========================================================================= Date: Sat, 31 Mar 2007 19:50:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: AGNI's Shocking Remarks In-Reply-To: <46f2b6d00703311225g5a98a6e4n4d372a5cd9dc0d6b@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit I don't think i've ever read an issue of Agni cover to cover and enjoyed more than two pieces in it, and usually one of them is a short story. I don't like any of the poets that foetry slags off, I don't write the kind of poetry that wins poetry contests. I think your reaction is pretty out of line. Agni is entitled to whatever editorial policy they want to adopt, and I think a bigger problem is the editorial policy that accepts so much mediocre poetry in a journal with such wide distribution. You seem really angry about this, though, and I really don't understand why. Robert Perlman wrote: > AGNI posted these remarks on the Foetry site recently regarding their > publication of a poet's (Jeffrey Levine's) poem. My response follows. I am > determined to publicize this to as many people in the poetry field as > possible. > > > > > Posted: Sat Mar 31, 2007 12:03 pm Post subject: Re: Levine's "Antonia > ..." > > > > -------------------------------------------------------------------------------- > > > > > Quote: AGNI writes: > > > > "AGNI accepted Jeffrey Levine's "Antonia Refuses the Nectarines" many > months > ago -- long before the contest issue arose -- signed a contract with him, > and he approved the online galleys also before we knew of any problem. We > felt a strong ethical obligation to continue with the posting of this one > poem." > > > > My Response: > > This is a SHOCKING post--the idea that AGNI editors would lower themselves > to post anything serious on this site, let alone imply that they might not > have published Jeffrey Levine's poem if the contest controversy were known > to them is astounding. I'm ashamed for whoever made this post and is > seeking > to distance AGNI from a decision made about a poem, not a person, out of > what--fear? AGNI has validated a witch hunt and will forever be damaged for > doing so in my eyes. I intend to make sure as many others as possible know > about AGNI's publication policy as seen in this post--in summary, AGNI will > only publish poets who don't have any controversy attached to them (that > they KNOW about of course) since it might brush off on AGNI and tarnish > them > in the eyes of a group of utterly talentless, bitter, conspiracy-driven, > destructive-minded, wannabe-poets. AGNI fears Foetry? AGNI apologizes > for an > editorial decision because people are upset about a poet's actions in > another arena? AGNI feels the need to defend itself for selecting a poem > because the poet is under fire? And to the people HERE? It's beyond > comprehension. Who the hell is going to stand up to this? There has GOT to > be legal recourse to what these people are doing here, the casual and > constant defamation of character, the damage to the field of poetry itself. > Who NEEDS Foetry? What is it doing for poetry, other than systematically > destroying the handful of presses and people who care enough to dedicate > themselves to helping the art survive? ========================================================================= Date: Sun, 1 Apr 2007 00:53:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vireo Nefer Subject: Re: Bill Knott's blog In-Reply-To: <000c01c772f1$58417c80$e32b1341@JEFFREY> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline thank you Vireo On 3/30/07, Crane's Bill Books wrote: > > I don't know how kosher it is to promote another poet (perhaps especially > this poet) without his permission, but I just stumbled onto Bill Knott's > wild blog: http://billknott.typepad.com/ . (I see that Ron Silliman's blog > also has a link to it.) Lots and lots of his gorgeous, startling, virtuosic > and sublime poems are posted there, along with some equally amazing > commentary about the poetry business (and a collection of blurbs from bad > reviews--surely some of them made up?). Knott's name came up recently on > this list in connection with Russell Edson's, in a note to the effect that > some poets are absolutely sui generis and cannot be placed in any school or > category. I agree. Knott has been one of my favorite poets since I first > heard him read in, I think, 1978, at Wally Butts' Newbury Book Gallery in > Boston. I encourage everyone, especially any younger poets unfamiliar with > his work, to take a look. > J.A. Lee > Crane's Bill Books > www.torriblezone.com > -- AIM: vireonefer LJ: http://www.livejournal.com/userinfo.bml?user=vireoibis VireoNyx Publications: http://www.vireonyxpub.org INK: http://www.inkemetic.org ========================================================================= Date: Sun, 1 Apr 2007 03:32:05 -0400 Reply-To: jofuhrman@excite.com Sender: UB Poetics discussion group From: Joanna Fuhrman Subject: Reading in New Mexico MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi y'all I'm giving this reading in Santa Fe on Thursday. Joanna Fuhrman Thursday, April 5, 2007 7 P.M. Writers' Room of the Southwest Literary Center 826 Camino de Monte Rey/A-6 Santa Fe, New Mexico _______________________________________________ Join Excite! - http://www.excite.com The most personalized portal on the Web! ========================================================================= Date: Sun, 1 Apr 2007 12:12:25 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sam Ladkin Subject: British Poetry Tour/Chicago Review 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 To celebrate publication of a special issue of Chicago Review on =20 British Poetry http://humanities.uchicago.edu/orgs/review/ KESTON SUTHERLAND - ANDREA BRADY - PETER MANSON will be reading at Notre Dame, Chicago, Miami (Ohio), Buffalo (NY), Boston... All readings are open to the public. Please feel welcome. Please pass this message on to those you think may be interested. _________________________________________________ WEDNESDAY 4TH APRIL UNIVERSITY OF NOTRE DAME 6.00-8.00pm Poetry Reading 210-214 McKenna Hall 2.00-4.30pm, a panel debate will be held on Contemporary Poetry and =20 Politics in Britain and the US, launched by brief papers from British =20= and Notre Dame scholars. On Tuesday 3rd April at 3.00 the short film River Pearls will receive =20= its premiere. This documents a conference of Chinese and British =20 avant-garde poets in Guangzhou, South China, in 2005, and will be =20 introduced by two of the British poets involved and a Notre Dame =20 China scholar. ETS Theatre, McKenna Hall These events and free and open to the public. Further information can =20= be found at the Notre Dame Creative writing calendar, http://=20 www.nd.edu/~alcwp/activities.html ___________________________________________________ THURSDAY 5TH APRIL UNIVERSITY OF CHICAGO 5.30pm in Rosenwald 405 - Poetry reading http://poempresent.uchicago.edu/ ___________________________________________________ FRIDAY 6TH APRIL UNIVERSITY OF CHICAGO 1.00pm in Ronsewald 405. - Talks. Papers by Andrea Brady and Keston =20 Sutherland followed by open discussion. http://poempresent.uchicago.edu/ ____________________________________________________ FRIDAY 6TH APRIL CHICAGO 8.00pm, Discrete Series at Elastic, 2830 N. Milwaukee Ave. 2nd Floor. Poetry Reading and launch ____________________________________________________ MONDAY 9TH APRIL UNIVERSITY OF MIAMI 7:30-9:30 p.m. IN 337 Bachelor (Reading Room) A panel discussion on contemporary British and American poetry http://www.units.muohio.edu/english/events.html#britpoets TUESDAY 10TH APRIL UNIVERSITY OF MIAMI 8.00-9:30 p.m. in 40 Irvin Poetry reading http://www.units.muohio.edu/english/events.html#britpoets ________________________________________________________ THURSDAY 12TH APRIL SUNY, BUFFALO Poetry Collection, 420 Capen Hall, North Campus 2pm: Round Table Discussion featuring Sam Ladkin, Robin Purves and others 4pm: Readings by Andrea Brady, Peter Manson and Keston Sutherland http://www.literarybuffalo.org/ub_events.htm _______________________________________________________ FRIDAY 13TH APRIL HARVARD UNIVERSITY, BOSTON 7.00pm Thomson Room ________________________________________________________ NEW YORK Keston Sutherland, Andrea Brady and Matt Ffytche are available for =20 readings in New York between Sunday 15th April and Tuesday 17th April =20= if anything can be arranged. _________________________________________________________ CHICAGO REVIEW The latest issue of Chicago Review --- a special issue on British =20 poetry --- is now available! The 232-page issue is $12 in the US and =A38 in UK (including priority =20= shipping) and may be ordered online from this address: http://humanities.uchicago.edu/orgs/review/purchase531.html Subscriber and contributor copies are now in the mail. * * * The issue's main feature --- co-edited and introduced by Sam Ladkin & =20= Robin Purves --- presents 80-pages of poems by: Andrea Brady Chris Goode Peter Manson & Keston Sutherland As well as critical contributions by John Wilkinson (on Andrea =20 Brady), Jeremy Noel-Tod (on Peter Manson), Sam Ladkin (in =20 conversation with Chris Goode), Simon Jarvis (on Keston Sutherland), =20 & Matt Ffytche (on Keston Sutherland). * * * This feature complements our regular review section, which presents =20 fifteen reviews of new books of British poetry: Calvin Bedient on Seamus Heaney & Charles Tomlinson Forrest Gander on J.H. Prynne V. Joshua Adams on Lee Harwood R.H. Abbott on Michael Haslam Michael Robbins on Martin Corless-Smith Leila Wilson on Sarah Law Heidi Lynn Staples on Peter Finch Robert P. Baird on Peter Larkin Rusty Morrison on Thomas A. Clark John Lennox on Geraldine Monk Kai Fierle Hedrick on Caroline Bergvall Mark Scroggins on John Wilkinson Peter Manson on Gael Turnbull Adam Piette on Barry MacSweeney Kent Johnson on Andrew Duncan The issue also includes the following material: A long note by Keith Tuma on some younger British poets, including: =20 Jow Lindsay, Emily Critchley, & Sean Bonney Letters by Peter Riley and Catherine Wagner Poster insert by Andrew Duncan entitled "Styles of British Poetry =20 1945=962000" * * * ========================================================================= Date: Sun, 1 Apr 2007 09:22:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: the language of living in a ghetto Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Abolish bilingual education, Gingrich urges POSTED: 10:50 p.m. EDT, March 31, 2007 http://www.cnn.com/2007/POLITICS/03/31/gingrich.bilingual.ap/index.html WASHINGTON (AP) -- Former House Speaker Newt Gingrich equated bilingual education Saturday with "the language of living in a ghetto" and mocked requirements that ballots be printed in multiple languages. "The government should quit mandating that various documents be printed in any one of 700 languages depending on who randomly shows up" to vote, said Gingrich, who is considering seeking the Republican presidential nomination in 2008. He made the comments in a speech to the National Federation of Republican Women. "The American people believe English should be the official language of the government. ... We should replace bilingual education with immersion in English so people learn the common language of the country and they learn the language of prosperity, not the language of living in a ghetto," Gingrich said to cheers from the crowd of more than 100. "Citizenship requires passing a test on American history in English. If that's true, then we do not have to create ballots in any language except English," he said. Peter Zamora, co-chair of the Washington-based Hispanic Education Coalition, which supports bilingual education, said, "The tone of his comments were very hateful. Spanish is spoken by many individuals who do not live in the ghetto." He said research has shown "that bilingual education is the best method of teaching English to non-English speakers." Spanish-speakers, Zamora said, know they need to learn English. "There's no resistance to learning English, really, among immigrants, among native-born citizens," he said. "Everyone wants to learn English because it's what you need to thrive in this country." In the past, Gingrich has supported making English the nation's official language. He's also said all American children should learn English and that other languages should be secondary in schools. In 1995, for example, he said bilingualism poses "long-term dangers to the fabric of our nation" and that "allowing bilingualism to continue to grow is very dangerous." Bilingual programs teach students reading, arithmetic and other basic skills in their native language so they do not fall behind while mastering English. On voting, federal law requires districts with large populations of non-English speakers to print ballots in multiple languages. ========================================================================= Date: Sun, 1 Apr 2007 09:33:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: /\\///\\\\/////\\\\\\/////// ELMSLIE \\\\\\\//////\\\\\////\\\//\ MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline the LIVING LEGEND Kenward Elmslie with CAConrad for SEGUE SERIES Bowery Poetry Club, NYC, April 7th, 4pm for the details click here: http://CAConradEVENTS.blogspot.com ========================================================================= Date: Sun, 1 Apr 2007 09:36:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: NaPoWriMo In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit National Poetry Writing Month If you are participating, maybe you'd like to share the blog on which your poems will appear each day? I have no hand in it, so if someone would kindly share with the list the in's and out's, well, that'd be helpful~ Thanks! ____________________________________________________________________________________ Sucker-punch spam with award-winning protection. Try the free Yahoo! Mail Beta. http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Sun, 1 Apr 2007 13:37:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Perlman Subject: Re: AGNI's Shocking Remarks MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Jason Quackenbush wrote: >I don't think i've ever read an issue of Agni cover to cover and enjoyed more than two pieces in it, and usually one of them is a short story. I don't >like any of the poets that foetry slags off, I don't write the kind of poetry that wins poetry contests. I think your reaction is pretty out of line. >Agni is entitled to whatever editorial policy they want to adopt, and I think a bigger problem is the editorial policy that accepts so much mediocre >poetry in a journal with such wide distribution. You seem really angry about this, though, and I really don't understand why. The issue is bigger than your taste in poems, AGNI's taste in poems, the type of poetry you write, poetry contests or Foetry. The issue is that a respected journal has been cowed into apologizing for making their editorial decision based on the poem at hand. AGNI seems to be saying that they made a mistake, that if they had known about someone's activities outside the realm of the poem, they would not have published it. Sure, AGNI can do whatever they want vis a vis publishing this or that poem. But to publically state that someone's actions outside a poem mandate a different response to that poem and even a deliberate block of publication of that poem, is, to me, sheer McCarthy-ism. It's about the poem, not the poet. Any other "editorial policy" is reprehensible. That's why I'm "so angry." And that's why any poet here should be as angry as I am that AGNI, a respected journal, has now revealed such an editorial policy. Do you dare submit work to AGNI? Are you sure you're MORAL enough for them? Ugh. Robert Perlman wrote: > AGNI posted these remarks on the Foetry site recently regarding their > publication of a poet's (Jeffrey Levine's) poem. My response follows. I am > determined to publicize this to as many people in the poetry field as > possible. > > > > > Posted: Sat Mar 31, 2007 12:03 pm Post subject: Re: Levine's "Antonia > ..." > > > > -------------------------------------------------------------------------------- > > > > > Quote: AGNI writes: > > > > "AGNI accepted Jeffrey Levine's "Antonia Refuses the Nectarines" many > months > ago -- long before the contest issue arose -- signed a contract with him, > and he approved the online galleys also before we knew of any problem. We > felt a strong ethical obligation to continue with the posting of this one > poem." > > > > My Response: > > This is a SHOCKING post--the idea that AGNI editors would lower themselves > to post anything serious on this site, let alone imply that they might not > have published Jeffrey Levine's poem if the contest controversy were known > to them is astounding. I'm ashamed for whoever made this post and is > seeking > to distance AGNI from a decision made about a poem, not a person, out of > what--fear? AGNI has validated a witch hunt and will forever be damaged for > doing so in my eyes. I intend to make sure as many others as possible know > about AGNI's publication policy as seen in this post--in summary, AGNI will > only publish poets who don't have any controversy attached to them (that > they KNOW about of course) since it might brush off on AGNI and tarnish > them > in the eyes of a group of utterly talentless, bitter, conspiracy-driven, > destructive-minded, wannabe-poets. AGNI fears Foetry? AGNI apologizes > for an > editorial decision because people are upset about a poet's actions in > another arena? AGNI feels the need to defend itself for selecting a poem > because the poet is under fire? And to the people HERE? It's beyond > comprehension. Who the hell is going to stand up to this? There has GOT to > be legal recourse to what these people are doing here, the casual and > constant defamation of character, the damage to the field of poetry itself. > Who NEEDS Foetry? What is it doing for poetry, other than systematically > destroying the handful of presses and people who care enough to dedicate > themselves to helping the art survive? ========================================================================= Date: Sun, 1 Apr 2007 14:12:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: the language of living in a ghetto In-Reply-To: <3DFE2E50-9D96-40BF-A35E-19594273EC07@mwt.