeiro.

The moviment called Process Poem was an action founded in 1967, which
happened simultaneously in Brazil's several regions: here in Rio de Janeiro,
in Natal, in Recife and in Minas Gerais. The action of the Process Poem
developed from 1967 to 1972 and ended up having about 250 artists taking
part on it.

The Process Poem was based on the concept of process, which would be the
starting point of the creation...


More at: http://arteonline.arq.br/museu/library_pdf/visual_poetry.htm

This essay was based on Neide Sá deposition to myself and on Clemente Padín
essay "La Poesia Experimental Latino Americana (1950 - 2000)"
http://boek861.com/padin/indice.htm (in Spanish),  English Version by Regina
Célia Pinto, tell me the about the very bad mistakes please!)


*************************************************

 Reading about the movement called Process Poem, at the first sight you will
think that they were very radical -  they tore books of discursive poets at
the steplathers of Municipal Theater, Rio de Janeiro. I really do not agree
with this, but perhaps it was only a way to call attention to their
movement. I know, for example, that Álvaro de Sá studied and loved deeply
the Luís de Camões' Poetry.



By the way, I am sending some links of one of the best Brazilian Poets:



CARLOS  DRUMMOND DE ANDRADE

http://en.wikipedia.org/wiki/Carlos_Drummond_de_Andrade

http://www.motherbird.com/Andrade.html

http://www.cs.rice.edu/~ssiyer/minstrels/poems/1471.html

http://www.webdelsol.com/Perihelion/drummond.htm



Here a very famous poem by him:


In  The Middle of Road


In the middle of the road there was a stone
there was a stone in the middle of the road
there was a stone
in the middle of the road there was a stone.

Never should I forget this event
in the life of my fatigued retinas.
Never should I forget that in the middle of the road
there was a stone
there was a stone in the middle of the road
in the middle of the road there was a stone.

 -- Carlos Drummond de Andrade (Translate into English by Elizabeth Bishop)



**************************************************


Regina Célia Pinto

Museum of the Essential and Beyond That
http://arteonline.arq.br

Library of Marvels
http://arteonline.arq.br/library.htm

Free Translator:

http://www.worldlingo.com/en/products_services/worldlingo_translator.html
=========================================================================
Date:         Sat, 9 Sep 2006 10:44:12 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Chris Westcott 
Subject:      NYC Poetry Calendar
Mime-Version: 1.0 (Apple Message framework v752.2)
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Greetings.

I am writing to ask for your help & submissions to Columbia New
Poetry's new NYC poetry calendar.  We are starting today from slate.
If you are aware of relevant events that will take place in NY in the
coming year, please take a moment to submit event info.  Also, please
notify anyone else who may have dates to add.  Submissions can be
made at http://www.columbia.edu/cu/newpoetry/calendar/cal_submit.html


Why?  This calendar is built to encourage participation in NY
"fringe" poetry communities.  We do not want to replicate the broad
listing at poetz.com.  We do not want to process 100's of weekly open
mic events & TBD's.  Rather, we want to present a succinct list of
the compelling poetry and poetry-related events going on in the city
each week - important happenings, small series, and events that would
otherwise find no wider mention.  This calendar will serve not as
publicity but as community, discourse, & topography.  Links on the
side of the Web site ( http://www.columbia.edu/cu/newpoetry ) will
give a good sense of the online context of the new NYC poetry calendar.

Thank you for your time & help.  I hope you will find the calendar of
use.

	Christopher Westcott
	Columbia New Poetry
	cjw2109@columbia.edu

To submit: http://www.columbia.edu/cu/newpoetry/calendar/cal_submit.html
=========================================================================
Date:         Sat, 9 Sep 2006 13:07:14 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Peter Ciccariello 
Subject:      Misused Intelligence
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Misused Intelligence





-- Peter Ciccariello
Image - http://invisiblenotes.blogspot.com/
Word - http://poemsfromprovidence.blogspot.com/
=========================================================================
Date:         Sat, 9 Sep 2006 12:11:53 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Joel Weishaus 
Subject:      Fw: Copper Canyon Press publishes Arabic translation; announces
              poet's U.S. tour
MIME-Version: 1.0
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Copper Canyon Press publishes Arabic translation; announces poet's U.S. =
tour
----- Original Message -----=20
From: Angela Garbes=20
To: weishaus@pdx.edu=20
Sent: Friday, September 08, 2006 4:36 PM
Subject: Copper Canyon Press publishes Arabic translation; announces =
poet's U.S. tour


Copper Canyon Press is pleased to announce the publication of So What: =
New and Selected Poems 1971-2005  by Palestinian poet and fiction writer =
Taha Muhammad Ali.=20

So What is the first American publication of Muhammad Ali's career, and =
the first Arabic translation ever published by Copper Canyon Press. The =
book, which Publishers Weekly calls "timely and affecting," has the =
Arabic script facing the English translation. =20

"During this time of conflict, the publication of a bilingual Arabic =
book like So What takes on an especially poignant meaning for us," =
explains Copper Canyon's Executive Editor Michael Wiegers. "It's an =
unignorable book. We hope to humanize the news coming from the Middle =
East, and Taha's poetry does that, and more."

In late September Muhammad Ali will fly from Nazareth to New Jersey and, =
accompanied by his translator Peter Cole, embark on reading tour =
throughout the United States. His first stop will be as an international =
headliner at the Dodge Poetry Festival. In addition to headlining at the =
U.S.'s most renowned poetry festival, Muhammad Ali will read at an urban =
church, a poetry center, a university, and for students in a rural town:

September 28 - October 1=20
Geraldine R. Dodge Poetry Festival, Stanhope, NJ=20
http://www.grdodge.org/poetry/main.htm=20

October 3 at 7:00 pm=20
Poets House, New York, NY=20
http://www.poetshouse.org/=20

October 5 at 3:30 pm & 7:30 pm=20
San Francisco State Poetry Center, San Francisco, CA=20
http://www.sfsu.edu/~poetry/=20

October 7 at 7:30 pm=20
Saint Mark's Cathedral, Seattle, WA=20
http://www.saintmarks.org=20

October 8 at 7:00 pm=20
Wheeler Theater, Port Townsend, WA=20
http://www.centrum.org=20

October 11 at 7:30 pm=20
Chapters Bookstore, Washington, DC=20
http://www.chaptersliterary.com/NASApp/store/IndexJsp=20

To order So What, or for more information about these events, visit: =
www.coppercanyonpress.org/tahatour/=20

Note:  We encourage you to forward this notice to friends, family, and =
colleagues who may be interested in So What and/or attending one of Taha =
Muhammad Ali's readings.



Warning=20

Lovers of hunting,=20
and beginners seeking your prey:=20
Don't aim your rifles=20
at my happiness,=20
which isn't worth=20
the price of the bullet=20
(you'd waste on it).=20
What seems to you=20
so nimble and fine,=20
like a fawn,=20
and flees=20
every which way,=20
like a partridge,=20
isn't happiness.=20
Trust me:=20
my happiness bears=20
no relationship to happiness.=20

-Taha Muhammad Ali=20



Small print:  Copper Canyon Press occasionally sends email announcements =
alerting readers of special events and publications. If you would like =
to update or change your email address, please reply to this message =
with "update" in the message line. If you would like to be removed from =
our emailing list, please reply to this message with "remove" in the =
subject line.=20
=========================================================================
Date:         Sat, 9 Sep 2006 15:24:48 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Brian Stefans 
Subject:      Before Starting Over
MIME-Version: 1.0
Content-Type: text/plain; charset="utf-8"
Content-Transfer-Encoding: quoted-printable

I=E2=80=99ll probably put together a more attractive piece of spam =
later, but thought I=E2=80=99d let you know that I received copies of my =
book of prose in the mail yesterday, so I assume (this is how the world =
works in these our superstitious times) that it has been published. The =
table of contents is pasted in this email=E2=80=94many of you are =
written about this book, but unfortunately I can=E2=80=99t send copies =
to everyone I write about, it would be too much. Omar Pound =
isn=E2=80=99t getting one either.

=20

Salt did a great job on the cover! Now more people than ever will be =
able to mispronounce my name to rhyme with =E2=80=9Cthe Fonz.=E2=80=9D

=20

Brian

=20

____

=20

=20

Brian Kim Stefans

Before Starting Over

Selected Writings and Interviews 1994-2005

=20

http://saltpublishing.com/

http://saltpublishing.com/books/rec/1844710882.htm

=20

Contents

=20

Notes and Acknowledgements xi

Introduction xiii

=20

Before Starting Over 1

=E2=80=9CPoet-Critic=E2=80=9D 3

=20

I. Six Reviews 5

Tan Lin =E2=80=98BlipSoak01=E2=80=99 7

Christian B=C3=B6k =E2=80=98Eunoia=E2=80=99 14

Kevin Davies =E2=80=98Comp.=E2=80=99 20

Bruce Andrews =E2=80=98Paradise & Method: Poetics & Praxis,=E2=80=99

Lyn Hejinian =E2=80=98The Language of Inquiry=E2=80=99 26

Alice Notley =E2=80=98Disobedience=E2=80=99 34

W. S. Graham =E2=80=98New Collected Poems=E2=80=99 41

=20

II. Asian American Poetry 53

On The Introduction to =E2=80=98The Open Boat=E2=80=99 55

A Search for Lost Time: A Review of Walter K. Lew=E2=80=99s

=E2=80=98Excerpts from =CE=94ikth/DIKTE for DICTEE (1982)=E2=80=99 61

Remote Parsee: A Grammar of Alternative Asian

North American Poetry 71

=20

III. A Poetics of Virtuosit y 109

A Poetics of Virtuosity 111

=20

IV. Life and Contacts 143

=E2=80=9CAfter Language Poetry=E2=80=9D 145

Veronica Forrest-Thomson 148

Fence Letter 154

Ezra Pound 159

Open Letter to Brendan Lorber 164

Frank O=E2=80=99Hara 169

Bruce Andrews 172

When Lilacs Last In The Door: Notes On New Poetry 175

Jeff Derksen =E2=80=98Dwell=E2=80=99 184

Tim Davis =E2=80=98Dailies=E2=80=99 190

Jennifer Moxley =E2=80=98Wrong Life=E2=80=99 195

Suzanne Dathe, Grenoble, France =E2=80=94 Can We Win?

Notes On Carol Mirakove=E2=80=99s Poetry 201

Steve McCaffery 205

Blogs 212

Silliman Commentaries 214

=20

V. Digital Poetics 239

Interview 241

Statement for University of Orono, Maine 245

Hacktivism? I didn=E2=80=99t know the term existed before I did it . . . =
248

Statement for Slought: =E2=80=9CDigital Fever: Archiving Art

and Poetry Online=E2=80=9D 260

Interview with Brian Kim Stefans re /UBU EDITIONS 263

Toward a Poetics for Circulars 269

Interview for Albanian Paper 289

Privileging Language: The Text in Electronic Writing 296

=20

VI. Little Reviews 317

Jeff Derksen =E2=80=98Transnational Muscle Cars=E2=80=99 319

Bill Luoma =E2=80=98Works & Days=E2=80=99 321

Stacy Doris =E2=80=98Conference=E2=80=99 324

Dan Farrell =E2=80=98Last Instance=E2=80=99 326

Renee Gladman =E2=80=98Juice=E2=80=99 328

Kenneth Goldsmith =E2=80=98Day=E2=80=99 330

Jessica Grim =E2=80=98Fray=E2=80=99 332

Pamela Lu =E2=80=98Pamela: A Novel=E2=80=99 335

Christophe Tarkos =E2=80=98Ma Langue est Po=C3=A9tique =E2=80=94 =
Selected Work=E2=80=99 339

Rodrigo Toscano Partisans 341

Jose Garcia Villa =E2=80=98The Anchored Angel: Selected =
Writings=E2=80=99 343

Caroline Bergvall =E2=80=98Goan Atom=E2=80=99 346

Darren Wershler-Henry =E2=80=98The Tapeworm Foundry=E2=80=99 350

Susan Wheeler =E2=80=98Source Codes=E2=80=99 355

Joel Kuszai (editor) =E2=80=98poetics@=E2=80=99 357

=20

Bibliography 361
=========================================================================
Date:         Sat, 9 Sep 2006 17:10:06 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         ALDON L NIELSEN 
Subject:      Re: Before Starting Over
MIME-Version: 1.0
Content-Type: text/plain

Now on the HeatStrings blog --

Bob Dylan / Dinesh D'Souza

http://heatstrings.blogspot.com/

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

"Breaking in bright Orthography . . ."
--Emily Dickinson

Sailing the blogosphere at: http://heatstrings.blogspot.com/

Aldon L. Nielsen
Kelly Professor of American Literature
The Pennsylvania State University
116 Burrowes
University Park, PA 16802-6200

(814) 865-0091
=========================================================================
Date:         Sat, 9 Sep 2006 17:15:24 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Murat Nemet-Nejat 
Subject:      Re: A Small Catalog of Cultural Scripts
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Gabe,

The problem with what you are saying ("3rd person is common curtesy") is that your posts were anything but courteous. You basically accused another person of manipulating his own son for his own purposes, without naming names, therefore inhibiting that person from responding directly. Is that a courteous gesture or a hit and run tactic?

I remember those discussion around rap music on the Lucipo List. I did not see anything narcissistic on his part (I did read your essay immediately after your initial post); his comments suggested an openness towards his son and his friends and an attempt to integrate their sensibility into his poetry, to learn from it. Is that narcissistic (unless you are claiming he made up the whole thing, which I do not believe you are)?

Being a dad of two kids, I can only say that if someone had impugned a similar thing about me, I would not have been so patient. I would immediately have pounced on that person's jugular.

What I am trying to say is that, in my view, your assertions about Buddhism and peace do not jive with the tone of your comments the last few weeks. Your third person arguments appear to me basically as a device to tie down your opponent, a classical verbal power play.

I have been a long time admirer of your work and wit though I wish it were a bit less involved with "universals," as it is now. I remember your thoughts on "meneppian satire" on the Lucipo list and elsewhere a few months ago -a satire devoid of bile. It appears that this is not quite possible.

Ciao,

Murat

In a message dated Sep/8/2006 12:32:25 AM Eastern Standard Time, Gabriel Gudding  writes:

>Hi Murat,
>I've talked about this before on Lucipo. 3rd person is common courtesy.
>Beyond that: not exclusively about one person; structural focus; not
>wishing to fuel an economy of attention or scandal. All while still
>talking about structural issue. A rhetorical device is not a
>transactional game. Far as I can see anyway.
>I wrote brief essay touching on yr question: "Literary Narcissism and
>the Manufacture of Scandal." It's on my blog somewhere if you're interested.
>Gabe
>
>
>_______________________________________________________________
>Date:         Fri, 8 Sep 2006 01:02:43 -0400
>Reply-To:     UB Poetics discussion group <[log in to unmask]>
>Sender:       UB Poetics discussion group <[log in to unmask]>
>From:         Murat Nemet-Nejat <[log in to unmask]>
>Subject:      Re: A Small Catalog of Cultural Scripts
>Content-Type: text/plain; charset=iso-8859-1
>
>Gabe, When I first read your initial post which started this line of
>discussions, I knew immediately the specific person many of your
>comments were referring to. From what expired on this list and on Lucipo
>afterwards, it is clear that I was not the only one who had this
>impression. Given this situation, I have one question. If the point of
>your reference was basically so clear,why did you not mention the name
>but used a third person? Is this not itself a rhetorical device, in your
>terms, a transactional gesture. Enlighten me. Ciao, Murat
>
=========================================================================
Date:         Sat, 9 Sep 2006 16:41:35 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      Re: A Small Catalog of Cultural Scripts
In-Reply-To:  <29E732AC.5B4E8526.001942C5@aol.com>
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

no, who's on first?

not to be totally reductive, but his name is Mitchell

love you



Murat Nemet-Nejat wrote:
> Gabe,
>
> The problem with what you are saying ("3rd person is common curtesy") is that your posts were anything but courteous. You basically accused another person of manipulating his own son for his own purposes, without naming names, therefore inhibiting that person from responding directly. Is that a courteous gesture or a hit and run tactic?
>
> I remember those discussion around rap music on the Lucipo List. I did not see anything narcissistic on his part (I did read your essay immediately after your initial post); his comments suggested an openness towards his son and his friends and an attempt to integrate their sensibility into his poetry, to learn from it. Is that narcissistic (unless you are claiming he made up the whole thing, which I do not believe you are)?
>
> Being a dad of two kids, I can only say that if someone had impugned a similar thing about me, I would not have been so patient. I would immediately have pounced on that person's jugular.
>
> What I am trying to say is that, in my view, your assertions about Buddhism and peace do not jive with the tone of your comments the last few weeks. Your third person arguments appear to me basically as a device to tie down your opponent, a classical verbal power play.
>
> I have been a long time admirer of your work and wit though I wish it were a bit less involved with "universals," as it is now. I remember your thoughts on "meneppian satire" on the Lucipo list and elsewhere a few months ago -a satire devoid of bile. It appears that this is not quite possible.
>
> Ciao,
>
> Murat
>
> In a message dated Sep/8/2006 12:32:25 AM Eastern Standard Time, Gabriel Gudding  writes:
>
>
>> Hi Murat,
>> I've talked about this before on Lucipo. 3rd person is common courtesy.
>> Beyond that: not exclusively about one person; structural focus; not
>> wishing to fuel an economy of attention or scandal. All while still
>> talking about structural issue. A rhetorical device is not a
>> transactional game. Far as I can see anyway.
>> I wrote brief essay touching on yr question: "Literary Narcissism and
>> the Manufacture of Scandal." It's on my blog somewhere if you're interested.
>> Gabe
>>
>>
>> _______________________________________________________________
>> Date:         Fri, 8 Sep 2006 01:02:43 -0400
>> Reply-To:     UB Poetics discussion group <[log in to unmask]>
>> Sender:       UB Poetics discussion group <[log in to unmask]>
>> From:         Murat Nemet-Nejat <[log in to unmask]>
>> Subject:      Re: A Small Catalog of Cultural Scripts
>> Content-Type: text/plain; charset=iso-8859-1
>>
>> Gabe, When I first read your initial post which started this line of
>> discussions, I knew immediately the specific person many of your
>> comments were referring to. From what expired on this list and on Lucipo
>> afterwards, it is clear that I was not the only one who had this
>> impression. Given this situation, I have one question. If the point of
>> your reference was basically so clear,why did you not mention the name
>> but used a third person? Is this not itself a rhetorical device, in your
>> terms, a transactional gesture. Enlighten me. Ciao, Murat
>>
>>
>
>
=========================================================================
Date:         Sat, 9 Sep 2006 17:57:47 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         jUStin!katKO 
Subject:      aND, BacoS, Wakest @ Miami University
In-Reply-To:  <3bf622560609091456y15c641a2r8d736a6b699ad043@mail.gmail.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

mIEKAL aND, CamillE BacoS & Liaizon Wakest

8pm Wednesday, September 13 2006
Miami University, Leonard Theater

mIEKAL, CamillE, & Liaizon will be showing short films and performing their
multi-media piece "The End". This will be followed by refreshments and a
Xexoxial Editions (http://www.xexoxial.org) book-stall in the Peabody
Gallery. Admission is free. All are welcome.

http://www.units.muohio.edu/english/events.html

-

The End

The last crumbling remains of wooden architecture from the Golden Age of
rural life still hold literary & semantic clues for an organic poetry of th=
e
future.  The Nature Poem has collapsed, atrophied by its own stale language
of flesh and bone.  And like these rural buildings & settlements, words can
be liberated to enable open networks of innovative language and thought.  I=
n
simple terms, watch The End as we speak, intone, sound, narrate, imagine ou=
r
way through an interactive digital montage of rural southwest Wisconsin's
abandoned 19th century buildings.  30 minute interactive dvd run by CamillE
BacoS, mIEKAL aND =96 computer-generated seance, Liaizon Wakest =96 Theremi=
n.
This piece was recently performed at the &Now Conference for Innovative
Poetics at Lake Forest College, Illinois.
=========================================================================
Date:         Sat, 9 Sep 2006 15:49:47 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      New de blog
Comments: To: UK POETRY 
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

I have a little essay on making poems with new work (poems) from my mom at
90. No, I don't give her any drugs! (Someone asked!) Just a few poems by
others, Creeley, Dickinson, etc.

Stephen V
http://stephenvincent.net/blog/

Richard Nixon?

Bad enough for long enough, how you lose
No matter what you want to do:

I don't want to write about Nixon.
I wouldn't waste my time on him.
Would you?

Barbara Moore Vincent
=========================================================================
Date:         Sat, 9 Sep 2006 16:09:57 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: the game of "courtroom" in poetry discourse
In-Reply-To:  <4500FBC2.3080505@ilstu.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

Hi Gabe,

I've been meaning to respond to this for a few days but just haven't had the time yet. But I really wanted to because I don't think you're quite
grasping the thrust of my point and are falling back on Buddhist platitudes that aren't quite germane to the discussion as a result. I can't quite
make up my mind if it's just that you don't understand me or if it's that you don't think it's worth your time to try to understand. I'm giving you
the benefit of the doubt for now, but i've pretty much talked my way out of that position by the end of this email and wind up feeling insulted again.
Anyhow, i think it's a conversation worth having so let me take this last email of yours point by point:

> I'm not sure that I was clear, or the passage about nonviolence was
> clear: nonviolence does not mean pacificism. An ethics of gentleness
> isn't an ethics of patsy-ism. Nonviolence means stopping violence. It
> does not mean succumbing to it. It's a common misunderstanding, but not
> even the Buddha was a pacifist. Sometimes hard action is necessary,
> whether hard verbal action or hard physical action.

I think you're really twisting in the wind to make this particular semantic distinction, and I don't see why it's necessary other than to be able to
call this particular brand of righteous violence a kind of nonviolence and therefore fit it under the Buddhist/Jainist principle of ahimsa. That
doesn't make any sense to me. I fail to see what hard verbal action or hard physical action are if they aren't a species of violence. And as such, a
position advocating non-violence cannot support such actions, no matter how one tries to twist the semantics of the discussion in the abstract. You
mentioned Gandhi at some point, and I've often thought that he's a perfect example of this sort of rhetorical posturing. Certainly in Gandhi's case it
had a purpose, given that it allowed him to take a morally superior position as viewed by the international community. As far as individuals go, I
don't see any pragmatic end for such positioning except personal aggrandizement, and therefore the posturing looks much more suspect to me in such cases.


>The buddha's only
> point was that one must tend one's own mind, to make it gentle, even
> when standing up to folks who are, well, thick.
And my point is, albeit slightly in a role of devil's advocate, that one is much better equipped to oppose violently (or vigorously as you put it)
dangerous opposition, if one embraces chaos and learns to live in it rather than striving for an unattainable ideal of peacefulness that generally
requires sitting around doing nothing for several hours everyday just to maintain. I often find i have no need to quiet my mind because rather than
taking that as an ideal, and one which, frankly, bores the hell out of me, i've learned to thrive in the chaotic psychic violence of postmodern urban
living. I exercise those muscles in my brain by listening to noisecore or microtonal electronic music, reading several books at a time so as to avoid
complete narrative absorption in any one story, staying up on world politics and trying to maintain relationships with the homeless schizophrenics and
crack addicts and prostitutes around where i live and work. this is the real world as far as I'm concerned and i feel like living in it fully and
learning how to live within it have prepared me and the people i know who live in a similar fashion to violently oppose injustice and at the same time
balance that opposition with having a full and active private life. I'm talking about cultivating a violent mind because one lives in violent
surroundings, since you're fond of eastern thought, as a taoist notion. being gentle and passive in an environment such as is found in modern cities
runs contrary to the natural state of the environment. It is in fact challenging the environment to try to beat you down. Instead, i think one should
let one's mind flow with whatever is happening and aspire to freedom. In a world such as this one, i fail to see how freedom of the mind can be
cultivated in any way other than in allowing it to reflect the chaos, turmoil, and violence of daily life. Perhaps were one to live a pastoral life
far away from the cities of north America and sequestered from news sources, then gentleness would be an option. But again i point out that such a
life is a life of luxury, and not available to everyone. As a luxury it is as suspect as are all things that are only available to those who live
through the exploitation of others necessary in unequal and unjust markets which are regulated to advantage of nation states rather than in order to
provide for the common good.

>Ignorant people (and I
> don't mean uneducated, I mean people who don't have control of their
> minds) are dangerous. They sometimes have to be opposed vigorously. Like
> most people, I've (even recently) found it necessary in my life to stand
> up to manipulative intimates -- one of whom was at times physically
> violent -- and to get away from them. Vipassana has helped in that
> tremendously. Gentleness is not about inaction or inanition.

I don't understand what you're saying here, but it seems circular. People who don't have gentle minds are dangerous, and need to be gotten away from,
and i've realized this through my practice of making my mind gentle which has cause me to to see that such minds are dangerous.


> The Buddha did not advocate for world peace, nor point to a Utopia. I
> think what I find compelling about the buddhadhamma is that it
> recognizes the array of volitional possibilities, temperaments, life
> forces, found in the human community and the wider community of beings,
> each particular being having its own capacity for understanding, wisdom
> and action. The world, like, is a very complex place. Insight based on
> "satipatthana," or the firm establishing of awareness and equanimity
> through vipassana meditation, is the only possible way, the Buddha
> suggested, to *first* fully recognize the complexity of the misery
> around one, and *second* not succumb to it, and third to help others out
> of it. Sometimes hard action is necessary to help others not hurt
> themselves or others.


Let me play devil's advocate based on my own experience and some of the conclusions one might draw from such experiences:
And yet the Buddha himself realized that the condition of life was suffering and then went about figuring out how to not succumb to that condition.
and i really disagree with you that Buddhism recognizes all of that variety because metaphysically at it's heart, Buddhism holds that all such
difference is illusory and the cause of our central suffering. The world is not a complex place, it only seems to be, and through following the noble
eightfold path to enlightenment one can be liberated from believing the world to be complex. Which is to say, at it's heart, if you DON'T accept the
Buddhist conception of maya, then the alleged benefits of Buddhist practice become very dubious, and the oft repeated claims that vipassana is a
secular practice dissolve into so much moksha. I say this having meditated regularly following "correct" practice for many years, so please don't come
back at me with a "try it, you'll see" sort of comment. vipassana at it's root, in my experience, is a systematic way of establishing several
pre-ordained metaphysical delusions through working in an altered state. objection: "meditation isn't going into a trance," heard it, don't buy it.
The cultivation of sati is the cultivation of an altered state of consciousness by definition, and no amount of metaphysical word wrangling is going
to get around that.

Now, I don't necessarily believe everything I just wrote. Like I said, i'm playing devil's advocate a bit. At the same time, I do think that the idea
of sati is a luxury that not everyone can afford, and much more interesting as a way of living in the modern world is the daoist principle of wuwei.
wuwei which is in direct conflict with the stated goals of vipassana meditation, but as a principle for behavior is philosophically rich, not
connected in the least to metaphysical arguments, and far more practically cultivated than is the sati at the center of vipassana. moreover, i'd argue
that wuwei, in the world we live in, requires a certain acquaintance and familiarity with violence at the very least, if not outright cultivation of a
  violent mind in order to exist in harmony with a violent world.

> Jason, as to whether gentleness is possible only for rich people: it's
> the most educated and richest countries that are the most violent.
> Gandhi, as with Ambedkar, worked closely with Untouchables training them
> to act gently but forcefully. Or for a huge modern day example: Just
> take a look at Tihar Prison in India. Over ten thousand very very poor
> people have festered in that place for decades. This is the largest
> prison in India. Very violent. For over twelve years now two
> free-of-charge ten day silent vipassana courses are taught in that
> prison each month. Prior to Vipassana courses being taught there, it was
> the most violent prison in India. Now its pacific. The people are still
> poor. Its rates of murder, theft and rape have plummeted. An award
> winning documentary was made about the teaching of vipassana in that
> prison, if you're interested: DOING TIME, DOING VIPASSANA (1997,i
> think). Many many vipassana courses have been taught in prisons in
> Seattle (dropping recidivism rates precipitously), British Columbia, and
> a maximum in Alabama. I've started writing programs in three prisons:
> the people who benefit most from having a peaceful mind are the
> inmates,and the inmates families, not the guards, not the state
> apparatus. Truly cultivating one's mind through vipassana brings one to
> a life of action, not 'yeah man that's groovy.'

of course it was successful in calming prisoners (who opted in, in alabama and BC, I might add, which hardly gives a good sample) it was successful
because Marx was right "religion is the opiate of the masses." Opiates calm people down. I find it more than a little disturbing that India is being
held up as your example for the value of vipassana. India, the home of the Buddha, the land where these ideas were born and where they are pervasive
in the religious life of almost all citizens. India which of all modernizing countries has the most rigidly defined class system, where the dalits in
rural areas are regularly exploited by their political parties much in the way that Tammany hall exploited immigrants in the 19th century except on a
much larger scale. In India, even among the prostitutes in the red light district of Calcutta being a Brahman family brings with it privileges and
social benefits unavailable to lower caste families. I advise you to watch the documentary "Born into Brothels" and see what the high minded ideas of
personal enlightenment three thousand years of Indian Brahman philosophy have wrought for the children of prostitutes in Indian society.


> You mentioned slavery, Jason. The example of Epictetus stands out. The
> most influential philosopher of his day, some say of the first
> millennium, more influential in his day than Plato, someone who
> profoundly affected Aurelius, Emerson, Wm James. Born Greek, he lived
> much of his life as a slave, was brutally beaten and hobbled by his
> Roman master, and lived almost the entirety of his life under privation
> and hunger, ending it in exile and poverty, lame and crippled -- because
> of the cruelty of an entire society. But he refused to blame, and
> refused to relinquish a mindstate of goodwill and self-determination.
> His lectures are pretty dang inspiring.

See, now you're talking Greek and Hellenistic Philosophy and that means you're on my turf and in my mind what you've just said has really challenged
the verity of many of your other assertions on which my background is shakier. Epictetus was a fairly well-known philosopher in his day, it's true,
but to say he was the "most influential philosopher of his day" and that he was "more influential in his day than Plato." well, that's just lying.
Epictetus was a stoic, and while in certain circles, the stoics were very popular, consider for a moment who some of Epictetus's rough contemporaries
were. Seneca, Sextus Empiricus, Plotinus, Philo of Alexandria, Paul the Evangelist, etc. As far as influence goes Sextus Empiricus, Plotinus, and St.
Paul outstrip Epictetus by miles. And as far as being more influential in his day than Plato, well, that's just ludicrous. The three main schools of
Hellenism, epicurianism, stoicism, and scepticism, all claimed lineage from Socrates, who was only known through the descriptions of him by Plato and
Xenophon in their dialogs. Which is to say, Plato's influence was so pervasive (the academy and the lyceum were still open in Greece, remember, and
the Academy would remain so for another 500 years after Epictetus's death) that it's only not visible if you take too narrow a view.

To the point of comparing Stoicism as it was envisioned by one (freed) slave to your ethic of "gentleness," well, that's just ridiculous. Epictetus is
the classic example of the slave who says what his master's want to hear in order to curry favor. Moreover, the analogy to Buddhism of stoicism is
just lazy. Stoicism was an ethic of indifference and believed in the good of cultivating a detached apathy, not gentleness. You might as well be
drawing analogies between Buddhist non-violence and the Christian maxim to "turn the other cheek," which is one of the most heavily stoic influenced
doctrines of the early church. While that may be a good solution for a slave with no way out of a terrible situation, it's hardly the sort of thing
that a modern culturally engaged and privileged individual can justify. And similarly, it's a big part of the reason that Nietzche eventually came to
the conclusion that such ideologies are the ideologies of slaves and that freedom requires that such ethical systems be cast off and that new ethical
systems must be built. I think it's interesting that in the century following nietzche modern analytic philosophy, largely following Kant, has managed
to construct several such systems which I think allow for a greater participation in the lives and rights of humanity than anything you're going to
find in antiquity, whether it be the east or the west.

> Or Viktor Frankl, who survived not just one extermination camp, but four
> -- Theresienstadt, then Auschwitz, then Kaufering and Turkheim, the
> latter two being adjuncts of Dachau -- and who said, "We who lived in
> concentration camps can remember the men who walked through the huts
> comforting others, giving away their last piece of bread. They may have
> been few in number, but they offer sufficient proof that everything can
> be taken from a person but one thing: the last of the human freedoms --
> to choose one's attitude in any given set of circumstances, to choose
> one's own way."
>
> My point: Cultivating one's mind and living gently is not a luxury
> dependent on circumstance. Or if it is, it is one that luxury destroys.
I think that's complete nonsense and is unsupported by the examples you've given. You've only got to look to all the wealthy people who loved
Epictetus in the Hellenic period to see how wrong this statement is. More to the point, I think I've more than made my case that in our era
cultivating one's mind requires embracing the violence of our environment, and if you respond, I'd like to see a response to that rather than just
further Buddhist derived dogma, which frankly i find a little insulting in that you don't i'm worthy of engaging on the merits of my arguments, but
rather am to be instructed as if from on high based on your superior wisdom. If that's your idea of "gentleness" then I think what you mean by
gentleness is "arrogance" and "close mindedness," or possibly "self-delusion that one has all the answers and doesn't need to pay attention to other
ideas."

yrs,
Jason
=========================================================================
Date:         Sat, 9 Sep 2006 19:35:16 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Christine Hamm 
Subject:      reviews for my book
In-Reply-To:  <45025687.8080601@listenlight.net>
MIME-Version: 1.0
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My poetry book (the transparent dinner) is thisthisthis close to being finished, and I'm
supposed to round up five places to send it for reviews.  Anyone have any ideas?

Also, any suggestions for places to read in NYC?  I already have Ear Inn, I need a couple
more.

Moreover and furthermore, if anyone would like a postcard bearing the likeness of the
cover of my book, with a bit of a poem not found anywhere on the web (or in any book)
printed on the backside, please send your name and address to inktastesbitter@yahoo.com.

Thank you all so kindly.

Christine Hamm
www.christinehamm.org

__________________________________________________
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Date:         Sat, 9 Sep 2006 23:46:24 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Andrew Lundwall 
Subject:      melancholia's tremulous dreadlocks issue 4
Comments: To: mtdmagazine@gmail.com
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

The fourth issue of melancholia's tremulous dreadlocks is online now,
featuring work by:

Aaron Belz – Amish Trivedi – Andrew Joron – Audacia Dangereyes – Brian Henry
– Eric Gelsinger -Josh Hanson – Mathias Svalina – Maxine Chernoff – MTC
Cronin – Nathalie Stephens – Primoz Cucnik -rob mclennan – Sean Kilpatrick

Artwork by Lauren Kohne

melancholia's tremulous dreadlocks is an online bi-weekly journal of poetry
and curious bits, co-edited by Andrew Lundwall and François Luong.

http://www.melancholiastremulousdreadlocks.com

_________________________________________________________________
Windows Live Spaces is here! It’s easy to create your own personal Web site.
  http://spaces.live.com/signup.aspx
=========================================================================
Date:         Sun, 10 Sep 2006 01:29:34 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         David-Baptiste Chirot 
Subject:      (Fwd Project Censored Announces the Release of Most Censored
              Stories for 2005-06
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

>
>
> >  Top 25 Most Censored Stories for 2005-06
> >
> >
> > Note: these folks are outstanding, and accept submissions throughout the
> > year. Please support their work!
> >
> > *Project Censored Announces the Release of the Top 25 Most Censored
> > Stories for 2005-06***
> > * ***
> > For thirty years Project Censored at Sonoma State University has been
> > reporting the real news that corporate media refuses to cover. The 250
> > student researchers and faculty find cutting-edge news stories that go
> > under-reported in the mainstream corporate media. Real news is not there
> > for the selling of material goods or entertainment. Real news can only
> > be measured through its success in building democracy, stimulating
> > grassroots activism, and motivating resistance to top-down institutions.
> > Democratic activism underlies the purpose, reason, and message of free
> > speech. Here again is Project Censored’s release of the news that didn’t
> > make the news—a compilation of the best examples of journalism that the
> > corporate media marginalized in 2005-06.
> >
> > Full reviews of the stories are published in /Censored 2007: 30//th//
> > Anniversary Edition/ from Seven Stories Press, available at:
> > http://www.projectcensored.org/
> >
> >
> > *1. Future of Internet Debate Ignored by Media***
> > Throughout 2005 and 2006, a large underground debate raged regarding the
> > future of the Internet. Referred to as “network neutrality,” the issue
> > has become a tug of war with cable companies on the one hand and
> > consumers and Internet service providers on the other.
> >
> > *
> > *
> > *2. Halliburton Charged with Selling Nuclear Technologies to Iran***
> > As recently as January of 2005 and a decade before Halliburton sold key
> > components for a nuclear reactor to an Iranian oil development company
> > in violations of US sanctions.
> > *
> > *
> > *3. Oceans of the World in Extreme Danger***
> > Sea temperature and chemistry changes, along with contamination and
> > reckless fishing practices intertwine to imperil the world’s largest
> > communal life source.
> >
> > *4. Hunger and Homelessness Increasing in the US***
> > The number of hungry and homeless people in US cities continued to grow
> > in 2005.
> >
> > *5. High-Tech Genocide in Congo***
> > The world's most neglected emergency is the ongoing tragedy of the
> > Congo, where six to seven million have died since 1996 as a consequence
> > of invasions and wars sponsored by western powers trying to gain control
> > of the region's mineral wealth
> >
> > *6. Federal Whistleblower Protection in Jeopardy***
> > Special Counsel Scott Bloch, appointed by President Bush in 2004, is
> > overseeing the virtual elimination of federal whistleblower rights in
> > the US government.
> >
> > *7. US Operatives Torture Detainees to Death in Afghanistan and Iraq***
> > The American Civil Liberties Union released documents of forty-four
> > autopsies held in Afghanistan and Iraq October 25, 2005. Twenty-one of
> > those deaths were listed as homicides. These documents present
> > irrefutable evidence that US operatives tortured detainees to death
> > during interrogation.
> >
> > *8. Pentagon Exempt from Freedom of Information Act***
> > In December 2005, Congress passed the 2006 Defense Authorization Act
> > which renders Defense Intelligence Agency (DIA) “operational files”
> > fully immune to FOIA requests, the main mechanism by which watchdog
> > groups, journalists and individuals can access federal documents.
> > *
> > *
> > *9. The World Bank Funds Israel-Palestine Wall ***
> > Despite the 2004 International Court of Justice (ICJ) decision that
> > called for tearing down the Israel-Palestinian Wall—construction of the
> > Wall has accelerated using World Bank funds.
> >
> > *10. Expanded Air War in Iraq Kills More Civilians***
> > A key element of Bush’s drawdown plans in Iraq includes increased uses
> > of airpower. Expanded air strikes will likely lead to increased civilian
> > deaths.
> >
> > *11. Dangers of Genetically Modified Food Confirmed***
> > Several recent studies confirm fears that genetically modified (GM)
> > foods damage human health.
> > *
> > *
> > *12. Pentagon Plans to Build New Landmines***
> > The US plans to resume production of antipersonnel landmines.
> > *
> > *
> > *#13 New Evidence** Establishes Dangers of Roundup*
> > New studies reveal that Roundup, the most widely used weed killer in the
> > world, poses serious human health threats.
> > *
> > *
> > *14. Homeland Security Contracts KBR to Build Detention Centers in the
>US***
> > Halliburton’s subsidiary KBR has been awarded a $385 million contingency
> > contract by the Department of Homeland Security to build detention camps
> > in the United States for immigrations surges and “news programs.”
> > *
> > *
> > *15. Chemical Industry is EPA’s Primary Research Partner***
> > The American Chemical Council is now EPA’s leading research partner
> >
> > *16. Ecuador and Mexico Defy US on International Criminal Court***
> > Ecuador and Mexico have refused to sign bilateral immunity agreements
> > (BIA) with the US, in ratification of the International Criminal Court
> > (ICC) treaty, despite the Bush Administration’s threat to withhold
> > economic aid
> >
> > *
> > *
> > *17. Iraq Invasion Promotes OPEC Agenda***
> > The US occupation of Iraq has been used by the US to acquire access to
> > the Organization of Petroleum Exporting Countries.
> >
> > *18. Physicist **Challenges Official 9-11 Story***
> > Research by Brigham Young University physics professor, Steven E. Jones,
> > concludes that the official 9/11 explanation for the collapse of the
> > World Trade Center buildings is implausible according to laws of physics
> >
> > *
> > *
> > *19. Destruction of Rainforests Worst Ever***
> > New developments in satellite imaging technology reveal that the Amazon
> > rainforest is being destroyed twice as quickly as previously estimated
> > *
> >
> > 20. Bottled Water: A Global Environmental Problem***
> > Consumers spend a collective $100 billion every year on bottled water in
> > the belief—often mistaken—that it is better for us than what flows from
> > our taps. Worldwide, some 2.7 million tons of plastic are used to bottle
> > water each year.
> > *
> >
> > 21. Gold Mining Threatens Ancient Andean Glaciers***
> > Barrick Gold, a powerful multinational gold mining company, planned to
> > melt three Andean glaciers in order to access gold deposits through open
> > pit mining.
> >
> > *22. Billions in Homeland Security Spending Undisclosed***
> > More than $8 billion* *in* *Homeland Security funds has been doled out
> > to states since the September 11, 2001 attacks, but the public has
> > little chance of knowing how this money is actually being spent.
> >
> > *23. US Oil Targets Kyoto in Europe***
> > Lobbyists funded by the US oil industry have launched a campaign in
> > Europe aimed at derailing efforts to enforce the Kyoto Protocol against
> > global warming
> >
> > *24.* *Cheney’s Halliburton Stock Rose Over 3000 Percent Last Year***
> > Vice President Dick Cheney’s stock options in Halliburton rose from
> > $241,498 in 2004 to over $8 million in 2005, an increase of more than
> > 3,000 percent
> >
> > *25. US Military in Paraguay Threatens Region***
> > South American countries are concerned that a massive air base at
> > Mariscal Estigarribia, Paraguay is designed to be a US military
> > stronghold in the region.
> >
> > Contact Information
> >
> > Project Censored
> > Sonoma State University
> > 1801 East Cotati Ave.
> > Rohnert Park, CA 94928
> > 707-664-2500
> >
> > censored@sonoma.edu 
> >
> > Full reviews of the stories are available at:
> >
> > http://www.projectcensored.org/
> >
> > --
> > When people no longer fear authority
> > a greater authority will appear
> > don't restrict where people dwell
> > don't repress how people live
> > if they aren't repressed
> > they won't protest
> > thus the sage knows herself
> > but doesn't reveal herself
> > she loves herself
> > but doesn't exalt herself
> > thus she picks this over that
> >
> > Dao de Jing # 72
> > translated by Red Pine
> >
> > for a daily Taoist meditation, just hit "reply" and write "subscribe
>Tao"
> >  in the subject line. Unsubscribe any time the same way!
> >
> > The best way to end the war is to support war resisters.
> >
> > "War will exist until that distant day when the conscientious objector
> >  enjoys the same reputation and prestige as the warrior does today."
> > - John Fitzgerald Kennedy
> >
> >
> >
> > > _______________________________________________
> > Project-Censored-L mailing list
> > Project-Censored-L@sonoma.edu
> > https://webmail.sonoma.edu/mailman/listinfo/project-censored-l
> >
> >
>
>
>__________________________________________________
>Do You Yahoo!?
>Tired of spam?  Yahoo! Mail has the best spam protection around
>http://mail.yahoo.com

_________________________________________________________________
Get the new Windows Live Messenger!
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=========================================================================
Date:         Sun, 10 Sep 2006 06:07:26 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jeffrey Side 
Subject:      Jake Berry poems at The Argotist Online
Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu

Jake Berry poems can be found here:

http://www.argotistonline.co.uk/Berry%20poem.htm
=========================================================================
Date:         Sun, 10 Sep 2006 07:45:09 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Tom Beckett 
Subject:      new now at e-x-c-h-a-n-g-e-v-a-l-u-e-s....
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Thomas Fink interviews Denise Duhamel and Nick Carbo.  Hie thee to:
http://willtoexchange.blogspot.com

Ye will be glad ye did.
=========================================================================
Date:         Sun, 10 Sep 2006 08:11:57 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Magee 
Subject:      Re: payments for readings
Comments: cc: Haas Bianchi 
MIME-Version: 1.0
Content-Type: text/plain; charset=utf-8
Content-Transfer-Encoding: quoted-printable

I started the non-profit organization Combo Arts in part to be able to pay =
readers in the Downcity Poetry Series that Michael Gizzi and I host in Prov=
idence RI (www.downcitypoetry.org).  For what its worth, I think one reason=
 readers don't get paid (well) is because reading venues have shied away fr=
om a fundraising model, for a variety of reasons including a reluctance to =
get involved in the sullied world of asking everyone and anyone in the comm=
unity for money.  But, if you can get around that nervousness (ethically) t=
here is money to be found for your readers out there by tapping into the re=
venue streams (apologies for the corporate lingo) traditionally directed to=
ward the arts.  So, there's state and local arts councils etc, but also all=
 the sources that one would hit up if, say, one were raising money for a mu=
sic festival -- basically anybody who has money and an interest in having a=
 lively arts community in their neighborhood. So, you just need to set up a=
 501c3 which is a pain but not super difficult.

Michael Magee
http://www.comboarts.org
=========================================================================
Date:         Sun, 10 Sep 2006 08:54:24 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Tod Edgerton 
Subject:      Email for Jack Kimball?
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

If anyone has Jack Kimball's email, I would greatly appreciate it if you could backchannel it to me.

Thank you!

Tod


Michael Tod Edgerton
Poet-in-Residence, Spring 2006
Stonehill College
__________________

Peter Kaplan Memorial Fellow, 2004 - 2006
Program in Literary Arts
Brown University

"There's the mute probability of a reciprocal lack of understanding"
                       - Mei-mei Berssenbrugge
 		
---------------------------------
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 Get on board. You're invited to try the new Yahoo! Mail.
=========================================================================
Date:         Sun, 10 Sep 2006 14:16:55 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Andy Gricevich 
Subject:      Strange political theater & chamber music in Chicago
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Hi, all!

  The Nonsense Company, an experimental theater and music trio out of Madison, WI,
  is performing in Chicago's Rhinoceros festival. Performances include:

  "The Climb Up Mount Chimborazo," a verse play by Rick Burkhardt.  A strange, poetic, and not-consistently-reverent meditation on the education of Simon Bolivar.  Bolivar's tutor, Simon Robinson, was an odd and never-reverent revolutionary whose approach to education seems radical even today.  In his spirit, the play veers wildly between historical periods:  Robinson's character is combined with other educators who fell foul of political currents (Jocelyn Elders puts in an appearance);  the (perhaps genetically modified) electric eels of Venezuela's Orinoco river foretell the future on a stock market program;  birds and bees of South America emerge from Bolivar's sombrero to conduct a right-wing talk show;  a bizarre lecture mixes military history with Zukofsky, Ginsberg, Whitman, and Kiplin; and the actors argue with themselves about why (and whether) they are playing heterosexual characters AGAIN.

The play is about the difficulty of knowing history, especially revolutionary history, especially a history that has been deliberately buried by its political opponents.  Much of the play (though not all of it) moves slowly and quietly.  The main characters have been dead for over 150 years.  If (like me) you have gaps in your knowledge about South American history, this play will fill some of them, point out others, and raise questions about how big a gap in history can get before the things that fall through are bigger than the things that remain.

Check out the play's webpage:

http://princemyshkins.com/chimborazopage.html

and come see it!  Sundays, 7pm, September 10 through October 22 (no performance October 1) at the Prop Thtr, 3504 N Elston, Chicago.  http://www.rhinofest.com

On September 15th at 7pm, two-thirds of the Company will perform as the political satire/cabaret duo The Prince Myshkins, whose incisive, hilarious songs have garnered praise from a variety of corners. Also performed: Rick Burkhardt's percussion trio "Great Hymn of Thanksgiving."  The Great Hymn takes place around a dinner table, where the sounds of conversation have been replaced by fragments of news reports from Iraq, scraps from the Army prayer manual, invented Arab folk tales, and a recurring State of Emergency pointing everywhere and leading nowhere. (Also, a bit of Rae Armantrout for the discriminating listener). The sounds of the table itself (singing wineglasses, squeaking forks, grinding peppermills) struggle to bring this “conversation” into a confrontation with material reality. Dinner theater it ain't.  For reservations, dial 773-539-7838.  (Then they'll disclose the location and give you directions.)

The Hymn's webpage:
http://princemyshkins.com/noncomgreathymn.html

We're ALSO (because two shows just isn't enough) performing the mysterious and haunting "The Jesus Fields" by our friend Matt Test (who played Constable Smith in our performance of the Threepenny Opera).  Agriculture, theology, and police interrogation movies all rolled into one.  This is also at the Prop Thtr (3504 N. Elston), Mondays at 7pm, September 11 to October 23, on a bill with "What Where," Samuel Beckett's frightening last play.

We look forward to seeing you at some of these shows!  Bring the masses!  (we are required to point out that these aren't "family" shows:  there's adult language and nudity.  Frankly, the kids would probably just find it dull.)

And finally, the Nonsense Company's webpage:
http://princemyshkins.com/nonsensecompany.html


 		
---------------------------------
Do you Yahoo!?
 Get on board. You're invited to try the new Yahoo! Mail.
=========================================================================
Date:         Sun, 10 Sep 2006 19:09:30 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      FW: Turntable & Blue Light Year Anniversary
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Hi everyone!

I hope you all are well! As the magazine approaches the end of its
first year, I wanted to get back in touch with many of you who
contributed or expressed interest in contributing and all those of you
who visited when it first went live and throughout the last year. It's
been a great first year, with hundreds of visitors every week from all
over the world - the U.S., Canada, Asia, Europe, Australia, South
America - and I wanted to once again thank everyone who has contributed
their awesome work and all those who have been readers.

After a summer hiatus, I am going for another posting push for
September and October and wanted to check in with all of you to see if
you'd like to contribute new work, and spread the word, too, to other
artists and writers who may want to contribute!

Following is a brief summary of submission guidelines:

VISUAL ART

665 pixels max width * can be jpeg or gif - 72 dpi

Please submit at least 5-7 pieces, and no more than 15.

POETRY/PROSE

Please submit work in an attached Word file, and include at least 5-7
poems/pieces, and no more than 12 individual pieces. Work can be
emailed or snail-mailed.

MUSIC

Please submit a query letter first, describing who you'd like to
profile and what kind of review you'd like to write and and include a
couple samples of your work. The sample articles/pieces needn't have
been published before.

TRIPPINESS

This section is very open-ended, and includes articles on metaphysical
topics, travel experiences, psychedelic art, and strange life tales.

*     *     *

Thank you again for all of your wonderful work and for reading and
visiting this past year!!

Arielle


Arielle Guy
Word One New York Editing
Turntable & Blue Light Magazine
358 7th Avenue, Suite 101
Brooklyn, NY 11215

t - 917-903-0178

www.wordone-ny.com
www.turntablebluelight.com
=========================================================================
Date:         Sun, 10 Sep 2006 23:02:11 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      reply
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

hi murat,

thanks for your email. i was away for the weekend. you ask me a few
public questions. i'll answer publicly to clarify -- but i've no
interest in defending myself or anything i've said. so to clarify:

again, my comments have not been about anyone in particular. those
sketches were not about, nor meant to be about, anyone in particular. i
gather there seems to be a theory that i'm commenting on someone in
particular. that's erroneous. i thought in yr email, which i got late
and read when tired, was that you were asking why i didn't use names,
not why i wasn't using the name of some particular person. i don't use
names because i don't know any one person who fits those sketches. they
are abstractions, rough sketches about aggregates of behavior. if you
can find one particular person who does all those things in teh five
sketches, wull okay, that's quite a person. (the one name of a living
person i did use, i used hastily -- and wrote a backchannel apology to
him immediately).

my point was and is that these are rough sketches of *social* games.
games that take a number of participants. it's not really a concern to
me if you believe that or not. but as you asked -- twice -- i want my
answer to be clear (because i'm assuming you're genuinely interested in
the answer -- and aren't looking for an excuse to play a game).

finally, not sure about your reference to lucipo: i really wasn't
following any of the discussions on lucipo in the past few months
closely at all, so can't comment on what you say about that. i'm not
sure what discussion about rap you're referencing. i was deleting
heavily. and i'm not really that interested to read the archives. i saw
at one point, because i was alerted to it by some backchannels from a
woman who had tried to comment on lucipo, that, in the midst of some
high traffic from one party, there was some attempt to comment by some
women, but that they were argued with, talked down to, and squelched. my
reference, in i think my last email, to lucipo and discussions on
structural approaches etc was not about recent lucipo traffic but about
discussions last year around a short essay i wrote.

hope this helps. that's all i'll say about this topic unless i am
queried directly by someone with a genuine interest in politely and
fruitfully discussing something bearing upon it.

warmly,
gabe
--
__________________________________
http://gabrielgudding.blogspot.com
----------------------------------
Gabriel Gudding
Department of English
Illinois State University
Normal, Illinois  61790
309.438.5284 (office)
=========================================================================
Date:         Sun, 10 Sep 2006 23:21:34 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      Re: the game of "courtroom" in poetry discourse
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

Hi Jason,

I'd like to discuss some of this with you, but I'm hesitant to do so. I
think some of the questions you raise are really interesting and
insightful, but it would help me if you could reframe your response in a
more polite way.

I'd really appreciate it if you could do that.

It would also help me (just because I won't have a lot of time this
week) if we could take your points a few at a time.

And it might help us both if I just state out front that I'll not
continue discussing anything if we move away from a polite exchange.

Is it okay with you if we proceed in this way?

Best to you, Jason.

Gabe
--
__________________________________
http://gabrielgudding.blogspot.com
----------------------------------
Gabriel Gudding
Department of English
Illinois State University
Normal, Illinois  61790
309.438.5284 (office)
=========================================================================
Date:         Mon, 11 Sep 2006 03:30:46 -0700
Reply-To:     rsillima@yahoo.com
Sender:       UB Poetics discussion group 
From:         Ron Silliman 
Subject:      Silliman's Blog - September 11th
Comments: To: Brit Po ,
          New Po , Wom Po ,
          Lucifer Poetics 
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

http://ronsilliman.blogspot.com/

(back at the old email:
silliman AT gmail DOT com)

*************************************
reading Friday 9/15 in NYC
with Samuel R Delany & Debra Di Blasi
at KGB Bar, 84 E. 4th Street, 7 PM
*************************************


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http://ronsilliman.blogspot.com/
=========================================================================
Date:         Mon, 11 Sep 2006 10:21:10 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Vernon Frazer 
Subject:      Vernon Frazer will ber on vacation
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
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Hello



I'm going on vacation starting September 12 and should return by September
20. I'm gong to be incommunicado for that time. If anyone should need to
reach me, please leave a message on my answering machine and I'll get back
to you soon after my return.



Vernon

http://vernonfrazer.com 


=========================================================================
Date:         Mon, 11 Sep 2006 10:21:50 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Ward Tietz 
Subject:      ON THE PUMICE OF MORONS by Coolidge and Fagin
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

I was recently contacted by someone looking for a copy of Clark
Coolidge's and Larry Fagin's "On the Pumice of Morons."  Does anyone
know where it appeared?

Best,

WT
=========================================================================
Date:         Mon, 11 Sep 2006 07:32:46 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "c. s. giscombe" 
Subject:      What's happening this fall in NYC (and/ or DC)?
In-Reply-To:  <17883628-F82B-4DE9-8FEE-4A4E01840037@mdo.net>
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I'm looking for an event to accompany my students to in New York (or DC) sometime this fall.  We'll be coming from central Pennsylvania, from Penn State.

  In the past I've taken classes to the Nuyorican Friday night slams and, interesting and pleasurable as those are, this time out I'm hoping to find something that's a bit more demanding, something that complicates the categories of artist/ poet, dramatist/ actor and audience.  I'm trying to make everyone as nervous--and challenged--as possible.  (One of our texts this semester is Fiona Templeton's You the City.)

  We're four hours west of New York and it's interesting to me how many Penn State undergrads have never been.  Anyway I'd be grateful for performance suggestions.

  Thanks.

  Cecil Giscombe


______________
C. S. Giscombe

csgiscombe@yahoo.com


telephone: 814-357-8160 and 814-863-9584 and 814-571-0429
=========================================================================
Date:         Mon, 11 Sep 2006 09:28:36 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dan Coffey 
Subject:      Re: ON THE PUMICE OF MORONS by Coolidge and Fagin
In-Reply-To:  <17883628-F82B-4DE9-8FEE-4A4E01840037@mdo.net>
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http://writing.upenn.edu/epc/ezines/treehome/tree03/cool_ont.html

On 9/11/06, Ward Tietz  wrote:
> I was recently contacted by someone looking for a copy of Clark
> Coolidge's and Larry Fagin's "On the Pumice of Morons."  Does anyone
> know where it appeared?
>
> Best,
>
> WT
>


--
http://hyperhypo.org
=========================================================================
Date:         Mon, 11 Sep 2006 14:40:21 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         reJennifer Bartlett 
Subject:      Saint Elizabeth Street Blog
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BRAND SPANKING NEW! On the SES blog!

Michael Palmer and the Wallace Stevens Award
Factotum
100 poems/ books to be read immediately!

http://saintelizabethstreet.blogspot.com/

_________________________________________________________________
Call friends with PC-to-PC calling -- FREE
http://imagine-msn.com/messenger/launch80/default.aspx?locale=en-us&source=wlmailtagline
=========================================================================
Date:         Mon, 11 Sep 2006 10:55:10 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Aldon Nielsen 
Subject:      Re: ON THE PUMICE OF MORONS by Coolidge and Fagin
In-Reply-To:  <17883628-F82B-4DE9-8FEE-4A4E01840037@mdo.net>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

The copy I have is a chapbook -- when I get home later I can check
the pub data for you if nobody else has answered the question yet

At 10:21 AM 9/11/2006, you wrote:
>I was recently contacted by someone looking for a copy of Clark
>Coolidge's and Larry Fagin's "On the Pumice of Morons."  Does anyone
>know where it appeared?
>
>Best,
>
>WT

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

"and now it's winter in America"
         --Gil Scott-Heron


Aldon Lynn Nielsen
George and Barbara Kelly Professor of American Literature
Department of English
The Pennsylvania State University
112 Burrowes
University Park, PA   16802-6200

(814) 865-0091 [office]

(814) 863-7285 [Fax]
=========================================================================
Date:         Mon, 11 Sep 2006 10:57:10 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Aldon Nielsen 
Subject:      Re: What's happening this fall in NYC (and/ or DC)?
In-Reply-To:  <20060911143246.87299.qmail@web34012.mail.mud.yahoo.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

I see the PUMICE OF MORONS question has already been answered -- SO I
will use the rest of my daily quota thusly:

let me draw my colleague & friend Cecil's attention to the Larry Neal
conference and events that will be in Brooklyn and Harlem Oct. 19-21

At 10:32 AM 9/11/2006, you wrote:
>I'm looking for an event to accompany my students to in New York (or
>DC) sometime this fall.  We'll be coming from central Pennsylvania,
>from Penn State.
>
>   In the past I've taken classes to the Nuyorican Friday night
> slams and, interesting and pleasurable as those are, this time out
> I'm hoping to find something that's a bit more demanding, something
> that complicates the categories of artist/ poet, dramatist/ actor
> and audience.  I'm trying to make everyone as nervous--and
> challenged--as possible.  (One of our texts this semester is Fiona
> Templeton's You the City.)
>
>   We're four hours west of New York and it's interesting to me how
> many Penn State undergrads have never been.  Anyway I'd be grateful
> for performance suggestions.
>
>   Thanks.
>
>   Cecil Giscombe
>
>
>______________
>C. S. Giscombe
>
>csgiscombe@yahoo.com
>
>
>telephone: 814-357-8160 and 814-863-9584 and 814-571-0429

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

"and now it's winter in America"
         --Gil Scott-Heron


Aldon Lynn Nielsen
George and Barbara Kelly Professor of American Literature
Department of English
The Pennsylvania State University
112 Burrowes
University Park, PA   16802-6200

(814) 865-0091 [office]

(814) 863-7285 [Fax]
=========================================================================
Date:         Mon, 11 Sep 2006 09:00:31 -0600
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mark DuCharme 
Subject:      Help?
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

A question, especially for all you Adjunct Profs out there.  I've recently
joined your ranks, and am looking for an affordable source of health/dental
insurance.  Any leads at all would be appreciated.  Back or front channel.
Thanks,

Mark DuCharme
=========================================================================
Date:         Mon, 11 Sep 2006 10:05:28 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         mIEKAL aND 
Subject:      Re: Help?
In-Reply-To:  
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
Content-Transfer-Encoding: 7bit

The best health insurance in the world is eating whole and natural
foods, getting plenty of exercise & doing everything in your power to
lead a stress-reduced existence.

~mIEKAL

On Sep 11, 2006, at 10:00 AM, Mark DuCharme wrote:

> A question, especially for all you Adjunct Profs out there.  I've
> recently joined your ranks, and am looking for an affordable source
> of health/dental insurance.  Any leads at all would be
> appreciated.  Back or front channel.  Thanks,
>
> Mark DuCharme
=========================================================================
Date:         Mon, 11 Sep 2006 08:09:36 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Flora Fair 
Subject:      Re: Help?
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

I think www.tiaa-cref.org helps people in the education field with insurance.

mIEKAL aND  wrote: The best health insurance in the world is eating whole and natural
foods, getting plenty of exercise & doing everything in your power to
lead a stress-reduced existence.

~mIEKAL

On Sep 11, 2006, at 10:00 AM, Mark DuCharme wrote:

> A question, especially for all you Adjunct Profs out there.  I've
> recently joined your ranks, and am looking for an affordable source
> of health/dental insurance.  Any leads at all would be
> appreciated.  Back or front channel.  Thanks,
>
> Mark DuCharme



"A kitten dies every time you send me a chain email."
=========================================================================
Date:         Mon, 11 Sep 2006 11:20:21 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Ruth Lepson 
Subject:      Re: Help?
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

any writer can join the National Writers Union--good luck.


On 9/11/06 11:00 AM, "Mark DuCharme"  wrote:

> A question, especially for all you Adjunct Profs out there.  I've recently
> joined your ranks, and am looking for an affordable source of health/dental
> insurance.  Any leads at all would be appreciated.  Back or front channel.
> Thanks,
>
> Mark DuCharme
=========================================================================
Date:         Mon, 11 Sep 2006 08:28:53 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         gfrym@EARTHLINK.NET
Subject:      Re: ON THE PUMICE OF MORONS by Coolidge and Fagin
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=response
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It was published by The Figures of Great Barrington in 1993.  Contact Geoff
Young.

Best, Gloria Frym



----- Original Message -----
From: "Aldon Nielsen" 
To: 
Sent: Monday, September 11, 2006 7:55 AM
Subject: Re: ON THE PUMICE OF MORONS by Coolidge and Fagin


> The copy I have is a chapbook -- when I get home later I can check the pub
> data for you if nobody else has answered the question yet
>
> At 10:21 AM 9/11/2006, you wrote:
>>I was recently contacted by someone looking for a copy of Clark
>>Coolidge's and Larry Fagin's "On the Pumice of Morons."  Does anyone
>>know where it appeared?
>>
>>Best,
>>
>>WT
>
> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>
> "and now it's winter in America"
>         --Gil Scott-Heron
>
>
> Aldon Lynn Nielsen
> George and Barbara Kelly Professor of American Literature
> Department of English
> The Pennsylvania State University
> 112 Burrowes
> University Park, PA   16802-6200
>
> (814) 865-0091 [office]
>
> (814) 863-7285 [Fax]
=========================================================================
Date:         Mon, 11 Sep 2006 11:31:03 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mark Weiss 
Subject:      Re: Help?
In-Reply-To:  
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

Don't breathe too much--even clean air wears out the parts. And even
clean things that float in the air can wreak havoc. Avoid all
machinery, also all animals. Hand tools can also be dangerous. Also
computers--think about arthritis and carpal tunnel syndrome, and the
probable increase in the danger of cataracts. While exercising, try
not to stress any joints by using them--joints wear out. Avoid
walking under or near anything from which something could fall on
you. Avoid sex at all costs unless you first boil your and your
partner's genitals. Never kiss anything. If you're a woman don't get
pregnant. If you're a man try not to have a prostate.

As to stress, avoid work at all costs, especially with other human
beings (who also often carry diseases). Work that requires a
challenge to the self should also be avoided.

If you follow these rules, choose your ancestors very carefully and
eat soft organic foods nothing bad will ever happen to you, and you
won't need insurance.

Mark Weiss


At 11:05 AM 9/11/2006, you wrote:
>The best health insurance in the world is eating whole and natural
>foods, getting plenty of exercise & doing everything in your power to
>lead a stress-reduced existence.
>
>~mIEKAL
>
>On Sep 11, 2006, at 10:00 AM, Mark DuCharme wrote:
>
>>A question, especially for all you Adjunct Profs out there.  I've
>>recently joined your ranks, and am looking for an affordable source
>>of health/dental insurance.  Any leads at all would be
>>appreciated.  Back or front channel.  Thanks,
>>
>>Mark DuCharme
=========================================================================
Date:         Mon, 11 Sep 2006 11:49:56 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         heidi arnold 
Subject:      Re: the game of "courtroom" in poetry discourse
In-Reply-To:  <4504E44E.3050804@ilstu.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

hi, Gabe,

i apologize for being away from my mail and not responding to your post
earlier --

 "Nonviolence means stopping violence. It
does not mean succumbing to it. It's a common misunderstanding, but not
even the Buddha was a pacifist. Sometimes hard action is necessary,
whether hard verbal action or hard physical action. The buddha's only
point was that one must tend one's own mind, to make it gentle, even
when standing up to folks who are, well, thick. Ignorant people (and I
don't mean uneducated, I mean people who don't have control of their
minds) are dangerous."

** there is a great deal of interesting thinking here, and i'll try to piece
my way through some responses -- i think i see your point that not having
control of one's mind is dangerous, and i've rephrased your point
deliberately, for the simple reason that the human mind isn't always
controllable, and i question whether it should be, that unbridled thought in
the right context is a fantastic thing -- and i don't think it's only the
crazy people, whoever they are, that this applies to -- the human mind,
which is not scientifically understood on any grounds, i would say, and is
open to spirits of the divine, spirits of nature, spirits, in my case, of
marriage, is a site of reason but also a site of universal energy that
needn't i would say be entirely controlled -- because it is imposibble not
to have an unconscious -- that opening oneself to the unknown mind in the
mystical sense seems to be part of human possibility -- maybe not when
driving the freeway (unless you're driving a cab on the DanRyan) -- maybe
put more concisely i would say that the danger in the human mind is
something that can be made peace with, and i'm not just talking about
definitions of sanity, but of the elasticity inherent in thoughts -- this is
in response to your comment that Buddhism is about cultivating one's own
mind -- which is a much wiser statement than the thoughts jotted here, but i
would respond that the mind needs a wilderness, as well --

** your point that "nonviolence means stopping violence" is something i
would tend to disagree with, i mean even in the words, "stopping violence"
the sounds have a kind of slamming effect -- it is simply impossible to
force violence to stop -- but if violence is faced without a violent
response, with a nonviolent response, the idea would be to bring the
violence to an end, so maybe that is what you meant -- which is to say that
i don't think the US should have attacked Afghanistan, or Iraq, or anywhere
else for that matter -- my point of reference for this, which i'm working
out in an essay, is the writings of the desert fathers, who created a
non-acquisitive society of hermits, and in their period they became a locus
of shamanistic poetry for the neighboring urban centers -- this society of
hermits has interested me since i learned about them in 1997, which is
coincidentally about the time i met my husband, and it has been
conversations with him that have opened up some of the depths in those
writings, and those two threads are something i am working out in the essay
-- though of course the irony is that the essay tries to take an
accomplishment out of the works of those who denied themselves
accomplishment, that kind of spiritual poverty was critical to their work, a
spiritual poverty which is the very soul of love...  i'd just add that if
people waited until they were "good enough" as selves to do peace work, i
would never get in, but that doesn't matter, one doesn't have to wait until
you get that kind of seal of goodness, it's not about how "good" or "bad"
the self is, if you can find a context for working for peace -- the work
itself will change the self, make the self less, would be the hope -- that
the only way to the good is leaving the self behind because the self can't
get there anyway --

Or Viktor Frankl, who survived not just one extermination camp, but four
-- Theresienstadt, then Auschwitz, then Kaufering and Turkheim, the
latter two being adjuncts of Dachau -- and who said, "We who lived in
concentration camps can remember the men who walked through the huts
comforting others, giving away their last piece of bread. They may have
been few in number, but they offer sufficient proof that everything can
be taken from a person but one thing: the last of the human freedoms --
to choose one's attitude in any given set of circumstances, to choose
one's own way."

** you might be interested in the writings of Dietrich Bonhoeffer, a
theologian and ethicist -- i am currently rereading his stuff and will post
about them when i have something to write on them

** sometime i would be very interested to hear about your work, Gabe,
teaching writing in prisons --

Regards,

heidi
=========================================================================
Date:         Mon, 11 Sep 2006 12:44:48 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Evans 
Subject:      UMaine New Writing Series - F06 Schedule
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

Greetings, all,

The fall lineup of the UMaine New Writing Series is now online at
	
	http://www.umaine.edu/english/events/NWS-F06.html

If you're coming from afar for one of the readings, let us know ahead
of time & we'll plan a meal or something.

All best,

Steve
=========================================================================
Date:         Mon, 11 Sep 2006 09:50:14 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Small Press Traffic 
Subject:      The Wishing Well at SPT
MIME-Version: 1.0
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Content-Transfer-Encoding: 8bit

Small Press Traffic is pleased to present

Friday, September 15, 2006 at 7:30 p.m.

World Premiere of THE WISHING WELL, a play by Kevin Killian & Larry Rinder

Special benefit event – we suggest you arrive early – all seats $10 – first
come first served.

In present-day San Francisco, not everyone's  slacker, and artist-musician
Buddy Harrison resents the label more than most.  His art career seems like
it's taking off, for he's sold one of his lemonade-based stick figure drawings
for $150, and his acoustic band is polishing his Harry Smith-influenced
neo-folk number, "Mushroom Wind."  And yet one day Buddy wakes up and finds
out that his little web side project, the "Wishing Well" has made him rich
beyond his wildest imaginings, on a par with Craig from Craig's List.  That's
when his problems begin, as from around the globe, the people he helped and
the people he failed to help converge on the city on the bay for another fatal
round of summer wishes, winter dreams.  From Russia fly Natasha Berchofsky and
her French poodle, Bijou, cured of a pet disease once thought certain to kill
him.  From the Andes comes the young medical student and former shepherdess
Purissima, now a gene-splicing technician at the new UCSF Mission Bay genetic
labs.  Buddy's boyfriend, suave real estate broker Michael Morton, has his own
ideas about how to spend all that money.  But what does Buddy want-really
want?  Put a quarter in the wishing well of San Francisco Poets' Theater, and
find out.  Our thirty-fourth full-length production, written by Kevin Killian
and Larry Rinder, features an eclectic cast of poets, painters, musicians,
film and video artists, photographers, writers and curators, including Gerald
Corbin, Craig Goodman, Clifford Hengst, Scott Hewicker, Colter Jacobsen, Karla
Milosevich, Donal Mosher, Rex Ray, Laurie Reid, Leslie Shows, and Wayne Smith.



We hope to see you here! For directions and map please see our website,
sptraffic.org.

Cheers,

Elizabeth Treadwell Jackson, Director
Small Press Traffic
Literary Arts Center at CCA
1111 -- 8th Street
San Francisco, CA 94107
415.551.9278
http://www.sptraffic.org
=========================================================================
Date:         Mon, 11 Sep 2006 09:50:21 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: the game of "courtroom" in poetry discourse
In-Reply-To:  <4504E44E.3050804@ilstu.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed

Hi Gabe,

I'm certainly capable of refraining from sarcasm if you're capable of avoiding the insulting tone of condescension of this email and the previous one that brought about my sarcastic remarks in the first place. Your tone has repercussions; you shouldn't be surprised that when you walk through life talking down to everyone who disagrees with you as if they were children who lacked your level of enlightenment, that some people will take umbrage at that. I certainly do.

If you wish to address me as an equal and take my arguments on their merits, I'll happily do the same and refrain from the sneering tone of my previous post. If you continue to feel the tone of your previous emails and this one are acceptable in open discourse, however, then I will not be kowtowing to your delusion that you are an enlightened guru dispensing wisdom from on high and there will be an end to the discussion.

yrs,
Jason


On Sun, 10 Sep 2006, Gabriel Gudding wrote:

> Hi Jason,
>
> I'd like to discuss some of this with you, but I'm hesitant to do so. I think
> some of the questions you raise are really interesting and insightful, but it
> would help me if you could reframe your response in a more polite way.
>
> I'd really appreciate it if you could do that.
>
> It would also help me (just because I won't have a lot of time this week) if we
> could take your points a few at a time.
>
> And it might help us both if I just state out front that I'll not continue
> discussing anything if we move away from a polite exchange.
>
> Is it okay with you if we proceed in this way?
>
> Best to you, Jason.
>
> Gabe
> --
> __________________________________
> http://gabrielgudding.blogspot.com
> ----------------------------------
> Gabriel Gudding
> Department of English
> Illinois State University
> Normal, Illinois  61790
> 309.438.5284 (office)
>
=========================================================================
Date:         Mon, 11 Sep 2006 12:00:06 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      audio, visual call
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

Dear All,

I hope you enjoy the new issue at http://listenlight.net.  I've retooled
the markup so that it's working almost perfectly in MSIE, which still
has over 50% share of the browser market.

This project, now ten weeks young, is my first go at web design, typing
out every character of the markup, hoping to make it accessible to the
hearing and visually impaired, and aiming to accommodate a future of
handheld devices optimized to xml schematics.

I want to invite submissions of work in audio and visual poetics for an
exclusive issue.  Please forward this message to your favorite audio |
visual poet.  Thank you.

All best,
Jesse Crockett
=========================================================================
Date:         Mon, 11 Sep 2006 10:28:32 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Nick LoLordo 
Subject:      Re: Gudding, Quackenbush, et al
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 8bit

As someone who to his knowledge has never met any of the persons
involved in this interminable pissing match, I have a suggestion:
could you please take it backchannel?  Those of us with a sociological
interest in such matters can follow the battle in the archives; those
without such interest will be relieved....

----------

V. Nicholas LoLordo
Assistant Professor

University of Nevada-Las Vegas
Department of English
4504 Maryland Parkway
Las Vegas, NV 89154-5011

(702) 895-3623
=========================================================================
Date:         Mon, 11 Sep 2006 10:33:37 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re: The Medea - and a poem for this day
Comments: To: "Poetryetc provides a venue for a dialogue relating to poetry
          and"@LISTSERV.BUFFALO.EDU, poetics 
In-Reply-To:  <45056B89.2080305@ilstu.edu>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Thanks for the poem Gabriel.  Looking at the vengeance driven faces of
Rumsfeld, Cheney, Bush et al - it remains tough to imagine how Gotama's
verse could ever begin to permeate the character structure of these folks.
George Bush lays a wreath at Ground Zero, while so many of us - concurrently
- want to immediately lay a wreath on his entire Presidency.

Last night - in my classics group - we watched Lars von Trier's  terrific,
painterly, very (albeit Nordic and haunting) beautifully done Medea (1987,
Danish Television). Instead of an inflamed death, we witness Medea - in her
over-the-top embrace by vengeance -  hang both of her young children. The
youngest resists, the older one is complicit.

Five years after the Twin Towers - and thankfully now with some resistance
from the Supreme Court and Congress folks, and public opinion - it is hard
not to look back and see where the Presidency's head long rush to vengeance
has devoured the constitutional vitals (balance, moderation) of this
country, not to let alone the destruction of Iraq and Lebanon. To resist or
be complicit remains the nagging moral question of the day.

This is no way to excuse vengeance bent jihadists that this country's
vengeance seems to so well aid and abet.


Stephen Vincent
http://stephenvincent.net/blog/






> Let us live in joy.
> In love among those who hate.
> Among those who hate,
> let us live in love.
>
> Let us live in joy.
> In peace among those who struggle.
> Among those who struggle,
> let us live in peace.
>
> Let us live in joy
> although we have nothing:
> let us live in joy
> like spirits of light.
>
>
>
> -- Siddhatta Gotama, the historical Buddha, from _Dhammapada_, trans
> Juan Mascaro, with a few touch-ups by GG by way of Paul Fleischman.
>
> [The ethics behind this simple verse from the Dhammapada are not "let
> them all struggle while we do not help," rather implicit to this verse
> is an ethics of aid, but that this aid be given with a base of a
> balanced mind, such that the difficulties mentioned -- hatred, struggle
> -- do not overcome those who can provide aid. It is a "buck stops here"
> ethic. I find this verse beautiful both because of its strong and simply
> stated ethic and because of the way its elegant repetition does not
> strike me as a plea or a vain hope, or in any way as a hortatory
> utterance. This is an utterance of force made by someone who really
> could walk this walk. A good verse for today.]
=========================================================================
Date:         Mon, 11 Sep 2006 13:41:32 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Eric Yost 
Subject:      Re: Help?
In-Reply-To:  <7.0.1.0.1.20060911111146.05927380@earthlink.net>
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 >>If you follow these rules, choose your ancestors very
carefully and eat soft organic foods nothing bad will ever
happen to you, and you won't need insurance.


You forgot that looming health menace--elephants falling
from poorly secured C5-A transport planes. By the time a
deep shadow grows around your ankles and you hear the
frenzied trumpeting from above, it'll be too late.
=========================================================================
Date:         Mon, 11 Sep 2006 14:04:51 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Daniel f. Bradley" 
Subject:      Re: Help?
In-Reply-To:  <45059FCC.3080704@gmail.com>
MIME-Version: 1.0
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now come on that just to impossible
  like a being an assistant professor of english
  in a university  in las vegas

  these are for a those wacky novelist to conceive
  not us poets of good manners and better taste
  we have flame wars to watch burn 'twixt twilight







Eric Yost  wrote:
  >>If you follow these rules, choose your ancestors very
carefully and eat soft organic foods nothing bad will ever
happen to you, and you won't need insurance.


You forgot that looming health menace--elephants falling
from poorly secured C5-A transport planes. By the time a
deep shadow grows around your ankles and you hear the
frenzied trumpeting from above, it'll be too late.



  helping to kill your literati star since 2004
  http://fhole.blogspot.com/

=========================================================================
Date:         Mon, 11 Sep 2006 14:01:56 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Kelleher 
Subject:      JUST BUFFALO E-NEWSLETTER 9-11-06
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

Make sure, in addition to the Just Buffalo event and workshop listings, to =
read the
Literary Buffalo listings at the bottom  of the page, as  this is one of th=
e busiest literary
weeks in recent memory

SPECIAL EVENT

CRAZY WISDOM: BUDDHISM, BEAT LITERATURE, AND AMERICAN POETICS
Presented by the Buffalo Community Outreach Group in celebration of the vis=
it of the Dalai Lama
Saturday September 16, 2006, 8:00 p.m.
Buffalo Arts StudioTri-Main Center, 2495 Main Street, Suite 500
Visit our website for more details.

JUST BUFFALO OPEN READINGS, HOSTED BY LIVIO FARALLO

Featured: Ken Feltges, Dan Sicoli & Joe Malvestuto
Carnegie Art Center =E2=80=A8240 Goundry St., North Tonawanda (Meets monthl=
y on the second Wednesday)=E2=80=A8Wednesday, September 13, 7 p.m.=E2=80=
=A810 slots for open readers

Featured: Diane Gilleece
Sunday, September 17, 7 p.m.
Rust Belt Books, 202 Allen St., Buffalo
Call 832.5400 for more info
10 open slots: all readers welcome=21

FALL WORKSHOPS

All workshops take place in Just Buffalo's Workshop/Conference Room
At the historic Market Arcade, 617 Main St., First Floor -- right across fr=
om Shea's
The Market Arcade is climate-controlled and has a security guard on duty at=
 all times.

To get here:

Take the train to the Theatre stop and walk, or park and enter on Washingto=
n Street.
Free parking on Washington Street evenings and weekends.
Two-dollar parking in fenced, guarded, M & T lot on Washington.

Visit our website for detailed descriptions, instructor bios, and to regist=
er online.

FICTION AND DRAMA:
The Art of Story
A Workshop for Fiction and Drama Writers of All Levels
Instructor: Gary Earl Ross
4 Wednesday Evenings, September 27, October 4, 11, and 18, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 for members

CREATIVE NON-FICTION:
=22There Are 3 Sides To Every Story....=22
A Creative Nonfiction Writing Workshop
Instructor: Alexis De Veaux
Two Saturday Sessions: October 14, October 28, 10 a.m. - 2 p.m.
Writing Sample Required by October 1 for participation.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 for members

POETRY WRITING:
Poetry and Memory
A Poetry Workshop For Poets of All Levels
Instructor: Barbara Cole
Four Tuesday Evening Sessions: October 17, 24, 31; November 7, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 memberS

COLLEGE ESSAY WRITING:
Writing Your Way Into Higher Education -- A Workshop on the College Essay
Instructor: Gary Earl Ross=C2=A0
Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.=C2=A0
=2470, =2450 members
Registration Deadline: October 23

CREATIVITY:
The Tao of Writing
A Creativity Workshop for Writers of All Levels
Instructor: Ralph Wahlstrom
4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 member

SONG LYRICS:
Turning Poems Into Song Lyrics
A Special Session For Aspiring Songwriters and Poets
Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper
Tentative Date: Tuesday, November14, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=2450. =2440 for members

JOIN JUST BUFFALO ONLINE=21=21=21

If you would like to join Just Buffalo, or simply make a massive personal d=
onation, you
can do so online using your credit card.  We have recently added the abilit=
y to join
online by paying with a credit card through PayPal.  Simply click on the me=
mbership
level at which you would like to join, log in (or create a PayPal account u=
sing your
Visa/Amex/Mastercard/Discover), and voil=C3=A1, you will find yourself in l=
iterary heaven.
For more info, or to join now, go to our website:

http://www.justbuffalo.org/membership/index.shtml

JUST BUFFALO WRITER'S CRITIQUE GROUP

Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri=
tique
group in CEPA's Flux Gallery on the first floor of the historic Market Arca=
de Building
across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. =
Call Just
Buffalo for details.

LITERARY BUFFALO

TALKING LEAVES/PROMETHEUS BOOKS HALLWALLS
S.T. Joshi
Reading/Booksigning: The Angry Right: Why Conservatives Keep Getting It Wro=
ng
Tuesday, September 12, 7:30 p.m.
Hallwalls Cinema at The Church, 342 Delaware (at Tupper)
Call 854.1694 for more info

TALKING LEAVES/ LEAGUE OF WOMEN VOTERS/WNED
Seymour Lachman
Panel Discussion on his book:
Three Men in a Room: The Inside Story Of Power and Betrayal in an American =
State
Wednesday, September 13, 7 p.m.
Asbury Hall at the Church, 342 Delaware (at Tupper)
Call 837.8554 for more info

RUST BELT BOOKS
Poets: Mark Hennessy, Ed Tato, Will Leathem, Jason Ryberg
Wednesday, Septmber 13, 7 p.m.
Rust Belt Books, 202 Allen St., Buffalo
Call 885.9535 for more info

GRAY HAIR READIING SERIES
Emmanuel Fried, Gary Earl Ross
Wednesday, September 13, 7:30 p.m.
Hallwalls Cinema at The Church, 342 Delaware (at Tupper)
Call 854.1694 for more info

THE WRITE THING AT MEDAILLE COLLEGE
Reginald Shepherd
Poetry Reading
Thursday, September 14, 7 p.m.
The Library at Huber Hall
Medaille College, 18 Agassiz Cir.
Call 884.3281 for more info

ROOFTOP POETRY CLUB AT BUFFALO STATE COLLEGE
Tim Bryant & Lillian Marsh
Poetry Reading
Thursday, September 14, 7 p.m. on the Rooftop at Butler Library.
Special musical guest Maura Zubieta.

POETICS PLUS
Myung Mi Kim
Poetry Reading and Book Launch for: River Antes
Friday, September 15th 2006
Big Orbit Gallery, 8 p.m.

SLIPSTREAM ANNIVERSARY READING
Slipstream celebrates the release of its 26th edition on Saturday, Septembe=
r 16, 6 pm
at The Book Corner, on Main Street in Niagara Falls.  This issue features a=
 large
contingent from Western New York.  Writers whose work is featured, and who =
will read
at the release party, are:

Ken Feltges
Ed Taylor
John Marvin
Max L. Stephan
Louise Bennett
Karen Weyant
Lee Farallo
Dan Sicoli
Bob Borgatti

BURCHFIELD-PENNEY POETS AND WRITERS
Susan Howe
Poetry Reading
Sunday, September 17, 2 p.m.
Burchfield-Penney Arts Center, Buffalo State College
Call 832.5400 for more info

NEW READING VENUE. BUDDIES 2
at the corner of  Franklin & West Mohawk is now holding a poetry/short stor=
y open
mike nite regularly at 7:30- 9:30  the 3rd Tuesday of every month=21=21=21=
=21=21.  This month  that
will be on September 19th. This is a forum for  GLBT readers &  varied audi=
ences to
hear  local GLBT voices writing, but perhaps not reading, in the commmunity=
 at large.
Seating limited, arrive early for sign up sheet . readers have a hs=5Calf h=
our per person -if
they want it. Overflow readers will be first  on the program the following =
month.

MEMORY GARDEN
Manny Fried -- Just Buffalo member since its inception  =E2=80=93 invites y=
ou to see him and actress Roz Cramer perform in their upcoming world premie=
re of the two-character play THE MEMORY GARDEN =E2=80=93 written for them b=
y Buffalo=E2=80=99s prize-winning playwright Rebecca Ritchie =E2=80=93 pres=
ented by Gerald Fried Theatre Company on Alleyway Theatre=E2=80=99s Main St=
reet Cabaret stage September 20th thru October 1st.Seating is limited in th=
is 70 seat cabaret theatre - only 8 performances -- preview 8 pm Wednesday =
September 20th -- performances Thursday, Friday and Saturday at 8 pm, Sunda=
y 3 pm.  No performance Friday September 22nd.  Curtain Up performance Thur=
sday September 29 at 8:30 pm. General admission =2424. Form a group of ten =
or more get =242 discount per person.  Order now to guarantee your seats =
=E2=80=93 on line at alleyway.com or phone Alleyway Theatre Box Office at 8=
52-2600.

Visit our website to download a pdf of the September Literary Buffalo poste=
r, which
lists all of Buffalo's literary events in the month of September.

UNSUBSCRIBE

If you would like to unsubscribe from this list, just say so and you will b=
e immediately
removed.
_______________________________
Michael Kelleher
Artistic Director
Just Buffalo Literary Center
Market Arcade
617 Main St., Ste. 202A
Buffalo, NY 14203
716.832.5400
716.270.0184 (fax)
www.justbuffalo.org
mjk=40justbuffalo.org
=========================================================================
Date:         Mon, 11 Sep 2006 14:12:41 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mark Weiss 
Subject:      Re: Help?
In-Reply-To:  <45059FCC.3080704@gmail.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

Even a near-miss and you drown in goo.

Alas poor Dumbo.