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" anyone who cites newt gingrich as an authority on *anything* is too stupid to pay attention to. At 9:22 AM -0500 4/1/07, mIEKAL aND wrote: >Abolish bilingual education, Gingrich urges >POSTED: 10:50 p.m. EDT, March 31, 2007 > >http://www.cnn.com/2007/POLITICS/03/31/gingrich.bilingual.ap/index.html > >WASHINGTON (AP) -- Former House Speaker Newt Gingrich equated >bilingual education Saturday with "the language of living in a >ghetto" and mocked requirements that ballots be printed in multiple >languages. > >"The government should quit mandating that various documents be >printed in any one of 700 languages depending on who randomly shows >up" to vote, said Gingrich, who is considering seeking the >Republican presidential nomination in 2008. He made the comments in >a speech to the National Federation of Republican Women. > >"The American people believe English should be the official language >of the government. ... We should replace bilingual education with >immersion in English so people learn the common language of the >country and they learn the language of prosperity, not the language >of living in a ghetto," Gingrich said to cheers from the crowd of >more than 100. > >"Citizenship requires passing a test on American history in English. >If that's true, then we do not have to create ballots in any >language except English," he said. > >Peter Zamora, co-chair of the Washington-based Hispanic Education >Coalition, which supports bilingual education, said, "The tone of >his comments were very hateful. Spanish is spoken by many >individuals who do not live in the ghetto." > >He said research has shown "that bilingual education is the best >method of teaching English to non-English speakers." >Spanish-speakers, Zamora said, know they need to learn English. > >"There's no resistance to learning English, really, among >immigrants, among native-born citizens," he said. "Everyone wants to >learn English because it's what you need to thrive in this country." > >In the past, Gingrich has supported making English the nation's >official language. He's also said all American children should learn >English and that other languages should be secondary in schools. > >In 1995, for example, he said bilingualism poses "long-term dangers >to the fabric of our nation" and that "allowing bilingualism to >continue to grow is very dangerous." > >Bilingual programs teach students reading, arithmetic and other >basic skills in their native language so they do not fall behind >while mastering English. > >On voting, federal law requires districts with large populations of >non-English speakers to print ballots in multiple languages. ========================================================================= Date: Sun, 1 Apr 2007 11:11:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: thom donovan Subject: PEACE on A presents : Koestenbaum & Martin : Fri. April 6th, 2007 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Peace On A presents Wayne Koestenbaum & Douglas A. Martin Friday, April 6th 2007 8PM BYOB & recommended donation: $5 hosted by Thom Donovan at: 166 Avenue A, Apartment #2 New York, NY 10009 about the readers: Wayne Koestenbaum has published five books of poetry: *Best-Selling Jewish Porn Films*, *Model Homes*, *The Milk of Inquiry*, *Rhapsodies of a Repeat Offender*, and *Ode to Anna Moffo and Other Poems*. He has also published a novel, *Moira Orfei in Aigues-Mortes*, and five books of nonfiction: *Andy Warhol*, *Cleavage*, *Jackie Under My Skin*, *The Queen’s Throat* (a National Book Critics Circle Award finalist), and *Double Talk*. He wrote the libretto for Michael Daugherty’s opera, *Jackie O*. Koestenbaum’s next book, *Hotel Theory*, will be published in May 2007. He is a Distinguished Professor of English at the CUNY Graduate Center, and currently also a Visiting Professor in the painting department of the Yale School of Art. But I made it far enough through the first act to be struck, when Anna Moffo entered, with a sensation I’ve tried to describe before, and may never adequately name. Her timbre was separate from its surroundings. Her voice wasn’t the canopy, the column, the architrave; gravely self-sufficient, it seemed not a copy of life, but life itself, and, like a breathing property, it entered my system with a vector so naïve, unadulterated, and elemental, that my drab bedroom shifted on its axis. ~ from Wayne Koestenbaum’s *The Queen’s Throat* Douglas A. Martin's most recent books are *Branwell*, a novel of the Bronte brother, and a collection of stories, *They Change the Subject*. His first novel, *Outline of My Lover*, was named an International Book of the Year in the Times Literary Supplement and adapted in part by the Forsythe Company for their multimedia dance-theater piece "Kammer/Kammer." He is also the author of two collections of poetry and a co-author of *the haiku year*. In 2008, he will publish *Last Early Poems* and a work of lyric prose, *Your Body Figured*. To not believe there’s goodness where he sees what he does. How could I be wary of someone he trusts? He likes, has allowed to be his friend. Someone who will be connected. Again and again, in this magazine and picture, this paper and book. Someone he will let exist in a way I never do. ~ from Douglas A. Martin’s *Outline of My Lover* Peace On A is an events series devoted to emergent work by writers, artists, performers and scholars. Past presenters at Peace on A include Alan Gilbert, E. Tracy Grinnell, Cathy Park Hong, Paolo Javier, Eléna Rivera, David Levi Strauss, Andrew Levy, & Kyle Schlesinger. Scroll down Wild Horses of Fire weblog (whof.blogspot.com) for back advertisements, introductions and reading selections. “stubborn with the stubbornness of water / that ‘lesser strength which explores / the edges and interstices of power’ / and comes on a different way.”—Daniel Berrigan 166 Avenue A NY, NY 10009 whof.blogspot.com ____________________________________________________________________________________ Now that's room service! Choose from over 150,000 hotels in 45,000 destinations on Yahoo! Travel to find your fit. http://farechase.yahoo.com/promo-generic-14795097 ========================================================================= Date: Sun, 1 Apr 2007 12:34:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crane's Bill Books Subject: Re: NaPoWriMo MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit OK, I will be posting three lines seventeen syllables per day (but absolutely NO haiku at http://torrible.blogspot.com/ , despite a mild allergy to abbreviations like "NaPoWriMo." OKIPo317PerDo(AbNoHo)ToBloSpoPiMiAlAbNaPoWriMo. J.A. Lee Crane's Bill Books www.torriblezone.com ----- Original Message ----- From: "amy king" To: Sent: Sunday, April 01, 2007 10:36 AM Subject: NaPoWriMo > National Poetry Writing Month > > If you are participating, maybe you'd like to share > the blog on which your poems will appear each day? > > I have no hand in it, so if someone would kindly share > with the list the in's and out's, well, that'd be > helpful~ > > Thanks! > > > > ____________________________________________________________________________________ > Sucker-punch spam with award-winning protection. > Try the free Yahoo! Mail Beta. > http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Sun, 1 Apr 2007 15:53:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: call for work: Spaltung MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit do your poems contain multitudes or live as variously as possible? then submit to Spaltung. we are looking for writing that explores multiplicity/heterogeneity on a formal/material/compositional level, including (without limitation) polyphonic/multivoice works, collaborations (human+human, human+computer, human+other animate or inanimate entity, and all of the above), text+image, text+object, text+sound, palimpsests, multiversion/multirevision works, diagrammatical works, rebuses, multilanguage pieces, collages, mashups, multiprocedural and conceptual works, poems masquerading as something else, und so weiter. Spaltung will be published as a packet of stuff rather than a bound journal. if you would like an idea of Spaltung's taste, you can purchase our first issue (although it was not focused on the theme articulated above and was a bound journal) through the email address below (it's only $4). please send submissions to _spaltung@comcast.net_. please make sure all attachments are in one of the following formats: .doc, .xls, .pdf, .jpg, or in the case of sound files .mp3. if you want to send in another format, please let us know and we will try to accommodate. if you prefer to send snail mail, please send to Bo and Luke Duke Sanders 1511 McLendon Ave. Atlanta, GA 30307 please keep submissions to a reasonable length, and no more than 5 pieces per submission. please include your email address in any submission so that we can contact you (if you don't have an email address, please include a phone #, we're trying to save postage and time). if you wanna include an explanation of your work with your submission, great. simultaneous submissions are fine, just let us know if something you sent gets accepted somewhere else. if you send by snail, don't send us your only copy: we do not return work. Spaltung is edited collectively by the Atlanta Poets Group. because we do things by committee we may take a while to get back to you on your submission. authors appearing in Spaltung will receive copies, but we can't afford to pay you anything else. ========================================================================= Date: Sun, 1 Apr 2007 14:09:14 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Larry's reading series in Columbus MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit here are our readers for the next few weeks ----- The Poetry Forum at Larry’s Looking forward to seeing you'all soon-- Readings: 2 sets about 20-25 minutes each. From: March 26-- Sandy Feen April 2-- Maj Ragain April 9--Kathleen Burgess April 16-- Jillian Weise 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, Coordinator, Larry's Poetry Forum Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sun, 1 Apr 2007 17:14:15 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: national poetry month Content-transfer-encoding: 7BIT falling in love, falling in love with poetry http://robmclennan.blogspot.com/2007/04/falling-in-love-falling-in-love-with.html On (not) Being an Alberta Writer: or, anticipating UofA http://www.danforthreview.com/features/essays/mclennan_alberta.htm rob reading from The Ottawa City Project http://authorsaloud.com/readings/readings/readings/mclennan.html new ottawa international writers festival website (spring fest, april 15-22, 2007) http://www.writersfestival.org/ -- poet/editor/publisher ...STANZAS mag, above/ground press & Chaudiere Books (www.chaudierebooks.com) ...coord.,SPAN-O + ottawa small press fair ...13th poetry coll'n - The Ottawa City Project .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Sun, 1 Apr 2007 17:26:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: the language of living in a ghetto In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Even if it's on stupidity? On Sun, 1 Apr 2007, Maria Damon wrote: > anyone who cites newt gingrich as an authority on *anything* is too stupid to > pay attention to. > > At 9:22 AM -0500 4/1/07, mIEKAL aND wrote: >> Abolish bilingual education, Gingrich urges >> POSTED: 10:50 p.m. EDT, March 31, 2007 >> >> http://www.cnn.com/2007/POLITICS/03/31/gingrich.bilingual.ap/index.html >> >> WASHINGTON (AP) -- Former House Speaker Newt Gingrich equated bilingual >> education Saturday with "the language of living in a ghetto" and mocked >> requirements that ballots be printed in multiple languages. >> >> "The government should quit mandating that various documents be printed in >> any one of 700 languages depending on who randomly shows up" to vote, said >> Gingrich, who is considering seeking the Republican presidential nomination >> in 2008. He made the comments in a speech to the National Federation of >> Republican Women. >> >> "The American people believe English should be the official language of the >> government. ... We should replace bilingual education with immersion in >> English so people learn the common language of the country and they learn >> the language of prosperity, not the language of living in a ghetto," >> Gingrich said to cheers from the crowd of more than 100. >> >> "Citizenship requires passing a test on American history in English. If >> that's true, then we do not have to create ballots in any language except >> English," he said. >> >> Peter Zamora, co-chair of the Washington-based Hispanic Education >> Coalition, which supports bilingual education, said, "The tone of his >> comments were very hateful. Spanish is spoken by many individuals who do >> not live in the ghetto." >> >> He said research has shown "that bilingual education is the best method of >> teaching English to non-English speakers." >> Spanish-speakers, Zamora said, know they need to learn English. >> >> "There's no resistance to learning English, really, among immigrants, among >> native-born citizens," he said. "Everyone wants to learn English because >> it's what you need to thrive in this country." >> >> In the past, Gingrich has supported making English the nation's official >> language. He's also said all American children should learn English and >> that other languages should be secondary in schools. >> >> In 1995, for example, he said bilingualism poses "long-term dangers to the >> fabric of our nation" and that "allowing bilingualism to continue to grow >> is very dangerous." >> >> Bilingual programs teach students reading, arithmetic and other basic >> skills in their native language so they do not fall behind while mastering >> English. >> >> On voting, federal law requires districts with large populations of >> non-English speakers to print ballots in multiple languages. > > ======================================================================= Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check WVU Zwiki, Google for recent. Write for info on books, cds, performance, dvds, etc. ============================================================= ========================================================================= Date: Sun, 1 Apr 2007 16:47:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: the language of living in a ghetto 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 45% of 60,000 people polled on CNN.com agree with Newt. On Apr 1, 2007, at 2:12 PM, Maria Damon wrote: > anyone who cites newt gingrich as an authority on *anything* is too > stupid to pay attention to. > > At 9:22 AM -0500 4/1/07, mIEKAL aND wrote: >> Abolish bilingual education, Gingrich urges >> POSTED: 10:50 p.m. EDT, March 31, 2007 >> >> http://www.cnn.com/2007/POLITICS/03/31/gingrich.bilingual.ap/ >> index.html >> >> WASHINGTON (AP) -- Former House Speaker Newt Gingrich equated >> bilingual education Saturday with "the language of living in a >> ghetto" and mocked requirements that ballots be printed in >> multiple languages. ========================================================================= Date: Sun, 1 Apr 2007 15:21:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: North-3 Text-2 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable North-3 Text-2 http://web.pdx.edu/~pdx00282/North/North-3/text-2.htm Introduction: http://web.pdx.edu/~pdx00282/North/Intro.htm -Joel ========================================================================= Date: Sun, 1 Apr 2007 16:32:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: April at Small Press Traffic Mime-Version: 1.0 Content-Type: text/plain; format=flowed April at Small Press Traffic Friday April 13 at 7:30 Ed Roberson & Evie Shockley Sunday April 22 at 7 (held at New Yipes http://newyipes.blogspot.com) Anne Boyer & William Moor Friday April 27 at 7:30 Memorial for kari edwards Elizabeth Treadwell, Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, California 94107 415 551 9278 http://www.sptraffic.org smallpresstrafficATgmail _________________________________________________________________ Get a FREE Web site, company branded e-mail and more from Microsoft Office Live! http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Sun, 1 Apr 2007 21:13:02 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Rachel M. Simon reads in Chicago this Thursday April 5 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Rachel M. Simon Book Launch Reading To celebrate the release of her new book Theory of Orange Thursday April 5th Women and Children First Bookstore, Chicago 5233 N. Clark St. Chicago, IL 60640 Tel: 773.769.9299 7:30-8:30pm Theory of Orange by Rachel M. Simon from Pavement Saw Press ISBN: 978-1-886350-45-8 Book can be ordered using paypal direct from Pavement Saw at: http://www.pavementsaw.org/books/orange.htm or from the SPD website http://www.spdbooks.org/Details.asp?BookID=9781886350458 or by calling 1-800-869-7553 Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sun, 1 Apr 2007 23:10:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable thanks for providing a more nuanced view of certain strains of alternative spirituality, CA -- I'm rather jaded, having come from a legitimate study of ancient religions and seen the kind of twaddle mass marketers of easy-bake spirituality sell in our time.