At 01:41 PM 9/11/2006, you wrote:
> >>If you follow these rules, choose your ancestors very carefully
> and eat soft organic foods nothing bad will ever happen to you, and
> you won't need insurance.
>
>
>You forgot that looming health menace--elephants falling from poorly
>secured C5-A transport planes. By the time a deep shadow grows
>around your ankles and you hear the frenzied trumpeting from above,
>it'll be too late.
=========================================================================
Date:         Mon, 11 Sep 2006 11:49:36 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Warren Lloyd 
Subject:      Re: Help?
In-Reply-To:  <45059FCC.3080704@gmail.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Hilarious!  One of the first poems I committed to memory was by my mother. It went something like this:

  Birdy birdy
  in the sky

  drop a plop in your eye

  Aren't you glad
  the elephants
  don't fly?


Eric Yost  wrote:
  >>If you follow these rules, choose your ancestors very
carefully and eat soft organic foods nothing bad will ever
happen to you, and you won't need insurance.


You forgot that looming health menace--elephants falling
from poorly secured C5-A transport planes. By the time a
deep shadow grows around your ankles and you hear the
frenzied trumpeting from above, it'll be too late.


 		
---------------------------------
Get your email and more, right on the  new Yahoo.com
=========================================================================
Date:         Mon, 11 Sep 2006 00:13:51 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: the game of "courtroom" in poetry discourse
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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non viloence  means  NON  has nothing to do with stopping it jusust not
participating in it
=========================================================================
Date:         Mon, 11 Sep 2006 09:06:35 -1000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Susan Webster Schultz 
Subject:      Tinfish calling
Comments: To: "ss >> Susan Schultz" 
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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The best introduction to Tinfish might not be Tinfish proper, but the
newest issue of How2.

I hope you've seen How2's special Pacific Poetries issues, the Tinfish
interview by Jane Sprague, and the many other features in the Spring and
Summer 2006 issue.  If you haven't, please look now:

http://www.asu.edu/pipercwcenter/how2journal/current/index.htm

Also, please take a look at Tinfish's website: http://tinfishpress.com

We have several forthcoming chaps and a book.  Soonest are chaps from
Jacinta Galeia`i and Jozuf Hadley (bradajo).  Later are chaps by Sarith
Peou, a Khmer Rouge survivor and prisoner; Leonard Schwartz, on
Israel/Palestine and a poetics of publishing; Kaia Sand, on secret
Oregon histories; Pam Brown and Maged Zaher, in collaboration.  Then
Hazel Smith's book and cd-rom.  So we're busy.

If you live in or near the Pacific, please feel free to send work to us
for consideration.  If you live anywhere at all, do read (and purchase!)
our books and our journal.

aloha, Susan

Susan M. Schultz
Tinfish Press
http://tinfishpress.com

_A Poetics of Impasse in Modern and Contemporary American Poetry_
http://www.uapress.ua.edu/NewSearch2.cfm?id=132788
=========================================================================
Date:         Mon, 11 Sep 2006 16:30:47 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jay Dougherty 
Subject:      Looking for online editors
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

PoetryCircle.com--the contemporary poetry forum for experienced poets--is
looking for writers who would like to join the editorial staff at the site.
PoetryCircle editors review submissions (mostly poetry) to the site and move
works either to an Editors' Picks board or to "workshop" or "rejected"
boards (visible only to members). The goal is to maintain a much higher
standard than one typically sees at online poetry outlets. There's no
specific time commitment involved in being an editor; we have a team of
editors so that the workload is spread thin. There's also no remuneration.

Please check out the site, register (free), and contact one of the editors
if you're interested. Editors must be published poets and meet the approval
of the other editors. All styles of poetry are welcome at the site.

http://www.poetrycircle.com/


=========================================================================
Date:         Mon, 11 Sep 2006 15:41:35 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Hancher 
Organization: University of Minnesota
Subject:      call for papers: SHARP 2007 Minnesota, July 11-15
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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CALL FOR PAPERS

SHARP 2007 Conference: Open the Book, Open the Mind

The fifteenth annual conference of the Society for the History of
Authorship, Reading, and Publishing (SHARP) will be held in Minneapolis
at the University of Minnesota on July 11-15, 2007. SHARP is the leading
international association for historians of print culture, enlisting
more than 1,200 scholars world-wide; its members study "the creation,
dissemination, and reception of script and print, including newspapers,
periodicals, and ephemera," as well as the history of books. The
forthcoming conference is organized in cooperation with the College of
Liberal Arts, University of Minnesota; University of Minnesota
Libraries; Minneapolis Public Library; Minnesota Historical Society, and
Minnesota Center for Book Arts -- a part of Open Book.

The conference theme, "Open the Book, Open the Mind," will highlight how
books develop and extend minds and cultures, and also how they are
opened to new media and new purposes. However, individual papers or
sessions may address any aspect of book history and print or manuscript
culture.

The conference organizers invite proposals for individual presentations,
and also for complete panels of three presentations on a unifying topic.
As is the SHARP custom, each session of 90 minutes will feature three
papers of up to 20 minutes, providing time for substantive discussion
with members of the audience. Proposals should be submitted via the
online conference website by November 30, 2006: please go to
http://purl.oclc.org/NET/SHARP2007proposals and follow the directions
provided there.

Each individual proposal should contain a title, an abstract of no more
than 300 words, and brief biographical information about the author or
co-authors. Session proposals should explain the theme and goals, as
well as include the three individual abstracts.

Each year SHARP provides funding support for a few partial travel grants
for advanced graduate students and for independent scholars. If you
would like to apply for such support please do so online, as you submit
your proposal.

In keeping with the theme of the conference, a "pre-conference" of
practical workshops and a plenary session devoted to book arts and
artists' books will be held at the Minnesota Center for Book Arts at
Open Book, near the University of Minnesota campus, on Tuesday, July 10,
2007. Details about that pre-conference and about the main conference
program, registration, and housing arrangements will be made available
early in 2007 at the general conference web site,
http://www.cce.umn.edu/conferences/sharp. Much information about SHARP
2007 and its location, including hotel-reservation information, is
already available there.

--
Michael Hancher
Professor of English, College of Liberal Arts, University of Minnesota
207 Lind Hall, 207 Church Street SE, Minneapolis, MN 55455
=========================================================================
Date:         Mon, 11 Sep 2006 13:54:58 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Flora Fair 
Subject:      Re: Help?
In-Reply-To:  <20060911184936.53128.qmail@web34112.mail.mud.yahoo.com>
MIME-Version: 1.0
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Funny and better than my advice. Cref looks like it's only got life insurance, not health. Sorry, better stick to pre-chewed organic foods and lots of deep breathing.

Warren Lloyd  wrote: Hilarious!  One of the first poems I committed to memory was by my mother. It went something like this:

  Birdy birdy
  in the sky

  drop a plop in your eye

  Aren't you glad
  the elephants
  don't fly?


Eric Yost  wrote:
  >>If you follow these rules, choose your ancestors very
carefully and eat soft organic foods nothing bad will ever
happen to you, and you won't need insurance.


You forgot that looming health menace--elephants falling
from poorly secured C5-A transport planes. By the time a
deep shadow grows around your ankles and you hear the
frenzied trumpeting from above, it'll be too late.



---------------------------------
Get your email and more, right on the  new Yahoo.com



"A kitten dies every time you send me a chain email."
=========================================================================
Date:         Mon, 11 Sep 2006 17:51:03 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         aaron tieger 
Subject:      CARVE 7 now available
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Hello,

CARVE 7 is available for the bargain price of $5. This 44 page issue features
poetry by

Ruth Lepson
Kate Greenstreet
Michael Carr
John Coletti
Tyler Carter
Matvei Yankelevich

and a two-way interview between Stacy Szymaszek and Erica Kaufman. AND a
charming cover picture of a two-headed horse, courtesy of Mark Yakich.

CARVE can be obtained via paypal at carvepoems.org, or by sending $5 (cash or
check made out to AARON TIEGER) to 1964 Slaterville Rd., Ithaca NY 14850.

Thanks,
Aaron Tieger
Editor, CARVE


aarontieger.blogspot.com
carvepoems.org
soonproductions.org

"Make a sudden, destructive unpredictable action; incorporate." (Brian Eno)

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Mon, 11 Sep 2006 20:43:42 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         mIEKAL aND 
Subject:      call for submissions- found poetry
Comments: To: Theory and Writing ,
          spidertangle@yahoogroups.com
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

CALL FOR SUBMISSIONS: We seek submissions for an anthology of
international
found poetry -- writing which has been made poetic through the
manipulation and / or re-contextualization of existing texts.

SUBMISSION DEADLINE: March 15, 2007

SUBMIT: Please send 1-5 pages of unpublished or published poetry (please
indicate where previously published). Statements of texts' source are
welcome but not necessary. We will consider colour or black and white
visual pieces as well as textual. Please include a brief bio. If you
would like a written response, or your materials returned, include a
self-addressed stamped envelope (SASE)

CONTACT: Please email submissions (in *.doc or *.jpg formats) to
found.poetry@hotmail.com or by mail to: Found Poetry c/o #2, 733 -
2nd Avenue NW, Calgary, Alberta, Canada T2N 0E4. If you
have questions, drop us an e-mail.

Thank you
Jane Thompson
& derek beaulieu
Editors.

PLEASE FORWARD WIDELY. THANK YOU!
Please note: Due to international interest this call replaces the
previous call for "Canadian Waste"
derek beaulieu
#2, 733 - 2nd avenue nw
calgary alberta
canada T2N 0E4
derek@housepress.ca
=========================================================================
Date:         Mon, 11 Sep 2006 21:57:44 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Andrew Lundwall 
Subject:      UPDATE: melancholia's tremulous dreadlocks
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

i've encountered a serious problem with my web service
tonight...melancholia's tremulous dreadlocks domain name
www.melancholiastremulousdreadlocks.com has been shut down...until i can
find the best solution to this problem work can be viewed here (please
pardon the rather unattractive adverstisements):

http://mtdmagazine.tripod.com

if you've linked to us please update your links...

i apologize for any inconvenience...

thank you...

andrew lundwall

_________________________________________________________________
All-in-one security and maintenance for your PC.  Get a free 90-day trial!
http://www.windowsonecare.com/trial.aspx?sc_cid=msn_hotmail
=========================================================================
Date:         Tue, 12 Sep 2006 20:07:59 +1200
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dan Salmon 
Subject:      Re: GETPOST POETICS
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Similarly I'm over from New Zealand in NYC for the first week of november -
so if there are any readings or similar - please let me know - backchannel
is fine.

Cheers,

Dan Salmon
dpsalmon@ihug.co.nz

On 12/9/06 7:49 PM, "University at Buffalo LISTSERV Server (14.5)"
 wrote:

> From: "c. s. giscombe" 
> Reply-To: UB Poetics discussion group 
> Date: Mon, 11 Sep 2006 07:32:46 -0700
> Subject: What's happening this fall in NYC (and/ or DC)?
>
> I'm looking for an event to accompany my students to in New York (or DC)
> sometime this fall.  We'll be coming from central Pennsylvania, from Penn
> State.
>
> In the past I've taken classes to the Nuyorican Friday night slams and,
> interesting and pleasurable as those are, this time out I'm hoping to find
> something that's a bit more demanding, something that complicates the
> categories of artist/ poet, dramatist/ actor and audience.  I'm trying to make
> everyone as nervous--and challenged--as possible.  (One of our texts this
> semester is Fiona Templeton's You the City.)
>
> We're four hours west of New York and it's interesting to me how many Penn
> State undergrads have never been.  Anyway I'd be grateful for performance
> suggestions.
>
> Thanks.
>
> Cecil Giscombe
>
>
> ______________
> C. S. Giscombe
>
> csgiscombe@yahoo.com
=========================================================================
Date:         Tue, 12 Sep 2006 09:27:29 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         kevin thurston 
Subject:      narrowhouse :: jon leon on double-wide
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

words in the interview include, but are not limited to:
poetry, de sade, language, super sweet 16, composition, doughnuts


http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html

just pick one of those. i like the 2nd up from the bottom myself.

--
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Tue, 12 Sep 2006 10:21:35 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         susan maurer 
Subject:      roanoke, va
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im off to roanoke va. anybody know anything about poe ts or readins there?
also there should be e very interesting reading in hoboken on 10-15 as part
of the hoboken studio tour. we have all had our picture taken by anna siano.
susan maurer

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Date:         Tue, 12 Sep 2006 14:17:53 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         susan maurer 
Subject:      anna siano
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just came from seeing the picture of me anna siano is using for the hoboken
walking studio tour on 10-15. there is a reading and reception of 40 some
odd poets, all of whom have posed for anna the shot she took of me is drawn
from andre kertesz' work and i think its briiliant. come on out and support
anna. im sure there'll be a full flyer posted. reading is from 2-4 but come
early to really see the show. susan maurer

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=========================================================================
Date:         Tue, 12 Sep 2006 13:19:22 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      calming the mind  -- [was the game of "courtroom" in poetry
              discourse]
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Hi, Heidi,

It's always nice to see your posts. I'd be interested in yr thoughts on
Bonhoeffer. As well the desert fathers, esp. as regards their poetry. I
had heard of B., yeah, but know little about him, his ideas, or his
practice. Not googled him yet but I think I recall he was murdered by
Nazis.

I think you're right to question what I wrote here: "Nonviolence means
stopping violence." Your point makes total sense to me, and I agree that
what I wrote wasn't accurate. The verb "stopping" implies force, and
force implies violence. The _Dhammapada_ says this just after it opens:
"Hate is not overcome by hate. It's only appeased by lovingkindness
(Metta). This is an eternal law." It then says, "Some don't know that in
quarreling we essentially die, but those who do realize this calm
themselves." (aphorisms 5-6)

You write (elegantly), "the human mind isn't always controllable, and i
question whether it should be, that unbridled thought in the right
context is a fantastic thing -- and i don't think it's only the crazy
people, whoever they are, that this applies to -- the human mind,which
is not scientifically understood on any grounds"

The Buddha taught control (calming) and purification of the mind -- and
I'll explain what he meant by that (as best I'm able). "Control,"
"purify": I found anger arising in my own mind when I first heard
someone use the words "control" and "purification" -- about MY mind?!,
no thank you! -- sounded suspicious and nazi-like: is it possible, let
alone desirable, to purify the mind? I had an idea that purification was
synonymous with sterilization.

I'm obviously someone taken with what Siddhatta Gotama taught and
practiced. But I am this way not because I'm adhering to some belief
structure, or because I've got faith in "the Buddha." I don't. Gotama
was a secularist and an empiricist and he urged that no one have faith
in him personally as a savior nor in his teaching as an intellectual
harbor; he urged instead that what he said and practiced be approached
skeptically and that what he was teaching be tested against one's own
experience. I think it's fair to say he was a pragmatist and an
experiential scientist (in my estimation) whose principle gift was as an
example and an inspiration. This thing he taught, as you probably know
was called a noble 8 fold path, ariya atthangika magga, which is divided
into 3 sections: morality, control over the mind (calming the mind), and
experiential insight (not intellectual insight). The latter two are
accomplished through samadhi (concentrative meditation) and vipassana
(insight meditation).

So when I was talking about controlling the mind, I meant first: living
morally (not stealing, not taking intoxicants of any kind, not engaging
in sexual misconduct, not lying, and not killing). The reason being that
it's a universal law that anytime one does the opposite (lie, kill,
steal, have a glass of wine, etc), the mind becomes agitated, which
prohibits one from being able to calm it (2nd step) enough to purify it
(3rd step). The second thing I meant: taming the mind's habits of
reaction through first being able to (a) concentrate it, then (b) use it
to purify one's "sankharas" or reactive habit patterns. The ultimate
goal is to rid oneself of reactive habit patterns.

So when there is talk of controlling hte mind, what's meant is simply
calming it enough to go toward the third stage: coming out of reactive
habit patterns. By controlling it, I don't mean restricting it. I
literally mean establishing the groundwork necessary to liberate it:
setting it free as a responsive agent, a responsive "site of universal
energy" (yr apt words). I know that the word "control" is loaded, so
maybe calming is a better word (the Pali word "samadhi," etymologically
is closer to calming anyway).

A mind free from reactive habits has several powerful qualities, one of
which is extreme malleability and creativity (not there yet!). Other
qualities such a mind has: compassion, sympathetic joy, lovingkindness,
equanimity (these are often considered the four most wholesome states
that a mind can achieve); as well as what are often called the ten
perfections of mind: patience, tolerance, renunciation [the ability to
renounce], generosity, energy, truthfulness, lovingkindness, equanimity,
morality, and determination. You'll notice that two of the ten
perfections are also in the four really wholesome states.  I've seen the
arrival, in small ways, of some of these qualities in my own life, but
where I get the most inspiration is from meditators I spend time with
who have taken 30 and 45 day courses and can walk this walk more
effectively than I can -- so primarily my own experience, and
secondarily the experience of those I know and trust, tells me that this
works.

So, the people I sit with, meditate with, are not enamored w/ this
ariyaatthangikamagga b/c they're all uptight and trying to control
themselves or because they've got an idea or a belief that doing so will
save them at some point down the road: they do so because practicing it
is already working. It's a gradual deal, but its effects are immediate.
They are very fun loving people, kind, witty, alive, goofy, and hard
working -- from all walks of life. I laugh more with them than I do with
any other group. I see it working in my own life too, but I also see it
workign strongly in the lives these friends with whom I spend a lot of
time up at the Illinois Vipassana Meditation Center (where I was over
the weekend, and where I often am during the summers and on breaks from
teaching). There are 7 such centers in the US and three in Canada.
Typically, and it's true for me, the practitioners, once they become
established in these practices by taking a ten day course, begin to
observe real and (for me) quite remarkable effects in the mind, the
life, personality, sense of well being, memory, clarity of mind, and the
emotional life. These only deepen with further practice. These friends,
these fellow meditators, are the whole of this life for me: I would not
do this if i didn't have great friends doing it too. So "controlling the
mind" for me is not about sterilizing it by any means, or becoming in
isolative creature devoid of any mental curlicues or emotions; quite the
opposite. The purpose is, as near as I can understand it, to awaken an
entirely NEW set of emotions and sense of affiliations.

Finally, I like what you say that I thought this particularly useful and
well put: "i'd just add that if people waited until they were "good
enough" as selves to do peace work, i would never get in, but that
doesn't matter, one doesn't have to wait until you get that kind of seal
of goodness, it's not about how "good" or "bad" the self is, if you can
find a context for working for peace -- the work itself will change the
self, make the self less, would be the hope -- that the only way to the
good is leaving the self behind because the self can't get there anyway --"

That makes perfect sense to me.

Thanks for your responsiveness, Heidi.

Gabe
=========================================================================
Date:         Tue, 12 Sep 2006 11:29:06 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         justin sirois 
Subject:      new narrow house full length release: Garrett Caples .
              Surrealism=?ISO-8859-1?Q?=92s?= Bad Rap
In-Reply-To:  <20060724144114.99931.qmail@web51701.mail.yahoo.com>
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new narrow house full length release:

Garrett Caples
Surrealism’s Bad Rap

listen:

http://cdbaby.com/cd/garretttunes

look:

www.narrowhouserecordings.com


Born in Lawrence, MA, Garrett Caples is a freelance
writer living in Oakland, CA. He is the author of two
collections of poetry, The Garrett Caples Reader (NY:
Black Square Editions, 1999) and er, um (SF: Meritage
Press, 2002). He receieved a Ph.D. in English
Literature from the University of California,
Berkeley, in 2003. A collection of articles on hip
hop, The Philistine's Guide to Hip Hop, with an
introduction by Shock-G of Digital Underground,
appeared in 2004 from Ninevolt Magazine. He currently
writes on Bay Area hip hop for the San Francisco Bay
Guardian. Anthology appearances include Fetish (NY: 4
Walls 8 Windows, 1998), Isn't It Romantic? (Seattle:
Wave Books, 2004), and Bay Poetics (Newton, MA: Faux
Press, 2006). Among his current projects, he is
editing a lost manuscript of Philip Lamantia's called
Tau, along with the poems of John Hoffman, which will
be published together in a single volume by City
Lights in 2007.


          .
  .
  .
  .
  .
  .
  .
  http://www.narrowhouserecordings.com/
  a record label primarily interested in contemporary writing, poetics and the political









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=========================================================================
Date:         Tue, 12 Sep 2006 14:03:18 -0500
Reply-To:     pamelabeth@mindspring.com
Sender:       UB Poetics discussion group 
From:         Pam Grossman 
Subject:      interview placement ideas
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hi there.

back in the spring, i was commissioned to interview a poet who'd recently published a new book. through the process of researching his work and interviewing him, i became a fan of his writing and of him as well. the interview piece turned out well, and i was proud of it; also glad to help this guy get some notice in the press.

well--long story short, the magazine that assigned me the piece has changed the direction of the theme issue this piece was assigned for. so, the piece no longer fits with what they're doing. they're going to pay me a kill fee.

rights to the piece, of course, are back with me, and i'd really like to find a home for it. the poet's work has strong environmentalist/ naturalist components. he's established, gifted, warm, and a great interviewee. i'm not going to mention his name at this point--because i haven't had the heart to tell him yet that the assignment has fallen through. i'd much rather contact him to say, "the piece won't be in x--but it will be in y, instead!" and i'm asking you all for suggestions about what "y" could be. (i have some ideas of my own, but i figure i might as well cast a wide net.) the interview touches on the poet's work, current environmental issues, societal approaches to the environment, and the intersection of these three things.

i wouldn't turn down money--the kill fee i'm getting in no way reflects the time i put into this piece--but publication in the right venue is more important to me than a price tag.

thanks for advice, via list or backchannel. best, pam
=========================================================================
Date:         Tue, 12 Sep 2006 16:51:21 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gary Sullivan 
Subject:      SEGUE READING SERIES @ BOWERY POETRY CLUB
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SEGUE READING SERIES @ BOWERY POETRY CLUB

Saturdays: 4:00 p.m. - 6:00 p.m. 308 BOWERY, just north of Houston ****$5
admission goes to support the readers**** Fall / Winter 2006-2007

These events are made possible, in part, with public funds from The New York
State Council on the Arts, a state agency.

The Segue Reading Series is made possible by the support of The Segue
Foundation. For more information, please visit www.segue.org,
bowerypoetry.com/midsection.htm, or call (212) 614-0505. Curators: Oct.-Nov.
by Nada Gordon & Gary Sullivan, Dec.-Jan. by Brenda Iijima & Evelyn Reilly.

OCTOBER 7	STAN APPS and KIM ROSENFIELD
Stan Apps is a poet from Los Angeles, author of a chapbook of poetry, soft
hands, from Ugly Duckling Presse, and of an upcoming full-length collection,
Info Ration from Make Now Press. Stan enjoys blogging and co-curating the
Last Sunday of the Month reading series at the smell in L.A. Stan is
originally from Waco, Texas, and is a typical touchy-feely liberal
cult-member, currently allied with the cult called Flarf. Stan is also
co-editing a new chapbook press called Insert Press. Kim Rosenfield is the
author of several books of poetry including Trama, Good Morning: Midnight,
Rx and Cool Clean Chemistry, and Some of Us. Her work has appeared in
numerous magazines and journals including Object, Shiny, Torque, Crayon, and
Chain. She lives and works in New York City.

OCTOBER 14	SHANNA COMPTON and MICHAEL MAGEE
Shanna Compton is the author of Down Spooky, a collection of poems published
by Winnow Press in 2005, and the editor of GAMERS: Writers, Artists &
Programmers on the Pleasures of Pixels, an anthology of essays on the theme
of video games published by Soft Skull Press in 2004. Michael Magee is the
author of Emancipating Pragmatism: Emerson, Jazz and Experimental Writing
(winner of the 2004 Elizabeth Agee Prize) and four collections of poetry,
including Morning Constitutional, MS, Mainstream, and My Angie Dickinson,
which is due this fall from Zasterle. Combo Magazine, which Magee founded in
1998 while studying at Penn, recently released its 15th issue.

OCTOBER 21         MEREDITH QUARTERMAIN and PETER QUARTERMAIN
Meredith Quartermain’s most recent book is Vancouver Walking, which won the
2006 BC Book Award for Poetry. Other books include A Thousand Mornings, and,
with Robin Blaser, Wanders. Her work has appeared in Chain, Sulfur, Tinfish,
Prism International, The Capilano Review, West Coast Line, Raddle Moon, and
many other magazines. With  Peter Quartermain she runs Nomados Literary
Publishers in Vancouver. Peter Quartermain’s poems have recently appeared in
Golden Handcuffs Review. His books include Basil Bunting: Poet of the North
and Disjunctive Poetics. With the English poet Richard Caddel he edited
Other: British and Irish Poetry Since 1970, and, with Rachel Blau DuPlessis,
The Objectivist Nexus: Essays in Cultural Poetics.

OCTOBER 28	BILL LUOMA and JULIANA SPAHR
Bill Luoma is the author of Dear Dad, Works & Days, Swoon Rocket, and
Western Love. Juliana Spahr’s books include This Connection of Everyone with
Lungs, Things of Each Possible Relation Hashing Against One Another,
Everybody’s Autonomy: Connective Reading and Collective Identity, and Fuck
You-Aloha-I Love You. Her next book, The Transformation, is forthcoming from
Atelos Press. She co-edits the journal Chain with Jena Osman.

NOVEMBER 4	MICHAEL GOTTLIEB and ROD SMITH
Michael Gottlieb’s most recent books include Lost and Found, Gorgeous
Plunge, and The River Road. In the late 70s and early 80s he helped edit one
of Language Poetry’s seminal periodicals, Roof Magazine. Rod Smith is the
author of Music or Honesty, The Good House, Poèmes de l'araignée, In Memory
of My Theories, The Boy Poems, Protective Immediacy, and New Mannerist
Tricycle with Lisa Jarnot and Bill Luoma. A CD, Fear the Sky, came out from
Narrow House Recordings in 2005.He edits Aerial magazine and publishes Edge
Books. Smith is also editing, with Peter Baker and Kaplan Harris, The
Selected Letters of Robert Creeley for the University of California Press.

NOVEMBER 11	KIMBERLY LYONS and NICK PIOMBINO
Kimberly Lyons is the author of the collections Saline and Abacadabra, and a
limited edition collaboration with Ed Epping, Mettle, published by Granary
Books. She has taught poetry workshops and worked at St. Mark’s Poetry
Project in New York. Nick Piombino’s books include Theoretical Objects,
Hegelian Honeymoon, and The Boundary of Blur. He has maintained a blog, fait
accompli, at nickpiombino.blogspot.com since 2003. A selection of writing
from the blog will be published in 2007 by Factory School’s Heretical Texts
series.

NOVEMBER 18	CHARLES BORKHUIS and LEONARD SCHWARTZ
Poet and playwright Charles Borkhuis is the author of Savoir-Fear, Alpha
Ruins, Hypnogogic Sonnets, and Mouths of Shadows: Hamlets Ghosts Perform
Hamlet and Sunspot. Leonard Schwartz is the author of numerous books of
poetry, including The Tower Of Diverse Shores and Ear and Ethos, both from
Talisman House. He hosts the radio program Cross Cultural Poetics, available
on the web at Pennsound.

NOVEMBER 25	NO READING–Happy holiday!

DECEMBER 2	KRISTIN PREVALLET and TAYLOR BRADY
Kristin Prevallet is the author of Perturbation, My Sister: A Study of Max
Ernst’s Hundred Headless Women, Scratch Sides: Poetry, Documentation and
Image-Text Projects, and Shadow Evidence Intelligence. She lives in
Brooklyn. Taylor Brady is the author of Occupational Treatment, Yesterday’s
News, and Microclimates. He is currently at work editing Will Alexander's
collected essays, Singing in Magnetic Hoofbeat, and writing a collaborative
sequence of poems with Rob Halpern.

DECEMBER 9	CATHY PARK HONG and JOAN RETALLACK
Cathy Park Hong’s first collection, Translating Mo’um, was published in 2002
by Hanging Loose Press. Her second book, Dance Dance Revolution, was chosen
for the Barnard New Women Poets Prize and will be published by W.W. Norton
in 2007. She is the recipient of a Fulbright Fellowship, a National
Endowment for the Arts Fellowship, and a New York Foundation for the Arts
Fellowship. Joan Retallack is the author of The Poethical Wager, Memnoir,
How To Do Things With Words, Afterrimages, and Errata 5uite. Her most recent
publication, co-authored with Juliana Spahr, is Poetry and Pedagogy.

DECEMBER 16	FIONA TEMPLETON and ROSMARIE WALDROP
Fiona Templeton works in the interstices of poetry, theatre and
installation, in particular the relationship between performer and audience
and site-specific work. Her current 6-part epic The Medead embodies a
history of theatre in its journey. Books include: Mum in Airdrie, YOU-The
City & Cells Of Release, London, Hi Cowboy, oops the join, Elements of
Performance Art, and Shattered Anatomies. www.fionatempleton.org. Rosmarie
Waldrop’s trilogy (The Reproduction of Profiles, Lawn of Excluded Middle,
and Reluctant Gravities) is being reprinted by New Directions under the
title Curves to the Apple (Fall 2006). Recent books of poetry are Blindsight
and Love, Like Pronouns. Her collected essays, Dissonance (if you’re
interested), is out from University of Alabama Press.

DECEMBER 23 & 30	NO READING–Happy holidays!

JANUARY 6	              AKILAH OLIVER and JILL MAGI
Akilah Oliver is the author of the she said dialogues: flesh memory and is
core faculty at the Jack Kerouac School of Disembodied Poetics, Naropa
University’s Summer Writing Program. She is the author of a chapbook/CD
entitled An Arriving Guard of Angels, Thusly Coming to Greet. Portable Press
at Yo-Yo Labs is publishing a chapbook to commemorate this reading. Jill
Magi is the author of Threads and Cadastral Map. In 2006-2007 she will be a
writer in residence with the Lower Manhattan Cultural Council Workspace
Program. She runs Sona Books, a community-based chapbook press, and teaches
writing and literature at The City College Center for Worker Education and
The Eugene Lang College of the New School.

JANUARY 13 	FRANK SHERLOCK and MARK LAMOUREUX
Frank Sherlock is the author of Spring Diet of Flowers at Night, ISO, and
13, and has engaged in collaborative projects with CAConrad, Jennifer
Coleman and sound artist/DJ Alex Welsh. He is a contributing editor for
XConnect: Writers for the Information Age. Mark Lamoureux’s first
full-length book of poems, Astrometry Organon, is due out from Spuyten
Duyvil/Meeting Eyes Bindery in late 2006. He is the editor of Cy Gist Press,
a micropress focusing on ekphrastic poetry, and teaches English at
Kingsborough Community College.

JANUARY 20 	TINA DARRAGH and ROBERTO HARRISON
Tina Darragh has been writing poetry in & around Washington, DC for over 35
years. Recent work includes the dream rim instructions and the play
Opposable Dumbs. Currently, she is working on Bad I.O.U., a play about
universal health care for the Yockadot Poetics Theatre Festival (April/May
2007, Alexandria, VA). Darragh earns her keep as a reference librarian at
Georgetown University. Roberto Harrison edits Crayon with Andrew Levy and
the Bronze Skull chapbook series. Two full length collections of his work
were recently published: Os and Counter Daemons. He lives in Milwaukee,
Wisconsin.

JANUARY 27 	MYUNG MI KIM and JUDITH GOLDMAN
Myung Mi Kim is the author of Commons, Dura, The Bounty and Under Flag.
Anthology appearances include Moving Borders: Three Decades of Innovative
Writing by Women, Premonitions: Kaya Anthology of New Asian North American
Poetry, Making More Waves: New Writing by Asian American Women and other
collections. Judith Goldman is the author of Vocoder, which won a Small
Press Traffic Book of the Year award in 2002, and DeathStar/rico-chet. She
also recently co-curated and co-edited, with Leslie Scalapino, War and Peace
2.
=========================================================================
Date:         Tue, 12 Sep 2006 20:53:51 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Larissa Shmailo 
Subject:      HOWLing Sat 9/16: Poetry and Music Festival
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SPIRIT OF HOWL!  FEST

3 EVENTS!
MUSIC AND  POETRY

WHEN:
SATURDAY, SEPTEMBER  16
5-10  PM

WHERE:
SUTRA LOUNGE  _http://www.sutranyc.com_ (http://www.sutranyc.com/)
16      ST  AVE @ 1ST  STREET

$8 ADMISSION GOOD FOR ALL THREE  EVENTS

FEATURING
Sapphire   Casie  Cyr    Hal Sirowitz   Bob Holman    Regie Cabico    Larissa
 Shmailo

Jackie Sheeler  Talk Engine  Anne Elliott   Ned Massey   Mike America
George Wallace

Chocolate Waters   Patricia  Smith   Angelo Verga    Nom De Plume   Ekayani
Janet  Restino

Barbara Purcell With  Snap Pusher   Christine  Goodman  Garland L. Thompson,
Jr

Little Embers    Dujuana Sharese   Adrienne Nightingale   Alice  Bierhorst

and more!

plus THERESA SAREO at CRASH MANSION 199  BOWERY
7-10PM $10  COVER

CONTACT:  Ekayani Chamberlin: _ekayani2002@yahoo.com_
(mailto:ekayani2002@yahoo.com)  (212)  475-6547
BACK UP: Mike  Mchugh _newcenturybooking@yahoo.com_
(mailto:newcenturybooking@yahoo.com)  (212)  561-9789
=========================================================================
Date:         Tue, 12 Sep 2006 22:05:40 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Peter Ciccariello 
Subject:      Torture for words
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Torture for words

"*Ni victimes ni bourreaux*."
- Albert Camus








-- Peter Ciccariello
Image - http://invisiblenotes.blogspot.com/
Word -http://poemsfromprovidence.blogspot.com/
Photography -http://uncommonvision.blogspot.com/
=========================================================================
Date:         Tue, 12 Sep 2006 20:31:56 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         ///////////////////////////// 
Subject:      ////////////////////////////////////////////////////////////
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  moments | timbral planing









 		
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Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less.
=========================================================================
Date:         Wed, 13 Sep 2006 01:00:12 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Fw: Fw: Fw: Re: m4: dalachinsky's 60th b day bash  some minor
              time changes
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>                DALACHINSKY'S   60th BIRTHDAY BASH
>
>     tho i've never really grown up, i have grown old( er )
& i'm gonna have a 60th birthday party  SEPT.24  @ Tonic  107 Norfolk St.
( F to
> Delancey, J to Essex )
> so come help me celebrate that along with Trane's 80th & the arrival
> of my new book The Final Nite - 19 years of poems

> there'll be plenty of good music & words that night.
> please RSVP if you're coming and if you can
> bring some food for what i hope will be a POT  LUCK meal
> and party from 4:30 - 8 pm.
> also RSVP   if you'd like to help set up between 3:30 & 5 PM
>
> any help etc. would be appreciated.
>
> there will be a concert and readings as well  as well from 8 P.M.
>
> call  steve or Yuko @ 1212-925-5256  or e mail @ skyplums@juno.com
>
> we may even have a place for ya to cook or prepare if you need one
>
> the concert will begin at 8 P.M. with such luminaries as Roy Campbell
> Jr. ( my birthday brother ), Loren Mazzancane Connors, Matthew Shipp &
> John Zorn plus many of my dear friends from the younger
> generation such as Charles Waters, Matt Lavelle, Federico Ughi & many
> more.  Also many of my dear poet friends will be on hand to throw a
poem or 2.
>
> in Japan 60 is a very important birthday & one is supposed to wear
> RED to signify that you are being BORN Again… you become a baby again …
a new
> cycle… a new life … a gift….like music.  SO WEAR  RED with me
>
> as for gifts (optional of course)
>
> bring  food
>
> or a new laptop ( well, used if need be)   color scanner  color printer
>
> or an unlimited supply of unlimited metro cards
>
> or books by boris vian that i don't own ( ask first )
>
> or kawabata's Palm of the Hand stories
>
> or..... the   mammal's  notebook    - satie's  writings
>
> or some good incus or fmp vinyl   any book on cobra  any writings by
guy deborg
    or situationists   any  deatremont

>
> or peter lemer on esp           big  loft space  apt in paris
>
> or something i don't already have   thelonious  himself   trane at 1/2
note
>
> or a cell phone w/unlimited minutes
>
> but most of all bring yerselves & a little love
>
> love  steve
=========================================================================
Date:         Wed, 13 Sep 2006 02:57:19 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: CARVE 7 now available
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eat the document
=========================================================================
Date:         Wed, 13 Sep 2006 01:42:59 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Walter Lew 
Subject:      Boog Action
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Oriole Legend and 1970 AL MVP  JOHN "BOOG" POWELL (and
Brooks' good buddy) is selling his 2004 GMC Yukon. It
is being offered on  Ebay. The winning bidder will not
only receive a fantastic vehicle, they will also take
part in an evening to remember. The winning bidder and
a friend will be invited to have dinner with Boog at
Morton's Steakhouse and then take in a game at Camden
Yards.

Take a look. You can click on the link below or simply
go to Ebay and look for auction #300024745298

http://cgi.ebay.com/ebaymotors/ws/eBayISAPI.dll?ViewItem&ru=http%3A%2F%2Fsearch.ebay.com%3A80%2Fsearch%2Fsearch.dll%3Ffrom%3DR40%26satitle%3D300024745298%26fvi%3D1&item=300024745298

Speaking of Brooks, he will be appearing this Saturday
at The Maryland Science Center in conjunction with the
Norman Rockwell Exhibit. He will only be signing
Rockwell prints purchased at the museum.

Brooks' next web signing will take place on November
18th. We will begin accepting mail-in items beginning
October 1st. Stay tuned to the website for more
details.

Rick Hubata

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Wed, 13 Sep 2006 08:24:03 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Shankar, Ravi (English)" 
Subject:      Drunken Boat Announces Issue#8 - A Triple Feature on the PanLit,
              Oulipo & Canadian Strange
MIME-Version: 1.0
Content-Type: text/plain; charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable

http://drunkenboat.com
=20
Announcing the premiere of Drunken Boat, the international online =
journal of the arts, Issue #8. A special triple issue dedicated to the =
inaugural PanLiterary Awards Winners in seven genres; the spreading =
potentiality of the Oulipo; and the very strangest of current Canadian =
Arts and Letters.=20
=20
Featuring over 125 contributors, including a radio play by Mark Rudman =
and Martha Plimpton, ambigrams by Doug Hofstadter, archival material =
from Raymond Queneau and Marcel Duchamp, translations by Cole Swenson =
and Keith and Rosemarie Waldrop, video from Adeena Karasick, photos by =
Allyson Clay and Gabor Szilasi, among many others.
=20
Including new work from the PanLiterary Judges: PEN/Faulkner Award =
winner Sabina Murray, conceptual artist and musician DJ Spooky, poet, =
translator and librettist, Annie Finch, Fellow of the Royal Geographic =
Society, Alexandra Tolstoy, trace/Alt-X New Media Award winner Talan =
Memmott, and video art pioneer and TV interventionist David Hall.=20
=20
Congratulations to Scott Withiam, Christiana Langenberg, Jason Nelson, =
Erik B=FCnger, John Fillwalk, Geoffrey Demarquet and Jacques Leslie for =
winning the inaugural PanLiterary Awards and thanks to guest curators =
Jean-Jacques Poucel, Sina Queyras and designer Shawn McKinney for the =
special folios.=20
=20
Please consider making a tax-deductible contribution to Drunken Boat to =
help keep the arts alive online:
=20
http://drunkenboat.com/db8/donate.html
=20
Enjoy the issue and let us know what you think. Happy navigating!=20

-The Editors
http://www.drunkenboat.com=20

***************=20
Ravi Shankar=20
Poet-in-Residence=20
Assistant Professor=20
CCSU - English Dept.=20
860-832-2766=20
shankarr@ccsu.edu=20
=========================================================================
Date:         Wed, 13 Sep 2006 08:24:54 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         ALDON L NIELSEN 
Subject:      Re: Fw: Fw: Fw: Re: m4: dalachinsky's 60th b day bash some minor
              time changes
Comments: To: Steve Dalachinsky 
MIME-Version: 1.0
Content-Type: text/plain

Steve:

I have your INCOMPLETE DIRECTIONS CD playing on m computer as I type this email -- Can't be there for the fetivities, but happy 60th --
=========================================================================
Date:         Wed, 13 Sep 2006 09:04:53 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Pierre Joris 
Subject:      Recent Nomadics blog posts
Comments: To: Lucifer Poetics Group 
Comments: cc: Poetryetc provides a venue for a dialogue relating to poetry and
          poetics , BRITISH-POETS@JISCMAIL.AC.UK
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed
Content-Transfer-Encoding: quoted-printable

Recent Nomadics blog posts:

Thug Life
Seyran Ates Resigns
5 years ago
Sunday mushrooms
A beaver in Albany
The Unavowable Community


can be found at:

http://pjoris.blogspot.com


'pologies for X-posting

Pierre

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D
       "Fascism should more properly
be called corporatism,since it is the
merger of state and corporate power."
       =97 Benito Mussolini
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D
Pierre Joris
244 Elm Street
Albany NY 12202
h: 518 426 0433
c: 518 225 7123
o: 518 442 40 71
Euro cell:  011 33 6 79 368 446
email: joris@albany.edu
http://pierrejoris.com
Nomadics blog: http://pjoris.blogspot.com
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=========================================================================
Date:         Wed, 13 Sep 2006 09:16:56 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Daniel f. Bradley" 
Subject:      Re: Drunken Boat  ate nothing that could be Canadian Strange
In-Reply-To:  <31803CD4B19783458964E3400207C1A422FB93@cfacmail2.facstaff.ccsu.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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cross posting alert - as i have already gone on record about on a another list - i i'll do it again - just so there is no mistaking my feelings


  i think Sina Queyras is really fucked up on meth if she think this is canadian strange - it's more like canadian syrup - even the Liz Bachinsky's is very tame stuff for her - sure it runs circles around Robby Mc but it is all kinda sweet and pretty like a Eskimo seal carving in a Niagara Falls gift shop

(Sina when to canada and all we got is crappy boring tame poems)

really not even a good try


  dfb




"Shankar, Ravi (English)"  wrote:
  http://drunkenboat.com

and the very strangest of current Canadian Arts and Letters.




  helping to kill your literati star since 2004
  http://fhole.blogspot.com/

=========================================================================
Date:         Wed, 13 Sep 2006 09:32:55 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dan Waber 
Subject:      abecedarius cycle
Comments: To: announce@logolalia.com
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii

As we wave goodbye to the z of Donato Mancini's @phabet from Ligatures
(New Star Books 2005), it's time to wave hello to the a of an
abecedarius cycle by Dan Waber.

New series starting today at:

http://www.logolalia.com/abcdefghijklmnopqrstuvwxyz/

Regards,
Dan

Submissions of artworks based around the complete sequence of the
roman alphabet which can be presented a letter at a time over the
course of 26 days are invited.
=========================================================================
Date:         Wed, 13 Sep 2006 07:21:35 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Sam Truitt 
Subject:      Re: Recent Nomadics blog posts
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Pierre,

Great delivery - the blog - nice - so many ways to go. Thank you.

Sam

Pierre Joris  wrote: Recent Nomadics blog posts:

Thug Life
Seyran Ates Resigns
5 years ago
Sunday mushrooms
A beaver in Albany
The Unavowable Community


can be found at:

http://pjoris.blogspot.com


'pologies for X-posting

Pierre

=============================
       "Fascism should more properly
be called corporatism,since it is the
merger of state and corporate power."
       — Benito Mussolini
=============================
Pierre Joris
244 Elm Street
Albany NY 12202
h: 518 426 0433
c: 518 225 7123
o: 518 442 40 71
Euro cell:  011 33 6 79 368 446
email: joris@albany.edu
http://pierrejoris.com
Nomadics blog: http://pjoris.blogspot.com
=========================


------------------------
Sam Truitt
PO Box 20058 NYC 10023
 		
---------------------------------
How low will we go? Check out Yahoo! Messenger’s low  PC-to-Phone call rates.
=========================================================================
Date:         Wed, 13 Sep 2006 07:25:33 -0700
Reply-To:     ishaq1824@shaw.ca
Sender:       UB Poetics discussion group 
Comments:     RFC822 error:  Incorrect or incomplete address field found and
              ignored.
From:         Ishaq 
Organization: selah7
Subject:      >>INFO: new york city -- words hip hop & poetry showcase & open
              mic
MIME-version: 1.0
Content-type: text/plain; charset=us-ascii; format=flowed
Content-transfer-encoding: 7bit

 >>INFO: new york city -- words hip hop & poetry showcase & open mic
=============================================================

WORDS hip hop & poetry showcase & open mic
Date:   Saturday September 16, 2006
Time:   10:00 pm - 10:00 pm
Repeats:   This event repeats on the third Saturday of every month.
Next reminder:   The next reminder for this event will be sent in 5
days, 4 minutes.
Description:   WORDS hip hop & poetry showcase & open mic

SATURDAY
third Sat of every month 10pm

WORDS
hip hop & poetry
showcace & open mic

check


Click to subscribe to http://groups.yahoo.com/group/rockypresents/
for showcase info

Hosted By WiseGuy&Gaston
Beats By Josh & Jonah with
DJ BOO
$10 w/FLYER (not email)
third sat of every month
Nuyorican Poets Cafe
236 east 3rd St/btwn Ave B&C/nyc/ F train to 2nd Ave/

A ROCKY PRESENTS EVENT




___
Stay Strong
\
-"I testified/My mama cried/Black people died/When the other man lied"
-- chuck d
\
  "Be a friend to the oppressed and an enemy to the oppressor"
--Imam Ali Ibn Abu Talib (as)
\
"They want to see us breathless. We will not be. They want to see us
tired. We refuse to be. They want to see what our strength is. We will
not show it in advance. We will continuously surprise them." -- Julia
Wright

  "We restate our commitment to the peace process. But we will not
submit to a process of humiliation."
--patrick o'neil
\
"...we have the responsibility to make no deal with the oppressor"
--harry belafonte
\
"...these people generate wars in Asia and Africa,...These are the
people who, in the last century, caused several devastating wars. In one
world war alone, they killed over 60 million people.... In the near
future, Allah willing, we will put you to trial in courts established by
the peoples...."-- mahmoud ahmadinejad
\
http://www.sidebrow.net/2006/a047braithwaite.php
\
http://cleveland.indymedia.org/uploads/2006/07
olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
\
http://radio.indymedia.org/news/2005/10/7255.php
\
http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3
\
http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date
\
http://vancouver.indymedia.org/?q=en/node/1269\
\
http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3
\
http://vancouver.indymedia.org/?q=en/taxonomy/term/111
\
http://www.lowliferecords.co.uk/
=========================================================================
Date:         Wed, 13 Sep 2006 07:26:31 -0700
Reply-To:     ishaq1824@shaw.ca
Sender:       UB Poetics discussion group 
Comments:     RFC822 error:  Incorrect or incomplete address field found and
              ignored.
From:         Ishaq 
Organization: selah7
Subject:      INFO: youth indy slams in chicago
MIME-version: 1.0
Content-type: text/plain; charset=us-ascii; format=flowed
Content-transfer-encoding: 7bit

 >>INFO: youth indy slams in chicago
==================================

Young Chicago Authors presents Louder Than a Bomb: The Fall (Indy Slams
2006), our first
ever series of individual slams.  There are four: North Side, South
Side, West Side and North
Shore Suburbs.  There is no fee to enter and you will be lavished upon
with wonderful prizes.
To register, email Mike at michael@youngchicagoauthors.org.

Registration is due Sept. 15th, so act fast.

You must be between the ages of 13-19 and live in the Chicago area to
participate.


___
Stay Strong
\
-"I testified/My mama cried/Black people died/When the other man lied"
-- chuck d
\
  "Be a friend to the oppressed and an enemy to the oppressor"
--Imam Ali Ibn Abu Talib (as)
\
"They want to see us breathless. We will not be. They want to see us
tired. We refuse to be. They want to see what our strength is. We will
not show it in advance. We will continuously surprise them." -- Julia
Wright

  "We restate our commitment to the peace process. But we will not
submit to a process of humiliation."
--patrick o'neil
\
"...we have the responsibility to make no deal with the oppressor"
--harry belafonte
\
"...these people generate wars in Asia and Africa,...These are the
people who, in the last century, caused several devastating wars. In one
world war alone, they killed over 60 million people.... In the near
future, Allah willing, we will put you to trial in courts established by
the peoples...."-- mahmoud ahmadinejad
\
http://www.sidebrow.net/2006/a047braithwaite.php
\
http://cleveland.indymedia.org/uploads/2006/07
olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
\
http://radio.indymedia.org/news/2005/10/7255.php
\
http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3
\
http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date
\
http://vancouver.indymedia.org/?q=en/node/1269\
\
http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3
\
http://vancouver.indymedia.org/?q=en/taxonomy/term/111
\
http://www.lowliferecords.co.uk/
=========================================================================
Date:         Wed, 13 Sep 2006 09:37:24 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Skip Fox 
Subject:      Re: Torture for words
In-Reply-To:  <8f3fdbad0609121905k20eaad19m877319238da4ed95@mail.gmail.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Many times my background.

-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of Peter Ciccariello
Sent: Tuesday, September 12, 2006 9:06 PM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Torture for words

Torture for
words

"*Ni victimes ni bourreaux*."
- Albert Camus








-- Peter Ciccariello
Image - http://invisiblenotes.blogspot.com/
Word -http://poemsfromprovidence.blogspot.com/
Photography -http://uncommonvision.blogspot.com/
=========================================================================
Date:         Wed, 13 Sep 2006 10:41:28 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         kevin thurston 
Subject:      Re: Torture for words
In-Reply-To:  <000d01c6d742$27281730$f4954682@win.louisiana.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

i fucking hate this guy's work
geof huth went on about him a few days back  junk


-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of Peter Ciccariello
Sent: Tuesday, September 12, 2006 9:06 PM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Torture for words

Torture for
words

"*Ni victimes ni bourreaux*."
- Albert Camus








-- Peter Ciccariello
Image - http://invisiblenotes.blogspot.com/
Word -http://poemsfromprovidence.blogspot.com/
Photography -http://uncommonvision.blogspot.com/


--
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Wed, 13 Sep 2006 10:47:17 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         kevin thurston 
Subject:      Re: Torture for words
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

apologies

On 9/13/06, kevin thurston  wrote:
>
> i fucking hate this guy's work
> geof huth went on about him a few days back  junk
>
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of Peter Ciccariello
> Sent: Tuesday, September 12, 2006 9:06 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Torture for words
>
> Torture for
> words
>
> "*Ni victimes ni bourreaux*."
> - Albert Camus
>
>
>
>
>
>
>
>
> -- Peter Ciccariello
> Image - http://invisiblenotes.blogspot.com/
> Word -http://poemsfromprovidence.blogspot.com/
> Photography -http://uncommonvision.blogspot.com/
>
>
> --
> http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
>



--
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Wed, 13 Sep 2006 10:53:11 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gerald Schwartz 
Subject:      Re: Recent Nomadics blog posts
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=original
Content-Transfer-Encoding: 7bit

Ah, yes, Pierre:

That beaver doth drive sooo much:
appearing on that rug and the coat-of-
arms of the state flag as well!
Perhaps somehow the beaver maketh
of us a theocracy after all, n'est pas?

Still in Banishment from Albany,
Gerald S.

> Pierre Joris  wrote: Recent Nomadics blog posts:
>
> Thug Life
> Seyran Ates Resigns
> 5 years ago
> Sunday mushrooms
> A beaver in Albany
> The Unavowable Community
>
>
> can be found at:
>
> http://pjoris.blogspot.com
>
>
> 'pologies for X-posting
>
> Pierre
>
> =============================
>       "Fascism should more properly
> be called corporatism,since it is the
> merger of state and corporate power."
>       - Benito Mussolini
> =============================
> Pierre Joris
> 244 Elm Street
> Albany NY 12202
> h: 518 426 0433
> c: 518 225 7123
> o: 518 442 40 71
> Euro cell:  011 33 6 79 368 446
> email: joris@albany.edu
> http://pierrejoris.com
> Nomadics blog: http://pjoris.blogspot.com
> =========================
>
>
> ------------------------
> Sam Truitt
> PO Box 20058 NYC 10023
>
> ---------------------------------
> How low will we go? Check out Yahoo! Messenger's low  PC-to-Phone call
> rates.
>
=========================================================================
Date:         Wed, 13 Sep 2006 08:07:12 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Thomas savage 
Subject:      Re: calming the mind  -- [was the game of "courtroom" in poetry
              discourse]
In-Reply-To:  <4506FA2A.6010404@ilstu.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Thankyou, Gabriel, for posting all this dhamma information.  I've heard it many times before in the more than thirty years I've been involved with vipassana but it's always good to see and hear it again.  To say that "progress" on the Path is "gradual" seems almost like an understatement sometimes.  But there is change (anicca), fortunately as well as sometimes, not.  Regards, Tom Savage

Gabriel Gudding  wrote:  Hi, Heidi,

It's always nice to see your posts. I'd be interested in yr thoughts on
Bonhoeffer. As well the desert fathers, esp. as regards their poetry. I
had heard of B., yeah, but know little about him, his ideas, or his
practice. Not googled him yet but I think I recall he was murdered by
Nazis.

I think you're right to question what I wrote here: "Nonviolence means
stopping violence." Your point makes total sense to me, and I agree that
what I wrote wasn't accurate. The verb "stopping" implies force, and
force implies violence. The _Dhammapada_ says this just after it opens:
"Hate is not overcome by hate. It's only appeased by lovingkindness
(Metta). This is an eternal law." It then says, "Some don't know that in
quarreling we essentially die, but those who do realize this calm
themselves." (aphorisms 5-6)

You write (elegantly), "the human mind isn't always controllable, and i
question whether it should be, that unbridled thought in the right
context is a fantastic thing -- and i don't think it's only the crazy
people, whoever they are, that this applies to -- the human mind,which
is not scientifically understood on any grounds"

The Buddha taught control (calming) and purification of the mind -- and
I'll explain what he meant by that (as best I'm able). "Control,"
"purify": I found anger arising in my own mind when I first heard
someone use the words "control" and "purification" -- about MY mind?!,
no thank you! -- sounded suspicious and nazi-like: is it possible, let
alone desirable, to purify the mind? I had an idea that purification was
synonymous with sterilization.

I'm obviously someone taken with what Siddhatta Gotama taught and
practiced. But I am this way not because I'm adhering to some belief
structure, or because I've got faith in "the Buddha." I don't. Gotama
was a secularist and an empiricist and he urged that no one have faith
in him personally as a savior nor in his teaching as an intellectual
harbor; he urged instead that what he said and practiced be approached
skeptically and that what he was teaching be tested against one's own
experience. I think it's fair to say he was a pragmatist and an
experiential scientist (in my estimation) whose principle gift was as an
example and an inspiration. This thing he taught, as you probably know
was called a noble 8 fold path, ariya atthangika magga, which is divided
into 3 sections: morality, control over the mind (calming the mind), and
experiential insight (not intellectual insight). The latter two are
accomplished through samadhi (concentrative meditation) and vipassana
(insight meditation).

So when I was talking about controlling the mind, I meant first: living
morally (not stealing, not taking intoxicants of any kind, not engaging
in sexual misconduct, not lying, and not killing). The reason being that
it's a universal law that anytime one does the opposite (lie, kill,
steal, have a glass of wine, etc), the mind becomes agitated, which
prohibits one from being able to calm it (2nd step) enough to purify it
(3rd step). The second thing I meant: taming the mind's habits of
reaction through first being able to (a) concentrate it, then (b) use it
to purify one's "sankharas" or reactive habit patterns. The ultimate
goal is to rid oneself of reactive habit patterns.

So when there is talk of controlling hte mind, what's meant is simply
calming it enough to go toward the third stage: coming out of reactive
habit patterns. By controlling it, I don't mean restricting it. I
literally mean establishing the groundwork necessary to liberate it:
setting it free as a responsive agent, a responsive "site of universal
energy" (yr apt words). I know that the word "control" is loaded, so
maybe calming is a better word (the Pali word "samadhi," etymologically
is closer to calming anyway).

A mind free from reactive habits has several powerful qualities, one of
which is extreme malleability and creativity (not there yet!). Other
qualities such a mind has: compassion, sympathetic joy, lovingkindness,
equanimity (these are often considered the four most wholesome states
that a mind can achieve); as well as what are often called the ten
perfections of mind: patience, tolerance, renunciation [the ability to
renounce], generosity, energy, truthfulness, lovingkindness, equanimity,
morality, and determination. You'll notice that two of the ten
perfections are also in the four really wholesome states. I've seen the
arrival, in small ways, of some of these qualities in my own life, but
where I get the most inspiration is from meditators I spend time with
who have taken 30 and 45 day courses and can walk this walk more
effectively than I can -- so primarily my own experience, and
secondarily the experience of those I know and trust, tells me that this
works.

So, the people I sit with, meditate with, are not enamored w/ this
ariyaatthangikamagga b/c they're all uptight and trying to control
themselves or because they've got an idea or a belief that doing so will
save them at some point down the road: they do so because practicing it
is already working. It's a gradual deal, but its effects are immediate.
They are very fun loving people, kind, witty, alive, goofy, and hard
working -- from all walks of life. I laugh more with them than I do with
any other group. I see it working in my own life too, but I also see it
workign strongly in the lives these friends with whom I spend a lot of
time up at the Illinois Vipassana Meditation Center (where I was over
the weekend, and where I often am during the summers and on breaks from
teaching). There are 7 such centers in the US and three in Canada.
Typically, and it's true for me, the practitioners, once they become
established in these practices by taking a ten day course, begin to
observe real and (for me) quite remarkable effects in the mind, the
life, personality, sense of well being, memory, clarity of mind, and the
emotional life. These only deepen with further practice. These friends,
these fellow meditators, are the whole of this life for me: I would not
do this if i didn't have great friends doing it too. So "controlling the
mind" for me is not about sterilizing it by any means, or becoming in
isolative creature devoid of any mental curlicues or emotions; quite the
opposite. The purpose is, as near as I can understand it, to awaken an
entirely NEW set of emotions and sense of affiliations.

Finally, I like what you say that I thought this particularly useful and
well put: "i'd just add that if people waited until they were "good
enough" as selves to do peace work, i would never get in, but that
doesn't matter, one doesn't have to wait until you get that kind of seal
of goodness, it's not about how "good" or "bad" the self is, if you can
find a context for working for peace -- the work itself will change the
self, make the self less, would be the hope -- that the only way to the
good is leaving the self behind because the self can't get there anyway --"

That makes perfect sense to me.

Thanks for your responsiveness, Heidi.

Gabe


 		
---------------------------------
 All-new Yahoo! Mail - Fire up a more powerful email and get things done faster.
=========================================================================
Date:         Wed, 13 Sep 2006 11:43:21 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Tom Beckett 
Subject:      New at E-x-c-h-a-n-g-e-v-a-l-u-e-s...
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

my interview with Jack Kimball.  Go to: http://willtoexchange.blogspot.com
=========================================================================
Date:         Wed, 13 Sep 2006 12:13:02 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "J. Michael Mollohan" 
Subject:      Re: Torture for words
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=response
Content-Transfer-Encoding: 7bit

I actually quite like his work.  Exactly what is it about his work that so
offends you?  I'm not sure WHY I like his work so well, and am interested in
knowing why you dislike it so intensely.  I suspect your aversion to it may
say more about you than it does about the work, as is the case with nearly
all critical spews.

At any rate I think it would be informative to have your opinion backed up
with something a little more substantial than "junk."



----- Original Message -----
From: "kevin thurston" 
To: 
Sent: Wednesday, September 13, 2006 10:41 AM
Subject: Re: Torture for words


>i fucking hate this guy's work
> geof huth went on about him a few days back  junk
>
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of Peter Ciccariello
> Sent: Tuesday, September 12, 2006 9:06 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Torture for words
>
> Torture for
> words
>
> "*Ni victimes ni bourreaux*."
> - Albert Camus
>
>
>
>
>
>
>
>
> -- Peter Ciccariello
> Image - http://invisiblenotes.blogspot.com/
> Word -http://poemsfromprovidence.blogspot.com/
> Photography -http://uncommonvision.blogspot.com/
>
>
> --
> http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Wed, 13 Sep 2006 12:25:59 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Daniel f. Bradley" 
Subject:      Re: Torture  Junk
In-Reply-To:  <005601c6d74f$8203c070$6400a8c0@Janus>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

what exactly do you like about them - your note is frankly a positive spew - which says little about why they aren't "junk"



"J. Michael Mollohan"  wrote:
  I actually quite like his work. Exactly what is it about his work that so
offends you? I'm not sure WHY I like his work so well, and am interested in
knowing why you dislike it so intensely. I suspect your aversion to it may
say more about you than it does about the work, as is the case with nearly
all critical spews.

At any rate I think it would be informative to have your opinion backed up
with something a little more substantial than "junk."



----- Original Message -----
From: "kevin thurston"
To:

Sent: Wednesday, September 13, 2006 10:41 AM
Subject: Re: Torture for words


>i fucking hate this guy's work
> geof huth went on about him a few days back junk
>
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of Peter Ciccariello
> Sent: Tuesday, September 12, 2006 9:06 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Torture for words
>
> Torture for
> words
>
> "*Ni victimes ni bourreaux*."
> - Albert Camus
>
>
>
>
>
>
>
>
> -- Peter Ciccariello
> Image - http://invisiblenotes.blogspot.com/
> Word -http://poemsfromprovidence.blogspot.com/
> Photography -http://uncommonvision.blogspot.com/
>
>
> --
> http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html



  helping to kill your literati star since 2004
  http://fhole.blogspot.com/

=========================================================================
Date:         Wed, 13 Sep 2006 12:37:55 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "J. Michael Mollohan" 
Subject:      Re: Torture  Junk
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=original
Content-Transfer-Encoding: 7bit

If you notice, in my original post, I said, "I'm not sure WHY I like his
work."  What part of that didn't you understand?

I think it has something to do with the chaotic nature of it with an
underlying structure that holds a promise of emerging order.  I like the
color and tone and texture of his work too.  Why it strikes a strong chord
with me, I'm not certain.  Then, again, I think there's much too much
emphasis put on certainty.  Perhaps that attitude has a little to do with it
as well.  The reason I posted in the first place was to get more of an
expostion against which to contrast my own opinions so as to better
understand my affinity for the work, Kevin's aversion to it, and perhaps
even the work itself.

Anyway, Kevin replied to me backchannel and I'm including his message,
perhaps to further this discussion.  To wit:


i think i'm out of posts for the day. and my follow up apology was based
exactly on what you rightfully pointed out. (perhaps you can forward this to
the list?)

my qualm is this: the work is like an aselm adams photograph meets chain
restaurant environmental graphics. in terms of his ability to use software,
it is sound. but in terms of being either surprised by, or impressed by, the
idea behind it, i think it does neither. what would the compulsion be to
make this?

"I suspect your aversion to it may
say more about you than it does about the work"

i think that is the case with any opinion--it has to be spewed by someone,
and based on their experience, no?



----- Original Message -----
From: "Daniel f. Bradley" 
To: 
Sent: Wednesday, September 13, 2006 12:25 PM
Subject: Re: Torture Junk


> what exactly do you like about them - your note is frankly a positive
> spew - which says little about why they aren't "junk"
>
>
>
> "J. Michael Mollohan"  wrote:
>  I actually quite like his work. Exactly what is it about his work that so
> offends you? I'm not sure WHY I like his work so well, and am interested
> in
> knowing why you dislike it so intensely. I suspect your aversion to it may
> say more about you than it does about the work, as is the case with nearly
> all critical spews.
>
> At any rate I think it would be informative to have your opinion backed up
> with something a little more substantial than "junk."
>
>
>
> ----- Original Message -----
> From: "kevin thurston"
> To:
>
> Sent: Wednesday, September 13, 2006 10:41 AM
> Subject: Re: Torture for words
>
>
>>i fucking hate this guy's work
>> geof huth went on about him a few days back junk
>>
>>
>> -----Original Message-----
>> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]
>> On
>> Behalf Of Peter Ciccariello
>> Sent: Tuesday, September 12, 2006 9:06 PM
>> To: POETICS@LISTSERV.BUFFALO.EDU
>> Subject: Torture for words
>>
>> Torture for
>> words
>>
>> "*Ni victimes ni bourreaux*."
>> - Albert Camus
>>
>>
>>
>>
>>
>>
>>
>>
>> -- Peter Ciccariello
>> Image - http://invisiblenotes.blogspot.com/
>> Word -http://poemsfromprovidence.blogspot.com/
>> Photography -http://uncommonvision.blogspot.com/
>>
>>
>> --
>> http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
>
>
>
>  helping to kill your literati star since 2004
>  http://fhole.blogspot.com/
>
=========================================================================
Date:         Wed, 13 Sep 2006 12:39:33 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Amanda Earl 
Subject:      Re: Torture  Junk
In-Reply-To:  <20060913162559.49017.qmail@web88101.mail.re2.yahoo.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

Stepping out of lurk for a moment. I realize it's all a matter of
taste, but I actually love these pieces. It could be that my exposure
to stuff like this has been limited; however here's what I like about them:

At first glance, the image is quite beautiful: the colours are fall
colours, which for me represent melancholy and a joy for life all at
the same time.
When you take a deeper look, I see horror; a cut off hand, scorched
detritus, blood.
They seem fitting for the times and evoked sadness and awe in me. I
didn't just pass them by.
I like the ghostliness of the words too. I can't quite make them out,
except for "torture," which piques my curiosity
I also am curious about how the artist actually did this. Was each
piece created just thru something like Photoshop or was there
something handmade about the process, such as putting together a collage first.

I think the artist could have done this in a much more cliche way. I
probably would have, but he steps out of the cliche box for me with
the way the piece is configured and disguising the words.

It piqued my curiosity and evoked an emotion. I can't really ask for
much more than that. But, I'd be interested in seeing what you like,
Daniel and hearing why you like it.

Amanda, another Canadian

At 12:25 PM 13/09/2006, you wrote:
>what exactly do you like about them - your note is frankly a
>positive spew - which says little about why they aren't "junk"
>
>
>
=========================================================================
Date:         Wed, 13 Sep 2006 12:15:04 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      *euphemism* calling for work
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

This is a really weird online magazine published and edited exclusively
by undergrads at Illinois State U. They're wanting work from innovative
writers in the real world. They're really smart kids. Email submissions
accepted.

Please, oh Please: Rock Their World.

See here: http://www.english.ilstu.edu/euphemism/submissions.htm





--
__________________________________
http://gabrielgudding.blogspot.com
----------------------------------
Gabriel Gudding
Department of English
Illinois State University
Normal, Illinois  61790
309.438.5284 (office)
=========================================================================
Date:         Wed, 13 Sep 2006 20:59:41 +0100
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Sam Ladkin 
Subject:      New from Arehouse
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: quoted-printable
Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed

[Sorry for multiple posts...]

Delighted to announce the publication of

WORD IS BORN

"thanks to the love / I reft with war" (MK)
Vs
"non-Combat is blasphemy" (RP)

WORD IS BORN from Arehouse Press: a collection from REITHA PATTISON =20
(her first) and MICHAEL KINDELLAN (Charles Baudelaire, Bad Press =20
2005) containing duelling translations of eight lyric poems by the =20
13th century troubadour poet, heterosexual and murderer Bertrand de =20
Born, who co-owned a castle, and died in 1215.

He says about her: "Frank O'Hara in tights". She says about him: =20
"Bucaneer/faux romantik, one more low-grade, low-slung, shiny-=20
epauleted noxious Casanova with a curious pecadillo: a top-hole =20
miasma of a philology". They're not wrong. Buy now & see who wins.

Reitha Pattison lives in Cambridge with her partner and baby son. She =20=

manages the translations list of a local academic publishing
house. Word is Born is her first collection of poetry.

Michael Kindellan is born in Toronto, and lives in London where he is =20=

working as a literary agent.  Also works for Corriere della Sera and =20
the Cabinet Office.  He's published Baudelaire translations through =20
Bad Press, some of which are same again in Quid, and translated =20
Rimbaud's Le Bateau Ivre in Chicago Review, whereat he's contributing =20=

editorially.

Cheques payable to "Arehouse" in the quantity of =A33.50 (inc p&p) =20
gladly received to 72 Sedgwick Street, Cambridge, CB1 3AL. Those =20
overseas can pay by PayPal and should email Ladkin(at)gmail.com to =20
get further instructions.

http://www.cambridgepoetry.org/arehouse.htm

Chris Goode, he says: "... an absolutely gorgeously made book, nicely =20=

set and elegantly weighted. And the concept, maan, is a serious hoot. =20=

Eight poems by notorious troubadorial schism-sower Bertran[d] de Born =20=

(I go with the authors in favouring 'Bertrand', I think; 'Bertran' =20
sounds too much like a blue-collar programming language), translated =20
independently by Pattison and Kindellan, and the two utterly =20
divergent versions printed cheek-by-jowl, Pattison on the left-hand =20
page of each spread and Kindellan on the right. There are huge =20
swathes where it's impossible to imagine the two translations sharing =20=

a source text at all: and wherever there are more openly apparent =20
momentary connexions, they only serve to recharge, rather than =20
dispel, the tensions between the two sets ... It's a terrific =20
project, full of movement and robust -- promiscuous, I almost said -- =20=

camaraderie. I still hate poetry, after all that, but mostly because =20
so little of it is as rewarding as Word is Born." -- Chris Goode, in =20
'Thompson's Bank of Communicable Desire' 17 July 2006 (http://=20
beescope.blogspot.com).
=========================================================================
Date:         Wed, 13 Sep 2006 16:30:09 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         ALDON L NIELSEN 
Subject:      Fwd: Job Ad
MIME-Version: 1.0
Content-Type: text/plain

---------- Forwarded message ----------
To: aln10@psu.edu
Date: Wed, 13 Sep 2006 12:51:24 -0500
From: "Dickson-Carr, Darryl" 
Subject: Job Ad


Dear Professor Nielsen,

I hope this message finds you well.

I write to ask your help in our search for a colleague in African
Diaspora/African American literatures. As you know, competition for
excellent scholars in the field is intense. Many of us believe that a
great way to attract the best is to consult established scholars who
know of dynamic colleagues who would contribute much to our program.

I ask, then, that you mention or forward our job advertisement below
(it's now in the _Chronicle of Higher Education_ and the MLA Job
Information List) to anyone you know who might be interested. I'd be
happy to answer any questions you might have.

I hope to see you at CLA and MLA again soon.

Best wishes,

Darryl Dickson-Carr

We seek a tenure-track assistant professor in African Diaspora
literatures of any period and/or African American literature before the
twentieth century. In August 2007 the greatly augmented SMU English
Department (with 3 new endowed chairs) will admit its first class of six
students to its new Ph.D. program; this small, select, exceptionally
well-funded doctoral program will build on the department's newly
revised undergraduate curriculum and existing M.A. degree, with their
recognized strengths in literary studies and creative writing.
Candidates for this position should therefore have a demonstrated
commitment to teaching and excellent potential as a publishing scholar.
The Ph.D. from a literature department or appropriate area studies
program must be completed no later than August 15, 2007. For full
consideration, applicants must send a CV and a letter outlining teaching
and research interests to Ezra Greenspan, Chair of the English
Department, postmarked no later than October 20, 2006, although the
recruitment committee will continue to accept applications until the
position is filled. Send no writing samples at this time. We will be
interviewing at MLA and will notify applicants of our decisions after
the position is filled. SMU will not discriminate on the basis of race,
color, religion, national origin, sex, age, disability, or veteran
status. SMU's commitment to equal opportunity includes nondiscrimination
on the basis of sexual orientation. We invite applications from women
and minorities.

+----------------------------------------------------+
|Darryl Dickson-Carr            214-768-2215 (voice) |
|Department of English          214-768-1234 (fax)   |
|Southern Methodist University  https://webmail.psu.edu/webmail/main.cgi#        |
|Dallas, TX 75275-0435         	                 |
+----------------------------------------------------+




<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

"Breaking in bright Orthography . . ."
--Emily Dickinson

Sailing the blogosphere at: http://heatstrings.blogspot.com/

Aldon L. Nielsen
Kelly Professor of American Literature
The Pennsylvania State University
116 Burrowes
University Park, PA 16802-6200

(814) 865-0091
=========================================================================
Date:         Wed, 13 Sep 2006 17:21:16 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Ward Tietz 
Subject:      Re: ON THE PUMICE OF MORONS by Coolidge and Fagin
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; format=flowed

Dan and Gloria,

Thanks for the info!

Best,

Ward
=========================================================================
Date:         Wed, 13 Sep 2006 19:25:22 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "David A. Kirschenbaum" 
Subject:      Re: Boog Action
In-Reply-To:  <20060913084259.47231.qmail@web31805.mail.mud.yahoo.com>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

i thought i would be remiss in not responding to this post. we are always
game for a little boog action.

yrs,
john wesley "boog" powell


 9/13/06 4:42 AM, Walter Lew at canal138@YAHOO.COM wrote:

> Oriole Legend and 1970 AL MVP  JOHN "BOOG" POWELL (and
> Brooks' good buddy) is selling his 2004 GMC Yukon. It
> is being offered on  Ebay. The winning bidder will not
> only receive a fantastic vehicle, they will also take
> part in an evening to remember. The winning bidder and
> a friend will be invited to have dinner with Boog at
> Morton's Steakhouse and then take in a game at Camden
> Yards.
>
> Take a look. You can click on the link below or simply
> go to Ebay and look for auction #300024745298
>
> http://cgi.ebay.com/ebaymotors/ws/eBayISAPI.dll?ViewItem&ru=http%3A%2F%2Fsearc
> h.ebay.com%3A80%2Fsearch%2Fsearch.dll%3Ffrom%3DR40%26satitle%3D300024745298%26
> fvi%3D1&item=300024745298
>
> Speaking of Brooks, he will be appearing this Saturday
> at The Maryland Science Center in conjunction with the
> Norman Rockwell Exhibit. He will only be signing
> Rockwell prints purchased at the museum.
>
> Brooks' next web signing will take place on November
> 18th. We will begin accepting mail-in items beginning
> October 1st. Stay tuned to the website for more
> details.
>
> Rick Hubata
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>

--
David A. Kirschenbaum, editor and publisher
Boog City
330 W.28th St., Suite 6H
NY, NY 10001-4754
For event and publication information:
http://boogcityevents.blogspot.com/
T: (212) 842-BOOG (2664)
F: (212) 842-2429
=========================================================================
Date:         Wed, 13 Sep 2006 20:38:51 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Andrew Lundwall 
Subject:      mtd's new address
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

thanks to the incredible generosity of c.e. laine our site has a new host
and new address:

http://mtd.celaine.com

please update your bookmarks and any links...

many thanks...

--andrew

_________________________________________________________________
Get the new Windows Live Messenger!
http://imagine-msn.com/messenger/launch80/default.aspx?locale=en-us&source=wlmailtagline
=========================================================================
Date:         Wed, 13 Sep 2006 18:40:49 -0700
Reply-To:     rsillima@yahoo.com
Sender:       UB Poetics discussion group 
From:         Ron Silliman 
Subject:      A threat to Radovan Pavlovski
Comments: To: New Po 
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

http://tinyurl.com/hcxcu


Macedonia

Poet Radovan Pavlovski tailed by communist secret police

Skopje, 13.09.2006 12:57

Academician Radovan Pavlovski, one of the greatest Macedonian
contemporary poets, had been under surveillance of the communist
secret police, as "enemy of the state", and he was placed in a
category of those perpetrating "hostile propaganda".

This information was published in Macedonian literature magazine
Sintezi. In the latest issue, the Sintezi magazine quotes extracts
from police file on poet Pavlovski for the period 1958-1966.

According to paperwork, Pavlovski was tailed throughout the fruitful
poem writing period, including the time when he was on military
service in the Former Yugoslav Army (JNA).

Pavlovski is one of the most famous Macedonian poets and prominent
personality in Macedonian literature. He won a number of literature
prizes and recognitions.

His poetry was translated in some 30 languages. His poems are present
in a number of anthologies of world poetry.

In 2006, Pavlovski became a member of the Macedonian Academy of
Sciences & Arts (MANU). /end/
=========================================================================
Date:         Wed, 13 Sep 2006 20:46:20 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      hosting offer
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

You may ask, "why don't I start a poetry journal on the web, people love
them!"  Then you look at pricing plans & decide to live within your
means, tho it is yet a good idea...

I, humble editor of listenlight.net, receive a statement each month from
my hosting service the next-to-nil space & bandwidth usage.  I'm secure
until mid June, at which time I will most likely renew the plan, but in
the meantime, talk to me about your idea for a journal, or somewhat
related, or radically different, web publication.  You register the
domain through the existing plan, and I will set up full ftp and/or
shell access to your domain, and plenty of space to work with, at no
other charge until June, when I'll ask a modest gratuity, consider
bartering for cool books & chaps, or boot you off.

All best,
Jesse Crockett
=========================================================================
Date:         Wed, 13 Sep 2006 21:28:41 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      epfarms.org
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

I'm informed that http://epfarms.org will host your domain for a
nominal, no-contract fee.  You could migrate your domain to there, but
until then I can offer the same features, yet I am so terrible!

"Let me guess, you're at 0.1%?"

http://dreamhost.com
=========================================================================
Date:         Wed, 13 Sep 2006 19:54:23 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         UbuWeb 
Subject:      Street Poets & Visionaries: Selections from the UbuWeb Collection
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Street Poets & Visionaries: Selections from the UbuWeb Collection
September 7 - October 14, 2006

Oliver Kamm/5BE Gallery
621 West 27th Street
New York, New York 10001

===========================================
Public Events:

--> Saturday, September 23, 2:00 p.m.
Irwin Chusid, "Songs in the Key of Z"
Lecture on Outsider Music

Irwin Chusid will recount the strange life stories of outsider musicians, both prominent
and obscure, including such figures as The Shaggs, Syd Barrett, Tiny Tim, Joe Meek,
Jandek, Captain Beefheart, The Cherry Sisters, Wesley Willis, Daniel Johnston, the
Legendary Stardust Cowboy, Wild Man Fischer, and Harry Partch. Featuring rarely seen
videos and obscure recordings.

--> Saturday, September 30, 2:00 p.m.
"The Sounds of Madness: Poets and Performers Interpret Outsider Writings"
Performers include Eileen Myles, Edwin Torres, Vijay Seshadri, Kenneth Goldsmith, and
Shelley Hirsch

--> Saturday, October 7, 2:00 p.m.
"Outside In" Panel
Panelists: Wayne Koestenbaum, Alissa Quart, David Grubbs

A panel exploring the transmigration of outsider aesthetics and practices influencing and
entering into the mainstream.

All events are free and open to the public.

===========================================

Oliver Kamm/5BE Gallery is pleased to announce STREET POETS & VISIONARIES: SELECTIONS
FROM THE UBUWEB COLLECTION, an exhibition of posters and ephemeral writings from the
streets of New York City.

In the tradition of Jim Shaw's "Thrift Shop Paintings," this collection of street
posters, mad scribblings, political screeds, religious rants, and paranoid raves expands
our notion of the Outsider arts to include the written word.

Formally striking, emotionally charged, and bizarre beyond belief, these graphical works
dovetail with the historic traditions of concrete poetry and art brut. Seamlessly melding
text and image, their obsessive quality evokes Adolf Wölfli and Henry Darger's visionary
works.

Featured in the exhibition will be the work of David Daniels, a 73 year-old Bay Area
artist, who has been creating insanely complex visual poems using only Microsoft Word.
Works from two of his epic series, "The Gates of Paradise" and "Years" will be featured.

Coinciding with the exhibition will be three public events. On Saturday, September 23rd
at 2 p.m., author Irwin Chusid will deliver a lecture on Outsider Music called, "Songs in
the Key of Z." On Saturday, September 30th, renowned poets and performers Eileen Myles,
Edwin Torres, Vijay Seshadri, Kenneth Goldsmith and Shelley Hirsch will stage a reading
of Outsider writings. On Saturday, October 7th, a panel, "Outside In" will explore the
transmigration of Outsider aesthetics and practices influencing and entering into the
mainstream. Panelists include Wayne Koestenbaum, Alissa Quart and David Grubbs. All
events are free and open to the public.

UbuWeb (ubu.com) is the Internet's largest resource dedicated to all strains of the
avant-garde, ethnopoetics, and outsider arts, featuring thousands of MP3s, films, books,
scholarly papers, and poems.

Oliver Kamm/5BE Gallery is located at 621 West 27th Street, on the ground floor. Gallery
hours are Tuesday through Saturday from 11-6.

For further information or images, please contact the gallery at 212-255-0979 or visit
our website at www.oliverkamm.com.


UbuWeb
http://ubu.com

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Thu, 14 Sep 2006 13:11:18 +0900
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Glass 
Subject:      Haptic Poetry Wikipedia Page--Your Input Welcome
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

http://www.en.wikipedia.org/wiki/Haptic_Poetry  Please take a look.  Jess
=========================================================================
Date:         Thu, 14 Sep 2006 00:25:33 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Carol Novack 
Subject:      Reminder: Mad Hatters' Review KGB Reading this Friday
MIME-Version: 1.0
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

*Mad Hatters' Review *

*(**http://www.madhattersreview.com **) =
*

*Edgy & Enlightened Literature, Art & Music in the Age of Dementia*

*Poetry, Prose & Anything Goes Reading Series*

*Curated & Pickled by Publisher/Editor Carol Novack*

*3rd Reading*

*Friday, September 15th, 7 =96 9 pm, *

*KGB Bar, **85 East 4th Street**, N.Y.C.*

*********************

*Features:*

*Ron Silliman*

Ron Silliman has written and edited 26 books to date, most recently Under
Albany. In 2007, the University of California Press will issue the complete
version of The Age of Huts. Between 1979 & 2004, Silliman wrote a single
poem, entitled "The Alphabet". In addition to Woundwood, a part of VOG,
volumes published thus far from that project have included ABC, Demo to Ink=
,
Jones, Lit, Manifest, N/O, Paradise, (R), Toner, What and Xing. He has now
begun writing a new poem entitled "Universe". Silliman was a 2003 Literary
fellow of the National Endowment for the Arts and was a 2002 Fellow of the
Pennsylvania Arts Council as well as a Pew Fellow in the Arts in 1998.
Visitors to his weblog are quickly approaching the three-quarters of a
million mark. He lives in Chester County, Pennsylvania , with his wife and
two sons, and works as a market analyst in the computer industry.


*Debra Di Blasi***

Debra Di Blasi (www.debradiblasi.com) received the 2003 James C. McCormick
Fellowship from the Christopher Isherwood Foundation. Her books include The
Jir=ED Chronicles & Other Fictions (forthcoming from FC2 Books in 2007),
Prayers of an Accidental Nature (Coffee House Press), and Drought & Say Wha=
t
You Like (New Directions), winner of the 1998 Thorpe Menn Award. Her fictio=
n
has been adapted to film, radio, theatre, and audio CD in the U.S. and
abroad. She is president of Jaded Ibis Productions, Inc., a transmedia
corporation producing most notably, The Jir=ED Chronicles, a m=E9lange of
fictive audio interviews and music, videos, print, web and visual art. She
is former art columnist at Pitch and taught experimental writing forums at
Kansas City Art Institute.



*Samuel R. Delany*

Samuel R Delany "is one of the two or three top living sci-fi writers. His
work with porn, critical writing & comics all puts him into edgy spaces."
(says Ron Silliman) He's never tame. His fictions include Dhalgren (1975),
Atlantis: Three Tales (1995), Hogg (1995), and Phallos (2004). His most
recent book, from Wesleyan University Press, is About Writing (2006). Samue=
l
(aka Chip) teaches English and creative writing at Temple University in
Philadelphia and at the Naropa Summer Writing Program in Boulder, Colorado.

A limited edition of signed "Homeland Security" posters (our cover artwork
for Issue 5) created by contributing artist & writer *Marty Duane Ison* wil=
l
be on sale.

For further info, email:
madhattersreview@gmail.com

(type READINGS in the subject line)
**
**
**
**
* *
--=20
MAD HATTERS' REVIEW:  Edgy & Enlightened Literature, Art & Music in the Age
of Dementia:  http://www.madhattersreview.com
http://carolnovack.blogspot.com/
http://nowwhatblog.blogspot.com
http://www.webdelsol.com/eSCENE/series20.html
http://webdelsol.com/PortalDelSol/pds-interview-mhr.htm

*"Around us, everything is writing; that's what we must perceive. Everythin=
g
is writing. It's the unknown in oneself, one's head, one's body. Writing is
not even a reflection, but a kind of faculty one has, that exists to one
side of oneself, parallel to oneself: another person who appears and comes
forward, invisible, gifted with thought and anger, and who sometimes,
through her own actions, risks losing her life. Into the night."* --
Marguerite Duras
=========================================================================
Date:         Thu, 14 Sep 2006 00:30:17 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gerald Schwartz 
Subject:      More frailer...
MIME-Version: 1.0
Content-Type: text/plain; charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable

More frailer than flowers
in these few precious hours
this Dylan this Timrod
coupling in the wheel house...

Gerald S.
=========================================================================
Date:         Thu, 14 Sep 2006 13:47:17 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Lori Emerson 
Subject:      Fwd: New Alice Notley Selected Poems
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

We are pleased to announce a new book by Alice Notley, Grave of Light:
New and Selected Poems, 1970-2005.

Considered by many to be among the most outstanding of living American
poets, Alice Notley has amassed a body of work that includes intimate
lyrics, experimental diaries, traditional genres, the postmodern
series, the newly invented epic, political observation and invective,
and the poem as novel. This chronological selection of her most
notable work offers a delineation of her life and creative
development. Formerly associated with the second generation of the New
York School, Notley has become a poet with a completely distinctive
voice. Grave of Light is a progression of changing forms and styles-an
extensive panorama held together explicitly by the shape of the poet's
times. Notley's poems challenge their subjects head-on, suffusing
language with radiant truth.

For more details, click http://www.upne.com/0-8195-6772-8.html

ORDERING DETAILS:

SAVE 20% if you order from the web site and use discount code W300!
Use the link above. Or order through your favorite bookseller, or by
calling University Press of New England at 1-800-421-1561 (or
603-643-5585). Shipping charges are $5.00 for the first book and $1.25
for each additional. In CANADA, order through the University of
British Columbia Press at (800) 668-0821 or email
orders@gtwcanada.com. In EUROPE, order through Eurospan at +44 (0) 207
240 0856 or email orders@edspubs.co.uk.

Academic users may order an Examination Copy for potential course
adoption. Please request a copy of the book in a letter, on your
institutional letterhead, and include $5.00 for shipping (check,
MasterCard, Visa, Discover, AmEx). Mail your request to: UPNE, Attn:
Exam Copies, 1 Court Street, Suite 250, Lebanon, NH 03766-1358, USA or
fax to (603) 448-9429.