=20 I think you're right about Blavatsky -- I have a copy of The Secret Doctrine, but I haven't done more than skim it -- my Sanskrit fu is weak, I'm afraid, and this has put me off reading her work more deeply.=20 to open this topic up to poetics, are there writers out there using New Age or alternative spiritual traditions in their work? I've been looking at the occult aspects of Spicer's and Duncan's poetry, but I wonder if there are other streams to investigate, more current ones. what about I Ching, a la Cage? I guess machine-generated, -altered, work is in a sense aleatory in similar ways to what the earlier crew were digging into.=20 over & out,=20 tl =20 =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of CA Conrad Sent: Saturday, March 31, 2007 17:34 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: complicit actions dismissed in a frenzy of greed It's no mistake the author of THE SECRET is now doing seminars with Donald Trump. Trump, the bastard real estate tycoon who evicted more artists than anyone in US history! FUCK THE SECRET! The only secrets worth uncovering in this world are those that destroy us everyday. There's much to be said for spiritualists who have been interested in helping others, especially healing others, like Cayce. I've been to the Edgar Cayce Institute many times, and the library is open, and free, all the time. In that library are ALL of the giant binders filled with endless amounts of information surrounding Cayce's long and extraordinary history of helping people overcome disease. And he did all this through trance. Blavatsky headquarters was here in my hometown of Philadelphia. I've been to the Lodge of Theosophy she helped start, located in Rittenhouse Square. That library is also open to the public, and free, and has everything from Krishnamurti to Simone Weil. What I appreciate about the Theosophists is that they do NOT encourage dogma of one type or another taking hold, and prefer all theology be looked at as forms of philosophy. And they challenge YOU to challenge them, them being the elders. And let me tell you, the elders at the Philadelphia Lodge of Theosophy are endless fonts of wisdom and very thick-skinned to anyone walking in. You can't knock them off track because they're never really ON track. And as far as Blavatsky, let me first say I'm no Blavatsky-ite, HOWEVER, she had guts and courage that's rare for any generation! Imagine being a woman in conservative Philadelphia in 1875 who sets up shop off the University of Pennsylvania campus and starts mouthing off to every priest she comes in contact with! She's brilliant in her book THE KEY TO THEOSOPHY, which is basically a book of transcriptions of arguments with priests. In particular I Love her one argument she titles, "Prayer Kills Self Reliance." While books like THE SECRET would have us dream our homes into wealth, Blavatsky would have us be as vulnerable and alone as possible to rely on ourselves FIRST, then to move forward to help bring this world into better awareness, kindness, and health. For instance in her argument the priest demands she understand how The People need prayer to be connected to God, etc. She takes him off guard by arguing, Yeah, well suppose God owned a shop, and all the workers prayed to God to do all the work in the shop for them. Would that be fair? No, and we're not here for God to do our work for us. We're here to figure things out, not be spoon-fed. (my paraphrase) THE SECRET, in like, promotes weakness. And comes at a time when many thousands of lives are lost and countless more shattered by our Bush regime's atrocities we all help finance every single time we pay our taxes. ========================================================================= Date: Sun, 1 Apr 2007 14:27:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: AGNI's Shocking Remarks In-Reply-To: <46f2b6d00704011037k53b7e5d6tc4230736e7780a45@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Actually, rather than DARING to submit work to Agni, i'd never BOTHER to submit work to Agni. the fact that they would publish a poem as boring as the stuff Jeffrey Levine writes is far more damning of their editorial policy than whether or not they take into account the poets' extracurricular activities. You say several times that Agni is a respected journal. Respected by whom? I don't give a rat's ass about Agni, so i should be upset by their editorial policy just because they sell a lot of copies? Poetry sells a lot of copies too, does that make them respected as well? Even though Christian Wiman wouldn't know a good poem if Walt Whitman rose from the grave and hand delivered it to him pressed in gold leaf and stating unequivocally that "this is a good poem?" Not that he wouldn't take uncle Walt's word for it, I'm sure he would, but i doubt he'd know it was a good poem. I'm being a bit facetious, but i really do think that you're undervaluing the importance of aesthetic concerns in poetry. I think Agni's aesthetic is far more oppressive than any correlary like the post you quoted from Foetry. Incidentally, could you line me to the Levine controversy so I can understand what he's accused of? I think the whole idea of poetry contests is a little degrading and stupid, to be honest with you, and as such have never really cared for foetry's distinction between "good" contests and "bad" contests. All contests are bad for the art form I think, and the people who participate in them ought to be shunned. As such, I think I'm maybe more in agreement with this aspect of Agni's editorial policy than I am with their general idea of what constitutes a "good" poem. Robert Perlman wrote: > Jason Quackenbush wrote: > >> I don't think i've ever read an issue of Agni cover to cover and enjoyed > > more than two pieces in it, and usually one of them is a short story. I > don't > >> like any of the poets that foetry slags off, I don't write the kind of > > poetry that wins poetry contests. I think your reaction is pretty out of > line. > >> Agni is entitled to whatever editorial policy they want to adopt, and I > > think a bigger problem is the editorial policy that accepts so much > mediocre > >> poetry in a journal with such wide distribution. You seem really angry > > about this, though, and I really don't understand why. > > The issue is bigger than your taste in poems, AGNI's taste in poems, the > type of poetry you write, poetry contests or Foetry. The issue is that a > respected journal has been cowed into apologizing for making their > editorial > decision based on the poem at hand. AGNI seems to be saying that they made > a mistake, that if they had known about someone's activities outside the > realm of the poem, they would not have published it. Sure, AGNI can do > whatever they want vis a vis publishing this or that poem. But to > publically > state that someone's actions outside a poem mandate a different response to > that poem and even a deliberate block of publication of that poem, is, to > me, sheer McCarthy-ism. It's about the poem, not the poet. Any other > "editorial policy" is reprehensible. That's why I'm "so angry." And that's > why any poet here should be as angry as I am that AGNI, a respected > journal, > has now revealed such an editorial policy. Do you dare submit work to > AGNI? > Are you sure you're MORAL enough for them? Ugh. > > Robert Perlman wrote: > >> AGNI posted these remarks on the Foetry site recently regarding their >> publication of a poet's (Jeffrey Levine's) poem. My response follows. >> I am >> determined to publicize this to as many people in the poetry field as >> possible. >> >> >> >> >> Posted: Sat Mar 31, 2007 12:03 pm Post subject: Re: Levine's "Antonia >> ..." >> >> >> >> > -------------------------------------------------------------------------------- > > >> >> >> >> >> Quote: AGNI writes: >> >> >> >> "AGNI accepted Jeffrey Levine's "Antonia Refuses the Nectarines" many >> months >> ago -- long before the contest issue arose -- signed a contract with him, >> and he approved the online galleys also before we knew of any problem. We >> felt a strong ethical obligation to continue with the posting of this one >> poem." >> >> >> >> My Response: >> >> This is a SHOCKING post--the idea that AGNI editors would lower >> themselves >> to post anything serious on this site, let alone imply that they might >> not >> have published Jeffrey Levine's poem if the contest controversy were >> known > > >> to them is astounding. I'm ashamed for whoever made this post and is >> seeking >> to distance AGNI from a decision made about a poem, not a person, out of >> what--fear? AGNI has validated a witch hunt and will forever be damaged > > for > >> doing so in my eyes. I intend to make sure as many others as possible >> know >> about AGNI's publication policy as seen in this post--in summary, AGNI > > will > >> only publish poets who don't have any controversy attached to them (that >> they KNOW about of course) since it might brush off on AGNI and tarnish >> them >> in the eyes of a group of utterly talentless, bitter, conspiracy-driven, >> destructive-minded, wannabe-poets. AGNI fears Foetry? AGNI apologizes >> for an >> editorial decision because people are upset about a poet's actions in >> another arena? AGNI feels the need to defend itself for selecting a poem >> because the poet is under fire? And to the people HERE? It's beyond >> comprehension. Who the hell is going to stand up to this? There has >> GOT to >> be legal recourse to what these people are doing here, the casual and >> constant defamation of character, the damage to the field of poetry > > itself. > >> Who NEEDS Foetry? What is it doing for poetry, other than systematically >> destroying the handful of presses and people who care enough to dedicate >> themselves to helping the art survive? ========================================================================= Date: Sun, 1 Apr 2007 19:02:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Seattle Sound Poetry MIME-Version: 1.0 Content-Type: text/plain; charset=ascii On Friday night I witnessed one of the more remarkable evenings of poetry I have seen in many months. The event was an performance of SOUND/VISUAL/DIGITAL/POETRIES with Crag Hill, Geof Huth, Jim Andrews & Nico Vassilakis. The venue was Seattle's historic Good Shepherd Center, which for sixty years served women with shelter, training and education opportunities until 1973. Located in the Wallingford Neighborhood, home to Seattle's wonderful all poetry bookstore Open Books, it would have been turned into a shopping mall if not for the intervention of residents over thirty years ago. The Subtext reading is slated to move to this venue in summer. I did not expect to write a review of the evening, so did not take notes and do not want this post to be confused with anything of that sort, but each performer had a compelling contribution to the evening's festivities. Jim Andrews, of Victoria, BC and vispo.com fame demonstrated his vis/soundpo program Nio, linked here: http://www.vispo.com/nio/ The simple tune, which can be manipulated by the person browsing his site, has a catchy little melody which lingers in one's mind, as well as interesting graphics. What a great teaching tool this program would make for beginning computer users! Geof Huth gave a power point tour of work done by important North American visual poetry artists, such as Peter Ciccariello, Nico and Lionel Kearns, who just happened to be in the audience, visiting from Vancouver, BC. Crag performed and directed a multi-voice sound poem using a stomp of his foot to cue the readers to the next stanza. Nico had one of his concrete films play and was quite mesmerizing. The silence during the film, at certain points when there was no soundtrack, was quite remarkable. Being in the chapel of the old building with HUGE ceilings, this experience of silence was all too rare these days, and welcome. Later, at the restaurant afterwards I was introduced to Lionel and given a copy of his new collection of selected poems on Talonbooks, "A Few Words Will Do." There is some incredibly remarkable poetry in that collection and I am grateful to have had such an introduction to the man and his important work. It was good to reconnect with David Abel, Michael Dylan Welch, Joe Keppler, mARK oWEns and the featured poets. Now, as a person who has studied Open Form, the notion of process being open is rather important to me. My question to those on this list is about content. Certainly the kinds of poems performed Friday night are the most open in terms of content. It is almost totally up to the (listener) viewer as to what connections are made, what meaning is drawn. What do poets on this list feel is the poet's responsibility regarding content, if any? I hope for an enlightening discussion, but I'll take what I can get from this list. Paul Nelson Paul E. Nelson www.GlobalVoicesRadio.org www.SPLAB.org Slaughter, WA 98002 253.735.6328 or 888.735.6328 ========================================================================= Date: Sun, 1 Apr 2007 22:35:21 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Agni needs a spine In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The situation with foetry affects all of us. It is apparent from my interactions with foetry that Alan Cordle is against all contests, even an honest one. Foetry first went after me insinuating that I appeared in the Denver Quarterly because I had Bin Ramke as a judge. That statement sat on their site for many months even after the timeline was shown to them that proved that the accusation was false. I am not sure why we were brought onto their site except for an apparent need of Cordle to attack Ramke and anyone who used him as a judge. The passage below written by Cordle is yet another instance of his making things up without evidence: ------------------------- Let's see. Please tell me if I got anything wrong. David Baratier's letters and poems have appeared in the Denver Quarterly, editor Bin Ramke, professor, University of Denver. Baratier is editor of Pavement Saw Press, in Ohio, which gets money from Ohio taxpayers in order to establish, according to Pavement Saw Press's mission statement, a "non-university affiliated press" which helps Ohio's economy by attracting outside attention and publishing "works of national signifiance." Dana Curtis, Ph.D. University of Denver, wins Pavement Saw Press Prize, picked by Ramke. Curtis is founder & editor-in-chief of Elixir Press, based in Denver. Jake Adam York, director of creative writing, University of Colorado at Denver, and Colorado Council on the Arts fellow, wins Elixir Press Prize. Sounds to me like university-affiliated Denver is the cat and the Ohio taxpayers are the cream. It looks like, so far at least, there's a nice little Denver system in place here. Very nice. ---------------------------------------------- Ok, Back to my side again The above written by Cordle is a total fabrication. York and Curtis didn't know each other in fact, at the time Dana was in Minneapolis, not Denver I did not know Bin except for asking him to judge the contest and I asked him because I called to find out if they were going to run a interview I did with Simon Perchik (which appeared as a feature in an early issue of Jacket) and while he was on the line I asked if he would be interested. I'll just stop here. The whole thing is starting to bother me again. Our contest is blind judged, the manuscripts are stripped of the name and publication credits, if we can afford a judge, the judge is sent 25 manuscripts out of all recieved. If not I end up judging the batch I am sent back from the readers. If I am able to afford publishing two books (1000 run each) from the entries I do. Then we pay to mail everyone at least their entry fee worth of books we have published. I think we run one of the fairest contests there is, I challenged Cordle to come up with a place that did better. I am still waiting. Anyway, my experience is that we would have something false written about us with no evidence, and once that material appeared on the foetry website it became my job to "prove him wrong." I should also mention that Levine is one of our authors. And that (for the record, as to avoid more wild speculation) his book won our contest before Tupelo was publishing. I also do not see why Levine being accused of a problem with the way he runs his press should affect the acceptance of his poems into journals. This is heading into an ugly direction, what is next? Will AGNI apologize about publishing poems if a poet is accused of running a red-light? Maybe AGNI should apologize for all of the poems they publish until they get a spine. Considering the student teacher problems with poetry awards and with contests who have chosen a winner beforehand, my amazement with Cordle is how inflated he is over the little he has revealed. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sun, 1 Apr 2007 23:26:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: FROM field duplicated. Last occurrence was retained. From: "Tom W. Lewis =" Subject: Re: complicit actions dismissed in a frenzy of greed MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable ----- Original Message ----=0AFrom: Tom W. Lewis = =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Sunday, April 1, 2007 9:10:18 P= M=0ASubject: Re: complicit actions dismissed in a frenzy of greed=0A=0A...t= o open this topic up to poetics, are there writers out there using New=0AAg= e or alternative spiritual traditions in their work? I've been looking=0Aat= the occult aspects of Spicer's and Duncan's poetry, but I wonder if=0Ather= e are other streams to investigate, more current ones. what about I=0AChing= , a la Cage? I guess machine-generated, -altered, work is in a=0Asense alea= tory in similar ways to what the earlier crew were digging=0Ainto. =0A=0Aov= er & out, =0A=0Atl=0A =0AThe New Age is about taking the I-Ching and making= it go "cha-ching." That's how I feel about New Age thought, mostly, but a = lot of spirituality gets lumped into that category because people don't kno= w how to categorize it and that's what they try to do when they desire to c= ontrol it. =0A=0AI saw "The Secret" at an IoNS event here in the Seattle ar= ea a year ago. IoNS is the Institute of Noetic Sciences. From their website= www.noetic.org comes this: =0A=0A"The =0A = word "noetic" comes from =0A = the ancient Greek nous, for which there =0A = is no exact equivalent in English. It =0A = refers to "inner knowing," a =0A = kind of intuitive consciousness=97direct =0A = and immediate access to knowledge beyond =0A = what is available to our normal senses =0A = and the power of reason. =0A = =0A =0A=0AWhat =0A = are 'Noetic Sciences'?=0A=0A=0A=0A=0ANoetic science= s are explorations into the nature and potentials of=0Aconsciousness using = multiple ways of knowing=97including intuition,=0Afeeling, reason, and the = senses. Noetic sciences explore the "inner=0Acosmos" of the mind (conscious= ness, soul, spirit) and how it relates to=0Athe "outer cosmos" of the physi= cal world." =0A=0ABasically they're talking about consciousness science. My= initial reaction to watching "The Secret" was that it was a failure as art= , and often had the tone of an infomercial, but still had a message worth = hearing, and that is our thoughts create our reality and if we take respons= ibility for everything that happens to us, everything, see what inside us a= ttracted that event, we can only gain. McClure, in his poem "Rare Angel" ha= d a great line: "We swirl out what we are and watch what returns." Now we s= hould understand McClure's sources as Science, Whitehead and Hua Yen Buddhi= sm, among other things. Not new age.=0A=0ADuncan had Theosophists for his a= doptive parents who used astrology to find the child they would adopt, (Rob= ert) and Robin Blaser discusses Duncan/Blaser/Spicer cosmology in an interv= iew I conducted with him last year which is on-line at: http://www.globalvo= icesradio.org/Tracking_Fire.html A more detailed version of that intervie= w will be published this summer by Lou Rowan's Golden Handcuffs Review. Bla= ser said in his essay The Fire that "the real business of poetry is cosmolo= gy" and Olson stated in Projective Verse that he wanted to discuss what "st= ance toward reality" bring such verse into being. Coming out of Whitehead, = as illustrated by Blaser in his essay on Olson called "The Violets," and Sh= ahar Bram in his book "Charles Olson and Alfred North Whitehead: An Essay o= n Poetics," this would seem to refer to a shift from a Newtonian/Cartesian = (Materialistic) model to one that sees reality as Organismic. The world is = not like a clock, but is a single system, an organism. Reality is not THINGS, but EVENTS and the relationship between different e= vents is paramount.=0A=0APaul=0A=0A=0A=0APaul E. Nelson =0Awww.GlobalVoices= Radio.org =0Awww.SPLAB.org =0A908 I. St. N.E. #4 =0ASlaughter, WA 98002 =0A= 253.735.6328 or 888.735.6328=0A=0A =0A=0A-----Original Message-----=0AFrom= : UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]=0AOn Be= half Of CA Conrad=0ASent: Saturday, March 31, 2007 17:34=0ATo: POETICS@LIST= SERV.BUFFALO.EDU=0ASubject: Re: complicit actions dismissed in a frenzy of = greed=0A=0A It's no mistake the author of THE SECRET is=0Anow doing seminar= s with Donald Trump. Trump,=0Athe bastard real estate tycoon who evicted m= ore=0Aartists than anyone in US history! FUCK THE=0ASECRET! The only secre= ts worth uncovering in=0Athis world are those that destroy us everyday.=0A= =0AThere's much to be said for spiritualists who have=0Abeen interested in = helping others, especially=0Ahealing others, like Cayce. I've been to the= =0AEdgar Cayce Institute many times, and the=0Alibrary is open, and free, a= ll the time. In that=0Alibrary are ALL of the giant binders filled with=0A= endless amounts of information surrounding=0ACayce's long and extraordinary= history of=0Ahelping people overcome disease. And he=0Adid all this throu= gh trance.=0A=0ABlavatsky headquarters was here in my=0Ahometown of Philade= lphia. I've been to the=0ALodge of Theosophy she helped start, located=0Ai= n Rittenhouse Square. That library is also open=0Ato the public, and free,= and has everything from=0AKrishnamurti to Simone Weil.=0A=0AWhat I appreci= ate about the Theosophists is=0Athat they do NOT encourage dogma of one typ= e=0Aor another taking hold, and prefer all theology=0Abe looked at as forms= of philosophy. And they=0Achallenge YOU to challenge them, them being=0At= he elders. And let me tell you, the elders at=0Athe Philadelphia Lodge of = Theosophy are endless=0Afonts of wisdom and very thick-skinned to anyone=0A= walking in. You can't knock them off track because=0Athey're never really O= N track.=0A=0AAnd as far as Blavatsky, let me first say I'm no=0ABlavatsky-= ite, HOWEVER, she had guts and=0Acourage that's rare for any generation! I= magine being=0Aa woman in conservative Philadelphia in 1875 who=0Asets up s= hop off the University of Pennsylvania campus=0Aand starts mouthing off to = every priest she comes in=0Acontact with! She's brilliant in her book THE = KEY TO=0ATHEOSOPHY, which is basically a book of transcriptions=0Aof argume= nts with priests. In particular I Love her one=0Aargument she titles, "Pra= yer Kills Self Reliance." While=0Abooks like THE SECRET would have us drea= m our homes=0Ainto wealth, Blavatsky would have us be as vulnerable and=0Aa= lone as possible to rely on ourselves FIRST, then to=0Amove forward to help= bring this world into better awareness,=0Akindness, and health. For insta= nce in her argument the=0Apriest demands she understand how The People need= =0Aprayer to be connected to God, etc. She takes him off=0Aguard by arguin= g, Yeah, well suppose God owned a shop,=0Aand all the workers prayed to God= to do all the=0Awork in the shop for them. Would that be fair? No, and= =0Awe're not here for God to do our work for us. We're here=0Ato figure th= ings out, not be spoon-fed. (my paraphrase)=0A=0ATHE SECRET, in like, promo= tes weakness. And comes=0Aat a time when many thousands of lives are lost = and=0Acountless more shattered by our Bush regime's atrocities=0Awe all hel= p finance every single time we pay our taxes.=0A=0A=0A=0A=0A ========================================================================= Date: Mon, 2 Apr 2007 12:55:20 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ren Powell Subject: Call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Babel is the online journal for ICORN, the International Cities of Refuge Network. It is a quarterly literary/activist journal focused on freedom of expression, exile, identity and cross-cultural issues. Our audience is international and the work we publish reflects this. Prose, poetry (we prioritize bilingual poems, original and translation or code-switching), essays and interviews are all welcome. We encourage creative twists on our themes. We aren't able to pay our contributors, but your work would help support a meaningful organization. Please see submission guidelines at www.icorn.org (http://www.icorn.org/sections.php?var=12) For the summer issue we are requesting creative responses (poems, creative non-fiction etc) to Wilford Owen's Athem for Doomed Youth. ______ ren@icorn.org www.icorn.org ========================================================================= Date: Mon, 2 Apr 2007 08:13:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D72@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit simon pettet, gerrit lansing for starters, & there must be women writing from that pt of view--Gaia & other earth mother traditions On 4/2/07 12:10 AM, "Tom W. Lewis" wrote: > thanks for providing a more nuanced view of certain strains of > alternative spirituality, CA -- I'm rather jaded, having come from a > legitimate study of ancient religions and seen the kind of twaddle mass > marketers of easy-bake spirituality sell in our time. > > I think you're right about Blavatsky -- I have a copy of The Secret > Doctrine, but I haven't done more than skim it -- my Sanskrit fu is > weak, I'm afraid, and this has put me off reading her work more deeply. > > to open this topic up to poetics, are there writers out there using New > Age or alternative spiritual traditions in their work? I've been looking > at the occult aspects of Spicer's and Duncan's poetry, but I wonder if > there are other streams to investigate, more current ones. what about I > Ching, a la Cage? I guess machine-generated, -altered, work is in a > sense aleatory in similar ways to what the earlier crew were digging > into. > > over & out, > > tl > > > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of CA Conrad > Sent: Saturday, March 31, 2007 17:34 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: complicit actions dismissed in a frenzy of greed > > It's no mistake the author of THE SECRET is > now doing seminars with Donald Trump. Trump, > the bastard real estate tycoon who evicted more > artists than anyone in US history! FUCK THE > SECRET! The only secrets worth uncovering in > this world are those that destroy us everyday. > > There's much to be said for spiritualists who have > been interested in helping others, especially > healing others, like Cayce. I've been to the > Edgar Cayce Institute many times, and the > library is open, and free, all the time. In that > library are ALL of the giant binders filled with > endless amounts of information surrounding > Cayce's long and extraordinary history of > helping people overcome disease. And he > did all this through trance. > > Blavatsky headquarters was here in my > hometown of Philadelphia. I've been to the > Lodge of Theosophy she helped start, located > in Rittenhouse Square. That library is also open > to the public, and free, and has everything from > Krishnamurti to Simone Weil. > > What I appreciate about the Theosophists is > that they do NOT encourage dogma of one type > or another taking hold, and prefer all theology > be looked at as forms of philosophy. And they > challenge YOU to challenge them, them being > the elders. And let me tell you, the elders at > the Philadelphia Lodge of Theosophy are endless > fonts of wisdom and very thick-skinned to anyone > walking in. You can't knock them off track because > they're never really ON track. > > And as far as Blavatsky, let me first say I'm no > Blavatsky-ite, HOWEVER, she had guts and > courage that's rare for any generation! Imagine being > a woman in conservative Philadelphia in 1875 who > sets up shop off the University of Pennsylvania campus > and starts mouthing off to every priest she comes in > contact with! She's brilliant in her book THE KEY TO > THEOSOPHY, which is basically a book of transcriptions > of arguments with priests. In particular I Love her one > argument she titles, "Prayer Kills Self Reliance." While > books like THE SECRET would have us dream our homes > into wealth, Blavatsky would have us be as vulnerable and > alone as possible to rely on ourselves FIRST, then to > move forward to help bring this world into better awareness, > kindness, and health. For instance in her argument the > priest demands she understand how The People need > prayer to be connected to God, etc. She takes him off > guard by arguing, Yeah, well suppose God owned a shop, > and all the workers prayed to God to do all the > work in the shop for them. Would that be fair? No, and > we're not here for God to do our work for us. We're here > to figure things out, not be spoon-fed. (my paraphrase) > > THE SECRET, in like, promotes weakness. And comes > at a time when many thousands of lives are lost and > countless more shattered by our Bush regime's atrocities > we all help finance every single time we pay our taxes. ========================================================================= Date: Mon, 2 Apr 2007 08:07:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: the language of living in a ghetto In-Reply-To: <2F3F0A5B-788F-4DBA-BAAD-480B8695F704@mwt.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i rest my case. At 4:47 PM -0500 4/1/07, mIEKAL aND wrote: >45% of 60,000 people polled on CNN.com agree with Newt. > >On Apr 1, 2007, at 2:12 PM, Maria Damon wrote: > >>anyone who cites newt gingrich as an authority on *anything* is too >>stupid to pay attention to. >> >>At 9:22 AM -0500 4/1/07, mIEKAL aND wrote: >>>Abolish bilingual education, Gingrich urges >>>POSTED: 10:50 p.m. EDT, March 31, 2007 >>> >>>http://www.cnn.com/2007/POLITICS/03/31/gingrich.bilingual.ap/index.html >>> >>>WASHINGTON (AP) -- Former House Speaker Newt Gingrich equated >>>bilingual education Saturday with "the language of living in a >>>ghetto" and mocked requirements that ballots be printed in >>>multiple languages. ========================================================================= Date: Mon, 2 Apr 2007 08:37:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Kotin Subject: POEM PRESENT: British Poets Comments: cc: creative-writing@listhost.uchicago.edu 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 Poem Present Reading and Lecture Series ANDREA BRADY, PETER MANSON, & KESTON SUTHERLAND Reading: Thursday, April 5 5:30 PM Rosenwald 405 1101 E. 58th Street Reception to follow Short Talks: Andrea Brady on "Tom Raworth: Poetry and Public Pleasure" Keston Sutherland on "On Poetry and Stupidity in General" Friday, April 6 1:00 PM Rosenwald 405 1101 E. 58th Street [in collaboration with Chicago Review (http://humanities.uchicago.edu/=20= orgs/review/) & the Nicholson Center for British Studies] * * * Andrea Brady was born in Philadelphia, studied at Columbia University =20= and then at Cambridge, and now teaches early modern literature at =20 Brunel University in London. Her books of poetry include Embrace =20 (Object Permanence, 2005) and Vacation of a Lifetime (Salt, 2001). =20 Most recently, her long poem =93Wildfire,=94 a verse essay on obscurity =20= and illumination, was published on Dispatx.com. With Keston =20 Sutherland, Andrea runs the small press Barque. She is also Director =20 of the Archive of the Now, a site featuring readings by nearly 100 =20 contemporary British-based poets which she commissioned and collected. Peter Manson was born in Maryhill, Glasgow, Scotland, in 1969. He =20 studied English at Glasgow University (lots of Old English and other =20 medieval). He co-edited (with Robin Purves) the experimental/=20 modernist poetry journal Object Permanence (1994=961997, now re-actived =20= as a pamphlet publisher). He has worked as a proofreader, editor, =20 staple remover, civil servant and was the 2005=962006 Judith E. Wilson =20= Visiting Fellow in Poetry at the University of Cambridge. His books =20 include Before and After Mallarm=E9 (Survivors=92 Press, 2005), Adjunct: = =20 An Undigest (Edinburgh Review, 2005), For the Good of Liars (Barque, =20 2006). His website, Freebase Accordion, can be found at =20 www.petermanson.com. He still lives in Glasgow. Keston Sutherland was born in Bristol, England in 1976. He studied at =20= Cambridge and Harvard. He lives in Brighton and has worked there =20 since 2004 as a lecturer in English literature and critical theory at =20= the University of Sussex. With Andrea Brady he is the co-editor of =20 Barque Press (www.barquepress.com); he also edits the =20 neopreraphaelite totalitarianist journal quid (back issues of which =20 can be read online via the Barque site) and co-edits the anonymous =20 reviews website On Company Time with Justin Katko. Poems authored by =20= Keston have been published in French, German, and Chinese =20 translations. Current writing projects include an annotated edition =20 of the critical prose works of J.H. Prynne and a theoretical study of =20= the meaning and consequences of stupefaction in western real life. A =20 bibliography of essays, reviews, and books of poetry, together with =20 some reviews and links, can be found on Keston=92s page on the =20 University of Sussex website or at Barque; some readings are =20 available on Archive of the Now. * * * Persons with a disability who believe they may need assistance should =20= call 773-834-8524 in advance of the event. Visit poempresent.uchicago.edu for a schedule of upcoming events as =20 well as an online archive of POEM PRESENT audio and video recordings. If you would like to receive announcements about POEM PRESENT and =20 Poetry and Poetics events at University of Chicago, visit https://=20 listhost.uchicago.edu/mailman/listinfo/poetics ========================================================================= Date: Mon, 2 Apr 2007 09:56:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Perlman Subject: Re: AGNI's Shocking Remarks MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm not "undervaluing the importance of aesthetic conerns in poetry" I'm just not talking about that. It's not the subject I introduced here. If you don't care about the issue of editorial choice in re: to people's lives (try to think about it in re: to say, the Bolligen Prize controversy with Pound decades ago to get a grip on what I'm saying), that's fine. But I'm not interested--at all-- in talking about the quality of poetry in AGNI, the the quality of poetry these days in general, poetry contests, Foetry, what you think of Christian Wiman or any of that. It's boring and leads nowhere. So adios. Jason Quackenbush wrote: Actually, rather than DARING to submit work to Agni, i'd never BOTHER to submit work to Agni. the fact that they would publish a poem as boring as the stuff Jeffrey Levine writes is far more damning of their editorial policy than whether or not they take into account the poets' extracurricular activities. You say several times that Agni is a respected journal. Respected by whom? I don't give a rat's ass about Agni, so i should be upset by their editorial policy just because they sell a lot of copies? Poetry sells a lot of copies too, does that make them respected as well? Even though Christian Wiman wouldn't know a good poem if Walt Whitman rose from the grave and hand delivered it to him pressed in gold leaf and stating unequivocally that "this is a good poem?" Not that he wouldn't take uncle Walt's word for it, I'm sure he would, but i doubt he'd know it was a good poem. I'm being a bit facetious, but i really do think that you're undervaluing the importance of aesthetic concerns in poetry. I think Agni's aesthetic is far more oppressive than any correlary like the post you quoted from Foetry. Incidentally, could you line me to the Levine controversy so I can understand what he's accused of? I think the whole idea of poetry contests is a little degrading and stupid, to be honest with you, and as such have never really cared for foetry's distinction between "good" contests and "bad" contests. All contests are bad for the art form I think, and the people who participate in them ought to be shunned. As such, I think I'm maybe more in agreement with this aspect of Agni's editorial policy than I am with their general idea of what constitutes a "good" poem. Robert Perlman wrote: > Jason Quackenbush wrote: > >> I don't think i've ever read an issue of Agni cover to cover and enjoyed > > more than two pieces in it, and usually one of them is a short story. I > don't > >> like any of the poets that foetry slags off, I don't write the kind of > > poetry that wins poetry contests. I think your reaction is pretty out of > line. > >> Agni is entitled to whatever editorial policy they want to adopt, and I > > think a bigger problem is the editorial policy that accepts so much > mediocre > >> poetry in a journal with such wide distribution. You seem really angry > > about this, though, and I really don't understand why. > > The issue is bigger than your taste in poems, AGNI's taste in poems, the > type of poetry you write, poetry contests or Foetry. The issue is that a > respected journal has been cowed into apologizing for making their > editorial > decision based on the poem at hand. AGNI seems to be saying that they made > a mistake, that if they had known about someone's activities outside the > realm of the poem, they would not have published it. Sure, AGNI can do > whatever they want vis a vis publishing this or that poem. But to > publically > state that someone's actions outside a poem mandate a different response to > that poem and even a deliberate block of publication of that poem, is, to > me, sheer McCarthy-ism. It's about the poem, not the poet. Any other > "editorial policy" is reprehensible. That's why I'm "so angry." And that's > why any poet here should be as angry as I am that AGNI, a respected > journal, > has now revealed such an editorial policy. Do you dare submit work to > AGNI? > Are you sure you're MORAL enough for them? Ugh. > > Robert Perlman wrote: > >> AGNI posted these remarks on the Foetry site recently regarding their >> publication of a poet's (Jeffrey Levine's) poem. My response follows. >> I am >> determined to publicize this to as many people in the poetry field as >> possible. >> >> >> >> >> Posted: Sat Mar 31, 2007 12:03 pm Post subject: Re: Levine's "Antonia >> ..." >> >> >> >> > -------------------------------------------------------------------------------- > > >> >> >> >> >> Quote: AGNI writes: >> >> >> >> "AGNI accepted Jeffrey Levine's "Antonia Refuses the Nectarines" many >> months >> ago -- long before the contest issue arose -- signed a contract with him, >> and he approved the online galleys also before we knew of any problem. We >> felt a strong ethical obligation to continue with the posting of this one >> poem." >> >> >> >> My Response: >> >> This is a SHOCKING post--the idea that AGNI editors would lower >> themselves >> to post anything serious on this site, let alone imply that they might >> not >> have published Jeffrey Levine's poem if the contest controversy were >> known > > >> to them is astounding. I'm ashamed for whoever made this post and is >> seeking >> to distance AGNI from a decision made about a poem, not a person, out of >> what--fear? AGNI has validated a witch hunt and will forever be damaged > > for > >> doing so in my eyes. I intend to make sure as many others as possible >> know >> about AGNI's publication policy as seen in this post--in summary, AGNI > > will > >> only publish poets who don't have any controversy attached to them (that >> they KNOW about of course) since it might brush off on AGNI and tarnish >> them >> in the eyes of a group of utterly talentless, bitter, conspiracy-driven, >> destructive-minded, wannabe-poets. AGNI fears Foetry? AGNI apologizes >> for an >> editorial decision because people are upset about a poet's actions in >> another arena? AGNI feels the need to defend itself for selecting a poem >> because the poet is under fire? And to the people HERE? It's beyond >> comprehension. Who the hell is going to stand up to this? There has >> GOT to >> be legal recourse to what these people are doing here, the casual and >> constant defamation of character, the damage to the field of poetry > > itself. > >> Who NEEDS Foetry? What is it doing for poetry, other than systematically >> destroying the handful of presses and people who care enough to dedicate >> themselves to helping the art survive? ========================================================================= Date: Mon, 2 Apr 2007 09:07:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Kotin Subject: CHICAGO REVIEW / UK / BANDITTO'S POETRY FOUNDATION Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Chicago Review's website [http://humanities.uchicago.edu/orgs/ review/] is now up-to-date. Please visit for information about the latest issue as well as a link to a special, downloadable pamphlet on the POETRY FOUNDATION by W. Banditto, Gent., which leads our new news section. The news section also includes dates for the British poetry tour, which starts tomorrow in South Bend, IN! Also on the site: the current issue (a special on British poetry) and subscriptions available for purchase! As a limited time offer, all subscriptions of two years or more will receive a FREE book from FLOOD EDITIONS. When ordering online, please note one of the following books in the comments field: William Fuller, Watchword [http://www.floodeditions.com/new/ fuller_watchword.html] Elizabeth Arnold, Civilization [http://www.floodeditions.com/new/ arnold_civilization.html] Graham Foust, Necessary Stranger http://www.floodeditions.com/new/ foust_necessarystranger.html Michael O'Brien, Sleeping and Waking [http://www.floodeditions.com/ new/index.html] Offer expires May 1, 2007. I almost forgot: the site links to select reviews from the current issue: V. Joshua Adams on Lee Harwood, Michael Robbins on Martin Corless-Smith, Leila Wilson on Sarah Law, Bobby Baird on Peter Larkin, and Rusty Morrison on Thomas A. Clark! Please staytuned to the site for more news and special offers . . . | | | | | | | | | | | | | | | | | Chicago Review 5801 South Kenwood Avenue Chicago Illinois 60637 http://humanities.uchicago.edu/orgs/review/ ========================================================================= Date: Sun, 1 Apr 2007 22:36:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lance Newman Subject: 3by3by3 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Call for submissions for 3by3by3 =20 Recipe: Pick 3 stories from Google News. Using only words that occur in = the first 3 paragraphs of each story, make a poem with 3 stanzas, 3 = lines each, no more than 60 characters per line. The 3-word title should = use a word from each story. Mechanical aids encouraged. On the same = newsday that your 3 stories were published, send your poem to = 3by3by3blog (at) gmail (dot) com. Include links to your 3 stories. =20 3by3by3 was launched as a public service by Lance Newman on Tuesday, = October 10, 2006, the birthday of the San Diego Union-Tribune--138 years = of logrolling, pablum, and vigilante screeds. =20 http://3by3by3.blogspot.com =20 e.g.: =20 The First Hanged=20 =20 Vice gallows against the raging months. =20 Our territory muzzles to the shelling. =20 Samurai whirlwind: kaiho e no senbi. =20 --George Ttoouli =20 ========================================================================= Date: Mon, 2 Apr 2007 10:15:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Zoe Ward Subject: Archipelago Books is looking for a new home! Comments: To: newyork@archipelagobooks.org Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Dear all, After a good run in our lovely DUMBO office, Archipelago Books will be in need of a new space beginning July 1st. While we would certainly prefer to stay in the DUMBO area, budget considerations leave us very, very open to other locations. If anyone knows of an open space --shared or otherwise-- that would accommodate two full-time and two part-time folks on a small budget, please contact me! Archipelago Books is a 501(c)3 not-for-profit organization. Best, 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: Mon, 2 Apr 2007 11:15:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Unspeakable News... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Just heard this and wanted to pass this on to those of you who know Jeet = Thayil and Shakti Bhatt. I'm shocked and saddened beyond words.=20 Dear Ravi,=20 In case you haven't heard from elsewhere, Shakti Bhatt, Jeet Thayil's = wife died three days ago, apparently of food poisoning. Jeet is in = Bangalore with his parents, in a sedated state, so I heard. Priya --=20 Priya Sarukkai Chabria www.priyawriting.com =20 6 Bella Vista 40/9Erandawane Pune 411004 India=20 ***************=20 Ravi Shankar=20 Ed., http://www.drunkenboat.com=20 Poet-in-Residence=20 Assistant Professor=20 CCSU - English Dept.=20 860-832-2766=20 shankarr@ccsu.edu=20 ========================================================================= Date: Mon, 2 Apr 2007 08:23:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Barack Obama In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit This is not a very good poem and it is much too long. I hope nobody reads it but other poets on this list. It's nice that Obama once tried to write a poem. But his beautifully written book Dreams From My Father is much, much better writing than we have here. Regards, Tom Savage Catherine Daly wrote: first, the former pope was a poet, now... http://news.independent.co.uk/world/americas/article2398887.ece perhaps Martha Ronk cn shed some light on this? The poetry of Barack Obama, aged 19 Pop Sitting in his seat, a seat broad and broken In, sprinkled with ashes, Pop switches channels, takes another Shot of Seagrams, neat, and asks What to do with me, a green young man Who fails to consider the Flim and flam of the world, since Things have been easy for me; I stare hard at his face, a stare That deflects off his brow; I'm sure he's unaware of his Dark, watery eyes, that Glance in different directions, And his slow, unwelcome twitches, Fail to pass. I listen, nod, Listen, open, till I cling to his pale, Beige T-shirt, yelling, Yelling in his ears, that hang With heavy lobes, but he's still telling His joke, so I ask why He's so unhappy, to which he replies... But I don't care anymore, cause He took too damn long, and from Under my seat, I pull out the Mirror I've been saving; I'm laughing, Laughing loud, the blood rushing from his face To mine, as he grows small, A spot in my brain, something That may be squeezed out, like a Watermelon seed between Two fingers. Pop takes another shot, neat, Points out the same amber Stain on his shorts that I've got on mine, and Makes me smell his smell, coming From me; he switches channels, recites an old poem He wrote before his mother died, Stands, shouts, and asks For a hug, as I shink,* my Arms barely reaching around His thick, oily neck, and his broad back; 'cause I see my face, framed within Pop's black-framed glasses And know he's laughing too. Underground Under water grottos, caverns Filled with apes That eat figs. Stepping on the figs That the apes Eat, they crunch. The apes howl, bare Their fangs, dance, Tumble in the Rushing water, Musty, wet pelts Glistening in the blue. -- All best, Catherine Daly c.a.b.daly@gmail.com --------------------------------- Now that's room service! Choose from over 150,000 hotels in 45,000 destinations on Yahoo! Travel to find your fit. ========================================================================= Date: Mon, 2 Apr 2007 09:57:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline annie finch I suppose you're going to have to figure out how alternative american buddhism and western study of the religions and philosophies of ancient asia are? me, but not in the ways this conversation seems to assume, also, a lot of this is in drafts for DEA and LOTUS and a hymnal project -- I'm really not interested in Blavatsky outside the religious revival in upstate NY that spawned mormonism, theosophy, and christian science, and really more interested in women-lead utopian communities from 1600-1800 in the US, but you will see that a lot of these same ideas continually return mary baker eddy's hymn lyrics are really right up there with Wesley's child beating ones this month, I'm trying to tour everyone with "Tzu" in the name as well as the five chinese books as a warm up for getting back to real poetry but doing a lot of floor refinishing instead oh yeah and I ws briefly an astrologer; paper craft is partically dedicated to my friend wendy cohen who consulted on tarot for dummies and I bought my copy of jack spicer at the bodhi tree, same place my dad bought his fave "find your leprechaun spirit guide" book -- All best from la la land, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Mon, 2 Apr 2007 10:38:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: AGNI's Shocking Remarks In-Reply-To: <46f2b6d00704020656u6c079c8bk91b62efbdd358f55@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline foetry and discussions around it bring out the way that the value some place on the coterie and the usefulness of movements or schools comes into conflict with art and publishing in the academy and with what is called "po biz" what foetry did in a valuable way was make public what many knew and many did not, which was that winning certain major prizes and garnering certain publications is about who one knows and who one studied with, the entire quid pro quo inherent in any business, except that unfortunately some people think the aura of art somehow conquers the business of publishing and education, which it doesn't; I think it ws valuable that some of this ws divorced from the poetry book publication raffle process, but of course the guy's gone a bit far if no one whose work is recognisable can enter any contest (though I will say that AGNI has struggled with dubious submission processes for as long as I can remember -- remember when they charged a reading fee for all submissions?) but I think one thing it hasn't done is make people think about the coterie and the publishing collective, which could really use some examination; you know, it is pretty hurtful to be outside them, since they are exclusive, self politicing / self praising little cells of -- increasingly -- capitalism, or at least po biz On 4/2/07, Robert Perlman wrote: > I'm not "undervaluing the importance of aesthetic conerns in poetry" I'm > just not talking about that. It's not the subject I introduced here. If you > don't care about the issue of editorial choice in re: to people's lives > (try to think about it in re: to say, the Bolligen Prize controversy with > Pound decades ago to get a grip on what I'm saying), that's fine. -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Mon, 2 Apr 2007 13:46:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable The ars poetica project continues to connect at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: C. J. Allen, Anamar=EDa Crowe Serrano, Tom Beckett, and Amy King. Poems will appear this week by: Rick Benjamin, mIEKAL aND, Stephen Paul Miller, Denise Duhamel, and Jordan Stempleman. A new poem about poetry every day.