******************
You are receiving this e-mail because one of our authors provided us
with your contact information, or you have used one of our books,
published a book with us, placed an order, or subscribed through our
web site. If you do not wish to receive e-mail from us, please reply
to this message and let us know-you WILL reach a real human being. We
never, EVER rent, sell, or share our email list. Your address is safe
with us.
=========================================================================
Date:         Fri, 15 Sep 2006 02:47:41 +0900
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Glass 
Subject:      Haptic Poetry--Yet Another Liminal Mode of Expression
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-2022-JP
Content-Transfer-Encoding: 7bit

Call for a poetry of pure touch with text-like elements. This poetry
could be sculptural–free standing or relief work–or be flat
$B!H(Bpage$B!I(B poetry, but the tactile elements should take precedence over
the visual–i.e., this is poetry that does not need to be seen to
be experienced. I can imagine that the temperature of the work could
become an important element, as well as the dryness or wetness of the
surfaces.

I can also imagine $B!H(Bpure$B!I(B tactile poetry practicioners that do not
allow the poem to be seen at all and $B!H(Bsoft$B!I(B practicioners of the art
who allow their creations to be seen as well as touched.

Of course, this is not visual poetry, but the elements of visual poetry
(in all its liminal glory) translated to another sense.

Perhaps there are already haptic poetry groups in operation? If so,
please let me know. If anyone out there has or will experiment with
creating haptic poetry, please contact me.  Jess


Haptic poetry Wikipedia Page:  http://en.wikipedia.org/wiki/Haptic_Poetry
=========================================================================
Date:         Thu, 14 Sep 2006 15:24:18 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         lauren bender 
Subject:      Re: POETICS Digest - 12 Sep 2006 to 13 Sep 2006 (#2006-257)
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

hi all on POETICS; please excuse cross-postings, thanks.

Greetings All,

If you are receiving this call, you have either had work in WORD Issue 1:
Schizotype, submitted to WORD in the past, crossed email addresses with the
WORD list, or produced work which may fit into this upcoming issue. Issue 1
was a successful survey of contemporary/experimental poetry, and can be
viewed here:

http://peekreview.net/word/index_word_frameset.html

Issue 2 will be based around the impossibility of the phrase taken from a
show on the Discovery Channel, "Chimera: I Am My Own Twin." Please consider
submitting "texts" (of any sort, including short essays and visuals) which
address this idea, either intentionally or fortuitously. Although the
content of the text may overtly deal with the theme, you are equally welcom=
e
to submit works which do so through presentation.

Possible beginnings: twins, impossibility/plausibility of the double,
doppelganger, nested/parasitic texts, translation of one text into another,
performance and its translation by documentation, similarity, concurrence,
coincidence, ghosts, coincidence, concurrence, similarity, documentation an=
d
its translation by performance, translation of the other text into its
original form, parasitic/nested texts, doppelganger,
plausibility/impossibility of the double, twins...

You may submit to lauren@peekreview.net, or to lauren.bender@gmail.com.
Please feel free to post widely. We welcome questions and comments, and
thank you in advance for your participation.

Lauren Bender
Editor
WORD at PEEKreview.net

"In the beginning, there were one, and it was two." The Mountain and the
Universe, Performance Thanatology Research Society, www.ricroyer.com/ptrs


On 9/14/06, POETICS automatic digest system 
wrote:
>
> There are 31 messages totalling 1625 lines in this issue.
>
> Topics of the day:
>
>   1. Fw: Fw: Fw: Re: m4: dalachinsky's 60th b day bash  some minor time
> changes
>   2. CARVE 7 now available
>   3. Boog Action (2)
>   4. Drunken Boat Announces Issue#8 - A Triple Feature on the PanLit,
> Oulipo &
>      Canadian Strange
>   5. Fw: Fw: Fw: Re: m4: dalachinsky's 60th b day bash some minor time
> changes
>   6. Recent Nomadics blog posts (3)
>   7. Drunken Boat  ate nothing that could be Canadian Strange
>   8. abecedarius cycle
>   9. >>INFO: new york city -- words hip hop & poetry showcase & open mic
> 10. INFO: youth indy slams in chicago
> 11. Torture for words (4)
> 12. calming the mind  -- [was the game of "courtroom" in poetry discourse=
]
> 13. New at E-x-c-h-a-n-g-e-v-a-l-u-e-s...
> 14. Torture  Junk (3)
> 15. *euphemism* calling for work
> 16. New from Arehouse
> 17. Fwd: Job Ad
> 18. ON THE PUMICE OF MORONS by Coolidge and Fagin
> 19. mtd's new address
> 20. A threat to Radovan Pavlovski
> 21. hosting offer
> 22. epfarms.org
> 23. Street Poets & Visionaries: Selections from the UbuWeb Collection
>
> ----------------------------------------------------------------------
>
> Date:    Wed, 13 Sep 2006 01:00:12 -0400
> From:    Steve Dalachinsky 
> Subject: Fw: Fw: Fw: Re: m4: dalachinsky's 60th b day bash  some minor
> time changes
>
> >                DALACHINSKY'S   60th BIRTHDAY BASH
> >
> >     tho i've never really grown up, i have grown old( er )
> & i'm gonna have a 60th birthday party  SEPT.24  @ Tonic  107 Norfolk St.
> ( F to
> > Delancey, J to Essex )
> > so come help me celebrate that along with Trane's 80th & the arrival
> > of my new book The Final Nite - 19 years of poems
>
> > there'll be plenty of good music & words that night.
> > please RSVP if you're coming and if you can
> > bring some food for what i hope will be a POT  LUCK meal
> > and party from 4:30 - 8 pm.
> > also RSVP   if you'd like to help set up between 3:30 & 5 PM
> >
> > any help etc. would be appreciated.
> >
> > there will be a concert and readings as well  as well from 8 P.M.
> >
> > call  steve or Yuko @ 1212-925-5256  or e mail @ skyplums@juno.com
> >
> > we may even have a place for ya to cook or prepare if you need one
> >
> > the concert will begin at 8 P.M. with such luminaries as Roy Campbell
> > Jr. ( my birthday brother ), Loren Mazzancane Connors, Matthew Shipp &
> > John Zorn plus many of my dear friends from the younger
> > generation such as Charles Waters, Matt Lavelle, Federico Ughi & many
> > more.  Also many of my dear poet friends will be on hand to throw a
> poem or 2.
> >
> > in Japan 60 is a very important birthday & one is supposed to wear
> > RED to signify that you are being BORN Again=85 you become a baby again=
 =85
> a new
> > cycle=85 a new life =85 a gift=85.like music.  SO WEAR  RED with me
> >
> > as for gifts (optional of course)
> >
> > bring  food
> >
> > or a new laptop ( well, used if need be)   color scanner  color printer
> >
> > or an unlimited supply of unlimited metro cards
> >
> > or books by boris vian that i don't own ( ask first )
> >
> > or kawabata's Palm of the Hand stories
> >
> > or..... the   mammal's  notebook    - satie's  writings
> >
> > or some good incus or fmp vinyl   any book on cobra  any writings by
> guy deborg
>     or situationists   any  deatremont
>
> >
> > or peter lemer on esp           big  loft space  apt in paris
> >
> > or something i don't already have   thelonious  himself   trane at 1/2
> note
> >
> > or a cell phone w/unlimited minutes
> >
> > but most of all bring yerselves & a little love
> >
> > love  steve
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 02:57:19 -0400
> From:    Steve Dalachinsky 
> Subject: Re: CARVE 7 now available
>
> eat the document
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 01:42:59 -0700
> From:    Walter Lew 
> Subject: Boog Action
>
> Oriole Legend and 1970 AL MVP  JOHN "BOOG" POWELL (and
> Brooks' good buddy) is selling his 2004 GMC Yukon. It
> is being offered on  Ebay. The winning bidder will not
> only receive a fantastic vehicle, they will also take
> part in an evening to remember. The winning bidder and
> a friend will be invited to have dinner with Boog at
> Morton's Steakhouse and then take in a game at Camden
> Yards.
>
> Take a look. You can click on the link below or simply
> go to Ebay and look for auction #300024745298
>
>
> http://cgi.ebay.com/ebaymotors/ws/eBayISAPI.dll?ViewItem&ru=3Dhttp%3A%2F%=
2Fsearch.ebay.com%3A80%2Fsearch%2Fsearch.dll%3Ffrom%3DR40%26satitle%3D30002=
4745298%26fvi%3D1&item=3D300024745298
>
> Speaking of Brooks, he will be appearing this Saturday
> at The Maryland Science Center in conjunction with the
> Norman Rockwell Exhibit. He will only be signing
> Rockwell prints purchased at the museum.
>
> Brooks' next web signing will take place on November
> 18th. We will begin accepting mail-in items beginning
> October 1st. Stay tuned to the website for more
> details.
>
> Rick Hubata
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 08:24:03 -0400
> From:    "Shankar, Ravi (English)" 
> Subject: Drunken Boat Announces Issue#8 - A Triple Feature on the PanLit,
> Oulipo & Canadian Strange
>
> http://drunkenboat.com
> =3D20
> Announcing the premiere of Drunken Boat, the international online =3D
> journal of the arts, Issue #8. A special triple issue dedicated to the =
=3D
> inaugural PanLiterary Awards Winners in seven genres; the spreading =3D
> potentiality of the Oulipo; and the very strangest of current Canadian =
=3D
> Arts and Letters.=3D20
> =3D20
> Featuring over 125 contributors, including a radio play by Mark Rudman =
=3D
> and Martha Plimpton, ambigrams by Doug Hofstadter, archival material =3D
> from Raymond Queneau and Marcel Duchamp, translations by Cole Swenson =3D
> and Keith and Rosemarie Waldrop, video from Adeena Karasick, photos by =
=3D
> Allyson Clay and Gabor Szilasi, among many others.
> =3D20
> Including new work from the PanLiterary Judges: PEN/Faulkner Award =3D
> winner Sabina Murray, conceptual artist and musician DJ Spooky, poet, =3D
> translator and librettist, Annie Finch, Fellow of the Royal Geographic =
=3D
> Society, Alexandra Tolstoy, trace/Alt-X New Media Award winner Talan =3D
> Memmott, and video art pioneer and TV interventionist David Hall.=3D20
> =3D20
> Congratulations to Scott Withiam, Christiana Langenberg, Jason Nelson, =
=3D
> Erik B=3DFCnger, John Fillwalk, Geoffrey Demarquet and Jacques Leslie for=
 =3D
> winning the inaugural PanLiterary Awards and thanks to guest curators =3D
> Jean-Jacques Poucel, Sina Queyras and designer Shawn McKinney for the =3D
> special folios.=3D20
> =3D20
> Please consider making a tax-deductible contribution to Drunken Boat to =
=3D
> help keep the arts alive online:
> =3D20
> http://drunkenboat.com/db8/donate.html
> =3D20
> Enjoy the issue and let us know what you think. Happy navigating!=3D20
>
> -The Editors
> http://www.drunkenboat.com=3D20
>
> ***************=3D20
> Ravi Shankar=3D20
> Poet-in-Residence=3D20
> Assistant Professor=3D20
> CCSU - English Dept.=3D20
> 860-832-2766=3D20
> shankarr@ccsu.edu=3D20
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 08:24:54 -0400
> From:    ALDON L NIELSEN 
> Subject: Re: Fw: Fw: Fw: Re: m4: dalachinsky's 60th b day bash some minor
> time changes
>
> Steve:
>
> I have your INCOMPLETE DIRECTIONS CD playing on m computer as I type this
> email -- Can't be there for the fetivities, but happy 60th --
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 09:04:53 -0400
> From:    Pierre Joris 
> Subject: Recent Nomadics blog posts
>
> Recent Nomadics blog posts:
>
> Thug Life
> Seyran Ates Resigns
> 5 years ago
> Sunday mushrooms
> A beaver in Albany
> The Unavowable Community
>
>
> can be found at:
>
> http://pjoris.blogspot.com
>
>
> 'pologies for X-posting
>
> Pierre
>
>
> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D=
3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D
> =3D3D=3D3D=3D3D=3D3D
>        "Fascism should more properly
> be called corporatism,since it is the
> merger of state and corporate power."
>        =3D97 Benito Mussolini
>
> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D=
3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D
> =3D3D=3D3D=3D3D=3D3D
> Pierre Joris
> 244 Elm Street
> Albany NY 12202
> h: 518 426 0433
> c: 518 225 7123
> o: 518 442 40 71
> Euro cell:  011 33 6 79 368 446
> email: joris@albany.edu
> http://pierrejoris.com
> Nomadics blog: http://pjoris.blogspot.com
>
> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D=
3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 09:16:56 -0400
> From:    "Daniel f. Bradley" 
> Subject: Re: Drunken Boat  ate nothing that could be Canadian Strange
>
> cross posting alert - as i have already gone on record about on a another
> list - i i'll do it again - just so there is no mistaking my feelings
>
>
>   i think Sina Queyras is really fucked up on meth if she think this is
> canadian strange - it's more like canadian syrup - even the Liz Bachinsky=
's
> is very tame stuff for her - sure it runs circles around Robby Mc but it =
is
> all kinda sweet and pretty like a Eskimo seal carving in a Niagara Falls
> gift shop
>
> (Sina when to canada and all we got is crappy boring tame poems)
>
> really not even a good try
>
>
>   dfb
>
>
>
>
> "Shankar, Ravi (English)"  wrote:
>   http://drunkenboat.com
>
> and the very strangest of current Canadian Arts and Letters.
>
>
>
>
>   helping to kill your literati star since 2004
>   http://fhole.blogspot.com/
>
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 09:32:55 -0400
> From:    Dan Waber 
> Subject: abecedarius cycle
>
> As we wave goodbye to the z of Donato Mancini's @phabet from Ligatures
> (New Star Books 2005), it's time to wave hello to the a of an
> abecedarius cycle by Dan Waber.
>
> New series starting today at:
>
> http://www.logolalia.com/abcdefghijklmnopqrstuvwxyz/
>
> Regards,
> Dan
>
> Submissions of artworks based around the complete sequence of the
> roman alphabet which can be presented a letter at a time over the
> course of 26 days are invited.
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 07:21:35 -0700
> From:    Sam Truitt 
> Subject: Re: Recent Nomadics blog posts
>
> Pierre,
>
> Great delivery - the blog - nice - so many ways to go. Thank you.
>
> Sam
>
> Pierre Joris  wrote: Recent Nomadics blog posts:
>
> Thug Life
> Seyran Ates Resigns
> 5 years ago
> Sunday mushrooms
> A beaver in Albany
> The Unavowable Community
>
>
> can be found at:
>
> http://pjoris.blogspot.com
>
>
> 'pologies for X-posting
>
> Pierre
>
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D
>        "Fascism should more properly
> be called corporatism,since it is the
> merger of state and corporate power."
>        =97 Benito Mussolini
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D
> Pierre Joris
> 244 Elm Street
> Albany NY 12202
> h: 518 426 0433
> c: 518 225 7123
> o: 518 442 40 71
> Euro cell:  011 33 6 79 368 446
> email: joris@albany.edu
> http://pierrejoris.com
> Nomadics blog: http://pjoris.blogspot.com
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D
>
>
> ------------------------
> Sam Truitt
> PO Box 20058 NYC 10023
>
> ---------------------------------
> How low will we go? Check out Yahoo! Messenger's low  PC-to-Phone call
> rates.
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 07:25:33 -0700
> From:    Ishaq 
> Subject: >>INFO: new york city -- words hip hop & poetry showcase & open
> mic
>
> >>INFO: new york city -- words hip hop & poetry showcase & open mic
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>
> WORDS hip hop & poetry showcase & open mic
> Date:   Saturday September 16, 2006
> Time:   10:00 pm - 10:00 pm
> Repeats:   This event repeats on the third Saturday of every month.
> Next reminder:   The next reminder for this event will be sent in 5
> days, 4 minutes.
> Description:   WORDS hip hop & poetry showcase & open mic
>
> SATURDAY
> third Sat of every month 10pm
>
> WORDS
> hip hop & poetry
> showcace & open mic
>
> check
>
>
> Click to subscribe to http://groups.yahoo.com/group/rockypresents/
> for showcase info
>
> Hosted By WiseGuy&Gaston
> Beats By Josh & Jonah with
> DJ BOO
> $10 w/FLYER (not email)
> third sat of every month
> Nuyorican Poets Cafe
> 236 east 3rd St/btwn Ave B&C/nyc/ F train to 2nd Ave/
>
> A ROCKY PRESENTS EVENT
>
>
>
>
> ___
> Stay Strong
> \
> -"I testified/My mama cried/Black people died/When the other man lied"
> -- chuck d
> \
>   "Be a friend to the oppressed and an enemy to the oppressor"
> --Imam Ali Ibn Abu Talib (as)
> \
> "They want to see us breathless. We will not be. They want to see us
> tired. We refuse to be. They want to see what our strength is. We will
> not show it in advance. We will continuously surprise them." -- Julia
> Wright
>
>   "We restate our commitment to the peace process. But we will not
> submit to a process of humiliation."
> --patrick o'neil
> \
> "...we have the responsibility to make no deal with the oppressor"
> --harry belafonte
> \
> "...these people generate wars in Asia and Africa,...These are the
> people who, in the last century, caused several devastating wars. In one
> world war alone, they killed over 60 million people.... In the near
> future, Allah willing, we will put you to trial in courts established by
> the peoples...."-- mahmoud ahmadinejad
> \
> http://www.sidebrow.net/2006/a047braithwaite.php
> \
> http://cleveland.indymedia.org/uploads/2006/07
> olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
> \
> http://radio.indymedia.org/news/2005/10/7255.php
> \
>
> http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_=
ruff.mp3
> \
> http://ilovepoetry.com/search.asp?keywords=3Dbraithwaite&orderBy=3Ddate
> \
> http://vancouver.indymedia.org/?q=3Den/node/1269\
> \
>
> http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_l=
ordpatch_the_giver__.mp3
> \
> http://vancouver.indymedia.org/?q=3Den/taxonomy/term/111
> \
> http://www.lowliferecords.co.uk/
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 07:26:31 -0700
> From:    Ishaq 
> Subject: INFO: youth indy slams in chicago
>
> >>INFO: youth indy slams in chicago
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>
> Young Chicago Authors presents Louder Than a Bomb: The Fall (Indy Slams
> 2006), our first
> ever series of individual slams.  There are four: North Side, South
> Side, West Side and North
> Shore Suburbs.  There is no fee to enter and you will be lavished upon
> with wonderful prizes.
> To register, email Mike at michael@youngchicagoauthors.org.
>
> Registration is due Sept. 15th, so act fast.
>
> You must be between the ages of 13-19 and live in the Chicago area to
> participate.
>
>
> ___
> Stay Strong
> \
> -"I testified/My mama cried/Black people died/When the other man lied"
> -- chuck d
> \
>   "Be a friend to the oppressed and an enemy to the oppressor"
> --Imam Ali Ibn Abu Talib (as)
> \
> "They want to see us breathless. We will not be. They want to see us
> tired. We refuse to be. They want to see what our strength is. We will
> not show it in advance. We will continuously surprise them." -- Julia
> Wright
>
>   "We restate our commitment to the peace process. But we will not
> submit to a process of humiliation."
> --patrick o'neil
> \
> "...we have the responsibility to make no deal with the oppressor"
> --harry belafonte
> \
> "...these people generate wars in Asia and Africa,...These are the
> people who, in the last century, caused several devastating wars. In one
> world war alone, they killed over 60 million people.... In the near
> future, Allah willing, we will put you to trial in courts established by
> the peoples...."-- mahmoud ahmadinejad
> \
> http://www.sidebrow.net/2006/a047braithwaite.php
> \
> http://cleveland.indymedia.org/uploads/2006/07
> olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
> \
> http://radio.indymedia.org/news/2005/10/7255.php
> \
>
> http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_=
ruff.mp3
> \
> http://ilovepoetry.com/search.asp?keywords=3Dbraithwaite&orderBy=3Ddate
> \
> http://vancouver.indymedia.org/?q=3Den/node/1269\
> \
>
> http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_l=
ordpatch_the_giver__.mp3
> \
> http://vancouver.indymedia.org/?q=3Den/taxonomy/term/111
> \
> http://www.lowliferecords.co.uk/
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 09:37:24 -0500
> From:    Skip Fox 
> Subject: Re: Torture for words
>
> Many times my background.
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] O=
n
> Behalf Of Peter Ciccariello
> Sent: Tuesday, September 12, 2006 9:06 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Torture for words
>
> Torture for
> words
>
> "*Ni victimes ni bourreaux*."
> - Albert Camus
>
>
>
>
>
>
>
>
> -- Peter Ciccariello
> Image - http://invisiblenotes.blogspot.com/
> Word -http://poemsfromprovidence.blogspot.com/
> Photography -http://uncommonvision.blogspot.com/
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 10:41:28 -0400
> From:    kevin thurston 
> Subject: Re: Torture for words
>
> i fucking hate this guy's work
> geof huth went on about him a few days back  junk
>
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] O=
n
> Behalf Of Peter Ciccariello
> Sent: Tuesday, September 12, 2006 9:06 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Torture for words
>
> Torture for
> words
>
> "*Ni victimes ni bourreaux*."
> - Albert Camus
>
>
>
>
>
>
>
>
> -- Peter Ciccariello
> Image - http://invisiblenotes.blogspot.com/
> Word -http://poemsfromprovidence.blogspot.com/
> Photography -http://uncommonvision.blogspot.com/
>
>
> --
> http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 10:47:17 -0400
> From:    kevin thurston 
> Subject: Re: Torture for words
>
> apologies
>
> On 9/13/06, kevin thurston  wrote:
> >
> > i fucking hate this guy's work
> > geof huth went on about him a few days back  junk
> >
> >
> > -----Original Message-----
> > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]
> On
> > Behalf Of Peter Ciccariello
> > Sent: Tuesday, September 12, 2006 9:06 PM
> > To: POETICS@LISTSERV.BUFFALO.EDU
> > Subject: Torture for words
> >
> > Torture for
> > words
> >
> > "*Ni victimes ni bourreaux*."
> > - Albert Camus
> >
> >
> >
> >
> >
> >
> >
> >
> > -- Peter Ciccariello
> > Image - http://invisiblenotes.blogspot.com/
> > Word -http://poemsfromprovidence.blogspot.com/
> > Photography -http://uncommonvision.blogspot.com/
> >
> >
> > --
> > http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
> >
>
>
>
> --
> http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 10:53:11 -0400
> From:    Gerald Schwartz 
> Subject: Re: Recent Nomadics blog posts
>
> Ah, yes, Pierre:
>
> That beaver doth drive sooo much:
> appearing on that rug and the coat-of-
> arms of the state flag as well!
> Perhaps somehow the beaver maketh
> of us a theocracy after all, n'est pas?
>
> Still in Banishment from Albany,
> Gerald S.
>
> > Pierre Joris  wrote: Recent Nomadics blog posts:
> >
> > Thug Life
> > Seyran Ates Resigns
> > 5 years ago
> > Sunday mushrooms
> > A beaver in Albany
> > The Unavowable Community
> >
> >
> > can be found at:
> >
> > http://pjoris.blogspot.com
> >
> >
> > 'pologies for X-posting
> >
> > Pierre
> >
> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D
> >       "Fascism should more properly
> > be called corporatism,since it is the
> > merger of state and corporate power."
> >       - Benito Mussolini
> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D
> > Pierre Joris
> > 244 Elm Street
> > Albany NY 12202
> > h: 518 426 0433
> > c: 518 225 7123
> > o: 518 442 40 71
> > Euro cell:  011 33 6 79 368 446
> > email: joris@albany.edu
> > http://pierrejoris.com
> > Nomadics blog: http://pjoris.blogspot.com
> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D
> >
> >
> > ------------------------
> > Sam Truitt
> > PO Box 20058 NYC 10023
> >
> > ---------------------------------
> > How low will we go? Check out Yahoo! Messenger's low  PC-to-Phone call
> > rates.
> >
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 08:07:12 -0700
> From:    Thomas savage 
> Subject: Re: calming the mind  -- [was the game of "courtroom" in poetry
> discourse]
>
> Thankyou, Gabriel, for posting all this dhamma information.  I've heard i=
t
> many times before in the more than thirty years I've been involved with
> vipassana but it's always good to see and hear it again.  To say that
> "progress" on the Path is "gradual" seems almost like an understatement
> sometimes.  But there is change (anicca), fortunately as well as sometime=
s,
> not.  Regards, Tom Savage
>
> Gabriel Gudding  wrote:  Hi, Heidi,
>
> It's always nice to see your posts. I'd be interested in yr thoughts on
> Bonhoeffer. As well the desert fathers, esp. as regards their poetry. I
> had heard of B., yeah, but know little about him, his ideas, or his
> practice. Not googled him yet but I think I recall he was murdered by
> Nazis.
>
> I think you're right to question what I wrote here: "Nonviolence means
> stopping violence." Your point makes total sense to me, and I agree that
> what I wrote wasn't accurate. The verb "stopping" implies force, and
> force implies violence. The _Dhammapada_ says this just after it opens:
> "Hate is not overcome by hate. It's only appeased by lovingkindness
> (Metta). This is an eternal law." It then says, "Some don't know that in
> quarreling we essentially die, but those who do realize this calm
> themselves." (aphorisms 5-6)
>
> You write (elegantly), "the human mind isn't always controllable, and i
> question whether it should be, that unbridled thought in the right
> context is a fantastic thing -- and i don't think it's only the crazy
> people, whoever they are, that this applies to -- the human mind,which
> is not scientifically understood on any grounds"
>
> The Buddha taught control (calming) and purification of the mind -- and
> I'll explain what he meant by that (as best I'm able). "Control,"
> "purify": I found anger arising in my own mind when I first heard
> someone use the words "control" and "purification" -- about MY mind?!,
> no thank you! -- sounded suspicious and nazi-like: is it possible, let
> alone desirable, to purify the mind? I had an idea that purification was
> synonymous with sterilization.
>
> I'm obviously someone taken with what Siddhatta Gotama taught and
> practiced. But I am this way not because I'm adhering to some belief
> structure, or because I've got faith in "the Buddha." I don't. Gotama
> was a secularist and an empiricist and he urged that no one have faith
> in him personally as a savior nor in his teaching as an intellectual
> harbor; he urged instead that what he said and practiced be approached
> skeptically and that what he was teaching be tested against one's own
> experience. I think it's fair to say he was a pragmatist and an
> experiential scientist (in my estimation) whose principle gift was as an
> example and an inspiration. This thing he taught, as you probably know
> was called a noble 8 fold path, ariya atthangika magga, which is divided
> into 3 sections: morality, control over the mind (calming the mind), and
> experiential insight (not intellectual insight). The latter two are
> accomplished through samadhi (concentrative meditation) and vipassana
> (insight meditation).
>
> So when I was talking about controlling the mind, I meant first: living
> morally (not stealing, not taking intoxicants of any kind, not engaging
> in sexual misconduct, not lying, and not killing). The reason being that
> it's a universal law that anytime one does the opposite (lie, kill,
> steal, have a glass of wine, etc), the mind becomes agitated, which
> prohibits one from being able to calm it (2nd step) enough to purify it
> (3rd step). The second thing I meant: taming the mind's habits of
> reaction through first being able to (a) concentrate it, then (b) use it
> to purify one's "sankharas" or reactive habit patterns. The ultimate
> goal is to rid oneself of reactive habit patterns.
>
> So when there is talk of controlling hte mind, what's meant is simply
> calming it enough to go toward the third stage: coming out of reactive
> habit patterns. By controlling it, I don't mean restricting it. I
> literally mean establishing the groundwork necessary to liberate it:
> setting it free as a responsive agent, a responsive "site of universal
> energy" (yr apt words). I know that the word "control" is loaded, so
> maybe calming is a better word (the Pali word "samadhi," etymologically
> is closer to calming anyway).
>
> A mind free from reactive habits has several powerful qualities, one of
> which is extreme malleability and creativity (not there yet!). Other
> qualities such a mind has: compassion, sympathetic joy, lovingkindness,
> equanimity (these are often considered the four most wholesome states
> that a mind can achieve); as well as what are often called the ten
> perfections of mind: patience, tolerance, renunciation [the ability to
> renounce], generosity, energy, truthfulness, lovingkindness, equanimity,
> morality, and determination. You'll notice that two of the ten
> perfections are also in the four really wholesome states. I've seen the
> arrival, in small ways, of some of these qualities in my own life, but
> where I get the most inspiration is from meditators I spend time with
> who have taken 30 and 45 day courses and can walk this walk more
> effectively than I can -- so primarily my own experience, and
> secondarily the experience of those I know and trust, tells me that this
> works.
>
> So, the people I sit with, meditate with, are not enamored w/ this
> ariyaatthangikamagga b/c they're all uptight and trying to control
> themselves or because they've got an idea or a belief that doing so will
> save them at some point down the road: they do so because practicing it
> is already working. It's a gradual deal, but its effects are immediate.
> They are very fun loving people, kind, witty, alive, goofy, and hard
> working -- from all walks of life. I laugh more with them than I do with
> any other group. I see it working in my own life too, but I also see it
> workign strongly in the lives these friends with whom I spend a lot of
> time up at the Illinois Vipassana Meditation Center (where I was over
> the weekend, and where I often am during the summers and on breaks from
> teaching). There are 7 such centers in the US and three in Canada.
> Typically, and it's true for me, the practitioners, once they become
> established in these practices by taking a ten day course, begin to
> observe real and (for me) quite remarkable effects in the mind, the
> life, personality, sense of well being, memory, clarity of mind, and the
> emotional life. These only deepen with further practice. These friends,
> these fellow meditators, are the whole of this life for me: I would not
> do this if i didn't have great friends doing it too. So "controlling the
> mind" for me is not about sterilizing it by any means, or becoming in
> isolative creature devoid of any mental curlicues or emotions; quite the
> opposite. The purpose is, as near as I can understand it, to awaken an
> entirely NEW set of emotions and sense of affiliations.
>
> Finally, I like what you say that I thought this particularly useful and
> well put: "i'd just add that if people waited until they were "good
> enough" as selves to do peace work, i would never get in, but that
> doesn't matter, one doesn't have to wait until you get that kind of seal
> of goodness, it's not about how "good" or "bad" the self is, if you can
> find a context for working for peace -- the work itself will change the
> self, make the self less, would be the hope -- that the only way to the
> good is leaving the self behind because the self can't get there anyway
> --"
>
> That makes perfect sense to me.
>
> Thanks for your responsiveness, Heidi.
>
> Gabe
>
>
>
> ---------------------------------
> All-new Yahoo! Mail - Fire up a more powerful email and get things done
> faster.
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 11:43:21 EDT
> From:    Tom Beckett 
> Subject: New at E-x-c-h-a-n-g-e-v-a-l-u-e-s...
>
> my interview with Jack Kimball.  Go to: http://willtoexchange.blogspot.co=
m
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 12:13:02 -0400
> From:    "J. Michael Mollohan" 
> Subject: Re: Torture for words
>
> I actually quite like his work.  Exactly what is it about his work that s=
o
> offends you?  I'm not sure WHY I like his work so well, and am interested
> in
> knowing why you dislike it so intensely.  I suspect your aversion to it
> may
> say more about you than it does about the work, as is the case with nearl=
y
> all critical spews.
>
> At any rate I think it would be informative to have your opinion backed u=
p
> with something a little more substantial than "junk."
>
>
>
> ----- Original Message -----
> From: "kevin thurston" 
> To: 
> Sent: Wednesday, September 13, 2006 10:41 AM
> Subject: Re: Torture for words
>
>
> >i fucking hate this guy's work
> > geof huth went on about him a few days back  junk
> >
> >
> > -----Original Message-----
> > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]
> On
> > Behalf Of Peter Ciccariello
> > Sent: Tuesday, September 12, 2006 9:06 PM
> > To: POETICS@LISTSERV.BUFFALO.EDU
> > Subject: Torture for words
> >
> > Torture for
> > words
> >
> > "*Ni victimes ni bourreaux*."
> > - Albert Camus
> >
> >
> >
> >
> >
> >
> >
> >
> > -- Peter Ciccariello
> > Image - http://invisiblenotes.blogspot.com/
> > Word -http://poemsfromprovidence.blogspot.com/
> > Photography -http://uncommonvision.blogspot.com/
> >
> >
> > --
> > http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 12:25:59 -0400
> From:    "Daniel f. Bradley" 
> Subject: Re: Torture  Junk
>
> what exactly do you like about them - your note is frankly a positive spe=
w
> - which says little about why they aren't "junk"
>
>
>
> "J. Michael Mollohan"  wrote:
>   I actually quite like his work. Exactly what is it about his work that
> so
> offends you? I'm not sure WHY I like his work so well, and am interested
> in
> knowing why you dislike it so intensely. I suspect your aversion to it ma=
y
> say more about you than it does about the work, as is the case with nearl=
y
> all critical spews.
>
> At any rate I think it would be informative to have your opinion backed u=
p
> with something a little more substantial than "junk."
>
>
>
> ----- Original Message -----
> From: "kevin thurston"
> To:
>
> Sent: Wednesday, September 13, 2006 10:41 AM
> Subject: Re: Torture for words
>
>
> >i fucking hate this guy's work
> > geof huth went on about him a few days back junk
> >
> >
> > -----Original Message-----
> > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]
> On
> > Behalf Of Peter Ciccariello
> > Sent: Tuesday, September 12, 2006 9:06 PM
> > To: POETICS@LISTSERV.BUFFALO.EDU
> > Subject: Torture for words
> >
> > Torture for
> > words
> >
> > "*Ni victimes ni bourreaux*."
> > - Albert Camus
> >
> >
> >
> >
> >
> >
> >
> >
> > -- Peter Ciccariello
> > Image - http://invisiblenotes.blogspot.com/
> > Word -http://poemsfromprovidence.blogspot.com/
> > Photography -http://uncommonvision.blogspot.com/
> >
> >
> > --
> > http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
>
>
>
>   helping to kill your literati star since 2004
>   http://fhole.blogspot.com/
>
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 12:37:55 -0400
> From:    "J. Michael Mollohan" 
> Subject: Re: Torture  Junk
>
> If you notice, in my original post, I said, "I'm not sure WHY I like his
> work."  What part of that didn't you understand?
>
> I think it has something to do with the chaotic nature of it with an
> underlying structure that holds a promise of emerging order.  I like the
> color and tone and texture of his work too.  Why it strikes a strong chor=
d
> with me, I'm not certain.  Then, again, I think there's much too much
> emphasis put on certainty.  Perhaps that attitude has a little to do with
> it
> as well.  The reason I posted in the first place was to get more of an
> expostion against which to contrast my own opinions so as to better
> understand my affinity for the work, Kevin's aversion to it, and perhaps
> even the work itself.
>
> Anyway, Kevin replied to me backchannel and I'm including his message,
> perhaps to further this discussion.  To wit:
>
> 
> i think i'm out of posts for the day. and my follow up apology was based
> exactly on what you rightfully pointed out. (perhaps you can forward this
> to
> the list?)
>
> my qualm is this: the work is like an aselm adams photograph meets chain
> restaurant environmental graphics. in terms of his ability to use
> software,
> it is sound. but in terms of being either surprised by, or impressed by,
> the
> idea behind it, i think it does neither. what would the compulsion be to
> make this?
>
> "I suspect your aversion to it may
> say more about you than it does about the work"
>
> i think that is the case with any opinion--it has to be spewed by someone=
,
> and based on their experience, no?
>
> 
>
> ----- Original Message -----
> From: "Daniel f. Bradley" 
> To: 
> Sent: Wednesday, September 13, 2006 12:25 PM
> Subject: Re: Torture Junk
>
>
> > what exactly do you like about them - your note is frankly a positive
> > spew - which says little about why they aren't "junk"
> >
> >
> >
> > "J. Michael Mollohan"  wrote:
> >  I actually quite like his work. Exactly what is it about his work that
> so
> > offends you? I'm not sure WHY I like his work so well, and am intereste=
d
> > in
> > knowing why you dislike it so intensely. I suspect your aversion to it
> may
> > say more about you than it does about the work, as is the case with
> nearly
> > all critical spews.
> >
> > At any rate I think it would be informative to have your opinion backed
> up
> > with something a little more substantial than "junk."
> >
> >
> >
> > ----- Original Message -----
> > From: "kevin thurston"
> > To:
> >
> > Sent: Wednesday, September 13, 2006 10:41 AM
> > Subject: Re: Torture for words
> >
> >
> >>i fucking hate this guy's work
> >> geof huth went on about him a few days back junk
> >>
> >>
> >> -----Original Message-----
> >> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU=
]
> >> On
> >> Behalf Of Peter Ciccariello
> >> Sent: Tuesday, September 12, 2006 9:06 PM
> >> To: POETICS@LISTSERV.BUFFALO.EDU
> >> Subject: Torture for words
> >>
> >> Torture for
> >> words
> >>
> >> "*Ni victimes ni bourreaux*."
> >> - Albert Camus
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >> -- Peter Ciccariello
> >> Image - http://invisiblenotes.blogspot.com/
> >> Word -http://poemsfromprovidence.blogspot.com/
> >> Photography -http://uncommonvision.blogspot.com/
> >>
> >>
> >> --
> >> http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
> >
> >
> >
> >  helping to kill your literati star since 2004
> >  http://fhole.blogspot.com/
> >
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 12:39:33 -0400
> From:    Amanda Earl 
> Subject: Re: Torture  Junk
>
> Stepping out of lurk for a moment. I realize it's all a matter of
> taste, but I actually love these pieces. It could be that my exposure
> to stuff like this has been limited; however here's what I like about
> them:
>
> At first glance, the image is quite beautiful: the colours are fall
> colours, which for me represent melancholy and a joy for life all at
> the same time.
> When you take a deeper look, I see horror; a cut off hand, scorched
> detritus, blood.
> They seem fitting for the times and evoked sadness and awe in me. I
> didn't just pass them by.
> I like the ghostliness of the words too. I can't quite make them out,
> except for "torture," which piques my curiosity
> I also am curious about how the artist actually did this. Was each
> piece created just thru something like Photoshop or was there
> something handmade about the process, such as putting together a collage
> first.
>
> I think the artist could have done this in a much more cliche way. I
> probably would have, but he steps out of the cliche box for me with
> the way the piece is configured and disguising the words.
>
> It piqued my curiosity and evoked an emotion. I can't really ask for
> much more than that. But, I'd be interested in seeing what you like,
> Daniel and hearing why you like it.
>
> Amanda, another Canadian
>
> At 12:25 PM 13/09/2006, you wrote:
> >what exactly do you like about them - your note is frankly a
> >positive spew - which says little about why they aren't "junk"
> >
> >
> >
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 12:15:04 -0500
> From:    Gabriel Gudding 
> Subject: *euphemism* calling for work
>
> This is a really weird online magazine published and edited exclusively
> by undergrads at Illinois State U. They're wanting work from innovative
> writers in the real world. They're really smart kids. Email submissions
> accepted.
>
> Please, oh Please: Rock Their World.
>
> See here: http://www.english.ilstu.edu/euphemism/submissions.htm
>
>
>
>
>
> --
> __________________________________
> http://gabrielgudding.blogspot.com
> ----------------------------------
> Gabriel Gudding
> Department of English
> Illinois State University
> Normal, Illinois  61790
> 309.438.5284 (office)
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 20:59:41 +0100
> From:    Sam Ladkin 
> Subject: New from Arehouse
>
> [Sorry for multiple posts...]
>
> Delighted to announce the publication of
>
> WORD IS BORN
>
> "thanks to the love / I reft with war" (MK)
> Vs
> "non-Combat is blasphemy" (RP)
>
> WORD IS BORN from Arehouse Press: a collection from REITHA PATTISON =3D20
> (her first) and MICHAEL KINDELLAN (Charles Baudelaire, Bad Press =3D20
> 2005) containing duelling translations of eight lyric poems by the =3D20
> 13th century troubadour poet, heterosexual and murderer Bertrand de =3D20
> Born, who co-owned a castle, and died in 1215.
>
> He says about her: "Frank O'Hara in tights". She says about him: =3D20
> "Bucaneer/faux romantik, one more low-grade, low-slung, shiny-=3D20
> epauleted noxious Casanova with a curious pecadillo: a top-hole =3D20
> miasma of a philology". They're not wrong. Buy now & see who wins.
>
> Reitha Pattison lives in Cambridge with her partner and baby son. She =3D=
20=3D
>
> manages the translations list of a local academic publishing
> house. Word is Born is her first collection of poetry.
>
> Michael Kindellan is born in Toronto, and lives in London where he is =3D=
20=3D
>
> working as a literary agent.  Also works for Corriere della Sera and =3D2=
0
> the Cabinet Office.  He's published Baudelaire translations through =3D20
> Bad Press, some of which are same again in Quid, and translated =3D20
> Rimbaud's Le Bateau Ivre in Chicago Review, whereat he's contributing =3D=
20=3D
>
> editorially.
>
> Cheques payable to "Arehouse" in the quantity of =3DA33.50 (inc p&p) =3D2=
0
> gladly received to 72 Sedgwick Street, Cambridge, CB1 3AL. Those =3D20
> overseas can pay by PayPal and should email Ladkin(at)gmail.com to =3D20
> get further instructions.
>
> http://www.cambridgepoetry.org/arehouse.htm
>
> Chris Goode, he says: "... an absolutely gorgeously made book, nicely =3D=
20=3D
>
> set and elegantly weighted. And the concept, maan, is a serious hoot. =3D=
20=3D
>
> Eight poems by notorious troubadorial schism-sower Bertran[d] de Born =3D=
20=3D
>
> (I go with the authors in favouring 'Bertrand', I think; 'Bertran' =3D20
> sounds too much like a blue-collar programming language), translated =3D2=
0
> independently by Pattison and Kindellan, and the two utterly =3D20
> divergent versions printed cheek-by-jowl, Pattison on the left-hand =3D20
> page of each spread and Kindellan on the right. There are huge =3D20
> swathes where it's impossible to imagine the two translations sharing =3D=
20=3D
>
> a source text at all: and wherever there are more openly apparent =3D20
> momentary connexions, they only serve to recharge, rather than =3D20
> dispel, the tensions between the two sets ... It's a terrific =3D20
> project, full of movement and robust -- promiscuous, I almost said -- =3D=
20=3D
>
> camaraderie. I still hate poetry, after all that, but mostly because =3D2=
0
> so little of it is as rewarding as Word is Born." -- Chris Goode, in =3D2=
0
> 'Thompson's Bank of Communicable Desire' 17 July 2006 (http://=3D20
> beescope.blogspot.com).
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 16:30:09 -0400
> From:    ALDON L NIELSEN 
> Subject: Fwd: Job Ad
>
> ---------- Forwarded message ----------
> To: aln10@psu.edu
> Date: Wed, 13 Sep 2006 12:51:24 -0500
> From: "Dickson-Carr, Darryl" 
> Subject: Job Ad
>
>
> Dear Professor Nielsen,
>
> I hope this message finds you well.
>
> I write to ask your help in our search for a colleague in African
> Diaspora/African American literatures. As you know, competition for
> excellent scholars in the field is intense. Many of us believe that a
> great way to attract the best is to consult established scholars who
> know of dynamic colleagues who would contribute much to our program.
>
> I ask, then, that you mention or forward our job advertisement below
> (it's now in the _Chronicle of Higher Education_ and the MLA Job
> Information List) to anyone you know who might be interested. I'd be
> happy to answer any questions you might have.
>
> I hope to see you at CLA and MLA again soon.
>
> Best wishes,
>
> Darryl Dickson-Carr
>
> We seek a tenure-track assistant professor in African Diaspora
> literatures of any period and/or African American literature before the
> twentieth century. In August 2007 the greatly augmented SMU English
> Department (with 3 new endowed chairs) will admit its first class of six
> students to its new Ph.D. program; this small, select, exceptionally
> well-funded doctoral program will build on the department's newly
> revised undergraduate curriculum and existing M.A. degree, with their
> recognized strengths in literary studies and creative writing.
> Candidates for this position should therefore have a demonstrated
> commitment to teaching and excellent potential as a publishing scholar.
> The Ph.D. from a literature department or appropriate area studies
> program must be completed no later than August 15, 2007. For full
> consideration, applicants must send a CV and a letter outlining teaching
> and research interests to Ezra Greenspan, Chair of the English
> Department, postmarked no later than October 20, 2006, although the
> recruitment committee will continue to accept applications until the
> position is filled. Send no writing samples at this time. We will be
> interviewing at MLA and will notify applicants of our decisions after
> the position is filled. SMU will not discriminate on the basis of race,
> color, religion, national origin, sex, age, disability, or veteran
> status. SMU's commitment to equal opportunity includes nondiscrimination
> on the basis of sexual orientation. We invite applications from women
> and minorities.
>
> +----------------------------------------------------+
> |Darryl Dickson-Carr            214-768-2215 (voice) |
> |Department of English          214-768-1234 (fax)   |
> |Southern Methodist University  https://webmail.psu.edu/webmail/main.cgi#
>         |
> |Dallas, TX 75275-0435                           |
> +----------------------------------------------------+
>
>
>
>
>
> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>=
>>
>
> "Breaking in bright Orthography . . ."
> --Emily Dickinson
>
> Sailing the blogosphere at: http://heatstrings.blogspot.com/
>
> Aldon L. Nielsen
> Kelly Professor of American Literature
> The Pennsylvania State University
> 116 Burrowes
> University Park, PA 16802-6200
>
> (814) 865-0091
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 17:21:16 -0400
> From:    Ward Tietz 
> Subject: Re: ON THE PUMICE OF MORONS by Coolidge and Fagin
>
> Dan and Gloria,
>
> Thanks for the info!
>
> Best,
>
> Ward
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 19:25:22 -0400
> From:    "David A. Kirschenbaum" 
> Subject: Re: Boog Action
>
> i thought i would be remiss in not responding to this post. we are always
> game for a little boog action.
>
> yrs,
> john wesley "boog" powell
>
>
> 9/13/06 4:42 AM, Walter Lew at canal138@YAHOO.COM wrote:
>
> > Oriole Legend and 1970 AL MVP  JOHN "BOOG" POWELL (and
> > Brooks' good buddy) is selling his 2004 GMC Yukon. It
> > is being offered on  Ebay. The winning bidder will not
> > only receive a fantastic vehicle, they will also take
> > part in an evening to remember. The winning bidder and
> > a friend will be invited to have dinner with Boog at
> > Morton's Steakhouse and then take in a game at Camden
> > Yards.
> >
> > Take a look. You can click on the link below or simply
> > go to Ebay and look for auction #300024745298
> >
> >
> http://cgi.ebay.com/ebaymotors/ws/eBayISAPI.dll?ViewItem&ru=3Dhttp%3A%2F%=
2Fsearc
> >
> h.ebay.com%3A80%2Fsearch%2Fsearch.dll%3Ffrom%3DR40%26satitle%3D3000247452=
98%26
> > fvi%3D1&item=3D300024745298
> >
> > Speaking of Brooks, he will be appearing this Saturday
> > at The Maryland Science Center in conjunction with the
> > Norman Rockwell Exhibit. He will only be signing
> > Rockwell prints purchased at the museum.
> >
> > Brooks' next web signing will take place on November
> > 18th. We will begin accepting mail-in items beginning
> > October 1st. Stay tuned to the website for more
> > details.
> >
> > Rick Hubata
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Tired of spam?  Yahoo! Mail has the best spam protection around
> > http://mail.yahoo.com
> >
>
> --
> David A. Kirschenbaum, editor and publisher
> Boog City
> 330 W.28th St., Suite 6H
> NY, NY 10001-4754
> For event and publication information:
> http://boogcityevents.blogspot.com/
> T: (212) 842-BOOG (2664)
> F: (212) 842-2429
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 20:38:51 -0400
> From:    Andrew Lundwall 
> Subject: mtd's new address
>
> thanks to the incredible generosity of c.e. laine our site has a new host
> and new address:
>
> http://mtd.celaine.com
>
> please update your bookmarks and any links...
>
> many thanks...
>
> --andrew
>
> _________________________________________________________________
> Get the new Windows Live Messenger!
>
> http://imagine-msn.com/messenger/launch80/default.aspx?locale=3Den-us&sou=
rce=3Dwlmailtagline
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 18:40:49 -0700
> From:    Ron Silliman 
> Subject: A threat to Radovan Pavlovski
>
> http://tinyurl.com/hcxcu
>
>
> Macedonia
>
> Poet Radovan Pavlovski tailed by communist secret police
>
> Skopje, 13.09.2006 12:57
>
> Academician Radovan Pavlovski, one of the greatest Macedonian
> contemporary poets, had been under surveillance of the communist
> secret police, as "enemy of the state", and he was placed in a
> category of those perpetrating "hostile propaganda".
>
> This information was published in Macedonian literature magazine
> Sintezi. In the latest issue, the Sintezi magazine quotes extracts
> from police file on poet Pavlovski for the period 1958-1966.
>
> According to paperwork, Pavlovski was tailed throughout the fruitful
> poem writing period, including the time when he was on military
> service in the Former Yugoslav Army (JNA).
>
> Pavlovski is one of the most famous Macedonian poets and prominent
> personality in Macedonian literature. He won a number of literature
> prizes and recognitions.
>
> His poetry was translated in some 30 languages. His poems are present
> in a number of anthologies of world poetry.
>
> In 2006, Pavlovski became a member of the Macedonian Academy of
> Sciences & Arts (MANU). /end/
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 20:46:20 -0500
> From:    Jesse Crockett 
> Subject: hosting offer
>
> You may ask, "why don't I start a poetry journal on the web, people love
> them!"  Then you look at pricing plans & decide to live within your
> means, tho it is yet a good idea...
>
> I, humble editor of listenlight.net, receive a statement each month from
> my hosting service the next-to-nil space & bandwidth usage.  I'm secure
> until mid June, at which time I will most likely renew the plan, but in
> the meantime, talk to me about your idea for a journal, or somewhat
> related, or radically different, web publication.  You register the
> domain through the existing plan, and I will set up full ftp and/or
> shell access to your domain, and plenty of space to work with, at no
> other charge until June, when I'll ask a modest gratuity, consider
> bartering for cool books & chaps, or boot you off.
>
> All best,
> Jesse Crockett
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 21:28:41 -0500
> From:    Jesse Crockett 
> Subject: epfarms.org
>
> I'm informed that http://epfarms.org will host your domain for a
> nominal, no-contract fee.  You could migrate your domain to there, but
> until then I can offer the same features, yet I am so terrible!
>
> "Let me guess, you're at 0.1%?"
>
> http://dreamhost.com
>
> ------------------------------
>
> Date:    Wed, 13 Sep 2006 19:54:23 -0700
> From:    UbuWeb 
> Subject: Street Poets & Visionaries: Selections from the UbuWeb Collectio=
n
>
> Street Poets & Visionaries: Selections from the UbuWeb Collection
> September 7 - October 14, 2006
>
> Oliver Kamm/5BE Gallery
> 621 West 27th Street
> New York, New York 10001
>
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> Public Events:
>
> --> Saturday, September 23, 2:00 p.m.
> Irwin Chusid, "Songs in the Key of Z"
> Lecture on Outsider Music
>
> Irwin Chusid will recount the strange life stories of outsider musicians,
> both prominent
> and obscure, including such figures as The Shaggs, Syd Barrett, Tiny Tim,
> Joe Meek,
> Jandek, Captain Beefheart, The Cherry Sisters, Wesley Willis, Daniel
> Johnston, the
> Legendary Stardust Cowboy, Wild Man Fischer, and Harry Partch. Featuring
> rarely seen
> videos and obscure recordings.
>
> --> Saturday, September 30, 2:00 p.m.
> "The Sounds of Madness: Poets and Performers Interpret Outsider Writings"
> Performers include Eileen Myles, Edwin Torres, Vijay Seshadri, Kenneth
> Goldsmith, and
> Shelley Hirsch
>
> --> Saturday, October 7, 2:00 p.m.
> "Outside In" Panel
> Panelists: Wayne Koestenbaum, Alissa Quart, David Grubbs
>
> A panel exploring the transmigration of outsider aesthetics and practices
> influencing and
> entering into the mainstream.
>
> All events are free and open to the public.
>
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>
> Oliver Kamm/5BE Gallery is pleased to announce STREET POETS & VISIONARIES=
:
> SELECTIONS
> FROM THE UBUWEB COLLECTION, an exhibition of posters and ephemeral
> writings from the
> streets of New York City.
>
> In the tradition of Jim Shaw's "Thrift Shop Paintings," this collection o=
f
> street
> posters, mad scribblings, political screeds, religious rants, and paranoi=
d
> raves expands
> our notion of the Outsider arts to include the written word.
>
> Formally striking, emotionally charged, and bizarre beyond belief, these
> graphical works
> dovetail with the historic traditions of concrete poetry and art brut.
> Seamlessly melding
> text and image, their obsessive quality evokes Adolf W=F6lfli and Henry
> Darger's visionary
> works.
>
> Featured in the exhibition will be the work of David Daniels, a 73
> year-old Bay Area
> artist, who has been creating insanely complex visual poems using only
> Microsoft Word.
> Works from two of his epic series, "The Gates of Paradise" and "Years"
> will be featured.
>
> Coinciding with the exhibition will be three public events. On Saturday,
> September 23rd
> at 2 p.m., author Irwin Chusid will deliver a lecture on Outsider Music
> called, "Songs in
> the Key of Z." On Saturday, September 30th, renowned poets and performers
> Eileen Myles,
> Edwin Torres, Vijay Seshadri, Kenneth Goldsmith and Shelley Hirsch will
> stage a reading
> of Outsider writings. On Saturday, October 7th, a panel, "Outside In" wil=
l
> explore the
> transmigration of Outsider aesthetics and practices influencing and
> entering into the
> mainstream. Panelists include Wayne Koestenbaum, Alissa Quart and David
> Grubbs. All
> events are free and open to the public.
>
> UbuWeb (ubu.com) is the Internet's largest resource dedicated to all
> strains of the
> avant-garde, ethnopoetics, and outsider arts, featuring thousands of MP3s=
,
> films, books,
> scholarly papers, and poems.
>
> Oliver Kamm/5BE Gallery is located at 621 West 27th Street, on the ground
> floor. Gallery
> hours are Tuesday through Saturday from 11-6.
>
> For further information or images, please contact the gallery at
> 212-255-0979 or visit
> our website at www.oliverkamm.com.
>
>
> UbuWeb
> http://ubu.com
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> End of POETICS Digest - 12 Sep 2006 to 13 Sep 2006 (#2006-257)
> **************************************************************
>
=========================================================================
Date:         Thu, 14 Sep 2006 17:13:17 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Poetry Project 
Subject:      The Poetry Project is So In Love With You
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

Hi Poets and Friends of Poets,

Not much new in the way of information this week. The fall calendar is now
updated on the soon-to-be totally revamped website. Please scroll down for
the workshop descriptions and the first week=B9s readings.
The latest newsletter is fresh from the press and en route to you now.

Love,

The Poetry Project



WRITING WORKSHOPS AT THE POETRY PROJECT
=20
EXPERIMENTAL WRITING WORKSHOP =AD LARRY FAGIN
TUESDAYS AT 7 PM: 10 SESSIONS BEGIN OCTOBER 10TH
=20
=B3Why do we see certain kinds of writing as "experimental?"  What makes this
writing different than conventional writing?  This workshop is open to
writers of poetry and prose, who are willing to examine traditional methods
and styles, and to question the assumptions that make up the concept of
"self-expression."  In what ways do a line, a stanza, a sentence, or a
paragraph perform strangeness or surprise?  What is the crucial difference
between earnestness and sincerity?  We will use two key ideas as tools of
inquiry.  One is sprezzatura, a 14th century Italian term that translates
loosely as "making something look effortless."  The other is
Fingerspitzengefuehl, variously translated as "sensitive touch" or
"intuition." Every writer has habitual strategies, which they tend to
repeat. How can one abandon, if only temporarily, these habits, and explore
other possibilities? What have you got to lose?  Authors referenced include
Whitman, Apollinaire, Cendrars, Stein, Khlebnikoff, Pessoa, Dos Passos, Jan=
e
Bowles, Pound, Williams, Moore, Riding, Olson, Creeley, Spicer, children=B9s
writing and found writing.=B2 Larry Fagin edits Adventures in Poetry books an=
d
Sal Mimeo magazine, teaches at The New School, and writes in the afternoon.
=20
=20
TRANSLATE THIS! =AD MARCELLA DURAND
THURSDAYS at 7 PM: 10 SESSIONS BEGIN OCTOBER 12TH
=20
=B3Translation is a highly charged and highly problematic way to apprehend th=
e
=B3foreign/other.=B2 We translate the emotional, physical and spoken worlds
about us, rendering them into our own realms of the (in)comprehensible.
We=B9ll discuss ethical, political, economic and practical issues of
translating various languages, both inter- and intranational. We=B9ll also
talk about translating natural and unnatural happenings, objects, patterns
and chaos. We=B9ll translate visual and aural experiences. Sometimes we=B9ll
leave things untranslated and utterly mysterious. Readings include Francis
Ponge, Nicole Brossard, Theresa Hak Kyung Cha, Tina Darragh, Paula Claire,
and others.=B2 Marcella Durand is the author of The Anatomy of Oil, Western
Capital Rhapsodies, City of Ports and Lapsus Linguae. She has translated
French writers, including Jean-Michel Espitallier and Mich=E8le M=E9tail, as
well as geological formations, corporate-speak, and construction sites into
pseudo-=B3American=B2 tongues.
=20
=20
SATIRE AS CULTURAL ENGAGEMENT =AD GARY SULLIVAN
FRIDAYS AT 7 PM: 10 SESSIONS BEGIN OCTOBER 13TH
=20
=B3Satire insists on a level of cultural engagement not always required by
other approaches to creative expression. We will read, listen to, and watch
satirical work from around the world and across millennia=8Bfrom ancient
Greece to contemporary Afghanistan and Zimbabwe, with many points in
between. Global examples will be our temporary touchstones as we hone our
own cultural engagement in our poetry. Participants don=B9t need to be funny,
just observant.=B2 Gary Sullivan is the author of How to Proceed in the Arts,
Swoon (with Nada Gordon), and two issues of the comic book series,
Elsewhere.
=20
APPLIED POETICS =AD KRISTIN PREVALLET
SATURDAYS AT 12PM: 10 SESSIONS BEGIN OCTOBER 14TH
=20
=B3Bringing together the curriculum programs of The Poetry Project and the
Bowery Poetry Club, this workshop in applied poetics will present a
meandering survey of contemporary praxis in both page and stage traditions:
the focus will be on poets who write about their own process and through
this act create the discourse called "poetics." Emphasis will be on reading
(most of it done in class); much of the discussion will take place through
shared writing. This reading/writing continuum will synthesize into your ow=
n
poetic statement and / or performance -- and hopefully will work to
clarifying your writing practice.=B2 Kristin Prevallet is the author of Shado=
w
Evidence Intelligence (Factory School, 2006). She is a co-founder of Study
Abroad on the Bowery: A Certificate Program in Applied Poetics at the Bower=
y
Poetry Club. She lives in Brooklyn.
*This workshop is in conjunction with the Study Abroad on the Bowery=B9s
Visiting Writers Series. For more specific information on this class, pleas=
e
email info@poetryproject.com.
=20
=20
The workshop fee is $350, which includes a one-year sustaining Poetry
Project membership ($125 =AD see back page for more info) and tuition for any
and all fall and spring classes. Reservations are required due to limited
class space, and payment must be received in advance. Caps on class sizes
are determined, if in effect, will be determined by workshop leaders. Pleas=
e
send payment and reservations to: The Poetry Project, St. Mark=B9s Church, 13=
1
E. 10th St., NY, NY 10003. For more information, or to pay by credit card,
please call (212)674-09010 or e-mail info@poetryproject.com.
=20
=20

MONDAY SEPTEMBER 25, 8PM
Patricia Spears Jones & Dara Wier
=20
Patricia Spears Jones=B9 new collection of poems, Femme du Monde, was
published this past spring by Tia Chucha Press. Jones has been involved in
the downtown poetry and theater scenes in NYC since the mid-1970s, working
in particular with The Poetry Project and Mabou Mines. Dara Wier=B9s tenth
collection, Remnants of Hannah, will be published in September by Wave
Books.  In 2005 Verse Press (now Wave Books) published her book length poem
Reverse Rapture. She directs the MFA program for poets and writers at the
University of Massachusetts in Amherst.
=20
=20
WEDNESDAY SEPTEMBER 27, 8PM
Victor Hern=E1ndez Cruz & Quincy Troupe
=20
Victor Hern=E1ndez Cruz was born in Puerto Rico and grew up in New York City
in the 50's and 60's where he started writing and was part of the Lower Eas=
t
Side=B9s fertile artistic community. He currently makes his home between his
native Puerto Rico and Morocco. His latest book of poems is The Mountain in
the Sea published by Coffee House Press. Quincy Troupe=B9s  eighth book of
poems, The Architecture of Language, will be published by Coffee House Pres=
s
this fall. In addition to chronicling his friendship with Miles Davis in
Miles and Me, Troupe has recently published children=B9s books on Magic
Johnson and Stevie Wonder.


Fall Calendar: http://www.poetryproject.com/calendar.html

The Poetry Project is located at St. Mark's Church-in-the-Bowery
131 East 10th Street at Second Avenue
New York City 10003
Trains: 6, F, N, R, and L.
info@poetryproject.com
www.poetryproject.com

Admission is $8, $7 for students/seniors and $5 for members (though now
those who take out a membership at $85 or higher will get in FREE to all
regular readings).

We are wheelchair accessible with assistance and advance
notice. For more info call 212-674-0910.

If you=B9d like to be unsubscribed from this mailing list, please drop a line
at info@poetryproject.com.
=========================================================================
Date:         Thu, 14 Sep 2006 14:53:26 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Ram Devineni 
Subject:      New Creative Writing Program in Brazil
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Dear Friends: I am excited to announce an innovative
and new creative writing program based in Brazil.

The CREATIVE WRITING PROGRAM at the ACADEMIA
INTERNACIONAL DE CINEMA is the first full time
comprehensive practical program in Brazil. It is
offered in three concentrations: poetry, fiction
(short story, novel, novela) and non-fiction
(biography, reportage, criticism). The students work
in small groups in workshops in their concentration,
creating their own texts with guidance week by week by
well known writers, developing their abilities and
their knowledge of form, style and critical analysis.
Both the workshops and the theory classes are focused
on contemporary writing -- subjects and writers
studied are references for the current Brazilian and
international literature. The themes of the seminaries
and lectures are relevant for writers today, such as
multimedia and multidisciplinary work, literary
market, vanguard and experimentalism, in addition to
more traditional studies of history of literature,
language, translation, methods of research, analysis
of important texts. Currently the one year program is
in Portuguese, but there will be intensive writing
workshops in English.

By the end of each semester, students will participate
on a reading open to the public. At the end of the
program, they will have completed a series of
exercises and finished a good number of pages of work.
As a final project, each student will present a
manuscript, which is than advanced draft of a literary
piece of his or her authorship.

Intensive Writing Workshop
Language: English
An intensive writing workshop taught in English is
scheduled to be offered at the AIC in July 2007. For
more information, please, contact info@aicinema.com.br

Board of Advisors
The AIC is honored to have American poets Yusef
Komunyakaa and Edward Hirsch on their Board of
Advisors. The AIC and Rattapallax magazine are
partners and develop programs to promote American and
Brazilian literature, films and culture.

Program Coordinator: Flávia Rocha is a Brazilian poet,
journalist and translator living in Brazil. In Sao
Paulo, she worked as a staff reporter for magazines
Casa Vogue, Carta Capital, República, Valor Econômico
and Bravo!, and was a contributor for other
publications, including MTV magazine, Vogue and Sabor.
She has an M.F.A program in Writing at Columbia
University and was the co-editor, with Edwin Torres,
of Cities of Chance: an Anthology of New Poetry from
the United States and Brazil. She co-founded Acedemia
Internacional de Cinema in Brazil. Her first
collection of poetry, The Blue House Around Noon was
released by Travessa dos Editores in 2004. She is also
an editor at Rattapallax.

http://www.aicinema.com.br/


Please send future emails to
devineni@rattapallax.com for press
=========================================================================
Date:         Thu, 14 Sep 2006 18:42:16 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Larissa Shmailo 
Subject:      ADDRESS CORRECTION for Sutra Lounge, Spirit of Howl!Fest Sat 9/16
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
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Dear all:

A recent mailing listed the address of Sutra Lounge, one location of  the
poetry and music festival Spirit of Howl! Fest, incorrectly.  The correct address
is:

Sutra Lounge
16 First Avenue at First Street
Sat 9/16
5-10 pm

Theresa Sareo will playing at Crash Mansion 7-10pm, 199 Bowery, as  listed.

Our apologies for the inconvenience and this second mailing.

With red faces,

Best,
Sliding Scale Poetry

=========================================================================
Date:         Thu, 14 Sep 2006 15:55:05 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Poetry in Manila Philippines
In-Reply-To:  
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed

Hi all,

Before i ask, I just wanted to thank everyone who responded to my UK Poetry info request a little while back. You folks are a wealth of information.

Anyhow, I'm going to be in Manila City for the next three weeks for work, and before I went, I wanted to see if anyone knew anything poetry or literature related worth checking out while I'm there.

Thanks in advance for your responses.
=========================================================================
Date:         Thu, 14 Sep 2006 20:20:19 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Murat Nemet-Nejat 
Subject:      Re: Poetry in Manila Philippines
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Ask Eileen Tabios or Nick Carbo or Paolo Javier.

Murat


In a message dated Sep/14/2006 5:55:05 PM Eastern Standard Time, Jason Quackenbush  writes:

>Hi all,
>
>Before i ask, I just wanted to thank everyone who responded to my UK Poetry info request a little while back. You folks are a wealth of information.
>
>Anyhow, I'm going to be in Manila City for the next three weeks for work, and before I went, I wanted to see if anyone knew anything poetry or literature related worth checking out while I'm there.
>
>Thanks in advance for your responses.
>
=========================================================================
Date:         Thu, 14 Sep 2006 17:54:07 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jim Andrews 
Subject:      Arteroids 3.0
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit

Arteroids 3.0
http://vispo.com/arteroids/arteroids311.htm

This is the battle of poetry against itself and the forces of dullness. A
literary shoot-em-up computer game.

Tired of the petty games of art and poetry? Try this petty game instead. Go
on a shooting spree. Paste text from your enemies into Word for Weirdos and
then shoot it up. The perfect game for psychotic poets, be they avant garde
or standard ivy league. Here is your monster poem.

There's a 'game mode' and a 'play mode'. In 'game mode', your scores are
based on speed and accuracy, and are saved to the Net. You try to max out
the meanometer by destroying sufficiently many texts. There are 216 levels
of play. In 'game mode', you progress through the 216 bardoroids (or can go
back and replay levels).

In 'play mode', scores aren't saved, you can skip among levels, change other
parameters, and work in Word for Weirdos.

I published version 1.0 of this piece in 2001. It still isn't finished.
Probably never will be. It may, however, one day be the world's first
addictive poem. The next feature I'll implement is the ability to
upload/download texts in Word for Weirdos. The main new feature in 3.0 is
that game mode scores are saved to the Net. I've also been working quite a
bit on the texts you read when you 'win' or 'die'. There are about 400 of
those, at this point. They muse on the relations of poetry, game, art, and
play.

ja
http://vispo.com
=========================================================================
Date:         Thu, 14 Sep 2006 20:54:50 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Cross 
Subject:      Atticus/Finch Presents: Myung Mi Kim's River Antes
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 8bit

[Please forward this message to all interested parties. Word of mouth
is, of course, how small presses survive!]

We at Atticus/Finch are going out of our damn minds daydreaming about
our newest book, and we simply couldn’t wait another minute to scream
about it at the top of our fragile, slightly crystallized lungs. We’re
a bit giddy about this one, and while it’s true we’re mostly giddy,
this time it’s justified. Friends, I’m honored to announce the release
of our eighth chapbook: Myung Mi Kim’s River Antes.

Since 2002’s Commons, Atticus/Finch has been hard at work trying to
secure the rights to Myung Mi Kim’s new project, and while this is not
entirely the case, it’s one hundred percent true that we’ve devoured
each and every magazine appearance we could find since then, praying
to whoever-it-is-these-days-who-publishes-fancy-trade-edition-books to
do the damn thing. In the meantime, we took matters in our own hands
and printed the most elegant book we had in us. And boy did we have it
in us…

River Antes begins where Commons left off: square in a highly charged
manifold where the constellated image of culture, language, and
signification stands as the analogue of the subject’s experience of
family, honor, and place. These poems challenge us to interface with
each event of language as the site of historical responsibility—the
instant in which what is said, what is claimed, resonates between what
was, what is to come, and what could have been.

There are only 150 copies of this book in the world, all made by my
two little hands to be held gently in yours. If you’d like a copy,
please order soon (as these books sell out FAST). If you are concerned
about getting a copy, please consider requesting a standing order for
future books.

And don’t forget to swing by our website, www.atticusfinch.org, to
read some sample poems and take a look at the cover (click on the
book’s title for all the details). We’re still working on getting Pay
Pal going on the web, so, until then, all books are mail-order only.

To obtain a copy, send $8 (well-concealed cash, check, or money order
(made payable to Michael Cross)) to:

Atticus/Finch Chapbooks
c/o Michael Cross
State University of New York at Buffalo
Samuel Clemens Hall #306
Buffalo NY 14260-4610

[$8, folks, is the price of a movie ticket! Get your money’s worth!]

And look for the following A/F volumes soon:

John Taggart, Unveiling/Marianne Moore (Winter 2006)
Rob Halpern and Taylor Brady, TBA (2007)
Patrick F. Durgin, Imitation Poems (2007)

[[One last word, if you’ve made it this far, about small press
publishing. I’ve received emails here and there wondering why these
books aren’t in bookstores, and why, finally, the print run is so
small. I don’t distribute these books because they sell out before I
can get them on the shelves. And they sell out because I can only,
realistically, print 150-200 by myself. I am absolutely committed to
getting these books into peoples lives, but I refuse to compromise the
quality of the product. I want to sew and fold and cut each book in a
manner that does justice to the labor of the poetry. And, in order to
make more, I’d have to make differently (i.e. mass produce, using
cheaper papers, etc.). My interest in chapbook publishing has always
been to bridge the gap between the poet and her readers. Instead of
waiting two to five to ten years to see a trade-edition in print, I’d
like to get the book quickly into the hands of folks who care, and I’d
like the book to transfer the labor of its production (as language, as
a thing, etc.) in order to do justice to the reader’s labor of
reception. I don’t plan on making these books any differently, but I
DO want to ensure that the folks that NEED get them. And in order to
do this, I need the support of the poetry community to help spread the
word to interested parties before my stock is bone dry. In the
meantime, I hope to make it easier to order off the webpage, and I
also hope to spend this year making free online e-books of all the
chapbooks that have sold out, as well as (and this may be pure
fantasy, but I’m going to do what I can) audio recordings of readings
from each manuscript. Finally (and I’m getting off topic here but I’m
on a roll!), I’m committed to investigating the chapbook as form,
versus chapbook as full-length teaser. This is why I am starting to
commission projects specifically for Atticus/Finch—works that
interrogate the mid-length poem, the short serial, the collaborative,
etc. Hope you’ll stay on board for the ride, and thanks for your
continued support!]]

PPS. You’re receiving these emails because we love you. If you’ve
decided we need a little space, I guess we’ll try to understand. Send
a note to unsubscribe and I promise we won’t sit in the dark in front
of your house in a black, unmarked sedan drawing pictures of what we
once were in lipstick.
=========================================================================
Date:         Thu, 14 Sep 2006 21:49:44 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Poetics List Admin 
Subject:      New Admin Email and Welcome Message
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

This is another reminder that the administrator email address for the
Poetics List has changed to Poetics.List@gmail.com. Please update your
records.

And for those new to the list, a welcome message including an overview
of list policies can be found at the following location:
http://epc.buffalo.edu/poetics/welcome.html

--
Poetics List Intern
=========================================================================
Date:         Thu, 14 Sep 2006 19:09:41 -0700
Reply-To:     ishaq1824@shaw.ca
Sender:       UB Poetics discussion group 
Comments:     RFC822 error:  Incorrect or incomplete address field found and
              ignored.
From:         Ishaq 
Organization: selah7
Subject:      Goodville  (for susan musgrave)
MIME-version: 1.0
Content-type: text/plain; charset=us-ascii; format=flowed
Content-transfer-encoding: 7bit

Belle, what he come for|| They don't come around unless it's there. If
it's not there then they don't come round

mon coeur

Whadchu fill the pen for|| He got goodie that hit your belly.

They ever come when you call. It's you got or 'specting

The belle dame tried behesting alphabets spells as he shot up and
wondered why you couldn't cover the lines of the pages with a dragging
heart. She looking out onto the lake watching nothing rise to the top.
Only thing that shines is the tin foil.

It's the sweetness coma of the letters in the words of the juju in
folded coded paper--personal taggs to where it all come from. They can
come go to and get yours. Did you touch his ink--put a rolling pin to
braille.

[crazy making]: You were out gunned from the start sweetheart.

Him like Van thrashing into partners whirling around the floor on an
opium waltz. Can he shout;

"Le demoiselle can't breath."

His arms, like all the other exquisite rhygins, those arms of theirs,
retaining dozing partners, their bodies growing limp in the middle of a
spin. Those arms around you, maintaining you, embossing your back. They
won't break the windows--they're in a daze.

Follow the black line to where they come, where you from, it what you
got coming and on the desk--liquid sweetness across the paper. It what
he come for. It was there.

If it's not there, belle

It was just there...

This is not the place

Don't discuss the possiblity of passion

Not in future tense.

[alleallealle]

Arrete

stop demanding why.

If it's not there,

Ils ne viendrant pas.

They won't come,

If it's not there, chere.








1427 Lawrence Y Braithwaite (aka Lord Patch)
New Palestine/Fernwood/The Hood
Victoria, BC


___
Stay Strong
\
-"I testified/My mama cried/Black people died/When the other man lied"
-- chuck d
\
  "Be a friend to the oppressed and an enemy to the oppressor"
--Imam Ali Ibn Abu Talib (as)
\
"They want to see us breathless. We will not be. They want to see us
tired. We refuse to be. They want to see what our strength is. We will
not show it in advance. We will continuously surprise them." -- Julia
Wright

  "We restate our commitment to the peace process. But we will not
submit to a process of humiliation."
--patrick o'neil
\
"...we have the responsibility to make no deal with the oppressor"
--harry belafonte
\
"...these people generate wars in Asia and Africa,...These are the
people who, in the last century, caused several devastating wars. In one
world war alone, they killed over 60 million people.... In the near
future, Allah willing, we will put you to trial in courts established by
the peoples...."-- mahmoud ahmadinejad
\
http://www.sidebrow.net/2006/a047braithwaite.php
\
http://cleveland.indymedia.org/uploads/2006/07
olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
\
http://radio.indymedia.org/news/2005/10/7255.php
\
http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3
\
http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date
\
http://vancouver.indymedia.org/?q=en/node/1269\
\
http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3
\
http://vancouver.indymedia.org/?q=en/taxonomy/term/111
\
http://www.lowliferecords.co.uk/
=========================================================================
Date:         Thu, 14 Sep 2006 22:49:20 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      do not go to the readings of any authors
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

Go not [of your own accord] to the readings of any authors, nor appear
[at them] readily.

But, if you do appear, keep your gravity and sedateness, and at the same
time avoid being morose.

-- fr. _The Enchiridion_, by Epictetus


__________________________________
http://gabrielgudding.blogspot.com
----------------------------------
Gabriel Gudding
Department of English
Illinois State University
Normal, Illinois  61790
309.438.5284 (office)
=========================================================================
Date:         Thu, 14 Sep 2006 22:02:48 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      FW: Kate Greenstreet
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

At Ahsahta, we'll send a copy of our Sawtooth Prize
book to any entrant who sends us an envelope with postage.


We've given
individuals a chance to subscribe to our seasonal offerings at an
incredible savings (basically the wholesale price).

.. .. .. .. .. .. .. .. .. ..
New from Ahsahta Press:
SUBSCRIPTIONS! Get six new books at discount as they're published--free
shipping!
http://ahsahtapress.boisestate.edu/subscription.htm
=========================================================================
Date:         Thu, 14 Sep 2006 09:02:11 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: POETICS Digest - 12 Sep 2006 to 13 Sep 2006 (#2006-257)
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

deadline?
=========================================================================
Date:         Thu, 14 Sep 2006 09:32:52 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: Street Poets & Visionaries: Selections from the UbuWeb
              Collection
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

street poets  and i'm not  there ?
=========================================================================
Date:         Thu, 14 Sep 2006 23:06:55 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         charles alexander 
Subject:      new on chaxblog
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

New on
chaxblog
since the last announcement, which was one week ago

    * MORE & MORE & MORE (plus est plus): new links added, take a look!
    * EVELYN REILLY & MARTHA OATIS: 2 books from Portable Press at Yo-Yo
Labs (& kudos to Brenda Iijima)
    * Very Brief Notes: HD & Stein (just a few questions, noticings,
perceptions, etc.)
    * From Elizabeth Treadwell: A poem, "Tramp," in response to the earlier
post on her great book, Cornstarch Figurine
http://chax.org/blog.htm

(Thanks to people who sent various tips about formatting poetry on blogger!
I won't always post announcements of what's new on the blog -- just doing
that as it's getting started, and it's now been not quite 3 weeks of
blogging -- looks like the blog will have its 1,000th visitor by the time I
post this announcement. Thank you all for reading.)



charles alexander / chax press

fold the book inside the book           keep it open always
         read from the inside out                speak then
=========================================================================
Date:         Fri, 15 Sep 2006 09:26:28 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         susan maurer 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  <450A22C0.8080306@ilstu.edu>
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

love it susan maurer


>From: Gabriel Gudding 
>Reply-To: UB Poetics discussion group 
>To: POETICS@LISTSERV.BUFFALO.EDU
>Subject: do not go to the readings of any authors
>Date: Thu, 14 Sep 2006 22:49:20 -0500
>
>Go not [of your own accord] to the readings of any authors, nor appear [at
>them] readily.
>
>But, if you do appear, keep your gravity and sedateness, and at the same
>time avoid being morose.
>
>-- fr. _The Enchiridion_, by Epictetus
>
>
>__________________________________
>http://gabrielgudding.blogspot.com
>----------------------------------
>Gabriel Gudding
>Department of English
>Illinois State University
>Normal, Illinois  61790
>309.438.5284 (office)

_________________________________________________________________
Windows Live Spaces is here! It’s easy to create your own personal Web site.
  http://spaces.live.com/signup.aspx
=========================================================================
Date:         Fri, 15 Sep 2006 09:37:27 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         susan maurer 
Subject:      Re: New Creative Writing Program in Brazil
In-Reply-To:  <20060914215326.82811.qmail@web30211.mail.mud.yahoo.com>
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

hi you may already have heard from torres about photog anna sianos reading
exhibition and reception as part of the hoboken walking studio tour at 307
willow form 12-6 reading from 2-4. check out her website to see pics of
nudie poets edwin included. susan maurer


>From: Ram Devineni 
>Reply-To: UB Poetics discussion group 
>To: POETICS@LISTSERV.BUFFALO.EDU
>Subject: New Creative Writing Program in Brazil
>Date: Thu, 14 Sep 2006 14:53:26 -0700
>
>Dear Friends: I am excited to announce an innovative
>and new creative writing program based in Brazil.
>
>The CREATIVE WRITING PROGRAM at the ACADEMIA
>INTERNACIONAL DE CINEMA is the first full time
>comprehensive practical program in Brazil. It is
>offered in three concentrations: poetry, fiction
>(short story, novel, novela) and non-fiction
>(biography, reportage, criticism). The students work
>in small groups in workshops in their concentration,
>creating their own texts with guidance week by week by
>well known writers, developing their abilities and
>their knowledge of form, style and critical analysis.
>Both the workshops and the theory classes are focused
>on contemporary writing -- subjects and writers
>studied are references for the current Brazilian and
>international literature. The themes of the seminaries
>and lectures are relevant for writers today, such as
>multimedia and multidisciplinary work, literary
>market, vanguard and experimentalism, in addition to
>more traditional studies of history of literature,
>language, translation, methods of research, analysis
>of important texts. Currently the one year program is
>in Portuguese, but there will be intensive writing
>workshops in English.
>
>By the end of each semester, students will participate
>on a reading open to the public. At the end of the
>program, they will have completed a series of
>exercises and finished a good number of pages of work.
>As a final project, each student will present a
>manuscript, which is than advanced draft of a literary
>piece of his or her authorship.
>
>Intensive Writing Workshop
>Language: English
>An intensive writing workshop taught in English is
>scheduled to be offered at the AIC in July 2007. For
>more information, please, contact info@aicinema.com.br
>
>Board of Advisors
>The AIC is honored to have American poets Yusef
>Komunyakaa and Edward Hirsch on their Board of
>Advisors. The AIC and Rattapallax magazine are
>partners and develop programs to promote American and
>Brazilian literature, films and culture.
>
>Program Coordinator: Flávia Rocha is a Brazilian poet,
>journalist and translator living in Brazil. In Sao
>Paulo, she worked as a staff reporter for magazines
>Casa Vogue, Carta Capital, República, Valor Econômico
>and Bravo!, and was a contributor for other
>publications, including MTV magazine, Vogue and Sabor.
>She has an M.F.A program in Writing at Columbia
>University and was the co-editor, with Edwin Torres,
>of Cities of Chance: an Anthology of New Poetry from
>the United States and Brazil. She co-founded Acedemia
>Internacional de Cinema in Brazil. Her first
>collection of poetry, The Blue House Around Noon was
>released by Travessa dos Editores in 2004. She is also
>an editor at Rattapallax.
>
>http://www.aicinema.com.br/
>
>
>Please send future emails to
>devineni@rattapallax.com for press

_________________________________________________________________
Get real-time traffic reports with Windows Live Local Search
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=========================================================================
Date:         Fri, 15 Sep 2006 07:33:16 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Thomas savage 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  <450A22C0.8080306@ilstu.edu>
MIME-Version: 1.0
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So there were readings by authors one wanted to avoid in the days of Epictetus?  It seems like very little changes over time.  Of course, there are some one doesn't want to avoid, always including one's own, once in a while.As for the advice of how to appear at such events, I'm not sure that "sedateness" shouldn't read "sedation".  It might sometimes help, however, to be responsive rather than numb.

Gabriel Gudding  wrote:  Go not [of your own accord] to the readings of any authors, nor appear
[at them] readily.

But, if you do appear, keep your gravity and sedateness, and at the same
time avoid being morose.

-- fr. _The Enchiridion_, by Epictetus


__________________________________
http://gabrielgudding.blogspot.com
----------------------------------
Gabriel Gudding
Department of English
Illinois State University
Normal, Illinois 61790
309.438.5284 (office)


 		
---------------------------------
Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls.  Great rates starting at 1¢/min.
=========================================================================
Date:         Fri, 15 Sep 2006 07:40:38 -0700
Reply-To:     r_loden@sbcglobal.net
Sender:       UB Poetics discussion group 
From:         Rachel Loden 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  <450A22C0.8080306@ilstu.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
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One of the delights known to age, and beyond the grasp of youth, is that of
Not Going.

--J.B. Priestley

> Subject: do not go to the readings of any authors
>
> Go not [of your own accord] to the readings of any authors,
> nor appear
> [at them] readily.
>
> But, if you do appear, keep your gravity and sedateness, and
> at the same
> time avoid being morose.
>
> -- fr. _The Enchiridion_, by Epictetus
>
>
> __________________________________
> http://gabrielgudding.blogspot.com
> ----------------------------------
> Gabriel Gudding
> Department of English
> Illinois State University
> Normal, Illinois  61790
> 309.438.5284 (office)
>
=========================================================================
Date:         Fri, 15 Sep 2006 09:33:44 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re: do not go to the readings of any authors
Comments: To: r_loden@sbcglobal.net
In-Reply-To:  <003301c6d8d4$e9ded8c0$230110ac@GLASSCASTLE>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

I don't know if this is fair, Rachel. Unless you are talking about
novelists!
I love to go to readings, love to give them. I am blessed to live in the Bay
Area where I have heard terrific stuff by young, older and visiting poets -
In venues that have ranged from living rooms to 300 seaters.

My ears like the treat (on the other hand, I have a hell of a resistance to
listening to poets on tape). Me likes it live and upfront! (I can usually
afford the expense of a reading - it has to be a good book before I fork up
the money - otherwise I wd be real broke).

Of course, like anyone else - I suspect - there are some poets I
instinctively won't go to hear. And I suspect there are those that have
similar responses to yours truly.  Without contraries, no grist for the mill
or the poet.


Stephen V
http://stephenvincent.net/blog/




> One of the delights known to age, and beyond the grasp of youth, is that of
> Not Going.
>
> --J.B. Priestley
>
>> Subject: do not go to the readings of any authors
>>
>> Go not [of your own accord] to the readings of any authors,
>> nor appear
>> [at them] readily.
>>
>> But, if you do appear, keep your gravity and sedateness, and
>> at the same
>> time avoid being morose.
>>
>> -- fr. _The Enchiridion_, by Epictetus
>>
>>
>> __________________________________
>> http://gabrielgudding.blogspot.com
>> ----------------------------------
>> Gabriel Gudding
>> Department of English
>> Illinois State University
>> Normal, Illinois  61790
>> 309.438.5284 (office)
>>
=========================================================================
Date:         Fri, 15 Sep 2006 13:52:33 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Halvard Johnson 
Subject:      Re: do not go to the readings of any authors
Mime-Version: 1.0 (Apple Message framework v752.2)
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Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

Do not go gentle into that good night-time reading.

		--Dylan Thomas

Hal

"The highest responsibility of the artist
  is to hide beauty."
		--R. H. Blythe

Halvard Johnson
================
halvard@gmail.com
halvard@earthlink.net
http://home.earthlink.net/~halvard
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org

On Sep 15, 2006, at 10:40 AM, Rachel Loden wrote:


> One of the delights known to age, and beyond the grasp of youth, is
> that of
> Not Going.
>
> --J.B. Priestley
>
=========================================================================
Date:         Fri, 15 Sep 2006 14:09:05 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Kimmelman, Burt" 
Subject:      NYC Reading, Book Launch, Marsh Hawk Press
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
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Two Marsh Hawk Press Events
Celebrating our 3 fall books:=20

Balancing Acts by Rochelle Ratner=20
Breaking the Fever by Mary Mackey=20
Today's Menu by Corinne Robins


Tuesday, September 26, 2006, 7:00 p.m.=20
reading by Rochelle Ratner, Mary Mackey=20
& Corinne Robins=20
McNally Robinson Booksellers
52 Prince St., NYC

-----------------------------------------------


Marsh Hawk Press Book Launch=20
Thursday, September 28, 2006, 7-9 PM=20
Poet's House, 72 Spring St., New York, NY
wine, cheese, friends, free
(event as per a rental agreement with Poets House)=20

--=20
Marsh Hawk Press
www.marshhawkpress.org  =20
=========================================================================
Date:         Fri, 15 Sep 2006 13:34:25 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jerome Rothenberg 
Subject:      Two NYC events
MIME-Version: 1.0
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For those of you in or around New York City, I hope that the following =
two announcements will be of interest.

Friday, September 29, 6:15 pm: a screening of  "el corno emplumado/the =
plumed horn - a story from the sixties," followed by a panel with =
Cecilia Vicu=F1a, Sergio Mondrag=F3n, Jerome Rothenberg, and Anne Mette =
W. Nielsen, at the Auditorio del King Juan Carlos I of Spain Center, New =
York University, 53 Washington Square South.=20
=20

Sunday, October 8, 2:00 p.m., a reading and book launch for Jerome =
Rothenberg's "China Notes & The Treasures of Dunhuang" (Ahadada Books), =
Bowery Poetry Club, 308 Bowery at Bleecker.