=20 Enjoy, Dan ========================================================================= Date: Mon, 2 Apr 2007 14:21:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Perlman Subject: Defamation & AGNI's Spinelessness MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline David Baratier wrote: "I also do not see why Levine being accused of a problem with the way he runs his press should affect the acceptance of his poems into journals. This is heading into an ugly direction, what is next? Will AGNI apologize about publishing poems if a poet is accused of running a red-light? Maybe AGNI should apologize for all of the poems they publish until they get a spine." THANK YOU David, for understanding the gravity of this situation. And yes, I agree completely about Cordle and his embittered miltia--why do they have this power to meddle and defame? Are poets in general just too frightened a group to stand up to it? It's quite amazing about AGNI--is Sven Birkerts afraid of what some librarian and his five followers think? Who's next? Here is what I just posted there in re: to their new blood-sport with Levine's poetry. I won't provide easy links to the Foetry site because they don't deserve any more publicity than they've gotten already. DEFAMATION - "An act of communication that causes someone to be shamed, ridiculed, held in contempt, lowered in the estimation of the community, or to lose employment status or earnings or otherwise suffer a damaged reputation." If the many personal attacks and false statements made about Jeffrey Levine were only done by, and only believed by, people on this board, no one would care. Foetry has long been known to be a peculiar outpost of the online poetry world where a few bitter, rejected poet-types rattle around looking for something and someone to destroy instead of working on their own poetry or doing something creative or positive for the poetry community. The leader of this group of embittered, defeated people, is not even a poet himself, not even a wannabe poet, just a librarian with time on his hands, an inflated sense of moral self-worth, a burning self-righteousness, and lots of maliciousness in his heart. He enjoys his nasty little games chasing poets around. Poets! Those super-powerful people in our society who are super-rich and preying on everyone. Right. One wonders why he doesn't turn his drive to rid the poetry world of corruption into something that's related to his own field of library science, something he presumably knows something about. Why does he insist on meddling in a field beyond his scope and competence? I suspect it's because poets are so easy to cow with words. Where else but on the internet could he get away with installing himself as a "leader" and proceed to incite attacks on other people and/or their work under the guise of "ethics"? Everyone who has any experience in the world of poetry knows it's unfair. Wow! I wonder if that means the whole world is unfair? Gee whiz. The plain fact is: it is so hard for poets, so hard for poetry to thrive in the world, the mere existence of this board is offensive. What is its point? To drive presses and journals and poets themselves even further away from being able to survive? Is it really so hard to imagine that money is involved in the field of poetry, that there are those who *deserve* to be paid for their services, who *deserve* to make a living, just as in any other field? Yes, I'm talking about Jeffrey Levine, for starters. Mixing the contest up with his own editorial work--a mistake. Simple and obvious. Evil? Immoral? Are you out of your minds? It sure wasn't a very crafty way to bilk anyone, was it? Come on--Levine isn't stupid. But he is HUMAN. And humans make mistakes. Get over it! Why assume bad intentions? And why assume in your wildest dreams that Levine would appear HERE and make some kind of apology? And why in the world does this Christopher Woodman guy assume Jeffrey Levine owes HIM a personal apology? Talk about calling the kettle black--hubris, indeed! It's laughable, really. And, by the way, be honest--if that ever happened, would you all be satisfied and leave it alone? No. What you would say is: "It's too late, he should have apologized sooner." Or: "He's only apologizing because it's harming his press/business etc." But--and this is the issue at hand--whether it was a mistake or not is BESIDE THE POINT--whatever Levine, or any poet, does in his or her life SHOULD NEVER BE CONSIDERED WHEN EVALUATING THE POEM. Isn't this EXACTLY what Foetry itself believes?? If anyone here had both talent in writing and an ability to improve over time, they would know that there are levels of improvement, that some editors (and teachers) are able to help writers improve and that some editors are much better at it than others. There seems to me a direct connection between those who cannot write and a disbelief in the whole concept of editing and/or teaching writing. I also see a connection between the least talented writers and poets and the most inflated egos. Kind of an 'American Idol' phenomenon. I see that here. In fact, people here seem to think they are editors themselves. They can't understand what an editor does, what Levine is so good at, what he deserves to be paid for (it's WORK, folks! And it's a skill you learn through experience), so they thrash around and come to the conclusion that because they don't know what it is, it must not exist at all! Then in frustration, they attack his poetry and try to read it as evidence of a lack of personal or editorial integrity. Apples and oranges and mangoes. It would be funny, but since Foetry apparently has the power to influence AGNI's perceptions, it's not funny. AGNI is respected. Foetry is not. When a respected entity needs to cowtow and act without integrity for the purpose of pleasing an unrespected entity there is a serious, serious problem. The only motivation on AGNI's part can be fear of Foetry, fear of being connected to someone Foetry is against, and/or fear of selecting a poem by someone they disapprove of AS A PERSON--and that's WRONG. No matter WHO the poet is or what they have done. Talk about lack of editorial integrity! AGNI is the epitome of that, not Levine. As for Foetry--it may have started with a good idea and with good intentions--to give a wake-up call to poetry contests. It has achieved that purpose (a purpose intitiated by Cordle to help his wife, a poet who had trouble winning a contest/getting published). But for the last couple of years it has been both a hellish and a ridiculous place, an embarassment to real poets, and now a frightening mob-mentality has taken over. (Though the "mob" seems to consist of about five or so people with nothing else to do). This self-serving board still has too much impact in the poetry world and they've strayed far beyond whatever competence they had, have made the contribution they will make. Foetry should have disappeared two years ago. Now, the very idea that a respected journal like AGNI would basically apologize--to Foetry, no less!--for choosing and printing a poem, because they have come to disapprove of a poet's actions in another arena of his life is the REAL final straw. Foetry does not deserve this kind of influence. Jeffrey Levine does not deserve this defamation of his character. The poetry world does not deserve to live in fear of a few know-nothing bullies. Foetry can and will be stopped. ========================================================================= Date: Mon, 2 Apr 2007 20:44:46 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ren Powell Subject: FW: call for submissions: Babel, MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit It's been brought to my attention that the recent call for submissions was riddled with misspellings. For the record, my email has Norwegian spell-check software. (And as most of you know, my spelling is poor to begin with). I do hope that my dyslexic emails wouldn't lead people to think that ICORN is not worth the bandwidth. ______ Ren Powell ========================================================================= Date: Tue, 3 Apr 2007 03:06:32 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: The Cruelest Month reading series Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Hi, all, this month The Towson Arts Collective will be hosting the 2nd annu= al Cruelest Month reading series. Check out the press release below... the Cruelest Month reading series=20 April 5, 12, 19, & 26 at 7:00 P.M.=20 Towson Arts Collective at the Towson Framing Gallery 410 York Road, Towson, MD, 21204 Christophe Casamassima, Curator=20=20 On April 5, 2007, Towson Arts Collective will host the second annual =93Cru= elest Month=94 poetry reading series for National Poetry Month at the Towso= n Arts Collective at the Towson Framing Gallery. Each week, we will invite = a student, a current faculty member from a local University, and poet from = the community who has experienced prominence (or notoriety=85) to share the= ir words and exchange views about the act of writing and its function in ou= r public, private and creative lives. We also encourage those who=92ll join= us to bring their praises and complaints: writing, after all, implies a co= mmunity, and it is necessary for the audience to have a voice, too.=20 =93the Cruelest Month reading series=94 continues the tradition started las= t year at Towson university. The goal of the series is not so much to enter= tain the notion that poetry is recognized in the world every 12 months. Ins= tead, we will unite the act of writing with a community of writers and read= ers who wish to discuss important topics concerning the state and place of = poetry in our lives.=20 The readings have no schemata, no prefabricated goals, no ideals but to int= roduce the people of Baltimore to a critical and literary experience that i= s lacking in many literary and academic communities. It will function speci= fically as a locus of readings, questions, and ongoing conversation. Hopefu= lly, this series will also encourage the formation of new and lasting relat= ionships. With the revitalization of downtown Towson, this series will kick= off a long line of programs, workshops and events at the Towson Arts Colle= ctive.=20 We will have the poets' books for sale, free chapbooks with the work of the= readers, and we will also accept donations of books of poetry for our libr= ary. We will also be following the readings with a venture away from the ca= mpus to a local watering hole (for those who wish to continue the explorati= on).=20 Thanks go out to Ellis Finkelstein Inc. for so graciously lending us suppo= rt and donating space for the reading series. April 5=20 Carol Quinn ...holds degrees from the University of Houston, the University of Missouri= -Columbia, and the University of Southern California, and is the recipient = of C. Glenn Cambor and Donald Barthelme Fellowships in Creative Writing. H= er poetry has appeared or is forthcoming in Pleiades, The Cincinnati Review= , Colorado Review, The National Poetry Review, the American Literary Review= , and elsewhere. She teaches in the English Department at Towson Universit= y. Piotr Gwiazda ...poems have appeared in many journals, including Barrow Street, Columbia,= Drunken Boat, Hotel Amerika, Margie, The Southern Review, Swink, and Talis= man. He is the author of Gagarin Street (Washington Writers=92 Publishing H= ouse, 2005). He teaches at UMBC.=20 Joe Roads A far cry from any late-breaking phenomenon in the music industry lies the = acoustic poet. Joe Roads, an intensely captivating singer/songwriter, bring= s his powerful voice to this intriguing genre. With his combination of poet= ic lyricism as well as a psychedelic blues sound, Joe Roads gained the repu= tation of being epic and dramatic. What makes Joe Roads a special performer= is his intensity, his sincerity and, his passion. Originally from Baltimor= e, Roads has been compared to Lenny Bruce for his sometimes, satirical and,= out spoken approach to his performance. His songs are a melodious journey = down a rhythmic river. With over 300 songs written in the past 13 years and= , 10 CDs to his credit, Joe remains one of Baltimore's most prolific songwr= iters still on the circuit. April 12=20 Julie Reiser=20 ...is a still-widely-unpublished poet who has given up trying to write the = Next Great American Novel and is currently at work on two manuscripts of po= etry: A Brief Theory of Men and The Way of Dying, A Poetic Meditation on t= he Pratyabhij=F1=E3-hrdayam. Julie is also a full-time Lecturer in English = at Towson University where she teaches courses in American literature, comp= osition, writing for business and industry, and creative writing workshops.= In her lack of spare time, she is also an ABD doctoral candidate at The J= ohns Hopkins University where she is working on her dissertation, The Probl= em of Consciousness and the Postmodern Mind: The Fiction of Nabokov, DeLil= lo, and Gibson. Nicole Pekarske ...poems appeared in Poetry Daily, Georgia Review, Gettysburg Review, Virgi= nia Quarterly, and similar journals in the US and UK. Her first book, Inter= missa, Venus, was published by Cherry Grove in 2004. She teaches literature= and writing at UMBC and the Writer's Center. Joan Woytowitz ...received her Master=92s Degree in Professional Writing from Towson Unive= rsity in 2005. She is an adjunct faculty member of the Community College o= f Baltimore County, where she teaches ESOL to adult students. She has pres= ented workplace writing seminars locally and also tutors adults and young s= tudents in language arts. Joan has published essays in The Baltimore Evenin= g Sun and was a columnist for Patuxent Publishing. She is a contributor to= the This I Believe essay series sponsored by National Public Radio. An avi= d diarist, Joan would like to thank her journal for over fifteen years of d= evoted service as a sounding board for ideas=97her poems, essays, and short= stories all owe their origins to that wellspring of comfort and creativity= .=20=20 April 19 Jeneva Stone ...lives in Bethesda, Maryland with her husband and two children. She is an= active volunteer with Alice James Books, including work on fundraising, pu= blicity, and readings. A recent graduate of the Warren Wilson MFA program,= her work has appeared in Colorado Review, The New Hampshire Review, Tigert= ail: A South Florida Annual, and Beltway. She has recently been nominated = for a Pushcart Prize. M. Magnus has a poetry book upcoming in Fall 2007 from Baltimore's Narrow House, Verb= Sap. He is also festival coordinator of the Yockadot Poetics Theatre Fest= ival, which seeks to showcase and define "poetics theatre": the applicatio= n of contemporary poetics practices to performance and theatre. Events wil= l focus mostly in the Del Ray neighborhood of Alexandria, Virginia April 26= th--29th, 2007, with satellite events in Baltimore (on the 27th, at the 14 = Karat Cabaret), and in other parts of Northern Virginia; the festival culm= inates with staged readings of plays by living poets on May 5th at the Unit= ed States Patent and Trademark Organization building in Alexandria. Check = out the festival website at www.yptfest.org M. lives in Alexandria with h= is wife, Manya, and their daughter Hero, age 7, and son Gryphon, age 1." Kevin Hall ...is the reigning Czar of rooftop soccer (Towson University, Towsontown Ga= rage, Thursday Nights at 10:30 P.M.) He is currently firing up the grill wi= th a new batch of poems only he knows how to write. His work has appeared i= n the first volume of Ambit, and has since burned holes in other magazines = yet to come. You gotta see him! April 26 Clarinda Harriss ...has taught poetry, poetic structures, and editing at TU for the entire l= ength of human memory. She has advised the award-winning student litmag G= RUB STREET for approximately that long as well. For a decade, she chaired t= he English Department. Her latest collection, AIR TRAVEL, came out in 2005= ; her next collection, DIRTY BLUE VOICE, is slated to make its debut at abo= ut the same time as this reading, but probably won't; look for it in May, p= erhaps at the bi-annual Poetry Orgy May 9. Chezia Thompson Cager ...is an Alumni of the first African-American High School established west = of the Mississippi (Sumner High School), she is a product of English Chairm= an Dorothy Matlock's idea of an artist-warrior. A graduate of Washington U= niversity (where she studied with Howard Nemerov and Watts Poetry Workshop = Poet, K. Curtis Lyle; and Carnegie-Mellon University , her research studies= in Nigeria, Jamaica and Haiti (in relationship to the work of Langston Hug= hes, Zora Neale Hurston and Wole Soyinka), have been the source of her Dias= pora approach to poetic syntax, theatre direction and curatorial work, brin= ging image and text together. A member of Carolina African-American Writer= s Collective, she was born and raised in St. Louis Missouri on the Mississi= ppi River. Her new compilation with Kendra Kopelke and Clarinda Harriss "W= hen Divas Dance" is now available. "Teaching Jean Toomer's 1923 CANE" is al= so available through Peter Lang Publisher's special African American Litera= ture series. Elliott Knowles "Glynn Kylle Plein neither accepts nor denies any connection to Elliot Rand= all Knowles, or any pomes published under either name. Any such literary m= asturbation is beneath Glynn Kylle Plein. Elliot Randall Knowles is a frea= k, a flake, a faux-cult. He knows nothing about nothing, and that's the st= ory I am sticking to." Cara Sands ...is super wonder μ in her spare time... she writes flash fiction and= some poetry and has of late become a performative wunderbender. Come and s= ee this woman do what you always wished your cat could do... hmm... OK that= 's weird but trust me she'll knock your socks off, eat 'em, and then challe= nge you on the 25 cent pony ride... OK that's weird too but there's no esca= ping it! Come, damn it! =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Mon, 2 Apr 2007 15:21:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 04.02.07-04.08.07 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 4.02.07-4.08.07 LITERARY BUFFALO IN THE NEWS Ted Pelton Artvoice feature on Blazevox publisher, poet and chef Geoffrey G= atza: http://artvoice.com/issues/v6n13/geoffrey_gatza Flash Fiction by Shya Scanlon, who reads at Just Buffalo on Thursday: http://artvoice.com/issues/v6n13/flash_fiction If you missed Shelley Jackson Friday, read Christina Milletti's book review= : http://artvoice.com/issues/v6n13/half_life READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 4.04.07 Just Buffalo/Center For Inquiry Literary Cafe Anthony Hughes & Verneice Turner_ Wednesday, 7 p.m._ Center For Inquiry, Amherst 4.05.07 Just Buffalo/Communique Flash Fiction Shya Scanlan & Steve Huff Fiction Reading Thursday, April 5, 7 p.m. Rust Belt Books, 202 Allen St., Buffalo Shya Scanlon is an MFA candidate at Brown University. His work has been pub= lished in a variety of online and print publications, including Mississippi= Review, Guernica, 5_Trope, and Opium Magazine, which created a prose poetr= y contest in honor of his book-length series of seven line prose poems, = =22In This Alone Impulse.