Both events of course are free & open.



Jerome Rothenberg          "Language is Delphi."
1026 San Abella                        --Novalis
Encinitas, CA 92024
(760) 436-9923
jrothenberg@cox.net
http://writing.upenn.edu/epc/authors/rothenberg/
new ethnopoetics web site: http://ubu.com/ethno/
j.r. in spanish: http://writing.upenn.edu/epc/authors/rothenberg/esp/
=========================================================================
Date:         Sat, 16 Sep 2006 15:51:20 +1000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Alison Croggon 
Subject:      Honour Bound
Comments: To: UKPOETRY@listserv.muohio.edu
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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(Apologies for cross-posting)

Last night I saw some stunning political theatre. Full review up on
Theatre Notes -

Honour Bound, conceived, directed and co-designed by Nigel Jamieson.
Malthouse Theatre until October 1.

The correct question regarding the horrors committed in the camps...
is not the question that asks hypocritically how it could have been
possible to commit such atrocious horrors against other human beings;
it would be more honest, and above all more useful, to investigate
carefully how - that is, thanks to what juridical procedures and
political devices - human beings could have been so completely
deprived of their rights and prerogatives to the point that committing
any act toward them would no longer appear as a crime.
What is a Camp?, Giorgio Agamben

Honour Bound, Nigel Jamieson's beautiful and harrowing physical
theatre work about the Australian Guantanamo detainee David Hicks,
begins with a recording of a reading of the 1948 Universal Declaration
of Human Rights. It is almost an exercise in nostalgia to hear this
statement of ideals read with such solemnity and dignity:

"Whereas recognition of the inherent dignity and of the equal and
inalienable rights of all members of the human family is the
foundation of freedom, justice and peace in the world; Whereas
disregard and contempt for human rights have resulted in barbarous
acts which have outraged the conscience of mankind, and the advent of
a world in which human beings shall enjoy freedom of speech and belief
and freedom from fear and want has been proclaimed as the highest
aspiration of the common people..."

The Universal Declaration of Human Rights is where legislative
language, in its passion for clarity and unambiguous precision,
attains an intensity of meaning akin to poetry. In 2006, it is hard to
remember the force of the horrified revulsion which in 1948 deemed
that such barbarities as Auschwitz must never happen again. Now such
ideas are considered the province of left wing extremists and
troublemakers. How we have moved on.

With his collaborators, Nigel Jamieson investigates the ways in which
these UN ideals have been dismantled and destroyed through the story
of David Hicks, who was captured fighting with the Taliban in
Afghanistan in 2001. Like many others, Hicks has been imprisoned since
by the US Government in Camp Delta at Guantanamo Bay in Cuba as an
"enemy combatant", a category invented to sidestep the Geneva
Convention's laws on the treatment of prisoners of war, and has
endured treatment which most civilised people would call torture.

In five years of captivity, he has been held without charge and
without a chance of having any allegations against him tested in a
court of law, and he has been allowed only one visit from his family,
during which he was shackled to the floor. One of the shameful
scandals of the Howard Government is how, unlike Britain - which
brought its nationals held in Camp Delta home out of concern that they
would be denied the due process of law - it has abandoned Hicks to his
fate. So much for the rule of law.

But equally, and equally importantly, Honour Bound is a revelation of
human pain: on the one hand, a father's grief at being unable to help
his troubled son, and on the other, the physical pain inflicted on
bodies by the State. Honour Bound demonstrates, in its darkest
manifestations, the power of language to change and remake reality. It
is exemplary political theatre-making of a rare intelligence and
power: neither didactic nor exploitative, appealing neither to
sentiment nor special pleading, it reveals its argument with a
devastating visceral impact which left the first night audience
stunned into silence.

More at http://theatrenotes.blogspot.com

All the best

Alison

--
Editor, Masthead:  http://www.masthead.net.au
Blog: http://theatrenotes.blogspot.com
Home page: http://www.alisoncroggon.com
=========================================================================
Date:         Sat, 16 Sep 2006 01:29:56 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      m1  MiX'D TRiX Sept 30th  reading
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

MiX’D TriX

Writers who Do Art
Artists who Write

At Tompkins Square Library Gallery
        e. 10th street beteen A  &  B    downstairs

Please join us for a Commingling of the Disciplines

READING -  2:30 -4:30 p.m. SEPT. 30, 2006

Curated by Jeffrey Cyphers Wright and Valery Oisteanu

With works by

Luigi Cazzaniga
Peggy Cyphers
Steve Dalachinsky
Rob Edelman
David Hatchett
Lilly Hatchett
Amy Hill
Patrick Goldsmith
Charles Mingus, III
Valery Oisteanu
Lori Ortiz
Yuko Otomo
Jim Power
Michael Savage
Barbara Slitkin
Ilka Scobie
Carol Ross
Bruce Weber
Jeffrey Cyphers Wright



__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Sat, 16 Sep 2006 10:30:26 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         L Trent 
Subject:      2nd Issue of 21 Stars Review
Comments: To: new-poetry@wiz.cath.vt.edu
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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The second issue of *21 Stars Review* (http://sundress/net/21stars) is live!




Featuring work by Glenn Bach, Dennis Barone, Jack Conway, Skip Fox, Jason
Fraley, Jeff Harrison, Nicolas Mansito III, Harmony Neal, T.A. Noonan, Becky
Peterson, Phil Primeau, Caleb Puckett, Bruce Holland Rogers, Natalie
Shapero, and Bill West.
=========================================================================
Date:         Sat, 16 Sep 2006 18:51:56 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "David A. Kirschenbaum" 
Subject:      Boog City 36 Available
Mime-version: 1.0
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

Please forward
---------------

Boog City 36

Available

featuring:

***Our Music section, edited by Jon Berger***

=B3I remember =8CYour Mom=B9s Car=B9 and just being like you know, =8Cthat=B9s a
classic,=B9=B2 says Sidewalk Caf=E9=B9s Monday night open mic host Lach. =B3[Erin]
inhabits her songs when she performs. When she gets to the sad part, you
feel this sadness emanating from her. She knows the right word for the righ=
t
time to send shivers down your spine.=B2 --from Resilient Regan Resonates:
Southern Baptist Makes Good Music in East Village by Nicole Chin


=B3Larissa Shmailo is a performer who has played the Knitting Factory and
various radio stations. She clearly knows how to read, enlivening her
rhythmic work with strong presentation and excellent delivery. Many of the
poems could easily be transformed into songs.=B2 --from Larissa Shmailo=B9s CD
is Reviewed by Jonathan Berger


***Our Printed Matter section, edited by Mark Lamoureux***

=B3[Gary] Sullivan=B9s view is up-close and truncated, abstracting signs and
graffiti to language and context-less collages=8BCyrillic, Roman, and Arabic
fonts merging to form a sensuous and scintillating m=E9lange.=B2 --from A Walk
Down Amnesia Lane, Elsewhere #2 reviewed by Lamoureux


=B3Reading poet and painter Kate Greenstreet=B9s chapbook, Learning the
Language, I had the sensation of being privy to a particular =B3over-mind,=B2
where many slippery and illuminating thoughts dart by to be studied, or
merely observed.=B2 --from Mind Over Over-Mind, Learning the Language reviewe=
d
by Jennifer Firestone


***Our Politics section, edited by Christina Strong***

=B3My first street festival, not including those church bazaars and the white
elephant Rice Krispies with marshmallow affairs usually held in parking
lots, was the Italian festival in the south end of Hartford, Conn. One went
whether they were Italian or not and there was nothing arty or political
about it.=B2 --from No Fried Dough or Sausages, Please by Strong


--Gloucester, Mass.'s James Cook with the poem Third Base

A couple of mammals with furs & helmets
outwith my slack internment
all remembered this I lost


***Our Features section, edited by Stephen Dignan***

=B3A woman in a pea-green overcoat buys a beef roast. =8CIt might cost a little
more,=B9 she says, =8Cbut this boy sells the sweetest, juiciest pot roast I eve=
r
ate in my life. Tell your Daddy =B3hello=B2 for me, son.=B9=B2 --Old and Young Sell
Their Wares: Visiting the Union Square Farmers=B9 Market by Dignan


***Art editor Brenda Iijima brings us work from The Bronx's Johnathan
Neal***


***Our Poetry section, edited by Laura Elrick and Rodrigo Toscano***

--The Upper East Side=B9s Jeremy Gardner with Tercet of Tercets (or, Traiku)

We do not claim to
{Somebody tell me}
[You have done enough]


--Melrose, The Bronx=B9s Urayo=E1n Noel with There=B9s Nothing on TV Anymore
(Jan =B906)

There=B9s nothing on TV anymore.
The self-help sound bytes and the bloopers of war.
The call-in shows where middle Americans
Call middle Americans to listen to them snore
In the middling conversation of =B3Which Olsen twin are you for?!=B2


--Olympia, Wash.=B9s Zhang Er with Check-Up

How long do I have to wait here?
Write a poem
lighten these heavy prognostications.

The bee needle stabs a vein
=B3buzz=B2 lights up the heart
(radiation isn=B9t related to emotion, generally speaking.)
Seductive green snake curves across the monitor.


*And photos from Raymond Doherty, Mark Lamoureux, and Christina Strong.*


-----

And thanks to our copy editor, Joe Bates.

-----

Please patronize our advertisers:

Olive Juice Music * http://www.olivejuicemusic.com
Poets for Peace * http://www.poetsagainstthewar.org
Litmus Press * http://www.litmuspress.org
Palm Press * http://www.palmpress.org
Pink Pony West Poetry Reading Series *
http://www.poetz.com/pony/pinkpony.htm
Bowery Poetry Club * http://www.bowerypoetry.com
Study Abroad on the Bowery * http://www.boweryartsandscience.org

-----

Advertising or donation inquiries can be directed to
editor@boogcity.com or by calling 212-842-BOOG (2664)

-----

And a big thank you to the two donors who helped this issue see the light.

-----

2,000 copies of Boog City are distributed among, and available for free at,
the following locations:

EAST VILLAGE

Acme Underground  =20
Alt.coffee        =20
Angelika Film Center and Caf=E9
Anthology Film Archives
Bluestockings     =20
Bowery Poetry Club=20
Caf=E9 Pick Me Up   =20
CB's 313 Gallery  =20
CBGB's=20
Lakeside Lounge   =20
Life Caf=E9         =20
Mission Caf=E9      =20
Nuyorican Poets Caf=E9
Pianos            =20
The Pink Pony     =20
St. Mark's Books  =20
St. Mark's Church =20
Shakespeare & Co. =20
Sidewalk Caf=E9     =20
Sunshine Theater  =20
Tonic             =20
Trash and Vaudeville
=20
OTHER PARTS OF MANHATTAN

Hotel Chelsea
Poets House

WILLIAMSBURG

Bliss Caf=E9
Earwax           =20
Galapagos         =20
Northsix          =20
Sideshow Gallery =20
Soundfix/Fix Cafe=20
Supercore Caf=E9

GREENPOINT*

Greenpoint Coffee House
Lulu's=20
Photoplay
Thai Cafe       =20
The Pencil Factory

*available early next week

--
David A. Kirschenbaum, editor and publisher
Boog City
330 W.28th St., Suite 6H
NY, NY 10001-4754
For event and publication information:
http://boogcityevents.blogspot.com/
T: (212) 842-BOOG (2664)
F: (212) 842-2429
=========================================================================
Date:         Sat, 16 Sep 2006 20:10:26 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Slaughter, William" 
Subject:      Notice: Mudlark
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii; format=flowed
Content-Transfer-Encoding: 7bit

New and On View: Mudlark Flash No. 38 (2006)

Dialectical Poems by Jacques Debrot

Karl Marx vs. Lewis Carroll
Andre Breton vs. Heraklitos
Young vs. Old Marcel Proust

Jacques Debrot is the author of the poetry collection Confuzion Comics.
His writing has appeared in Exquisite Corpse, The Washington Review,
Rhizome, The Hat, and other literary journals. He has a Ph.D. from Harvard
University, and is chair of the English Department at Lincoln Memorial
University in Tennessee.

Spread the word. Far and wide,

William Slaughter

MUDLARK
An Electronic Journal of Poetry & Poetics
Never in and never out of print...
E-mail: mudlark@unf.edu
URL: http://www.unf.edu/mudlark
=========================================================================
Date:         Sun, 17 Sep 2006 09:29:52 +0900
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Glass 
Subject:      Greek Passages by Peter Riley Available from Ahadada Books
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

As a free e-chapbook.  www.ahadadabooks.com  Click "titles" on the tool
bar and you'll find it.   Jess
=========================================================================
Date:         Sat, 16 Sep 2006 18:13:53 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      LA: X-tra magazine launch party invite!
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

This is pretty short notice - but I wanted to invite
you to the launch party for the new volume of X-tra
magazine!!!!=20
(as you may or may not know, I am an editorial board
member and contributing writer at X-tra)

We're celebrating tomorrow night, Saturday Sept. 16th
at Mandrake from 5 - 7pm (see below for details).

So, this is also my plea for you to subscribe, if you
don't already!!! X-tra is a great publication that is
non-profit, artist run, and reliant upon its
subscription base for many of the operating grants
that it receives. Your vote counts!!! X-tra is a
quarterly magazine dedicated to contemporary art, and
a year subscription is only $20!! We only ever have 4
pages of ads - so we don't fund the magazine that way.
We need YOU!=20

Please come and celebrate another volume, and consider
subscribing - or renewing your susciption!!

Hope to see you!

Sincerely,

Micol


X-TRA announces the publication of Volume 9, Number 1

Please join us for our Volume 9 Launch Party
September 16
5-7 pm
Mandrake
2692 S La Cienega Blvd., Los Angeles, CA 90034
(between venice and washington)

About X-TRA 9.1

FEATURES: Mark Allen, Founder of Machine Projects in
Los Angeles,
discusses art, technology and the socialibility of
interactive
exhibitions with X-TRA editor Ken D. Allan. Michel
Oren observes Lee
Mullican=92s conception of the finished work as a record
of the process
of painting as spiritual quest. Ellen Birrell writes
an appreciation
for her graduate school mentor Robert Heinecken.=20

ARTIST=92S PROJECT: In The Benefits of Things Flawed and
The Repulsive
Attractiveness of Frienemies, Angie Waller=92s diagrams
explore how flaws
and imperfections can increase desirability.

REVIEWS: Elusive residents lurk in the water of a
hi-tech/
eco-friendly installation at Materials & Applications
in Silverlake.
For Chris Bedford, Manfred Pernice=92s opaque exscape
installation at
Regen Projects requires laborious engagement of
viewers to reveal its
conceptual premise. Allan deSouza finds that despite
their restraint,
Jeanne Dunning=92s corporal photographs at the Berkeley
Museum aim to get
under your skin. MoMA=92s installation obscures the raw
vitality of
Edvard Munch=92s painting. Kyungmi Shin observes that a
surprise
intrusion takes a Nam June Paik memorial performance
closer to the
provocative spirit of Paik=92s work.=20

COLUMN: Hurricane Carla, Mapplethorpe=92 s bull whip,
and a cow ramming
inspire three photographers in the latest installment
of Micol Hebron=92s
1 Image 1 Minute, a contemporary recreation of an
eponymous project by
French director Agn=E8s Varda.

X-TRA is a contemporary art quarterly published by
Project X Foundation
for Art and Criticism, a not-for-profit 501(c)(3)
organization. X-TRA
and the Project X Foundation are supported by grants
from the
California Community Foundation, the Los Angeles
County Arts
Commission, the City of Los Angeles Department of
Cultural Affairs, the
Pasadena Art Alliance, the Peter Norton Family
Foundation, private
donations, and our loyal subscribers and advertisers.=20

X-TRA Editorial Board: Ken D. Allan, Stephen Berens,
Ellen Birrell,
Karen Dunbar, Micol Hebron, Shana Lutker, Kristina
Newhouse, Elizabeth
Pulsinelli, Jan Tumlir, Christine Wetheim, Damom
Willick. Board of
Directors, Project X Foundation for Art and Criticism:
Jeff Beall,
Stephen Berens, Ellen Birrell, Mike Kelley, Cay Sophie
Rabinowitz,
Mitchell Syrop.=20

For information about X-TRA distribution, please
contact Jeff Beall at
projectx@x-traonlin e.org.
Subscription information can be found at http://www.x-
traonline. org.
Please contact ads@x-traonline. org for ad rates and
specifications.

For other information about X-TRA, please contact
editors@x-traonline .org.=20
X-TRA PO Box 41437, Los Angeles, CA 90041 323.982.0279
http://www.x- traonline. org
=========================================================================
Date:         Sat, 16 Sep 2006 18:20:34 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Taylor Brady 
Subject:      Laura Moriarty / Taylor Brady -- book launch in San Francisco,
              10/1/06
Mime-Version: 1.0 (Apple Message framework v624)
Content-Type: text/plain; charset=US-ASCII; format=flowed
Content-Transfer-Encoding: 7bit

If you'll be in or around San Francisco on Sunday, October 1st, please
join us as we celebrate the release of two new Atelos books:

ULTRAVIOLETA, by Laura Moriarty

and

OCCUPATIONAL TREATMENT, by Taylor Brady

The launch party and readings will be graciously hosted by Standard
Schaefer, at 110 Elsie St., San Francisco. (If online maps leave you
confused, backchannel me for directions). Festivities begin at 7pm.
Parking tends to be pretty limited in this neighborhood, so if you're
up to a bit of a walk uphill from the Mission bus, it's recommended.
=========================================================================
Date:         Sat, 16 Sep 2006 20:03:59 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Christine Hamm 
Subject:      Reading at 440 Gallery in NYC
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Reading next Sunday at the 440

    WHEN: Sunday, September 24th from 4:30-6:00 pm

    WHERE: 440 Gallery, 440 Sixth Avenue (at Ninth Street ; take the F to 7th Ave. )

    CONTACT: Brooke Shaffner at brshaffner@hotmail.com

    Admission Free

    WHO:

    CHRISTINE HAMM

    Christine Hamm is a PhD candidate in English Literature at Drew University, where she
was awarded a Caspersen Scholarship for Academic Promise. Her poetry has been published
in The Adirondack Review, Pebble Lake Review, Horseless Press, Lodestar Quarterly, Blue
Fifth Review, Poetry Midwest , MiPoesias, Rattle, Snow Monkey and Exquisite Corpse, among
others. In 2004, she was nominated for a Pushcart Prize. Her work has been anthologized
in Homewrecker: An Adultery Reader and The Murdering of Our Years: Artists and Activists
on Making Ends Meet, both by Soft Skull Press. Her full-length book of poems, The
Transparent Dinner, is due out from Mayapple Press in September '06. Christine is on the
editorial board of several literary journals, including Vernacular. She teaches English
at Rutgers University and poetry writing at Women's Studio Center in Queens, NY. She has
two chapbooks, The Animal Husband, published by Dancing Girl Press, and The Salt Daughter
by Little Poem Press.


    ERICA FABRI

    Erica Fabri is a poet and educator. She is the author of High Heel Magazine, a
chapbook of poetry. Her work has appeared in MiPoesias, Good Foot Magazine, and Got
Poetry? An Offline Anthology. She currently teaches creative writing at The School of
Visual Arts, Baruch College and Lehman.

    September’s featured artist, Todd Erickson, will give a brief talk on his work:
http://www.440gallery.com/artist_terickson.htm


    About 440 Gallery: Park Slope’s only artist-run gallery, a jewel box space offering
an alternative venue for nine Brooklyn artists. 440 Gallery seeks to present surprising,
unexpected art to the community through exhibitions, talks, readings and events centered
around direct contact with the artist. Open Thursdays and Fridays, 4-7 pm and Saturdays
and Sundays, 12-6 pm, or by appointment.


    If you’re interested in reading at the 440 Gallery, email Brooke Shaffner at
brshaffner@hotmail.com.

Christine Hamm
__________________

www.christinehamm.org

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Sat, 16 Sep 2006 22:47:38 -0700
Reply-To:     ishaq1824@shaw.ca
Sender:       UB Poetics discussion group 
Comments:     RFC822 error:  Incorrect or incomplete address field found and
              ignored.
From:         Ishaq 
Organization: selah7
Subject:      Just A Sec For Whiteboys In Afrika -- lord patch vs iskra & paul
              wagorn
MIME-version: 1.0
Content-type: text/plain; charset=windows-1252; format=flowed
Content-transfer-encoding: 8BIT

http://radio.indymedia.org/news/2006/09/12886.php

Just A Sec For Whiteboys In Afrika (downy dub)


     These young Black artists utilize their own vernacular, the
language they have created, to tell their stories. We scoff when they
tell us they have redefined the ‘N’ word. Many of us were offended by
the use of the term “Ebonics”; we said we wanted our youth to speak
“good English” so that they would get a job. But Black youth not only
created their own language,...Are artists falsely creating negative
images or simply expressing the realities that exist for a segment of
Black America? We will not be able to change the images the Black
experience has created until we are able to change the experiences that
have influenced them.



1

Just A Sec For Whiteboys In Afrika (uber crash dub)

http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__uber_crash_dub_b.mp3



2

Just A Sec For Whiteboys In Afrika (downy dub):

http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__downy_dub____.mp3





What are the politricks of words, kid
A cardboard on sidewalks cut up
By windmills for 360’s
By boys beaten by breaks
Note to the baggy letters
Wrote to go
Ké
Songs about things you cyan see
-rebellology
w/mi cora aniki
walkinin paths that are pitch black
like the wigs of logico locos
I see
Joey
wouldn't drive a harley
Sink low into
hot water
depth
perception
2 dimension
a stall = laggin then quick
crack a spine
privacy
my invasion
massive contusions
-when I die
I holla
More watts
Out of my throat
My kids life sent in packages
Noteless
Choose the heads to tell
It in rhymes of unsolid
Visions
Twistin the body flop
Elegant transition/from whirl
To 90 degrees to backs in turtle shell formation
Woht drops stumble
Down faces
Marks taken to bridges/
Killers dirt nap riddims
Over fluid bottoms
Assassins with holes in they chest
Shruggin off jinns
Whose holes, what are worlds deep,
Widen
Hurry the
Transformation
 From a
Plea to x’s on backs and cheeks
Resistence also.
1sees
1 chain made Cuban
Conjunctions
Link
Ludwig to
Move
Meant to be tied to this place
a stall = laggin then quick
Pulling kicks down to matts
In gyms they fight the dæmons
Sent to Resevation & barrios
Who embrace them (me)
Sonics
Massive
A kin to hercs in ghettos
(they read my note books too.)
1for1
And figure the stooge
 From distances
Like goldfish
Trapped in loops
(how do u rate this?)
(dig the rep points)
…a characteristic throw down/come change up…
a hustle runs from chambers to johnson to yates
from cyan see in the morning to til cyan see in the late
wohts writtin on walls
will correct the symbols found in your skullz
it’s reversal of thesis
a rhythmic tractus
trippin on 2.171 to .19
to goose steps
translated and loss in the bloody wells
ameri/euro/afrique
7 passing in silence
watchin the high rollers deal graphics
collectives/club houses
soundtracks of ian dury gon a spastic
it's like this
fleets form the click
a cholo throwin sets
in broken calo, asian & arabic
this is my vicinity
the square held nervous
the locos braves and fellows
tripped to the word form logic







1425 Lawrence Y Braithwaite (aka Lord Patch)
New Palestine/Fernwood/The Hood
Victoria, BC



music versioned from "antisect by iskra
and
africa dub by Paul Wagorn

versioned by lord patch


see also:


"The U.S. imperialist ruling class’s brutal war against the Vietnamese
people had drawn billions of dollars away from the social needs of
people in the United States....In 1982, Grandmaster Flash and the
Furious Five released the song, The Message. The hook of the song is,
“…don’t push me, cuz I’m close to the edge/I’m trying not to lose my
head/huh, huh,/it’s like a jungle sometimes/makes me wonder how I keep
from going under.” The song was about the daily, deplorable conditions
that Blacks live under, especially in urban areas with gross
unemployment and underemployment, police brutality, drug epidemics and
much more...." -- Larry Hales -- "Hip-hop culture reflects Youth
oppression under capitalism"


http://www.workers.org/2006/us/hip-hop-0316/

or

http://victoria.indymedia.org/news/2006/03/49862.php

and

"...the 1973 assassination of the Palestinian poet, Ghassan
Kanafani...The writer said in his report, published Monday by the Hebrew
daily "Yedioth Ahronoth", that the Israeli intelligence elements planted
an explosive device in Kanafani's vehicle that exploded thereafter
causing his immediate death." -- "Israel admits responsibility for
assassinating Palestinian poet"

http://www.palestine-info.co.uk/am/publish/article_14740.shtml

http://www.finalcall.com/artman/publish/article_2256.shtml


and

Inseparable from this assault on the social position of working class
has been the exaltation of individual pursuit of wealth and celebrity,
as well as the marginalization and denigration of the victims of
capitalist restructuring....With the corporate media acting as a chorus,
Bush and his cronies have repeatedly celebrated the wanton destruction
wrought by US forces in Iraq and Afghanistan as “taking out the
enemy”...As for Stephen Harper’s Conservatives, they have made the
Canadian Armed Forces’ participation in the NATO counter-insurgency
operation in southern Afghanistan their government’s defining
initiative. Their aim is to use the Afghan intervention to put paid to
any notion of the CAF as a peacekeeper, rather than a warrior-force for
promoting the interests of the Canadian elite on the world
stage....While Gill considered himself an outsider, the images on his
blog of him striking various warrior poses bear the imprint of movies
like Rambo and of a political environment increasingly infected with
militarism and social reaction.-- Keith Jones -- "Mass shooting in Montreal"

http://www.wsws.org/articles/2006/sep2006/mont-s15.shtml


and


"On September 5, Crown prosecutors exonerated a Royal Canadian Mounted
Police (RCMP) constable for shooting Ian Bush, a 22-year-old sawmill
worker, in the back of the head. Bush was shot 20 minutes after his
arrest on October 29, 2005, for holding an open beer in the parking lot
of a hockey arena in Houston, British Columbia. At the time of his
death, he was in the process of being released by the police agency." --
Joanne Laurier -- "British Columbia: RCMP cleared in death of detained
youth"

http://www.wsws.org/articles/2006/sep2006/rcmp-s08.shtml



___
Stay Strong
\
-"I testified/My mama cried/Black people died/When the other man lied"
-- chuck d
\
  "Be a friend to the oppressed and an enemy to the oppressor"
--Imam Ali Ibn Abu Talib (as)
\
"They want to see us breathless. We will not be. They want to see us
tired. We refuse to be. They want to see what our strength is. We will
not show it in advance. We will continuously surprise them." -- Julia
Wright

  "We restate our commitment to the peace process. But we will not
submit to a process of humiliation."
--patrick o'neil
\
"...we have the responsibility to make no deal with the oppressor"
--harry belafonte
\
"...these people generate wars in Asia and Africa,...These are the
people who, in the last century, caused several devastating wars. In one
world war alone, they killed over 60 million people.... In the near
future, Allah willing, we will put you to trial in courts established by
the peoples...."-- mahmoud ahmadinejad
\
http://www.sidebrow.net/2006/a047braithwaite.php
\
http://cleveland.indymedia.org/uploads/2006/07
olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
\
http://radio.indymedia.org/news/2005/10/7255.php
\
http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3
\
http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date
\
http://vancouver.indymedia.org/?q=en/node/1269\
\
http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3
\
http://vancouver.indymedia.org/?q=en/taxonomy/term/111
\
http://www.lowliferecords.co.uk/
=========================================================================
Date:         Sun, 17 Sep 2006 13:25:47 +0100
Reply-To:     wild honey press 
Sender:       UB Poetics discussion group 
From:         wild honey press 
Subject:      Wild Honey Press: 50th Title Out Now!
Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, POETRYETC@JISCMAIL.AC.UK, UKPoetry
          ,
          "NewPoetry: Contemporary Poetry News &Views"
          
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=original
Content-Transfer-Encoding: 7bit

apologies for cross-posting

I'm delighted to announce the publication of the 50th title from Wild Honey
Press: _The Moon Sees the One_ by Candice Ward.

14.5x21 cm, 44 pages, 250 gsm green Strata card cover, black endpapers,
hand-sewn with dark green twist.
Price euro5 / USD 5 / STG 3.50.

"_The Moon Sees the One_ is preoccupied with vision and points of view. Even
those poems that don't directly
address sight or perspective are shaped to be comprehended by the eye. Yet
sound, too, is
emphasized, with the element of song reinforced by epigraphs drawn from
popular music. The collection,
framed by poems concerned with vanishing, is also thematically unified by
the confluence of blindness
and silence. Given its preoccupations, this chapbook may surprise readers
with its often humorous tone,
while its passionate engagement with the relationship between desire and all
five senses is unequivocally
serious."

Click on http://www.wildhoneypress.com/BOOKS/TMSTO.htm to read some sample
poems and see the cover image by artist Brendan Campbell.

If the wonders of e-mail has mangled the link, just go to
www.wildhoneypress.com and take it from there.

Since literature is the best currency, I'm happy to swap a copy for poems in
any form.

best

Randolph
=========================================================================
Date:         Sun, 17 Sep 2006 13:29:18 +0100
Reply-To:     wild honey press 
Sender:       UB Poetics discussion group 
From:         wild honey press 
Subject:      David Lloyd's and Hao Huang's _Change of State_
Comments: To: UKPoetry ,
          POETRYETC@JISCMAIL.AC.UK, BRITISH-POETS@JISCMAIL.AC.UK
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=original
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apologies for cross posting.

mp3 files of all nine parts of the Scripps College, Claremont CA,
performance of _Change of state_ (David Lloyd words, Hao Huang music) are
now available at www.wildhoneypress.com

There's a link on the home page.
This performance featured distinguished Los Angeles countertenor Joseph
Mathieu accompanied by Gayle Blankenburg, pianist with the Southwest Chamber
Players and Scripps professor.

Unmissable!

best

Randolph
=========================================================================
Date:         Sun, 17 Sep 2006 05:23:45 -1000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabrielle Welford 
Subject:      blog invite
MIME-version: 1.0
Content-type: TEXT/PLAIN; charset=US-ASCII
Content-transfer-encoding: 7BIT

sorry to post to the list.  would clifford duffy or milena stojanac
re-invite me.  all best, gabe
=========================================================================
Date:         Sun, 17 Sep 2006 15:03:33 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         L Trent 
Subject:      corrected 21 Stars URL (someday I will learn to type)
Comments: To: new-poetry@wiz.cath.vt.edu
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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Thanks to Skip Fox for the heads up on my URL error on the last e-mail.

The second issue of 21 Stars Review ( http://sundress.net/21stars) is live!



 Featuring work by Glenn Bach, Dennis Barone, Jack Conway, Skip Fox, Jason
Fraley, Jeff Harrison, Nicolas Mansito III, Harmony Neal, T.A. Noonan, Becky
Peterson, Phil Primeau, Caleb Puckett, Bruce Holland Rogers, Natalie
Shapero, and Bill West.
=========================================================================
Date:         Sun, 17 Sep 2006 20:15:27 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Poetics List 
Subject:      Job Opening at the University of Minnesota
MIME-Version: 1.0
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Posted on behalf of Maria Damon :



ASSISTANT PROFESSOR  OF PERFORMANCE THEORY & PRACTICE

DEPARTMENT OF THEATRE  ARTS AND DANCE


This full-time nine-month,  tenure-track position will begin on August 27,
2007.


POSITION DESCRIPTION:   The department of Theatre Arts & Dance in the
College of Liberal  Arts at the University of Minnesota invites applications
for a tenure-track  position in the area(s) of migrant, diasporic, and
minority theatre  and dance performance and/or theories of performance.
Appointment  will be at the rank of tenure-track assistant professor or
tenured associate  professor, depending upon qualifications and consistent
with collegiate  and University policy.  A successful candidate will be part
of  a curricular strategy that aligns historiography, collaborative
creation/directing,  and embodied practice/scholarship in dance and
theatre.  S/he would  complement the work of current faculty, whose research
focuses on Asian,  Pacific, and Asian American Performing Bodies,
inter-cultural practices,  and how bodies of difference animate the
complexities of community and  cultural formation.  The new hire would be
asked to contribute  to rethinking the introductory courses to
theatre/dance; the courses  on performance conventions; and the courses in
theatre/dance historiography  that de-centre the traditional European
epistemologies.  The faculty  will be encouraged to develop courses that
explore diversity critically  through performance, popular culture, and/or
intellectual histories.


MINIMUM QUALIFICATIONS:   PhD or foreign equivalent in theatre, dance, or
related field; and at  least 2 years of college- or university-level
teaching experience.   PREFERRED QUALIFICATIONS:  Knowledge of theatre/dance
theory  and practice in the area which complements the areas of interest of
current faculty members (please see our webpage:
http://www.theatre.cla.umn.edu/faculty/theatre.php  for MA/PhD faculty
specializations); and the experience of teaching  graduate courses/seminars
and advising graduate students.  Progressive  and successful university
teaching experience at several levels to diverse  groups, experience
developing courses, excellent communication skills,  experience with
innovative approaches to teaching and mentoring students,  evidence of
successfully motivating students.  The successful candidate  will be
expected to maintain an active program of research and/or creative
activity, help direct undergraduate and graduate research/creative
activity,  teach undergraduate and graduate courses, advise students, and
contribute  service appropriate to the rank of appointment.   TENURED
QUALIFICATIONS:  Candidates for a tenured position must  possess a
distinguished record of scholarship and/or artistic activity  and teaching
that meets the qualifications for a tenured position within  the College of
Liberal Arts at the University of Minnesota.


SALARY RANGE:  Commensurate  with experience (9-month basis), plus fringe
benefits.


APPLICATION INSTRUCTIONS:   Only on-line applications will be considered.
Interested individuals are encouraged to apply immediately; review of
completed applications will begin on October 7, 2006.  Position  will remain
open until filled. Please visit employment.umn.edu and  search for
Requisition #141704 or view quick link
employment.umn.edu/applicants/Central?quickFind=54940.

You will be given the opportunity to  attach a letter of application, a
resume or curriculum vitae, and a  sample published essay.  In addition to
the materials submitted  electronically, please arrange for 3 letters of
recommendation to be  sent directly to:  Coordinator, History/Theory Search
Committee,  Department of Theatre Arts & Dance, University of Minnesota,
580  Rarig Center, 33021st Avenue South, Minneapolis, MN 55455.  Additional
materials may be requested at a later date.  Applications will  not be
acknowledged but will be reviewed by the search committee.

******************************************************************************


The University of Minnesota  is an equal opportunity educator and
employer.
=========================================================================
Date:         Sun, 17 Sep 2006 21:11:24 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Tom Beckett 
Subject:      new at e-x-c-h-a-n-g-e-v-a-l-u-e-s...
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Thomas Fink interviews Geoff Young, poet and legendary publisher of The
Figures, at http://willtoexchange.blogspot.com
=========================================================================
Date:         Sun, 17 Sep 2006 21:52:42 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "j. kuszai" 
Subject:      rexroth citation: lonelygirl15
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

reading the hysteria in the new york times about the youtube.com
phenom and latest blair witch, lonelygirl15, i noticed the citation
for the literary term "false document".   The paper says it comes
from Rexroth, even if the genre/technique, etc., is older, growing
perhaps out of the epistolary novel form.

This seems to be a favorite genre of many of our era, and I'm
wondering what Rexroth it comes from...it is not in the one book of
essays of his that I have...

Anyone know this??   thanks--
=========================================================================
Date:         Sun, 17 Sep 2006 19:49:26 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      FW: New Issue of Saint Elizabeth Street: A Journal for Poetry
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

FINALLY!

We have completed our latest issue of Saint Elizabeth Street (#4). It is
online at saintelizabethstreet.com
With new poems by Glenn Bach, Elizabeth Robinson, Catherine Daly, Ann
Stephenson, and many others.

Also, a spanking brand-new blog.

All this can be yours for free at Saintelizabethstreet.com

All Best,

Jen, Jim, Jeff, Muffin, and Lucy
=========================================================================
Date:         Sun, 17 Sep 2006 22:52:42 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mark Weiss 
Subject:      Re: FW: New Issue of Saint Elizabeth Street: A Journal for Poetry
In-Reply-To:  <00b501c6dacd$0e09ec40$6501a8c0@KASIA>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

And a great review of Mervyn Taylor's "Gone Away," available from
Junction Press for  $12 for list members (retails at $15).

At 10:49 PM 9/17/2006, you wrote:
>FINALLY!
>
>We have completed our latest issue of Saint Elizabeth Street (#4). It is
>online at saintelizabethstreet.com
>With new poems by Glenn Bach, Elizabeth Robinson, Catherine Daly, Ann
>Stephenson, and many others.
>
>Also, a spanking brand-new blog.
>
>All this can be yours for free at Saintelizabethstreet.com
>
>All Best,
>
>Jen, Jim, Jeff, Muffin, and Lucy
=========================================================================
Date:         Sun, 17 Sep 2006 20:34:17 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re: rexroth citation: lonelygirl15
In-Reply-To:  <54530292-316A-4692-BDC4-D11F0F3B42B0@factoryschool.org>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Joe - if you Google :
false document Kenneth Rexroth

You will get what you want - I think.

Stephen
http://stephenvincent.net/blog/


> reading the hysteria in the new york times about the youtube.com
> phenom and latest blair witch, lonelygirl15, i noticed the citation
> for the literary term "false document".   The paper says it comes
> from Rexroth, even if the genre/technique, etc., is older, growing
> perhaps out of the epistolary novel form.
>
> This seems to be a favorite genre of many of our era, and I'm
> wondering what Rexroth it comes from...it is not in the one book of
> essays of his that I have...
>
> Anyone know this??   thanks--
=========================================================================
Date:         Mon, 18 Sep 2006 00:15:46 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "j. kuszai" 
Subject:      rexroth online
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: quoted-printable
Content-Type: text/plain; charset=UTF-8; delsp=yes; format=flowed

yeah, Stephen, I got scared away when I saw such an amazing =20
difference between about.com and wikipedia for the most basic =20
information.

i should have known there would be something at bopsecrets.org -- ken =20=

knabb's site has so much of the situ stuff i forgot about his shrine.

and i think there might be another essay that talks about this in =20
"classics revisited"

as the old man says here, writing of Defoe:

"Unless we are romantic adolescents or barbarians, we never think of =20
Ivan Karamazov or Emma Bovary as real people, not anyway when we have =20=

escaped from the delusion of the hypnotism of immediate reading. Most =20=

novels provide their greatest satisfaction when they are finished and =20=

we look back over them, or rather, through them. The novel as a =20
whole, not any character, is an artistic structure that reorganizes =20
experience. The narratives of Crusoe, Moll Flanders, and Roxana are =20
intended to affect us as though we had discovered them in an old =20
trunk in the attic that had come down through the family, a bundle of =20=

papers that cracked as we opened them, written in a long out-of-date =20
hand and tied with ribbons that disintegrated at our touch. We are =20
supposed to be put in direct encounter with persons, a specific man, =20
two specific women. Everything is stripped to the bare, narrative =20
substance, and it is this that reveals the psychology or morality of =20
the individual. The most significant details are purely objective, =20
exterior. The interiority of the characters is revealed by their =20
elaborately presented outside. When they talk about their own =20
motives, their psychology, their morals, their self-analyses and self-=20=

justifications are to be read backwards, as of course is true of most =20=

people, certainly of any bundle of letters we might find in the =20
attic. This is true even of autobiographers who are famous for their =20
sincerity. If we believe everything that Amiel and Marie Bashkirtseff =20=

say about themselves, we are going to start off in life with =20
misleading and sentimental ideas of human nature. It is the =20
na=EF=BF=BDvet=EF=BF=BD of his critics that has led to Defoe=E2=80=99s =
reputation for =20
superficial or nonexistent psychology."
http://www.bopsecrets-org.pem.data393.net/rexroth/cr/7.htm=
=========================================================================
Date:         Sun, 17 Sep 2006 21:55:24 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      Re: rexroth online
In-Reply-To:  <9CE349A9-576B-4627-91F2-E772A28594C2@factoryschool.org>
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

but Emma is Louise Colet skewed by Flaubert after he had become a caring,
sympathetic person
=========================================================================
Date:         Tue, 12 Sep 2006 22:21:40 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Caroline Crumpacker 
Subject:      Bilingual Reading Series
Mime-Version: 1.0 (Apple Message framework v749.3)
Content-Transfer-Encoding: quoted-printable
Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed

Hello all of you out there,

We in here have new readings coming at you =97 all featuring poetry =20
from around the world, both in its original language and in =20
translation. We hope to see you at a reading or two soon. For example:

Starting the new season on	September 17 at 4 PM:

A Reading and Celebration of Issue #4 of Circumference Magazine =20
featuring


		Ilya Bernstein (Russian, French)

                                                 &

             	Anita Naegeli (Swiss German)
				=09
						&

		Anne Twitty (Spanish) with poet Mar=EDa Negroni


Admission is $7		Discounted issues of  CIRCUMFERENCE available.


All of this at the lovely Bowery Poetry Club
	located at
308 Bowery (btwn. Bleecker & Houston)
www.bowerypoetry.com or 212-614-0505

* * * * * * * * * * * * * * * * * * * * * * * * * * * *
Reader Bios:
=09
Ilya Bernstein is the author of one book of poems, Attention and Man =20
(Ugly Duckling Presse, 2003), and the editor of Osip Mandelstam: New =20
Translations (UDP, 2006). His poetry, prose, and translations have =20
appeared in Ars Interpres, The Best American Poetry 2005  =20
(forthcoming), Circumference, Fulcrum, Persephone, Res, 6x6, and  =20
Zoland Poetry (forthcoming).

Anita Naegeli=92s poetry and visual art have been published in Word For/=20=

Word, Good Foot, milk magazine, The Bedside Guide to No Tell Motel, =20
and Coconut. In addition to poetry, she also translates game =20
instructions for a Swiss entertainment software company. A =20
classically trained singer, she has appeared in various theatrical =20
and musical productions. This fall she will sing the role of Papagena =20=

in Mozart=92s =93Magic Flute=94 in a production by the New York Opera =
Forum.

Anne Twitty's translation of Maria Negroni's ISLANDIA was awarded the =20=

PEN Prize for Poetry in Translation in 2002. This year, with the aid =20
of an NEA
Translation Fellowship, she has finished work on Negroni's novel =20
URSULA'S DREAM and has begun collaborating with Iraj Anvar on =20
translations of the poetry of Jellaludin Rumi. Between 2004 and 2006, =20=

PARABOLA Magazine published some of her original writing.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

And coming soon...

October 15 4:00 PM: Kristin Prevallet and friends reading a play by =20
Sony Labou Tansi
November 19, 4:00 PM: Reading for Cole Swensen's La Presse

	and more...
=========================================================================
Date:         Mon, 18 Sep 2006 03:22:34 -0700
Reply-To:     rsillima@yahoo.com
Sender:       UB Poetics discussion group 
From:         Ron Silliman 
Subject:      Of late on Silliman's Blog
Comments: To: Brit Po ,
          New Po , Wom Po ,
          Lucifer Poetics 
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

http://ronsilliman.blogspot.com/


*****************************************
reading Tuesday 9/19 in Philadelphia
with Eileen R. Tabios
at The Bubble House, 3404 Sansom, 7:30 PM
(Craig Bickhardt, musical guest)
*****************************************


RECENT POSTS

Questioning Steve Benson

Why is Lisa Robertson
the most read poet
in the annual Attention Span survey
once again?

Stephanie Young’s breakthrough book
Telling the Future Off

Squandering the American century
(notes on 9/11 five years on)

Fanny Howe’s
war on terror

Notes on two readings

Brooklyn Rail
and the sale of Cody’s

The backup bands
of Bob Dylan
(one vote for Paul Butterfield)

The secret of The Illusionist
is that male character actors
make for good leads

Michael Knight will win
Project Runway

The ear of Laura Elrick

Cleaning the uncleanable
(nuclear waste in Hanford, WA)

Motherless Brooklyn
a marvelous ear tinged with Tourette’s syndrome

Context is everything –
further thoughts on the anonymous issue of Sal Mimeo

Reading Shakespeare in Zukofsky’s Julia’s Wild

What about all this feminism?
Rachel Blau DuPlessis’ Blue Studios

http://ronsilliman.blogspot.com/
=========================================================================
Date:         Mon, 18 Sep 2006 07:25:06 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jeffrey Side 
Subject:      Lee Harwood interview at The Argotist Online
Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu

Lee Harwood interview at:

http://www.argotistonline.co.uk/Harwood%20interview.htm
=========================================================================
Date:         Mon, 18 Sep 2006 07:47:44 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         David-Baptiste Chirot 
Subject:      Re: rexroth online
In-Reply-To:  <00bf01c6dade$a77b5330$6501a8c0@KASIA>
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

actually Flaubert famously wrote on one occaision at least that he WAS Mme.
Bovary--

a "fictional character" can take on lives of their own and have influences
as powerful as "any persons living or dead"--

the fictional painter Gulley Jimson of Joyce Cary's novel THE HORSE'S MOUTH
has been an immense influence on my life and work and co-dedicatee with Bob
Cobbing of my book "found rubBEings" (2nd ed. now out from xexoxial ed.)

(in conversation with Bob Cobbing and Paul Dutton, i said Bob was Gulley--to
which they said--no, YOU are Gulley Jimson!  So you have an idea how real
Gulley Jimson is . . . )

Madame Bovary and Don Quixote--both fictions who have such reality as
"larger than life charcters"--themsleves are guided by the fictions they
read . . .

In Wilkie Collin's The Moonstone--an old man uses Robinson Crusoe as a book
of divination.

Archeologists read Homer when young and grow up to unearth cities they claim
  prove that Troy existed.

In one of Raymond Chandler's novels, Philip Marlowe remarks on how all the
soda jerks, cigarette girls, bellhops, etc talk like tough guys and mols in
the movies, in a fake sylized language.  That screen language often written
by Chandler and others who like him wrote first for the hardboiled magazines
that  originated this form of dialogue.  The character Philip Marlowe, the
last chivalrous "man . . . who down these mean streets must go"  commenting
disparagingly on the recycling universe of language of the
spectacle/simulacrum  that Chandler has stuck him in.

In a Mickey Spillane novel, private eye Mike Hammer goes to an underground
meeting of Communists.  Rather than describing them he says--you know what
those cartoons of commies look like, well these people look just like those.
  He doesn't even bother with the effort of describing a stereotype or a
caricature--he just says--think of the caricatures you have seen--that is
what I was seeing.  A truly "shorthand" form of false documentation.

(The Wiki says this orignated actually in the sorts of books Don Quxote
read, with the stories purported to be true accounts of great deeds of real
heroes etc.)

>From: Catherine Daly 
>Reply-To: UB Poetics discussion group 
>To: POETICS@LISTSERV.BUFFALO.EDU
>Subject: Re: rexroth online
>Date: Sun, 17 Sep 2006 21:55:24 -0700
>
>but Emma is Louise Colet skewed by Flaubert after he had become a caring,
>sympathetic person

_________________________________________________________________
Get real-time traffic reports with Windows Live Local Search
http://local.live.com/default.aspx?v=2&cp=42.336065~-109.392273&style=r&lvl=4&scene=3712634&trfc=1
=========================================================================
Date:         Mon, 18 Sep 2006 08:42:30 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dan Waber 
Subject:      16 rejected pieces by Jeff Crouch,
              and the conversation that ensued
Comments: To: announce@logolalia.com
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii

The minimalist concrete poetry site at:

http://www.logolalia.com/minimalistconcretepoetry/ has been updated
with 16 rejected pieces by Jeff Crouch and the conversation that
ensued.

That's right, rejected pieces. It's the conversation that ensued that
makes it work. Come see.

Regards,
Dan
=========================================================================
Date:         Mon, 18 Sep 2006 10:50:37 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Daniel f. Bradley" 
Subject:      Re: rexroth online
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit




  with regards of the "lonelygirl15" myth and roxroth - this is all i could think of


  http://www.english.uiuc.edu/maps/poets/m_r/rexroth/marichiko.htm

  and he invented a young Japanese poet named Marichiko, a woman in Kyoto, and wrote her poems in Japanese and English.


David-Baptiste Chirot  wrote:
  actually Flaubert famously wrote on one occaision at least that he WAS Mme.
Bovary--

a "fictional character" can take on lives of their own and have influences
as powerful as "any persons living or dead"--

the fictional painter Gulley Jimson of Joyce Cary's novel THE HORSE'S MOUTH
has been an immense influence on my life and work and co-dedicatee with Bob
Cobbing of my book "found rubBEings" (2nd ed. now out from xexoxial ed.)

(in conversation with Bob Cobbing and Paul Dutton, i said Bob was Gulley--to
which they said--no, YOU are Gulley Jimson! So you have an idea how real
Gulley Jimson is . . . )

Madame Bovary and Don Quixote--both fictions who have such reality as
"larger than life charcters"--themsleves are guided by the fictions they
read . . .

In Wilkie Collin's The Moonstone--an old man uses Robinson Crusoe as a book
of divination.

Archeologists read Homer when young and grow up to unearth cities they claim
prove that Troy existed.

In one of Raymond Chandler's novels, Philip Marlowe remarks on how all the
soda jerks, cigarette girls, bellhops, etc talk like tough guys and mols in
the movies, in a fake sylized language. That screen language often written
by Chandler and others who like him wrote first for the hardboiled magazines
that originated this form of dialogue. The character Philip Marlowe, the
last chivalrous "man . . . who down these mean streets must go" commenting
disparagingly on the recycling universe of language of the
spectacle/simulacrum that Chandler has stuck him in.

In a Mickey Spillane novel, private eye Mike Hammer goes to an underground
meeting of Communists. Rather than describing them he says--you know what
those cartoons of commies look like, well these people look just like those.
He doesn't even bother with the effort of describing a stereotype or a
caricature--he just says--think of the caricatures you have seen--that is
what I was seeing. A truly "shorthand" form of false documentation.

(The Wiki says this orignated actually in the sorts of books Don Quxote
read, with the stories purported to be true accounts of great deeds of real
heroes etc.)

>From: Catherine Daly
>Reply-To: UB Poetics discussion group

>To: POETICS@LISTSERV.BUFFALO.EDU
>Subject: Re: rexroth online
>Date: Sun, 17 Sep 2006 21:55:24 -0700
>
>but Emma is Louise Colet skewed by Flaubert after he had become a caring,
>sympathetic person

_________________________________________________________________
Get real-time traffic reports with Windows Live Local Search
http://local.live.com/default.aspx?v=2&cp=42.336065~-109.392273&style=r&lvl=4&scene=3712634&trfc=1



  helping to kill your literati star since 2004
  http://fhole.blogspot.com/

=========================================================================
Date:         Mon, 18 Sep 2006 10:57:58 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Kelleher 
Subject:      JUST BUFFALO E-NEWSLETTER 9-18-06
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

JUST BUFFALO LITERARY FAMILY FAIR AND BOOK SALE
Saturday, September 23, 2006, 10-4 p.m.
Market Arcade FLUX Gallery, 617 Main Street, Buffalo

Featuring:

10 a.m. - 4 p.m. Book Sale
10 a.m. - noon Picturing Poetry...Combining words and photos with Karen Lew=
is
12 p.m. Storytelling and the Power of Unity, featuring storyteller robert D=
jed Snead
12 p.m. and 1 p.m. To Build a Better Community...Storytelling for children =
and families
2-3:30 Wordplay 2006: Release and reading by student particiipants in Just =
Buffalo's
annual anthology of student work from the Writer in Education program
2-3:30 p.m. Yourself Into Words: College Essay Writing Workshop Preview wit=
h Gary
Earl Ross

Book Sale Preview=21=21=21 Friday, September 22, 12-5 p.m.

JUST BUFFALO READINGS THIS WEEK

SMALL PRESS POETRY SERIES, hosted by Kevin Thurston

2 Readings:

Amy King, Geoffrey Gatza
Poetry Reading Celebrating Blazevox Books
Thursday, September 21, 7 p.m.
Rust Belt Books, 202 Allen St., Buffalo

Wave Books Poetry Bus Tour, featuring readings by: Aimee Nezhukumatathill,=

Anthony McCann, Matt Hart, Mark Bibbins, Betsy Wheeler, Ethan Paquin, Monic=
a
Youn, Michael Kelleher
Friday September 22, 2006, 7:00 pm
Clifton Hall, Albright-KNox Art Gallery =00

JUST BUFFALO OPEN READINGS, HOSTED BY LIVIO FARALLO

Lockport Brewhaus
112 Chestnut St., Lockport (meets monthly on the third Thursday)
Featured: Claudia Torres
Thursday, September 21, 7 p.m.
10 slots for open readers
FALL WORKSHOPS

All workshops take place in Just Buffalo's Workshop/Conference Room
At the historic Market Arcade, 617 Main St., First Floor -- right across fr=
om Shea's
The Market Arcade is climate-controlled and has a security guard on duty at=
 all times.

To get here:

Take the train to the Theatre stop and walk, or park and enter on Washingto=
n Street.
Free parking on Washington Street evenings and weekends.
Two-dollar parking in fenced, guarded, M & T lot on Washington.

Visit our website for detailed descriptions, instructor bios, and to regist=
er online.

FICTION AND DRAMA:
The Art of Story
A Workshop for Fiction and Drama Writers of All Levels
Instructor: Gary Earl Ross
4 Wednesday Evenings, September 27, October 4, 11, and 18, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 for members

CREATIVE NON-FICTION:
=22There Are 3 Sides To Every Story....=22
A Creative Nonfiction Writing Workshop
Instructor: Alexis De Veaux
Two Saturday Sessions: October 14, October 28, 10 a.m. - 2 p.m.
Writing Sample Required by October 1 for participation.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 for members

POETRY WRITING:
Poetry and Memory
A Poetry Workshop For Poets of All Levels
Instructor: Barbara Cole
Four Tuesday Evening Sessions: October 17, 24, 31; November 7, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 memberS

COLLEGE ESSAY WRITING:
Writing Your Way Into Higher Education -- A Workshop on the College Essay
Instructor: Gary Earl Ross=C2=A0
Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.=C2=A0
=2470, =2450 members
Registration Deadline: October 23

CREATIVITY:
The Tao of Writing
A Creativity Workshop for Writers of All Levels
Instructor: Ralph Wahlstrom
4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 member

SONG LYRICS:
Turning Poems Into Song Lyrics
A Special Session For Aspiring Songwriters and Poets
Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper
Tentative Date: Tuesday, November14, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=2450. =2440 for members

JOIN JUST BUFFALO ONLINE=21=21=21

If you would like to join Just Buffalo, or simply make a massive personal d=
onation, you
can do so online using your credit card.  We have recently added the abilit=
y to join
online by paying with a credit card through PayPal.  Simply click on the me=
mbership
level at which you would like to join, log in (or create a PayPal account u=
sing your
Visa/Amex/Mastercard/Discover), and voil=C3=A1, you will find yourself in l=
iterary heaven.
For more info, or to join now, go to our website:

http://www.justbuffalo.org/membership/index.shtml

JUST BUFFALO WRITER'S CRITIQUE GROUP

Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri=
tique
group in CEPA's Flux Gallery on the first floor of the historic Market Arca=
de Building
across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. =
Call Just
Buffalo for details.

LITERARY BUFFALO

NEW READING VENUE. BUDDIES 2
at the corner of  Franklin & West Mohawk is now holding a poetry/short stor=
y open
mike nite regularly at 7:30- 9:30  the 3rd Tuesday of every month=21=21=21=
=21=21.  This month  that
will be on September 19th. This is a forum for  GLBT readers &  varied audi=
ences to
hear  local GLBT voices writing, but perhaps not reading, in the commmunity=
 at large.
Seating limited, arrive early for sign up sheet . readers have a hs=5Calf h=
our per person -if
they want it. Overflow readers will be first  on the program the following =
month.

MEMORY GARDEN
Manny Fried -- Just Buffalo member since its inception  =E2=80=93 invites y=
ou to see him and actress Roz Cramer perform in their upcoming world premie=
re of the two-character play THE MEMORY GARDEN =E2=80=93 written for them b=
y Buffalo=E2=80=99s prize-winning playwright Rebecca Ritchie =E2=80=93 pres=
ented by Gerald Fried Theatre Company on Alleyway Theatre=E2=80=99s Main St=
reet Cabaret stage September 20th thru October 1st.Seating is limited in th=
is 70 seat cabaret theatre - only 8 performances -- preview 8 pm Wednesday =
September 20th -- performances Thursday, Friday and Saturday at 8 pm, Sunda=
y 3 pm.  No performance Friday September 22nd.  Curtain Up performance Thur=
sday September 29 at 8:30 pm. General admission =2424. Form a group of ten =
or more get =242 discount per person.  Order now to guarantee your seats =
=E2=80=93 on line at alleyway.com or phone Alleyway Theatre Box Office at 8=
52-2600.

Visit our website to download a pdf of the September Literary Buffalo poste=
r, which
lists all of Buffalo's literary events in the month of September.

UNSUBSCRIBE

If you would like to unsubscribe from this list, just say so and you will b=
e immediately
removed.
_______________________________
Michael Kelleher
Artistic Director
Just Buffalo Literary Center
Market Arcade
617 Main St., Ste. 202A
Buffalo, NY 14203
716.832.5400
716.270.0184 (fax)
www.justbuffalo.org
mjk=40justbuffalo.org
=========================================================================
Date:         Mon, 18 Sep 2006 08:09:18 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Thomas savage 
Subject:      Re: m1  MiX'D TRiX Sept 30th  reading
In-Reply-To:  <20060916.015301.-394075.16.skyplums@juno.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Who is Michael Savage?  As far as I know, he's no relative of mine.  Is he a poet or a painter?  Anyway, it's interesting that someone else with my last name has appeared on the scene so I'd like to know.  Regards, Tom Savage

Steve Dalachinsky  wrote:  MiX?D TriX

Writers who Do Art
Artists who Write

At Tompkins Square Library Gallery
e. 10th street beteen A & B downstairs

Please join us for a Commingling of the Disciplines

READING - 2:30 -4:30 p.m. SEPT. 30, 2006

Curated by Jeffrey Cyphers Wright and Valery Oisteanu

With works by

Luigi Cazzaniga
Peggy Cyphers
Steve Dalachinsky
Rob Edelman
David Hatchett
Lilly Hatchett
Amy Hill
Patrick Goldsmith
Charles Mingus, III
Valery Oisteanu
Lori Ortiz
Yuko Otomo
Jim Power
Michael Savage
Barbara Slitkin
Ilka Scobie
Carol Ross
Bruce Weber
Jeffrey Cyphers Wright



__________________________________________________
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=========================================================================
Date:         Mon, 18 Sep 2006 11:18:01 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dan Wilcox 
Subject:      Third Thursday Open Mic in Albany
Mime-Version: 1.0 (Apple Message framework v624)
Content-Transfer-Encoding: quoted-printable
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed

the Poetry Motel Foundation
presents

Third Thursday Open Mic for Poets
now at
the Social Justice Center
33 Central Ave., Albany

Thursday, September 21, 2006=A0=A0=A0=A0=A0=A0=A0=A0
7:00 sign up; 7:30 start

Featured Poet:=A0Franklyn Whitney
AKA =93Clean Fill=94 =96 show up & find out why.

$3.00 donation.=A0

Your host still, in the new venue, Dan Wilcox.

UNFINISHED POEM #8364
by Franklyn Whitney

Come my friend,
Let=92s play that game again.
This time I=92ll let you win,
For you so love to win,
And I love to play.

I don=92t know why,
It often goes so hard,
Or if we=92re truly bound to fall
Is it fate, or is it fortunate,
Or just some cosmic law?

But here we are,
In the realm of Avalon,
Where the broken go to hide.
Here we are in the circle of now,
The border=92s long, but it is not wide.

###

=A0
=========================================================================
Date:         Mon, 18 Sep 2006 08:45:44 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Bruce Covey 
Subject:      kaschock / byrd reading in atlanta
In-Reply-To:  <949f65346d2be63d69bc0f3f074c9a3e@earthlink.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Poet Kirsten Kaschock, author of the book Unfathoms, will read with poet Brigitte Byrd, author of Fence Above the Sea and associate editor of The Journal of Beckett Studies, on Thursday, September 21st, 2006. The event will begin at 7:30 pm in the Dobbs Hall Parlor. Light refreshments will be served. This reading is part of the series What’s New in Poetry.
=========================================================================
Date:         Mon, 18 Sep 2006 12:07:23 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         David-Baptiste Chirot 
Subject:      Re: rexroth online
In-Reply-To:  <20060918145037.99541.qmail@web88108.mail.re2.yahoo.com>
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

          (the forthcoming Chicago Review is a Rexroth issue)

          speaking of fictional Japanese, there is the poetry of Yasusada,
the book of his letters and forthcoming book of essays and criticism on
him/his work etc--let alone years of documentation built up around this
figure--all of which has made a fictional poet one of the better known ones
of our times in many ways--(will there be a film of it someday--fictional or
documentary or hybrid--by real or fictional film makers--with
interviews--further documentations--visits to sites in the
poems--discussions among scholars--etc etc--)--

     some other extraordinary documents--when the painter di Chirico was
getting older and his neo-classical style not selling well at all, he
realized the only way for him to make a good living was to begin to forge as
it were works done in his early famous Scuola Metafisica style--an elaborate
underatking in that he had to recreate/find canvases and paints from the
rather narrow time period in which these had been done, and put his mind
back into the spaces in which it had been to invent the originals--and then
to slowly find ways to leak these "new finds of previously uknown works"
into the world in such a way that he could profit from them without arousing
suspsicion . . . what makes the works so problmatic is that they are
forgeries done by the artist himself, yet the artist at a later stage who
has left behind his earlier beliefs and style, frocing himself to re-enact
his foremer self i order to create in his former stle with something
bordering on a recreation of his former convitions--in short, a bizarre form
of those "re-enactments" done for documentaries--

       another turly incredible example is Bunuel's great documentary--(as
it is listed/described on line) LAS HURDES (1933; Land Without Bread in
English)--which is almost always taken at face value as a real documentary
though done with many of Bunuel's characteristic early touches--the closeups
of insects, etc--often interpreted by esp Leftist critics as an anti-Franco
anti-clerical film, it is actually a brutally realistic fiction-that is
everything photographed is "real"--it is the voice-over narration that
creates the fiction---amazingly the one clue which shd give it away is taken
seriously--that the people in the film live in a part of Spain in which
bread had not been known until very recently--an area so cut off, without
any culture whatsoever, abandoned by the Church, and with a population
reduced to freaks and idicocy and insanity by intermarriage--it is a
Bunuelian vision of Spain so intensely realized that it actually passes as
"reality"--rather than an anarchist/surrealist form of allegory--

the combination of realistic photgrpahy and invented narration--and the
effectiveness of this--is an interesting comment on detournement before
detournement was given a name--
that one can change images by the texts attached to them--
a dangerous game, too--
like the game we'd play as kids--take foto from the paper of a man--just
about any man--or woman--
put underneath it--"the famous poet so and so"
and show it so someone--
oh--the sensitiveness of the features! the delicacy of the mouth!--the
burning insights that lurk in those eyes!
put under the foto the caption "child rapist"
'what a monster!--fires of hell flicker in his eyes!--the sadistic curl of
his lips! the violence of the jawline!"
a woman's foto--
"star actress gives to chidlrens flu shots funds"
"what goodness shines in her features . . . a look of angelic mercy . . the
Florence Nightingale of the footlights . . . "
give her another caption
"U.S. Senator charged with bribery, extortion,corruption, fraud, wire
tapping"--
"her hard jaw set in a clench and eyes squinting  . . . Wll Ice Queen Melt
In Fire of Accusations--"

and how many times doesnt this actually happen?--today's foto of anyone with
a good caption--tomorrow's with a bad--"that's entertainment"--or "regime
chnage"--or "canon formation"--or "changing tastes"--or "making a
comeback"--


>From: "Daniel f. Bradley" 
>Reply-To: UB Poetics discussion group 
>To: POETICS@LISTSERV.BUFFALO.EDU
>Subject: Re: rexroth online
>Date: Mon, 18 Sep 2006 10:50:37 -0400
>
>
>
>
>   with regards of the "lonelygirl15" myth and roxroth - this is all i
>could think of
>
>
>   http://www.english.uiuc.edu/maps/poets/m_r/rexroth/marichiko.htm
>
>   and he invented a young Japanese poet named Marichiko, a woman in Kyoto,
>and wrote her poems in Japanese and English.
>
>
>David-Baptiste Chirot  wrote:
>   actually Flaubert famously wrote on one occaision at least that he WAS
>Mme.
>Bovary--
>
>a "fictional character" can take on lives of their own and have influences
>as powerful as "any persons living or dead"--
>
>the fictional painter Gulley Jimson of Joyce Cary's novel THE HORSE'S MOUTH
>has been an immense influence on my life and work and co-dedicatee with Bob
>Cobbing of my book "found rubBEings" (2nd ed. now out from xexoxial ed.)
>
>(in conversation with Bob Cobbing and Paul Dutton, i said Bob was
>Gulley--to
>which they said--no, YOU are Gulley Jimson! So you have an idea how real
>Gulley Jimson is . . . )
>
>Madame Bovary and Don Quixote--both fictions who have such reality as
>"larger than life charcters"--themsleves are guided by the fictions they
>read . . .
>
>In Wilkie Collin's The Moonstone--an old man uses Robinson Crusoe as a book
>of divination.
>
>Archeologists read Homer when young and grow up to unearth cities they
>claim
>prove that Troy existed.
>
>In one of Raymond Chandler's novels, Philip Marlowe remarks on how all the
>soda jerks, cigarette girls, bellhops, etc talk like tough guys and mols in
>the movies, in a fake sylized language. That screen language often written
>by Chandler and others who like him wrote first for the hardboiled
>magazines
>that originated this form of dialogue. The character Philip Marlowe, the
>last chivalrous "man . . . who down these mean streets must go" commenting
>disparagingly on the recycling universe of language of the
>spectacle/simulacrum that Chandler has stuck him in.
>
>In a Mickey Spillane novel, private eye Mike Hammer goes to an underground
>meeting of Communists. Rather than describing them he says--you know what
>those cartoons of commies look like, well these people look just like
>those.
>He doesn't even bother with the effort of describing a stereotype or a
>caricature--he just says--think of the caricatures you have seen--that is
>what I was seeing. A truly "shorthand" form of false documentation.
>
>(The Wiki says this orignated actually in the sorts of books Don Quxote
>read, with the stories purported to be true accounts of great deeds of real
>heroes etc.)
>
> >From: Catherine Daly
> >Reply-To: UB Poetics discussion group
>
> >To: POETICS@LISTSERV.BUFFALO.EDU
> >Subject: Re: rexroth online
> >Date: Sun, 17 Sep 2006 21:55:24 -0700
> >
> >but Emma is Louise Colet skewed by Flaubert after he had become a caring,
> >sympathetic person
>
>_________________________________________________________________
>Get real-time traffic reports with Windows Live Local Search
>http://local.live.com/default.aspx?v=2&cp=42.336065~-109.392273&style=r&lvl=4&scene=3712634&trfc=1
>
>
>
>   helping to kill your literati star since 2004
>   http://fhole.blogspot.com/
>

_________________________________________________________________
Add fun gadgets and colorful themes to express yourself on Windows Live
Spaces
http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://www.get.live.com/spaces/features
=========================================================================
Date:         Mon, 18 Sep 2006 10:07:51 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Small Press Traffic 
Subject:      Conrad & Zurawski at SPT this Fri 9/22
MIME-Version: 1.0
Content-Type: text/plain; charset="ISO-8859-1"; format="flowed"
Content-Transfer-Encoding: 8bit

Small Press Traffic is pleased to present a reading by

CA Conrad & Magdalena Zurawski
Friday, September 22, 2006 at 7:30 p.m.


Philadelphia legend CA Conrad joins us in celebration of his first book,
Deviant Propulsion (Soft Skull Press). Eileen Myles says “I'm a huge fan of
CAConrad's poems--he's Gay Sunshine anew. Plus George Herbert & Harold Norse,
Creeley and early Judy Grahn. Soupy Sales too! His fairy love poem to George
W. Bush should be read aloud to every high school assembly in the world. Watch
out, I think he has an agenda! CAConrad is boldly recruiting all of us to
commit the/muscle/ to love. Is the opposite of a hate crime a love crime?
Well, this is it.”



Magdalena Zurawski was born in Newark, NJ in 1972 to Polish immigrants. Her
work has been published in American Poet: The Journal of the Academy of
American Poets, The Poetry Project Newsletter, Rattapallax, and other
magazines. Her chapbooks include Bruised Nickelodeon (Hophophop Press). She
lives in San Francisco, blogs as minoramerican, and recently finished writing
her first novel, The Bruise, sections of which were published this summer in
chapbook form by Oakland's new Taxt Press.

Unless otherwise noted, events are $5-10, sliding scale, free to current SPT
members and CCA faculty, staff, and students.

Unless otherwise noted, our events are presented in Timken Lecture Hall,
California College of the Arts 1111 Eighth Street, San Francisco (just off the
intersection of 16th & Wisconsin). Directions & map:
http://www.sptraffic.org/html/fac_dir.html


Elizabeth Treadwell, Director
Small Press Traffic
Literary Arts Center at CCA
1111 -- 8th Street
San Francisco, CA 94107
415.551.9278
http://www.sptraffic.org
=========================================================================
Date:         Mon, 18 Sep 2006 13:26:44 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "David A. Kirschenbaum" 
Subject:      ot: ny/met tickets for sale
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

apologies for this non-boog email.

-------

hi all,

i just realized that my last mets regular season home game in my sunday plan
falls on the second day of Rosh Hashanah, so i have to sell them.

--------

Sun. Sept. 24, 1:10 p.m.

vs. Washington Nationals   $54 (for two tickets)

(Helmet bank to first 12,000 kids 12 and under)

http://newyork.mets.mlb.com/NASApp/mlb/nym/schedule/nym_schedule_promotions_
popup.jsp?puid=2006_09_24_wasmlb_nynmlb_1

----------

I've been sitting in the same section for the past nine, years--mezzanine,
sec. 2 (behind home plate). The tickets are under the overhang, so u don't
get burned in the sun or wet in the rain.

hope this finds you well (and lets go mets!).

as ever,
david

--
David A. Kirschenbaum, editor and publisher
Boog City
330 W.28th St., Suite 6H
NY, NY 10001-4754
For event and publication information:
http://boogcityevents.blogspot.com/
T: (212) 842-BOOG (2664)
F: (212) 842-2429
=========================================================================
Date:         Tue, 19 Sep 2006 02:31:50 +0900
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Glass 
Subject:      Kevin Thurston and the Ahadada Haptic Anthology--A Clarification
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

Just a clarification: Kevin Thurston will be helping us on the Haptic
Anthology and on certain special projects as the need arises.  He is not
involved in the business of running Ahadada Books.  We thank Kevin for
his humor and his resourcefulness in these interesting times.  Jesse
Glass
=========================================================================
Date:         Mon, 18 Sep 2006 11:28:31 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Matt Timmons 
Subject:      i feel better after i type to you
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

Superbunker (http://www.superbunker.com) has released it's first book in a
series of machinic texts. This 254 page book,"i feel better after i type to
you," is an un-edited reproduction of the search queries of AOL user
23187425 from May 2006. (http://www.lulu.com/content/412471)
This strange server log autobiography was found in the released AOL search
queried by Thomas Claburn (http://tinyurl.com/p3wvc).
The text in this book is pseudo-anonymous autobiography stored as
proprietary corporate data which was de facto released into the public
domain. In the face of such a text, notions of "copyright" seem like quaint
anachronisms from a bygone era. For what it's worth, this edition is
published under a Creative Commons Attribution license (
http://creativecommons.org/).
Half of the profit from each book sold will go to the Electronic Frontier
Foundation (http://www.eff.org/).
Enjoy
=========================================================================
Date:         Mon, 18 Sep 2006 12:25:53 -0700
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:      WHAT'S
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

NOW AVAILABLE

WHAT'S YOUR IDEA OF A GOOD TIME?:
INTERVIEWS AND LETTERS 1977-1985
Bill Berkson & Bernadette Mayer
Tuumba Press, September 2006
ISBN 1-931157-08-1
$13.50.

Available via Small Press Distribution, Berkeley
orders@spdbooks.org
=========================================================================
Date:         Mon, 18 Sep 2006 12:47:38 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jerome Rothenberg 
Subject:      Margaret Randall at Corno panel
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Just a note to say that Margaret Randall, cofounder with Sergio =
Mondrag=F3n of the fabled El Corno Emplumado, will now also be present & =
joining in the film showing & panel previously announced.  As follows:=20



Friday, September 29, 6:15 pm: a screening of  "el corno emplumado/the =
plumed horn - a story from the sixties," followed by a panel with, =
Sergio Mondrag=F3n, Margaret Randall, Jerome Rothenberg, Cecilia =
Vicu=F1a, and Anne Mette W. Nielsen, at the Auditorio del King Juan =
Carlos I of Spain Center, New York University, 53 Washington Square =
South.=20

=20

Jerome Rothenberg   "There is an avant-garde that cannot be defeated."
1026 San Abella               M. Giroud, quoted in J.R. "Autobiography"  =
 =20
Encinitas, CA 92024          =20
(760) 436-9923                 =20
jrothenberg@cox.net
http://writing.upenn.edu/epc/authors/rothenberg/
new ethnopoetics web site: http://ubu.com/ethno/
j.r. in spanish: http://writing.upenn.edu/epc/authors/rothenberg/esp/
=========================================================================
Date:         Mon, 18 Sep 2006 21:21:05 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Tim Peterson 
Subject:      New Media Poetry Panel (call for a moderator)
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

Dear Poetics List,

I'd like to send out an open invitation for anyone who might be interested:

I'm seeking a motivated candidate who would like to moderate an online
discussion about New Media Poetry / E-Poetry / Digital Poetry on the
Leonardo Electronic Almanac website. This will coincide with the publication
of the forthcoming issue on the same topic which I recently guest-edited.

We're already considering some candidates for this, but I thought I'd post
the invite here too, just in case. Send me a message backchannel at

tscotpeterson@hotmail.com

Best, Tim
=========================================================================
Date:         Mon, 18 Sep 2006 17:43:55 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Nuyopoman@AOL.COM
Subject:      Re: ORAL TRADITION online and free of charge
Comments: To: andresenk@missouri.edu
Comments: cc: steve@citylore.org, greatdismalswamp@yahoo.com,
          charles bernstein ,
          jrothenberg@cox.net, Pierre Joris 
MIME-Version: 1.0
Content-Type: text/plain; charset="UTF-8"
Content-Transfer-Encoding: quoted-printable

John -- congratz!

All is well NYC. Will drop a line after explorations of the site unseen...

All best,
Bob

In a message dated 9/18/2006 5:30:50 PM Eastern Daylight Time,=20
andresenk@missouri.edu writes:
Dear Bob,
=20
On September 15, 2006, the academic journal ORAL TRADITION, founded in 1986=20
by the Center for Studies in Oral Tradition at the University of Missouri,=20
entered a new chapter in its existence as an international and interdiscipli=
nary=20
forum for the study of worldwide oral traditions and related forms. =20
=20
As of this date the journal became available electronically and free of=20
charge at http://journal.oraltradition.org/ as a series of pdf (Adobe Acroba=
t)=20
files, with key-word searching of all online texts and with embedded multime=
dia. =20
In addition to the current issue (volume 21, number 1), four years of back=20
issues have already been posted, and plans are underway to include the entir=
e=20
twenty-two years of ORAL TRADITION by the end of 2007.
=20
We ask that you help us publicize eOT by forwarding this message to at least=
=20
five colleagues in your field, and asking them to do the same.  Also, please=
=20
alert your students and your reference librarian.  We are trying to use all=20
possible strategies to inform everyone of this new resource =E2=80=93 to rea=
ch as many=20
people and institutions as possible, and thereby to make the discussions tha=
t=20
occur in eOT as broadly based and diverse as possible.=20
=20
Thank you for your assistance and we hope you enjoy this enhanced, more=20
readily accessible version of ORAL TRADITION.

=20
With best wishes,
=20
John
=20
=20
John Miles Foley
W.H. Byler Endowed Chair in the Humanities
Curators' Professor of Classical Studies
 and English
Director, Center for eResearch
Director, Center for Studies in Oral Tradition
64 McReynolds Hall
University of Missouri
Columbia, MO 65211  USA
Telephone: +573-882-9720
Fax: +573-884-0291
E-mail: FoleyJ@missouri.edu
Center for Studies in Oral Tradition: http://www.oraltradition.org/
eOT: http://journal.oraltradition.org/

=20



Bob Holman
Proprietor, Bowery Poetry Club (holman@bowerypoetry.com)
308 Bowery (Bleecker-Houston, across from CBGB)
NY NY 10013
2126140505
Visiting Professor, Columbia School of the Arts (rh519@columbia.edu)
=========================================================================
Date:         Mon, 18 Sep 2006 16:09:12 -0700
Reply-To:     r_loden@sbcglobal.net
Sender:       UB Poetics discussion group 
From:         Rachel Loden 
Subject:      do not go to the readings of any authors
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
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Stephen! I meant no offense and was mostly goofing on the way the Priestley
set off that bit of Epictetus.

Stephen and I gave more than one reading together, thousands of years ago,
as part of a large group. I think I may still have some of the posters. And
certainly I've been to readings that ripped me up in the best ways--Ted
Berrigan at Berkeley Poetry Conference when I was still in my teens, for
instance. There are readings so strong (or aesthetic encounters so
coruscating) that one's whole life becomes unthinkable without them.

But you know that and I say more power to the listeners, to those who, like
you, test-drive their ears. There are people I'd give anything to hear right
now and (with any luck) someday I will be in a room with, say, Linh Dinh or
Jennifer L. Knox or Anne Boyer or Lara Glenum.

I don't think you would deny, though, that occasionally people (not people
like you) go to readings for other reasons--social and/or political
necessity etc. Often there are concrete benefits for doing so. Alliances are
forged and reinforced. People pick friends and enemies. This is reassuring
to others because they know where to slot you. You are perceived as being
part of a "community," and when the anthologies that represent that
community are published, you are in them.

And of course those who didn't turn up over and over, carefully greasing
those wheels and currying favor with their brethren and sistren, are not. *A
Gathering of Amherst Poets*, published in 1880, wouldn't have included Emily
Dickinson (or other mute ingloriosities), but this wouldn't have affected by
one jot the warmth, even the smugness, of its reception. Was Dickinson part
of the literary community of Amherst? Yes, but your ear would have had to be
very close to the ground indeed to know it, and you wouldn't have had any
help from the Mr. Higginsons of the time.

So this is how our craft, our sullen art, stumbles forward. Or doesn't.
Right, Stephen, or anyone who cares to reply? Wrong again, perhaps!

Would have responded much sooner but was waylaid by a horrible late-summer
bug which took me down and then thrashed the resident Finn.

Rachel Loden


----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of Stephen Vincent
Sent: Friday, September 15, 2006 9:34 AM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Re: do not go to the readings of any authors

I don't know if this is fair, Rachel. Unless you are talking about
novelists!
I love to go to readings, love to give them. I am blessed to live in the Bay
Area where I have heard terrific stuff by young, older and visiting poets -
In venues that have ranged from living rooms to 300 seaters.

My ears like the treat (on the other hand, I have a hell of a resistance to
listening to poets on tape). Me likes it live and upfront! (I can usually
afford the expense of a reading - it has to be a good book before I fork up
the money - otherwise I wd be real broke).

Of course, like anyone else - I suspect - there are some poets I
instinctively won't go to hear. And I suspect there are those that have
similar responses to yours truly.  Without contraries, no grist for the mill
or the poet.


Stephen V
http://stephenvincent.net/blog/




> One of the delights known to age, and beyond the grasp of youth, is that
of
> Not Going.
>
> --J.B. Priestley
>
>> Subject: do not go to the readings of any authors
>>
>> Go not [of your own accord] to the readings of any authors,
>> nor appear
>> [at them] readily.
>>
>> But, if you do appear, keep your gravity and sedateness, and
>> at the same
>> time avoid being morose.
>>
>> -- fr. _The Enchiridion_, by Epictetus
>>
>>
>> __________________________________
>> http://gabrielgudding.blogspot.com
>> ----------------------------------
>> Gabriel Gudding
>> Department of English
>> Illinois State University
>> Normal, Illinois  61790
>> 309.438.5284 (office)
>>
=========================================================================
Date:         Mon, 18 Sep 2006 20:09:32 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Elizabeth Switaj 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

Rachel Loden  wrote:
>
> Was Dickinson part
> of the literary community of Amherst? Yes, but your ear would have had to
> be
> very close to the ground indeed to know it, and you wouldn't have had any
> help from the Mr. Higginsons of the time.



To say that Dickinson was part of the literary community of Amherst, you
would have to be using an entirely geographical definition of community,
whereas I prefer to use one that is based on interpersonal relationships
and, in the case of a literary community, mutual influence.

I currently live in Brooklyn, but I am certainly not a part of any Brooklyn
or New York literary community and would feel very odd being included in an
anthology of any such community.  I suspect that Dickinson would've felt the
same about being included in an Amherst anthology if not, in fact, more
hostile.

EK Switaj
http://qassandra.livejournal.com/
=========================================================================
Date:         Mon, 18 Sep 2006 20:06:56 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dale Smith 
Subject:      possum ego
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

New posts at Possum Ego discuss the work of Anselm Berrigan and Farid Matuk:

http://www.possumego.blogspot.com

Dale

--
Dale Smith
2925 Higgins Street
Austin, Texas 78722
www.skankypossum.com
=========================================================================
Date:         Mon, 18 Sep 2006 19:15:07 -0700
Reply-To:     r_loden@sbcglobal.net
Sender:       UB Poetics discussion group 
From:         Rachel Loden 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Elizabeth wrote:

> To say that Dickinson was part of the literary community of
> Amherst, you
> would have to be using an entirely geographical definition of
> community,
> whereas I prefer to use one that is based on interpersonal
> relationships
> and, in the case of a literary community, mutual influence.

Hi Elizabeth,

Re: "mutual influence," are you saying that in order to be part of a
community one must have been influenced by immediate others and also an
influence on them? Wouldn't this exclude the most original figures in our
midst, or hiding at our margins, and make "community" a very pale,
comfortable, enervated thing indeed?

But yes, Dickinson's hostility goes without saying--my god, sweet
Vesuvius-at-Home with her horror of Publication as "the Auction / Of the
Mind of Man"! And yet she did seek out literary figures and who knows how
much of her hauteur was of a protesting-too-much sort, because, more than
anything, one didn't want to seem to be seeking the limelight.

But my point was really about literary schmoozing and the realm of
possibility, and I just gave those what I think of as the Dickinson test,
and as usual they came up wanting.

Emily D. had her own ideas about Geography, of course, and apparently felt
that volcanoes (and perhaps other powers) would do well to come to her:

Volcanoes be in Sicily
And South America
I judge from my Geography--
Volcanoes nearer here
A Lava step at any time
Am I inclined to climb--
A Crater I may contemplate
Vesuvius at Home.


Rachel Loden.
=========================================================================
Date:         Mon, 18 Sep 2006 22:32:18 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Elizabeth Switaj 
Subject:      Re: do not go to the readings of any authors
Comments: To: r_loden@sbcglobal.net
In-Reply-To:  <009001c6db91$6dddc870$230110ac@GLASSCASTLE>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
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Last time I checked, community was a comfortable thing.  I have a difficult
time conceptualizing the dynamics of a literary community in which mutual
influence wouldn't play a part.  That's not to say that everyone in a
community would write the same way, but yes, it would exclude certain
writers.  And I'm not sure that's a problem when trying to define
community.

There's a certain slant of light that margin dwellers see.   Some writers,
on the other hand, benefit more from community, and those of us who live
long enough may move from one to the other and back again.

Of course, when one enters into a literary community not for the purposes of
creating better art but rather with the goal of padding one's publication
products, there is something distasteful to it (to me).  But then, I think
there are very few of us who burn are poems as soon as they are written.
And most of us do something to get our work out there.

EK Switaj
http://qassandra.livejournal.com

On 9/18/06, Rachel Loden  wrote:
>
> Elizabeth wrote:
>
> > To say that Dickinson was part of the literary community of
> > Amherst, you
> > would have to be using an entirely geographical definition of
> > community,
> > whereas I prefer to use one that is based on interpersonal
> > relationships
> > and, in the case of a literary community, mutual influence.
>
> Hi Elizabeth,
>
> Re: "mutual influence," are you saying that in order to be part of a
> community one must have been influenced by immediate others and also an
> influence on them? Wouldn't this exclude the most original figures in our
> midst, or hiding at our margins, and make "community" a very pale,
> comfortable, enervated thing indeed?
>
> But yes, Dickinson's hostility goes without saying--my god, sweet
> Vesuvius-at-Home with her horror of Publication as "the Auction / Of the
> Mind of Man"! And yet she did seek out literary figures and who knows how
> much of her hauteur was of a protesting-too-much sort, because, more than
> anything, one didn't want to seem to be seeking the limelight.
>
> But my point was really about literary schmoozing and the realm of
> possibility, and I just gave those what I think of as the Dickinson test,
> and as usual they came up wanting.
>
> Emily D. had her own ideas about Geography, of course, and apparently felt
> that volcanoes (and perhaps other powers) would do well to come to her:
>
> Volcanoes be in Sicily
> And South America
> I judge from my Geography--
> Volcanoes nearer here
> A Lava step at any time
> Am I inclined to climb--
> A Crater I may contemplate
> Vesuvius at Home.
>
>
> Rachel Loden.
>
>
>
>
>
=========================================================================
Date:         Mon, 18 Sep 2006 19:35:38 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re: do not go to the readings of any authors
Comments: To: r_loden@sbcglobal.net
In-Reply-To:  <009001c6db91$6dddc870$230110ac@GLASSCASTLE>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

> Vesuvius at Home.

I think this was Bush at his news conference on Friday on the lawn of his
White House 'home'. I thought the guy was about to go off the hook in his
fury (about not being able to strangle people).

If anybody can be the cause of bringing Vesuvius into this country
(somebody's Hail George Nuke), he would be the one.

Why is one man permitted to depress the hell out of the world?

Beats me,

Stephen V
http://stephenvincent.net/blog/
=========================================================================
Date:         Mon, 18 Sep 2006 23:40:44 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Eric Yost 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

 >>Why is one man permitted to depress the hell out of the
world?


Philip Larkin understood.
=========================================================================
Date:         Mon, 18 Sep 2006 23:26:07 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: m1  MiX'D TRiX Sept 30th  reading
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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don't know tom  hope to see you at the birthday  bash sunday at tonic
430 onward
=========================================================================
Date:         Mon, 18 Sep 2006 21:01:12 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Wallis Leslie 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  <450F66BC.3090507@gmail.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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This last weekend I was privileged to listen and talk to a distinguished gathering of international poets for a “Resilience of the Human Spirit” meeting in Arlo Guthrie’s Conference Center in Great Barrington, Massachusetts. The center is in the old Alice ’s Restaurant, once a church. One of the lines in Guthrie’s song “ Alice ’s Restaurant” is about the possibility of a song changing the world. These poets come from places of genocide, firing squads, chemical warfare, political imprisonment, radiation poisoning, mass burial, and strategic rape. And yet they continue to sing.