=22 Steven Huff is the author of a collection of poetry, The Water We Came From= (FootHills Publishing, 2003), and a chapbook of poems, Proof (Two Rivers R= eview 2004). His fiction has won a Pushcart Prize, and has been short-liste= d for an O. Henry Prize. His poetry has been read on Garrison Keillor's The= Writer's Almanac from Minnesota Public Radio. He lives in Rochester, NY, w= here he teaches writing at Rochester Institute of Technology and has a week= ly radio show, =22Fiction in Shorts=22 on WXXI-FM, and WJSL-FM. His next bo= ok of poems, More Daring Escapes, is forthcoming from Red Hen Press, and a = collection of stories, A Pig in Paris, from Lake Affect Publishers. 4.06.07 Just Buffalo/Gusto at the Gallery Nickel City Poetry Slam Featuring: Bill MacMillan Friday, April 6, 7 p.m. Clifton Hall, Albright-Knox Art Gallery 10 open slam slots: all readers welcome=21 This is the last chance to win a spot in the 2007 Buffalo Poetry Slam Champ= ionship=21 JUST BUFFALO WRITING 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 Washing= ton Street. Free parking on Washington Street evenings and weekends. Two-do= llar parking in fenced, guarded, M & T lot on Washington. Visit our website= for detailed descriptions, instructor bios, and to register online. THE WRITE GROUP FOR YOU AT THE JCC: BEGINNING WRITERS WORKSHOP_ Instructor: Karen Lewis _8 Tuesdays: April 17, 24, May 1, 8,15, 29, June 5, 12, 7-9 p.m. _ Jewish Community Center of Greater Buffalo, 2640 N Forest Rd, Getzville, NY= =2E =24195, =24150 for members of Just Buffalo or the JCC RECURRING LITERARY EVENTS 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 Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 2 Apr 2007 12:47:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: the language of living in a ghetto In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Is there a tie(a grip?) between Gingrich's insistence that the United State does not have to hear or sanction the knowledge of other (i.e. "ghetto") languages and the Supreme's Court ruling this morning that essentially sanctions the State (i.e. The Bush Regime) the continued right to hold prisoners in Quantanamo without a hearing(i.e., the right to challenge their status) in Civilian court?), and, by extension, the Regime's right to torture these captives while they are without legal status? I suspect, by the way, that the new Defense Secretary Gates wants to close down Quantanamo so that he will not be accused and charged with war crimes - in the way that Rumsfeld, Carbonne, G Miller and others certainly will, and, in certain cases, already have been. Ironically both the Court (Bush et al), and Gingrich share similar instincts to cut off the tongues of "aliens." What are they so afraid of, and why? With God on their side! Too! Stephen V http://stephenvincent.net/blog/ > Even if it's on stupidity? > > > On Sun, 1 Apr 2007, Maria Damon wrote: > >> anyone who cites newt gingrich as an authority on *anything* is too stupid to >> pay attention to. >> >> At 9:22 AM -0500 4/1/07, mIEKAL aND wrote: >>> Abolish bilingual education, Gingrich urges >>> POSTED: 10:50 p.m. EDT, March 31, 2007 >>> >>> http://www.cnn.com/2007/POLITICS/03/31/gingrich.bilingual.ap/index.html >>> >>> WASHINGTON (AP) -- Former House Speaker Newt Gingrich equated bilingual >>> education Saturday with "the language of living in a ghetto" and mocked >>> requirements that ballots be printed in multiple languages. >>> >>> "The government should quit mandating that various documents be printed in >>> any one of 700 languages depending on who randomly shows up" to vote, said >>> Gingrich, who is considering seeking the Republican presidential nomination >>> in 2008. He made the comments in a speech to the National Federation of >>> Republican Women. >>> >>> "The American people believe English should be the official language of the >>> government. ... We should replace bilingual education with immersion in >>> English so people learn the common language of the country and they learn >>> the language of prosperity, not the language of living in a ghetto," >>> Gingrich said to cheers from the crowd of more than 100. >>> >>> "Citizenship requires passing a test on American history in English. If >>> that's true, then we do not have to create ballots in any language except >>> English," he said. >>> >>> Peter Zamora, co-chair of the Washington-based Hispanic Education >>> Coalition, which supports bilingual education, said, "The tone of his >>> comments were very hateful. Spanish is spoken by many individuals who do >>> not live in the ghetto." >>> >>> He said research has shown "that bilingual education is the best method of >>> teaching English to non-English speakers." >>> Spanish-speakers, Zamora said, know they need to learn English. >>> >>> "There's no resistance to learning English, really, among immigrants, among >>> native-born citizens," he said. "Everyone wants to learn English because >>> it's what you need to thrive in this country." >>> >>> In the past, Gingrich has supported making English the nation's official >>> language. He's also said all American children should learn English and >>> that other languages should be secondary in schools. >>> >>> In 1995, for example, he said bilingualism poses "long-term dangers to the >>> fabric of our nation" and that "allowing bilingualism to continue to grow >>> is very dangerous." >>> >>> Bilingual programs teach students reading, arithmetic and other basic >>> skills in their native language so they do not fall behind while mastering >>> English. >>> >>> On voting, federal law requires districts with large populations of >>> non-English speakers to print ballots in multiple languages. >> >> > > > ======================================================================= > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. ============================================================= ========================================================================= Date: Mon, 2 Apr 2007 15:03:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: alternative spiritual traditions MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline to open this topic up to poetics, are there writers out there using New Age or alternative spiritual traditions in their work? I've been looking at the occult aspects of Spicer's and Duncan's poetry, but I wonder if there are other streams to investigate, more current ones. what about I Ching, a la Cage? I guess machine-generated, -altered, work is in a sense aleatory in similar ways to what the earlier crew were digging into. over & out, tl -- i wd agree with tom's skepticism regarding the new age or alternative spiritualities movements -- seems like religion in america often boils down to a question of -- how can this church improve my life -- how can this church give me a better deal -- make me more comfortable, more successful -- what have you -- richer -- that's not religion and that sure as hell is not art, if you ask me -- it's some kind of self-improvement program that belongs in the self-help section -- -- if ultimate questions of origins, god, can be used to stop wars, end poverty, remedy homelessness -- that's a whole different ball game -- it's no longer capitalism plus the protestant work ethic equals heaven on earth for the white middle class -- instead you get something that might require real selfless kinds of investment -- and in the end turn out with something that actually does create peace, end starvation, etc -- make the us govt stop the war on terror -- feed people who don't have enough money to go to the store -- as poets and prose writers, reveal the human face of suffering people -- people the US military apparatus has attacked and exploited and tortured -- Philip Jones Griffiths wrote, "The entire Iraq misadventure, based on lies and deception, required a compliant media for support, and so a deal was struck." -- they can have their goddamn money best to all, heidi -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Mon, 2 Apr 2007 15:29:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable >and I bought my copy of jack spicer at the bodhi tree, same place my >dad bought his fave "find your leprechaun spirit guide" book well I was almost sued by a druid as an accessory to copyright infringement!=20 utopian communities are of interest to me, too, and you're right: many of them end up looking alike.=20 I'm reading ALL of Blake right now, and loving it, though he's a bit early to be a bona fide New Ager... will have to read A. Finch and the others you mentioned -- Go Tzu! I love the Tzus! Tom --- "Jesus came as a savior, but Bob came as a salesman"=20 -- Church of the SubGenius ========================================================================= Date: Mon, 2 Apr 2007 16:49:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Defamation & AGNI's Spinelessness In-Reply-To: <46f2b6d00704021121u5f2a26a3nf7d6f294fd8ab1fb@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Easy there, Robert. Cordle's profession has nothing to do with, well, what he's been professing. Dan, some other librarian On 4/2/07, Robert Perlman wrote: > It's quite amazing about AGNI--is Sven Birkerts > afraid of what some librarian and his five followers think? Who's next? ========================================================================= Date: Mon, 2 Apr 2007 18:24:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: susan howe contact info MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Cd someone please backchannel Susan Howe's email address? Thx, gabe ========================================================================= Date: Mon, 2 Apr 2007 18:54:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: Hot Whiskey's First Book Book (Hello Eshlemania) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Reciprocal Distillations by Clayton Eshleman is ready for your devouring! Poems in this collection address, in one way or another, artists and/or works of art, including the painters Joan Mitchell, Leon Golub, Francis Bacon, Caravaggio, Jean-Baptiste Corot, Henri Michaux and Henry Darger, among others. Adrienne Rich has written that Eshleman is "a poet and translator who has gone more deeply into his art, its processes and demands, than any modern American poet since Robert Duncan and Muriel Rukeyser." Reciprocal Distillations by Clayton Eshleman with a foreword by Roberto Tejada ISBN 0-9786933-0-2 8.5" X 5.5" paperback 73 pp. $14.95 Hot Whiskey Press Available now at http://www.hotwhiskeypress.com/books.html always, Michael Koshkin & Jennifer Rogers -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Mon, 2 Apr 2007 20:35:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Volver meets Shooter Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Say, if you are interested in male-female splits, a double-bill worth encountering in one weekend: Try seeing "Shooter" and "Volver" within 24 hours of each other. Ron Silliman, of recent, keeps implying that Ed Dorn's work, especially the later post-Gun Slinger stuff, rightly or wrongly, may be the embodiment of 'White Male Rage'. The shooter in "Shooter" is definitely the embodiment of rage and paranoia. Righeous marksman - to a fault - killer with 'good' cause. Good action movie, but ultimately, deadly 'heroic' skills aside, a very limited, boring character. Who could spend more than a minute with him as a person?? Volver, on the other hand (eye), is wall to wall rich movie. Ironically the guys here are disappeared, or, the one abuser bad guy, killed off early, and the focus of the film is on the women and the way in which they cope, hide and/or variously take charge of their lives in response to the consequences (and secrets) of an originating abuse (male). Unlike "Shooter" - even though "Volver" is permeated with apprehension (of 'being found out'), "Volver's" women provide rich, complex and courageous characters in spades. I wake up the next day loving this film, and hating "Shooter" and the whole world and mentality it represents: a 'skilled' heroic male gone 'successfully" amuck big time killing off a bunch of other really fu'ked up males. (I really wonder how many the men among us go to such a film as if a visit to a "foreign world", and/or how many do or wish to identify with its representation of single minded heroic behavior?? And this is not to deny the films 'killing grounds' that have defined and grossly legitimized Bush life and global geography in the last six years) Whatever constitutes 'gender studies' in this country, someone could have a good field day pairing these two. Plus define great art over mediocre junk! Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Tue, 3 Apr 2007 00:13:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nic Sebastian Subject: Re: NaPoWriMo MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable I'm posting NaPo pieces daily at http://verylikeawhale.wordpress.com =20 Only day 3 and already tearing my hair out. It's productive to have that da= ily deadline and pressure though. Regards, =20 Nic Sebastian> Date: Sun, 1 Apr 2007 09:36:23 -0700> From: amyhappens@yahoo= .com> Subject: NaPoWriMo> To: POETICS@LISTSERV.BUFFALO.EDU> > National Poet= ry Writing Month> > If you are participating, maybe you'd like to share> th= e blog on which your poems will appear each day? > > I have no hand in it, = so if someone would kindly share> with the list the in's and out's, well, t= hat'd be> helpful~> > Thanks!> > > > ______________________________________= ______________________________________________> Sucker-punch spam with awar= d-winning protection. > Try the free Yahoo! Mail Beta.