  I’m afraid I identified most strongly with Li-Young Lee who said that he was not resilient, and that he did not know anyone who was resilient and with Alexandre Kemenyi who said the Rwandan massacres had left him feeling like a monster who thought that any single death at this point was not important enough to be awakened at 3 AM to find out about.

  But these feelings are probably defensive measures, because when the poetry gets going, the heart opens, and the gasp of aliveness and shared connection occurs.

  Iranian poet Majid Naficy told a story about a Persian king who so loved his horse that he warned that anyone who told him of his horse’s death would be executed. When the beast did die, the courtiers asked for the help of a musician who played for the king a composition of such beauty that when it ended the king remarked, “So, my horse is dead!”

  Let’s hope that we continue to create and to share work of such beauty that our readers and students themselves find understanding.

  Wallis Leslie


 		
---------------------------------
Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less.
=========================================================================
Date:         Tue, 19 Sep 2006 01:27:58 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         JT Chan 
Subject:      Call for submissions
Comments: To: Women Poets 
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

hello,

Poetry Sz: demystifying mental illness, an e-zine found at
http://poetrysz.blogspot.com is calling for submissions. Send 4-6 poems in the
body of your email along with a short bio to poetrysz@yahoo.com . Please read
the submission guidelines before submitting.

thanks.

J Chan
editor


__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Tue, 19 Sep 2006 07:38:04 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Craig Allen Conrad 
Subject:      MOONCALF PRESS new site with Spring Diet of Flowers at Night,
              and coming to NY
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

MOONCALF PRESS
new webpage:
_http://mooncalfpress.blogspot.com/_ (http://mooncalfpress.blogspot.com/)

November MOONCALF will be doing a show in NY
for BOOG, stay tuned
=========================================================================
Date:         Tue, 19 Sep 2006 07:49:34 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dan Waber 
Subject:      altered books project
Comments: To: announce@logolalia.com
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii

The altered books project at:

http://www.logolalia.com/alteredbooks/

has been updated with new work by:

Meghan Scott, Michelle Taransky, Nico Vassilakis, John M. Bennett, Mike Magazinnik, Sheila E. Murphy, Holly Crawford, Kristen McQuillin.

The project now has over 500 completed pages.

Enjoy,
Dan
=========================================================================
Date:         Tue, 19 Sep 2006 09:18:42 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Brenda Coultas 
Subject:      The Woodstock Mountain Poetry Revolution
MIME-Version: 1.0
Content-Type: text/plain; charset="UTF-8"
Content-Transfer-Encoding: quoted-printable

Shivastan Publishing presents
 The Woodstock Mountain Poetry Revolution!
 ~Poets can change the world~
 =C2=A0
 Sept.30 & Oct.1 at the Colony Caf=C3=A9
 22 Rock City Rd. Woodstock NY 845 679 5342
 =C2=A0
 Saturday September 30th
 6 to 9 pm: Poet=E2=80=99s Benefit for =E2=80=9CFairness & Accuracy In Repor=
ting=E2=80=9D
 Jeff Cohen (co-founder of F.A.I.R.) ~author of =E2=80=9CCable News Confiden=
tial=E2=80=9D
 Ed Sanders ~author of =E2=80=9CAmerica: a History in Verse=E2=80=9D
 Eliot Katz ~author of =E2=80=9CUnlocking the Exits=E2=80=9D
 Vivian Demuth ~author of =E2=80=9CBreathing Nose Mountain=E2=80=9D
 Janine Pommy Vega ~author of =E2=80=9CThe Green Piano=E2=80=9D
 Hosted by Andy Clausen ~author of =E2=80=9C40th Century Man=E2=80=9D
 + Music by Tom Pacheco!
 Admission $10
 {warning: this event may be extremely political}
 =C2=A0
 9pm to midnite: Open Mic Poetry Orgy!
 celebrating the new issue of
 =E2=80=9Cwildflowers ~a Woodstock mountain poetry anthology=E2=80=9D
 Woodstock=E2=80=99s only poetry magazine ~13 great poets~ vol. 7
 Printed in Kathmandu, Nepal on Handmade Paper
 Hosted by publisher Shiv Mirabito ~author of =E2=80=9CTranscendental Tyger=
=E2=80=9D
 Free admission!
 {this event will highlight a very unusual local publishing company}
 =C2=A0
 Sunday October 1
 7 to 9 pm: Moorish Orthodox Revival & Poetry Reading
 Robert Kelly ~author of new Shivastan chapbook =E2=80=9CSainte Terre=E2=80=
=9D
 {head of Bard College writing dept.}
 Peter Lamborn Wilson ~author of =E2=80=9CAtlantis Manifesto=E2=80=9D
 Carey Harrison ~author of =E2=80=9CRichard=E2=80=99s Feet=E2=80=9D
 Hosted by Shiv Mirabito
 Admission $10
 {all these writers are involved in the =E2=80=9CMoorish Orthodox Church=E2=
=80=9D}
=========================================================================
Date:         Tue, 19 Sep 2006 06:49:16 -0700
Reply-To:     r_loden@sbcglobal.net
Sender:       UB Poetics discussion group 
From:         Rachel Loden 
Subject:      Re: do not go to the readings of any authors
In-Reply-To:  <20060919040112.40591.qmail@web53812.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Wallis, Stephen, Elizabeth, others,

In times like these I find myself rereading "Deor," an Old English =
lament
from about thirteen centuries ago. Literary bitterness, political =
tyranny,
world-weariness, broken community, the exiled poet Deor has seen it all =
and
stubbornly comes back to his refrain, "Thaes ofereode, thisses swa maeg"
(That went by; this may too). It's a good thing to turn to after the =
latest
unbearable shenanigans in Washington, or anytime you need the long view.

Here are the last few stanzas, in Michael Alexander's translation:

We all know that Eormanric
had a wolf's wit. Wide Gothland
lay in the grasp of that grim king,
and through it many sat, by sorrows environed,
foreseeing only sorrow; sighed for the downfall
and thorough overthrow of the thrall-maker.

     That went by; this may too.

When each gladness has gone, gathering sorrow
may cloud the brain; and in his breast a man
can not then see how his sorrows shall end.
But he may think how throughout this world
it is the way of God, who is wise, to deal
to the most part of men much favour
and a flourishing fame; to a few the sorrow-share.

Of myself in this regard I shall say this only:
that in the hall of the Heodenings I held long the makarship,
lived dear to my prince, Deor my name;
many winters I held this happy place
and my lord was kind. Then came Heorrenda,
whose lays were skillful; the lord of fighting-men
settled on him the estate bestowed once on me.

     That went by; this may too.



> -----Original Message-----
> From: UB Poetics discussion group=20
> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Wallis Leslie
> Sent: Monday, September 18, 2006 9:01 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Re: do not go to the readings of any authors
>=20
> This last weekend I was privileged to listen and talk to a=20
> distinguished gathering of international poets for a=20
> =93Resilience of the Human Spirit=94 meeting in Arlo Guthrie=92s=20
> Conference Center in Great Barrington, Massachusetts. The=20
> center is in the old Alice =92s Restaurant, once a church. One=20
> of the lines in Guthrie=92s song =93 Alice =92s Restaurant=94 is=20
> about the possibility of a song changing the world. These=20
> poets come from places of genocide, firing squads, chemical=20
> warfare, political imprisonment, radiation poisoning, mass=20
> burial, and strategic rape. And yet they continue to sing.
>   =20
>   I=92m afraid I identified most strongly with Li-Young Lee who=20
> said that he was not resilient, and that he did not know=20
> anyone who was resilient and with Alexandre Kemenyi who said=20
> the Rwandan massacres had left him feeling like a monster who=20
> thought that any single death at this point was not important=20
> enough to be awakened at 3 AM to find out about.
>   =20
>   But these feelings are probably defensive measures, because=20
> when the poetry gets going, the heart opens, and the gasp of=20
> aliveness and shared connection occurs.
>   =20
>   Iranian poet Majid Naficy told a story about a Persian king=20
> who so loved his horse that he warned that anyone who told=20
> him of his horse=92s death would be executed. When the beast=20
> did die, the courtiers asked for the help of a musician who=20
> played for the king a composition of such beauty that when it=20
> ended the king remarked, =93So, my horse is dead!=94
>   =20
>   Let=92s hope that we continue to create and to share work of=20
> such beauty that our readers and students themselves find=20
> understanding.
>   =20
>   Wallis Leslie
>   =20
>=20
>  	=09
> ---------------------------------
> Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US=20
> (and 30+ countries) for 2=A2/min or less.
>=20
=========================================================================
Date:         Tue, 19 Sep 2006 09:55:39 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         info 
Subject:      Freehand?
In-Reply-To:  
MIME-version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit

Hi,

Hoping someone can fill me in on the fate of Freehand.  Hugh Steinberg and
Miles Durrance were the editors.  Was the first issue ever produced?  It's
been a long time since it was due out and the email address I have-
freehandjournal@yahoo.com- is failing so I'm assuming it met a bad end but
hope not.

Andrea Baker
=========================================================================
Date:         Tue, 19 Sep 2006 08:33:29 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Rodney K 
Subject:      Koeneke & Finney read in SF, this TH 9/21
Mime-Version: 1.0 (Apple Message framework v624)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; format=flowed

SEAN FINNEY & RODNEY KOENEKE
read from their poetry

THURSDAY, SEPT. 21 @ 8 p.m.
ADOBE BOOKS 3166 16th Street (bet. Valencia & Guerrero)
SAN FRANCISCO

SEAN TUMOANA FINNEY is a poet and erstwhile resident of Hawaii who now
works in San Francisco as a copywriter. He is the author of THE
OBEDIENT DOOR (Meritage Press, 2005) and eminence grise of the Canteen
Literary Banquet series, about which you can Google.

RODNEY KOENEKE is the author of MUSEE MECHANIQUE (BlazeVOX, 2006) and
ROUGE STATE (Pavement Saw, 2003). I.A. Richards once went to China and
there was Rodney eighty years later to write about it. A native of
Omaha, NE, he now makes his home near the Glen Park BART stop.
=========================================================================
Date:         Tue, 19 Sep 2006 11:26:14 -0500
Reply-To:     dgodston@sbcglobal.net
Sender:       UB Poetics discussion group 
From:         Daniel Godston 
Subject:      Lower & Upper Limits tonight
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 8bit

Toni Asante Lightfoot & Philasoph

will perform with The Ways & Means Trio

at Muse Café from 8 till 10 p.m. tonight

as part of the Lower & Upper Limits series

Lower & Upper Limits is a series at Muse Café that explores collaborations
between poets and musicians and relationships between language and music.
The Ways & Means Trio is Joel Wanek (upright bass, cello), Daniel Godston
(trumpet, percussion), and Jayve Montgomery (reeds, percussion,
electronics). The title of this series is taken from Louis Zukofsky’s “A-12”
: “I’ll tell you. / About my poetics -- music / speech / An integral / Lower
limit speech / Upper limit music.” Lower & Upper Limits happens at Muse Café
on the third Tuesday of the month.

Muse Café is at 817 N. Milwaukee Ave. in Chicago, and the phone number is
312.850.2233. The Chicago station on the CTA blue line is a half a block
away. This event is free and open to the public, donations appreciated. For
more information, visit these websites: www.musecafechicago.com &
http://jayvejohnmontgomery.com/.

*   *

"A gray day provides the best light." – Leonardo da Vinci
=========================================================================
Date:         Tue, 19 Sep 2006 10:01:29 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Matt Henriksen 
Subject:      Fri Sept 22 : Gregory, Sherlock & York : Brooklyn
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

The Burning Chair Readings
Say YES! to Innovative Poetry

w/
The Poetry Stylings of

Jane Gregory, Frank Sherlock & Jake Adam York

Friday, September 22nd, 7:30 PM
@
The Fall Café
307 Smith Street
Between Union & President
Carroll Gardens, Brooklyn
F or G to Carroll Street

Frank Sherlock is the author of Spring Diet of Flowers
at Night (Mooncalf Press), ISO (furniture press), 13
(ixnay press) and has engaged in collaborative
projects with CAConrad, Jennifer Coleman and sound
artist/DJ Alex Welsh. He is a contributing editor for
XConnect: Writers for the Information Age.

Jake Adam York is the author of Murder Ballads,
selected by Jane Satterfield for the Fifth Annual
Elixir Press Awards Judge’s Prize. His poems have
appeared in Shenandoah, Oxford American, Greensboro
Review, Gulf Coast, New Orleans Review, Quarterly
West, Diagram, Octopus, Southern Review, Poetry Daily,
and other journals as well as in the anthologies
Visiting Walt (Iowa University Press, 2003) and
Digerati (Three Candles, 2006).  York is an associate
professor of English and Creative Writing at the
University of Colorado at Denver and Health Sciences
Center in Denver, Colorado, where he directs an
undergraduate Creative Writing program and produces
Copper Nickel with his students. York is also a
contributing editor for Shenandoah, a co-editor of the
online journal storySouth and a founding editor of
Thicket, an electronic journal dedicated to Alabama
writers and Alabama writing. His work of poetic
history, The Architecture of Address: The Monument and
Public Speech in American Poetry, was published by
Routledge in 2005.

Jane Gregory is one of Brooklyn’s best kept secrets,
unless you read Cannibal or are a regular during The
Witching Hours.  Then you know all about her.


__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Tue, 19 Sep 2006 10:15:03 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "D. Ross Priddle" 
Subject:      HAT zine
Comments: cc: ross_priddle@yahoo.ca
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

i'd like to tell you all about the latest issues of HAT zine (up to 124
now) but i'm not sure if i'm still a member of this community

am i?

--
=========================================================================
Date:         Tue, 19 Sep 2006 13:22:55 -0400
Reply-To:     az421@freenet.carleton.ca
Sender:       UB Poetics discussion group 
From:         Rob McLennan 
Subject:      Re: HAT zine
Content-transfer-encoding: 7BIT

as much as the rest of us, id think; can i get some copies of recent
things to talk abt on my little blog thing? you always make interesting
things.

rob


 >
>i'd like to tell you all about the latest issues of HAT zine (up to 124
>now) but i'm not sure if i'm still a member of this community
>
>am i?
>
>--
>
>

--
poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics
(Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press
fair   ...11th coll'n - name   , an errant (Stride, UK)        .... c/o 858
Somerset St W, Ottawa ON K1R 6R7   *      http://robmclennan.blogspot.com/
=========================================================================
Date:         Tue, 19 Sep 2006 10:29:49 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Matt Henriksen 
Subject:      Sat Sept 23 : Lemon & Shaughnessy : Williamsburg, Brooklyn
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

The Burning Chair Readings
Celebrate the release of Alex Lemon’s debut book of
poems
MOSQUITO from Tin House Books
w/ readings by

Alex Lemon & Brenda Shaughnessy

Saturday, September 23rd, 8 PM
@ The Pierogi Gallery
177 North 9th Street,
Between Bedford & Driggs
Williamsburg, Brooklyn
L to Bedford Avenue

A helpful map: http://www.pierogi2000.com/wburg.html

For additional information contact
Matt Henriksen: 917-478-5682 or matthenriksen at yahoo
dot com

For information on the venue, press and reading
series, visit
Pierogi Gallery: http://www.pierogi2000.com
Tin House Books: http://www.tinhouse.com/books
The Burning Chair Readings:
http://www.typomag.com/burningchair

Alex Lemon’s first book of poems, Mosquito, was
recently released from Tin House Books.  A chapbook,
At Last Unfolding Congo, is forthcoming from Burning
Chair Books.  His poems have appeared or are
forthcoming in numerous magazines including Tin House,
Denver Quarterly, AGNI, Black Warrior Review, Gulf
Coast, Indiana Review, Pleiades, Post Road, Swink, and
Washington Square. His translations (with Wang Ping)
of a number of contemporary Chinese poets are
forthcoming in Tin House, New American Writing and
other journals. Among his awards is a 2005 Literature
Fellowship in Poetry from the National Endowment for
the Arts. Alex is a frequent contributor to the
Bloomsbury Review. Currently, he teaches at Macalester
College in St. Paul, Minnesota.

Brenda Shaughnessy's first book of poems, Interior
with Sudden Joy (Farrar, Straus & Giroux, 1999) was
nominated for the PEN/Joyce Osterweil Award for
Poetry, a Lambda Literary Award, and the Norma Farber
First Book Award.  Her second collection, Human Dark
with Sugar, is forthcoming from Copper Canyon Press.
Her poems have appeared in Best American Poetry 2000,
Bomb, Boston Review, Conjunctions, Nerve.com, The New
Yorker, The Paris Review, The Yale Review, jubilat and
elsewhere.  She is the poetry editor at Tin House and
teaches creative writing at Columbia University and at
Eugene Lang College at the New School.  She lives in
Brooklyn, New York.


__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Tue, 19 Sep 2006 14:36:30 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mark Weiss 
Subject:      Book launch
Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk
Mime-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"; format=flowed
Content-Transfer-Encoding: quoted-printable

For those in the New York area:

Book Launch and reading: Mervyn Taylor's "Gone Away," new from Junction=
 Press

Sunday, Sept 24, 6 PM, at Cornelia Street Cafe,=20
29 Cornelia Street, between Bleeker and West 4th.


My dear Mervyn

         It=92s an experience at last coming to yr=20
work: the seemingly effortless fusion of form,=20
manner, craftpersonship & content of good sense,=20
often wisdom. Very much the human condition and=20
based, in yr case, so firm & lovingly in people=20
(yr glitter of dedications) and in family. And=20
you provide this sense of passing glory=96and yet=20
you capture well the GLORY (e.g =91Masif=E9, Masif=E9.=20
. .=92). There=92s orisha knowledge also. And I like=20
that. So we have the person the thing the ancestor and the spirit.
         Of all our poets, you are the most of=20
the diaspora, equally the empathy in New York and=20
Trinidad. Poem after poem after poem left me=20
breathless with admiration until it seemed that=20
all that cd happen, is that each poem wd have to=20
try to do =91better=92 than its predecessor. And=20
towards the end, that began to worry me a=20
bit=96could you keep it up? And then you take it=20
further still=96& different=96in the wonderfully extreme =93Some Loves=94:

An emptiness in the belly,
a burning near the heart:

symptoms of the moon
going down a dark valley
showing hardly any light.

Where does it hurt,
the doctor asks, and lovesick,
the sufferer points everywhere.

                         Kamau Brathwaite
=========================================================================
Date:         Tue, 19 Sep 2006 15:58:50 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         David Applegate 
Subject:      Grammar Crisis
Mime-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

Dear UB Poetics discussion group,

Bad Noise Productions' "Grammar Crisis" is now available as a free
limited edition e-book download from www.badnoiseproductions.com.   The
first ever confluence of 8-bit aesthetics, mollusks, crows, guns,
Cabala, ruins, hentai, Fibonacci, Sri Yantra, noise, French eroticism,
Catholic saints, Buddhist demons, Taoism, hip-hop, acephalia, remixed
art, Upanishad cosmogony, sunflowers, recipes, alcohol, poetry,
Dionysian fantasy, circuitry, grime, cartoons, sound-systems, and
Japanese ghosts. You will need to be able to view .pdf files on your
computer to enjoy "Grammar Crisis."  We look forward to hearing from
you. love,David Applegate & all of us here at Bad Noise Productions
=========================================================================
Date:         Tue, 19 Sep 2006 15:35:40 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      on how poets can privilege aesthetics over ethics
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

http://gabrielgudding.blogspot.com

[others have articulated this lots better, i know. i hope you'll forgive
the ponderous quote by john locke toward the post's end. it's followed
by kathy acker if that helps.]

very warmly,
gabe
=========================================================================
Date:         Wed, 20 Sep 2006 07:49:25 +1000
Reply-To:     k.zervos@griffith.edu.au
Sender:       UB Poetics discussion group 
From:         "kom9os@bigpond.net.au" 
Subject:      Re: The Woodstock Mountain Poetry Revolution
Comments: cc: Brenda Coultas 
Mime-Version: 1.0
Content-Type: text/plain; charset=utf-8
Content-Transfer-Encoding: quoted-printable

sounds like a great event, i wish i could be there.
cheers
komninos


---- Brenda Coultas  wrote:=20

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
Shivastan Publishing presents
 The Woodstock Mountain Poetry Revolution!
 ~Poets can change the world~
 =EF=BF=BD=20
 Sept.30 & Oct.1 at the Colony Caf=C3=A9
 22 Rock City Rd. Woodstock NY 845 679 5342
 =EF=BF=BD=20
 Saturday September 30th
 6 to 9 pm: Poet=E2=80=99s Benefit for =E2=80=9CFairness & Accuracy In Repo=
rting=E2=80=9D
 Jeff Cohen (co-founder of F.A.I.R.) ~author of =E2=80=9CCable News Confide=
ntial=E2=80=9D
 Ed Sanders ~author of =E2=80=9CAmerica: a History in Verse=E2=80=9D
 Eliot Katz ~author of =E2=80=9CUnlocking the Exits=E2=80=9D
 Vivian Demuth ~author of =E2=80=9CBreathing Nose Mountain=E2=80=9D
 Janine Pommy Vega ~author of =E2=80=9CThe Green Piano=E2=80=9D
 Hosted by Andy Clausen ~author of =E2=80=9C40th Century Man=E2=80=9D
 + Music by Tom Pacheco!
 Admission $10
 {warning: this event may be extremely political}
 =EF=BF=BD=20
 9pm to midnite: Open Mic Poetry Orgy!
 celebrating the new issue of
 =E2=80=9Cwildflowers ~a Woodstock mountain poetry anthology=E2=80=9D
 Woodstock=E2=80=99s only poetry magazine ~13 great poets~ vol. 7
 Printed in Kathmandu, Nepal on Handmade Paper
 Hosted by publisher Shiv Mirabito ~author of =E2=80=9CTranscendental Tyger=
=E2=80=9D
 Free admission!
 {this event will highlight a very unusual local publishing company}
 =EF=BF=BD=20
 Sunday October 1
 7 to 9 pm: Moorish Orthodox Revival & Poetry Reading
 Robert Kelly ~author of new Shivastan chapbook =E2=80=9CSainte Terre=E2=80=
=9D
 {head of Bard College writing dept.}
 Peter Lamborn Wilson ~author of =E2=80=9CAtlantis Manifesto=E2=80=9D
 Carey Harrison ~author of =E2=80=9CRichard=E2=80=99s Feet=E2=80=9D
 Hosted by Shiv Mirabito
 Admission $10
 {all these writers are involved in the =E2=80=9CMoorish Orthodox Church=E2=
=80=9D}
=========================================================================
Date:         Tue, 19 Sep 2006 18:02:13 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: HAT zine
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seems like you are ross as much as anybody is(n't)
=========================================================================
Date:         Tue, 19 Sep 2006 17:51:18 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: Sat Sept 23 : Lemon & Shaughnessy : Williamsburg, Brooklyn
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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burn baby  burn
=========================================================================
Date:         Tue, 19 Sep 2006 20:11:25 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mark Prejsnar 
Subject:      tomorrow in Atlanta
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tomorrow night

the Atlanta Poets Group presents:

Language Harm
Atlanta's bi-monthly poetickal performance event


this month:  Really Bad Feelings


8:00 pm


$4.00


at:  Eyedrum
290 Martin Luther King Jr. Drive


for directions:
http://www.eyedrum.org/
=========================================================================
Date:         Tue, 19 Sep 2006 21:14:44 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Geoffrey Gatza 
Subject:      New From BlazeVOX [books] War on Words : The John Bradley/Tomaz
              Salamun* Confusement
Comments: To: Poetryetc provides a venue for a dialogue relating to poetry and
          poetics 
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War on Words : The John Bradley/Tomaz Salamun* Confusement.


Featuring Correspondence and Occasional Outbursts of Poetry
by Tomaz Salamun* and John Bradley
With a Preface by Patti Smith

ISBN: 0975922734
$15


http://www.blazevox.org/bk-jb.htm
http://www.cafepress.com/blazevox.54868493


"Wow! It might be Nonsalamuns may not enjoy as much as I did, but for our
tribe--- I went through different stages: shock, amazement, I was pale,
laughter - a lot -, awe, guilt, aphssss!, even my mind wanted to take off
for a moment, but mostly gratitude, I was moved; I am moved."
- Tomaz Salamun


In the first episode of Monty Python's Flying Circus, near the end of the
sketch, "The Funniest Joke in the World" (which chronicles the exploits of
"the killer joke"), Eric Idle soberly announces, "In 1945, Peace broke out.
It was the end of the Joke.  Joke warfare was banned at a special session of
the Geneva Convention."  John Bradley similarly investigates the inside-out
of things in his explosive new book, War on Words, in which the "war" he
wages on conventional language, on our bought and staid habits of mind, is a
discursive demolition that interrogates the contamination of the very root
systems of our words and concepts of "ownership," "voice," and "intellectual
property."  Profoundly Surreal, but never merely clever, Bradley's work
glistens with the ebullience of the 1920's Libertine, sounding him as a
clear inheritor of La Revolution Surrealiste, and his poems are as
remarkable, meaningful, and necessary as anything being written today.  War
on Words is an extraordinary book, seriously playful in the ways
anthropologist Clifford Geertz might describe the significance of "deep
play" among the indigenous cultures of Bali.  I have read Bradley's work
faithfully for more than 25 years, and it is no exaggeration to say he is
one of the two or three most important poets among us.  But for those of you
who distrust enthusiasm, earned and tempered in this case as it most
certainly is, let me simply say, "This is a good book.  I like it a lot."
-George Kalamaras


John Bradley is one of the hidden Greats. And this utterly riveting Poetic
Detective story is the greatest collaboration in American poetry since Jack
Spicer's After Lorca. It will also prove to be, I have no doubt, Tomaz
Salamun's most famous book.
-Kent Johnson


John Bradley received an MA in English from Colorado State University and an
MFA in Creative Writing from Bowling Green State University. His book of
poetry Love-In-Idleness won the Washington Prize. He is the editor of Atomic
Ghost: Poets Respond to the Nuclear Age and Learning to Glow: A Nuclear
Reader. Bradley lives with his wife, Jana, in DeKalb, where he teaches
writing at Northern Illinois University. He is the recipient of a National
Endowment of the Arts Fellowship in poetry.

--
Best, Geoffrey

Geoffrey Gatza
BlazeVOX [books]
www.blazevox.org
=========================================================================
Date:         Tue, 19 Sep 2006 19:24:46 -0700
Reply-To:     editor@pavementsaw.org
Sender:       UB Poetics discussion group 
From:         David Baratier 
Subject:      Larry's Poetry Forum Schedule 2006-2007
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The Poetry Forum at Larry’s
  The Season: 2006-2007

    Looking forward to seeing you'all soon--
Readings: 2 sets about 20-25 minutes each. From:


  October 2-- Charlene Fix
  October 9-- Fred Andrle
  October 16-- Joanna Schroeder
  October 23-- Katie Daley
  October 30-- Dead Poets
  November 6-- Chad Prevost
  November 13-- James Harms
November 20-- Steve Davenport   November 27-- Gary Pacernik
  December 4-- Kevin Griffith

  ---Break----

  January 8-- Letitia Trent
  January 15-- Okla Elliot

  --more soon--

    All Events
Mondays 7pm 2040 N. High St
Columbus, Ohio
All readings followed by a brief open mike.
  Funded by the Ohio Arts Council: A state agency that supports public programs in the arts.

    Be well
  David Baratier, Co-coordinator, Larry's Poetry Forum






Be well

David Baratier, Editor

Pavement Saw Press
PO Box 6291
Columbus, OH 43206
http://pavementsaw.org
=========================================================================
Date:         Tue, 19 Sep 2006 22:03:47 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Tony Trigilio 
Organization: http://www.starve.org
Subject:      Patricia Spears Jones / Wednesday / Columbia College Chicago
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Patricia Spears Jones Poetry Reading
Wednesday, September 20th at 5:30 p.m.
Columbia College Chicago
Concert Hall, 1014 S. Michigan Ave.

Free & Open to the public

Patricia Spears Jones is the author of two poetry collections, THE
WEATHER THAT KILLS (Coffee House Press, 1995) and FEMME DU MONDE (Tia
Chucha Press, 2006); and the play 'MOTHER' commissioned and produced by
Mabou Mines and a new commission SONG FOR NEW YORK:  WHAT WOMEN DO WHEN
MEN ARE KNITTING, which Mabou  will premiere in 2007.  Her poems are
anthologized in POETRY AFTER 911; BUMRUSH, A DEF POETRY JAM; ALOUD:
VOICES FROM THE NUYORICAN POETS CAFE; BEST AMERICAN POETRY 2000; BLACK
SISTER; and BLOOD AND TEARS:  POEMS FOR MATTHEW SHEPARD.  She also has
published poems in journals such as BLACK RENAISSANCE NOIRE, BOMB,
NOCTURNES (RE)VIEW, COURT GREEN, AGNI, BARROW STREET, CALLALOO, KENYON
REVIEW, PLOUGHSHARES, POETRY PROJECT NEWSLETTER, TELEPHONE, and THE
WORLD.   She has received fellowships to Bread Loaf, the Millay Colony,
Squaw Valley Community of Writers, and the Virginia Center for the
Creative Arts, and awards from the National Endowment for the Arts, the
New York Foundation for the Arts, the Foundation for Performance Arts,
and the Goethe Institute for travel and research in Germany.  She has
taught at Parsons School of Design, Sarah Lawrence College, and Naropa
University, and for Cave Canem.
=========================================================================
Date:         Wed, 20 Sep 2006 08:07:20 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Pierre Joris 
Subject:      Recent Nomadics posts
Comments: cc: BRITISH-POETS@JISCMAIL.AC.UK
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed
Content-Transfer-Encoding: quoted-printable

Recent Nomadics blog posts can be visited at: http://=20
pjoris.blogspot.com:

Meddeb on Islamic Fundamentalism
Trane at 80
Will the Sun come to our rescue?
Constitution Day
Clairvoyant Lean-to
First American Poem?
'Drastic' shrinkage in Arctic ice

sorry for any crosspostings.

Pierre

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D
       "Fascism should more properly
be called corporatism,since it is the
merger of state and corporate power."
       =97 Benito Mussolini
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D
Pierre Joris
244 Elm Street
Albany NY 12202
h: 518 426 0433
c: 518 225 7123
o: 518 442 40 71
Euro cell:  011 33 6 79 368 446
email: joris@albany.edu
http://pierrejoris.com
Nomadics blog: http://pjoris.blogspot.com
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=========================================================================
Date:         Wed, 20 Sep 2006 08:22:48 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         John Latta 
Subject:      Recently, Isola di Rifiuti
Comments: cc: BRITISH-POETS@JISCMAIL.AC.UK, lucipo@lists.ibiblio.org,
          new-poetry@wiz.cath.vt.edu
MIME-Version: 1.0
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Guy Debord and Jack Spicer
A Glob or Two of Javier Marias
Ron Silliman Counts Beans
Marias Against the Living of One's Life in Advance
Foxglove
For Metaphor
A Legal Pencil
Charles Bernstein Condescends to Bob Dylan

That and the usual "Photographs, Malarkey, & Guff" at:

http://isola-di-rifiuti.blogspot.com/

John Latta
=========================================================================
Date:         Wed, 20 Sep 2006 09:03:50 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         William Allegrezza 
Subject:      Series A--Chicago Literary Reading
Comments: To: holdthresh@yahoo.com
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
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Chicago Literary Reading



Series A 

September 26, 7:00-8:00 p.m.
Ray Bianchi
Jimmy Wynn Ensemble

At the Hyde Park Art Center.
5020 S. Cornell Avenue
Chicago, IL

Raymond L Bianchi lived for most of the 1990's in Latin America in Brazil
and Bolivia. A native of suburban Chicago and the child of Italian
Immigrants, he worked in international publishing since 1996. His poetry has
appeared or is upcoming in Antennae, Near South, Tin Lustre Mobile, 26,
Moria, Red River Review, Sentence, Bird Dog, Literatura e Cultura and his
essays have appeared in the Economist and the Financial Times. He is the
section editor of the fall 2006 issue of Aufgabe, which includes a
translation section of contemporary Brazilian poetry that he translated. His
book Circular Descent was published by Blaze Vox Press in 2004, and a
chapbook, The American Master, was published by Moria Books in 2006. He is
the publisher of Cracked Slab Books in Chicago and edits the website
chicagopostmodernpoetry.com.

The Jimmy Wynn Ensemble is composed of Chicago writers Dale Barrigar,
Michael Antonucci, and Garin Cycholl. The Ensemble's previous work has
appeared with Exquisite Corpse, Admit 2, and the Guild Complex Series.



For more information, visit www.moriapoetry.com/seriesa.html or contact Bill
Allegrezza at editor@moriapoetry.com.


=========================================================================
Date:         Wed, 20 Sep 2006 09:12:21 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         William Allegrezza 
Subject:      Series A--Chicago Literary Reading
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

Chicago Literary Reading



Series A 

September 26, 7:00-8:00 p.m.
Ray Bianchi
Jimmy Wynn Ensemble

At the Hyde Park Art Center.
5020 S. Cornell Avenue
Chicago, IL

Raymond L Bianchi lived for most of the 1990's in Latin America in Brazil
and Bolivia. A native of suburban Chicago and the child of Italian
Immigrants, he worked in international publishing since 1996. His poetry has
appeared or is upcoming in Antennae, Near South, Tin Lustre Mobile, 26,
Moria, Red River Review, Sentence, Bird Dog, Literatura e Cultura and his
essays have appeared in the Economist and the Financial Times. He is the
section editor of the fall 2006 issue of Aufgabe, which includes a
translation section of contemporary Brazilian poetry that he translated. His
book Circular Descent was published by Blaze Vox Press in 2004, and a
chapbook, The American Master, was published by Moria Books in 2006. He is
the publisher of Cracked Slab Books in Chicago and edits the website
chicagopostmodernpoetry.com.

The Jimmy Wynn Ensemble is composed of Chicago writers Dale Barrigar,
Michael Antonucci, and Garin Cycholl. The Ensemble's previous work has
appeared with Exquisite Corpse, Admit 2, and the Guild Complex Series.



For more information, visit www.moriapoetry.com/seriesa.html or contact Bill
Allegrezza at editor@moriapoetry.com.






=========================================================================
Date:         Wed, 20 Sep 2006 10:23:16 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Marcus Bales 
Subject:      Re: Series A--Chicago Literary Reading
Comments: To: William Allegrezza 
In-Reply-To:  
MIME-Version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7BIT

Thanks for the info -- Do you have a bio for your own self I can use
to promote your reading with Ray Bianchi, Lou Suarez, and Mollie
Chambers here in Gallery 324 on October 21?

And don't forget I ask each poet to read a poem by a poet he or she
admires as a prelude to reading his or her own poetry.

Thanks!

Marcus
216/780-1522



On 20 Sep 2006 at 9:12, William Allegrezza wrote:

> Chicago Literary Reading
>
>
>
> Series A 
>
> September 26, 7:00-8:00 p.m.
> Ray Bianchi
> Jimmy Wynn Ensemble
>
> At the Hyde Park Art Center.
> 5020 S. Cornell Avenue
> Chicago, IL
>
> Raymond L Bianchi lived for most of the 1990's in Latin America in
> Brazil
> and Bolivia. A native of suburban Chicago and the child of Italian
> Immigrants, he worked in international publishing since 1996. His
> poetry has
> appeared or is upcoming in Antennae, Near South, Tin Lustre Mobile,
> 26,
> Moria, Red River Review, Sentence, Bird Dog, Literatura e Cultura
> and his
> essays have appeared in the Economist and the Financial Times. He is
> the
> section editor of the fall 2006 issue of Aufgabe, which includes a
> translation section of contemporary Brazilian poetry that he
> translated. His
> book Circular Descent was published by Blaze Vox Press in 2004, and
> a
> chapbook, The American Master, was published by Moria Books in 2006.
> He is
> the publisher of Cracked Slab Books in Chicago and edits the
> website
> chicagopostmodernpoetry.com.
>
> The Jimmy Wynn Ensemble is composed of Chicago writers Dale
> Barrigar,
> Michael Antonucci, and Garin Cycholl. The Ensemble's previous work
> has
> appeared with Exquisite Corpse, Admit 2, and the Guild Complex
> Series.
>
>
>
> For more information, visit www.moriapoetry.com/seriesa.html or
> contact Bill
> Allegrezza at editor@moriapoetry.com.
>
>
>
>
>
>
=========================================================================
Date:         Wed, 20 Sep 2006 08:53:27 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
Comments:     RFC822 error:  Incorrect or incomplete address field found and
              ignored.
From:         Jerome Rothenberg 
Subject:      new New York visit
MIME-Version: 1.0
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another message to our E-list

=20

Once again Diane Rothenberg and I will be in New York City and vicinity, =
this time from September 27 (arrival) to October 15 (departure).   The =
following are lecture and reading sites during our visit, for any who =
are nearby and would like to drop in or have an easy chance to touch =
base:

=20

Friday, September 29, 6:15 pm: a screening of  "el corno emplumado/the =
plumed horn - a story from the sixties," followed by a panel with, =
Sergio Mondrag=F3n, Margaret Randall, Jerome Rothenberg, Cecilia =
Vicu=F1a, and Anne Mette W. Nielsen, at the Auditorio del King Juan =
Carlos I of Spain Center, New York University, 53 Washington Square =
South.=20
=20

Sunday, October 8, 2:00 p.m., a reading and book launch for Jerome =
Rothenberg's China Notes & The Treasures of Dunhuang, Bowery Poetry =
Club, 308 Bowery at Bleecker.



Wednesday, October 11, 7:30 p.m., reading, Albany, New York (venue to be =
announced, or contact Pierre Joris -- joris@albany.edu or blog at =
http://pjoris.blogspot.com/). =20

=20

Friday, October 13, 3:00-5:00, invited lecturer, Working Group in =
Contemporary Poetics, Yale University.

=20

To reach us otherwise we expect as before to be picking up e-mail at the =
present address - jrothenberg@cox.net  - but also at Diane Rothenberg's =
e-mail address - jdrothenberg@aol.com  - & at our hotmail address: =
jeromerothenberg@hotmail.com.

=20

Our address and numbers in New York are:

=20

Emily Harvey Foundation

537 Broadway
New York, NY 10012=20

Tel. (212) 925-7651

Cell: (760) 415-9889

=20

Also, for those of you in or near New York, if you're around and want to =
get together during that time, please get back to us by email now or by =
email or phone following our arrival.  We'll also try to be in touch =
from our end.

=20

Looking forward & warm best wishes,

=20

Jerry & Diane Rothenberg

=20

Jerome Rothenberg    "Poetry must have something in it
1026 San Abella           that is barbaric, vast, and wild."
Encinitas, CA 92024                        D. Diderot         =20
(760) 436-9923                 =20
jrothenberg@cox.net
http://writing.upenn.edu/epc/authors/rothenberg/
new ethnopoetics web site: http://ubu.com/ethno/
j.r. in spanish: http://writing.upenn.edu/epc/authors/rothenberg/esp/
=========================================================================
Date:         Wed, 20 Sep 2006 11:54:08 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Kathleen Ossip 
Subject:      WSQ issue on Activisms
MIME-Version: 1.0
Content-Type: text/plain; charset="UTF-8"
Content-Transfer-Encoding: quoted-printable

Dear all,

WSQ (formerly Women's Studies Quarterly, published by the Feminist Press) is=
=20
doing an issue on Activisms. I'd be happy to consider submissions of=20
unpublished poems that work with that theme. I'd also love recommendations o=
f "activist=20
poets" however that may be defined. Translations and ideas for poets from=20
other countries/cultures are very much encouraged.

I'm pasting the general call for submissions below, but please note that it=20
is a call for academic papers on the subject, so all of the criteria are not=
=20
meant to apply to poems. As always, your approach to the theme may be "slant=
."

Please email submissions to ossipk@aol.com by November 15, 2006. Paste the=20
poems into the body of the email and include all your contact info, includin=
g=20
email address, in the body of the email as well.

Thanks,
Kathleen Ossip


Much of the current creative energy in feminist activism comes from outside=20
of Western Europe and North America, in the vibrant networks of women=E2=80=
=99s groups,=20
gender institutes, politico-cultural performances, and feminist coalitions i=
n=20
Africa, Asia and South America. While many feel overwhelmed by the immensity=
=20
and scope of neoliberal economic transformations, capitalist expansion, and=20
the repeated squelching of human rights, women (and sometimes men) in Nigeri=
a,=20
Mexico, Bangladesh, Kenya, Chile, and elsewhere continue to fight the good=20
fight. These kinds of activisms range from traditional forms of political ac=
tions=20
like strikes and marches to cultural work like dance groups, art collectives=
,=20
music, and theater.=C2=A0 Some individuals and groups identify themselves as=
=20
explicitly =E2=80=9Cfeminist,=E2=80=9D while others strongly refute the labe=
l, yet advocate for=20
social justice, gender equity, legal rights, the end of sexual violence, and=
=20
other progressive agendas that self-identified feminists would support. In t=
his=20
issue of WSQ, we would like to critically examine, compare, and learn from t=
hese=20
varied activisms, without romanticizing them or overstating their=20
achievements.

What counts as activism? Are there specifically gendered forms of activism?=20
What are the localities that constitute sites of activism, and how do those=20=
=E2=80=9C
localities=E2=80=9D articulate with regional and international activisms, mo=
vements and=20
organizations such as the United Nations Conferences on Women or the =E2=80=
=9C16 Days=20
of Activism against Gender Violence Campaign=E2=80=9D? How, in turn, are the=
 agendas=20
and practices of transnational groups shaped by insights and involvement fro=
m=20
local activists? Do certain issues and institutional forms encourage=20
collaboration and coalition-building, while others foster conflict and tensi=
on? Are=20
differences among women of class, race, ethnicity, sexuality, (dis)ability,=20
religion and nationality bridged, ignored, or exacerbated?=C2=A0 What contra=
dictions, if=20
any, exist between different activisms, and how are they (or might they be)=20
resolved? How do these activists and activisms engage state power and capita=
l?=C2=A0=20
How do they, alternately, address questions of representation, rhetoric and=20
symbolic practice?=C2=A0 What forms of activism are effective and why? What=20=
is the=20
relationship between activism and current theoretical concerns around agency=
,=20
representation and collective action?=C2=A0 What are the symbolic and visual=
 cultures=20
of activism within and across various localities?

WSQ=E2=80=99s special issue on activisms seeks to explore and compare the di=
verse=20
forms, content, representations, and experiences of women=E2=80=99s progress=
ive struggles=20
throughout the world.=C2=A0 We invite submissions of critical essays, poetry=
,=20
fiction, and visual images that engage the question of activisms within the=20
diversity of feminist cultural analyses.=C2=A0 We especially encourage compa=
rative essays=20
and submissions from international contributors.
=========================================================================
Date:         Wed, 20 Sep 2006 12:01:07 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Kathleen Ossip 
Subject:      staged readings of verse plays?
MIME-Version: 1.0
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Does anyone know of venues/theater companies/radio stations/etc. that produce
readings of verse plays? I've written a verse play so I'm looking for places
that are open to submissions or queries. I'm starting from complete ignorance,
so all suggestions are welcome. Front- or backchannel.

Kathleen Ossip
ossipk@aol.com
=========================================================================
Date:         Wed, 20 Sep 2006 09:31:06 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "D. Ross Priddle" 
Subject:      Call for subs. HAT 124 (fwd)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

(i can't believe i did that! .udu! you have to understand that on this old
freenet account if you make an error you have to erase everything you've
done to correct it! of course, i didn't notice i had written .udu until i
got to the end! story of my life! always make my errors at the begin!

--

---------- Forwarded message ----------
Date: Wed, 20 Sep 2006 09:26:37 -0700 (PDT)
From: D. Ross Priddle 
To: poetics@listserv.buffalo.udu
Cc: ross_priddle@yahoo.ca
Subject: Call for subs. HAT 124

hey thanks for the "tip o' the hat" rob, steve, all

i was mostly just checking to see if this old account was still "attached"
(maybe the powers that be (is Lori emerson still here?) could switch me
over to my new account: ross_priddle@yahoo.ca   .... i remember meeting
Lori in the special collections at U. of Vic. in 1999? i was looking at
bpNichol's Milt the Morph and she wanted to take it from me!

which brings me to HAT #124 which includes an order form by jwcurry who is
going to be doing a marathon reading of bpNichol's "Martyrology" at the
end of September/ beginning of October in Toronto (i'm sure rob mclennan
can provide us with more details if they aren't here already)

so, yes, i am calling for "subs." by which i mean submissions (but also
subscriptions) HAT wants to know what you are up to! snail subs to:

#9 Vista Rd. SE
Medicine Hat, Alberta
T1B 4S9
CANADA

e-mail subs to ross_priddle@yahoo.ca (willing to try all file types
including paypal!)

HAT #124 also includes a "found" cover by yours truly
hat #123 has a cartoon cover from Vittore Baroni & a flyer from Mike
Dickau
(hat #122) has a postcard from gustave morin & a text from Jim Hayes
hat #121 has a collage by Emilio Morandi & another collage by Lancillotto
Bellini
#120 has a painting by Allan Revich & a collage by David Dellafiora
119 has two addnpasses by Ray Johnson & everybody
#118 has a painting/collage by Jesse Freeman & visual poetry by Scott
Helmes
#117 has a page by rob read & aem and an ad by Daniel f. Bradley
#116 has an image by Jose Blanco & one by Susan Gold
#115 has a cover by Steve Dalachinsky & a punctuation mark by Dan Waber

#114 and back are out of print (but available p.o.d.)

you can have the whole "lovely wad" for the rock bottom price of $1.00 !
(that's right one damn dollar! we refuse to be undersold! except maybe by
jwcurry & his one cent series)

related link: http://bentspoon.blogspot.com

--
=========================================================================
Date:         Wed, 20 Sep 2006 12:43:52 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Aaron Belz 
Subject:      aaron balkan
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit

Need Mr. Balkan's email address.  Offlist please,

Aaron
=========================================================================
Date:         Wed, 20 Sep 2006 13:44:54 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Craig Allen Conrad 
Subject:      you in San Francisco?  you are in San Francisco?  yes?  no?  San
              Francisco?  hm?
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Friday, September 22, 2006 at 7:30 p.m.

Magdalena Zurawski of THE BRUISE: _http://minoramerican.blogspot.com_
(http://minoramerican.blogspot.com/)
CAConrad  of DEVIANT PROPULSION: _http://CAConrad.blogspot.com_
(http://CAConrad.blogspot.com)

at  Small Press Traffic ... SPT web details here:
_http://www.sptraffic.org/html/events/fall06.html_ (http://www.sptraffic.org/html/events/fall06.html)

Unless  otherwise noted, events are $5-10, sliding scale, free to current SPT
members  and CCA faculty, staff, and students.

Unless otherwise noted, our events  are presented in Timken Lecture Hall,
California College of the Arts 1111 Eighth  Street, San Francisco (just off the
intersection of 16th &  Wisconsin)
=========================================================================
Date:         Wed, 20 Sep 2006 14:07:12 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Evans 
Subject:      Reading Series Links?
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

Greetings all,

For a blog related to the UMaine New Writing Series at

	http://nwsnews.wordpress.com/

I'm looking for links to other reading series around the country. If
you coordinate, attend, or just know of an interesting series near
you, please backchannel me with the link.

Thanks,

Steve
=========================================================================
Date:         Wed, 20 Sep 2006 14:07:02 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Eric Dickey 
Subject:      request for poems
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Dear friends and poets,

  Reminder, the submission deadline is nigh, October 1, 2006.  Nigh, I say!

  Please consider submitting your work.  We welcome original poetry and poetry in translation.

  Please contact us if you would like to submit original artwork.

  Help spread the word by posting or forwarding this message.

  Thank you.

  Eric Wayne Dickey
  Corvallis, Oregon

  To Topos, a journal of international poetry, invites submissions for its tenth volume on the subject of poetry and poverty guest edited by Dr. Karen Holmberg.  Welcoming work from individuals of all cultures, regions, nations, and groups, we call upon poets to replace the abstract with the tangible, to give substance to the voices and faces of those on whom our corporate economy depends and who are often relegated to a state of silence.   We hope to collect a body of work that renders the truth of this most comprehensive form of oppression.  The issue will include a preface by Michael Parenti.  Submissions may be in any language if accompanied by English translation, and must be received by October 1, 2006.

  To submit, click on http://oregonstate.edu/dept/foreign_lang/totopos/index.html

  Karen Holmberg’s first book, The Perseids, won the Vassar Miller Prize in 2001, and her work has appeared in such magazines as The Paris Review, The Nation, Slate, Quarterly West and Southern Poetry Review.  She lives in Corvallis, OR, where she teaches in the MFA program at Oregon State University.

    Michael Parenti is an award winning author and activist who has published numerous books, including Superpatriotism (2004), and The Assassination of Julius Caesar (2003) which won the “Book of the Year Award” (nonfiction) from Online Review of Books. His most recent work is The Culture Struggle  (2006). For further information, visit his website:  www.michaelparenti.org.



  About To Topos
  To Topos is an international poetry journal that features poetry in translation, oftentimes the original appears together with its English translation. The following is excerpted from our Poet's Market entry:

"To Topos is committed to fostering human rights on an environmentally fragile planet. Its focus is altermondialist, recognizing that the causes of poverty and injustice are often related to race, gender, nationality, and the effacement of earth-given resources. Most issues are thematically focused.

  "Previous themes include Incarceration, Peace and the Sea, Forests, and North African Voices.  Winona LaDuke (White Earth Land Recovery Project) and Dr. William F. Schulz (Amnesty International) have prefaced recent issues. The journal is open to both aspiring and recognized poets. The journal particularly invites submissions from refugees and the borderless. The journal is primarily interested in living poets who believe words carry the gift of positive social change.

"The mission of this journal is to reveal the human face of poetry as a statement of urgency in today's world. The journal is open to all aesthetic and stylistic orientations, but submissions should be a seed for social change along humanist principles without indulging in political or nationalist rhetoric."

Just released, an issue dedicated to Contemporary Hungarian Poetry, guest edited by Eniko Bollobas of Eötvös Loránd University, Budapest. A copy of which was presented to the Hungarian Prime Minister, who's leadership is now being questioned.  Is To Topos responsible for this potential coup?   To find out, purchase a copy.

  To purchase copies of this Hungarian issue, or other back issues:
  http://oregonstate.edu/dept/foreign_lang/totopos/index.html

  For our next issue, we are in the process of reading the nearly 400 submissions for our Indigenous Americas: Poetry by Indigenous Peoples of the Western Hemisphere issue, guest edited by Allison Hedge Coke, Northern Michigan University. In May, Ms. Hedge Coke addressed the United Nations regarding the effect of publication impact on Indigenous Human Rights.

  Future themes include Contemporary Turkish Poetry and Contemporary Belgian Poetry.

Our 2004 issue on Forests features an introduction by Winona LaDuke and was given a favorable review in the prominent French poetry journal, Friches. The 2005 issue on North African Voices was featured on www.babelmed.net.

We just received an Oregon Literary Arts Fellowship for Publishers grant earlier this year. Our pages include works by the likes of academics, asylum inmates, Nobel and Pulitzer candidates, scholars, and farmers.

  For more information or to order back issues:
  http://oregonstate.edu/dept/foreign_lang/totopos/index.html





 		
---------------------------------
Why keep checking for Mail? The all-new Yahoo! Mail shows you when there are new messages.
=========================================================================
Date:         Wed, 20 Sep 2006 17:24:43 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Vernon Frazer 
Subject:      Invitaiton to Submit to "LIttle Mags" Section of Big Bridge (sent
              on behalf of Jonathan Penton)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

It is autumn, and we're gearing up for the 'Little Mags' section of the next
issue at www.BigBridge.org. We are looking to feature print 'zines and
magazines on the arts. We'll feature magazines of a variety of aesthetics
and production values, offering well-selected literary and/or visual pretty
things. To get an idea of what we'll be doing, please check out
http://www.bigbridge.org/littlemag.htm

If you'd like us to consider featuring your magazine, please send it to:

Jonathan Penton
P.O. Box 281
Guerneville, CA 95446

I'll be reviewing magazines until New Year's, though you might want to drop
me a line if you plan to send one after October, to verify I can still be
reached at that address.

Thanks for your time,

--
Jonathan Penton
Editor, http://www.unlikelystories.org
Assistant Editor, http://www.bigbridge.org
=========================================================================
Date:         Wed, 20 Sep 2006 22:10:49 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         reJennifer Bartlett 
Subject:      Saint Elizabeth Street
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

On Sunday, we release our new issue of SES at www.saintelizabethstreet.com

New poems by Elizabeth Robinson, Bruce Covey, Nick-e Melville, Kate
Greenstreet, Joe Massey, and others.

Also, a blog by Jennifer Bartlett on disability, language, the visual arts,
Bukowski, and breastfeeding.

All for free!

Also, we are now accept work for our Winter issue.

Best,

JB

_________________________________________________________________
Add fun gadgets and colorful themes to express yourself on Windows Live
Spaces
http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://www.get.live.com/spaces/features
=========================================================================
Date:         Wed, 20 Sep 2006 22:25:09 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Aaron Kiely 
Subject:      Torch Magazine #4
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

TORCH MAGAZINE #4: Poetry and Visual Art (in color)

Including:

Interview with Sharon Mesmer

Writing from: Charles Bernstein, Betsy Andrews, Rodrigo Toscano, Sharon
Mesmer, CA Conrad, Kish Song Bear, Tracey McTague, Chris Martin, Sean Cole,
Ian Bascetta, Filip Marinovic, Bob Green, Aaron Kiely

Visual work from: Tracey McTague, Peter Fox with Betsy Andrews, Esther
Levine, Paul Martin, Chris Martin

8x11, stapled down the side, color cover and visuals
$12 (includes shipping)

TO ORDER email: aaron7k@hotmail.com

_________________________________________________________________
The next generation of Search—say hello!
http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG
=========================================================================
Date:         Wed, 20 Sep 2006 23:09:25 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Edmund Hardy 
Subject:      "Intercapillary Space": july - september
In-Reply-To:  
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

http://intercapillaryspace.blogspot.com/2006/09/july-september-contents.html
"a great number of the simple ideas" - John Locke


POEMS

Jon Clay
     [#] 'Windblast a vibrating. . .'
          Pyrite (Flare Hope)

Ian Davidson
     [#] Baltic
     [#] From Partly in Riga

Michael Egan
     [#] turnstile

AnnMarie Eldon
     [#] scrubbing up
          days
          house calls and the slattern's self-disparaging emesis

D. S. Marriott
     [#] From Speak Low: Poem To Jonas

rob mclennan
     [#] last night: thirteen lines

Daniel Nester
     [#] Two Douglas Rothschild Laments
          To Be Imperfect, To Be

Dawn Pendergast
     [#] From Zoo Po Day
     [#] Hi mouse.
          The Even
          bugs

Mark Scroggins
     [#] Flâneur
          'The spillage of sunlight...'

Lawrence Upton
     [#] i.m. barry macsweeney
     [#] Marcus Vergette



ESSAYS

[#] John Muckle: Sir Philip in South America

[#] Edmund Hardy: Umbrellas: The Blown Network



BOOK REVIEWS

[#] Mairéad Byrne, Vivas

[#] Catherine Daly, To Delite and Instruct

[#] Jeff Hilson, Stretchers

[#] Jeff Hilson, Bird Bird

[#] Emma Lew, Anything The Landlord Touches

[#] Mario Petrucci, Catullus

[#] Lisa Robertson, The Men

[#] Leslie Scalapino and Marina Adams, The Tango



DOUGLAS OLIVER SYMPOSIUM

[#] Pierre Joris: The Tea-Brown Light Of Kindness

[#] Ralph Hawkins: Douglas Oliver's Diagram Poems

[#] Nina Davies: Reading A Salvo for Africa

[#] Robert Sheppard: Coincidence and Contraries: Two extracts for Douglas
Oliver

[#] Alan Hay: A sort of public thank-you to Douglas Oliver

[#] Ian Davidson: An Island that is all the World – an unfinished
conversation over a number of incomplete rounds. I finish, as always, on the
ropes and gasping for breath, casting glances at my corner and wondering if
I'll ever reach it.

[#] Laura Steele: Comedy and the Conceptual in Douglas Oliver's The Harmless
Building

[#] Peter Riley: Comment on Ralph Hawkins' piece--

[#] Abena Sutherland: Comment on Ian Davidson's piece --

[#] Melissa Flores-Bórquez: A note on Douglas Oliver's 'A Salvo for Malawi'
=========================================================================
Date:         Wed, 20 Sep 2006 17:02:24 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "D. Ross Priddle" 
Subject:      ring any bells? (fwd)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

--

---------- Forwarded message ----------
Date: Wed, 20 Sep 2006 19:38:47 -0400 (EDT)
From: ross priddle 
To: yb396@victoria.tc.ca
Subject: ring any bells?

hand stitch, hand held,
still owe, black ether,
autochtones, real louis,
safe cow, empty house,
we are already gone,
what is it to read, a
word dropped, sev mumra,
pirated in the canada,
e-gap, no boxcutters,
open en box, edge crush,
fire in the rye, lucid
trance in progress,
smurfit, bursting test,
point zero zero zero,
mullen test, ten reams,
kristov, uniform freight,
twelve years aged,
diagram only, rotisserie
or rotissoire, impact
resistant bumpers, wide
mouth mason jars, coat
of arms, food grade
mineral oil, vertical
compression, space is
money, distribution
repack, edge crush test,
la scala spumante,
the bat device, royal
white dessert, lithotech,
ham beach, min comb
wt facings, deterior
ex, pocatello strategy,
bulk nature, fifteen
dozen, ant town,


---------------------------------
Be smarter than spam. See how smart SpamGuard is at giving junk email the boot with the All-new Yahoo! Mail
=========================================================================
Date:         Wed, 20 Sep 2006 20:16:25 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         noah eli gordon 
Subject:      FW: Kora in Hell mss. location?
Comments: To: subpoetics-l@hawaii.edu, lucipo@lists.ibiblio.org
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

Hi Eric asked me to pass this along; his email is below...

>Hello,
>
>I've been trying to find out the location of the manuscript of Williams'
>Kora in Hell. I've contacted SUNY and Yale and it's not in either one of
>those collections. All the usual places (databases) where I'd find out such
>info have turned up nothing. Does anyone out there happen to know?
>
>All Best,
>Eric
>
>  ericbaus@comcast.net
=========================================================================
Date:         Wed, 20 Sep 2006 18:35:59 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: Call for subs. HAT 124 (fwd)
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

a hat well tipped

send address again will send submissive words
=========================================================================
Date:         Wed, 20 Sep 2006 21:47:49 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Tisa Bryant 
Subject:      Encyclopedia Project Events in Providence & Philly!
Comments: To: Brown Writing Brown Writing List 
Mime-Version: 1.0 (Apple Message framework v624)
Content-Type: text/plain; charset=US-ASCII; format=flowed
Content-Transfer-Encoding: 7bit

Dear all,

Mark calendars for the Providence Encyclopedia Vol 1 A-E launch event
this Saturday, September 23
23, 9pm, at the beloved AS220 gallery/performance space in beautiful
downtown PVD!

It'll be a mellow & fantastic night---readings by Vol 1 contributors
Matt Derby, Brian Evenson, Joanna Howard, Mary Cappello, Poppy Brandes,
EE Miller, and Kate Schatz, as well as Vol. 2 contributors-to-be Renee
Gladman and Melissa Buzzeo.

Musical interludes graciously provided by the wonderous Callers (go to
www.myspace.com/callers to hear some of their gorgeous songs!) and Vol.
1 contributor Sara Jaffe (formerly of Erase Errata).

Admission is a mere $7 for all this goodness, and proceeds go towards
production of  Vol. 2 F-K.

If you have yet to get your copy, books will be on sale at a special
special launch-only magical price!!!


And if this is the right feeling but the wrong city for your pleasure,

The Encyclopedia Project & Moles Not Molar
Co-Present:

ENCYCLOPEDIA
The Launch of Volume 1 (A-E): Philadelphia Style
@
Nexus Gallery
137 North 2nd St (between Arch and Race)

Monday, September 25th
7:30 pm

Featuring Readings by:
ANDREA LAWLOR, CAROLINA MAUGERI, STAN MCDONALD,
KATE SCHATZ, EMILY ABENDROTH, and BRIAN KIM STEFANS

Come one, come all, and please spread the good word!

The Encyclopedia Project
www.encyclopediaproject.org

Coming soon to NYC, SFO, LA, and MARS!

*Vol. 1 of the Encyclopedia Project is funded in part by The Creative
Arts Council


_______________________________________________

Art is the accomplice of love.

_______________________________________________
=========================================================================
Date:         Wed, 20 Sep 2006 19:07:43 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Adam Fieled 
Subject:      also, "Tender Buttons" mss location?
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

     Hello all.

       I'm trying to find out the location of Stein's "Tender Buttons" mss. Like Eric, I looked in the Yale data base & came up empty. Found several Stein mss in South Carolina, does anyone know where "TB" is?
       Many Thanks,
            Adam Fieled                afieled@yahoo.com

 		
---------------------------------
Do you Yahoo!?
 Everyone is raving about the  all-new Yahoo! Mail.
=========================================================================
Date:         Wed, 20 Sep 2006 19:21:38 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: also, "Tender Buttons" mss location?
In-Reply-To:  <20060921020743.89772.qmail@web54514.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed

Have you tried contacting the executor of her estate?
Calman Levin Esq.
Levin & Gann
900 Mercantile Bank & Trust Building
2 Hopkins Plaza
Baltimore, Maryland 21201


On Wed, 20 Sep 2006, Adam Fieled wrote:

>     Hello all.
>
>       I'm trying to find out the location of Stein's "Tender Buttons" mss. Like Eric, I looked in the Yale data base & came up empty. Found several Stein mss in South Carolina, does anyone know where "TB" is?
>       Many Thanks,
>            Adam Fieled                afieled@yahoo.com
>
>
> ---------------------------------
> Do you Yahoo!?
> Everyone is raving about the  all-new Yahoo! Mail.
>
=========================================================================
Date:         Wed, 20 Sep 2006 19:37:15 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Adam Fieled 
Subject:      Re: also, "Tender Buttons" mss location?
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

   Jason,

     I went to their website. You have to choose an option, ie click "Real Estate", "Criminal", and they didn't have a link for "literary", so I kind of got scared away. May try again. Nick Lolordo guided me to the Yale Library, they have the mss, but I need to find out as much about it as I can, how it compares to the Claire Marie 1914 edition, etc. Thanks for your help, I appreciate it.
       Best,
         Adam Fieled                 afieled@yahoo.com

Jason Quackenbush  wrote:
  Have you tried contacting the executor of her estate?
Calman Levin Esq.
Levin & Gann
900 Mercantile Bank & Trust Building
2 Hopkins Plaza
Baltimore, Maryland 21201


On Wed, 20 Sep 2006, Adam Fieled wrote:

> Hello all.
>
> I'm trying to find out the location of Stein's "Tender Buttons" mss. Like Eric, I looked in the Yale data base & came up empty. Found several Stein mss in South Carolina, does anyone know where "TB" is?
> Many Thanks,
> Adam Fieled afieled@yahoo.com
>
>
> ---------------------------------
> Do you Yahoo!?
> Everyone is raving about the all-new Yahoo! Mail.
>


 		
---------------------------------
Stay in the know. Pulse on the new Yahoo.com.  Check it out.
=========================================================================
Date:         Wed, 20 Sep 2006 19:43:32 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: also, "Tender Buttons" mss location?
In-Reply-To:  <20060921023715.38293.qmail@web54512.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed

I'm guessing that an estate executor would be involved in Real Estate law? I'm curious about what you're working on that you want to do these comparisons. I've been obsessed with Tender Buttons for a couple of years and have a couple extensively marginalia'd copies of the Green Integer edition. I'm even in the process of writing a to-be self-published response to Tender Buttons titled Household Activities. Would you be so kind as to keep me informed of what results you come up with in your investigations, y'know, paper publication or what not?


On Wed, 20 Sep 2006, Adam Fieled wrote:

>   Jason,
>
>     I went to their website. You have to choose an option, ie click "Real Estate", "Criminal", and they didn't have a link for "literary", so I kind of got scared away. May try again. Nick Lolordo guided me to the Yale Library, they have the mss, but I need to find out as much about it as I can, how it compares to the Claire Marie 1914 edition, etc. Thanks for your help, I appreciate it.
>       Best,
>         Adam Fieled                 afieled@yahoo.com
>
> Jason Quackenbush  wrote:
>  Have you tried contacting the executor of her estate?
> Calman Levin Esq.
> Levin & Gann
> 900 Mercantile Bank & Trust Building
> 2 Hopkins Plaza
> Baltimore, Maryland 21201
>
>
> On Wed, 20 Sep 2006, Adam Fieled wrote:
>
>> Hello all.
>>
>> I'm trying to find out the location of Stein's "Tender Buttons" mss. Like Eric, I looked in the Yale data base & came up empty. Found several Stein mss in South Carolina, does anyone know where "TB" is?
>> Many Thanks,
>> Adam Fieled afieled@yahoo.com
>>
>>
>> ---------------------------------
>> Do you Yahoo!?
>> Everyone is raving about the all-new Yahoo! Mail.
>>
>
>
>
> ---------------------------------
> Stay in the know. Pulse on the new Yahoo.com.  Check it out.
>
=========================================================================
Date:         Wed, 20 Sep 2006 21:00:59 -0600
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Hot Whiskey Press 
Subject:      a PIG book from Wyrd Tree Press
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

"Greetings Folks,

Wyrd Tree's third chapbook, The Subtraction of Light (for a pig) by
Michael Koshkin, printed in a run of 50 copies is available now from
Wyrd Tree Press at www.wyrdtreepress.blogspot.com.


7 pages of text, tons of pig paintings, 2 covers printed on a Japanese
Goco, stab bound through 4 piercings.

The book will also be available for sale this Saturday, the 23rd of
September, from 1:30-2:30pm at PAC on the Naropa University Campus,
(2130 Arapahoe Ave) during the Second Annual Small Press Fair.

Come mingle and explore the Front Range Small Press Scene with such
local stars as: Wyrd Tree Press, Hot Whiskey Press, Bombay Gin, Ghost
Road Press, Speck Press, Cliterature, the Denver Quarterly and More!"
=========================================================================
Date:         Wed, 20 Sep 2006 20:29:02 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: quoted-printable

I have a public domain version that I've scanned and want to upload
somewhere.  If you want an unproofed scan, backchannel.

All best,
Catherine Daly
cadaly@comcast.net


-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] =
On
Behalf Of noah eli gordon
Sent: Wednesday, September 20, 2006 5:16 PM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: FW: Kora in Hell mss. location?

Hi Eric asked me to pass this along; his email is below...

>Hello,
>
>I've been trying to find out the location of the manuscript of =
Williams'=20
>Kora in Hell. I've contacted SUNY and Yale and it's not in either one =
of=20
>those collections. All the usual places (databases) where I'd find out =
such

>info have turned up nothing. Does anyone out there happen to know?
>
>All Best,
>Eric
>
>  ericbaus@comcast.net
=========================================================================
Date:         Wed, 20 Sep 2006 20:50:08 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         gfrym@EARTHLINK.NET
Subject:      Re: Kora in Hell mss. location?
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=response
Content-Transfer-Encoding: 7bit

You might first look to Pound and his archives, as he helped Wms with this
"experimental" ms.  Pound suggested the title to Wms. who was thrashing for
his own form in the early 1920s.  Kora, lovely in itself, provided Wms with
the three-tiered lyric stanza, as you probably know.   It seems crazy that
the mss. isn't right there with the rest of Wms' mss.  Kora was originally
published in 1920 by The Four Seasons Company, Boston.  In 1957 City Lights
Books reprinted it as a Pocket Poets edition.  I have it in my hand.
Contact Robert Sharrard there.  He will surely be of use.

Gloria Frym


----- Original Message -----
From: "noah eli gordon" 
To: 
Sent: Wednesday, September 20, 2006 5:16 PM
Subject: FW: Kora in Hell mss. location?


> Hi Eric asked me to pass this along; his email is below...
>
>>Hello,
>>
>>I've been trying to find out the location of the manuscript of Williams'
>>Kora in Hell. I've contacted SUNY and Yale and it's not in either one of
>>those collections. All the usual places (databases) where I'd find out
>>such info have turned up nothing. Does anyone out there happen to know?
>>
>>All Best,
>>Eric
>>
>>  ericbaus@comcast.net
>
=========================================================================
Date:         Wed, 20 Sep 2006 21:52:14 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Sheila Murphy 
Subject:      Re: verse plays - contacct inverse theater (kirk wood bromley)
Comments: To: ossipk@aol.com
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Regarding question about verse plays:
  New Yorkers are probably quite familiar with Bromley's plays. They're briliant.

  Contact Kirk - look at his site at

  http://inversetheater.org/

  Sheila Murphy
=========================================================================
Date:         Thu, 21 Sep 2006 02:08:00 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Peter Ciccariello 
Subject:      We say these things until they are
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

We say these things until they
are







-- Peter Ciccariello
Image - http://invisiblenotes.blogspot.com/
Word -http://poemsfromprovidence.blogspot.com/
Photography -http://uncommonvision.blogspot.com/
=========================================================================
Date:         Wed, 20 Sep 2006 23:52:17 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         George Bowering 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  <002c01c6dd2e$157bd930$7901a8c0@CADALY>
MIME-version: 1.0 (Apple Message framework v619)
Content-type: text/plain; charset=US-ASCII; format=flowed
Content-transfer-encoding: 7bit

Wait. What could a public domain version of a manuscript be???

gb


On 20-Sep-06, at 8:29 PM, Catherine Daly wrote:

> I have a public domain version that I've scanned and want to upload
> somewhere.  If you want an unproofed scan, backchannel.
>
> All best,
> Catherine Daly
> cadaly@comcast.net
>
>
> -----Original Message-----
> From: UB Poetics discussion group
> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of noah eli gordon
> Sent: Wednesday, September 20, 2006 5:16 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: FW: Kora in Hell mss. location?
>
> Hi Eric asked me to pass this along; his email is below...
>
>> Hello,
>>
>> I've been trying to find out the location of the manuscript of
>> Williams'
>> Kora in Hell. I've contacted SUNY and Yale and it's not in either one
>> of
>> those collections. All the usual places (databases) where I'd find
>> out such
>
>> info have turned up nothing. Does anyone out there happen to know?
>>
>> All Best,
>> Eric
>>
>>  ericbaus@comcast.net
>
>
George H. Bowering
Clambering out of the Ruins
=========================================================================
Date:         Thu, 21 Sep 2006 06:59:09 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Andy Warhol PBS Documentary
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Saw the first 2 hours last night; the second 2 are on  tonight.

Though I am sure folks much more expert than I will quibble, I thought
several parts of it were really good.

I will definitely look again, tonight.

Stephen V
http://stephenvincent.net/blog/
=========================================================================
Date:         Thu, 21 Sep 2006 10:31:02 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Brian Clements 
Subject:      Email address for Julia Tivona
In-Reply-To:  <005c01c6dbf2$66b19340$230110ac@GLASSCASTLE>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"

Much appreciated backchannel.

Brian
=========================================================================
Date:         Thu, 21 Sep 2006 10:39:27 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Halvard Johnson 
Subject:      Re: Andy Warhol PBS Documentary
In-Reply-To:  
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Type: text/plain; charset=US-ASCII; format=flowed
Content-Transfer-Encoding: 7bit

Watched all four hours at a free showing at the Film Forum
a week or so ago. Well worth watching, though Koestenbaum's
gushing was a bit over the top at times.

Hal

"As Raymond Chandler said, 'It was one of those
  days when Los Angeles felt like a rock-hard fig.'"
			--Monty Python, c.1974

Halvard Johnson
================
halvard@gmail.com
halvard@earthlink.net
http://home.earthlink.net/~halvard
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org

On Sep 21, 2006, at 9:59 AM, Stephen Vincent wrote:

> Saw the first 2 hours last night; the second 2 are on  tonight.
>
> Though I am sure folks much more expert than I will quibble, I thought
> several parts of it were really good.
>
> I will definitely look again, tonight.
>
> Stephen V
> http://stephenvincent.net/blog/
=========================================================================
Date:         Thu, 21 Sep 2006 07:45:02 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Thomas savage 
Subject:      Re: Andy Warhol PBS Documentary
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

I too saw the Warhol documentary at the Film Forum and was mostly pleased with it.  It did seem a bit strange that, of the whole four hours, only the last fifteen minutes were used to cover the period between the attempt on Warhol's life and his eventual death.  Since he lived more than a decade after the attack, this seemed odd.Other than that, the documentary seemed good and informative.

Halvard Johnson  wrote:  Watched all four hours at a free showing at the Film Forum
a week or so ago. Well worth watching, though Koestenbaum's
gushing was a bit over the top at times.

Hal

"As Raymond Chandler said, 'It was one of those
days when Los Angeles felt like a rock-hard fig.'"
--Monty Python, c.1974

Halvard Johnson
================
halvard@gmail.com
halvard@earthlink.net
http://home.earthlink.net/~halvard
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org

On Sep 21, 2006, at 9:59 AM, Stephen Vincent wrote:

> Saw the first 2 hours last night; the second 2 are on tonight.
>
> Though I am sure folks much more expert than I will quibble, I thought
> several parts of it were really good.
>
> I will definitely look again, tonight.
>
> Stephen V
> http://stephenvincent.net/blog/


 		
---------------------------------
Get your email and more, right on the  new Yahoo.com
=========================================================================
Date:         Thu, 21 Sep 2006 11:21:21 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Aldon Nielsen 
Subject:      Re: Andy Warhol PBS Documentary
In-Reply-To:  
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

>I, too, saw part I -- but will have to miss part II, due to a
>meeting, until it gets repeated at some point --


what would an Andy Warhol tribute that didn't go over the top be?

I did appreciate the fairly lengthy part dedicated to his early work
as a commercial artist -- what we usually get is a quick look at that
same shoe, and then a straight jump into pop --


<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

"and now it's winter in America"
         --Gil Scott-Heron


Aldon Lynn Nielsen
George and Barbara Kelly Professor of American Literature
Department of English
The Pennsylvania State University
112 Burrowes
University Park, PA   16802-6200

(814) 865-0091 [office]

(814) 863-7285 [Fax]
=========================================================================
Date:         Thu, 21 Sep 2006 08:46:03 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

you can scan it and upload it and you can do with it what you will, but
there are no problems with American copyrights, payments, etc.... but you
can't strictly legally scan for re-use editions derived from public domain
materials, even if the only difference is an added intro (i.e., it is a lot
easier to find Vachel Lindsay's film book in its recent republication than
in the pre-1922 version, and even though the body of the book is edited to
the original, or maybe even just a reprint, and you can't reuse that)

-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of George Bowering
Sent: Wednesday, September 20, 2006 11:52 PM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Re: Kora in Hell mss. location?

Wait. What could a public domain version of a manuscript be???

gb


On 20-Sep-06, at 8:29 PM, Catherine Daly wrote:

> I have a public domain version that I've scanned and want to upload
> somewhere.  If you want an unproofed scan, backchannel.
>
> All best,
> Catherine Daly
> cadaly@comcast.net
>
>
> -----Original Message-----
> From: UB Poetics discussion group
> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of noah eli gordon
> Sent: Wednesday, September 20, 2006 5:16 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: FW: Kora in Hell mss. location?
>
> Hi Eric asked me to pass this along; his email is below...
>
>> Hello,
>>
>> I've been trying to find out the location of the manuscript of
>> Williams'
>> Kora in Hell. I've contacted SUNY and Yale and it's not in either one
>> of
>> those collections. All the usual places (databases) where I'd find
>> out such
>
>> info have turned up nothing. Does anyone out there happen to know?
>>
>> All Best,
>> Eric
>>
>>  ericbaus@comcast.net
>
>
George H. Bowering
Clambering out of the Ruins
=========================================================================
Date:         Thu, 21 Sep 2006 09:23:29 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Sam Truitt 
Subject:      Ted Berrigan's Poetics
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Hello,

As pasted below, Peter Baker and I have put out word on a collection of
essays on Ted Berrigan's poetics – and we encourage you all to use this
occasion. But, and more specific to this medium, we want to hear from you
as your views may bear in a less formal/academic way...

Namely, what we have in mind is, opening this thread (or any lines that it
may engender), to take our ad hoc thoughts about, feeling for, and
responses to Ted Berrigan's work (in its largest sense) as they may relate
to his poetics and edit and publish them as a text in and of itself in the
book. What we have in mind is a flash poeticism/criticism on Berrigan
poetics, which might, in its realized state, compass anything from phrases
or sentences to more spun out, considered writings with textual citations,
critical and theoretical references, digital images, etc.

This would seem to do a number of things: Act as a core sample of where
and how Berrigan’s poetics weigh at this point in time (their immediate
influences and uses); use the medium much as Berrigan himself might have
used it, fast and various and furious; and give everybody an opportunity
to be heard (as some may lack the time to write more expansively).

Look forward to hearing and with much thanks,
Sam and Peter

-------------------------------------------------------------

TED BERRIGAN. Papers are solicited for a collection of essays tentatively
titled "'Just like Me!': The Poetics of Ted Berrigan". The collection's
intent is to weigh Berrigan's poetic practice--its mode, pith, and
energy--including (though not limited to) his lineage, his brazen
democratic pelt, his chattiness, his writings' superfluid occasions, and
the immediacy and endlessness of his "heartistic" transmission.

IIn part, the 2005 publication of _The Collected Poems of Ted Berrigan_
makes this critical assessment of his poetics timely, since most of his
production is now readily available. Additionally, this proposed
collection of essays emerges out of a concern that, aside from the role
Berrigan played through his personality and vision's force as
gravitational center for New York poets, direct attention to his method
has been relatively scant. At the same time, the editors acknowledge that
essays addressing Berrigan's participation and influence in an
understanding of a New York (or any other polistic) school are
fundamentally valuable but ask that essays dealing with such a topic use
Berrigan's poetics as a focus.

Send manuscripts (following MLA style, and in Microsoft Word or rich-text
format) and 1-page vitae by 5 February 2007 to both editors, Peter Baker
(Pbaker@towson.edu) and Sam Truitt (samtruitt@yahoo.com). Queries are
encourage, as are abstracts, though final essays will be due in February.



------------------------
Sam Truitt
PO Box 20058 NYC 10023

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Thu, 21 Sep 2006 10:18:36 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: Ted Berrigan's Poetics
In-Reply-To:  <20060921162329.79678.qmail@web50205.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: QUOTED-PRINTABLE

Ted Berrigan and Me:
Ted Berrigan died when I was three.
I think I was three. I don't know what year it was off the top of my head, =
but 1981 sounds right so I'll go with it.

For me. As a writer. Which I hate to say because it sounds so pretentious. =
And that's the thing that's best about Ted Berrigan is that no matter how w=
eird he was being and how caught up he seems to have been in the lives of v=
arious writers who were friends of his. Well whatever. I'm not going to tal=
k about that. Because this is just a response to a thread on a list serv fu=
ll up of people, some of whom I know don't like me and aren't probably goin=
g to read this, so who cares. And

What is that right now it's 12:37am in Manila where I'm sitting looking at =
the clock on this laptop that I haven't adjusted the time on so it's saying=
 it's 9:41am in Seattle. Which means it's 12:41 pm yesterday in New York Ci=
ty. Or maybe 12:38. I suppose it depends on whose watch you look at.

Ted Berrigan is my favorite poet. Of all poets, Ted Berrigan has meant the =
most to me. In fact, I love Ted Berrigan so much that I've written many man=
y pastiches of his poetry and even begged Tim Green  to let me write a revi=
ew of The Collected Berrigan when it came out last year because I couldn't =
afford a big fucking hard cover any more than i can afford the collectors p=
rices you fucking professors have all driven his out of print books to. And=
 he published the review, which was cool, even though there were some typin=
g errors that I made and it sounded a little too soft the way the whole thi=
ng came out, but then that's how that magazine goes.

And now I'm in Manila, and I'm supposed to be writing yet another review fo=
r yet another free book only this one is by some French guy and it's for Ja=
cket, which is like a big deal for me, and yet I haven't even written it ye=
t, and I'm not even sure they want it anymore now that it's so late. And su=
re Michel DeGuy is like the second name dropped poet in this email that I'm=
 writing about Ted Berrigan, neither of whom have I met, because, y'know, o=
ne's French and the other one died when I was five.

I just realized I hadn't actually name dropped Michel DeGuy until just ther=
e, where I said I name dropped him.

I think maybe what drew me to Ted Berrigan.

No. See now any sentence that begins like that is fucking doomed.

Ted Berrigan was a big hairy fat guy. I too am a big hairy fat guy. And tha=
t gives me hope.

What's weird? Right now, because I'm in the Philippines, and it was sort of=
 a last minute trip I'm on, right now my right shoulder is sore. It's sore =
in Manila at 12:55am and would be sore 9:57am yesterday in seattle. It's so=
re because I had my shots. The shots I had to get before coming here. Shots=
 for the virus that killed Ted Berrigan. If I remember right.

I mean I know it was one of the Hepatitis's I'm sore from the innoculation =
against. And I know he died from one of the Hepatitis's. At least, I'm pret=
ty sure. He died before I was born so I really don't.

See that's a lie and an obvious device right there with the changing the ye=
ar thing. For a while I was pretty sure that I was getting away with the wh=
ole Frank O'Hara Ted Berrigan It's such and such a time thing, but probably=
 not. And definitely not this pretending I don't know how old I was when Te=
d Berrigan died. I mean. I DON'T know how old I was. But I know I'd been bo=
rn and I know I wasn't five. Or at least I'm pretty sure. Maybe I was six. =
I was born in 1978. You can google the year Ted Berrigan died and figure th=
at out for yourself.

Oh, and I'm out of cigarettes. Which should be fine because i should be qui=
tting. Except they're like 30 pesos in manila, and at 75 cents a pack it's =
hard to turn them down. Smokers will understand that sentence even if no on=
e else does.

So if this were a real Berrigan pastiche piece which maybe it is, there sho=
uld be line breaks and weird spacing. And I should be name dropping my frie=
nds who only my friends will get the name drops. Or maybe just people on th=
e list. Maybe I can sit around and wait to see if Gabe Gooding and Kent Joh=
nson dis[s?] eachother in their contributions to the thread.

Of course the cynic in me says that the guy who started the thread knows th=
at Ron Silliman and Chuck Bernstein and Jerry Rothenberg are all on this li=
st and this is his cheap ass way of trying to get them to contribute to his=
 anthology so it will sell more copies than if he and the other editor can =
say they're in it. I have this friend, a poet, Sam Cheuk. He's a chinese ca=
nadian. And he lives in New York where he's teaching undergrads how to writ=
e at NYU. And he gets drunk and arrested sometimes with Rachel McKibbens wh=
o's big on the slam scene and I like her a lot because she glued a bunch of=
 plastic jewels to a meat cleaver and mailed it to my girlfriend as a fashi=
on accessory. Even if she didn't get the tattoo on her knuckles that I sugg=
ested. Which was "Chop Chop" if you're interested, and as far as I know is =
still available. I'll even sign your hands if you ever meet me and are into=
 that kind of thing. But i'm keeping my pants on.

I'm sure there are some other famous poets on the list who i didn't mention=
=2E but fuck 'em. And fuck the guys I name dropped for that matter. I don't=
 know the guys. I mean, I like some of Ron Silliman's blog but I'm question=
ing his sanity ever since he decided that Jonathan Lethem deserved that Mac=
Arthur Grant. And Bernstein for all I know is the guy who called me out on =
the list recently for flaming Lord Patch, who's honestly probably one of th=
e better poets on the list truth be told. Excepting for all the batty polit=
ical articles he posts to the list i'd probably think he was super.

Lord Patch is super.

I'm fantastic by the way. By my book when it comes out. Read my weblog. WWW=
=2EWETASPHALT.COM

And I don't have anything against Jerome Rothenberg either. Although I wish=
 Russell Edson was on the list because him I REALLY like. Although maybe he=
's dead. Or maybe he doesn't have email and still sends out mimeographs of =
his handwritten foolscap to the people who put his books out. or maybe he i=
s on the list and just lurks. I like the idea that Russell Edson lurks.

Robin Hamilton is my favorite lister, by the way, off the top of my head, a=
lthough for a long time I thought he was a fifty year old american woman. a=
nd now I think that he's Steve Dalachinsky's age and English and a Man.

That's the internet. It's sometimes hard to tell who's a Man.

I think Ted Berrigan would have liked that about email lists.

And email lists in general.

Because I'm pretty sure he liked mail.

He wrote about it in Today in Ann Arbor.

I hope I live long enough to find out what the second half of that poem is.
On Thu, 21 Sep 2006, Sam Truitt wrote:

> Hello,
>
> As pasted below, Peter Baker and I have put out word on a collection of
> essays on Ted Berrigan's poetics =96 and we encourage you all to use this
> occasion. But, and more specific to this medium, we want to hear from you
> as your views may bear in a less formal/academic way...
>
> Namely, what we have in mind is, opening this thread (or any lines that i=
t
> may engender), to take our ad hoc thoughts about, feeling for, and
> responses to Ted Berrigan's work (in its largest sense) as they may relat=
e
> to his poetics and edit and publish them as a text in and of itself in th=
e
> book. What we have in mind is a flash poeticism/criticism on Berrigan
> poetics, which might, in its realized state, compass anything from phrase=
s
> or sentences to more spun out, considered writings with textual citations=
,
> critical and theoretical references, digital images, etc.
>
> This would seem to do a number of things: Act as a core sample of where
> and how Berrigan=92s poetics weigh at this point in time (their immediate
> influences and uses); use the medium much as Berrigan himself might have
> used it, fast and various and furious; and give everybody an opportunity
> to be heard (as some may lack the time to write more expansively).
>
> Look forward to hearing and with much thanks,
> Sam and Peter
>
> -------------------------------------------------------------
>
> TED BERRIGAN. Papers are solicited for a collection of essays tentatively
> titled "'Just like Me!': The Poetics of Ted Berrigan". The collection's
> intent is to weigh Berrigan's poetic practice--its mode, pith, and
> energy--including (though not limited to) his lineage, his brazen
> democratic pelt, his chattiness, his writings' superfluid occasions, and
> the immediacy and endlessness of his "heartistic" transmission.
>
> IIn part, the 2005 publication of _The Collected Poems of Ted Berrigan_
> makes this critical assessment of his poetics timely, since most of his
> production is now readily available. Additionally, this proposed
> collection of essays emerges out of a concern that, aside from the role
> Berrigan played through his personality and vision's force as
> gravitational center for New York poets, direct attention to his method
> has been relatively scant. At the same time, the editors acknowledge that
> essays addressing Berrigan's participation and influence in an
> understanding of a New York (or any other polistic) school are
> fundamentally valuable but ask that essays dealing with such a topic use
> Berrigan's poetics as a focus.
>
> Send manuscripts (following MLA style, and in Microsoft Word or rich-text
> format) and 1-page vitae by 5 February 2007 to both editors, Peter Baker
> (Pbaker@towson.edu) and Sam Truitt (samtruitt@yahoo.com). Queries are
> encourage, as are abstracts, though final essays will be due in February.
>
>
>
> ------------------------
> Sam Truitt
> PO Box 20058 NYC 10023
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
=========================================================================
Date:         Thu, 21 Sep 2006 13:26:10 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mark Weiss 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  <000801c6dd95$0b58c370$7901a8c0@CADALY>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

George was asking about the actual manuscript, which is what Eric is
trying to find, not an edition. Are you talking about a facsimile edition?

Mark


At 11:46 AM 9/21/2006, you wrote:
>you can scan it and upload it and you can do with it what you will, but
>there are no problems with American copyrights, payments, etc.... but you
>can't strictly legally scan for re-use editions derived from public domain
>materials, even if the only difference is an added intro (i.e., it is a lot
>easier to find Vachel Lindsay's film book in its recent republication than
>in the pre-1922 version, and even though the body of the book is edited to
>the original, or maybe even just a reprint, and you can't reuse that)
>
>-----Original Message-----
>From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
>Behalf Of George Bowering
>Sent: Wednesday, September 20, 2006 11:52 PM
>To: POETICS@LISTSERV.BUFFALO.EDU
>Subject: Re: Kora in Hell mss. location?
>
>Wait. What could a public domain version of a manuscript be???
>
>gb
>
>
>On 20-Sep-06, at 8:29 PM, Catherine Daly wrote:
>
> > I have a public domain version that I've scanned and want to upload
> > somewhere.  If you want an unproofed scan, backchannel.
> >
> > All best,
> > Catherine Daly
> > cadaly@comcast.net
> >
> >
> > -----Original Message-----
> > From: UB Poetics discussion group
> > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> > Behalf Of noah eli gordon
> > Sent: Wednesday, September 20, 2006 5:16 PM
> > To: POETICS@LISTSERV.BUFFALO.EDU
> > Subject: FW: Kora in Hell mss. location?
> >
> > Hi Eric asked me to pass this along; his email is below...
> >
> >> Hello,
> >>
> >> I've been trying to find out the location of the manuscript of
> >> Williams'
> >> Kora in Hell. I've contacted SUNY and Yale and it's not in either one
> >> of
> >> those collections. All the usual places (databases) where I'd find
> >> out such
> >
> >> info have turned up nothing. Does anyone out there happen to know?
> >>
> >> All Best,
> >> Eric
> >>
> >>  ericbaus@comcast.net
> >
> >
>George H. Bowering
>Clambering out of the Ruins
=========================================================================
Date:         Thu, 21 Sep 2006 11:12:18 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "D. Ross Priddle" 
Subject:      here's that address again (fwd)
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

--

---------- Forwarded message ----------
Date: Thu, 21 Sep 2006 13:51:32 -0400 (EDT)
From: ross priddle 
To: yb396@victoria.tc.ca
Subject: here's that address again

here's that address once again:

  HAT 'zine
  Ross Priddle
  #9 Vista Rd. SE
  Medicine Hat, Alberta
  T1B 4S9
  CANADA

  (or electronically: ross_priddle@yahoo.ca )

  & here's the cover of HAT #115 by Steve Dalachinsky:

  http://bentspoon.blogspot.com/2006/09/steve-dalachinsky-cover-of-hat-115.html

  (only 3 or 4 of #115 left!)


---------------------------------
 All new Yahoo! Mail -
---------------------------------
Get a sneak peak at messages with a handy reading pane.
=========================================================================
Date:         Thu, 21 Sep 2006 14:46:21 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Halvard Johnson 
Subject:      RIP Sven Nykvist
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

RIP

http://www.nytimes.com/2006/09/21/movies/21nykvist.html?
ex=1316491200&en=0b62693ac5ef94da&ei=5088&partner=rssnyt&emc=rss


"Colorless green ideas sleep furiously."
  		  --Noam Chomsky

Halvard Johnson
================
halvard@gmail.com
halvard@earthlink.net
http://home.earthlink.net/~halvard
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org
=========================================================================
Date:         Thu, 21 Sep 2006 15:00:23 -0400
Reply-To:     az421@FreeNet.Carleton.CA
Sender:       UB Poetics discussion group 
From:         Rob McLennan 
Subject:      new(ish) on rob's clever blog
Content-transfer-encoding: 7BIT

new(ish) on rob's clever blog

-- Fred Wah's Diamond Grill, 10th anniversary edition
-- Anthony McCann's Moon Garden (Wave Books)
-- Ongoing notes: September, 2006 (Patrick Friesen's Bordello Poems,
Vancouver Film School; tempus, Rubicon Press; two new Ken Belford chapbooks)
-- Daphne Marlatt in Ottawa (reprint of a review of her two 2001 poetry
collections)
-- writing geographies: The Capilano Review 2:47 (fall 2006)
-- Ongoing notes: London Calling (rob & Stephen's continental adventures)
-- American poetry publisher Wave Books is working a "poetry bus tour"
with an Ottawa stop. Here's the information they've sent along...
-- from "ESCAPE NOTES: LONDON" (fiction)
-- bad poem written on the plane home / after nine gin & tonics (poem)
-- rob at the Yellow Door, Montreal, October 13
-- the ottawa small press book fair, October 21
-- rob + Steve in the UK
-- rob & Brockwell in England, day-ish one...
-- Ongoing notes: late August, 2006 (two Ian Roy chapbooks; Aaron Peck's
Crepuscule on Mission Street, Nomados; Max Middle's Puddle Leaflets)
-- Jessica Smith's Organic Furniture Cellar: Works on Paper 2002 - 2004
-- Enter to win the Diana Brebner Prize for Poetry!
-- new poetry workshops at Collected Works Bookstore, Ottawa
-- some notes on Canadian poetry
-- ottawa report: lucky thirteen, above/ground press
-- some new & newish chapbooks from above/ground press
-- Andrew Suknaski's Wood Mountain Poems, 30th Anniversary Edition
-- Short notes on three American poetry collections: Dara Wier's Remnants
of Hannah, Brian Henry's Quarantine & Martin Corless-Smith's Swallows
-- aubade: a note on the text
-- The Church in the Wildwood, Glengarry
-- Maxine Gadd's Backup to Babylon
-- Three novels: on writing fiction
-- a brief note on the poetry of Douglas Barbour

www.robmclennan.blogspot.com

+ some other new things at ottawa poetry newsletter,
www.ottawapoetry.blogspot.com



--
poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics
(Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press
fair   ...11th coll'n - name   , an errant (Stride, UK)        .... c/o 858
Somerset St W, Ottawa ON K1R 6R7   *      http://robmclennan.blogspot.com/
=========================================================================
Date:         Thu, 21 Sep 2006 12:42:06 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         George Bowering 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  <000801c6dd95$0b58c370$7901a8c0@CADALY>
MIME-version: 1.0 (Apple Message framework v619)
Content-type: text/plain; charset=US-ASCII; format=flowed
Content-transfer-encoding: 7bit

I still don't get it. You mean that whoever owns the manuscript will
allow you to touch it? To put it on a scanner? Who are these people?

gb


On 21-Sep-06, at 8:46 AM, Catherine Daly wrote:

> you can scan it and upload it and you can do with it what you will, but
> there are no problems with American copyrights, payments, etc.... but
> you
> can't strictly legally scan for re-use editions derived from public
> domain
> materials, even if the only difference is an added intro (i.e., it is
> a lot
> easier to find Vachel Lindsay's film book in its recent republication
> than
> in the pre-1922 version, and even though the body of the book is
> edited to
> the original, or maybe even just a reprint, and you can't reuse that)
>
> -----Original Message-----
> From: UB Poetics discussion group
> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of George Bowering
> Sent: Wednesday, September 20, 2006 11:52 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Re: Kora in Hell mss. location?
>
> Wait. What could a public domain version of a manuscript be???
>
> gb
>
>
> On 20-Sep-06, at 8:29 PM, Catherine Daly wrote:
>
>> I have a public domain version that I've scanned and want to upload
>> somewhere.  If you want an unproofed scan, backchannel.
>>
>> All best,
>> Catherine Daly
>> cadaly@comcast.net
>>
>>
>> -----Original Message-----
>> From: UB Poetics discussion group
>> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
>> Behalf Of noah eli gordon
>> Sent: Wednesday, September 20, 2006 5:16 PM
>> To: POETICS@LISTSERV.BUFFALO.EDU
>> Subject: FW: Kora in Hell mss. location?
>>
>> Hi Eric asked me to pass this along; his email is below...
>>
>>> Hello,
>>>
>>> I've been trying to find out the location of the manuscript of
>>> Williams'
>>> Kora in Hell. I've contacted SUNY and Yale and it's not in either one
>>> of
>>> those collections. All the usual places (databases) where I'd find
>>> out such
>>
>>> info have turned up nothing. Does anyone out there happen to know?
>>>
>>> All Best,
>>> Eric
>>>
>>>  ericbaus@comcast.net
>>
>>
> George H. Bowering
> Clambering out of the Ruins
>
>
George H. Bowering
Clambering out of the Ruins
=========================================================================
Date:         Thu, 21 Sep 2006 12:46:45 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  <433B5564-49A9-11DB-A33B-000A95C34F08@sfu.ca>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

no -- it is the four seasons edition; since it was printed before 1923, it
is in the commons

-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of George Bowering
Sent: Thursday, September 21, 2006 12:42 PM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Re: Kora in Hell mss. location?

I still don't get it. You mean that whoever owns the manuscript will
allow you to touch it? To put it on a scanner? Who are these people?

gb


On 21-Sep-06, at 8:46 AM, Catherine Daly wrote:

> you can scan it and upload it and you can do with it what you will, but
> there are no problems with American copyrights, payments, etc.... but
> you
> can't strictly legally scan for re-use editions derived from public
> domain
> materials, even if the only difference is an added intro (i.e., it is
> a lot
> easier to find Vachel Lindsay's film book in its recent republication
> than
> in the pre-1922 version, and even though the body of the book is
> edited to
> the original, or maybe even just a reprint, and you can't reuse that)
>
> -----Original Message-----
> From: UB Poetics discussion group
> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of George Bowering
> Sent: Wednesday, September 20, 2006 11:52 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Re: Kora in Hell mss. location?
>
> Wait. What could a public domain version of a manuscript be???
>
> gb
>
>
> On 20-Sep-06, at 8:29 PM, Catherine Daly wrote:
>
>> I have a public domain version that I've scanned and want to upload
>> somewhere.  If you want an unproofed scan, backchannel.
>>
>> All best,
>> Catherine Daly
>> cadaly@comcast.net
>>
>>
>> -----Original Message-----
>> From: UB Poetics discussion group
>> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
>> Behalf Of noah eli gordon
>> Sent: Wednesday, September 20, 2006 5:16 PM
>> To: POETICS@LISTSERV.BUFFALO.EDU
>> Subject: FW: Kora in Hell mss. location?
>>
>> Hi Eric asked me to pass this along; his email is below...
>>
>>> Hello,
>>>
>>> I've been trying to find out the location of the manuscript of
>>> Williams'
>>> Kora in Hell. I've contacted SUNY and Yale and it's not in either one
>>> of
>>> those collections. All the usual places (databases) where I'd find
>>> out such
>>
>>> info have turned up nothing. Does anyone out there happen to know?
>>>
>>> All Best,
>>> Eric
>>>
>>>  ericbaus@comcast.net
>>
>>
> George H. Bowering
> Clambering out of the Ruins
>
>
George H. Bowering
Clambering out of the Ruins
=========================================================================
Date:         Thu, 21 Sep 2006 13:17:19 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  <433B5564-49A9-11DB-A33B-000A95C34F08@sfu.ca>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

If, as an editor/publishing house, you are going to use the original
manuscript to make an 'authoritative' edition, you will need permission to
the holding library to use their resources to make a scan. The library will
be credited as the source.

Mss. owners come into depending on copyright ownership determination. I
don't think a library can claim copyright on the manuscripts in their
archives if the work has been previously printed and copyright once - even
if ceased - established.
However if the library has that unpublished Shakespeare sonnet - you do pay,
probably big-time, for permission.

Google is trying to interfere with all this - scanning everything(with a
Library's permission) and presuming copyright and publishing control unless
questioned.

Stephen V
http://stephenvincent.net/blog/



> I still don't get it. You mean that whoever owns the manuscript will
> allow you to touch it? To put it on a scanner? Who are these people?
>
> gb
>
>
> On 21-Sep-06, at 8:46 AM, Catherine Daly wrote:
>
>> you can scan it and upload it and you can do with it what you will, but
>> there are no problems with American copyrights, payments, etc.... but
>> you
>> can't strictly legally scan for re-use editions derived from public
>> domain
>> materials, even if the only difference is an added intro (i.e., it is
>> a lot
>> easier to find Vachel Lindsay's film book in its recent republication
>> than
>> in the pre-1922 version, and even though the body of the book is
>> edited to
>> the original, or maybe even just a reprint, and you can't reuse that)
>>
>> -----Original Message-----
>> From: UB Poetics discussion group
>> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
>> Behalf Of George Bowering
>> Sent: Wednesday, September 20, 2006 11:52 PM
>> To: POETICS@LISTSERV.BUFFALO.EDU
>> Subject: Re: Kora in Hell mss. location?
>>
>> Wait. What could a public domain version of a manuscript be???
>>
>> gb
>>
>>
>> On 20-Sep-06, at 8:29 PM, Catherine Daly wrote:
>>
>>> I have a public domain version that I've scanned and want to upload
>>> somewhere.  If you want an unproofed scan, backchannel.
>>>
>>> All best,
>>> Catherine Daly
>>> cadaly@comcast.net
>>>
>>>
>>> -----Original Message-----
>>> From: UB Poetics discussion group
>>> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
>>> Behalf Of noah eli gordon
>>> Sent: Wednesday, September 20, 2006 5:16 PM
>>> To: POETICS@LISTSERV.BUFFALO.EDU
>>> Subject: FW: Kora in Hell mss. location?
>>>
>>> Hi Eric asked me to pass this along; his email is below...
>>>
>>>> Hello,
>>>>
>>>> I've been trying to find out the location of the manuscript of
>>>> Williams'
>>>> Kora in Hell. I've contacted SUNY and Yale and it's not in either one
>>>> of
>>>> those collections. All the usual places (databases) where I'd find
>>>> out such
>>>
>>>> info have turned up nothing. Does anyone out there happen to know?
>>>>
>>>> All Best,
>>>> Eric
>>>>
>>>>  ericbaus@comcast.net
>>>
>>>
>> George H. Bowering
>> Clambering out of the Ruins
>>
>>
> George H. Bowering
> Clambering out of the Ruins
=========================================================================
Date:         Thu, 21 Sep 2006 17:53:14 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Poetry Project 
Subject:      Events at the Poetry Project 9/25 - 9/27
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

Dears,

Please join us this week for the first two readings of our 41st season. The
calendar through November is now viewable on our website, as are the Fall
workshop descriptions. Scroll down for poetry from some of our upcoming
readers.

All love and so much more,

The Poetry Project


MONDAY SEPTEMBER 25, 8PM
Patricia Spears Jones & Dara Wier
=20
Patricia Spears Jones=B9 new collection of poems, Femme du Monde, was
published this past spring by Tia Chucha Press. Jones has been involved in
the downtown poetry and theater scenes in NYC since the mid-1970s, working
in particular with The Poetry Project and Mabou Mines. Dara Wier=B9s tenth
collection, Remnants of Hannah, will be published in September by Wave
Books.  In 2005 Verse Press (now Wave Books) published her book length poem
Reverse Rapture. She directs the MFA program for poets and writers at the
University of Massachusetts in Amherst.
=20
=20
WEDNESDAY SEPTEMBER 27, 8PM
Victor Hern=E1ndez Cruz & Quincy Troupe
=20
Victor Hern=E1ndez Cruz was born in Puerto Rico and grew up in New York City
in the 50's and 60's where he started writing and was part of the Lower Eas=
t
Side=B9s fertile artistic community. He currently makes his home between his
native Puerto Rico and Morocco. His latest book of poems is The Mountain in
the Sea published by Coffee House Press. Quincy Troupe=B9s  eighth book of
poems, The Architecture of Language, will be published by Coffee House Pres=
s
this fall. In addition to chronicling his friendship with Miles Davis in
Miles and Me, Troupe has recently published children=B9s books on Magic
Johnson and Stevie Wonder.


Dara Wier

Camels of the Vieux Carre

I view you as one who should slipslap out of a grease trap
For the sake of turning a hairpin back over our tuning fork
That we stand near when we need to locate you, locating
You is what we do now with ramifications of exquisite
Pleasures such as watching words fly into dead microphones
With our lungs dry and your tongue tipped in our battlefields
Where you left us holding our hats out catching your bullets
Free with no use for not even a threadbare catchy old overcoat
For the freedom of seeing your backbones unlittered for eons
As the case may be we are intrusions in an industry of fishtanks
On the high plains with much interplay among us and firewood
As it waits for its next transformation which will come soon
For the night is chilly and the ghosts know precisely where
To find us as they prepare to serenade us as you once had done.


Patricia Spears Jones

What the First Cities were All About


Cylinder seal/lapis lazuli

Yes, all blue, all the time

beer drinking Mesopotamians

dancing to the music made on the bull-headed lyre

=20

The best in time best in show

best to know that partying is ancient,

Inexorable and A LOT OF FUN

=20

But where is that bull-head liar?

With whom is he flirting?

And what is she wearing, breasts perfumed

Gleaming curls, black eyes encircled by kohl?

=20

And how did the pig become THE NEW BULL?

Or is he THE NEW DOG, canine, Roman,

that other world, not as old, but just as festive--

togas, pendants, wine and moon madness.

=20

Where is Catullus=B9 napkin?

Was it blue?
=20

Quincy Troupe

The Signatures of Time

binding signatures of time are fading footprints
tracking across wind-blown desert floors,

newspapers whipping down cold, empty streets,
split apart, become wings sailing like stingrays
swimming through wash of an emerald sea,

history is moments gleaned from unsorted stacks
holding facts, voices steamed clean as mussels
on a plate, disintegrating on worn tapes,
splintering on spools in old tape recorders,

like photos fading out in yellowing newspapers


Fall Calendar: http://www.poetryproject.com/calendar.html

The Poetry Project is located at St. Mark's Church-in-the-Bowery
131 East 10th Street at Second Avenue
New York City 10003
Trains: 6, F, N, R, and L.
info@poetryproject.com
www.poetryproject.com

Admission is $8, $7 for students/seniors and $5 for members (though now
those who take out a membership at $85 or higher will get in FREE to all
regular readings).

We are wheelchair accessible with assistance and advance
notice. For more info call 212-674-0910.

If you=B9d like to be unsubscribed from this mailing list, please drop a line
at info@poetryproject.com.
=========================================================================
Date:         Thu, 21 Sep 2006 19:54:16 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "David A. Kirschenbaum" 
Subject:      **Advertise in Boog City 37**
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

please forward
---------------

Advertise in

Boog City 37


*Deadline

--Mon. Oct.  2-Ad copy to editor
--Sat. Oct. 14-Issue to be distributed

Email to reserve ad space ASAP

We have 2,000 copies distributed and available free throughout Manhattan's
East Village, and Williamsburg and Greenpoint, Brooklyn.

-----

Take advantage of our indie discount ad rate. We are once again offering a
50% discount on our 1/8-page ads, cutting them from $60 to $30. (The
discount rate also applies to larger ads.)

Advertise your small press's newest publications, your own titles or
upcoming readings, or maybe salute an author you feel people should be
reading, with a few suggested books to buy. And musical acts, advertise your
new albums, indie labels your new releases.

(We're also cool with donations, real cool.)

Email editor@boogcity.com
or call 212-842-BOOG(2664) for more information.

thanks,
David

--
David A. Kirschenbaum, editor and publisher
Boog City
330 W.28th St., Suite 6H
NY, NY 10001-4754
For event and publication information:
http://boogcityevents.blogspot.com/
T: (212) 842-BOOG (2664)
F: (212) 842-2429
=========================================================================
Date:         Thu, 21 Sep 2006 21:53:42 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         charles alexander 
Subject:      new on chaxblog
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

New on
chaxblog
since the last announcement a week ago
    * READING A READING 18-20, by BEVERLY DAHLEN
    *

    JOE AMATO, CAO XUEQIN, MYUNG MI KIM, ELIZABETH ROBINSON, JEAN GROSJEAN,
TRAFFIC (isn't that enough?)

    * A-LIST AUTHORS: AMATO and ABEL (Under Virga & Black Valentine)
http://chax.org/blog.htm



charles alexander / chax press

fold the book inside the book           keep it open always
         read from the inside out                speak then
=========================================================================
Date:         Thu, 21 Sep 2006 23:28:04 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         George Bowering 
Subject:      Re: Kora in Hell mss. location?
In-Reply-To:  <001c01c6ddb6$aba1eca0$6501a8c0@KASIA>
MIME-version: 1.0 (Apple Message framework v619)
Content-type: text/plain; charset=US-ASCII; format=flowed
Content-transfer-encoding: 7bit

The Four Seasons edition is not the manuscript.
The manuscript (manu--hand; script--writing) is the writing by Dr
Williams on the paper
that he originally wrote the poem on.
The Four Season edition was a printed book. The press was a sort of
vanity press
(and to be blessed for publishing Mourning Dove's novel).
When Eric asked for help in locating WCW's manuscript, he was asking
whether
anyone here knows where WCW's original enditing of the book is held.

On 21-Sep-06, at 12:46 PM, Catherine Daly wrote:

> no -- it is the four seasons edition; since it was printed before
> 1923, it
> is in the commons
>
> -----Original Message-----
> From: UB Poetics discussion group
> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
> Behalf Of George Bowering
> Sent: Thursday, September 21, 2006 12:42 PM
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Re: Kora in Hell mss. location?
>
> I still don't get it. You mean that whoever owns the manuscript will
> allow you to touch it? To put it on a scanner? Who are these people?
>
> gb
>
>
> On 21-Sep-06, at 8:46 AM, Catherine Daly wrote:
>
>> you can scan it and upload it and you can do with it what you will,
>> but
>> there are no problems with American copyrights, payments, etc.... but
>> you
>> can't strictly legally scan for re-use editions derived from public
>> domain
>> materials, even if the only difference is an added intro (i.e., it is
>> a lot
>> easier to find Vachel Lindsay's film book in its recent republication
>> than
>> in the pre-1922 version, and even though the body of the book is
>> edited to
>> the original, or maybe even just a reprint, and you can't reuse that)
>>
>> -----Original Message-----
>> From: UB Poetics discussion group
>> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
>> Behalf Of George Bowering
>> Sent: Wednesday, September 20, 2006 11:52 PM
>> To: POETICS@LISTSERV.BUFFALO.EDU
>> Subject: Re: Kora in Hell mss. location?
>>
>> Wait. What could a public domain version of a manuscript be???
>>
>> gb
>>
>>
>> On 20-Sep-06, at 8:29 PM, Catherine Daly wrote:
>>
>>> I have a public domain version that I've scanned and want to upload
>>> somewhere.  If you want an unproofed scan, backchannel.
>>>
>>> All best,
>>> Catherine Daly
>>> cadaly@comcast.net
>>>
>>>
>>> -----Original Message-----
>>> From: UB Poetics discussion group
>>> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
>>> Behalf Of noah eli gordon
>>> Sent: Wednesday, September 20, 2006 5:16 PM
>>> To: POETICS@LISTSERV.BUFFALO.EDU
>>> Subject: FW: Kora in Hell mss. location?
>>>
>>> Hi Eric asked me to pass this along; his email is below...
>>>
>>>> Hello,
>>>>
>>>> I've been trying to find out the location of the manuscript of
>>>> Williams'
>>>> Kora in Hell. I've contacted SUNY and Yale and it's not in either
>>>> one
>>>> of
>>>> those collections. All the usual places (databases) where I'd find
>>>> out such
>>>
>>>> info have turned up nothing. Does anyone out there happen to know?
>>>>
>>>> All Best,
>>>> Eric
>>>>
>>>>  ericbaus@comcast.net
>>>
>>>
>> George H. Bowering
>> Clambering out of the Ruins
>>
>>
> George H. Bowering
> Clambering out of the Ruins
>
>
Giorgio Bowering
Thin in his dreams.
=========================================================================
Date:         Fri, 22 Sep 2006 05:56:31 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jeffrey Side 
Subject:      Jake Berry article at The Argotist Online
Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu

Jake Berry article, "Further Reflections on Oblivion":

http://www.argotistonline.co.uk/Berry%20essay.htm

Also, poems by Ira Lightman:

http://www.argotistonline.co.uk/Lightman%20poems.htm
=========================================================================
Date:         Fri, 22 Sep 2006 09:14:31 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         salinger 
Subject:      New Professional Book
In-Reply-To:  
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I am proud to announce the publication of Outspoken - How to Improve
Writing and Speaking Skills Through Poetry Performance. By Sara
Holbrook and Michael Salinger

This book contains writing and performance exercises for use in the
middle, high school and college classrooms ( the exercises and prompts
scaffold well to the abilities of the group) and also contains a DVD
that chronicles our work with the youth slam team at Cleveland's Playhouse
Square.

We just received our author's copies and the book looks great!

http://books.heinemann.com/products/E00965.aspx

Time to get work on the next one now,

Salinger
=========================================================================
Date:         Fri, 22 Sep 2006 09:29:22 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      FW: Smell Reading This Sunday, SEPT 24th
MIME-Version: 1.0
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Tidings of joy and roaring proclamations are winging to the Smell this
month, as New York's Greeting magazine releases its 10th issue at the
Smell, at 6:00, September 24.

Music, foolery, poetry, and hot-off-the-press magazines will all available!

Featuring:

The editors of Greeting (Jeffrey Joe Nelson and Jed Shahar)

Music by Paloma Parfrey, Oliver Hall, Dave Eng, and others!

Short readings by contributors to Greeting #10 (mostly a Los Angeles
affair).

For any who don't know, the smell is at:
247 S. Main Street,
Los Angeles

The front door of the Smell is in an alley between Main St. and Spring
St.  The alley can be entered from either 2nd or 3rd St.
=========================================================================
Date:         Fri, 22 Sep 2006 12:42:02 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         sandra de 1913 
Subject:      1913 contests--NEW Deadlines!
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1913 Press announces NEW Deadlines for its two contests:

The 1913 Prize: NEW Deadline is January 13, 2007
The Rozanova Prize: NEW Deadline is March 13, 2007

http://journal1913.org/prizes.html

[*Note: This deadline change is only due to timing issues.
1913 has not yet begun reading ANY entries, and will not do so until ALL
entries are received, after the new deadlines.
ALL entries will be read ensemble and given equal consideration.
& As always, ALL entries to 1913's contests will be considered for
publication by 1913.]

The 1913 Prize:
for a selection (series/sequence) of work (25 pages max.)
to be featured in 1913 a journal of forms
with a critical introduction.
(Submissions may be verbal, visual, or any combination.)
Prize includes $100 + 2 copies of the journal.
Entry fee: $10
ALL entrants will receive a copy of the journal.

The Rozanova Prize:
for a book-length work
(Submissions may be collaborative, visual, or any combination.)
Prize includes publication by 1913 Press, standard royalties, and 25 copies
of the book.
Entry fee: $20
ALL entrants will receive a copy of the winning book.


Multiple submissions accepted.
Please submit online:
http://journal1913.org/prizes.html
or by mail:
1913 Press / Box 9654 / Hollins University / Roanoke, VA 24020

http://www.journal1913.org
=========================================================================
Date:         Fri, 22 Sep 2006 12:48:46 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         sandra de 1913 
Subject:      Seismosis
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Do ogle the NEWEST offering from 1913 Press:
Seismosis, a collaborative book by John Keene + Christopher Stackhouse
AVAILABLE NOW!

Order your copy directly from 1913 Press:
http://journal1913.org/seismosis.html

or via Small Press Distribution:
http://journal1913.org/seismosis.html

Teach this book!...View this book! ...Even read this book!

Seismosis by John Keene + Christopher Stackhouse
with a Foreword by Ed Roberson + an Afterword by Geoffrey Jacques
$19 / ISBN: 0977935108


Featuring line-drawings by Stackhouse & poems-as-essays by Keene=97handed b=
ack
and forth and back again, written and rewritten, drawn and
redrawn=97Seismosispenetrates the common ground between
writing/literature and drawing/visual
art, creating a revisioned landscape where much of the work is abstract, or
abstracted, or both.

The multiform agreements the texts & the drawings make, from a brilliant &
decisive center, are revolutionary, antilinear, and highly responsive. The
result is a sophisticated call-and-response affair. A pioneering event
between two African-American artists, Seismosis is a formal experience.


John Keene is a former member of the Dark Room Writers Collective, a
graduate fellow of Cave Canem, and recipient of many awards and
fellowships=97including a 2003 Poetry Fellowship from the New Jersey State
Council on the Arts and a 2005 Mrs. Giles Whiting Foundation Prize for
fiction. Keene is the author of the acclaimed experimental novel,
Annotations, from New Directions.

Christopher Stackhouse is the author of Slip (Corollary Press), a Cave Cane=
m
graduate fellow, a poetry editor at Fence magazine, and a New York
Foundation for the Arts Fellow in Poetry for 2005. An MFA candidate at Bard
College, Stackhouse is also an exhibiting artist whose canvases and works o=
n
paper have appeared in several New York City galleries.


To schedule an event with John Keene + Christopher Stackhouse, please
contact 1913 Press:
1913press@gmail.com


Advance Praises for Seismosis :

It's what happens when writing and drawing give each other a hand, a free
hand, to shake it up, to go the distance from crossing out to crossing over=
,
from ear to here and back again, fast. A little nerve music for the time
being=97sampling seismo for the pleisto scene.
=97David Levi Strauss

... Seismosis is the complete text for the course, replete with
illustrations, examples, graphs, exercises, and tests.
=97from the Foreword by Ed Roberson

This exquisite collaboration goes beyond a linear mutual appreciation: poet
likes artist's work=97artist likes poet's work. In Seismosis, Keene &
Stackhouse present an interwoven, intersecting conversation between one
another and their art forms. We read the poems and see the drawings=97we re=
ad
the drawings and see the poems, as the collaborators make use of space,
line, and textural performance in one multimedia framework. Here, two men's
boyish charms and haunting playfulness create a three-dimensional canvas ou=
t
of thinking inscriptions.
=97Tracie Morris

Wow. Rarely a book makes such an impact. Keene and Stackhouse heat up the
strange place where abstraction becomes as visceral as thoughts or
conversations. Anyone interested in artistic collaborations will rarely fin=
d
one this complete, in the pleasure of ever-forming and dissolving boundarie=
s
between gestures. An immediate delight.
=97Thalia Field



1913 Press / Box 9654 / Hollins University / Roanoke, VA 24020
http://www.journal1913.org
=========================================================================
Date:         Fri, 22 Sep 2006 13:38:06 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         heidi arnold 
Subject:      documentary poetry
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--would there be any listmembers who work with documentary reportage and
poems -- who might have time to answer a couple questions offlist?

thanks

-heidi
=========================================================================
Date:         Fri, 22 Sep 2006 14:11:51 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Maria Damon 
Subject:      Re: documentary poetry
In-Reply-To:  <11d43b500609221038w7ede03b2r487f77e64f17928e@mail.gmail.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

contact mark nowak at manowak@stkate.edu

At 1:38 PM -0400 9/22/06, heidi arnold wrote:
>--would there be any listmembers who work with documentary reportage and
>poems -- who might have time to answer a couple questions offlist?
>
>thanks
>
>-heidi
=========================================================================
Date:         Fri, 22 Sep 2006 15:15:49 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         heidi arnold 
Subject:      documentary poetry
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
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--many thanks for your replies -- i will write separately off list

-heidi
=========================================================================
Date:         Fri, 22 Sep 2006 13:21:03 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Adam Fieled 
Subject:      Stewart Home on PFS Post
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Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

   Hear subversive Brit-lit legend Stewart Home mouth off about 9/11, Martin Amis, the Bolshevik Revolution, Communism, et al. on PFS Post:

  http://www.artrecess.blogspot.com

 			
---------------------------------
Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business.
=========================================================================
Date:         Fri, 22 Sep 2006 12:56:50 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: here's that address again (fwd)
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

thanks   ross
=========================================================================
Date:         Fri, 22 Sep 2006 18:20:46 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Fw: an evening of poetry w/ kathy engel, gale jackson,
              and marc zegans this saturday !!!
Comments: To: Acousticlv@aol.com, AdeenaKarasick@cs.com, AGosfield@aol.com,
          alonech@acedsl.com, Altjazz@aol.com, amirib@aol.com,
          Amramdavid@aol.com, anansi1@earthlink.net, AnselmBerrigan@aol.com,
          arlenej2@verizon.net, Barrywal23@aol.com, bdlilrbt@icqmail.com,
          butchershoppoet@hotmail.com, CarolynMcClairPR@aol.com,
          CaseyCyr@aol.com, CHASEMANHATTAN1@aol.com, Djmomo17@aol.com,
          Dsegnini1216@aol.com, flint@artphobia.com, Gfjacq@aol.com,
          Hooker99@aol.com, rakien@gmail.com, jeromerothenberg@hotmail.com,
          Jeromesala@aol.com, JillSR@aol.com, JoeLobell@cs.com,
          JohnLHagen@aol.com, kather8@katherinearnoldi.com, Kevtwi@aol.com,
          krkubert@hotmail.com, LakiVaz@aol.com, Lisevachon@aol.com,
          Nuyopoman@AOL.COM, Pedevski@aol.com, pom2@pompompress.com,
          Rabinart@aol.com, Rcmorgan12@aol.com, reggiedw@comcast.net,
          RichKostelanetz@aol.com, RnRBDN@aol.com, Smutmonke@aol.com,
          sprygypsy@yahoo.com, SHoltje@aol.com, Sumnirv@aol.com,
          tcumbie@nyc.rr.com, velasquez@nyc.com, VITORICCI@aol.com
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good food and
dalachinsky may read too



ISSUE Project Room
400 Carroll Street - Brooklyn, NY  11213
www.issueprojectroom.org

Telephone
718-330-0313

Inquires/Mailing List
info@issueprojectroom.org



Saturday, September 23

an evening of poetry w/ kathy engel + gale jackson + marc zegans

Kathy Engel has been a full-time
advocate/organizer/consultant/producer/writer engaged in building
social justice, human rights and peace organizations and campaigns. She
has worked extensively as a bridge between organizations and
individuals who may not ordinarily work together or engage in dialogue
with the purpose of building multi-racial/cross-class progressive
institutions and projects, and maximizing the effectiveness and
creativity of progressive efforts. Her work is based on a commitment to
breaking boundaries, and infusing the imagination and thinking of the
artist and the intellectual into the strategic planning for grassroots,
community, national and international media and organizing efforts.

Gale Jackson will be reading from the brand new books MeDea (Glad Day
Press) and Suite for Mozambique (Ikon). She is a poet, writer,
librarian and cultural historian. She is the author of MeDea, Suite for
Mozambique, Bridge Suite: Narrative Poems, A Khoisan Tale of Beginnings
and Ends, and We Stand Our Ground with Kimiko Hahn and Susan Sherman.
She currently serves on the faculty of Goddard College, as poet in
residence at The Secondary School for Journalism and as storyteller in
residence at The Hayground School.

Marc Zegans is a poet, playwright and author. His current work explores
waking dreams and the experience of human fragility in the
post-industrial landscape. He is now completing a book that explores
these themes, entitled, Poems of Danger and Abandon. He is also
developing a spoken work album for Philistine Records. As a non-fiction
writer Marc has written extensively about innovation in the public
sector, and philanthropic practice. He is currently completing a book
entitled, The Essential Work of Public Management, which is a
non-foundationalist theory of the role of administration in democracy.

8:00 p.m., $10



Directions:
Brooklyn-bound F / G trains to Carroll St.
2.5 blocks from stop (between Bond & Nevins)
15 minutes from 2nd Ave. F stop
=========================================================================
Date:         Fri, 22 Sep 2006 18:24:44 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         ANDREWS@FORDHAM.EDU
Subject:      this Monday nite, some performance fun
Comments: To: brucep@bway.net, ParrasJ@wpunj.edu,
          perelman@dept.english.upenn.edu, curators@petesbigsalmon.com,
          wanda@interport.net, jmp@princeton.edu, kieron@earthlink.net,
          nickpoetique@earthlink.net, poetics@acsu.buffalo.edu,
          poproj@thorn.net, info@poetryproject.com, POL@fordham.edu,
          comitee@comcast.net, re_permitter@yahoo.com, alissa_quart@yahoo.com,
          gquasha@stationhill.org, mragona@aol.com, decibeljr@earthlink.net
MIME-Version: 1.0
Content-type: text/plain; charset=US-ASCII

LITTLE THEATRE @ Tonic:  Monday, September 25,
a monthly event curated by Jeffrey Jones & Mike Taylor




LITTLE THEATRE: Vol VII, No. 1 - September, 2006
------------------------------------------------------------------------
-------------

BRUCE ANDREWS: P=O=E=T=R=Y (recent work)

HOPES SET TO HI: a performance by Brendan deVallance

MODERN FAIRY TALES: written & performed by Bret Fetzer

FLORIDA PART 2: choreographed & performed by Felicia Ballos
with Katie Eastburn


------------------------------------------------------------------------
-------------
Monday, September 25, 2006 - 8:00 PM @ Tonic
------------------------------------------------------------------------
-------------
107 Norfolk btw. Delancey & Rivington (F Delancey; JMZ Essex)
Tickets $8.00 @ the door, 1st come, 1st served, no reservations
=========================================================================
Date:         Sat, 23 Sep 2006 02:01:31 +0200
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Anny Ballardini 
Subject:      the Poets' Corner
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Dearest all,



a new update for the Poets' Corner at the beginning of Fall with my
acknowledgment to the great poets who contributed:



*Newly featured poets:*



*Robert Pinsky*

http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego=
ries&cid=3D213



*Kathryn Rantala*

http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego=
ries&cid=3D214



*Adam Fieled*

http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego=
ries&cid=3D215



*Cathy Colman*

http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego=
ries&cid=3D216



*Jerry McGuire*

http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego=
ries&cid=3D217



*Jerome Rothenberg*

http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego=
ries&cid=3D218





*New work by already featured Poets:*



*Halvard Johnson *

Pretty Honoraria

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1587



Sonnet: Norwegian Moods

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1590





*Alan Sondheim*

rewrite  into you

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1588



Horizon and Phenomenology

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1634





*Jeff Harrison*

*The Wasps of Zane Grey*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1589



*The Snake Polisher's Shorter Paradise*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1591



*And now refers only to Lethe's diverting ripple*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1592



*Shakespeare Sonnets of Fran=E7ois Mauriac*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1604



*G is for GRANDUNCLES (OF THE CATTLETRADE)*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1615



*The Seven Wonders of Max Beerbohm*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1616





*Frederick Pollack*

Christchurch

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1593





*Elena Karina Byrne*

DEATH FABLE

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1595



MIRROR FABLE

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1596



LANGUAGE FABLE

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1597



FEELING FABLE

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1598



MARKET, 12PM

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1599



INFIDELITY, DREAM: 2AM

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1600



6PM: PROXIMITY IS EVERYTHING

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1601



7AM: SCOPOPHILIA WALKS THE DOG

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1602



11PM T.V.

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1603





*Skip Fox*

135.

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1614





*Deborah Russell*

Warm Embers

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1628



Brilliantly Blue

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1629



Breathles Heart

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1630



Without Effort

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1631



Dustless Mind

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1632



Rusty Colored Rooftops

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1633



Monologues

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1642



Nowhere to Go

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1643





*Robert Ryan*

From One and Many Worlds

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1665





*Under Poets on Poets*



*Jon Corelis translates EURIPIDES' HIPPOLYTOS*: A PERFORMANCE VISION

http://www.fieralingue.it/modules.php?name=3Dpoetsonpoets&pa=3Dlist_pages_c=
ategories&cid=3D61





My introduction of *Skip Fox in Italian* and poem 135.

http://www.fieralingue.it/modules.php?name=3Dpoetsonpoets&pa=3Dlist_pages_c=
ategories&cid=3D62



* *

*Linh Dinh in German by** Gerd Burger*

Zahnstocher un Essstaebchen

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D147



Veraltete Landkarten

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D148



Dreifaltigkeit

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D149



Fluessigketi

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D150



Gasfoerming

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D151



Das Abwischen

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D152



Ein Maerchen

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D153



Endokrine Druese

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D154



Sangesfreudig

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D155



Arschloecher

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D156



Entgrenzter Koerper

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D157



Der Haeftling mit dem Lexikon

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D158



*And LINH DINH translated by DINH LINH into Italian !*

Gli Anni

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D159



Intervista

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D160



Le Difficolt=E0 della Poesia

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D161



Sei Raffinato?

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D162



Confessione

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D163



Breve Testo sulle Teste

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D164



Blues del Passaporto Blu

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D165



Perch=E9 Devo Lavarmi Le Mani Ogni Giorno?

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D166



Probit=E0 Estetica

http://www.fieralingue.it/modules/poetsonpoets/corner.php?pa=3Dprintpage&pi=
d=3D167





Some of my critical work in Italian under *Reviews:*



*Yves Bonnefoy's Terre Intraviste*

http://www.fieralingue.it/modules/poemreviews/corner.php?pa=3Dprintpage&pid=
=3D255



*Herberto Helder, La Macchina Lirica*

http://www.fieralingue.it/modules/poemreviews/corner.php?pa=3Dprintpage&pid=
=3D256



*Kikuo Takano, L'Infiammata Assenza*

http://www.fieralingue.it/modules/poemreviews/corner.php?pa=3Dprintpage&pid=
=3D253



*Toma=9E =8Aalamun, **Quattro Domande Alla Malinconia*

http://www.fieralingue.it/modules/poemreviews/corner.php?pa=3Dprintpage&pid=
=3D254



*Rutger Kopland, Prima della Scomparsa e Dopo*

http://www.fieralingue.it/modules/poemreviews/corner.php?pa=3Dprintpage&pid=
=3D257





Updated *Bios and Introduction* for:



*Douglas Barbour and Sheila Murphy:*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1581



*Barry Alpert*

http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D74





I am grateful to you all,

my best,


Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=3Dpoetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing
star!
Friedrich Nietzsche
=========================================================================
Date:         Fri, 22 Sep 2006 20:19:40 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Vernon Frazer 
Subject:      Re: this Monday nite, some performance fun
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

Bruce

Please tell Jeffrey Jones I said hello. I knew him when he was director of
Real Art Ways in Hartford a long time ago.

Vernon


-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On
Behalf Of ANDREWS@FORDHAM.EDU
Sent: Friday, September 22, 2006 6:25 PM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: this Monday nite, some performance fun

LITTLE THEATRE @ Tonic:  Monday, September 25,
a monthly event curated by Jeffrey Jones & Mike Taylor




LITTLE THEATRE: Vol VII, No. 1 - September, 2006
------------------------------------------------------------------------
-------------

BRUCE ANDREWS: P=O=E=T=R=Y (recent work)

HOPES SET TO HI: a performance by Brendan deVallance

MODERN FAIRY TALES: written & performed by Bret Fetzer

FLORIDA PART 2: choreographed & performed by Felicia Ballos
with Katie Eastburn


------------------------------------------------------------------------
-------------
Monday, September 25, 2006 - 8:00 PM @ Tonic
------------------------------------------------------------------------
-------------
107 Norfolk btw. Delancey & Rivington (F Delancey; JMZ Essex)
Tickets $8.00 @ the door, 1st come, 1st served, no reservations
=========================================================================
Date:         Fri, 22 Sep 2006 23:16:24 -0700
Reply-To:     ishaq1824@shaw.ca
Sender:       UB Poetics discussion group 
Comments:     RFC822 error:  Incorrect or incomplete address field found and
              ignored.
From:         Ishaq 
Organization: selah7
Subject:      Patti Smith rails against Israel and US
MIME-version: 1.0
Content-type: text/plain; charset=us-ascii; format=flowed
Content-transfer-encoding: 7bit

  Patti Smith rails against Israel and US
By Louise Jury, Arts Correspondent
Published: 09 September 2006

The singer-songwriter Patti Smith has produced an emotional indictment
of American and Israeli foreign policy in two new protest songs she will
premiere in London next week.

The American singer takes the Israeli bombing of Lebanese civilians and
the US detention centre at Guantanamo Bay and as her subjects in the
songs "Qana" and "Without Chains".

She condemned an Israeli air strike on the Lebanese village of Qana in
July as "an atrocity" for which America was partly to blame. At least 56
people were killed, including 32 children.

Smith said she was further ashamed of America for its detention of young
men in Guantanamo Bay. "I wrote both these songs directly in response to
events that I felt outraged about," she said. "These are injustices
against children and the young men and women who are being incarcerated.
I'm an American, I pay taxes in my name and they are giving millions and
millions of dollars to a country such as Israel and cluster bombs and
defence technology and those bombs were dropped on common citizens in
Qana. It's terrible. It's a human rights violation."

Smith said she was not sufficiently well versed in Middle East politics
to discuss the differences between Israel and Lebanon. "But there was no
righteousness attached to destroying the infrastructure of this country
that had been rebuilding. It's an atrocity not only against the people
but against the land. I find it really unforgivable."

In the second song, "Without Chains", she details the story of Murat
Kurnaz, who was finally released from Guantanamo on 24 August after four
years. Kurnaz, a Turkish citizen who was born and raised in Germany, was
in the process of becoming a German citizen when he was arrested in
Pakistan in late 2001.

Smith said: "He is the same age as my son, Jackson. When I read the
story, I realised how I would feel as a mother if my son had been taken
away at the age of 20, put into chains, without any hope of leaving,
without any direct charge."

She will perform the songs on Monday and Tuesday at the South Bank
Centre where she was the guest director of last year's Meltdown Festival.

As part of that, she was partnered by Kevin Shields, the ex-guitarist of
My Bloody Valentines, on "The Coral Sea", a prose lament to the artist
Robert Mapplethorpe, a former boyfriend, who died of Aids.

The singer-songwriter Patti Smith has produced an emotional indictment
of American and Israeli foreign policy in two new protest songs she will
premiere in London next week.

The American singer takes the Israeli bombing of Lebanese civilians and
the US detention centre at Guantanamo Bay and as her subjects in the
songs "Qana" and "Without Chains".

She condemned an Israeli air strike on the Lebanese village of Qana in
July as "an atrocity" for which America was partly to blame. At least 56
people were killed, including 32 children.

Smith said she was further ashamed of America for its detention of young
men in Guantanamo Bay. "I wrote both these songs directly in response to
events that I felt outraged about," she said. "These are injustices
against children and the young men and women who are being incarcerated.
I'm an American, I pay taxes in my name and they are giving millions and
millions of dollars to a country such as Israel and cluster bombs and
defence technology and those bombs were dropped on common citizens in
Qana. It's terrible. It's a human rights violation."

Smith said she was not sufficiently well versed in Middle East politics
to discuss the differences between Israel and Lebanon. "But there was no
righteousness attached to destroying the infrastructure of this country
that had been rebuilding. It's an atrocity not only against the people
but against the land. I find it really unforgivable."

In the second song, "Without Chains", she details the story of Murat
Kurnaz, who was finally released from Guantanamo on 24 August after four
years. Kurnaz, a Turkish citizen who was born and raised in Germany, was
in the process of becoming a German citizen when he was arrested in
Pakistan in late 2001.

Smith said: "He is the same age as my son, Jackson. When I read the
story, I realised how I would feel as a mother if my son had been taken
away at the age of 20, put into chains, without any hope of leaving,
without any direct charge."

She will perform the songs on Monday and Tuesday at the South Bank
Centre where she was the guest director of last year's Meltdown Festival.

As part of that, she was partnered by Kevin Shields, the ex-guitarist of
My Bloody Valentines, on "The Coral Sea", a prose lament to the artist
Robert Mapplethorpe, a former boyfriend, who died of Aids.
http://enjoyment.independent.co.uk/music/news/article1431117.ece


___
Stay Strong
\
-"I testified/My mama cried/Black people died/When the other man lied"
-- chuck d
\
  "Be a friend to the oppressed and an enemy to the oppressor"
--Imam Ali Ibn Abu Talib (as)
\
"They want to see us breathless. We will not be. They want to see us
tired. We refuse to be. They want to see what our strength is. We will
not show it in advance. We will continuously surprise them." -- Julia
Wright

  "We restate our commitment to the peace process. But we will not
submit to a process of humiliation."
--patrick o'neil
\
"...we have the responsibility to make no deal with the oppressor"
--harry belafonte
\
"...these people generate wars in Asia and Africa,...These are the
people who, in the last century, caused several devastating wars. In one
world war alone, they killed over 60 million people.... In the near
future, Allah willing, we will put you to trial in courts established by
the peoples...."-- mahmoud ahmadinejad
\
http://www.sidebrow.net/2006/a047braithwaite.php
\
http://cleveland.indymedia.org/uploads/2006/07
olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
\
http://radio.indymedia.org/news/2005/10/7255.php
\
http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3
\
http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date
\
http://vancouver.indymedia.org/?q=en/node/1269\
\
http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3
\
http://vancouver.indymedia.org/?q=en/taxonomy/term/111
\
http://www.lowliferecords.co.uk/
=========================================================================
Date:         Sat, 23 Sep 2006 00:32:12 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Matt Timmons 
Subject:      Trepan 6 Mindlessfullness Call For Work
MIME-Version: 1.0
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed
Content-Transfer-Encoding: quoted-printable
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Mindlessfullness | Trepan 6 (http://trepan.org)

According to linguistics, language is material. Words are things made of
sound and a poem is a machine made out of words. To write is to knead
language into a shape, much like laying out dough and waiting for it to
rise. These poems, these machines are not necessarily made to spit out idea=
s
and meaning simply because someone's eye is running across a page or a
screen. And would it be so bad to remark after having read something, "This
object was not made by an artist, but by a machine, by a process"?

This is a call to open the cultural database, let everyone use the
technology of textual production to its maximum potential, whether it be th=
e
technology inscribed on silicon or the kind that can be implemented on
paper, or whether the results are intended for the age-old tecnology of the
printed page or for the somehwat newer, screen. Rather than being led by
sequences of signs, instead drift through them. This is the project of
unchaining the codes=97not the subject anymore=97so that something will bur=
st
out, will escape; words beneath words. Another kind of word is born and the
language you are breathing becomes the language you think=85 these are not
mere metaphors but a call for new procedures of writing.

This writing turns in on itself, sacrifices itself, in order to establish a
space of possibility beyond itself, to make as visible as possible the
limits & norms & operations of the machinery, to appropriate the machinery
of discourse in order to put it to other as yet forbidden or unimagined
uses, and in the end hopefully to show the possibilities of sense & meaning
being constructed; to foreground the limits of the possible=97& our possibl=
e
lives; to create impossibility.

After Trepan's last issue, "Monstrous." we turn to investigate the life of
the mind in Trepan 6, "Mindlessfullness." The processes we create, the tool=
s
we use and their products have the ability to express the predilection for
the mind in art, possibly more perfectly than writing that comes straight
from inspiration, straight from the mind to the page. Language itself is
surely a technology insofar as it is a tool made by people; our tools and
technologies are not dumb and lifeless externalities that we pick up at nee=
d
to do a job; instead, they often are truly extensions of ourselves:
extensions of our minds and feelings and imaginations.

Mindlessfullness will exhibit the writer in repose. After creating an
unspeakably complex or diabolically simple process the writer has the
ability to release his/her mind and allow their machine to work like a
trepan burrowing into our brains to see what we have there. Just as this
call for work is itself a machinic work of plaigiarism.

Trepan cultivates mutation in forms and styles of reading and writing,
discarding traditional barriers between genres and forms, seeking out
unexpected openings, and creating them where necessary.

Trepan was founded and edited by the MFA students of the CalArts Writing
Program, who published the first four volumes. Trepan is now produced by
Superbunker (superbunker.com) as an independent journal focusing on
experimental and hybrid arts. Each volume will have a unique theme and
editorial staff, managed by series editor Jason Brown, Trepan 5 and Trepan =
6
guest edited by Mathew Timmons. Send submissions by Jan 1, 2007 to
editors@trepan.edu.

trepan, n.1
    1. An instrument for cutting out small pieces of bone, especially from
the skull.
    2. A military engine formerly used for boring holes in walls.
    3. An instrument for sinking shafts.
    4. A hole made in a bone by a trepan

trepan, v.1
    a. To saw through a bone of the skull with a trepan.
    b. In brush-making: see trepanning
    c. To cut a hole in something, with the core removed as a solid piece.

trepan, trapan, n.2
[A word of obscure and low origin, prob. originally a term of thieves' or
rogues' slang.]
    1. A person who entraps or decoys others.
    2. A stratagem, trick, trap or snare.

trepan, trapan, v.2
    a. To entrap, ensnare, beguile.
    b. To lure, inveigle.
    c. To do by craft or guile; to cheat or beguile out of; to swindle.
=========================================================================
Date:         Sat, 23 Sep 2006 10:00:52 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         thom donovan 
Subject:      E. Tracy Grinnell & Andrew Levy September 30th 8PM @ Peace On A
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Peace On A

presents

E. Tracy Grinnell & Andrew Levy

Saturday, September 30th 2006 8PM sharp

hosted by Thom Donovan at:

166 Avenue A, Apartment #2
New York, NY 10009

about the readers:

E. Tracy Grinnell is the author of the chapbook Harmonics (Melodeon Poetry
Systems, 2000), Music or Forgetting (O Books, 2001), Of the Frame (Duration
Press ebook, 2004), Some Clear Souvenir (O Books, 2006), and Quadriga, a
collaborative work with Paul Foster Johnson (g o n g chapbooks, 2006). She
lives in New York and edits Litmus Press and the journal Aufgabe.

Andrew Levy teaches in the English Department at QCC-CUNY, serving as
Faculty Advisor for the student newspaper, Communiqué.  He is the author of
ten books of poetry, including Ashoka (Zasterle Books), Paper Head Last
Lyrics (Roof Books), Curve 2 (Potes & Poets Press), Values Chauffeur You (O
Books), and Democracy Assemblages (Innerer Klang). New titles are
forthcoming from Factory School, and Innerer Klang.  His newest manuscript
is Don't Forget to Breathe.  He is editor, with Roberto Harrison, of the
poetry journal Crayon.

about the series:

Peace On A is an events series devoted to emergent work by writers, artists, performers and
thinkers.

Make peace not love.--Amos Oz

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Sat, 23 Sep 2006 13:14:12 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Brian Stefans 
Subject:      Encyclopedia Project (i.e. I'm reading in Philadelphia this
              Monday)
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

Please help me spread the word on this one. I don't know too many folks in
this town, and I might just turn into a twist of cheese whiz after this one.




The Encyclopedia Project is really cool, the book itself is beautiful, and
it should be a fun event (in a good gallery, so I hear):

___



Encyclopedia (VOL. 1, A-E) - Philadelphia Launch



NEXUS GALLERY

137 North 2nd St. (between Arch and Race)

Philadelphia, PA

Monday, September 25, 7:30 pm.



Readers include:

Emily Abendroth

Andrea Lawlor

Carolina Maugeri

Stan McDonald (aka Stan Mir)

Kate Schatz

Brian Kim Stefans



info: molesnotmolar@excite.com



See the poster: http://www.arras.net/fscIII/?p=165



More about The Encyclopedia Project:
http://www.encyclopediaproject.org/about.php


=========================================================================
Date:         Sat, 23 Sep 2006 10:33:15 -0700
Reply-To:     ishaq1824@shaw.ca
Sender:       UB Poetics discussion group 
Comments:     RFC822 error:  Incorrect or incomplete address field found and
              ignored.
From:         Ishaq 
Organization: selah7
Subject:      >>INFO: london--speakeasy reloaded
MIME-version: 1.0
Content-type: text/plain; charset=us-ascii; format=flowed
Content-transfer-encoding: 7bit

  >>INFO: london--speakeasy reloaded
===================================

SPEAKEASY RELOADED
Monday 2 October 2006 - 7pm doors for a 7.30 start
Marie Lloyd Bar: 289 Mare Street E8 1EJ
(next to Hackney Empire Theatre)
FREE
---

T'Bone Promotions present "SPEAKEASY RELOADED," East London's premier
poetry and spoken word event.

In October we host a special event for Black History Month ,
featuring a selection of poets and performers representing three
generations of the African-Caribbean communities in Britain.

Plus special guests:

the mighty El Crisis: part poet, part Griot, 100% pure talent;
Tugg-Star: Poet-Man; member of the Best Kept Secret Collective;
Floetic Lara: brash and beautiful

For further information, call T'Bone (Baden) on: 07946 776 952 or
ring the Bar; 020 8510 4524

___
Stay Strong
\
-"I testified/My mama cried/Black people died/When the other man lied"
-- chuck d
\
  "Be a friend to the oppressed and an enemy to the oppressor"
--Imam Ali Ibn Abu Talib (as)
\
"They want to see us breathless. We will not be. They want to see us
tired. We refuse to be. They want to see what our strength is. We will
not show it in advance. We will continuously surprise them." -- Julia
Wright

  "We restate our commitment to the peace process. But we will not
submit to a process of humiliation."
--patrick o'neil
\
"...we have the responsibility to make no deal with the oppressor"
--harry belafonte
\
"...these people generate wars in Asia and Africa,...These are the
people who, in the last century, caused several devastating wars. In one
world war alone, they killed over 60 million people.... In the near
future, Allah willing, we will put you to trial in courts established by
the peoples...."-- mahmoud ahmadinejad
\
http://www.sidebrow.net/2006/a047braithwaite.php
\
http://cleveland.indymedia.org/uploads/2006/07
olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3
\
http://radio.indymedia.org/news/2005/10/7255.php
\
http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3
\
http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date
\
http://vancouver.indymedia.org/?q=en/node/1269\
\
http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3
\
http://vancouver.indymedia.org/?q=en/taxonomy/term/111
\
http://www.lowliferecords.co.uk/
=========================================================================
Date:         Sat, 23 Sep 2006 16:01:24 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Aaron Belz 
Subject:      five aarons tours NYC!!
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Hey all-   I'm part of two readings next weekend in the big apple that =
never
sleeps, as appended, AND I'm hosting another Five Aarons reading -- this
time at Cornelia St. Caf=E9 on Monday, Oct 2.  =20

Not that I necessarily know you, but I can say with reasonable =
confidence
that I would love it if you'd come on Monday.  The first name thing is =
just,
well, fun.  Barring that, please come say hi at one of the other =
readings.
I only get up that way once a year at best.=20

You can make fun of my Midwestern dialect!!!=20

Aaron



Friday, Sept 29, 7:00 PM
Brian Howe, Jenny Boully, Aaron Belz
MIPO Reading Series, Stain Bar, Brooklyn
http://miporeadingseries.blogspot.com/=20

Saturday, Sept 30, 2:00 PM
Daniel Kane and Aaron Belz
Frequency Series, Four Faced Liar, NYC
http://frequencyseries.blogspot.com/=20

Monday, Oct 2, 6:00 PM
Five Aarons Redux (Smith, Kiely, Balkan, McCollough, Belz)=20
Cornelia Street Caf=E9, NYC
http://corneliastreetcafe.com/list.asp?sdate=3D10/02/2006
=========================================================================
Date:         Sat, 23 Sep 2006 23:19:23 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Andrew Lundwall 
Subject:      melancholia's tremulous dreadlocks issue 5
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

The fifth issue of melancholia's tremulous dreadlocks is online now,
featuring work by:

Amy King - Ana Bozicevic-Bowling - Brian Howe - Brian Lucas - Craig Perez -
Danielle Pafunda - Jana Putrle Srdic - Janet Holmes - Jill Jones - Jen Hofer
- Lisa Fishman - Elisa Gabbert - Novica Tadic - Bruce Covey - TA Noonan

Art by C.E. Laine and Ira Joel Haber

melancholia's tremulous dreadlocks is an online bi-weekly journal of poetry
and curious bits, co-edited by Andrew Lundwall and François Luong.

http://mtd.celaine.com/

_________________________________________________________________
Find a local pizza place, music store, museum and more…then map the best
route!  http://local.live.com
=========================================================================
Date:         Sun, 24 Sep 2006 12:13:16 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Camille Martin 
Subject:      Live Poets
MIME-Version: 1.0
Content-type: text/plain; charset=US-ASCII

Please join us as Live Poets opens its 2006-2007 season:

Angela Rawlings and Sandra Alland

Thursday, September 28, 7:30 pm
Oakham House, 63 Gould Street
Ryerson University
Toronto
Free admission


Angela Rawlings is a poet and multidisciplinary artist. She is the author
of Wide slumber for lepidopterists (Coach House, 2006) and the co-editor of
Shift & Switch: New Canadian Poetry (The Mercury Press, 2005). A
performance version of Wide slumber will be staged November 2006 as part of
Toronto Harbourfront Centre's Hatch Series.

* * * * *

Sandra Alland is a writer, multi-media artist, micropress publisher,
curator and activist. Her first book of poetry, Proof of a Tongue, was
published in 2004 by McGilligan Books. In 2002-03, Sandra was one of ten
Canadians selected for a photography-literature exchange with Mexico. Her
work has been published and presented in Canada, Mexico, Bermuda, Spain,
Scotland, England and the United States.


Camille Martin, Ph.D.
Department of English
Ryerson University
350 Victoria Street
Toronto, ON M5B 2K3
Office: 416.979.5000, ext. 2694
Home: 416.538.6005
=========================================================================
Date:         Sun, 24 Sep 2006 11:56:55 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Ouilipo in the NYRB plus Warhol Doc
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Mark Ford - I believe I got the right name - has what I think is a pretty
good review of Harry Mathew's CIA book, and Ouilipo books and history (the
conflation of the two contexts) in the current NY R of Books. Ford is
obviously simultaneously writing an Intro to Ouilipo - origins, etc.   It
might all seem Mandarin and privileged - where the food is refined as the
composition of vowels -  but it ain't dumb.

Parenthetically, it was kind of odd in the way the Andy Warhol documentary
ended up seeming to be a Horatio Alger morality tale - the dangers of going
off the deep end followed by lucrative redemption and solid recognition
through hard work and good business practices (and keeping the freaks whose
imaginations fed the early work a long way from your studio door.)

Comparatively, I think Ginsberg and Whitman remained socially porous to the
end.

Stephen V
http://stephenvincent.net/blog/
Where currently is an account of
The Soundeye Poetry Festival
Cork, July 6 - 9/.
=========================================================================
Date:         Sun, 24 Sep 2006 17:56:19 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Ruth Lepson 
Subject:      Re: Ouilipo in the NYRB plus Warhol Doc
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Hi Alan

Thought you might like to know of this--maybe you shd write something abt
math & poetry. Are you still willing to read a chapter of Mom's book on math
as an art form? I'm packing it up bec I'm moving to 18 Lexington Ave,
Cambridge, MA 02138 in a month--haven't sold this house yet but will move
then anyway, as soon as renovation is complete.
Happy new year to all,
Ruth
The Jewish National Fund show of Mom's sculptures raised $70,000 for
Israel--Mom wd have been thrilled.


On 9/24/06 2:56 PM, "Stephen Vincent"  wrote:

> Mark Ford - I believe I got the right name - has what I think is a pretty
> good review of Harry Mathew's CIA book, and Ouilipo books and history (the
> conflation of the two contexts) in the current NY R of Books. Ford is
> obviously simultaneously writing an Intro to Ouilipo - origins, etc.   It
> might all seem Mandarin and privileged - where the food is refined as the
> composition of vowels -  but it ain't dumb.
>
> Parenthetically, it was kind of odd in the way the Andy Warhol documentary
> ended up seeming to be a Horatio Alger morality tale - the dangers of going
> off the deep end followed by lucrative redemption and solid recognition
> through hard work and good business practices (and keeping the freaks whose
> imaginations fed the early work a long way from your studio door.)
>
> Comparatively, I think Ginsberg and Whitman remained socially porous to the
> end.
>
> Stephen V
> http://stephenvincent.net/blog/
> Where currently is an account of
> The Soundeye Poetry Festival
> Cork, July 6 - 9/.
=========================================================================
Date:         Sun, 24 Sep 2006 19:01:01 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Bill Marsh 
Subject:      new on the Assassin's blog
Mime-Version: 1.0 (Apple Message framework v624)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; format=flowed

http://www.factoryschool.org/btheater/works/2cities/assassin/

"Their Way"
portrait continued

"The Sake of Money"
for saking all else?

"Concerning Any Creature"
at the heart of the controversy, a contradiction

"Admirable Discipline and Training"
as opposed, that is, to foul doctrine and the school of assassins

"Careful Inquiry"
or the art of execution

"Forge and Foundry"
bring on the brawn

"Some Hidden Use"
another take on 'difficulty' in the art of statecraft

"Angels"
...beings of light.

Dim As Twilight
a reconsideration of "creature" in light of the "light" of angels

Leaves to Sentencing
chronology (an excerpt)

http://www.factoryschool.org/btheater/works/2cities/assassin/
=========================================================================
Date:         Mon, 25 Sep 2006 10:07:45 +1000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Alison Croggon 
Subject:      TN on Artaud
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; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

This week, a review of Artaud's Jet of Blood -

...Artaud envisioned a theatre was, at its core, religious: what he
sought was an experience which, like the "chemical marriage" of the
Alchemists, would resolve his warring dualities into a coherent whole.
Sontag is correct when she points to the extremity of his "moral
rigour", commenting that Oliver Cromwell and Girolamo Savanarola might
well have approved the theatre he proposed.

Certainly, Artaud shares with figures like Osama bin Laden or Pol Pot
a singular and apocalyptic moral vision that seeks purification
through destruction and violence. It is not hard to imagine Artaud
following Stockhausen, who in a widely reviled remark shortly after
the 9/11 attacks, called the destruction of the Twin Towers "the
greatest work of art there has ever been!" "I am not a madman," Artaud
said, late in his life. "I am a fanatic." Like all Artaud's
self-diagnoses, this statement has the cold coruscation of truth.

What, then, to make of competing claims for an "authentic" experience
of Artaud? Outside a lunatic asylum, a war zone or a concentration
camp, I am not sure whether there can be such a thing. It is possible
to think of the theatrics of torture in Abu Ghraib - the posing for
photographs, the obliterating of the human body, the totalising word,
the sexual loathing - as the ultimate Artaudian theatre. Like many
poets, Artaud was lamentably literal.

I can't think of anyone who has taken Artaud's ideas in toto and
realised them in the theatre; and in my heart, I can't imagine why
anyone would want to. He is a catalyst and a provocation, rather than
a model. Grotowski's actor-centred quest for sacred truth or Brook's
aesthetic sensuousness are far too humane to be genuinely Artaudian.
Making Artaud is, in many ways, also an unmaking of Artaud.

More at http://theatrenotes.blogspot.com

All the best

Alison

--
Editor, Masthead:  http://www.masthead.net.au
Blog: http://theatrenotes.blogspot.com
Home page: http://www.alisoncroggon.com
=========================================================================
Date:         Sun, 24 Sep 2006 18:15:32 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Joel Weishaus 
Subject:      Art Review of David Daniels' Concrete Poetry
MIME-Version: 1.0
Content-Type: text/plain; charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable

http://www.artsjournal.com/artopia/archives20060901.shtml#107491
=========================================================================
Date:         Mon, 25 Sep 2006 03:18:47 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      thanks
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

to all those who made the party a warped  diffuse   crazy
uncontrolled   success

sorry for those pushed out by the club for the bread  thing

ya shoulda talked direcdtly to me

so many gifts  bookkk  booook sssss   booooooks  mist of which i don't
want  (ha)

for those getting this message  sorry yer getti this but well cant'
break these lists i have down

love to you allllllll
=========================================================================
Date:         Mon, 25 Sep 2006 09:28:28 +0100
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Sam Ladkin 
Subject:      Poetry Conference and Events Tomorrow
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: quoted-printable
Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed

URBAN UNDERWORLD:
London=92s Spatial & Cultural Undergrounds from 1825 to the Present
[followed by a poetry event, details below]

[and apologies for cross-posting]

26 September 2006. Faculty of English, University of Cambridge.

KEYNOTE SPEAKER: Dr. Rachel Falconer, University of Sheffield.
SPECIAL PERFORMANCE BY: Michael Horovitz.

In the year 1825 the engineer Marc Brunel started to excavate the =20
Thames Tunnel. The project was to prove the first step toward the =20
creation of a modern underworld beneath London, the city's =20
subterranean labyrinth of sewage, transit, and communications =20
systems. This conference will consider the rich representational =20
history this urban underworld has enjoyed, in literature, music, film =20=

and art, over the past 175 years. Socially conceived underworlds of =20
poverty of crime that proliferate in the wake of the city's rapid =20
expansion and industrialisation will receive special attention. So =20
too will the numerous underground movements, both cultural and =20
intellectual, to emerge in the capital since the death of William =20
Blake in 1827 (most notably in the 1960s, with publications such as =20
'New Departures' and 'International Times'). This conference will =20
attempt to map these spatial, social and cultural undergrounds; to =20
relate London's most richly suggestive mindscape to contemporary =20
theoretical debates on subterranean space, urban studies, and =20
subcultural activity.

We are delighted to announce an evening celebration of the Urban =20
Underworld to follow the conference at the Bateman Auditorium, =20
Gonville and Caius College, Cambridge, 8-11pm. This special =20
=91happening=92 will feature poetry by Michael Horovitz and Ian =20
Patterson, live music from improv jazz quartet Barkingside and films =20
by Rod Mengham and Marc Atkins.

Tickets for the Conference cost =A312 / =A310 conc.
Tickets for the Evening Event cost =A36 / =A35 conc.
Tickets for both Conference & Event cost =A315 / =A312 conc.

To purchase advance tickets for either event or both, please send a =20
cheque for the requisite amount to: David Ashford, Selwyn College, =20
Cambridge, United Kingdom, CB3 9DQ. Cheques should be made payable to =20=

David Ashford, and should be stapled to a short note stating your =20
name, address, email address, telephone number, and ticket =20
preference.  Tickets can also be purchased for both events on the day =20=

of the conference from the registration desk and on the door at the =20
evening event.
Any enquiries, please contact David Ashford: dma31@cam.ac.uk

VENUE: The Faculty of English at the University of Cambridge, =20
9am-5pm, followed by a special happening at the Bateman Auditorium, =20
Gonville and Caius College, Cambridge, 8pm-11pm.
DATE: 26 September 2006.

For full programme details check our website
http://www.english.cam.ac.uk/underworld/index.htm

AND

Urban Underworld Presents A Poetry Happening

Tuesday 26th September 2006

Bateman Auditorium, Gonville and Caius College, Cambridge.

A special event organised as part of the Urban Underworld conference =20
at Cambridge University featuring poetry by Michael Horovitz, Ian =20
Patterson, films by Rod Mengham and Marc Atkins and live jazz from =20
wild improv group Barkingside.

Doors open 8pm. Event runs till 11. Bar open throughout the night.
Tickets only =A36 /=A35 concessions.

For more information about the event and the conference check out

http://www.english.cam.ac.uk/underworld/index.htm
To purchase tickets please send a cheque for the requisite amount to: =20=

David Ashford, Selwyn College, Cambridge, United Kingdom, CB3 9DQ. =20
Cheques should be made payable to David Ashford, and should be =20
stapled to a short note stating your name, address, email address, =20
telephone number, and ticket preference. For more information please =20
contact David Ashford: dma31@cam.ac.uk=
=========================================================================
Date:         Mon, 25 Sep 2006 12:51:11 +0200
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Karl-Erik Tallmo 
Subject:      text/sound pieces
In-Reply-To:  
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

Announcing a few new text/sound (even musical) pieces:

http://www.nisus.se/audio/wounds.128.mp3
http://www.nisus.se/audio/stockhausen128.be.mp3
http://www.nisus.se/audio/caressingpalace.be.ram
http://www.nisus.se/audio/arrivalofrats.be.128.mp3

Overview: http://www.nisus.se/tallmo/sound

Karl-Erik Tallmo


  _________________________________________________________________

    KARL-ERIK TALLMO, poet, writer, artist, journalist

    ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/
    SOUND & MUSIC: http://www.nisus.se/tallmo/sound/
    MAGAZINE: http://art-bin.com
  _________________________________________________________________
=========================================================================
Date:         Mon, 25 Sep 2006 04:11:33 -0700
Reply-To:     rsillima@yahoo.com
Sender:       UB Poetics discussion group 
From:         Ron Silliman 
Subject:      Of late on Silliman's Blog
Comments: To: Brit Po ,
          New Po , Wom Po ,
          Lucifer Poetics 
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

http://ronsilliman.blogspot.com/


RECENT POSTS


The enigmatic poetics of Beverly Dahlen

On poetry in Iran and Nigeria

Who needs to read?

Eileen Tabios channels Gabriela Silang

Translating translation
in the Mauve Desert
by Nicole Brossard

Lots of frosting on very little cake –
Aaron Sorkin and Studio 60

Context as a material of art
in the work of Hai Bo,
Yoko Ono et al
in the galleries of New York

Questioning Steve Benson

Why is Lisa Robertson
the most read poet
in the annual Attention Span survey
once again?

Stephanie Young’s breakthrough book
Telling the Future Off

Squandering the American century
(notes on 9/11 five years on)

Fanny Howe’s
war on terror

Notes on two readings

Brooklyn Rail
and the sale of Cody’s

The backup bands
of Bob Dylan
(one vote for Paul Butterfield)

The secret of The Illusionist
is that male character actors
make for good leads

Michael Knight will win
Project Runway

The ear of Laura Elrick

http://ronsilliman.blogspot.com/
=========================================================================
Date:         Mon, 25 Sep 2006 10:35:36 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Kelleher 
Subject:      JUST BUFFALO E-NEWSLETTER 9-25-06
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

FALL WORKSHOPS

STARTING THIS WEEK:  REGISTRATION CLOSES TODAY=21=21

FICTION AND DRAMA:
The Art of Story
A Workshop for Fiction and Drama Writers of All Levels
Instructor: Gary Earl Ross
4 Wednesday Evenings, September 27, October 4, 11, and 18, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 for members

All workshops take place in Just Buffalo's Workshop/Conference Room
At the historic Market Arcade, 617 Main St., First Floor -- right across fr=
om Shea's
The Market Arcade is climate-controlled and has a security guard on duty at=
 all times.

To get here:

Take the train to the Theatre stop and walk, or park and enter on Washingto=
n Street.
Free parking on Washington Street evenings and weekends.
Two-dollar parking in fenced, guarded, M & T lot on Washington.

Visit our website for detailed descriptions, instructor bios, and to regist=
er online.

UPCOMING WORKSHOPS:

CREATIVE NON-FICTION:
=22There Are 3 Sides To Every Story....=22
A Creative Nonfiction Writing Workshop
Instructor: Alexis De Veaux
Two Saturday Sessions: October 14, October 28, 10 a.m. - 2 p.m.
Writing Sample Required by October 1 for participation.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 for members

POETRY WRITING:
Poetry and Memory
A Poetry Workshop For Poets of All Levels
Instructor: Barbara Cole
Four Tuesday Evening Sessions: October 17, 24, 31; November 7, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 memberS

COLLEGE ESSAY WRITING:
Writing Your Way Into Higher Education -- A Workshop on the College Essay
Instructor: Gary Earl Ross=C2=A0
Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.=C2=A0
=2470, =2450 members
Registration Deadline: October 23

CREATIVITY:
The Tao of Writing
A Creativity Workshop for Writers of All Levels
Instructor: Ralph Wahlstrom
4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=24100, =2480 member

SONG LYRICS:
Turning Poems Into Song Lyrics
A Special Session For Aspiring Songwriters and Poets
Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper
Tentative Date: Tuesday, November14, 7-9 p.m.
In the Just Buffalo Workshop Room
Market Arcade Building, 617 Main St., First Floor.
=2450. =2440 for members

JOIN JUST BUFFALO ONLINE=21=21=21

If you would like to join Just Buffalo, or simply make a massive personal d=
onation, you
can do so online using your credit card.  We have recently added the abilit=
y to join
online by paying with a credit card through PayPal.  Simply click on the me=
mbership
level at which you would like to join, log in (or create a PayPal account u=
sing your
Visa/Amex/Mastercard/Discover), and voil=C3=A1, you will find yourself in l=
iterary heaven.
For more info, or to join now, go to our website:

http://www.justbuffalo.org/membership/index.shtml

JUST BUFFALO WRITER'S CRITIQUE GROUP

Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri=
tique
group in CEPA's Flux Gallery on the first floor of the historic Market Arca=
de Building
across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. =
Call Just
Buffalo for details.

LITERARY BUFFALO

The Write Thing at Medaille College
Lance Olsen
Fiction Reading
Thursday, September 28, 7 p.m.
The Library at Huber Hall
Medaille College, 18 Agassiz Circle
Call 884-3281 for more info

Talking Leaves Books
Barnet Schecter
Reading and Book Signing:
The Devil=E2=80=99s Own Work: Civil War Draft Riots and the Fight to Recons=
truct America
Friday, September 29, 6 p.m.
Talking Leaves...Books, 3158 Main St.
Call 837.8554 for more info

Hallwalls/Spoken...
Tale Me More...Hosted by Tysheka Long
Spoken Word Artists Black Magic, Howard Smith, Lonnie Harrell, Ntare Ali Ga=
ult,
Priscilla Parker-Hill, Rain Bethel-Cooper, & Wise Mecca/vonetta t. rhodes
Friday, September 29, 8:30 p.m.
Hallwalls Cinema at The Church, 342 Delaware (at Tupper)
Call 854.1694 for more info. =248, =246 members

NEW READING VENUE. BUDDIES 2
at the corner of  Franklin & West Mohawk is now holding a poetry/short stor=
y open
mike nite regularly at 7:30- 9:30  the 3rd Tuesday of every month=21=21=21=
=21=21.  This month  that
will be on September 19th. This is a forum for  GLBT readers &  varied audi=
ences to
hear  local GLBT voices writing, but perhaps not reading, in the commmunity=
 at large.
Seating limited, arrive early for sign up sheet . readers have a hs=5Calf h=
our per person -if
they want it. Overflow readers will be first  on the program the following =
month.

MEMORY GARDEN
Manny Fried -- Just Buffalo member since its inception  =E2=80=93 invites y=
ou to see him and actress Roz Cramer perform in their upcoming world premie=
re of the two-character play THE MEMORY GARDEN =E2=80=93 written for them b=
y Buffalo=E2=80=99s prize-winning playwright Rebecca Ritchie =E2=80=93 pres=
ented by Gerald Fried Theatre Company on Alleyway Theatre=E2=80=99s Main St=
reet Cabaret stage September 20th thru October 1st.Seating is limited in th=
is 70 seat cabaret theatre - only 8 performances -- preview 8 pm Wednesday =
September 20th -- performances Thursday, Friday and Saturday at 8 pm, Sunda=
y 3 pm.  No performance Friday September 22nd.  Curtain Up performance Thur=
sday September 29 at 8:30 pm. General admission =2424. Form a group of ten =
or more get =242 discount per person.  Order now to guarantee your seats =
=E2=80=93 on line at alleyway.com or phone Alleyway Theatre Box Office at 8=
52-2600.

Visit our website to download a pdf of the September and October Literary B=
uffalo
posters, which list all of Buffalo's literary events.

UNSUBSCRIBE

If you would like to unsubscribe from this list, just say so and you will b=
e immediately
removed.
_______________________________
Michael Kelleher
Artistic Director
Just Buffalo Literary Center
Market Arcade
617 Main St., Ste. 202A
Buffalo, NY 14203
716.832.5400
716.270.0184 (fax)
www.justbuffalo.org
mjk=40justbuffalo.org
=========================================================================
Date:         Mon, 25 Sep 2006 07:43:56 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Thomas savage 
Subject:      Re: thanks
In-Reply-To:  <20060925.031848.-512839.32.skyplums@juno.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Dear Steve, I hope you got the poem I wrote for your birthday party and read.  That was what was in the envelope I gave you, not a check, as you suggested.  As if I would ever have the money to give you some!  I don't even have a checking account so I was stunned.  Anyway, I hope you got the poem and liked it.  Regards, Tom Savage

Steve Dalachinsky  wrote:  to all those who made the party a warped diffuse crazy
uncontrolled success

sorry for those pushed out by the club for the bread thing

ya shoulda talked direcdtly to me

so many gifts bookkk booook sssss booooooks mist of which i don't
want (ha)

for those getting this message sorry yer getti this but well cant'
break these lists i have down

love to you allllllll


 		
---------------------------------
Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less.
=========================================================================
Date:         Mon, 25 Sep 2006 15:41:46 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         reJennifer Bartlett 
Subject:      Charles Bernstein
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

For the life of me -  I can't find Mr. Bernstein's email address...
Will someone backchannel?

Jennifer Bartlett, SES

_________________________________________________________________
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=========================================================================
Date:         Mon, 25 Sep 2006 10:13:47 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Small Press Traffic 
Subject:      Boykoff & Goldman at SPT this Fri 9/29
MIME-Version: 1.0
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Small Press Traffic is pleased to present a reading by

Jules Boykoff & Judith Goldman

Friday, September 29, 2006 at 7:30 p.m.

Jules Boykoff joins us in honor of his first collection, Once Upon a
Neoliberal Rocket Badge (Edge Books). Tina Darragh says of reading it: “I want
to echo Tom Hayden's comment on the 1999 Seattle anti-WTO demonstrations: ‘I
am glad to have lived long enough to see a new generation of rebels accomplish
something bigger.’ Boykoff's inventive language reminds us that in the futures
market we're all dressed in sheep's clothing. This book re-girds us for the
fight.”


Judith Goldman joins us in honor of her new book, Death Star Rico-chet (O
Books). Rod Smith says: “In this violent and deeply accusatory book the cause
and the effect are the restoration of our historical context as crime. The
crime being murder. Deathstar/Ricohcet: The canceled check of a civilization.
Somehow I don’t think that Pound thought his investment in poetry as ‘news
that stays new’ would be returned for lack of funds. The implications of
Goldman’s work are immense.”

$5-10 sliding scale
free to current SPT members & CCA community

Timken Hall CCA SF
directions & map: http://www.sptraffic.org/html/fac_dir.html


Elizabeth Treadwell Jackson, Director
Small Press Traffic
Literary Arts Center at CCA
1111 -- 8th Street
San Francisco, CA 94107
415.551.9278
http://www.sptraffic.org
=========================================================================
Date:         Mon, 25 Sep 2006 10:41:47 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         amy king 
Subject:      We Start Off Slow And Get Our Groove ...
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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***  I interviewed Bill Berkson, who was in New York City this weekend.  We start off a bit slow and find our groove, touching on Poetics, New York School, art & the state of the world, etc.

  Stream or download:  http://miporadio.blogspot.com/2006/09/amy-king-interviews-bill-berkson-part.html  ---   [http://www.miporadio.com]


  ***  Also, Bill Berkson & Bernadette Mayer have a new book just out:

  WHAT'S YOUR IDEA OF A GOOD TIME?  INTERVIEWS AND LETTERS 1977-1985

  http://www.spdbooks.org/Details.asp?BookID=1931157081


  Hope you enjoy!

  Amy King
  http://www.amyking.org/blog






 		
---------------------------------
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=========================================================================
Date:         Mon, 25 Sep 2006 11:38:32 -0700
Reply-To:     jmbettridge@yahoo.com
Sender:       UB Poetics discussion group 
From:         Joel Bettridge 
Subject:      Poetry Acquisitions at Beinecke Library
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

The Yale Collection of American Literature at the
Beinecke Rare Book
and Manuscript Library, Yale University, is pleased to
announce the
following recent acquisitions in poetry:

Gerard Malanga Archive
http://beineckepoetry.wordpress.com/2006/09/14/gerard-malanga-papers/

Native American Poetry Collection
http://beineckepoetry.wordpress.com/2006/09/15/native-american-poetry-collection/

Maureen Owen Collection of Greenwich Village Poetry
Audio Archive
http://beineckepoetry.wordpress.com/2006/08/23/maureen-owen-collection-of-greenwich-village-poetry/

Marjorie Welish Archive
http://beineckepoetry.wordpress.com/2006/09/25/marjorie-welish-archive/


Nancy Kuhl
Associate Curator, The Yale Collection of American
Literature
The Beinecke Rare Book and Manuscript Library
Yale University
121 Wall Street
P.O. Box 208240
New Haven, CT 06520-8240
Phone: 203.432.2966
Fax: 203.432.4047

__________________________________________________
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=========================================================================
Date:         Mon, 25 Sep 2006 17:17:04 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: thanks
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

loved the pome  thanks  tom
=========================================================================
Date:         Tue, 26 Sep 2006 11:10:02 +1200
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jacob Edmond 
Subject:      Deep South: new issue out now
MIME-Version: 1.0
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Content-Disposition: inline
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Deep in the South, Something Woke Up.
After three years of hibernation the online literary journal Deep South is
back, bringing with it the work of twenty five poets and four pieces of short
fiction.
Showcasing both new and established writers, this issue is proud to present a
variety of voices and styles in a celebration of the potential of poetic space.
http://www.otago.ac.nz/deepsouth

Dr. Jacob Edmond
Lecturer in Modern and Contemporary Poetry
Department of English
University of Otago
PO Box 56
Dunedin 9054
New Zealand
Phone: +64 3 479 7969
Fax: +64 3 479 8558
jacob.edmond@otago.ac.nz
jacob.edmond@gmail.com
http://homepages.slingshot.co.nz/~jacobe
=========================================================================
Date:         Mon, 25 Sep 2006 16:54:39 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Baraban 
Subject:      best barnes & noble category error ever?
MIME-Version: 1.0
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again at b&n 48th street & 5th avenue, manhattan (and
this one has to be somebody's deliberate drollery,
right?):

1 copy of _The Devil's Guide to Hollywood: The
Screenwriter as God_, by "Hollywood bad-boy
screenwriter Joe Esterhaz" in the *religion* section.

(Not far from where I found, as I checked out what I
had previously reported, that there are *still* 3
copies of Charles Bernstein's _The Sophist_ in the
Philosophy section.  Then again, I bet C.B. has never
called up to complain: to be in the Philosophy section
I guess is like being at the ultimate Grown-Up's
Table...far from them Adolescents...)

But speaking of Religion, could David-Baptiste Chirot
please expatiate on why he keeps recommending that
people read Pascal on his Wager.  I admit that those
pages exude charm and panache, but what spiritual
nourishment can anyone take from P.'s insistence that
Doubters be calculating and prudent about protecting
the afterlife welfare of their endangered eternal ass?




__________________________________________________
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Tired of spam?  Yahoo! Mail has the best spam protection around
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=========================================================================
Date:         Mon, 25 Sep 2006 18:43:55 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: best barnes & noble category error ever?
In-Reply-To:  <20060925235439.15150.qmail@web30713.mail.mud.yahoo.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed

On Mon, 25 Sep 2006, Stephen Baraban wrote:

> But speaking of Religion, could David-Baptiste Chirot
> please expatiate on why he keeps recommending that
> people read Pascal on his Wager.  I admit that those
> pages exude charm and panache, but what spiritual
> nourishment can anyone take from P.'s insistence that
> Doubters be calculating and prudent about protecting
> the afterlife welfare of their endangered eternal ass?

Nevermind that the whole is predicated on the highly dubious proposition that we can all choose what we believe, to which, if you believe that, I invite you to believe that you are a bonobo and see how far you get.
=========================================================================
Date:         Mon, 25 Sep 2006 22:26:48 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         heidi arnold 
Subject:      Re: best barnes & noble category error ever?
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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To quote the Vatican:  "Creativity is RIGHT HERE."

To quote Luther (as written to Melancthon)  "Sin boldly."

-- thoughts on schism & heresy and so forth --

-h


On Mon, 25 Sep 2006, Stephen Baraban wrote:
>
> > But speaking of Religion, could David-Baptiste Chirot
> > please expatiate on why he keeps recommending that
> > people read Pascal on his Wager.  I admit that those
> > pages exude charm and panache, but what spiritual
> > nourishment can anyone take from P.'s insistence that
> > Doubters be calculating and prudent about protecting
> > the afterlife welfare of their endangered eternal ass?


On 9/25/06, Jason Quackenbush  wrote:

Nevermind that the whole is predicated on the highly dubious proposition
> that we can all choose what we believe, to which, if you believe that, I
> invite you to believe that you are a bonobo and see how far you get.
>
=========================================================================
Date:         Mon, 25 Sep 2006 22:51:58 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         robert stuart 
Subject:      John Wieners's "For Huncke"
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

Would anyone be so kind as to send along the text of this poem offlist?

I believe it's in the collection Cultural Affairs in Boston (Black
Sparrow, 1988) ... ordered this over a month ago from a 3rd party on
Amazon & it's never shown up.

I think it might also be in The Goliard Press's 1973 Selected Poems.

I need it (asap) for an essay I'm writing and don't want to cite from
memory.

Thanks--any help would be super appreciated.

Robert

ps. Also, I'm looking to buy an old copy of the Goliard book if anyone's
selling!
=========================================================================
Date:         Mon, 25 Sep 2006 23:50:19 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         robert stuart 
Subject:      Re: John Wieners's "For Huncke"
In-Reply-To:  <451895CE.9020501@gmail.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

Sorry to waste another post on this, but I think my earlier info. was a
bit off: Grossman (NYC) did the old Wieners Selected Poems, I think, and
1972, not 73.  Still wouldn't mind picking one of these up, though.

Robert




robert stuart wrote:
> Would anyone be so kind as to send along the text of this poem offlist?
>
> I believe it's in the collection Cultural Affairs in Boston (Black
> Sparrow, 1988) ... ordered this over a month ago from a 3rd party on
> Amazon & it's never shown up.
>
> I think it might also be in The Goliard Press's 1973 Selected Poems.
>
> I need it (asap) for an essay I'm writing and don't want to cite from
> memory.
>
> Thanks--any help would be super appreciated.
>
> Robert
>
> ps. Also, I'm looking to buy an old copy of the Goliard book if anyone's
> selling!
>
=========================================================================
Date:         Tue, 26 Sep 2006 00:02:28 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Will Esposito 
Subject:      14 Poets! One Night! Poetry Bus Tour
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

On Monday, October 2nd, the Wave Books Poetry Bus Tour will =

bring 14 poet-readers to The FUEL Collection (former MTV =

Real World House), 3rd and Arch, Philadelphia, at 6 pm: =

 =

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * =

John Yau          Frank Sherlock            Molly Russakoff
 =

        Pargeeta Sharma           CA Conrad
 =

Brenda Shaughnessy   Thomas Sayers Ellis    Catie Rosemurgy
 =

        Joshua Beckman             Nick Flynn
 =

Eric Baus            Dorothea Lasky       Matthew Zapruder
 =

        Major Jackson   performance art by: Typing Explosion
 =

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Food and Dr=
ink provided!
 =

Performer Bios:  =

 =

Thomas Sayers Ellis was born and raised in Washington, D.C., =

where he attended Paul Laurence Dunbar High School. He co-
founded The =
Dark Room Collective in Cambridge, Massachusetts =

in 1988 and earned a M.F.A. from Brown University in 1995. =

His work has appeared in many journals and anthologies and =

he has received fellowships and grants from The Fine Arts =

Work Center, the Ohio Arts Council, Yaddo and The MacDowell =

Colony. Mr. Ellis is a contributing editor to Callaloo and a =

consulting editor to A Public Space. In 2005 he was awarded =

a Mrs. Gilea Whiting Writers' Award. His first, full =

collection, The Maverick Room, was published by Graywolf =

Press in 2005. He is also the author of The Good Junk (Take =

Three #1, Graywolf 1996); a chapbook The Genuine Negro Hero =

(Kent State University Press, 2001) and the chaplet Song On =

(WinteRed Press 2005). An Assistant Professor of Creative =

Writing at Sarah Lawrence College and a faculty member of =

The Lesley University low-residency M.F.A program =

(Cambridge, Massachusetts), his Quotes Community: Notes for =

Black Poets is also forthcoming from the University of =

Michigan Press, Poets on Poetry Series. =



Nick Flynn's Another Bullshit Night in Suck City (Norton, =

2004), won the PEN/Martha Albrand Award for the Art of the =

Memoir, and has been translated into ten languages. He is =

also the author of two book of poetry, Some Ether (Graywolf, =

2000), which won the PEN/Joyce Osterweil Award, and Blind =

Huber (Graywolf, 2002). He has been awarded fellowships from =

The Guggenheim Foundation, The Library of Congress, The Amy =

Lowell Trust, and The Fine Arts Work Center. Some of the =

venues his poems, essays and non-fiction have appeared in =

include The New Yorker, the Paris Review, National Public =

Radio's "This American Life," and The New York Times Book =

Review. He worked as a "field poet" and as an artistic =

collaborator on the film "Darwin's Nightmare," which was =

nominated for an Academy Award for best feature documentary =

in 2006. One semester a year he teaches at the University of =

Houston, and spends the rest of the year elsewhere.  =



Brenda Shaughnessy was born in 1970 in Okinawa, Japan, and =

grew up in Southern California. She received her B.A. in =

literature and women's studies at the University of =

California, Santa Cruz, and earned an M.F.A. at Columbia =

University's Writing Division. She is the author of Interior =

with Sudden Joy (Farrar, Straus & Giroux, 1999), which was =

nominated for a Lambda Literary Award and was a finalist for =

the PEN/Joyce Osterweil Award and the Poetry Society of =

America's Norma Farber First Book Award. Her other honors =

include an Emerging Artist's award from the Greenwall =

Foundation and NYU's Institute for Advanced Study, a =

Creative Artist's Fellowship from the Japan/U.S. Friendship =

Commission, and a Bunting Fellowship at the Radcliffe =

Institute for Advanced Study. She currently lives in =

Brooklyn.  =



The Typing Explosion: In the summer of 1998, three young =

women boarded Seattle city buses, lugging old electric =

typewriters, slightly uncomfortable in their pantyhose and =

looking like they'd stepped straight out of the typing pool =

in 1965. Rachel Kessler, Sarah Paul Ocampo, and Sierra =

Nelson set up their three typewriters on caf=E9 tables during =

a busy gallery opening, posted Rules of Conduct and Rules =

for Participation, and waited for someone to approach them. =

Within minutes, a line of people trailed down the sidewalk, =

craning their necks to watch the prim-looking secretaries =

type instant poetry like furious robots. Since that day, The =

Typing Explosion has performed countless times up and down =

the West coast of the U.S., as well as New York City, =

receiving both national and international recognition. Part =

performance art and part poetry assembly line, The Typing =

Explosion's poetry-performance type-ins defy categorization. =

Typing Explosion's notoriety reached international =

proportions with feature articles in USA Today, The =

Washington Post, San Jose Mercury, Seattle Times, Seattle P-
I; Jane, S=
pin, BUST, Allure, Sunset, and Resonance =

Magazines; and interviews on Studio 360 New York, KUOW =

American National Public Radio, and Canadian National =

Radio.  On hiatus since 2004, the Typing Explosion reunited =

in the summer of 2006 in anticipation of the Wave Books =

Poetry Bus Tour. =


Major Jackson is the author of two collections of poetry =

Hoops (Norton: 2006) and Leaving Saturn (University of =

Georgia: 2002), winner of the 2000 Cave Canem Poetry Prize =

and finalist for a National Book Critics Circle Award. He =

has received critical attention in The Boston Globe, =

Christian Science Monitor, Parnassus, Philadelphia Inquirer, =

and on National Public Radio's All Things Considered. His =

poems have appeared in the American Poetry Review, =

Boulevard, Callaloo, Post Road, Triquarterly, The New =

Yorker, among other literary journals and anthologies. He is =

a recipient of a Whiting Writers' Award and has been honored =

by the Pew Fellowship in the Arts and the Witter Bynner =

Foundation in conjunction with the Library of Congress. =

Major Jackson is an Associate Professor of English at =

University of Vermont and a faculty member of the Bennington =

Writing Seminars. Currently, he is a fellow at the Radcliffe =

Institute for Advanced Study at Harvard University. =


Joshua Beckman was born in New Haven, Connecticut. He is the =

author of five books, including Shake and two collaborations =

with Matthew Rohrer: Nice Hat. Thanks. and Adventures While =

Preaching the Gospel of Beauty. He is an editor at Wave =

Books and has translated numerous works of poetry and prose, =

including Poker by Tomaz Salamun, which was a finalist for =

the PEN America Poetry in Translation Award. He is also the =

recipient of numerous other awards, including a NYFA =

fellowship and a Pushcart Prize. He lives in Seattle and New =

York.  =



Matthew Zapruder is a widely published poet and translator, =

as well as the founder and Editor in Chief of the acclaimed =

poetry publishing house Verse Press (now Wave Books). His =

first book of poetry, American Linden, was the winner of the =

Tupelo Press Editors' Prize, and came out in 2002. His =

second collection, The Pajamaist, will be published by =

Copper Canyon and is forthcoming in 2006. =



Prageeta Sharma is a graduate of The New School and Brown =

University, where she received an M.F.A. in poetry and was =

awarded The Academy of American Poets prize.  Her two books =

of poetry are Bliss to Fill (2000) and The Opening Question =

(2004). =



Catie Rosemurgy's book of poetry My Favorite Apocalypse was =

published by Graywolf Press. Her new work has appeared =

recently or is forthcoming in The Iowa Review, Verse, and =

Prairie Schooner. She teaches creative writing at The =

College of New Jersey. =

 =



Dorothea Lasky is from St. Louis, but currently lives in =

Boston. She holds a BA in Classics and Psychology from =

Washington University, an MFA in Poetry from the University =

of Massachusetts-Amherst, and is currently working on her =

Ed.M in Arts in Education at Harvard University. Since 2004, =

she has taught English and Creative Writing at the New =

England Institute of Art. She has also taught poetry and art =

at Heath Elementary School in Heath, MA, and the Munroe =

Center for the Arts in Lexington, MA. She edits a chapbook =

series, along with the poet Michael Carr, through Katalanche =

Press.  =



Eric Baus was born in Fort Wayne, Indiana. The winner of the =

2002 Verse Prize, selected by Forrest Gander, his =

publications include The To Sound and the chapbooks The =

Space Between Magnets (Diaeresis, 2001) and A Swarm In The =

Aperture (Margin to Margin), Something Else The Music Was =

(Braincase Press) and the forthcoming Tuned Droves =

(Katalanche). He has published poems in Verse, Hambone, =

First Intensity, Colorado Review, and other journals. He =

currently lives in western Massachusetts. =



John Yau is an art critic, poet, essayist, and prose writer. =

He received a BA from Bard College and an MFA from Brooklyn =

College. His works include Edificio Sayonara (1992), In the =

Realm of Appearances: The Art of Andy Warhol (1993), and =

Berlin Diptychon (1995), Forbidden Entries (1996), The =

United States of Jasper Johns (1996), and Borrowed Love =

Poems (2002). He has received awards from the National =

Endowment for the Arts and the Academy of American Poets. He =

lives in Manhattan. =



Frank Sherlock is the author of XIII (Ixnay Press), and a =

collaboration with CA Conrad entitled The City Real & =

Imagined: Philadelphia Poems. He curates the La Tazza =

Reading Series & works with a food security organization in =

Center City.  =



C. A. Conrad lives in Philadelphia and writes with the =

PhillySound poets.  He coedits FREQUENCY Audio Journal with =

Magdalena Zurawski, and edits the 9for9 project. He has two =

forthcoming books, The Frank Poems (Jargon Society) and =

advancedELVIScourse (Buck Downs Books). He is the author of =

several chapbooks, including (end-begin w/chants), a =

collaboration with Frank Sherlock. Deviant Propulsion is his =

first book. =



Molly Russakoff's poems have been published in The Paris =

Review, American Poetry Review and other literary magazines. =

She was recipient of a Pew Fellowship in the Arts for poetry =

in 1995. She is the poetry editor for The Philadelphia =

Independent and proprietor of Molly's Cafe & Bookstore, =

where she hosts a full schedule of literary events. She also =

co-edits Joss Magazine with Ish Klein and Daniel Labeau. She =

is currently working on a memoir of her time as a student =

and teaching assistant at The Jack Kerouac School of =

Disembodied Poetics at Naropa Institute.  Molly lives in =

Philadelphia's historic Italian Maket with her two kids, =

Carla and Johnny.  =
=========================================================================
Date:         Tue, 26 Sep 2006 00:07:26 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Peter Ciccariello 
Subject:      Proposed monument to Emergency
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

Proposed monument to
Emergency







-- Peter Ciccariello
Image - http://invisiblenotes.blogspot.com/
=========================================================================
Date:         Tue, 26 Sep 2006 11:06:03 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Richard Jeffrey Newman 
Subject:      Upcoming Readings
MIME-version: 1.0
Content-type: text/plain; charset=us-ascii
Content-transfer-encoding: 7bit

I will be reading at the following places in NYC and Long Island in October:

Wednesday 10/23, 6:00-7:30 PM
Bowery Poetry Club
$5 at the door
I'll be reading from The Silence of Men
and the Bustan.
308 Bowery
New York, NY
(212) 614-0505

Wednesday 10/18, 2:00-3:15
Nassau Community College
Center for the Arts & Humanities
Free/open to the public
One Education Drive
Garden City, NY 11530
Bradley Hall Ballroom
(516) 572-9942

Monday 10/9, 8 PM
Smut (an erotic reading series)
Galapagos Art Space
Free Admission
(718) 384-4586
70 North 6th Street
(btw. Wythe & Kent)
Williamsburg, Brooklyn
(Take the L to Bedford)


Rich Newman
=========================================================================
Date:         Tue, 26 Sep 2006 08:44:02 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         amy king 
Subject:      FRIDAY, Sept. 29th @ 7 p.m. --  BOULLY, BELZ, AND HOWE
In-Reply-To:  <000101c6e17d$49bad360$6401a8c0@richardq689pf6>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Friday, September 29th @ 7 p.m.

  Please come to Stain Bar in Williamsburg, Brooklyn where MiPOesias presents:


  *****  JENNY BOULLY, BRIAN HOWE, AND AARON BELZ  *****

  Jenny Boully's The Body was published in 2002 by Slope Editions. It is currently being translated for publication in Iran. Her chapbook "of the mismatched teacups, of the single-serving spoon" is forthcoming in April from the Coconut Chapbook Series. Another chapbook, "[one love affair]" is forthcoming from Tarpaulin Sky Paper Goods later this year. She has a new manuscript, The Book of Beginnings & Endings & Other Such Things, and is putting finishing touches on a memoir. She has just completed coursework in the Ph.D. program in English at the Graduate Center of the City University of New York. Born in Thailand and reared in Texas, she has studied at Hollins Univeristy and the University of Notre Dame.


  Brian Howe is a freelance writer and poet living in Chapel Hill, North Carolina. He is a contributing writer at Pitchforkmedia.com and a contributing editor at Paste Magazine. Howe's poems have appeared in MiPo, Octopus, Fascicle, McSweeney's Internet Tendency, Eratio, Soft Targets, and Cannibal. His chapbook Guitar Smash is forthcoming from Atlanta's 3rdness press. He maintains a personal blog at http://slatherpuss.blogspot.com/ and a group mp3 blog at http://moistworks.com/. Howe is a member of the Lucifer Poetics Group.


  Aaron Belz lives in St. Louis, where he curates Readings @ The Schlafly Tap Room and teaches English at SLU. His work has been published recently in Knock, Court Green, The Bedside Guide to No Tell Motel, McSweeney's, and Boston Review, and will soon appear in Painted Bride Quarterly and Unpleasant Events Schedule. For more about Aaron, please visit belz.net or myspace.com/orthodontist.


  STAIN BAR
  766 Grand Steet
  Brooklyn, NY 11211
  (718) 387-7840
  http://www.stainbar.com
  [Grand stop on the L TRAIN]


  Hope to see you all there!

  Amy King and Didi Menendez
  http://miporeadingseries.blogspot.com/
  http://www.mipoesias.com







 		
---------------------------------
 All-new Yahoo! Mail - Fire up a more powerful email and get things done faster.
=========================================================================
Date:         Tue, 26 Sep 2006 11:03:19 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re R Silliman Review of Works of Beverly Dahlen
Comments: To: "Poetryetc provides a venue for a dialogue relating to poetry and
          poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK, UK POETRY
          
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

(Please excuse any cross-posting)


On this already past Monday, September 25, Ron Silliman - at his blogspo  -
has given Beverly Dahlen's works a substantial review, including generous
excerpts from several of her books over the past 35 years.
http://ronsilliman.blogspot.com/
The occasion of Ron's review is the Instance Press (Elizabeth Robinson et
al) new publication of,  A Reading 18 -20. (Which only takes "A Reading" up
to 1986!). Among much, #18 has a nice 'head to head' response to Barry
Watten's "The XYZ of Reading: Negativity (& Diane Ward)", was being much
discussed at the time. A Reading 18 -20 is available through Small Book
Distribution (Berkeley, CA).
I won't go further on at this time to make my own reflections on the Beverly
Dahlen's new book, but, for those on this list with interest, as once
publisher of Momo's Press, I still  have some available copies of A Reading
1 - 7. (Published in 1986).

$20 will bring you the book, handling and postage included, no matter where
you are in the world. If interested, please your check out and send  order
to:

Stephen Vincent
3514 21st Street
SF CA  94114

I also have a very few copies of her first book, signed, Out of The Third,
published in 1974. Email me if you have interest.

CHAX Press has also printed a section of A Reading (as well as a series of
her poems on Spicer; (either go to the CHAX website, or SBD for ordering
info); another chunk of A Reading is published by Potes and Poets - though I
do not know if that is print or accessible.

Thanks,

Stephen V
http://stephenvincent.net/blog/
=========================================================================
Date:         Tue, 26 Sep 2006 19:35:16 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         P Ganick 
Subject:      23 new books

-----------------------------------------------------



23 new books from cPress and eIghT-pAGE pREss




from cPress:
-------------

DEATH TEXT Volume One
by Jim Leftwich
http://cpress.randomflux.info/dtvol1.pdf

DEATH TEXT Volume Two
by Jim Leftwich
http://cpress.randomflux.info/dtvol2.pdf
 	
emptier signify
by Jim Leftwich & Jukka-Pekka Kervinen
http://cpress.randomflux.info/es.pdf

amenable noun
by Jim Leftwich & Jukka-Pekka Kervinen
http://cpress.randomflux.info/amnoun.pdf


These four books are available in paperback at

http://www.cafepress.com/xpressed44/828893


----


pterodactyl notebook
by Peter Ganick & Jukka-Pekka Kervinen

DARK EGGS
by John Crouse & Jukka-Pekka Kervinen

SPECK
by John M. Bennett and Jim Leftwich.

jump beast
by Michelle Greenblatt & Jukka-Pekka Kervinen

ACTS
by John Crouse & Jim Leftwich.

pice kurn
by Jim Leftwich, John Crouse & Jukka-Pekka Kervinen


the address for cPress is

http://www.lulu.com/cpress


----


from eIghT-pAGE pREss:
---------------------


dream
by Sheila Murphy.


Study
by Marton Koppany


modern
by Serkan Isin


THE GRACE OF BLUE FEATHERS
by Jake Berry


recyclings
by Jim Leftwich & Jukka-Pekka Kervinen


haute couture death texts
by Jim Leftwich


score poems
by Jukka-Pekka Kervinen


REVERBERATIONS
by David-Baptiste Chirot


Pulsing Swarms & Squiggly Diagonals
by Jim Leftwich


NOITCA
by Reed Altemus


flash
by Luc Fierens


ghost word II
by Andrew Topel & David-Baptiste Chirot


ghost word I
by Andrew Topel & David-Baptiste Chirot



The address for eIghT-pAGE pREss is

http://www.lulu.com/eightpagepress



All books are available in paperback and in free PDF format.


Enjoy !



Jukka-Pekka Kervinen



-----------------------------------------------------------------
=========================================================================
Date:         Tue, 26 Sep 2006 17:31:08 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re R Silliman Review of Works of Beverly Dahlen
Comments: To: "Poetryetc provides a venue for a dialogue relating to poetry and
          poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK, UK POETRY
          
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

http://chax.org/blog.htm

Charles Alexander, also, has a nice extended and different kind of take
Dahlen's A Reading 18 - 20. Interesting C's take on the way shadows play
into and against the work, absence and presence, and where the 'word'
manages to name and/or gets erased.

It would be interesting to see Rachel Blau DuPlessis' take on Beverly's
work. I know the two were in close correspondence for years and critically
important to each other's 'long' works.

Once the last quarter of the century is further and variously crystalized
(in correspondences, etc.), I suspect the letters of Rachel and Beverly will
be seriously engaged in terms of an experimental feminist poetics that was
related to and responsive to Language Poetries (including the various
theoretical influences), but an independent force, thread and configuration
of its own particularities. Course a bunch of that conversation and concern
goes on in A - Reading, including letters and quotes.

Stephen Vincent
http://stephenvincent.net/blog/




------ Forwarded Message
From: Stephen Vincent 
Date: Tue, 26 Sep 2006 11:03:19 -0700
To: UB Poetics discussion group , Poetryetc
provides a venue for a dialogue relating to poetry and poetics
, UK POETRY 
Subject: Re R Silliman Review of Works of Beverly Dahlen

(Please excuse any cross-posting)


On this already past Monday, September 25, Ron Silliman - at his blogspo  -
has given Beverly Dahlen's works a substantial review, including generous
excerpts from several of her books over the past 35 years.
http://ronsilliman.blogspot.com/
The occasion of Ron's review is the Instance Press (Elizabeth Robinson et
al) new publication of,  A Reading 18 -20. (Which only takes "A Reading" up
to 1986!). Among much, #18 has a nice 'head to head' response to Barry
Watten's "The XYZ of Reading: Negativity (& Diane Ward)", was being much
discussed at the time. A Reading 18 -20 is available through Small Book
Distribution (Berkeley, CA).
I won't go further on at this time to make my own reflections on the Beverly
Dahlen's new book, but, for those on this list with interest, as once
publisher of Momo's Press, I still  have some available copies of A Reading
1 - 7. (Published in 1986).

$20 will bring you the book, handling and postage included, no matter where
you are in the world. If interested, please your check out and send  order
to:

Stephen Vincent
3514 21st Street
SF CA  94114

I also have a very few copies of her first book, signed, Out of The Third,
published in 1974. Email me if you have interest.

CHAX Press has also printed a section of A Reading (as well as a series of
her poems on Spicer; (either go to the CHAX website, or SBD for ordering
info); another chunk of A Reading is published by Potes and Poets - though I
do not know if that is print or accessible.

Thanks,

Stephen V
http://stephenvincent.net/blog/









------ End of Forwarded Message
=========================================================================
Date:         Tue, 26 Sep 2006 21:44:17 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Larissa Shmailo 
Subject:      Phoenix reading series Sun 10/1
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

10/1, Sunday,  5:30 pm
Mervyn Taylor, Larissa Shmailo
Andrew Kaufman, Robert  Viscusi
Open Reading, if time allows
High Chai
18 Avenue  B
212-477-2424
One purchase
Donation
=========================================================================
Date:         Tue, 26 Sep 2006 22:25:58 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         heidi arnold 
Subject:      of heresies (long)
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

I think the term heresy could be used in several senses.  In the sense
in which I used it, Church history
contains a wide variety of configurations between heretics and the
main church -- in the cases
I recall, Eckhart, Luther, Hadjewich, the author did not set out to
undermine the church but to create a new
land.  I used the term "heresy" in this sense, to mean specifically
theological heresy, which entails
certain things with regards to the theology of what one is a heretic
from.  The following is a long
letter from Luther to the Pope which refers to numerous arcane
sqabbles of the time, irrelevant now,
but the point is that Luther considered himself in a kind of
membership in the Church when he posted
his heresies on the door at Wittenberg.  If one is going to run off
the reservation, this seems to me
to be a good model.




                    _Letter to Pope Leo X,
                        Accompanying the "Resolutions"
                              to the XCV Theses_
                            by Dr. Martin Luther,


                                Published in:
                          _Works of Martin Luther_
     Adolph Spaeth, L.D. Reed, Henry Eyster Jacobs, et Al., Trans. & Eds.

                 (Philadelphia: A. J. Holman Company, 1915),

                             Volume 1, pp. 44-48


        LETTER TO POPE LEO X, ACCOMPANYING
        THE "RESOLUTIONS" TO THE XCV THESES


        1518

        To the


        Most Blessed Father,

        LEO X.

        Martin Luther,

        Augustinian Friar,


        wisheth everlasting welfare.

        I have heard evil reports about myself, most blessed Father,
        by which I know that certain friends have put my name in very
        bad odor with you and yours, saying that I have attempted to


        belittle the power of the keys and of the Supreme Pontiff.
        Therefore I am accused of heresy, apostasy, and perfidy, and
        am called by six hundred other names of ignominy. My ears


        I put my confidence remains unshaken -- my clear and quiet
        conscience. Moreover, what I hear is nothing new. With such

        those same honorable and truthful men,
i.e., by the men whose
        own conscience convicts them of wrongdoing, and who are trying

        their own shame by bringing shame to me. But you will deign,

        blessed Father, to hear the true case from me, though I am but


        It is not long ago that the preaching of the Jubilee
        indulgences was begun in our country, and matters went so far

        that the preachers of indulgences, thinking that the

        protection of your name made anything permissible, ventured
        openly to teach the most impious and heretical doctrines,
        which threatened to make the power of the Church a scandal and

        a laughing-stock, as if the decretals De abusionibus
        quaestorum did not apply to them.

        Not content with spreading this poison of theirs by word of
        mouth, they published tracts and scattered them among the


        people. In these books -- to say nothing of the insatiable and
        unheard of avarice of which almost every letter in them vilely
        smells -- they laid down those same impious and heretical


        were bound by their oath to be faithful and insistent in
        urging them upon the people. I speak the truth, and none of
        them can hide himself from the heat thereof. The tracts are

        extant and they cannot disown them. These teachings were so
        successfully carried on, and the people, with their false
        hopes, were sucked so dry that, as the Prophet says, "they

        meanwhile were fed most pleasantly on the fat of the land.

        There was just one means which they used to quiet opposition,

        to wit, the protection of your name, the threat of burning at

        the stake, and the disgrace of the name "heretic." It is
        incredible how ready they are to threaten, even, at times,

        when they perceive that it is only their own mere silly

        opinions which are contradicted. As though this were to quiet
        opposition, and not rather to arouse schisms and seditions by
        sheer tyranny!


        None the less, however, stories about the avarice of the

        priests were bruited in the taverns, and evil was spoken of
        the power of the keys and of the Supreme Pontiff, and as

        evidence of this, I could cite the common talk of this whole

        as I thought, or with the heat of youth, if you prefer to have

        it so; and yet I saw that it was not in place for me to make

        any decrees or to do anything in these matters. Therefore I
        privately admonished some of the prelates of the Church. By

        ridiculous, to still others something worse; for the terror of

        your name and the threat of Church censures prevailed. At
        last, since I could do nothing else, it seemed good that I

        should offer at least a gentle resistance to them, i.e.,
        question and discuss their teachings. Therefore I published a

        set of theses, inviting only the more learned to dispute with

        adversaries, from the Preface to the Disputation.

        Lo, this is the fire with which they complain that all the

        world is now ablaze! Perhaps it is because they are indignant

        that I, who by your own apostolic authority am a Master of
        Theology, have the right to conduct public disputations,

        whole Church, not only about indulgences, but also about God's

        power and remission and mercy, which are incomparably greater

        envy me the privilege granted me by the power of your
        Holiness, since I am unwillingly compelled to yield to them in

        things of far greater moment, viz., when they mix the dreams

        of Aristotle with theological matters, and conduct nonsensical
        disputations about the majesty of God, beyond and against the

        privilege granted them.

        It is a miracle to me by what fate it has come about that this

        single Disputation of mine should, more than any other, of
        mine or of any of the teachers, have gone out into very nearly

        the whole land. It was made public at our University and for

        our University only, and it was made public in such wise that
        I cannot believe it has become known to all men. For it is a

        according to custom, in an obscure and enigmatic way.

        should have taken care, for my part, that they would be easier

        to understand.

        Now what shall I do? I cannot recant them; and yet I see that

        marvelous enmity is inflamed against me because of their
        dissemination. It is unwillingly that I incur the public and

        perilous and various judgment of men, especially since I am

        in this brilliant age of ours, which by its achievements in

        though he was no base follower of the public light. But
        necessity compels me to be the goose that squawks among the

        swans.


        And so, to soften my enemies and to fulfil the desires of
        many, I herewith send forth these trifling explanations of my
        Disputation; I send them forth in order, too, that I may be


        more safe under the defense of your name and the shadow of
        your protection. In them all may see, who will, how purely and
        simply I have sought after and cherished the power of the


        unjustly and falsely my adversaries have befouled me with so
        many names. For if I had been such a one as they wish to make

        me out, and if I had not, on the contrary, done everything

        Illustrious Prince Frederick, Duke of Saxony, Imperial
        Elector, etc., would never have tolerated such a pest in his
        University, for he most dearly loves the Catholic and


        Apostolic truth, nor could I have been tolerated by the keen
        and learned men of our University. But what has been done, I
        do because those most courteous men do not fear openly to


        disgrace with myself.

        Wherefore, most blessed Father, I cast myself at the feet of
        your Holiness, with all that I have and all that I am.

        Quicken, kill, call, recall, approve, reprove, as you will. In

        your voice I shall recognize the voice of Christ directing you
        and speaking in you. If I have deserved death, I shall not

        refuse to die. For the earth is the Lord's and the fulness


        May He have you too forever in His keeping. Amen.
=========================================================================
Date:         Wed, 27 Sep 2006 04:24:39 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         P Ganick 
Subject:      re ron silliman's blog review of [from Digest]

 -------------- Original message ----------------------
From: POETICS automatic digest system 


Re: the Potes & Poets version of Beverly Dahlen's
A Reading (11-17). If there are any copies left.
they would be at Small Press Distribution. The
book was originally published at $8.50.

i dont have any copies.

Peter Ganick
=========================================================================
Date:         Tue, 26 Sep 2006 21:38:37 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Elizabeth Treadwell 
Subject:      Secret Mint -- my new blog
Comments: To: wom-PO@LISTSERV.MUOHIO.EDU
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

...a day late, a dollar short, a week old, I have joined the troops...
and am officially listserving it to you now, with ruminations such as the
below...



The Dollmap:
Jane Austen as a referent for centuries of obscured women novelists


2 poems from Cornstarch Figurine


Researching the Mud-flap:
My dear dear


At the end of the day:
CA Conrad is a whiz kid


Parnassus:
a commuter mug for Rodney K & Katie D


Getting dotty in the Snug Room


I Heart Language




See you in the sphere! -- Elizabeth




PS I am reading at the Artifact Series in San Francisco with Bhanu Kapil,
Bill Luoma, and a show of art by Lrsn on Oct. 7. See blog for details -- oh
my.


Elizabeth Treadwell
http://secretmint.blogspot.com
http://elizabethtreadwell.com
=========================================================================
Date:         Wed, 27 Sep 2006 00:37:59 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Fw: Collage Bon Voyage
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

MiX'D TRiX FiNALE

Your humble MC and Curator
Jeffrey Cyphers Wright
invites you to a reading
and final closing party for MiX'D TRiX.

Saturday, Sept. 30
2 to 3:30 poetry
with
Star Black
Michael Carter
Steve Dalachinksy
Patrick Goldsmith
David Hatchett
Amy Hill
Valery Oisteanu
Yuko Otomo
Ilka Scobie
and JCW

Closing party, 3:30 to 4:30
at Tompkins Square Library Gallery
East 10th Street between Ave A&B

__________________________________________________
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=========================================================================
Date:         Wed, 27 Sep 2006 09:22:01 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         susan maurer 
Subject:      Re: Phoenix reading series Sun 10/1
In-Reply-To:  
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

larissa i know of no one who is having such a number of great readings
congratulations .s


>From: Larissa Shmailo 
>Reply-To: UB Poetics discussion group 
>To: POETICS@LISTSERV.BUFFALO.EDU
>Subject: Phoenix reading series Sun 10/1
>Date: Tue, 26 Sep 2006 21:44:17 EDT
>
>10/1, Sunday,  5:30 pm
>Mervyn Taylor, Larissa Shmailo
>Andrew Kaufman, Robert  Viscusi
>Open Reading, if time allows
>High Chai
>18 Avenue  B
>212-477-2424
>One purchase
>Donation

_________________________________________________________________
Try the new Live Search today!
http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG
=========================================================================
Date:         Wed, 27 Sep 2006 07:00:00 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         charles alexander 
Subject:      Re: re ron silliman's blog review of [from Digest]
In-Reply-To:  <092720060424.2116.4519FD070001819B000008442200762302050C07
              020E099F@comcast.net>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

Chax Press does have copies left of A Reading 8-10. $12, either directly
via check, or through web site at chax.org -- shipping will be added there,
and it has to be credit card. I'm happy, for anyone replying to this with
an order, to NOT add shipping and send via "media mail."

charles alexander

Chax Press
101 W. Sixth St., no. 6
Tucson, AZ 85701-1000

At 09:24 PM 9/26/2006, you wrote:
>  -------------- Original message ----------------------
>From: POETICS automatic digest system 
>
>
>Re: the Potes & Poets version of Beverly Dahlen's
>A Reading (11-17). If there are any copies left.
>they would be at Small Press Distribution. The
>book was originally published at $8.50.
>
>i dont have any copies.
>
>Peter Ganick

charles alexander / chax press

fold the book inside the book           keep it open always
         read from the inside out                speak then
=========================================================================
Date:         Wed, 27 Sep 2006 07:05:46 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         charles alexander 
Subject:      Re: Phoenix reading series Sun 10/1
In-Reply-To:  
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

This is not in Phoenix . . . right?

At 06:22 AM 9/27/2006, you wrote:
>larissa i know of no one who is having such a number of great readings
>congratulations .s
>
>
>>From: Larissa Shmailo 
>>Reply-To: UB Poetics discussion group 
>>To: POETICS@LISTSERV.BUFFALO.EDU
>>Subject: Phoenix reading series Sun 10/1
>>Date: Tue, 26 Sep 2006 21:44:17 EDT
>>
>>10/1, Sunday,  5:30 pm
>>Mervyn Taylor, Larissa Shmailo
>>Andrew Kaufman, Robert  Viscusi
>>Open Reading, if time allows
>>High Chai
>>18 Avenue  B
>>212-477-2424
>>One purchase
>>Donation
>
>_________________________________________________________________
>Try the new Live Search today!
>http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG
>

charles alexander / chax press

fold the book inside the book           keep it open always
         read from the inside out                speak then
=========================================================================
Date:         Wed, 27 Sep 2006 15:03:02 +0000
Reply-To:     kuszai@factoryschool.org
Sender:       UB Poetics discussion group 
From:         "J. Kuszai" 
Subject:      a walk with thomas jefferson
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

Hi--

Can anyone help?  I need to find a copy of Philip Levine's poem "A Walk With
Thomas Jefferson" -- at least I think that's the title.  I don't have it,
and sadly, I've been unable to scare this up through Interlibrary Loan.  All
I need is the text of the poem;  in the end, I'll be happy with a citation
for a book that is in print.  The 1984 Selected Poems doesn't have it.

Please write me off list if you can help--

Thanks--

Joel K.

_________________________________________________________________
The next generation of Search—say hello!
http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG
=========================================================================
Date:         Wed, 27 Sep 2006 08:13:33 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Chris Stroffolino 
Subject:      Re: a walk with thomas jefferson
Comments: To: kuszai@factoryschool.org
In-Reply-To:  
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed
Content-Transfer-Encoding: quoted-printable

Joel---
It's "tom" if that helps---a version of it is in the 1988 best =20
american poetry (the lehman thing; when ashbery was the guest co-=20
editor)....c

On Sep 27, 2006, at 8:03 AM, J. Kuszai wrote:

> Hi--
>
> Can anyone help?  I need to find a copy of Philip Levine's poem "A =20
> Walk With Thomas Jefferson" -- at least I think that's the title.  =20
> I don't have it, and sadly, I've been unable to scare this up =20
> through Interlibrary Loan.  All I need is the text of the poem;  in =20=

> the end, I'll be happy with a citation for a book that is in =20
> print.  The 1984 Selected Poems doesn't have it.
>
> Please write me off list if you can help--
>
> Thanks--
>
> Joel K.
>
> _________________________________________________________________
> The next generation of Search=97say hello!  http://imagine-=20
> windowslive.com/minisites/searchlaunch/?locale=3Den-us&FORM=3DWLMTAG
=========================================================================
Date:         Wed, 27 Sep 2006 11:35:06 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "David A. Kirschenbaum" 
Subject:      Roommate sought, Chelsea, NYC
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Large room for rent in beautiful Chelsea apartment, parquet floors, terrace,
eat-in kitchen, Empire State Building views, front and back yards. Includes
cable tv, cable modem, and utilities.

Available immediately

Email editor@boogcity.com or call 212-842-2664

as ever,
David
=========================================================================
Date:         Wed, 27 Sep 2006 12:16:31 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Larissa Shmailo 
Subject:      Re: Phoenix reading series Sun 10/1 is in NYC
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

sorry for any confusion

Larissa  Shmailo
larissashmailo.blogspot.com
Listen to THE NO-NET  WORLD
on _http://www.cdbaby.com/cd/shmailo_ (http://www.cdbaby.com/cd/shmailo)
and  on iTUNES
=========================================================================
Date:         Wed, 27 Sep 2006 15:48:31 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Poetry Project 
Subject:      New Website Rejoice!
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

Dears,

Yes, you=B9re right, this email comes to you a day early. Fear not. We=B9re
simply letting you know that our shimmering brand new website is available
for your end-of-the-work-day internet surfing perusal. We ask all to send a
telepathic or vibratory thank you to the poet David Cameron, who has labore=
d
over the redevelopment of this site and who did a terrific job.

There will be other features gradually worked into the site as it stands -
and to add to its already splendid visual attributes, we are putting out a
call for photographs of Poetry Project days of yore. If you have gems from
the 60s onward, please inform us! We can even do the scanning and ensure th=
e
safe return.=20
The web address remains www.poetryproject.com.

We hope to see you tonight for Victor Hern=E1ndez Cruz and Quincy Troupe.

Love,

The Poetry Project
=========================================================================
Date:         Wed, 27 Sep 2006 18:00:45 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         mIEKAL aND 
Subject:      Maciunas in NYC
Comments: To: spidertangle@yahoogroups.com
Mime-Version: 1.0 (Apple Message framework v752.2)
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GEORGE MACIUNAS (1931-1978)
1953-1978 Charts, Diagrams, Films, Documents, and Atlases
September 28- October 28, 2006
Opening Reception: Thursday, September 28, 6pm-9pm

Maya Stendhal Gallery
545 W 20th St.
New York, NY 10011
http://www.mayastendhalgallery.com
T: (212) 366 1549
F: (347) 287 6775
E: gallery@mayastenhalgallery.com
Gallery Hours: Tuesday-Saturday, 10am-6pm

Maya Stendhal Gallery proudly announces the upcoming exhibition
George Maciunas 1953-1978, Charts, Diagrams, Films, Documents, and
Atlases.

The works on view are Atlas of Russian History, Prehistoric Chinese
Art (Shang and Chou Dynasties), European and Siberian Art of
Migration, Biography Chronicling Activity between 1939-1978, and
Diagram of Historical Development of Fluxus (incomplete). Created
between 1953 and 1978, these "cultural timetables" reveal Maciunas'
interest in visually displaying diverse information about historical
periods. Maciunas' charts, diagrams, and atlases make clear his
desire to record artistic and sociopolitical chronological evolution.
With these charts, he introduced the 20th century as the era of "Art
Genealogy"

Born to a Russian mother and Lithuanian father, Maciunas was an
artist, art historian, designer, architect, editor, producer,
genealogist, typographer, mathematician, musicologist, and leader of
the 1960's international Fluxus movement. Influenced by Marcel
Duchamp's use of art beyond painting and John Cage's experimental
music, Fluxus deviated between the boundaries of art and non-art
through Maciunas' vision of artistic collaboration in various
mediums. He combined music, performance, visual arts, and literature
to create one of the most influential philosophies and artistic
movements in modern art of the 20th century.

Maciunas did not spontaneously design his works, but rather preceded
them with eleven years of intensive studies at Cooper Union School of
Art, the Carnegie Institute of Technology and New York University.
His widespread interests and universalistic approach required a
suitable form of knowledge management in order for him to retain an
overview of the enormity of the material. Charts, diagrams, and
atlases allowed him to reduce complexities, define limits, and make
connections between data. Maciunas made some three dozen of these
historical diagrams between 1953 and 1978 which not only made clear
political, economic, poetic, and aesthetic relationships, but also
predetermined the geo-historical framework of Fluxus.

Maciunas believed that the evolution of art could not be understood
without an orientation of a particular subject in context of time and
space. In 1969, he developed his theory of the "Learning Machine"
which called for improvements in methods of transmitting information.
Maciunas criticized the rigid, linear-narratives of books, lectures,
or other traditional forms of learning for their lack of
communication of the layers and connections within history.
Networking thoughts into timesaving and efficient charts and
diagrams, these "Learning Machines" were also artistically and
scientifically interesting.

Space and time, and their dissolution into succession, played an
important role as well. By breaking up the factual scheme, the work
was extended into the third dimension. The linear order of time is
emphasized by Maciunas' attempt to uncover the complexity of dates by
chronologically coding history. He depicts history with mathematical
precision through a theory that time runs in cycles, depicted in his
charts by a formulaic wave curve. His model of time consisted of four
phases; origin, prosperity, maturity, and decline. Within these
phases are both primary and secondary cycles of time consisting of
mathematical rules that systematize factual relationships. In
determining his time frame, Maciunas used dates and their
corresponding events to reduce history to technical means.

With these documents, Maciunas criticized the rigid, linear-
narratives of books, lectures, or other traditional forms of
accessing information. He felt that a linear series of dates did not
allow for the necessary communication of layers within history. He
therefore developed an accurate way to visually obtain knowledge and
quickly perceive themes. The dates, which make up his diagrams and
charts, take on a "Physiognomy", creating a three-dimensional
reconstructed historical space.

Whether literally or symbolically, this idea of dimensions was
communicated while also limiting specialization. In learning,
Maciunas believed it was important to specialize only gradually. A
wider range of understanding and
orientation of time, according to Maciunas, was necessary for
professional success of any specialist.

This show provides a unique opportunity to view a rare body of work
that has never before been published or exhibited. The exhibition
will run from September 28 - October 28, 2006.
=========================================================================
Date:         Wed, 27 Sep 2006 21:09:16 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Charles Bernstein 
Subject:      Girly Man in New York
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

*Girly Man*
New York book launch
Tues., Oct. 10th at 6PM
Labyrinth Books
536 West 112th Street
Manhattan

Labyrinth Announcement
http://www.labyrinthbooks.com/events_detail.aspx?evtid=163&loc

Girly Man on-line
http://epc.buffalo.edu/authors/bernstein/books/girly-man
=========================================================================
Date:         Wed, 27 Sep 2006 21:54:00 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Maria Damon 
Subject:      Re: Girly Man in New York
In-Reply-To:  <6.2.5.6.2.20060927210650.045a4230@bway.net>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

knock 'em dead, girly!

At 9:09 PM -0400 9/27/06, Charles Bernstein wrote:
>*Girly Man*
>New York book launch
>Tues., Oct. 10th at 6PM
>Labyrinth Books
>536 West 112th Street
>Manhattan
>
>Labyrinth Announcement
>http://www.labyrinthbooks.com/events_detail.aspx?evtid=163&loc
>
>Girly Man on-line
>http://epc.buffalo.edu/authors/bernstein/books/girly-man
=========================================================================
Date:         Wed, 27 Sep 2006 20:08:02 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Matt Henriksen 
Subject:      Friday in Brooklyn: Hoy, Marks & Salerno Burn our Chairs
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

The Burning Chair Readings
Say Why the Hell Not
Whirligig it Like Ya Mean it w/

Dan Hoy, Justin Marks & Chris Salerno

Friday, September 29th, 7:29 PM
@ The Fall Café
307 Smith Street
Between Union & President
Carroll Gardens, Brooklyn
F or G to Carroll

Free, dude.
No outside booze, please.

Dan Hoy lives in Brooklyn and is co-editor of SOFT
TARGETS. His work has appeared or is forthcoming in
jubilat, Octopus, H_NGM_N, Effing, the tiny, CUE: A
Journal of Prose Poetry, and elsewhere. His movie
criticism and videos are available on his website,
www.sinlechuga.com.

Justin Marks' poems have appeared in The Literary
Review, MiPoesis, McSweeney's, Typo, Word for/ Word,
Can We Have Our Ball Back?, and are forthcoming in
H_NGM_N, Fulcrum and the Outside Voices 2008 Anthology
of Younger Poets. His chapbook, You Being You by
Proxy, is available on Kitchen Press. He is editor of
LIT and lives in NYC.

Christopher Salerno's first book, Whirligig, was
shortlisted for the Walt Whitman Award and was
recently published by Spuyten Duyvil Publishing House.
His poems can be found in such journals as: Verse,
LIT, Carolina Quarterly, Colorado Review, Jacket,
Jubilat, The Tiny, MiPOesias, New Hampshire Review,
Free Verse, Forklift Ohio, Electronic Poetry Review,
Barrow Street, River City, and others. Two of his
recent poems are included in the anthology, The
Bedside Guide to No Tell Motel and others will appear
in the forthcoming Outside Voices anthology. He
currently teaches Poetry Writing, American Literature,
and First-Year Writing at North Carolina State
University in Raleigh, NC. He blogs at
.

Forthcoming and fabulous:

At The Fall Cafe:
October 20th Lee Ann Brown, Joanna Fuhrman, & Erica
Kaufman
October 29th Kazim Ali, Bruce Covey, & Juliet
Patterson
November 17th Julia Cohen, Mark Lamoureaux, & Africa
Wayne

At the Pierogi Gallery:
October 21st	 Adam Clay & Kate Greenstreet


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=========================================================================
Date:         Thu, 28 Sep 2006 01:06:11 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Eric Yost 
Subject:      mark your calendars
In-Reply-To:  <20060928030802.5067.qmail@web37901.mail.mud.yahoo.com>
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Sunburned Crow Reading Series presents

THE ASSHOLE WITH A THOUSAND FACES
(a reading protesting the celebrity of Joseph Campbell)

Ugo van Angora, Cheryl Zorro, Gus Mustonen, Pal Ryder, A.
Hampton Tiltway, Geno Armenia, Zslotzs, Tankhouse Molloy,
Lenny Lenapi, Erdogen Tayyip, Ragin' Dan Massey, Abu
Garnett, Milk Dog, and Carlos Mousepox reading the poetry of
MIT's BARDIC program.

Tuesday, October 24th   11 PM
Qaanaaq Space at Ultima Thule
43 Stieglitz Road
Hoebroken, New Jersey
=========================================================================
Date:         Wed, 27 Sep 2006 22:59:40 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Nico Vassilakis 
Subject:      subtext: mARY bURGER & mEG mChutchinson
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

Subtext continues its monthly series of experimental writing with readings
by
Mary Burger & Meg McHutchison at Richard Hugo House on Wednesday, October 4,
2006.  Donations for admission will be taken at the door on the evening of
the
performance.  The reading starts at 7:30pm.

Mary Burger is an Oakland CA based writer, editor, and publisher.  Her books
include Sonny (Leon Works, 2005), The Boy Who Could Fly (Second Story Books,
2002).  Her work is included in An Anthology of New (American) Poets
(Talisman)
and Technologies of Measure: A Celebration of Bay Area Women Writers (SPT,
2002).  She is co-editor of the anthology Biting the Error: Writers Explore
Narrative (Coach House), and of Narrativity, an online forum for theoretical
writing on narrative. She edits Second Story Books, featuring cross-genre
works
of innovative narrative. From 1994-1999, she was co-editor of Proliferation,
a
journal of innovative writing. She lives in Oakland, CA.  See
http://www.maryburger.com/

Meg McHutchison is a writer and filmmaker investigating the paradox of fixed
forms and ephemerality.  She recently completed her MFA-Interdisciplinary
Art
through Goddard College.  Meg was the project director for the initial run
of
Teatro ZinZanni in Seattle. She is co-founder and president of the board of
IFP/Seattle.


The future Subtext 2006 schedule is:

November 1, 2006 Meredith Quartermain & Peter Quartermain (both Vancouver,
BC)

December 6, 2006 Lidia Yuknavitch (Portland) & Emily White

January 3, 2007  Paul Hoover & Maxine Chernoff (both Bay Area)

March 7, 2007    Rob Fitterman (NYC) & Bryant Mason


For info on these & other Subtext events, see our website:
http://www.speakeasy.org/~subtext
=========================================================================
Date:         Thu, 28 Sep 2006 06:41:43 -0400
Reply-To:     pmetres@jcu.edu
Sender:       UB Poetics discussion group 
From:         Philip Metres 
Subject:      *Instants* from Ugly Duckling Presse
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Philip Metres
Assistant Professor
Department of English
John Carroll University
20700 N. Park Blvd
University Heights, OH 44118
phone: (216) 397-4528 (work)
fax: (216) 397-1723
http://www.philipmetres.com
=========================================================================
Date:         Thu, 28 Sep 2006 06:45:16 -0400
Reply-To:     pmetres@jcu.edu
Sender:       UB Poetics discussion group 
From:         Philip Metres 
Subject:      *Instants*
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Just wanted to pass along news of my new chap:

In a galloping lyric form all its own, *Instants* tells the fragmented story of a crime of passion committed by motion-obsessed Victorian photographer Eadward Muybridge, inventor of the zoopraxiscope, precursor to the filmstrip.

Handmade by members of the Ugly Duckling collective, the cover image of two naked wrestlers, folded in two, echoes Breughel's "Landscape with the Fall of Icarus" and the larger split/subject that the serial poem dramatizes.  Plus, it's a flip-book as well.

$5

http://www.uglyducklingpresse.org/page-instants.html


Philip Metres
Assistant Professor
Department of English
John Carroll University
20700 N. Park Blvd
University Heights, OH 44118
phone: (216) 397-4528 (work)
fax: (216) 397-1723
http://www.philipmetres.com
=========================================================================
Date:         Thu, 28 Sep 2006 09:07:04 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jeffrey Side 
Subject:      A.C. Evans essay at The Argotist Online
Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu

A. C. Evans essay and link to responses to it from Andrew Duncan, Marjorie Perloff, Jake Berry, John M Bennett, Jack Foley and Ira Lightman.

http://www.argotistonline.co.uk/Evans%20essay.htm
=========================================================================
Date:         Thu, 28 Sep 2006 08:58:54 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         UbuWeb 
Subject:      NYC Reading Saturday: Myles, Torres, Goldsmith, HIrsch & Seshadri
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Saturday, September 30, 2:00 p.m.
"The Sounds of Madness: Poets and Performers Interpret Outsider Writings"

Performers include Eileen Myles, Edwin Torres, Vijay Seshadri, Kenneth Goldsmith and
Shelley Hirsch

Oliver Kamm/5BE Gallery
621 West 27th Street
New York, New York 10001
tel. 212-255-0979
Between 10th & 11th Avenues


EILEEN MYLES has written thousands of poems since she gave her first reading at CBGB's in
1974. Bust magazine calls her "the rock star of modern poetry" and The New York Times
says she's "a cult figure to a generation of post-punk females forming their own literary
avant garde." She teaches at UC San Diego.

VIJAY SESHADRI was born in Bangalore, India, in 1954 and came to America at the age of
five. His collections of poems include James Laughlin Award winner The Long Meadow
(Graywolf Press, 2004) and Wild Kingdom (1996). He teaches at Sarah Lawrence College.

EDWIN TORRES is a bilingual poet, rooted in the languages of both sight and sound. He's
been creating text and performance work since 1988. Mingling the textures of poetry with
vocal & physical improvisation, sound-elements and visual theater...his live performances
create organic landscapes that exist beyond language.

KENNETH GOLDSMITH is the author of eight books of poetry, founding editor of the online
archive UbuWeb (ubu.com), and the editor "I'll Be Your Mirror: The Selected Andy Warhol
Interviews," Goldsmith is also the host of a weekly radio show on New York City's WFMU.
He teaches writing at The University of Pennsylvania, where he is a senior editor of
PennSound, an online poetry archive.

SHELLEY HIRSCH is an unorthodox, extraordinary fusion of vocalist, composer, and
performance artist whose work encompasses story telling pieces, staged performances,
compositions, improvisations, collaborations, installations, and radioplays, which have
been presented on 5 continents. She can be heard on dozens of CDs including her just
released CDs "The Far In, Far Out Worlds of Shelley Hirsch" (Tzadik) and "Duets" with
gutarist Uchihashi Kasuhisa (Innocence Records).

-------------------
Recent Press for "Street Poets and Visionaries"

New York Times:
http://query.nytimes.com/gst/fullpage.html?res=980CE0D71231F936A2575AC0A9609C8B63

Village Voice:
http://www.villagevoice.com/nycguide/ev97917,10.html

Artopia: (John Perreault)
http://www.artsjournal.com/artopia/archives20060901.shtml#107491



UbuWeb
http://ubu.com

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Thu, 28 Sep 2006 12:29:47 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Eric Yost 
Subject:      Outside Outsider Writings
In-Reply-To:  <20060928155854.22936.qmail@web30403.mail.mud.yahoo.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

Jeff posted a link to A. C. Evans' essay, which closes with
a discussion of "alienated intellectuals." Then Ubu Web
announced, "The Sounds of Madness: Poets and Performers
Interpret Outsider Writings."

It made me wonder about "outsider writings." Is there a
counterpart to "outsider writing"?

Is there such a thing as "insider writing"?

I mean, has anyone recently written a quality poem about how
happy and adjusted they are? Do poets tout their
conventionality and sanity? Even academic poets seem to love
to give voice to unreason and alienation.

So who is "the insider"? There has to be an "insider"
otherwise the term "outsider" wouldn't mean anything.

Flummoxed as usual,
Eric
=========================================================================
Date:         Thu, 28 Sep 2006 12:32:53 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         kevin thurston 
Subject:      Re: Outside Outsider Writings
In-Reply-To:  <451BF87B.1010408@gmail.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

well, i think confusing 'insider' with 'happy & adjusted' may lead to some
flummoxin' thursdays

On 9/28/06, Eric Yost  wrote:
>
> Jeff posted a link to A. C. Evans' essay, which closes with
> a discussion of "alienated intellectuals." Then Ubu Web
> announced, "The Sounds of Madness: Poets and Performers
> Interpret Outsider Writings."
>
> It made me wonder about "outsider writings." Is there a
> counterpart to "outsider writing"?
>
> Is there such a thing as "insider writing"?
>
> I mean, has anyone recently written a quality poem about how
> happy and adjusted they are? Do poets tout their
> conventionality and sanity? Even academic poets seem to love
> to give voice to unreason and alienation.
>
> So who is "the insider"? There has to be an "insider"
> otherwise the term "outsider" wouldn't mean anything.
>
> Flummoxed as usual,
> Eric
>



--
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Thu, 28 Sep 2006 11:52:04 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Tom W. Lewis" 
Subject:      Re: Outside Outsider Writings
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

I read "Outsider Writings" as the literary aspect of "Outsider Art" -- =
the rough-hewn products of untrained, visionary, possibly mentally =
unstable folks. (Or at least folks playing at being mentally unstable... =
not that there's anything wrong with that.*)

Is that what Outsider Writing is? Or is it what people "shut out" of the =
Academy or Establishment write, aka "alienated intellectuals"? Or what =
avantissimi come up with when they make figs at the writers of 'happy & =
adjusted' poetry?=20

Oh dear, I'm buying into pigeon-holing terminology again... time for a =
warm compress.=20

tl

--

* I take my marching orders from Euripides:

h=F4sper hoi korubanti=F4ntes ouk emphrones ontes orchountai,=20
hout=F4 kai hoi melopoioi ouk emphrones ontes ta kala mel=EA tauta =
poiousin

Just as the Corybantes, not being in their senses [ouk emphrones], dance =
-- so too the lyric poets, not being in their senses, compose beautiful =
verses...

(note "hoi melopoioi" =3D "lyric poets," cf. Pound's melopoeia)


-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] =
On Behalf Of kevin thurston
Sent: Thursday, September 28, 2006 11:33
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Re: Outside Outsider Writings

well, i think confusing 'insider' with 'happy & adjusted' may lead to =
some
flummoxin' thursdays

On 9/28/06, Eric Yost  wrote:
>
> Jeff posted a link to A. C. Evans' essay, which closes with
> a discussion of "alienated intellectuals." Then Ubu Web
> announced, "The Sounds of Madness: Poets and Performers
> Interpret Outsider Writings."
>
> It made me wonder about "outsider writings." Is there a
> counterpart to "outsider writing"?
>
> Is there such a thing as "insider writing"?
>
> I mean, has anyone recently written a quality poem about how
> happy and adjusted they are? Do poets tout their
> conventionality and sanity? Even academic poets seem to love
> to give voice to unreason and alienation.
>
> So who is "the insider"? There has to be an "insider"
> otherwise the term "outsider" wouldn't mean anything.
>
> Flummoxed as usual,
> Eric
>



--=20
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Thu, 28 Sep 2006 13:15:03 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Aldon Nielsen 
Subject:      Re: Outside Outsider Writings
In-Reply-To:  <54AA9B41BC35F34EAD02E660901D8A5A07ACB517@TLRUSMNEAGMBX10.E
              RF.THOMSON.COM>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed

>"Outsider art" often incorporates "outsider writing," as in the work
>of the guy in DC whose name I just forgot who created his own shrine
>(now owned by the Smithsonian) out of tin foil and light bulbs --
>also created his own language and script, which are prominently
>featured in the shrine.

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

"I stand corrected, like a bishop of the obvious."
         --Robert Kelly


Aldon Lynn Nielsen
George and Barbara Kelly Professor of American Literature
Department of English
The Pennsylvania State University
112 Burrowes
University Park, PA   16802-6200

(814) 865-0091 [office]

(814) 863-7285 [Fax]
=========================================================================
Date:         Thu, 28 Sep 2006 12:35:34 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Lisa Janssen 
Subject:      Fwd: FW: Bilgere, Black, McMahon, and Janssen read at Gallery 324
In-Reply-To:  <092820061628.12831.451BF82C000A9C9F0000321F2213575333020A9C9C020E060E04@comcast.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

-------------- Forwarded Message: --------------
From: marcus@designerglass.com
To: "Every Saturday Event Readers" 
Subject: Bilgere, Black, McMahon, and Janssen read at Gallery 324
Date: Thu, 28 Sep 2006 13:26:15 +0000
> Bilgere, Black, McMahon, and Janssen read at Gallery 324
>
> Press Release - September 30, 2006 - Every Saturday at Noon at
> Gallery 324
>
> Gallery 324
> The Galleria at Erieview
> 1301 East Ninth Street
> Cleveland, Ohio 44114
>
> 216/780-1522
> mbales@oh.verio.com
> Gallery 324 Hours: M-F 10 am - 5 pm, Sat 10 am - 2 pm
>
> George Bilgere's collection of poems, "The Good Kiss", was chosen by
> U.S. Poet Laureate Billy Collins to win the University of Akron's
> Poetry Award in 2001. His latest book, "Haywire", has won the 2006
> May Swenson Poetry Award. He has received grants from the National
> Endowment for the Arts, the Ohio Arts Council, the Wittern Bynner
> Foundation through the Library of Congress, and the Fulbright
> Commission. He is the 2003 winner of the Cleveland Arts Prize in
> Literature, and the 2006 winner of the Ohioana Poetry Award.
>
> Cletus Black is a singer-songwriter based in Cleveland. A cross
> between Johnny Cash and Lou Reed who writes and sings the blues,
> Cletus Black will sing a couple songs, and talk with Every Saturday
> at Noon host Marcus Bales about how lyrics can be poetry. If you=B4ve
> seen the Ted Kooser interview of John Prine at the Folger Library in
> DC, you=B4ll have an idea of how it will go - except without Kooser,
> Prine, or the Folger. His newest CD release is "In theShadow", from
> this year 2006, which followed "Bloodlines to the Heart" : 2004, "Not
> Too Blues" : 2002, "Black Ice" : 2001, "Cletus Black" : 1999, "Back
> it Up" : 1998, and "Shades of Black": 1996.
>
> Claire McMahon has an MFA from Naropa University and a Ph.D. from
> Kent State University. She is currently an adjunct professor at
> Baldwin-Wallace College, Cuyahoga Community College, and Myers
> University (respectively).  She is the co-editor of the new poetry
> magazine "MoonLit" Her new book, "Emergency Contact", is due out soon
> from Van Zeno Press. She lives on Cleveland's west side with her two
> daughters.
>
> Lisa Janssen is a poet and archivist living in Chicago, IL. She has
> been published in such journals as Bombay Gin, The New Censorship, Women'=
s
Studies Quarterly, and Make. She is a  graduate of the Naropa University
writing
> program, and co-edits the journal "MoonLit".
>
>
>
=========================================================================
Date:         Thu, 28 Sep 2006 11:18:19 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Lewis LaCook 
Subject:      hot alien babes
Comments: To: webartery , rhizome 
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

The Enterprise boldly goes gentle
  into that dark night, poly-threaded with
  hot alien babes that use "party" as

  a verb--it makes me kinda nervous
  to say so--vermin photograph ledger pages
  backwards and bending around illbient

  corners--following Reid Avenue
  killing my thighs, hellish tuning across
  blasted streetlight terrain--walking

  cleanly through the night--the notes burn
  their malicious scripts into brick, into
  dust--a million grains chattering--

  boldly lolling atop a pop-art armistice--
  laced up in a gorgeous bold gentilitY


***************************************************************************

  ||http://www.lewislacook.org||
New Media Poetry and Poetics

  ||http://www.abstractoutlooks.com ||
Abstract Outlooks Media - A New Vision for A New Web
Hosting, Design, Development

  ||http://xanaxpop.lewislacook.org||
Xanax Pop - A Bloge of Poemes




 		
---------------------------------
Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls.  Great rates starting at 1¢/min.
=========================================================================
Date:         Thu, 28 Sep 2006 15:09:12 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Zoe Ward 
Subject:      A celebration of Miltos Sachtouris this Saturday!
Comments: To: newyork@archipelagobooks.org
Mime-Version: 1.0 (Apple Message framework v622)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; format=flowed

All -

Join Archipelago Books at the Greek Cultural Center for a bilingual
reading of Miltos Sachtouris' "Poems (1941-1975)" on Saturday,
September 30th at 5:00 p.m.

Karen Emmerich, the translator of "Poems," will be joined by Christos
Tsiamis, a Greek poet living in New York.

A wine and cheese reception will follow.


Getting to the Greek Cultural Center:
Take the N/W to Astoria Blvd. Exit onto Hoyt Avenue South. Walk west to
2718 Hoyt Avenue South. Entrance is set back from the street. Look for
our smiling faces!


Hope to see you there!

Zoe Ward
Editor & Publicist
Archipelago Books
25 Jay St. #203
Brooklyn NY 11201
T: 718.852.6134
F: 718.852.6135

Visit our new website!
www.archipelagobooks.org
=========================================================================
Date:         Thu, 28 Sep 2006 14:53:08 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: Outside Outsider Writings
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

i consoder myself  an outsider writer   but then what is the definition
???
=========================================================================
Date:         Thu, 28 Sep 2006 15:22:40 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      Re: Outside Outsider Writings
In-Reply-To:  <20060928.153041.-447333.28.skyplums@juno.com>
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

"an outsider" may not at best have an MFA. she may live in a red state,
not register to vote.  he may have a very narrow karmic balance, and
push it. she may have heard "and shit" appended to too many sentences to
write a perfect essay.  he may be a minority, uncaring of proper nods.
she may be here.  he may be there.

hello


Steve Dalachinsky wrote:
> i consoder myself  an outsider writer   but then what is the definition
> ???
>
>
=========================================================================
Date:         Thu, 28 Sep 2006 15:27:50 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Tom W. Lewis" 
Subject:      Re: Outside Outsider Writings -- paging Jack Spicer
In-Reply-To:  <451C2F10.7020800@listenlight.net>
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: quoted-printable

is an Outsider writer required to avoid at all cost publication of his
or her work? do they lose their Outsider status once their words are
inked or digitized for consumption?=20

are you no longer an Outsider if you know how to type your name on a
keyboard?


-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]
On Behalf Of Jesse Crockett
Sent: Thursday, September 28, 2006 15:23
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Re: Outside Outsider Writings

"an outsider" may not at best have an MFA. she may live in a red state,
not register to vote.  he may have a very narrow karmic balance, and
push it. she may have heard "and shit" appended to too many sentences to
write a perfect essay.  he may be a minority, uncaring of proper nods.=20
she may be here.  he may be there.=20

hello


Steve Dalachinsky wrote:
> i consoder myself  an outsider writer   but then what is the
definition=20
> ???
>
>  =20
=========================================================================
Date:         Thu, 28 Sep 2006 15:51:26 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jesse Crockett 
Subject:      Re: Outside Outsider Writings -- paging Jack Spicer
In-Reply-To:  <54AA9B41BC35F34EAD02E660901D8A5A07ACB525@TLRUSMNEAGMBX10.ERF.THOMSON.COM>
MIME-version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 7BIT

are you well-to-do owning a tv set?

All best



Tom W. Lewis wrote:
> is an Outsider writer required to avoid at all cost publication of his
> or her work? do they lose their Outsider status once their words are
> inked or digitized for consumption?
>
> are you no longer an Outsider if you know how to type your name on a
> keyboard?
>
>
> -----Original Message-----
> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]
> On Behalf Of Jesse Crockett
> Sent: Thursday, September 28, 2006 15:23
> To: POETICS@LISTSERV.BUFFALO.EDU
> Subject: Re: Outside Outsider Writings
>
> "an outsider" may not at best have an MFA. she may live in a red state,
> not register to vote.  he may have a very narrow karmic balance, and
> push it. she may have heard "and shit" appended to too many sentences to
> write a perfect essay.  he may be a minority, uncaring of proper nods.
> she may be here.  he may be there.
>
> hello
>
>
> Steve Dalachinsky wrote:
>
>> i consoder myself  an outsider writer   but then what is the
>>
> definition
>
>> ???
>>
>>
>>
>
>
=========================================================================
Date:         Thu, 28 Sep 2006 16:47:26 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Poetry Project 
Subject:      Events at the Poetry Project 10/2 - 10/4
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

Dear Everyone,

Please join us this week! The Parish Hall is freshly painted.
Workshop reservations are still being made, check
http://www.poetryproject.com/workshops.php for all the shiny details.

Love,

The Poetry Project


Monday, October 2, 8:00 pm
Open Reading
Sign-Up At 7:45 PM.


Wednesday, October 4, 8:00 pm
Mei-mei Berssenbrugge & Anna Moschovakis

Mei-mei Berssenbrugge was born in Beijing and lives in New Mexico. She is
the author of nine volumes of poetry, including Nest, The Four Year Old
Girl, Empathy, and most recently I Love Artists: New and Selected Poems.
Anna Moschovakis is the author of I Have Not Been Able to Get Through to
Everyone (Turtle Point Press, 2006) and two chapbooks, The Blue Book (Phylu=
m
Press) and Dependence Day Parade (Sisyphus). Her translations of
twentieth-century French prose and poetry include works by Henri Michaux,
Blaise Cendrars, Claude Cahun and Marcelle Sauvageot, and her new
translation of The Engagement by Georges Simenon is forthcoming from New
York Review Books. She is an editor at Ugly Duckling Presse, a nonprofit,
collaboratively run publishing concern based in Brooklyn, where she also
lives.



First Floor presents

George Schneeman: Work 1968-2006
Collages, portraits, landscapes, collaborations,
calendars, prints, collage paintings, frescos,
posters and ceramics.

Oct 13-28, 4-7pm
113 E. 2nd St (1st & A)
212-982-7682

Opening =AD Friday October 13, 4-7pm

Fall Calendar: http://www.poetryproject.com/calendar.html

The Poetry Project is located at St. Mark's Church-in-the-Bowery
131 East 10th Street at Second Avenue
New York City 10003
Trains: 6, F, N, R, and L.
info@poetryproject.com
www.poetryproject.com

Admission is $8, $7 for students/seniors and $5 for members (though now
those who take out a membership at $85 or higher will get in FREE to all
regular readings).

We are wheelchair accessible with assistance and advance
notice. For more info call 212-674-0910.

If you=B9d like to be unsubscribed from this mailing list, please drop a line
at info@poetryproject.com.
=========================================================================
Date:         Thu, 28 Sep 2006 18:23:22 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Phil Primeau 
Subject:      Re: Outside Outsider Writings -- paging Jack Spicer
In-Reply-To:  <451C35CE.9000502@listenlight.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

Outsider writers can be subscribed to no more than three listservs.
=========================================================================
Date:         Thu, 28 Sep 2006 18:02:16 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         mIEKAL aND 
Subject:      Re: Outside Outsider Writings
In-Reply-To:  <451C35CE.9000502@listenlight.net>
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Type: text/plain; charset=US-ASCII; format=flowed
Content-Transfer-Encoding: 7bit

MALOK is

the Satrap of outsider writers;

the bastard son of aliens

http://malok.org
=========================================================================
Date:         Fri, 29 Sep 2006 01:19:05 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Tim Peterson 
Subject:      New Media Poetry and Poetics issue: Leonardo Electronic Almanac
              vol 14, issue 05
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Now Available!

Leonardo Electronic Almanac
New Media Poetry and Poetics Issue
Sept, v o l 14, i s s u e 05
http://www.leoalmanac.org

A cool 10 grand. That's the number of hits that electronically streamed
through  this e-journal during its virgin weekend. This was revealed by an
ecstatic LEA editor-in-chief, Nisar Keshvani, who also shares the accolades
that have been pouring in from readers. He adds, 750 man-hours have gone
into producing the "New Media Poetics and Poetry" Special guest-edited by
Tim Peterson. Of the 70 submissions, nine crisp essays and four artist
statements feature in Vol 14 No 5 – 6.

The peer-reviewed electronic journal introduces downloadable PDFs of its
essays with MLA and APA style citations and launches LEAD: Leonardo
Electronic Almanac Discussion. LEAD will engage readers in an online
moderated discussion list and real-time live chats with New Media Poetics
scholars.

Let's now, leap into yet another bold foray, this time revolving around the
world of new media poetics. Bursting at the cyber-seams, a spiffy collection
of essays by myriad authors await.

"In the new media environment, we deal with an expanded notion of "poem" as
praxis of surface level and sub-textual computer code levels, and an
expanded awareness of the digital poem as process. The reading and reception
of this writing occurs in a networked context, in which the reader becomes
an "ergodic" participant (to use Espen Aarseth's term) and helps shape the
form of the new media poem," defines New Media Poetics and Poetry issue
guest editor Tim Peterson.

*  *  *

Peterson has woven together a marvelous mix featuring

Loss Pequeño Glazier

John Cayley with Dimitri Lemmerman

Lori Emerson

Phillippe Bootz

Manuel Portela

Stephanie Strickland

Mez

Maria Engberg

Matthias Hillner

*  *  *

Don't forget to scurry over to the equally exciting gallery, exhibiting
works by

Jason Nelson

Aya Karpinska

Daniel Canazon Howe

mIEKAL aND

CamillE BacoS

Nadine Hilbert

Gast Bouschet.

For the first time also,
be mesmerized by Mathias Hillner and Manuel Portela’s shockwave creations.

http://www.leoalmanac.org

01 e d i t o r's  n o t e
Nisar Keshvani

02 g u e s t  e d i t o r i a l
Tim Peterson on New Media Poetry and Poetics

03 e s s a y s
New Media Poetics and Poetry

04 g a l l e r y
Waxing Lyrical with New Media Poetics and Poetry

05 r e s o u r c e s
Sign up for the Leonardo Electronic Almanac NMP list

06 a n n o u n c e m e n t s
Watch this space for details on LEA's live forum with authors
=========================================================================
Date:         Thu, 28 Sep 2006 21:15:47 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         mIEKAL aND 
Subject:      tENTATIVELY, a cONVENIENCE book
Comments: To: Theory and Writing ,
          spidertangle@yahoogroups.com
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From: "tENTATIVELY, a cONVENIENCE" 
Date: September 28, 2006 8:16:17 PM CDT
To: idioideo@verizon.net
Subject: tENTATIVELY, a cONVENIENCE book

Yes,

After 8 mnths of seemingly interminable idiocy,
my 7X10", 499 page book entitled "footnotes" is finally out.
"footnotes" is a massive rewrite of, excerpting from, & commentary on
my 1st 9 books:

t he book
t he referent 4 wch consists of
t he non-materialized transparent punch-outs from a letter/whatever
stencil
- 1977

Yet Another Slow-Burning Feast of a Few Months Mischief in the U.K.,
Maybe
(A Partial(ly) Epistolary Account of Non-Non & Non-Participation, Maybe)
- 1988

How to Write A Resume - Volume II: Making a Good First Impression
- 1989/90

Telepathy Receptivity Training
- 1991

Reactionary Muddle America
- 1992

A Mere Outline for One Aspect of a Book on Mystery Catalysts,
Guerrilla Playfare, neoism, booed usic, Mad Scientist Didactions,
Acts of As-Beenism, So-Called Whatevers, Psychopathfinding,
Uncerts, Air Dressing, Practicing Promotextuality, Imp Activism,
CircumSubstantial Playing, etc..
- 1993

Anonymous Family Reunion
- 1997

No Necessarily NOT Very Important
- 2003

Story of a Fructiferous Society
- 2005

"footnotes" may very well be the most massive book I ever have
published.
Many of you are in it in some form or another (noticed any missing
body parts lately?).
If you'd like to buy a copy it can be ordered by going to this web-page:



Ignore the complete stupidity of the uninformative 'description' of
the book.
I had nothing to do w/ that.

See you in heck,

tENT
=========================================================================
Date:         Thu, 28 Sep 2006 20:26:08 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jason Quackenbush 
Subject:      Re: Outside Outsider Writings
In-Reply-To:  <20060928.153041.-447333.28.skyplums@juno.com>
MIME-Version: 1.0
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Inclusion in the Outlaw Bible of American Poetry, I think.

Which is why in order to call myself an outsider poet I sometimes introduce myself to strangers as Allen Ginsberg. i want to call myself an outsider poet because it sounds cool.
On Thu, 28 Sep 2006, Steve Dalachinsky wrote:

> i consoder myself  an outsider writer   but then what is the definition
> ???
>
=========================================================================
Date:         Thu, 28 Sep 2006 20:34:32 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Chris Stroffolino 
Subject:      Re: tENTATIVELY, a cONVENIENCE book
In-Reply-To:  <74FD6528-C28E-4400-80E6-8DC17B2E7365@mwt.net>
Mime-Version: 1.0 (Apple Message framework v752.2)
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Wow----and he's a filmmaker too---

Check out PEE ON BOB'S HEAD (early 1980s....)

C

On Sep 28, 2006, at 7:15 PM, mIEKAL aND wrote:

> From: "tENTATIVELY, a cONVENIENCE" 
> Date: September 28, 2006 8:16:17 PM CDT
> To: idioideo@verizon.net
> Subject: tENTATIVELY, a cONVENIENCE book
>
> Yes,
>
> After 8 mnths of seemingly interminable idiocy,
> my 7X10", 499 page book entitled "footnotes" is finally out.
> "footnotes" is a massive rewrite of, excerpting from, & commentary
> on my 1st 9 books:
>
> t he book
> t he referent 4 wch consists of
> t he non-materialized transparent punch-outs from a letter/whatever
> stencil
> - 1977
>
> Yet Another Slow-Burning Feast of a Few Months Mischief in the
> U.K., Maybe
> (A Partial(ly) Epistolary Account of Non-Non & Non-Participation,
> Maybe)
> - 1988
>
> How to Write A Resume - Volume II: Making a Good First Impression
> - 1989/90
>
> Telepathy Receptivity Training
> - 1991
>
> Reactionary Muddle America
> - 1992
>
> A Mere Outline for One Aspect of a Book on Mystery Catalysts,
> Guerrilla Playfare, neoism, booed usic, Mad Scientist Didactions,
> Acts of As-Beenism, So-Called Whatevers, Psychopathfinding,
> Uncerts, Air Dressing, Practicing Promotextuality, Imp Activism,
> CircumSubstantial Playing, etc..
> - 1993
>
> Anonymous Family Reunion
> - 1997
>
> No Necessarily NOT Very Important
> - 2003
>
> Story of a Fructiferous Society
> - 2005
>
> "footnotes" may very well be the most massive book I ever have
> published.
> Many of you are in it in some form or another (noticed any missing
> body parts lately?).
> If you'd like to buy a copy it can be ordered by going to this web-
> page:
>
>  qid=1159322289/ref=sr_1_1/104-4080608-6135133?ie=UTF8&s=books>
>
> Ignore the complete stupidity of the uninformative 'description' of
> the book.
> I had nothing to do w/ that.
>
> See you in heck,
>
> tENT
=========================================================================
Date:         Fri, 29 Sep 2006 00:15:02 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Re: Outside Outsider Writings
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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outside writers better not fkin have mfas


micheline
corso
cihren


joans   and a zillion others from here and  out there

what is your definition of an outside writer

kenny  eileenn i can't come saturday  i am as outside as ya get tho most
won't hink so

who will be read at this gallery on saturday?
=========================================================================
Date:         Fri, 29 Sep 2006 02:49:33 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Steve Dalachinsky 
Subject:      Fw: The Vision Club Kick Off Friday,
              October 6th Peter Brotzmann / Han Bennink Duo at Clemente Soto
              Velez SEA Theater
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A R T S  F O R  A R T  508 East 6th Street #3, NYC 10009

From: The Vision Festival / www.visionfestival.org
PRESS Contact: Todd Nicholson / publicist@visionfestival.org


IT'S TIME!!
THE VISION CLUB KICK OFF
Two Nights of Amazing Performances

Friday October 6
Peter Brotzmann / Han Bennink Duo
First NYC Appearance of European Free Music Duo Since 1975

Saturday October 7
Marshall Allen / William Parker
Cooper Moore / Roy Campbell
For the First time - A New and Unique Collective!

What:        Peter Brotzmann / Han Bennink Duo
        Friday October 6 , 2006 - Two Sets Per Night at 7:30 and 9 pm

What:        Marshall Allen / William Parker / Cooper Moore / Roy
Campbell
        Saturday October 7, 2006 - Two Sets Per Night at 7:30 and 9 pm

Place:        Clemente Soto Velez SEA Theater – 107 Suffolk Street, 2nd
Floor
Cost:         $20 per set / $10 students and seniors
Full Info:    www.visionfestival.org Tel. 212.696.6681



New York, NY – Arts for Art proudly kicks off its fall 2006 season of the
Vision Club with two nights amazing avantjazz.

On Friday, October 6 we will present a powerhouse duo: saxophonist Peter
Brotzmann and drummer Han Bennink.  The two free music masters
have a long history, first in Brotzmann’s large projects, notably the
1968 “Machine Gun.”  A trio with Belgian pianist Fred Van Hove grew out
of these collaborations.  But in 1976 the two free music masters began
work as a duo releasing a series of recordings, concluding with 1980’s
“Atsugi Concert.”  They weren’t heard from again “on wax” until Brotzmann
booked a series of performances in early 2004 with the explicit intention
of capturing the performances for later release.  The result, “Still
Popular After All Those Years” was issued on vinyl on Brotzmann’s own
resurrected BRO label later that same year.

On Saturday, October 7 we present the premier performance of the unique
collective, featuring an irresistible combination of avantJazz masters:
Marshall Allen (alto sax & E.V.I. - Electronic Valve Instrument), William
Parker (bass, donson ghoni and double reeds), and the
multi-instrumentalist Cooper Moore (percussion).  The second set will be
the same group with the addition of special guest, premier trumpet player
Roy Campbell.   With such a surprising
collective of versatile artists, we can only hope that this will  be the
first of many performances.

Brotzmann / Bennink Press
"Peter Brotzmann has exemplified European improvised music for over 40
years.” - All About Jazz
“What makes Bennink special is his manifest love for the music, a love
that inclines him to tear down the cardboard walls that too often
separate different schools of jazz.”– Drummer World

Allen / Parker / Moore / Campbell Press
“...Marshall Allen is one of the most distinguished altoists of his
generation.” - Clifford Allen, All About Jazz

"(William Parker is) the most consistently brilliant free jazz bassist of
all time." - The Village Voice

"Cooper-Moore is the sort of artist that oozes music. Whether on piano,
drum heads or instruments of his own devise, or even just screaming and
hollering the blues, he is consistently captivating and inventive.” Kurt
Gottschalk

"Roy Campbell, Jr. [is] an inventive trumpeter whose playing has a
stream-of consciousness logic and an unassumingly rich and confident
sound."
Gary Giddins, The Village Voice
=========================================================================
Date:         Fri, 29 Sep 2006 06:14:23 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "David A. Kirschenbaum" 
Subject:      Boog City presents Palm Press and Genan Zilkha
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please forward
---------------

Boog City presents
=20
d.a. levy lives: celebrating renegade presses
=20
Palm Press (Long Beach, CA)

Thurs. Oct. 5, 6:00 p.m., free

ACA Galleries
529 W.20th St., 5th Flr.
NYC
=20
Event will be hosted by
Palm Press editor Jane Sprague

Featuring readings from

David Buuck
Mairead Byrne
Wendy Walters
Matvei Yankelevich=20

With music by=20
Genan Zilkha

There will be wine, cheese, and crackers, too.
=20
Curated and with an introduction by Boog City editor David Kirschenbaum

-----------

*About Palm Press*

Palm Press is an independent press located in Long Beach, California. Our
mission is to make available works which navigate the interstices, the
between spaces, of discourse. We aim to further an interrogation of these
gaps by publishing writers whose work challenges notions of genre and by
focusing on writers who consciously work within and among these spaces in
poetry, essay, cultural studies, narrativity, theory and the increasingly
blurred edge between such categories.


*Performer Bios*

**David Buuck lives in Oakland, California. Recent chapbooks include RUTS
from TaxtPress & RUNTS from Self-punish or parrot, plus an untitled
forthcoming essay from Palm Press (2007).

**Mair=E9ad Byrne immigrated to the United States from Ireland in 1994 for
reasons of poetry. She is the author of An Educated Heart (Palm Press,
2005), Vivas (Wild Honey Press, 2005), and Nelson & The Huruburu Bird (Wild
Honey Press, 2003). She lives with her two daughters in Providence, Rhode
Island, where she teaches poetry at the Rhode Island School of Design.
=20
**Wendy S. Walters is author of Birds of Los Angeles (Palm Press, 2005). Sh=
e
is Assistant Professor of English at the Rhode Island School of Design
(RISD). Recent poems have been published in Seneca Review, The Yalobusha
Review, Sou=B9wester, Spinning Jenny, Nocturnes (Re)view, and Callaloo. Her
work has received support from RISD, the Mary Flagler Cary Charitable Trust=
,
the Smithsonian Institution, the Ford Foundation, and the Aaron Copland
Foundation, and she has participated in residencies at The MacDowell Colony=
,
Cave Canem, and Yaddo.
=20
**Matvei Yankelevich is author of The Present Work (Palm Press, 2006) and a=
n
editor of Ugly Duckling Presse, a non-profit volunteer-run publishing
concern in Brooklyn. He translates Daniil Kharms, Alexander Vvedensky, and
Vladimir Mayakovsky, among other Russian writers. He teaches literature at
Hunter College in New York City while working on a graduate degree in
comparative literature and a house in the country.

**Genan Zilkha, guitar/vocals, was a classically trained pianist until she
found that she had a taste of rock and roll. Since that didn't work out, sh=
e
now spends her time writing folk songs with titles such as "I Think I Might
Be Food Poisoning (But it could also be love)" and "I Know What Will Make
You Not A Dyke." Genan is also known for her unique takes on Britney Spears
songs, in particular her version of Britney's version of the Bobby Brown
song "My Prerogative." She has performed at the Knitting Factory, as well a=
s
at venues throughout Rhode Island and Binghamton, NY.

------------

Directions: C/E to 23rd St., 1/9 to 18th St.
Venue is bet. 10th and 11th avenues
=20
http://www.palmpress.org/
http://www.durationpress.com/tripwire/index.htm
http://www.maireadbyrne.blogspot.com/
http://www.uglyducklingpresse.org/
http://www.myspace.com/genanisfabulous

Next event Nov. 2, Mooncalf Press (Philadelphia)

--=20
David A. Kirschenbaum, editor and publisher
Boog City
330 W.28th St., Suite 6H
NY, NY 10001-4754
For event and publication information:
http://boogcityevents.blogspot.com/
T: (212) 842-BOOG (2664)
F: (212) 842-2429
=========================================================================
Date:         Fri, 29 Sep 2006 09:10:01 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Lori Emerson 
Subject:      ON WORDS | a conference on the Life and Work of Robert Creeley
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Dear all - please see the schedule below (also at
http://writing.upenn.edu/academic/department/AandL/english/OnWords.htm)
for the UB conference on Creeley on October 12-13.

- Lori

PROGRAM OF EVENTS
Thursday October 12. 8pm. Trinity Church 371 Delaware Ave.
Readings by Rosmarie Waldrop and Robin Blaser.

Friday October 13. 10am. Poetry Collection 420 Capen Hall
10am. Benjamin Friedlander: "What is Experience?"
11am. Alan Golding: "Seriality in Creeley's Poetry"

Lunch

1.30pm. Michael Gizzi: "Robert Creeley: Music on Words."
2.30pm. Peter Middleton: "Creeley Teaching"
3.30pm. Rachel Blau du Plessis: "Death and Sexual Difference in later Creeley."

8pm. Trinity Church, 371 Delaware Ave.
Readings by Susan Howe and John Ashbery

Saturday October 14. 10am Trinity Church Chapel, 371 Delaware Ave.
10am. Stephen Fredman: "Talk as Action: Robert Creeley, Bob Dylan and
the Art of the Interview."
11am. Michael Davidson: "'the repeated / insistence': Creeley's Rage"

Lunch

1.30pm. Charles Altieri: "Why does Echoes Echo?"
2.30pm. Peter Quartermain: "Momently"
3.30pm. Marjorie Perloff: "Creeley as Radical Poet."

8pm. Trinity Church, 371 Delaware Ave.
Readings by Charles Bernstein and Ann Lauterbach
=========================================================================
Date:         Fri, 29 Sep 2006 10:07:15 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Pierre Joris 
Subject:      Recent postings on NOMADICS
Comments: To: BRITISH-POETS@JISCMAIL.AC.UK
Comments: cc: Poetryetc provides a venue for a dialogue relating to poetry and
          poetics 
Mime-Version: 1.0 (Apple Message framework v752.2)
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Recent postings on NOMADICS blog:

El Corno Emplumado, Medellin Poetry Festival, Bin Laden's win
Again No Visa for Tariq Ramadan
Industrial Poetics
Green ammo, believe it or not...
Meanwhile, in Heidelberg...
Poets Speak Loud
Here Come the Sun, again

at: http://pjoris.blogspot.com

sorry to not be sorry for crosspostings anymore,
which was CA Conrad's suggestion.

Pierre


=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D
       "Fascism should more properly
be called corporatism,since it is the
merger of state and corporate power."
       =97 Benito Mussolini
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D
Pierre Joris
244 Elm Street
Albany NY 12202
h: 518 426 0433
c: 518 225 7123
o: 518 442 40 71
Euro cell:  011 33 6 79 368 446
email: joris@albany.edu
http://pierrejoris.com
Nomadics blog: http://pjoris.blogspot.com
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=========================================================================
Date:         Fri, 29 Sep 2006 09:20:00 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Charlie Rossiter 
Subject:      OUTSIDERS--Pecker
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It seems to me psychic state and/or owning a tv is irrelevant.

In visual arts 'outsider art'refers to self taught artists, which usually,
in that realm results in work that those with formal training would call
'primitive.'

I believe they have the same issue of what happens when an 'outsider' is
lionized by the establishment.  And I don't think there's an answer, nor
is it worth worrying about (unless you're an insider and an insider
institution devoting your days to that sort of thing).

Anyone see the movie 'Pecker'?....it's way better than I had expected and
is relevant to the outsider discussion.

Charlie

--
The truth is such a rare thing
it is delightful to tell it
               Emily Dickinson
www.poetrypoetry.com
   where you hear poems read
   by the poets who wrote them
=========================================================================
Date:         Fri, 29 Sep 2006 10:23:31 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         kevin thurston 
Subject:      outsider
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http://avam.org/ is the website of a museum in baltimore that specializes in
outsider art. they also include the mentally ill in this category. the
entire thing is often either a power grab (i'm an insider, you're an
outsider) or ethically disgusting (your mentally ill, now that you're dead
will sell this for sweet sweet cash).

while all the insiders chime in?

--
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Fri, 29 Sep 2006 10:26:32 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mike Luster 
Subject:      Re: outsider
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I think you're taking the worst aspects of the use of outsider in the visual
arts and making that represent the whole. Outsider, I believe, was originally
coined to better describe what had previously been called erroneously folk art
=========================================================================
Date:         Fri, 29 Sep 2006 10:38:12 EDT
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mike Luster 
Subject:      Fwd: outsider
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In a message dated 9/29/06 9:26:32 AM, Luster writes and accidentally hits
send before he finishes:

>I think you're taking the worst aspects of the use of outsider in the visual
>arts and making that represent the whole. Outsider, I believe, was originally
>coined to better describe what had previously been called erroneously folk
>art. The idea was that true folk art was made in the context of a
community--think quilts, Ukrainian Easter eggs and such. The term outsider was a bit of
a double entendre in that it referred both to the isolato qualities of many of
the painters under discussion and to the fact that they made art without
benefit of art school and as such were outside the usual circles of artists. There
are many fine folks who have written about and worked to further the work of
these "outsiders" such as Jonathan Williams, Roger Manley, Fred Fussell, and
many others. Does the concept "outsider" translate beyond the visual arts to
writing or music or dance? Probably but there are additional issues. Is it
meaningful distinction? Only in certain cases and with great caution.

mike


J. Michael Luster, Ph.D.
Arkansas Folklife Program
Arkansas State University
PO Box 102
Mammoth Spring, AR 72554

417-938-4633

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Return-path: 
From: Luster@aol.com
Full-name: Luster
Message-ID: 
Date: Fri, 29 Sep 2006 10:26:32 EDT
Subject: Re: outsider
To: POETICS@LISTSERV.BUFFALO.EDU
MIME-Version: 1.0
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X-Mailer: AOL 5.0 for Mac sub 44

I think you're taking the worst aspects of the use of outsider in the visual
arts and making that represent the whole. Outsider, I believe, was originally
coined to better describe what had previously been called erroneously folk art

--part1_3ba.67eedc02.324e89d4_boundary--
=========================================================================
Date:         Fri, 29 Sep 2006 10:44:18 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         kevin thurston 
Subject:      Re: outsider
In-Reply-To:  
MIME-Version: 1.0
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in all seriousness, what would the best aspect be? do we want to segregate
the visual arts from a discussion on artists of any sort?

it truly appears that it is a bunch of arts administrators, and collectors
(often not out$ider$), patting the heads of 'outsider' or 'folk artists' and
then getting large institutional grants from local, state or federal
agencies to help their endowment and maybe the outsider or folk artist gets
some cash. (i recognize that is not extremely different then what happens to
the majority of artists, but the majority of artists enter into a social
contract wherein they know the basic rules.)

On 9/29/06, Mike Luster  wrote:
>
> I think you're taking the worst aspects of the use of outsider in the
> visual
> arts and making that represent the whole. Outsider, I believe, was
> originally
> coined to better describe what had previously been called erroneously folk
> art
>



--
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Fri, 29 Sep 2006 10:45:23 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Dan Waber 
Subject:      Re: outsider
In-Reply-To:   (Mike Luster's message of "Fri, 29
              Sep 2006 10:26:32 EDT")
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Mike Luster  wrote:
> I think you're taking the worst aspects of the use of outsider in
> the visual arts and making that represent the whole. Outsider, I
> believe, was originally coined to better describe what had
> previously been called erroneously folk art

from:  http://en.wikipedia.org/wiki/Outsider_art

"The term Outsider Art was coined by art critic Roger Cardinal in 1972 as a=
n English synonym for Art Brut (which literally translates as "Raw Art" or =
"Rough Art"), a label created by French artist Jean Dubuffet to describe ar=
t created outside the boundaries of official culture; Dubuffet focused part=
icularly on art by insane asylum inmates.

"While Dubuffet's term is quite specific, the English term "Outsider Art" i=
s often applied more broadly, to include certain self-taught or Na=EFve art=
 makers who were never institutionalized. Typically, those labeled as Outsi=
der Artists have little or no contact with the institutions of the mainstre=
am art world and they often employ unique materials or fabrication techniqu=
es. Much Outsider Art illustrates extreme mental states, unconventional ide=
as, or elaborate fantasy worlds. Since 2000 the EUWARD, the European Award =
for painting and graphic arts by mentally handicapped artists, is providing=
 this art with an international forum.

"Outsider Art has emerged as a successful art marketing category (an annual=
 Outsider Art Fair has taken place in New York since 1992); thus the term i=
s sometimes misapplied as a catch-all marketing label for art created by pe=
ople outside the "art world" mainstream, regardless of their circumstances =
or the content of their work."

Regards,
Dan
=========================================================================
Date:         Fri, 29 Sep 2006 09:47:17 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Tom W. Lewis" 
Subject:      Re: outsider
In-Reply-To:  
MIME-Version: 1.0
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some outsider art environments/sites in the Midwest:

http://www.kohlerfoundation.org/index.htm

http://www.westbendgrotto.com/

http://webpages.charter.net/dnance/concpark/concpark-abt.htm

most of these environments were created by single men, and they fall
into categories of religious, patriotic, secular, or mixed (according to
my own survey)... most often they are rural or built on the fringes of a
town or city. we used to have a grotto in St. Paul, but it was bulldozed
in the late 80s.

are there any (true) parallels in the sphere of poetics? examples?

first thing that comes to mind is those poetry prize volumes where the
poets paid the company for the chance to win a prize, and all they get
is this lousy book with 1,000 pages of mostly lousy writing. what's that
called? it's almost like the written equivalent of paint-by-numbers
clown portraits you find at a garage sale -- tacky, but strangely
compelling.  =20

tl

3 TVs, no MFA



-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]
On Behalf Of kevin thurston
Sent: Friday, September 29, 2006 9:24
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: outsider

http://avam.org/ is the website of a museum in baltimore that
specializes in
outsider art. they also include the mentally ill in this category. the
entire thing is often either a power grab (i'm an insider, you're an
outsider) or ethically disgusting (your mentally ill, now that you're
dead
will sell this for sweet sweet cash).

while all the insiders chime in?

--=20
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html
=========================================================================
Date:         Fri, 29 Sep 2006 10:55:54 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "J. Michael Mollohan" 
Subject:      Re: outsider
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
              reply-type=original
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The folk art-outsider connection has always been foremost in my mind.
Grandma Moses was an outsider.  Jean-Michel Basquiat was not.  Both,
however, were unschooled in art.  Basquiat quit school in his junior year of
high school.  These days, I've been hearing a different term applied to
those whose art is not of the folksy variety, but who are not formally
schooled in Universities or Art Institutes:  Raw Vision.  I'm not sure
whether this is a better or worse term, other than most all labels have
extrememely limited usefulness.  The best use of a label is to mail
something.


----- Original Message -----
From: "Mike Luster" 
To: 
Sent: Friday, September 29, 2006 10:38 AM
Subject: Fwd: outsider


>
> In a message dated 9/29/06 9:26:32 AM, Luster writes and accidentally hits
> send before he finishes:
>
>>I think you're taking the worst aspects of the use of outsider in the
>>visual
>>arts and making that represent the whole. Outsider, I believe, was
>>originally
>>coined to better describe what had previously been called erroneously folk
>>art. The idea was that true folk art was made in the context of a
> community--think quilts, Ukrainian Easter eggs and such. The term outsider
> was a bit of
> a double entendre in that it referred both to the isolato qualities of
> many of
> the painters under discussion and to the fact that they made art without
> benefit of art school and as such were outside the usual circles of
> artists. There
> are many fine folks who have written about and worked to further the work
> of
> these "outsiders" such as Jonathan Williams, Roger Manley, Fred Fussell,
> and
> many others. Does the concept "outsider" translate beyond the visual arts
> to
> writing or music or dance? Probably but there are additional issues. Is it
> meaningful distinction? Only in certain cases and with great caution.
>
> mike
>
>
> J. Michael Luster, Ph.D.
> Arkansas Folklife Program
> Arkansas State University
> PO Box 102
> Mammoth Spring, AR 72554
>
> 417-938-4633
>
=========================================================================
Date:         Fri, 29 Sep 2006 11:02:14 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Daniel f. Bradley" 
Subject:      Re: pecker heads who talk da "outsider"
In-Reply-To:  
MIME-Version: 1.0
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it real simple - if kenny g his cronies are any way involved (bust magazine- is like having a quota from Spin  magazine or winning the VH1 Independent Spirit Award ) - it's anti outsider - it's so far up inside that the sun isn't ever going near it


  sure a lot of teachers involved in that thing best to stay far outside that neighbourhood


  have fun

  dfb


kevin thurston  wrote:
  in all seriousness, what would the best aspect be? do we want to segregate
the visual arts from a discussion on artists of any sort?

it truly appears that it is a bunch of arts administrators, and collectors
(often not out$ider$), patting the heads of 'outsider' or 'folk artists' and
then getting large institutional grants from local, state or federal
agencies to help their endowment and maybe the outsider or folk artist gets
some cash. (i recognize that is not extremely different then what happens to
the majority of artists, but the majority of artists enter into a social
contract wherein they know the basic rules.)

On 9/29/06, Mike Luster wrote:
>
> I think you're taking the worst aspects of the use of outsider in the
> visual
> arts and making that represent the whole. Outsider, I believe, was
> originally
> coined to better describe what had previously been called erroneously folk
> art
>



--
http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html



  helping to kill your literati star since 2004
  http://fhole.blogspot.com/

=========================================================================
Date:         Fri, 29 Sep 2006 10:12:28 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         "Tom W. Lewis" 
Subject:      Saint Paul Almanac 2007
In-Reply-To:  <20060929150214.21859.qmail@web88112.mail.re2.yahoo.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: quoted-printable

Just in time for the GOP's visit...

http://www.saintpaulalmanac.com/

They published one of my poems, and my wife and I have an article on St.
Michael's Grotto (an St. Paul outsider environment that is no longer
extant; see my previous e-mail).

The publisher tells me they're working on a Minneapolis version for '08:
http://www.minneapolisalmanac.com/
=========================================================================
Date:         Fri, 29 Sep 2006 08:19:53 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         amy king 
Subject:      En Route Right Now To Brooklyn -- Howe, Boully, and Belz
In-Reply-To:  <000101c6e17d$49bad360$6401a8c0@richardq689pf6>
MIME-Version: 1.0
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1.  Brian Howe is boarding a delayed plane from North Carolina as I type these words -- he will arrive early enough for a quick bite and drink before doing his acoustic sound-mixer thing.

  2.  Ms. Boully is already here, thankfully, with beautiful new books in hand ...

  3.   Mr. Belz is either walking, peddling, or flapping his wings hard all the way from Missouri ...


  MiPOesias PRESENTS:

  **** Jenny Boully, Aaron Belz, and Brian Howe ****

  TONIGHT @ 7 P.M.


  STAIN BAR
  766 Grand Steet
  Brooklyn , NY 11211
  (718) 387-7840
  http://www.stainbar.com
  [Grand stop on the L TRAIN]


  Jenny Boully is the author of [one love affair]* (Tarpaulin Sky Press, 2006) and The Body: An Essay (Slope Editions, 2002).  Her Book of Beginnings & Endings is forthcoming from Sarabande in 2007.  She has two chapbooks forthcoming: of the mismatched teacups, of the single-serving spoon (Coconut Chapbook Series) and Moveable Types (Noemi Press).  Her work has been anthologized in The Next American Essay, The Best American Poetry 2002, Great American Prose Poems: From Poe to the Present, and Contemporary Voices from the East: A Norton Anthology.  She has been featured in the Poet Sampler section of the Boston Review, and her work was also included in the "New Lyric Essayists" issue of the Seneca Review.  Born in Korat, Thailand and reared in Texas, she has studied at Hollins University and the University of Notre Dame and is currently a Ph.D. candidate at the Graduate Center of the City University of New York.  She divides her time between Brooklyn and a small town in
 Texas.  Recent publication news and readings can be found at jennyboully.blogspot.com.


  Brian Howe is a freelance writer and poet living in Chapel Hill , North Carolina . He is a contributing writer at Pitchforkmedia.com and a contributing editor at Paste Magazine. Howe's poems have appeared in MiPo, Octopus, Fascicle, McSweeney's Internet Tendency, Eratio, Soft Targets, and Cannibal. His chapbook Guitar Smash is forthcoming from Atlanta 's 3rdness press. He maintains a personal blog at http://slatherpuss.blogspot.com/ and a group mp3 blog at http://moistworks.com/. Howe is a member of the Lucifer Poetics Group.


  Aaron Belz lives in St. Louis , where he curates Readings @ The Schlafly Tap Room and teaches English at SLU. His work has been published recently in Knock, Court Green, The Bedside Guide to No Tell Motel, McSweeney's, and Boston Review, and will soon appear in Painted Bride Quarterly and Unpleasant Events Schedule. For more about Aaron, please visit www.belz.net or myspace.com/orthodontist.


  I will host.  Hope to see you there!

    Amy King and Didi Menendez
  http://miporeadingseries.blogspot.com/
  http://www.mipoesias.com





 		
---------------------------------
Do you Yahoo!?
 Get on board. You're invited to try the new Yahoo! Mail.
=========================================================================
Date:         Fri, 29 Sep 2006 11:22:19 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Peter Ciccariello 
Subject:      Re: tENTATIVELY, a cONVENIENCE book
In-Reply-To:  <74FD6528-C28E-4400-80E6-8DC17B2E7365@mwt.net>
MIME-Version: 1.0
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Great cover mIEKAL aND!
-Peter Ciccariello

On 9/28/06, mIEKAL aND  wrote:
>
> From: "tENTATIVELY, a cONVENIENCE" 
> Date: September 28, 2006 8:16:17 PM CDT
> To: idioideo@verizon.net
> Subject: tENTATIVELY, a cONVENIENCE book
>
> Yes,
>
> After 8 mnths of seemingly interminable idiocy,
> my 7X10", 499 page book entitled "footnotes" is finally out.
> "footnotes" is a massive rewrite of, excerpting from, & commentary on
> my 1st 9 books:
>
> t he book
> t he referent 4 wch consists of
> t he non-materialized transparent punch-outs from a letter/whatever
> stencil
> - 1977
>
> Yet Another Slow-Burning Feast of a Few Months Mischief in the U.K.,
> Maybe
> (A Partial(ly) Epistolary Account of Non-Non & Non-Participation, Maybe)
> - 1988
>
> How to Write A Resume - Volume II: Making a Good First Impression
> - 1989/90
>
> Telepathy Receptivity Training
> - 1991
>
> Reactionary Muddle America
> - 1992
>
> A Mere Outline for One Aspect of a Book on Mystery Catalysts,
> Guerrilla Playfare, neoism, booed usic, Mad Scientist Didactions,
> Acts of As-Beenism, So-Called Whatevers, Psychopathfinding,
> Uncerts, Air Dressing, Practicing Promotextuality, Imp Activism,
> CircumSubstantial Playing, etc..
> - 1993
>
> Anonymous Family Reunion
> - 1997
>
> No Necessarily NOT Very Important
> - 2003
>
> Story of a Fructiferous Society
> - 2005
>
> "footnotes" may very well be the most massive book I ever have
> published.
> Many of you are in it in some form or another (noticed any missing
> body parts lately?).
> If you'd like to buy a copy it can be ordered by going to this web-page:
>
>  qid=1159322289/ref=sr_1_1/104-4080608-6135133?ie=UTF8&s=books>
>
> Ignore the complete stupidity of the uninformative 'description' of
> the book.
> I had nothing to do w/ that.
>
> See you in heck,
>
> tENT
>
=========================================================================
Date:         Fri, 29 Sep 2006 10:29:02 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         mIEKAL aND 
Subject:      Re: tENTATIVELY, a cONVENIENCE book
In-Reply-To:  <8f3fdbad0609290822x711a9dd7gf0af73fc1b0ffa88@mail.gmail.com>
Mime-Version: 1.0 (Apple Message framework v752.2)
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It is indeed a great cover, but this work is whole & completely by
tENTATIVELY, a cONVENIENCE, a founder of Neoism who terrorized
Baltimore for many years & is now operating out of Pittsburgh PA.


On Sep 29, 2006, at 10:22 AM, Peter Ciccariello wrote:

> Great cover mIEKAL aND!
> -Peter Ciccariello
=========================================================================
Date:         Fri, 29 Sep 2006 11:44:17 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Halvard Johnson 
Subject:      Habeas corpus, the beginning of the death of
Comments: To: Theory Writing and 
Mime-Version: 1.0 (Apple Message framework v752.2)
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

Only two Republicans managed not to vote against Bush's
attempt to deep-six habeas corpus. For shame.

http://www.senate.gov/legislative/LIS/roll_call_lists/
roll_call_vote_cfm.cfm?congress=109&session=2&vote=00259

Hal

"Life swarms with innocent monsters."
           --Charles Baudelaire

Halvard Johnson
================
halvard@gmail.com
halvard@earthlink.net
http://home.earthlink.net/~halvard
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org
=========================================================================
Date:         Fri, 29 Sep 2006 12:01:13 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Peter Ciccariello 
Subject:      Re: Habeas corpus, the beginning of the death of
In-Reply-To:  <51577FFE-4699-47BA-A169-55B98955CFE5@earthlink.net>
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Thanks for the Roll Call Hal.

Utterly unbelievable.

-Peter Ciccariello

This from the NYTimes:

Rushing Off a Cliff

NYT Published: September 28, 2006

Here's what happens when this irresponsible Congress railroads a profoundly
important bill to serve the mindless politics of a midterm election: The
Bush administration uses Republicans' fear of losing their majority to push
through ghastly ideas about antiterrorism that will make American troops
less safe and do lasting damage to our 217-year-old nation of laws =97 whil=
e
actually doing nothing to protect the nation from terrorists. Democrats
betray their principles to avoid last-minute attack ads. Our democracy is
the big loser.

Republicans say Congress must act right now to create procedures for
charging and trying terrorists =97 because the men accused of plotting the
9/11 attacks are available for trial. That's pure propaganda. Those men
could have been tried and convicted long ago, but President Bush chose not
to. He held them in illegal detention, had them questioned in ways that wil=
l
make real trials very hard, and invented a transparently illegal system of
kangaroo courts to convict them.

It was only after the Supreme Court issued the inevitable ruling striking
down Mr. Bush's shadow penal system that he adopted his tone of urgency. It
serves a cynical goal: Republican strategists think they can win this fall,
not by passing a good law but by forcing Democrats to vote against a bad on=
e
so they could be made to look soft on terrorism.

Last week, the White House and three Republican senators announced a
terrible deal on this legislation that gave Mr. Bush most of what he wanted=
,
including a blanket waiver for crimes Americans may have committed in the
service of his antiterrorism policies. Then Vice President Dick Cheney and
his willing lawmakers rewrote the rest of the measure so that it would give
Mr. Bush the power to jail pretty much anyone he wants for as long as he
wants without charging them, to unilaterally reinterpret the Geneva
Conventions, to authorize what normal people consider torture, and to deny
justice to hundreds of men captured in error.

These are some of the bill's biggest flaws:

Enemy Combatants: A dangerously broad definition of "illegal enemy
combatant" in the bill could subject legal residents of the United States,
as well as foreign citizens living in their own countries, to summary arres=
t
and indefinite detention with no hope of appeal. The president could give
the power to apply this label to anyone he wanted.

The Geneva Conventions: The bill would repudiate a half-century of
international precedent by allowing Mr. Bush to decide on his own what
abusive interrogation methods he considered permissible. And his decision
could stay secret =97 there's no requirement that this list be published.

Habeas Corpus: Detainees in U.S. military prisons would lose the basic righ=
t
to challenge their imprisonment. These cases do not clog the courts, nor
coddle terrorists. They simply give wrongly imprisoned people a chance to
prove their innocence.

Judicial Review: The courts would have no power to review any aspect of thi=
s
new system, except verdicts by military tribunals. The bill would limit
appeals and bar legal actions based on the Geneva Conventions, directly or
indirectly. All Mr. Bush would have to do to lock anyone up forever is to
declare him an illegal combatant and not have a trial.

Coerced Evidence: Coerced evidence would be permissible if a judge
considered it reliable =97 already a contradiction in terms =97 and relevan=
t.
Coercion is defined in a way that exempts anything done before the passage
of the 2005 Detainee Treatment Act, and anything else Mr. Bush chooses.

Secret Evidence: American standards of justice prohibit evidence and
testimony that is kept secret from the defendant, whether the accused is a
corporate executive or a mass murderer. But the bill as redrafted by Mr.
Cheney seems to weaken protections against such evidence.

Offenses: The definition of torture is unacceptably narrow, a virtual
reprise of the deeply cynical memos the administration produced after 9/11.
Rape and sexual assault are defined in a retrograde way that covers only
forced or coerced activity, and not other forms of nonconsensual sex. The
bill would effectively eliminate the idea of rape as torture.

=95There is not enough time to fix these bills, especially since the few
Republicans who call themselves moderates have been whipped into line, and
the Democratic leadership in the Senate seems to have misplaced its spine.
If there was ever a moment for a filibuster, this was it.

We don't blame the Democrats for being frightened. The Republicans have mad=
e
it clear that they'll use any opportunity to brand anyone who votes against
this bill as a terrorist enabler. But Americans of the future won't remembe=
r
the pragmatic arguments for caving in to the administration.

They'll know that in 2006, Congress passed a tyrannical law that will be
ranked with the low points in American democracy, our generation's version
of the Alien and Sedition Acts.

On 9/29/06, Halvard Johnson  wrote:
>
> Only two Republicans managed not to vote against Bush's
> attempt to deep-six habeas corpus. For shame.
>
> http://www.senate.gov/legislative/LIS/roll_call_lists/
> roll_call_vote_cfm.cfm?congress=3D109&session=3D2&vote=3D00259
>
>
=========================================================================
Date:         Fri, 29 Sep 2006 13:01:35 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Michael Magee 
Subject:      ANNOUNCEMENTS: Degentesh's The Anger Scale & Combo Magazine 14/15
              Double Issue
MIME-Version: 1.0
Content-Type: text/plain; charset=utf-8
Content-Transfer-Encoding: quoted-printable

Hi everyone,

I have two major announcements to make as Director of the non-profit litera=
ry arts organization, Combo Arts.  The first is the publication of Katie De=
gentesh=E2=80=99s much anticipated first collection, The Anger Scale.  If y=
ou haven=E2=80=99t heard, this is the best poetry book of the year, winner =
of the Pulitzer Prize, The National Book Award and the National Book Critic=
s Circle Award the minute George W. Bush realizes the error of his ways.  A=
merican poetry=E2=80=99s most unorthodox daughter is BLOWING UP and you don=
=E2=80=99t even realize it! But don=E2=80=99t take my word for it, take the=
 word of my betters:

The psychiatric industry=E2=80=99s tests are essentially a database of all =
that our society wants to expel under the rubric of mential instability. Ka=
tie Degentesh=E2=80=99s The Anger Scale uses the MMPI as its source and fro=
m that writes a series of poems that take as normal all that the MMPI would=
 like to pathologize.  This is a scary book with a complicated politics. It=
 is an uneasy and thus all the more crucial read.

--Juliana Spahr

Don't be fooled by the bawdy surfaces of THE ANGER SCALE. Katie Degentesh's=
 joyous, meta-ballistic poems will guide any reader daring enough to read t=
hem in a realm where everything is turning out just like the prophets of th=
e Bible said it would. you will be shamed by your elders and peers for not =
possessing this book.

--Anselm Berrigan.

Dengentesh's Google conceptualism results in a comic and provocative=20
scan of the unease of American culture as we now fashion and live it.=20

--Carla Harryman

In this secondsh coming of information Katie Degentesh is a very good
Muslim who wants to give Juan Valdez a serious beating.

--Michael Gizzi

You can listen to Katie read from her book at the 2006 Flarf Festival here:

http://www.youtube.com/watch?v=3DzadkJY-TUkw

BUT MOST IMPORTANTLY YOU CAN BUY HER BOOK BY GOING TO

http://www.comboarts.org and clicking on The Anger Scale.

The book is also available at Small Press Distribution.
*******************************************
SECOND ANNOUNCEMENT

At long last, we have published the Combo Magazine 14/15 Double issue.  It =
includes poetry by=20

Stan Apps, Christopher Barnes, Tyler Carter, Ryan Daley, Kristen Gallagher,=
 Drew Gardner, Laura Goldstein, George Kalamaras, Jake Kennedy, Sueyeun Jul=
iette Lee, Kristy Odelius, David Trinidad, Alli Warren, Tyrone Williams

Plus interviews with Michael Gizzi and Jackson MacLow.

100 pages, perfect bound; glossy cover with original artwork.

Subscription information is available on our website.

Go, go go!

Michael Magee
Combo Arts
http://www.comboarts.org
=========================================================================
Date:         Fri, 29 Sep 2006 10:18:36 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      LA: Poem.X: Buckley & Ronk, Oct 6th
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: quoted-printable

October Poetry Fest at POEM.X with Christopher Buckley and Martha Ronk

Poem.X continues its fall season with readings by Christopher Buckley =
and
Martha Ronk on Friday, October 6th at 8:00 p.m.  Poem.X events, curated =
and
hosted by poets Jeanette Clough and Jim Natal, are held at Barnes & =
Noble
Santa Monica 2nd floor community room, 1201 3rd Street Promenade (at
Wilshire), 310/260-9110.  Admission is free.  Park in Santa Monica
structures; $3 flat fee after 6:00.

Buckley's most recent book of poetry is And the Sea, from Sheep Meadow
Press.  A new book of nonfiction, Sleep Walk, is out from Eastern =
Washington
University Press.  Buckley, a major presence in promoting California =
poetry,
has edited The Geography of Home:  California's Poetry of Place (1999);  =
How
Much Earth:  The Fresno Poets (2001); The Poetry of Philip Levine:  =
Stranger
to Nothing (1991), and A Condition of the Spirit:  The Life and Work of
Larry Levis (2004).  Over the years his own poetry has appeared in =
numerous
literary journals.  He has received a Fullbright Award, four Pushcart
Prizes, two awards from the Poetry Society of America, and is the =
recipient
of two NEA grants.  He teaches creative writing at UC Riverside.

Why/Why Not (UC Press) is a poetic question posed by Martha Ronk.  =
Another
recent publication, In the Landscape of Having to Repeat (Omidawn, =
2004),
won the Pen USA 2005 award in poetry.  With Paul Vangelisti, she edited
Place as Purpose:  Poetry from the Western States.  Her fiction appears =
in
the Chicago Review, Harvard Review, Fence, and Denver Quarterly.  She
received the Lynda Hull Poetry Award, a MacArthur summer research grant, =
was
an artist in residence at the MacDowell Colony and Djerassi, and edits =
for
Littoral Books. Ronk has a Ph.D from Yale and teaches at Occidental =
College.

Poem.X continues on November 10th with readings by Ralph Angel and =
Barbara
Maloutis, and December 8th with Richard Garcia and Susan Rich.

For further information contact:
Jim Natal: 310/821-3906;  jimnatal@comcast.net, or
Jeanette Clough:  Jclough@getty.edu=20

&&&&&&&
=========================================================================
Date:         Fri, 29 Sep 2006 10:42:16 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Bob Woodward's new book of Revelatons!!
Comments: To: UK POETRY ,
          "Poetryetc provides a venue for a dialogue relating to poetry and
          poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

In case, like me, this Administration - particularly with the continuing and
worsening horror show in Iraq (let alone the associated issues with the
'terror agenda') is sickening to the core - the surmise of Bob (I will
redeem myself) Woodward's new book in the Washington Post provides the start
of what seems an eye-popping transparent view of the madness that claims to
to guide 'us' here in these sad States (right down to Henry Kissinger as
private advisor to the Prez urging him not to withdraw from Iraq because
that would signal repeat of the USA's mistake in Vietnam - of apparently
'not staying the course.')!!
What is that line about history 'repeating itself as farce.'
These guys and girls (say "Rice") are giving it to us in Clubs and Spades.

Go to:
http://www.washingtonpost.com/wp-dyn/content/article/2006/09/29/AR2006092900
368_2.html

Have a good weekend!

Stephen Vincent
http://stephenvincent.net/blog/
=========================================================================
Date:         Fri, 29 Sep 2006 11:28:52 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Stephen Vincent 
Subject:      Re: Bob Woodward's new book of Revelatons!!
Comments: To: Susan Schultz ,
          UK POETRY 
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Heah, I am not trying to excuse Woodward for his Republican arse-licking
sins, nor can anybody suspect that he will use the power of the laptop to
push for consequences to these 'revelations.'
And you are right, no amount of 'truth serum' seems to make one bit of
impact on the 'to hell and no come back' policies (let alone the lackey
Congress)  of this Administration - let alone an active opposition by a
public whose opposition seems  only revealed in what ought to be devastating
poll numbers for these clowns. The streets are very quiet.

Woodward does provide a little refreshment on an otherwise depressing ("go
go torture, bye-bye habeus corpus) mundi day.

Yucks,

Stephen V
http://stephenvincent.net/blog/





> Oh but Stephen, Woodward, like so many others, is simply coming to the truth
> too late.  Yesterday's vote in favor of torture is simply another nail in the
> coffin of American democracy.  Where was Woodward a few years back, but
> vaunting the strength of Bush's "leadership" and lapping at his feet?
> And where were the Democrats when we needed them to filibuster?  Content, it
> would seem, with simply voting "no," though they knew they'd lose by 30 votes
> in the Senate and we'd get torture and give Bush the right to decide who can
> do what to whom!
> So, while it's great to know we've got Henry the K back (and how HE deserved
> the Nobel Prize for his "incursion" into Cambodia and the rest of it) and that
> no one in the Bush white house likes each other, what can we do to oppose it?
> Where was Woodward?
>
> aloha, Susan
>
> Susan M. Schultz
> Professor
> Department of English
> University of Hawai`i-Manoa
> Honolulu, HI 96822
>
> http://stlouis.cardinals.mlb.com/NASApp/mlb/index.jsp?c_id=stl
> Go Cards!!!
>
> now available:
> _A Poetics of Impasse in Modern and Contemporary American Poetry_, University
> of Alabama Press
> http://www.uapress.ua.edu/NewSearch2.cfm?id=132788
>
> http://tinfishpress.com
>
> http://epc.buffalo.edu/authors/schultz/
>
> ----- Original Message -----
> From: Stephen Vincent 
> Date: Friday, September 29, 2006 7:45 am
> Subject: Bob Woodward's new book of Revelatons!!
> To: UKPOETRY@LISTSERV.MUOHIO.EDU
>
>> In case, like me, this Administration - particularly with the
>> continuing and
>> worsening horror show in Iraq (let alone the associated issues with
>> the'terror agenda') is sickening to the core - the surmise of Bob
>> (I will
>> redeem myself) Woodward's new book in the Washington Post provides
>> the start
>> of what seems an eye-popping transparent view of the madness that
>> claims to
>> to guide 'us' here in these sad States (right down to Henry
>> Kissinger as
>> private advisor to the Prez urging him not to withdraw from Iraq
>> becausethat would signal repeat of the USA's mistake in Vietnam -
>> of apparently
>> 'not staying the course.')!!
>> What is that line about history 'repeating itself as farce.'
>> These guys and girls (say "Rice") are giving it to us in Clubs and
>> Spades.
>> Go to:
>> http://www.washingtonpost.com/wp-
>> dyn/content/article/2006/09/29/AR2006092900368_2.html
>>
>> Have a good weekend!
>>
>> Stephen Vincent
>> http://stephenvincent.net/blog/
>>
=========================================================================
Date:         Fri, 29 Sep 2006 20:56:42 +0000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Raymond Bianchi 
Subject:      Re: LA: Poem.X: Buckley & Ronk, Oct 6th
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 8bit

K

you moved yet?
-------------- Original message --------------
From: Catherine Daly 

> October Poetry Fest at POEM.X with Christopher Buckley and Martha Ronk
>
> Poem.X continues its fall season with readings by Christopher Buckley and
> Martha Ronk on Friday, October 6th at 8:00 p.m. Poem.X events, curated and
> hosted by poets Jeanette Clough and Jim Natal, are held at Barnes & Noble
> Santa Monica 2nd floor community room, 1201 3rd Street Promenade (at
> Wilshire), 310/260-9110. Admission is free. Park in Santa Monica
> structures; $3 flat fee after 6:00.
>
> Buckley's most recent book of poetry is And the Sea, from Sheep Meadow
> Press. A new book of nonfiction, Sleep Walk, is out from Eastern Washington
> University Press. Buckley, a major presence in promoting California poetry,
> has edited The Geography of Home: California's Poetry of Place (1999); How
> Much Earth: The Fresno Poets (2001); The Poetry of Philip Levine: Stranger
> to Nothing (1991), and A Condition of the Spirit: The Life and Work of
> Larry Levis (2004). Over the years his own poetry has appeared in numerous
> literary journals. He has received a Fullbright Award, four Pushcart
> Prizes, two awards from the Poetry Society of America, and is the recipient
> of two NEA grants. He teaches creative writing at UC Riverside.
>
> Why/Why Not (UC Press) is a poetic question posed by Martha Ronk. Another
> recent publication, In the Landscape of Having to Repeat (Omidawn, 2004),
> won the Pen USA 2005 award in poetry. With Paul Vangelisti, she edited
> Place as Purpose: Poetry from the Western States. Her fiction appears in
> the Chicago Review, Harvard Review, Fence, and Denver Quarterly. She
> received the Lynda Hull Poetry Award, a MacArthur summer research grant, was
> an artist in residence at the MacDowell Colony and Djerassi, and edits for
> Littoral Books. Ronk has a Ph.D from Yale and teaches at Occidental College.
>
> Poem.X continues on November 10th with readings by Ralph Angel and Barbara
> Maloutis, and December 8th with Richard Garcia and Susan Rich.
>
> For further information contact:
> Jim Natal: 310/821-3906; jimnatal@comcast.net, or
> Jeanette Clough: Jclough@getty.edu
>
> &&&&&&&
=========================================================================
Date:         Fri, 29 Sep 2006 14:04:12 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Jim Andrews 
Subject:      Re: outsider
In-Reply-To:  <86k63mlojg.fsf@argos.fun-fun.prv>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit

when i think of 'outsider' in literary terms i think of colin wilson who
published 'the outsider' in 1956. wikipedia says of it: "In 1956, at the age
of 25, he published The Outsider, which examines the seminal works of
various key literary and cultural figures (notably Hermann Hesse, Fyodor
Dostoyevsky, Vaslav Nijinsky and Vincent Van Gogh) and aspects of alienation
in their works. The book was very successful and was a serious contribution
to the popularization of existentialism in Britain."

ja

> "The term Outsider Art was coined by art critic Roger Cardinal in
> 1972 as an English synonym for Art Brut (which literally
> translates as "Raw Art" or "Rough Art"), a label created by
> French artist Jean Dubuffet to describe art created outside the
> boundaries of official culture; Dubuffet focused particularly on
> art by insane asylum inmates.
=========================================================================
Date:         Fri, 29 Sep 2006 15:15:34 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         thom donovan 
Subject:      REMINDER: E. Tracy Grinnell & Andrew Levy September 30th 8PM @
              Peace On A
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Peace On A

presents

E. Tracy Grinnell & Andrew Levy

Saturday, September 30th 2006 8PM sharp

hosted by Thom Donovan at:

166 Avenue A, Apartment #2
New York, NY 10009

about the readers:

E. Tracy Grinnell is the author of the chapbook Harmonics (Melodeon Poetry
Systems, 2000), Music or Forgetting (O Books, 2001), Of the Frame (Duration
Press ebook, 2004), Some Clear Souvenir (O Books, 2006), and Quadriga, a
collaborative work with Paul Foster Johnson (g o n g chapbooks, 2006). She
lives in New York and edits Litmus Press and the journal Aufgabe.

Andrew Levy teaches in the English Department at QCC-CUNY, serving as
Faculty Advisor for the student newspaper, Communiqué.  He is the author of
ten books of poetry, including Ashoka (Zasterle Books), Paper Head Last
Lyrics (Roof Books), Curve 2 (Potes & Poets Press), Values Chauffeur You (O
Books), and Democracy Assemblages (Innerer Klang). New titles are
forthcoming from Factory School, and Innerer Klang.  His newest manuscript
is Don't Forget to Breathe.  He is editor, with Roberto Harrison, of the
poetry journal Crayon.

about the series:

Peace On A is an events series devoted to emergent work by writers, artists, performers and
thinkers.

“Make peace not love.”--Amos Oz



__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
=========================================================================
Date:         Fri, 29 Sep 2006 15:40:22 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Catherine Daly 
Subject:      Re: LA: Poem.X: Buckley & Ronk, Oct 6th
In-Reply-To:  <092920062056.10742.451D888A00057B51000029F622007503300A0B0E0B9A0E9C@comcast.net>
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
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we won't sell until end of Feb., when there are no cap gains; right now, =
Ron
is driving me crazy with things like "this wall you have extensively
repaired isn't absolutely smooth" -- not noticing that the existing wall =
was
totally cracked --=20

I am getting together green rose and futurepoem subs today and tomorrow

poem.x -- see what awful combos of formalist and experimental writers =
ron
silliman has brought us?

Kasia

-----Original Message-----
From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] =
On
Behalf Of Raymond Bianchi
Sent: Friday, September 29, 2006 1:57 PM
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: Re: LA: Poem.X: Buckley & Ronk, Oct 6th

K

you moved yet?=20
-------------- Original message --------------=20
From: Catherine Daly =20

> October Poetry Fest at POEM.X with Christopher Buckley and Martha Ronk =

>=20
> Poem.X continues its fall season with readings by Christopher Buckley =
and=20
> Martha Ronk on Friday, October 6th at 8:00 p.m. Poem.X events, curated =
and

> hosted by poets Jeanette Clough and Jim Natal, are held at Barnes & =
Noble=20
> Santa Monica 2nd floor community room, 1201 3rd Street Promenade (at=20
> Wilshire), 310/260-9110. Admission is free. Park in Santa Monica=20
> structures; $3 flat fee after 6:00.=20
>=20
> Buckley's most recent book of poetry is And the Sea, from Sheep Meadow =

> Press. A new book of nonfiction, Sleep Walk, is out from Eastern
Washington=20
> University Press. Buckley, a major presence in promoting California
poetry,=20
> has edited The Geography of Home: California's Poetry of Place (1999); =
How

> Much Earth: The Fresno Poets (2001); The Poetry of Philip Levine: =
Stranger

> to Nothing (1991), and A Condition of the Spirit: The Life and Work of =

> Larry Levis (2004). Over the years his own poetry has appeared in =
numerous

> literary journals. He has received a Fullbright Award, four Pushcart=20
> Prizes, two awards from the Poetry Society of America, and is the
recipient=20
> of two NEA grants. He teaches creative writing at UC Riverside.=20
>=20
> Why/Why Not (UC Press) is a poetic question posed by Martha Ronk. =
Another=20
> recent publication, In the Landscape of Having to Repeat (Omidawn, =
2004),=20
> won the Pen USA 2005 award in poetry. With Paul Vangelisti, she edited =

> Place as Purpose: Poetry from the Western States. Her fiction appears =
in=20
> the Chicago Review, Harvard Review, Fence, and Denver Quarterly. She=20
> received the Lynda Hull Poetry Award, a MacArthur summer research =
grant,
was=20
> an artist in residence at the MacDowell Colony and Djerassi, and edits =
for

> Littoral Books. Ronk has a Ph.D from Yale and teaches at Occidental
College.=20
>=20
> Poem.X continues on November 10th with readings by Ralph Angel and =
Barbara

> Maloutis, and December 8th with Richard Garcia and Susan Rich.=20
>=20
> For further information contact:=20
> Jim Natal: 310/821-3906; jimnatal@comcast.net, or=20
> Jeanette Clough: Jclough@getty.edu=20
>=20
> &&&&&&&=20
=========================================================================
Date:         Fri, 29 Sep 2006 16:09:26 -1000
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Susan Webster Schultz 
Subject:      NEW TINFISH CHAPBOOK
Comments: To: Gaye MG Chan ,
          Sandy Gabrielli , Gary Pak ,
          jacinta galea'i ,
          theo@hawaii.edu, Glenn K Man ,
          Gay Sibley ,
          Gavin Selerie ,
          Geraldine Monk ,
          Glenn Mott , Ken J Goto ,
          Lesa Griffith ,
          Suzette Griffith ,
          Jeffrey Gray ,
          Girls Who Surf 
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

NEW  TINFISH CHAPBOOK BY JACINTA GALEA`I, ACHING FOR MANGO FRIENDS

Tinfish Press is proud to announce publication of Aching for Mango
Friends, by Jacinta Galea`i.

Jacinta Galea'i has written a 'novel' that is also a sequence of
'poems', calling her genres into question at every turn. She has written
a book in English and Samoan, one that straddles, with equal courage and
precision, geographic, linguistic, and cultural boundaries. Aching for
Mango Friends offers up a part of this (as yet unpublished) novel/poem
to readers interested in experimental writing, writing from the Pacific,
and intersections between Samoa and the USA.  Jacinta Galea`i earned her
Ph.D. from the University of Hawai`i-Manoa.


    From Grandma's Corner

    Our airplane is in the air now, leaving Pago Pago International
Airport, flying over the pua tree next to our blue house, where Fale,
John, and Mataio play lakapi Amerika and where my father will preach to
people wearing pajamas inside the Lyndon, B. Johnson Hospital Chapel
next Sunday. The airplane is flying higher now, so I cannot see Pele who
had water in her eyes when I told her I was returning to the place in
America I had left three years earlier when I first met her under the
mango tree.

See http://tinfishpress.com/hot_off_the_press.html for details and more
about us.

Order through our website for $10, or from Small Press Distribution,
http://spdbooks.org

Aloha,

Susan M. Schultz
Editor
Tinfish
=========================================================================
Date:         Fri, 29 Sep 2006 23:08:25 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      art brut -- dubuffet
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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The appetite for coherence is the main cause of our exorbitant and
unnatural fear of things.

-- Letter to Cristophe Guilmoto, 7 April 1979, Prospectus IV, p. 626


A song hollered by a girl while brushing the stairs moves me more than
any exquisitely tasteful cantata. Each to his own taste. I like what is
minimal, and also embryonice, poorly fashioned, imperfect, mixed. I
prefer uncut diamonds, still in their matrix. And with their flaws.

-- fr. "Notes for the Well-read," Prospectus I, p. 88, as quoted in Jean
Dubuffet (by Laurent Danchin)


It is usually by racing on stilts that you learn to ride a bike, by
sailing on a stormy sea that you become a fine dancer, and by playing
the flute that you learn to paint.

-- Letter to Jacques Berne, 17 March 1947, Prospectus II, p. 248 and
Prospectus IV, p. 110


I have always had a high regard for gags; it's always seemed to me that
there is a relationship between the quintessence of art and those absurd
simplifications which provoke laughter.

-- Cahiers Alexandre Viallatte, no. 3: Preface, 2 November 1975


__________________________________
http://gabrielgudding.blogspot.com
----------------------------------
Gabriel Gudding
Department of English
Illinois State University
Normal, Illinois  61790
309.438.5284 (office)
=========================================================================
Date:         Sat, 30 Sep 2006 14:53:28 +1000
Reply-To:     John Tranter 
Sender:       UB Poetics discussion group 
From:         John Tranter 
Subject:      "John Tranter: Urban Myths: 210 Poems: New and Selected
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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Hi, all:

Announcing the Australian publication and the separate British/USA publication of

     John Tranter: Urban Myths: 210 Poems: New and Selected

The British/USA edition was published in September 2006 by Salt Publishing in Cambridge UK.

     http://www.saltpublishing.com/books/smp/1844712524.htm

        EAN13:  9781844712526
        ISBN-10:  1844712524
        ISBN-13:  9781844712526
        436 pages, paperback

The Australian edition, which is virtually identical, was published in June 2006 by the University of Queensland Press.

     http://www.uqp.uq.edu.au/book_details.php?id=0702235571

        322 pages. ISBN-0-7022-3557-1, paperback.

"Tranter has produced a body of work remarkable for its intellectual vitality, formal versatility, and powers of renewal over a long and formidable career."
          -- Peter Pierce, The Melbourne Age, July 15, 2006.
              Peter Pierce is professor of Australian literature
              at James Cook University.

"This new and selected poems reminds us, if we needed reminding, just how powerful John Tranter's cumulated work is. There is a density, an intensity, and a many-sided explorativeness that probably cannot be matched in Australian poetry. Surprisingly, at 210 poems, it is a comparatively small book and has been pretty ruthlessly selected, but there is no doubting the size of its author's achievement."
          -- Martin Duwell, Australian Book Review, August 2006, page 41

The Australian edition of Urban Myths has won the 2006 Victorian Premier's Prize (C.J.Dennis Prize) for poetry. From the judges' report:

"The new and uncollected poems in John Tranter's Urban Myths make a significant addition to his oeuvre. Control and ease are evident in the writing, which displays personages, occasions and moods of the metropolitan modern world. Tranter's latest poems refresh through the exercise of urbane skills: this is a poet suave and playful, but never aloof; linguistically various, assured in style, and never less than fully attentive."

In a rash moment I have provided over a  hundred pages of notes to the poems on my Internet homepage at

     http://johntranter.com/notes/um.shtml

The notes are published only on the Internet, and not in the book. They are provided for whatever interest they may have, and are not meant be necessary for an appreciation of the poems.

Please excuse redundant or superfluous postings of this muted trumpet voluntary.

Best,
------------------------------------------
 John Tranter mailto:edit@jacketmagazine.com

 Jacket magazine: http://jacketmagazine.com/
 Homepage: http://johntranter.com/

 39 Short Street
 Balmain NSW 2041
 Australia

 Phone (61+) 0405 444 717
=========================================================================
Date:         Sat, 30 Sep 2006 01:32:06 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Gabriel Gudding 
Subject:      william james to teachers -- on meditation
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

We have lately had a number of accomplished Hindoo visitors at
Cambridge, who talked freely of life and philosophy. More than one of
them has confided to me that the sight of our faces, all contracted as
they are with the habitual American over-intensity and anxiety of
expression, and our ungraceful and distorted attitudes when sitting,
made on him a very painful impression. "I do not see," said one, "how it
is possible for you to live as you do, without a single minute in your
day deliberately given to tranquillity and meditation. It is an
invariable part of our Hindoo life to retire for at least half an hour
daily into silence, to relax our muscles, govern our breathing, and
meditate on eternal things. Every Hindoo child is trained to this from a
very early age." The good fruits of such a discipline were obvious in
the physical repose and lack of tension, and the wonderful smoothness
and calmness of facial expression, and imperturbability of manner of
these Orientals. I felt that my countrymen were depriving themselves of
an essential grace of character. How many American children ever hear it
said by parent or teacher, that they should moderate their piercing
voices, that they should relax their unused muscles, and as far as
possible, when sitting, sit quite still? Not one in a thousand, not one
in five thousand! Yet, from its reflex influence on the inner mental
states, this ceaseless over-tension, overmotion, and over-expression are
working on us grievous national harm.

I beg you teachers to think a little seriously of this matter. Perhaps
you can help our rising generation of Americans toward the beginning of
a better set of personal ideals.

fr. TALKS TO TEACHERS, chpt 8, "The Laws of Habit"
--
__________________________________
http://gabrielgudding.blogspot.com
----------------------------------
Gabriel Gudding
Department of English
Illinois State University
Normal, Illinois  61790
309.438.5284 (office)
=========================================================================
Date:         Sat, 30 Sep 2006 11:11:28 +0100
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Kaley Kramer and Nasser Hussain 
Subject:      Unsubscribe
In-Reply-To:  
Mime-version: 1.0
Content-type: text/plain; charset="UTF-8"
Content-transfer-encoding: quoted-printable

On 30/9/06 5:00 am, "POETICS automatic digest system"
 wrote:

> There are 29 messages totalling 1595 lines in this issue.
>=20
> Topics of the day:
>=20
>   1. Outside Outsider Writings
>   2. Fw: The Vision Club Kick Off Friday, October 6th Peter Brotzmann / H=
an
>      Bennink Duo at Clemente Soto Velez SEA Theater
>   3. Boog City presents Palm Press and Genan Zilkha
>   4. ON WORDS | a conference on the Life and Work of Robert Creeley
>   5. Recent postings on NOMADICS
>   6. OUTSIDERS--Pecker
>   7. outsider (7)
>   8. Fwd: outsider
>   9. pecker heads who talk da "outsider"
>  10. Saint Paul Almanac 2007
>  11. En Route Right Now To Brooklyn -- Howe, Boully, and Belz
>  12. tENTATIVELY, a cONVENIENCE book (2)
>  13. Habeas corpus, the beginning of the death of (2)
>  14. ANNOUNCEMENTS: Degentesh's The Anger Scale & Combo Magazine 14/15 Do=
uble
>      Issue
>  15. LA: Poem.X: Buckley & Ronk, Oct 6th (3)
>  16. Bob Woodward's new book of Revelatons!! (2)
>  17. REMINDER: E. Tracy Grinnell & Andrew Levy September 30th 8PM @ Peace=
 On A
>  18. NEW TINFISH CHAPBOOK
>=20
> ----------------------------------------------------------------------
>=20
> Date:    Fri, 29 Sep 2006 00:15:02 -0400
> From:    Steve Dalachinsky 
> Subject: Re: Outside Outsider Writings
>=20
> outside writers better not fkin have mfas
>=20
>=20
> micheline=20
> corso=20
> cihren=20
>=20
>=20
> joans   and a zillion others from here and  out there
>=20
> what is your definition of an outside writer
>=20
> kenny  eileenn i can't come saturday  i am as outside as ya get tho most
> won't hink so
>=20
> who will be read at this gallery on saturday?
>=20
> ------------------------------
>=20
> Date:    Fri, 29 Sep 2006 02:49:33 -0400
> From:    Steve Dalachinsky 
> Subject: Fw: The Vision Club Kick Off Friday, October 6th Peter Brotzmann=
 /
> Han Bennink Duo at Clemente Soto Velez SEA Theater
>=20
> A R T S  F O R  A R T  508 East 6th Street #3, NYC 10009
>=20
> From: The Vision Festival / www.visionfestival.org
> PRESS Contact: Todd Nicholson / publicist@visionfestival.org
>=20
>=20
> IT'S TIME!!
> THE VISION CLUB KICK OFF
> Two Nights of Amazing Performances
>=20
> Friday October 6
> Peter Brotzmann / Han Bennink Duo
> First NYC Appearance of European Free Music Duo Since 1975
>=20
> Saturday October 7
> Marshall Allen / William Parker
> Cooper Moore / Roy Campbell
> For the First time - A New and Unique Collective!
>=20
> What:        Peter Brotzmann / Han Bennink Duo
>         Friday October 6 , 2006 - Two Sets Per Night at 7:30 and 9 pm
>=20
> What:        Marshall Allen / William Parker / Cooper Moore / Roy
> Campbell
>         Saturday October 7, 2006 - Two Sets Per Night at 7:30 and 9 pm
>=20
> Place:        Clemente Soto Velez SEA Theater =CB=86 107 Suffolk Street, 2nd
> Floor
> Cost:         $20 per set / $10 students and seniors
> Full Info:    www.visionfestival.org Tel. 212.696.6681
>=20
>=20
>=20
> New York, NY =CB=86 Arts for Art proudly kicks off its fall 2006 season of th=
e
> Vision Club with two nights amazing avantjazz.
>=20
> On Friday, October 6 we will present a powerhouse duo: saxophonist Peter
> Brotzmann and drummer Han Bennink.  The two free music masters
> have a long history, first in Brotzmann=E2=80=9As large projects, notably the
> 1968 =E2=80=9EMachine Gun.=E2=80=B0  A trio with Belgian pianist Fred Van Hove grew o=
ut
> of these collaborations.  But in 1976 the two free music masters began
> work as a duo releasing a series of recordings, concluding with 1980=E2=80=9As
> =E2=80=9EAtsugi Concert.=E2=80=B0  They weren=E2=80=9At heard from again =E2=80=9Eon wax=E2=80=B0 until=
 Brotzmann
> booked a series of performances in early 2004 with the explicit intention
> of capturing the performances for later release.  The result, =E2=80=9EStill
> Popular After All Those Years=E2=80=B0 was issued on vinyl on Brotzmann=E2=80=9As own
> resurrected BRO label later that same year.
>=20
> On Saturday, October 7 we present the premier performance of the unique
> collective, featuring an irresistible combination of avantJazz masters:
> Marshall Allen (alto sax & E.V.I. - Electronic Valve Instrument), William
> Parker (bass, donson ghoni and double reeds), and the
> multi-instrumentalist Cooper Moore (percussion).  The second set will be
> the same group with the addition of special guest, premier trumpet player
> Roy Campbell.   With such a surprising
> collective of versatile artists, we can only hope that this will  be the
> first of many performances.
>=20
> Brotzmann / Bennink Press
> "Peter Brotzmann has exemplified European improvised music for over 40
> years.=E2=80=B0 - All About Jazz
> =E2=80=9EWhat makes Bennink special is his manifest love for the music, a love
> that inclines him to tear down the cardboard walls that too often
> separate different schools of jazz.=E2=80=B0=CB=86 Drummer World
>=20
> Allen / Parker / Moore / Campbell Press
> =E2=80=9E...Marshall Allen is one of the most distinguished altoists of his
> generation.=E2=80=B0 - Clifford Allen, All About Jazz
>=20
> "(William Parker is) the most consistently brilliant free jazz bassist of
> all time." - The Village Voice
>=20
> "Cooper-Moore is the sort of artist that oozes music. Whether on piano,
> drum heads or instruments of his own devise, or even just screaming and
> hollering the blues, he is consistently captivating and inventive.=E2=80=B0 Kur=
t
> Gottschalk
>=20
> "Roy Campbell, Jr. [is] an inventive trumpeter whose playing has a
> stream-of consciousness logic and an unassumingly rich and confident
> sound."=20
> Gary Giddins, The Village Voice
>=20
> ------------------------------
>=20
> Date:    Fri, 29 Sep 2006 06:14:23 -0400
> From:    "David A. Kirschenbaum" 
> Subject: Boog City presents Palm Press and Genan Zilkha
>=20
> please forward
> ---------------
>=20
> Boog City presents
> =3D20
> d.a. levy lives: celebrating renegade presses
> =3D20
> Palm Press (Long Beach, CA)
>=20
> Thurs. Oct. 5, 6:00 p.m., free
>=20
> ACA Galleries
> 529 W.20th St., 5th Flr.
> NYC
> =3D20
> Event will be hosted by
> Palm Press editor Jane Sprague
>=20
> Featuring readings from
>=20
> David Buuck
> Mairead Byrne
> Wendy Walters
> Matvei Yankelevich=3D20
>=20
> With music by=3D20
> Genan Zilkha
>=20
> There will be wine, cheese, and crackers, too.
> =3D20
> Curated and with an introduction by Boog City editor David Kirschenbaum
>=20
> -----------
>=20
> *About Palm Press*
>=20
> Palm Press is an independent press located in Long Beach, California. Our
> mission is to make available works which navigate the interstices, the
> between spaces, of discourse. We aim to further an interrogation of these
> gaps by publishing writers whose work challenges notions of genre and by
> focusing on writers who consciously work within and among these spaces in
> poetry, essay, cultural studies, narrativity, theory and the increasingly
> blurred edge between such categories.
>=20
>=20
> *Performer Bios*
>=20
> **David Buuck lives in Oakland, California. Recent chapbooks include RUTS
> from TaxtPress & RUNTS from Self-punish or parrot, plus an untitled
> forthcoming essay from Palm Press (2007).
>=20
> **Mair=3DE9ad Byrne immigrated to the United States from Ireland in 1994 fo=
r
> reasons of poetry. She is the author of An Educated Heart (Palm Press,
> 2005), Vivas (Wild Honey Press, 2005), and Nelson & The Huruburu Bird (Wi=
ld
> Honey Press, 2003). She lives with her two daughters in Providence, Rhode
> Island, where she teaches poetry at the Rhode Island School of Design.
> =3D20
> **Wendy S. Walters is author of Birds of Los Angeles (Palm Press, 2005). =
Sh=3D
> e
> is Assistant Professor of English at the Rhode Island School of Design
> (RISD). Recent poems have been published in Seneca Review, The Yalobusha
> Review, Sou=3DB9wester, Spinning Jenny, Nocturnes (Re)view, and Callaloo. H=
er
> work has received support from RISD, the Mary Flagler Cary Charitable Tru=
st=3D
> ,
> the Smithsonian Institution, the Ford Foundation, and the Aaron Copland
> Foundation, and she has participated in residencies at The MacDowell Colo=
ny=3D
> ,
> Cave Canem, and Yaddo.
> =3D20
> **Matvei Yankelevich is author of The Present Work (Palm Press, 2006) and=
 a=3D
> n
> editor of Ugly Duckling Presse, a non-profit volunteer-run publishing
> concern in Brooklyn. He translates Daniil Kharms, Alexander Vvedensky, an=
d
> Vladimir Mayakovsky, among other Russian writers. He teaches literature a=
t
> Hunter College in New York City while working on a graduate degree in
> comparative literature and a house in the country.
>=20
> **Genan Zilkha, guitar/vocals, was a classically trained pianist until sh=
e
> found that she had a taste of rock and roll. Since that didn't work out, =
sh=3D
> e
> now spends her time writing folk songs with titles such as "I Think I Mig=
ht
> Be Food Poisoning (But it could also be love)" and "I Know What Will Make
> You Not A Dyke." Genan is also known for her unique takes on Britney Spea=
rs
> songs, in particular her version of Britney's version of the Bobby Brown
> song "My Prerogative." She has performed at the Knitting Factory, as well=
 a=3D
> s
> at venues throughout Rhode Island and Binghamton, NY.
>=20
> ------------
>=20
> Directions: C/E to 23rd St., 1/9 to 18th St.
> Venue is bet. 10th and 11th avenues
> =3D20
> http://www.palmpress.org/
> http://www.durationpress.com/tripwire/index.htm
> http://www.maireadbyrne.blogspot.com/
> http://www.uglyducklingpresse.org/
> http://www.myspace.com/genanisfabulous
>=20
> Next event Nov. 2, Mooncalf Press (Philadelphia)
>=20
> --=3D20
> David A. Kirschenbaum, editor and publisher
> Boog City
> 330 W.28th St., Suite 6H
> NY, NY 10001-4754
> For event and publication information:
> http://boogcityevents.blogspot.com/
> T: (212) 842-BOOG (2664)
> F: (212) 842-2429
>=20
> ------------------------------
>=20
> Date:    Fri, 29 Sep 2006 09:10:01 -0400
> From:    Lori Emerson 
> Subject: ON WORDS | a conference on the Life and Work of Robert Creeley
>=20
> Dear all - please see the schedule below (also at
> http://writing.upenn.edu/academic/department/AandL/english/OnWords.htm)
> for the UB conference on Creeley on October 12-13.
>=20
> - Lori
>=20
> PROGRAM OF EVENTS
> Thursday October 12. 8pm. Trinity Church 371 Delaware Ave.
> Readings by Rosmarie Waldrop and Robin Blaser.
>=20
> Friday October 13. 10am. Poetry Collection 420 Capen Hall
> 10am. Benjamin Friedlander: "What is Experience?"
> 11am. Alan Golding: "Seriality in Creeley's Poetry"
>=20
> Lunch
>=20
> 1.30pm. Michael Gizzi: "Robert Creeley: Music on Words."
> 2.30pm. Peter Middleton: "Creeley Teaching"
> 3.30pm. Rachel Blau du Plessis: "Death and Sexual Difference in later
> Creeley."
>=20
> 8pm. Trinity Church, 371 Delaware Ave.
> Readings by Susan Howe and John Ashbery
>=20
> Saturday October 14. 10am Trinity Church Chapel, 371 Delaware Ave.
> 10am. Stephen Fredman: "Talk as Action: Robert Creeley, Bob Dylan and
> the Art of the Interview."
> 11am. Michael Davidson: "'the repeated / insistence': Creeley's Rage"
>=20
> Lunch
>=20
> 1.30pm. Charles Altieri: "Why does Echoes Echo?"
> 2.30pm. Peter Quartermain: "Momently"
> 3.30pm. Marjorie Perloff: "Creeley as Radical Poet."
>=20
> 8pm. Trinity Church, 371 Delaware Ave.
> Readings by Charles Bernstein and Ann Lauterbach
>=20
> ------------------------------
>=20
> Date:    Fri, 29 Sep 2006 10:07:15 -0400
> From:    Pierre Joris 
> Subject: Recent postings on NOMADICS
>=20
> Recent postings on NOMADICS blog:
>=20
> El Corno Emplumado, Medellin Poetry Festival, Bin Laden's win
> Again No Visa for Tariq Ramadan
> Industrial Poetics
> Green ammo, believe it or not...
> Meanwhile, in Heidelberg...
> Poets Speak Loud
> Here Come the Sun, again
>=20
> at: http://pjoris.blogspot.com
>=20
> sorry to not be sorry for crosspostings anymore,
> which was CA Conrad's suggestion.
>=20
> Pierre
>=20
>=20
> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D=
3D=3D
> =3D3D=3D3D=3D3D=3D3D
>        "Fascism should more properly
> be called corporatism,since it is the
> merger of state and corporate power."
>        =3D97 Benito Mussolini
> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D=
3D=3D
> =3D3D=3D3D=3D3D=3D3D
> Pierre Joris
> 244 Elm Street
> Albany NY 12202
> h: 518 426 0433
> c: 518 225 7123
> o: 518 442 40 71
> Euro cell:  011 33 6 79 368 446
> email: joris@albany.edu
> http://pierrejoris.com
> Nomadics blog: http://pjoris.blogspot.com
> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D=
3D=3D
>=20
> ------------------------------
>=20
> Date:    Fri, 29 Sep 2006 09:20:00 -0500
> From:    Charlie Rossiter 
> Subject: OUTSIDERS--Pecker
>=20
> It seems to me psychic state and/or owning a tv is irrelevant.
>=20
> In visual arts 'outsider art'refers to self taught artists, which usually=
,
> in that realm results in work that those with formal training would call
> 'primitive.'
>=20
> I believe they have the same issue of what happens when an 'outsider' is
> lionized by the establishment.  And I don't think there's an answer, nor
> is it worth worrying about (unless you're an insider and an insider
> institution devoting your days to that sort of thing).
>=20
> Anyone see the movie 'Pecker'?....it's way better than I had expected and
> is relevant to the outsider discussion.
>=20
> Charlie
=========================================================================
Date:         Sat, 30 Sep 2006 11:43:39 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Warren Lloyd 
Subject:      Re: outsider
In-Reply-To:  
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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For an outsider to be an outsider an insider would have to have first insidered him, even if momentarily, so as to establish his status as outsider in comparison with or through the scope of insiderness. The whole while, of course, promoting the status of the inside.

  " The stars are eating"
                              - Antonin Artaud

Jim Andrews  wrote:
  when i think of 'outsider' in literary terms i think of colin wilson who
published 'the outsider' in 1956. wikipedia says of it: "In 1956, at the age
of 25, he published The Outsider, which examines the seminal works of
various key literary and cultural figures (notably Hermann Hesse, Fyodor
Dostoyevsky, Vaslav Nijinsky and Vincent Van Gogh) and aspects of alienation
in their works. The book was very successful and was a serious contribution
to the popularization of existentialism in Britain."

ja

> "The term Outsider Art was coined by art critic Roger Cardinal in
> 1972 as an English synonym for Art Brut (which literally
> translates as "Raw Art" or "Rough Art"), a label created by
> French artist Jean Dubuffet to describe art created outside the
> boundaries of official culture; Dubuffet focused particularly on
> art by insane asylum inmates.


 		
---------------------------------
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=========================================================================
Date:         Sat, 30 Sep 2006 11:56:49 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Chris Stroffolino 
Subject:      The Outsiders
In-Reply-To:  <20060930184339.20818.qmail@web34111.mail.mud.yahoo.com>
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They did one of the best classic top 40 (top 10) Am singles--uh
garage rock but with trumpets--in 1966...

"I can't wait for ever....even though you want me too..."

a few years later, after the outsiders broke up the lead singer
ended up in Climax--
uh from outsiders not being able to wait too long
to "if i can't find my way back home---it just wouldn't be fair"
(precious and few)....


On Sep 30, 2006, at 11:43 AM, Warren Lloyd wrote:

> For an outsider to be an outsider an insider would have to have
> first insidered him, even if momentarily, so as to establish his
> status as outsider in comparison with or through the scope of
> insiderness. The whole while, of course, promoting the status of
> the inside.
>
>   " The stars are eating"
>                               - Antonin Artaud
>
> Jim Andrews  wrote:
>   when i think of 'outsider' in literary terms i think of colin
> wilson who
> published 'the outsider' in 1956. wikipedia says of it: "In 1956,
> at the age
> of 25, he published The Outsider, which examines the seminal works of
> various key literary and cultural figures (notably Hermann Hesse,
> Fyodor
> Dostoyevsky, Vaslav Nijinsky and Vincent Van Gogh) and aspects of
> alienation
> in their works. The book was very successful and was a serious
> contribution
> to the popularization of existentialism in Britain."
>
> ja
>
>> "The term Outsider Art was coined by art critic Roger Cardinal in
>> 1972 as an English synonym for Art Brut (which literally
>> translates as "Raw Art" or "Rough Art"), a label created by
>> French artist Jean Dubuffet to describe art created outside the
>> boundaries of official culture; Dubuffet focused particularly on
>> art by insane asylum inmates.
>
>
>  		
> ---------------------------------
> Do you Yahoo!?
>  Everyone is raving about the  all-new Yahoo! Mail.
=========================================================================
Date:         Sat, 30 Sep 2006 12:07:37 -0700
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Christine Hamm 
Subject:      The Transparent Dinner
In-Reply-To:  <30ADF0D5-157C-4DA5-B55C-E96EA4B273F2@earthlink.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

My book of poetry is finally available for pre-order.  Also, anybody want to review it in
a journal?  Just give me a hollar.

Go here: http://www.etsy.com/view_item.php?listing_id=508626

Christine's poetry has been described as:

"a whirling carnival of family dysfunction, talking animals and deathbed confessions.
These poems are discarded doll's heads littering a dried-out field. They give you the
feeling you've just walked into a situation you weren't supposed to witness but can't
stop watching. They suck you in, spin you around and leave you breathless." (Cheryl B.)

Here's a sample from one of the poems, Animal Husbandry:

"The dog tells me that's he leaving me, that he no longer likes sticking his nose in my
crotch. This last week he has been slipping his leash after I fall asleep and going to
the backroom at Woody's. He tells me about the glory holes in the bathroom of the New
York Public Library. I tell him he's lying, that dogs aren't allowed in the library..."

Creepy, and quite sexy. For more info, go to Christine Hamm's website:
www.christinehamm.org.

Will ship on October 14th.
____________________________

Christine Hamm is a PhD candidate in English Literature at Drew University, where she was
awarded a Caspersen Scholarship for Academic Promise. Her poetry has been published in
The Adirondack Review, Pebble Lake Review, Horseless Press, Lodestar Quarterly, Blue
Fifth Review, Poetry Midwest, MiPoesias, Rattle, Snow Monkey and  Exquisite Corpse, among
others. In 2004, she was nominated for a Pushcart Prize. Her work was anthologized in
Homewrecker: An Adultery Reader and The Murdering of Our Years: Artists and Activists
Making Ends Meet, both by Soft Skull Press. Christine is on the editorial board of
several literary journals, including Vernacular. She teaches English at Rutgers
University and poetry writing at Women's Studio Center in Queens, NY. She has two
chapbooks, The Animal Husband, published by Dancing Girl Press, and The Salt Daughter by
Little Poem Press.


__________________________________________________
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=========================================================================
Date:         Sat, 30 Sep 2006 15:54:33 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         heidi arnold 
Subject:      Re: outsider
In-Reply-To:  <20060930184339.20818.qmail@web34111.mail.mud.yahoo.com>
MIME-Version: 1.0
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-- if there are four members of the trinity, instead of three, is that
because the trinity took an outsider, inside, or because the insider "pivot"
of the trinity, went outside, allowing for four points? -- if a triangle
becomes a square which corner moves? -- if the spirit is the vehicle by
which god has compassion for humans, does that make the spirit the insider,
or the outsider -- how about the trinity that is held in every human mind?
--

-h

On 9/30/06, Warren Lloyd  wrote:
>
> For an outsider to be an outsider an insider would have to have first
> insidered him, even if momentarily, so as to establish his status as
> outsider in comparison with or through the scope of insiderness. The whole
> while, of course, promoting the status of the inside.
>
>   " The stars are eating"
>                               - Antonin Artaud
>
> Jim Andrews  wrote:
>   when i think of 'outsider' in literary terms i think of colin wilson who
> published 'the outsider' in 1956. wikipedia says of it: "In 1956, at the
> age
> of 25, he published The Outsider, which examines the seminal works of
> various key literary and cultural figures (notably Hermann Hesse, Fyodor
> Dostoyevsky, Vaslav Nijinsky and Vincent Van Gogh) and aspects of
> alienation
> in their works. The book was very successful and was a serious
> contribution
> to the popularization of existentialism in Britain."
>
> ja
>
> > "The term Outsider Art was coined by art critic Roger Cardinal in
> > 1972 as an English synonym for Art Brut (which literally
> > translates as "Raw Art" or "Rough Art"), a label created by
> > French artist Jean Dubuffet to describe art created outside the
> > boundaries of official culture; Dubuffet focused particularly on
> > art by insane asylum inmates.
>
>
>
> ---------------------------------
> Do you Yahoo!?
> Everyone is raving about the  all-new Yahoo! Mail.
>
=========================================================================
Date:         Sat, 30 Sep 2006 15:47:40 -0500
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         David-Baptiste Chirot 
Subject:      pascal/art brut ("outsider")
Mime-Version: 1.0
Content-Type: text/plain; format=flowed

i was away from list for some days so just found the note below re pascal's
"Wager"  and catching up on The Outsiders (60s Ohio band, hit was "Time
Won't Let Me"; S E Hinton "young adult" novel made into 1983 film by Coppola
. . .  and a tv series in 1990 . . . see art brut below--)

re Pascal--trying to recall the context/discussion & apologize had a problem
with hotmail and message was sent more than was meant to be--as i recall i
thought of "The Wager" in context of infinity/god which was brought up at
one point--extension without limits--not in the sense stephen baraban brings
up here--

robert smithson was interested in what he called the Pascalian
dialectic--Pascal builds his thoughts often around paradoxes--many times
with a form of gallows humor--i have often wondered if "The Wager" isn't
really a form of cynicism carried into the arena of gallows humor--a good
laugh on pascal's part at all those who bemoaned the loss of one of europe's
finest scientitific and mathematical minds to the narrow theological
confines of jansenism--by means of "The Wager" pascal could show his old
fans that the man had lost  none of his edge at probablility problems and at
the same time harness it to prove to them the wisdom of choosing good rather
than science in the biggest "throw" of all----that he had chosen the right
path--so a form of elaborate joke--
when i thought more about it, the cynicism and gallows humor grows
deeper--as only examples of gambling  that came to mind in my rather small
knowledge of Bible are those of the gambling for Joseph's Coat of Many
Colors, which prefigures that of the Roman soldiers playing for Christ's
clothes--
so gambling is associated with moments of humiliation, pain and mockery of
Joseph and Jesus--
by using this method of mockery turned inside out to prove the existence of
God, pascal in a sense is mocking the mockers, causing them pain and
humiliation--just as he has been toying with those who feel he "lost
everything" in giving up math and science for the church--
as the saying in french has it, "tromper le trompeur c'est double
plaisir"--to trump the one who set the trumps is a double pleasure--
(this interpretation purely speculative and done for amusement--)


because the art market has made terms like "outsider art", "raw vision" etc
etc take on such a cynical cast--what was it about them that had meaning and
energy in the first place?--is worth it to remember--so one cd rethink some
of the issues involved--make use of them in different ways--

in popular music for some decades collecting of garage band obscurities for
example-truly "brut" recordings in every sense---(i used to have several
hundreds of lps, compilations, 45s etc--friends with far more--)--films out
now  of people like daniel johnson and wesley walls etc--"art brut" muicians
so to speak--

must be tons of "art brut" writing out there--as well as already
published--is "art brut"different in writing than in art and music?--it's
not like you find "anthology of writing brut"--i mean "brut" in dubuffet's
sense of it, not the "outsider" sense usually tossed abt like "outlaw bible
of american poetry" etc--but wd writing world have same enthusiasm for brut
writing that brut music and art generate in their worlds?--

art brut/outsider art has its modern beginings mainly in the interests of
artists in expanding sources of inspiration--Japan for the Impressionists,
Tahiti for Gauguin, African suclpture for Picasso etc--and for the Blaue
Reiter group in Germany that included Kandinsky--children's art and
drawings.  the attraction of "primitive" and children's art was to "get
outside" the strictures and confines of training in western art--a way to
begin at the begining in a certain sense--
     also begining in later nineteenth century was interest in spirtualism
and psychic states which generated a huge body of works in writing and
graphic arts--(Victor Hugo produced a very substantial and striking volume
of work in both media--a lot of the extraordinary graphic work on line and
the written in Conversations with Eternity  The Forgotten Masterpiece of
Victor Hugo;  New Paradigm, 1998)--these were forerunners of
psychology--leading to study of works produced by the mentally ill--"Marcel
Reja's" (Paul Meunier) L'Art chez les fous (The Art of the Mad/of Madpeople)
  appeared in 1907.  In 1922 appeared the book which marked huge revolution
in many fields and in  effects of art of the mentally ill on modern
art--Hans Prinzhorn's Bildnerei der Geisteskranken (Artistry of the mentally
Ill)--the previous year had appeared Walter Morgenthaler's first study of an
"outsider"/"art brut" artist--in english known as Madness and Art:  The Life
and Works of Adolf Wolfli.  A breakthrough in the study of work by the
mentally ill occured in these works:  the art of the mentally ill began to
be considered in terms of art, not simply in terms of symptoms,
manifestations of various disorders etc.  During this same time period
"primitve" and "folk art" were also being reevaluated in terms of "art" in
their own right--
it should be noted that a great deal of the works found outside asylums were
found by artists--not collectors, dealers etc as is much more the case later
on--it took artist's eyes to see in much of the outsider art before there
was a term for it the existence of art in it--the exception being with in
the asylums--and this too began to change when Dubuffet began building his
immense collection of "art brut" in the 1940's-- (again, an artist led the
way to perceiving art values not only to be looked at, but to be put to use
by artists--and used also in his battery of "anti-cultural positions"--and
gave them the name "art brut"--)
the connection between the as yet unnamed "art brut" and modern art was
recognnized by the nazis in the infamous 1937-8 traveling exhibtion of
Entartete Kunst (Degenerate Art)--one of the first true blockbuster shows of
the twentieth century, attended by roughly two million people in its journey
through germany into Austria--works by Wolfli and other "outsider"/mentally
ill artists hung alongside works by the greats and lesser lights of
modernism--all of them equally condmened--ironically the Nazis were the
first to stage a kind of exhibition which was to become common in later
decades--the mingling of outsider works with "high art" by
"masters"--"professionals"--hanging alongside the insane, the amateur, the
folk artist, the self taught, etc--

Dubuffet very early on chose not to focus on madness as the basis of art
brut--art brut is work done by people 'WHO ARE STRANGERS TO THE ORDINARY ART
WORLD,  KNOWING LITTLE ABOUT CURRENT WORKS OF ART, OR PERHAPS EVEN
DELIBERATELY DISTANCING THEMSELVES FROM ALL THAT."  wORKS OF THE MAD WOULD
NATURALLY BE INCLUDED, BUT NOT SIMPLY AS WORKS BY THE MAD . . .

in the late 1940's andre breton worked closely with dubuffet and shared his
collections of obejcts in art brut shows etc--worked hard in developiong
projects for art brut almanac that didn't materialize until the later series
of publications--and developed close friendship with dubuffet--though the
latter was from the start also a bit wary--in the end thay had a falling out
over the issue of madness--for breton madness and spiritualism played a
central role in the interest of art brut--whereas for dubuffet they do not
not--he didn't care if an artist was mad or not--included works by the sane
and insane in alternating shows to emphasize that these were not soley the
provenance of the mentally ill--(a stereotype which has peristsed all too
often to this day--)--dubuffet considered the works in themselves--not as
manifestations of this or that pathology--he also felt that Breton wanted to
subsume art brut under the umbrella of surrealism, tucked away in a corner
along with other works by the mad or the spiritualists--yet another form of
surrealist bric-a-brac to be added to the collection--the exact opposite of
the kind of impact dubuffet hoped the works would have in breaking
preconceived ideas and heiracrhies of "art"--as traditonally conceived of in
the west--

by Dubuffet in english on his anti-cultural positions a very good book is--
ASPHYXIATING CULTURE

There is a great book on the history of Dubuffet's involvement with Art Brut
and the history of his collection after his death, as well as the years
preceding Dubuffet's development of "art brut" going back to early 19th
century--ART BRUT  The Origins of Outsider Art by Lucienne Peiry  (Paris:
Flammarion, 2001)  illustrated by hundreds of color and b and w
reproductions and fotos, with biographies of the artists, extensive
bibliographies;  Ms Peiry is the Head of the Collection de l'Art Brut in
Lausanne, Switzerland--the collection begun by Dubuffet--

In a handwritten document written in english called "anticultural positions"
given as a lecture at the art club of chicago on thursday 20 december 1951
at 11:30 am dubuffet says, making a point he is repeat in a variety of ways
regarding langauge:

     Art addresses itself to the mind, and not to the eyes.  It has always
been  considered this way by primitive peoples, and they are right.  Art is
a language, instrument of knowledge, insturment of expression.
     I think the enthousiasm aabout the language of the words, which I
mentioned before, has been the reason our culture started to regard painting
as a rough, rudimentary, and even contemptible language, good only for
illiterate people.  From that, culture invented, as a rationalization for
art, this mith (sic) of plastic beauty, which, in my opinion, is an
imposture.
     I just said, and I repeat now, painting is, in my opinion. is a lnguage
much richer than that of words.  So itis quite useless to look for
rationalizations in art.
     Painting is a language much more immediate and at the same time much
mre charged with meaning.  Painting operates through signs which are not
abstract and incorporeal like words.  The signs of painting are much closer
to the objects themselves.  Further painting manipulates materials which are
themselves living substances.  That is why painting allows one to go much
further than words do in apporaching things and conjuring them.
    Painting can also, and it is very remarkable, conjure things more or
less, as wanted, I mean:  with more or less presence;  that is to say:  at
different stages between being and non-being.
     At last painting can conjure things, not isolated, but linked to all
that surrounds them; a great many things simultaaneously.
     On the other hand painting is a way much more immediate and muc more
direct than language of words, much clsoer to the cry, or to the danse; that
is why  painting is a way of expression of our inner voices much more
effective than that of words.
      I just said that painting allows, especially, much better than words,
one to express the various stages of thought, including the deeper levels,
the underground stages of mental processes . . .

(one can see where this wd open one to begin thinkingconversely what might
be a writing brut--in what ways writing might opearte that painting cannot
do as well . . . )
from what dubuffet writes here, one can have an idea what itis he is finding
in art brut--the values of immediacy, directness and a language of the
mind--thought processes of an underground  . . . in the stages of
thought--as well as a way of conjuring stages between being and non-being .
. . etc etc--very much a language, a cry a danse--with the living materials,
substances and signs which are close to objects  . . .









>On Mon, 25 Sep 2006, Stephen Baraban wrote:
>>
>> > But speaking of Religion, could David-Baptiste Chirot
>> > please expatiate on why he keeps recommending that
>> > people read Pascal on his Wager.  I admit that those
>> > pages exude charm and panache, but what spiritual
>> > nourishment can anyone take from P.'s insistence that
>> > Doubters be calculating and prudent about protecting
>> > the afterlife welfare of their endangered eternal ass?
>

_________________________________________________________________
Express yourself - download free Windows Live Messenger themes!
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=========================================================================
Date:         Sat, 30 Sep 2006 14:46:37 -0600
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Mary Higgins 
Subject:      Re: POETICS Digest - 28 Sep 2006 to 29 Sep 2006 (#2006-273)
In-Reply-To:  
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This is my first post=97one of alarm.  Hope this travels thru cyberspace
intact asking what constitutes material support.  (this program is not
letting me put in spaces between lines...)

Mary Higgins



after the

retroactive law

ahead protects

law broken so

a government can

shake its own hand

over intended words

and lives

misused

to whom

will I say

give me that

**material support**

your words

my friend the

standing pledge

trust

embodies






Date:    Fri, 29 Sep 2006 12:01:13 -0400
From:    Peter Ciccariello < ciccariello@GMAIL.COM>
Subject: Re: Habeas corpus, the beginning of the death of

Thanks for the Roll Call Hal.

Utterly unbelievable.

-Peter Ciccariello

This from the NYTimes:

Rushing Off a Cliff

NYT Published: September 28, 2006

Here's what happens when this irresponsible Congress railroads a profoundly
important bill to serve the mindless politics of a midterm election: The
Bush administration uses Republicans' fear of losing their majority to push
through ghastly ideas about antiterrorism that will make American troops
less safe and do lasting damage to our 217-year-old nation of laws =3D97 wh=
il=3D
e
actually doing nothing to protect the nation from terrorists. Democrats
betray their principles to avoid last-minute attack ads. Our democracy is
the big loser.

Republicans say Congress must act right now to create procedures for
charging and trying terrorists =3D97 because the men accused of plotting th=
e
9/11 attacks are available for trial. That's pure propaganda. Those men
could have been tried and convicted long ago, but President Bush chose not
to. He held them in illegal detention, had them questioned in ways that wil=
=3D
l
make real trials very hard, and invented a transparently illegal system of
kangaroo courts to convict them.
=========================================================================
Date:         Sat, 30 Sep 2006 17:03:33 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Phil Primeau 
Subject:      Re: POETICS Digest - 28 Sep 2006 to 29 Sep 2006 (#2006-273)
In-Reply-To:  <5b5b85480609301346ke7aee13k567bf1973cb2736b@mail.gmail.com>
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President Bush is Our Leader and you shall respect Him as such.
=========================================================================
Date:         Sat, 30 Sep 2006 19:52:26 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         Vernon Frazer 
Subject:      Poetry Reading to Benefit Poets In Need ( posted on behalf of
              Michael Rothenberg)
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Date and Time:

7:30 PM, Friday evening, October 20th

Location:

California College of Art in San Francisco.
450 Irwin St
San Francisco, CA 94107


Details:
Small Press Traffic is pleased to host a reading and reception benefiting
Poets In Need's Philip Whalen Memorial Grants. Featured readers are PIN
Board members Norman Fischer, Lyn Hejinian, Leslie Scalapino and Michael
Rothenberg.

Norman Fischer's books include Slowly But Dearly from Chax Press.

Lyn Hejinian's books include The Fatalist from Omnidawn.

Michael Rothenberg's books include Unhurried Vision and he is the editor of
Philip Whalen's Selected Poems and Collected Poems.

Leslie Scalapino's books include Zither & Autobiography from Wesleyan UP.

Poets In Need is a non-profit organization providing emergency assistance to
poets who have an established presence in the literary community as
innovators in the field and a substantive body of published work. Assistance
is given only in cases of current financial need that is in excess of and
unrelated to the recipient's normal economic situation and that is the
result of recent emergency (due, for example, to fire, flood, eviction, or a
medical crisis).



-------------------------------------------------------------------


=========================================================================
Date:         Sat, 30 Sep 2006 20:32:59 -0400
Reply-To:     UB Poetics discussion group 
Sender:       UB Poetics discussion group 
From:         jUStin!katKO 
Subject:      CALL FOR SUBMISSIONS: Oxford Magazine
In-Reply-To:  <3bf622560609301728p7d6f08f8q271816d6533d95f0@mail.gmail.com>
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dear Poetics,

one of my gigs for now is Managing Editor of Oxford Magazine, an online
journal run by grad students out of Miami University (Oxford, Ohio). for the
upcoming 21st issue, we're planning to have a New Media special feature.
Yeah, i know the term's archaic in some ways, but regardless, I'd like to
see a lot of folks from this list send video work, sound work, interactive
work, anything that requires a computer. This is in addition to any poems or
essays you might want to send, these being applicable to the special feature
or not. While I'm the New Media editor for this issue, please direct your
work to the addresses provided below. Pasted below is a CALL that i
encourage and even beg you to spread around.

Regards,
jUStin

- - -

Call for Submissions

Oxford Magazine, Issue 21
http://www.muohio.edu/oxmag/

Submit Poetry, Essays, Fiction, & New Media (for a New Media Special
Feature)

Deadline: March 1, 2007.

Send either email or hard-copy submissions to:

oxmag@muohio.edu

Oxford Magazine
356 Bachelor Hall
Miami University
Oxford, Ohio 45056 USA