> http://advision.web= events.yahoo.com/mailbeta/features_spam.html _________________________________________________________________ Live Search Maps =96 find all the local information you need, right when yo= u need it. http://maps.live.com/?icid=3Dwlmtag2&FORM=3DMGAC01= ========================================================================= Date: Mon, 2 Apr 2007 22:34:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: Re: NaPoWriMo In-Reply-To: <833701.23452.qm@web83306.mail.sp1.yahoo.com> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I'm giving it a go here: http://artistsdailyalms.blogspot.com/ (and trying to stick with a theme too- uggh) may also convince my co-bloggers to take up the mantle as well On Apr 1, 2007, at 9:36 AM, amy king wrote: > National Poetry Writing Month > > If you are participating, maybe you'd like to share > the blog on which your poems will appear each day? > > I have no hand in it, so if someone would kindly share > with the list the in's and out's, well, that'd be > helpful~ > > Thanks! > > > > ______________________________________________________________________ > ______________ > Sucker-punch spam with award-winning protection. > Try the free Yahoo! Mail Beta. > http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Mon, 2 Apr 2007 22:36:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: Scenes from Allen's Last Three Days on Earth as a Spirit (April 5, 1997 / 2007 ) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Jonas Mekas - Scenes from Allen's Last Three Days on Earth as a Spirit (1997) http://ubu.com/film/mekas.html To mark the tenth anniversary of Allen Ginsberg's death (April 5, 1997), UbuWeb is featuring this remarkable video diary of Ginsberg in the days immediately before and after his death. Streaming and downloadable versions available. __ U B U W E B __ http://ubu.com ____________________________________________________________________________________ The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ========================================================================= Date: Tue, 3 Apr 2007 02:04:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. R. Waldrop" Subject: 2 new titles from Burning Deck Press Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=UTF-8; delsp=yes; format=flowed 1. CATHERINE IMBRIGLIO Part of the Mass Poetry, 64 pages, offset, smyth-sewn ISBN 978-1-886224-81-0 original paperback $14 ISBN 978-1-886224-82-7 original paperback, signed edition $20 Publication date: April 15, 2007 This first book of poems juxtaposes contemporary physics, personal =20 and public history, and a passion for the sound of words with the =20 structural arc of the Roman Catholic mass. The poems invest both in =20 wordplay and in inquiry, wonder, disagreement, dissatisfaction and =20 ethical urgency. This =E2=80=9Cmass=E2=80=9D is attuned to turmoil and = to the =20 challenges of our day. =E2=80=9CCatherine Imbriglio was born and lives in Rhode Island. Her = poetry =20 and criticism have appeared in magazines like American Letters & =20 Commentary, Conjunctions, Denver Quarterly, Epoch, First Intensity, =20 New American Writing, No: A Journal of the Arts, and in The Iowa =20 Anthology of New American Poetries, ed. Reginald Shepherd. She has =20 received an Untermeyer fellowship in poetry and a merit award in =20 poetry from the RI State Council on the Arts. She teaches in the =20 Expository Writing Program at Brown. =E2=80=9CFormally exploratory as her poems are, poetry is for her not a =20= formal exercise but a necessity, a way to understand the world and =20 the words with which we know it=E2=80=9D=E2=80=94Reginal Shepherd =E2=80=9CThis is a smart and wily book of poems, brilliant, clever, and =20= courageous.=E2=80=9D=E2=80=94Bin Ramke 2. CRAIG=E2=80=88WATSON Secret Histories Poetry, 80 pages, offset, smyth-sewn ISBN13: 978-1-886224-83-4 original paperback $14 ISBN13: 978-1-886224-84-1 original paperback, signed edition $20 Publication date: April 15, 2007 Secret Histories is interested in the way history is constructed as =20 an active engagement with a non-negotiable future, as opposed to the =20 passive receipt of past =E2=80=9Ctruths.=E2=80=9D =E2=80=9CSteppe Work=E2=80=9D presents itself as recovered = fragments from =20 the height of the Mongol Empire, the largest land-based empire in =20 history. =E2=80=9CLast Man Standing=E2=80=9D is offered in the classical = form of a =20 shepherd=E2=80=99s calendar, counting down the last 12 months of the = last =20 man alive on earth. Between and through these sequences, the poem =20 =E2=80=9CPre/Science=E2=80=9D attempts to inhabit a present moment that = is =20 continually slipping into the layered time-keeping of human =20 consciousness. In fragments and disjointed observations, the book tries to =20 replicate and in fact become the process of =E2=80=9Cmaking=E2=80=9D = history itself. Craig Watson has published ten books of poetry, beginning with =20 Drawing A Blank (Singing Horse Press, 1980), and most recently Free =20 Will (Roof, 2000) and True News (Instance, 2002). Burning Deck has =20 also published After Calculus (1988) and the chapbook Discipline =20 (1986). His poems, essays and criticism have appeared in numerous =20 journals. Copies are available from: Small Press Distribution, 1-800/869-7553; www.spdbooks.org In Europe: www.hpress.no =20= ========================================================================= Date: Tue, 3 Apr 2007 12:15:05 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Robert Kelly in Harvard Square Sat April 7 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable POET & FULCRUM'S CONTRIBUTING EDITOR ROBERT KELLY READS FROM NEW WORK SATURDAY APRIL 7, 2007 @ 7PM LAME DUCK BOOKS/PIERRE MENARD GALLERY 12 ARROW STREET , CAMBRIDGETel: 617-868-2022. Email: duck@lameduckbooks.c= om FREE AND OPEN TO THE PUBLIC LAME DUCK BOOKS, in conjunction with PIERRE MENARD GALLERY, is proud to p= resent Robert Kelly -- poet, novelist and essayist -- who will read from = new work this Saturday, April 7, at 7PM. The reading is free and open to= the public, and there will be a reception in the author's honor to follo= w at which Mr. Kelly will be happy to sign copies of his books. Several = titles will be available for purchase. Kelly is the author of more than fifty books of poetry and several novels= . His first book of poems appeared under the title Armed Descent in 1961= , and ever since he has continued to assert his standing as one of Americ= a's finest experimental poets and one of our most intelligent and humane = writers in general. Some of Kelly's more notable books include Red Actio= ns: Selected Poems 1960-1993 and a collection of short fictions, A Transp= arent Tree. Many of his books -- nearly a shelf-full -- were published b= y the renowned Black Sparrow Press. He has received numerous awards, inc= luding the Los Angeles Times First Annual Book Award (1980) for Kill the = Messenger Who Brings Bad News and the American Book Award, Before Columbu= s Foundation in 1991 for In Time. Robert Kelly was born in September of 1935 in Brooklyn , New York . He at= tended City College , from which he graduated in 1955, continuing his stu= dies at Columbia University . In 1961 he became professor of English Lit= erature at Bard College , where he continues to teach today. Kelly's most recent books are Lapis (Black Sparrow Press, 2005), Shame =3D= Scham: a Collaboration with Birgit Kempker (McPherson, 2005), Threads (F= irst Intensity Press, 2006) and May Day, published by Parsifal Editions i= n 2006. ========================================================================= Date: Tue, 3 Apr 2007 10:25:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: alternative spiritual traditions In-Reply-To: <11d43b500704021303l3a9e9c95h536b6066dc5b69bf@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Heidi, Thank you for the eloquent post. Murat On 4/2/07, heidi arnold wrote: > > to open this topic up to poetics, are there writers out there using New > Age or alternative spiritual traditions in their work? I've been looking > at the occult aspects of Spicer's and Duncan's poetry, but I wonder if > there are other streams to investigate, more current ones. what about I > Ching, a la Cage? I guess machine-generated, -altered, work is in a > sense aleatory in similar ways to what the earlier crew were digging > into. > > over & out, > > tl > > -- i wd agree with tom's skepticism regarding the new age or alternative > spiritualities movements -- seems like religion in america often boils > down > to a question of -- how can this church improve my life -- how can this > church give me a better deal -- make me more comfortable, more successful > -- > what have you -- richer -- that's not religion and that sure as hell is > not > art, if you ask me -- it's some kind of self-improvement program that > belongs in the self-help section -- > > -- if ultimate questions of origins, god, can be used to stop wars, end > poverty, remedy homelessness -- that's a whole different ball game -- it's > no longer capitalism plus the protestant work ethic equals heaven on earth > for the white middle class -- instead you get something that might require > real selfless kinds of investment -- and in the end turn out with > something > that actually does create peace, end starvation, etc -- make the us govt > stop the war on terror -- feed people who don't have enough money to go to > the store -- as poets and prose writers, reveal the human face of > suffering > people -- people the US military apparatus has attacked and exploited and > tortured -- > > Philip Jones Griffiths wrote, "The entire Iraq misadventure, based on lies > and deception, required a compliant media for support, and so a deal was > struck." > > -- they can have their goddamn money > > best to all, > > heidi > > -- > www.heidiarnold.org > http://peaceraptor.blogspot.com/ > ========================================================================= Date: Tue, 3 Apr 2007 11:42:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Zoe Ward Subject: Czech & Polish poetry launch - April 11th @ 192 Books Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Join Archipelago Books & Ugly Duckling Presse for an evening of Czech=20 and Polish poetry... Bill Johnston, Edward Hirsch, & Matthew Sweney read and discuss the works of Tadeusz Rozewicz & Ivan Blatny Wednesday, April 11th @ 7 p.m. 192 Books 192 Tenth Avenue New York, NY www.192books.com Free and open to the public. Edward Hirsch will introduce the work of Tadeusz Rozewicz, the=20 brilliant post-war Polish poet. Bill Johnston reads from his=20 translation of Rozewicz's three-book collection "new poems"=20 (Archipelago Books, April 2007). Matthew Sweney reads from his=20 translations of Ivan Blatny's work included in "The Drug of Art:=20 Selected Poems" (forthcoming from Ugly Duckling Presse). Written in a pared-down, direct language, and filled with allusions to=20= everything from philosophy to TV talk shows, the poetry of TADEUSZ=20 ROZEWICZ encompasses the complexity that is human experience in the=20 early 21st century. R=F3zewicz's unique voice, formed during his=20 experiences as a member of the Polish resistance in World War II, and=20 honed by decades living under communist rule, holds a merciless mirror=20= up to the crimes and excesses of the poet's lifetime. Lost to the world for twenty-five years, IVAN BLATNY was, according to=20= the Czech Ministry of Culture, =93one of the most significant Czech=20 poets of the twentieth century.=94 Blatny fled Czechoslovakia after the=20= Communist coup in 1948, spending the rest of his life in England. This=20= volume spans fifty years of his career and is notable for being the =20 first major collection of Blatny=92s work in English, including=20 multi-lingual poems and some poems written mostly or entirely in=20 English.=A0 V=E1clav Havel has written: =93The verses and fate of the = poet=20 Ivan Blatny . . . complete the fate of Czech literature, which=20 transcended the borders of the nation, often struggling for survival.=94 EDWARD HIRSCH is the author of six books of poems. His collection "For=20= the Sleepwalkers" (1981) received the Lavan Younger Poets Award from=20 The Academy of American Poets and the Delmore Schwartz Memorial Award=20 from New York University. Hirsch is currently the president of the John=20= Simon Guggenheim Memorial Foundation. BILL JOHNSTON=92s translations include Gustaw Herling=92s "The Noonday=20= Cemetary and Other Stories" and Jerzy Pilch=92s "His Current Woman,"=20 among many others. He received the 2005 AATSEEL (Slavicists=92=20 Association) translation award for his translation of Magdalena Tulli=92s=20= "Dreams and Stones," which is a=A0current finalist for the Dublin IMPAC=20= Literary Award. MATTHEW SWENEY is a former resident of Maine and NYC, now residing in=20 Olomouc, Czech Republic, where he is a teacher, translator and=A0editor.=20= He has edited numerous volumes of American literature in=A0Czech=20 translation, and is one of the main organizers of Slova bez=20 hranic/Words without Borders, the annual Czech international=20 poetry=A0festival. He is currently working on an=A0anthology of Czech = love=20 poetry in English translation. This is his first public performance in=20= the NY metropolitan area since his punk band broke up in the 1980s. 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: Tue, 3 Apr 2007 08:04:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: alternative spiritual traditions In-Reply-To: <1dec21ae0704030725j28235d07xb24a96cb9be27719@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit If by alternative spiritual traditions and New Age, you include Buddhism, there are many poets who "use" this tradition in their poetry, including myself, occasionally. Also both Cage's music and his poetry were clearly influenced by Buddhism and possibly Taoism also, although my memory is uncertain about the latter. Regards, Tom Savage Murat Nemet-Nejat wrote: Heidi, Thank you for the eloquent post. Murat On 4/2/07, heidi arnold wrote: > > to open this topic up to poetics, are there writers out there using New > Age or alternative spiritual traditions in their work? I've been looking > at the occult aspects of Spicer's and Duncan's poetry, but I wonder if > there are other streams to investigate, more current ones. what about I > Ching, a la Cage? I guess machine-generated, -altered, work is in a > sense aleatory in similar ways to what the earlier crew were digging > into. > > over & out, > > tl > > -- i wd agree with tom's skepticism regarding the new age or alternative > spiritualities movements -- seems like religion in america often boils > down > to a question of -- how can this church improve my life -- how can this > church give me a better deal -- make me more comfortable, more successful > -- > what have you -- richer -- that's not religion and that sure as hell is > not > art, if you ask me -- it's some kind of self-improvement program that > belongs in the self-help section -- > > -- if ultimate questions of origins, god, can be used to stop wars, end > poverty, remedy homelessness -- that's a whole different ball game -- it's > no longer capitalism plus the protestant work ethic equals heaven on earth > for the white middle class -- instead you get something that might require > real selfless kinds of investment -- and in the end turn out with > something > that actually does create peace, end starvation, etc -- make the us govt > stop the war on terror -- feed people who don't have enough money to go to > the store -- as poets and prose writers, reveal the human face of > suffering > people -- people the US military apparatus has attacked and exploited and > tortured -- > > Philip Jones Griffiths wrote, "The entire Iraq misadventure, based on lies > and deception, required a compliant media for support, and so a deal was > struck." > > -- they can have their goddamn money > > best to all, > > heidi > > -- > www.heidiarnold.org > http://peaceraptor.blogspot.com/ > --------------------------------- Never miss an email again! Yahoo! Toolbar alerts you the instant new Mail arrives. Check it out. ========================================================================= Date: Tue, 3 Apr 2007 12:24:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: AGNI's Shocking Remarks In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/2/07, Catherine Daly wrote: > > but I think one thing it hasn't done is make people think about the > coterie and the publishing collective, which could really use some > examination; you know, it is pretty hurtful to be outside them, since > they are exclusive, self politicing / self praising little cells of -- > increasingly -- capitalism, or at least po biz. I think what Catherine is saying is very fair, and I would agree that more examination of poetry publishing is in order (and doesn't seem to be happening). I am not a fan of Foetry by any means (I think the way they run their forums in particular invites scurrilous and careless gossip, and Alan Cordle would do better with considerably less heart on his sleeve self-righteousness), but their core criticism-- that poetry publication and prizes have become contaminated by rampant cronyism-- is valid. I can think of at least one case where they absolutely caught someone with their hand deep in the cookie jar. As for Agni, their editors should have policies about this sort of thing. I don't know a thing about this particular controversy, but if it is valid and not just s slanderous rumor (too much of that on the Foetry site) it deserves to be taken seriously. I've never sent my poems to Agni-- yikes, they used to charge a reading fee? Considering that most manuscripts get read by an unpaid student volunteer who spends ten minutes tops on reading and stuffing the rejection slip into the self-addressed stamped envelope, that is pretty brazen. Suzanne ========================================================================= Date: Tue, 3 Apr 2007 12:36:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Marzahl, Kevin M" Subject: We Weep What We Saw MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: 7bit "All my life I've heard one is many." I was going to call this "psychecology," but just yesterday I found the neologism has been claimed (although under Creative Commons license). Indeed, it has become something of a cosmic joke: each time I arrive at a conclusion, I find someone has been there before me and I am forced to reinvent myself on a neverending spiral staircase anew. I am a slow man who used to train with members of a team called Tortuga here in Bloomington. Having little Latin and less Greek, I do not understand all of Rexroth's "The Phoenix and the Tortoise," but I know in my heart the truth of its final lines: "deep in the empty mountain melts / The snow of Winter and the glaciers / Of ten thousand thousand years." What have I learned from what we taught me this spring? We live in metaphor, metaphor lives in us. Philosophy in the flesh. Truths assemble in my honeyed, smoked heart. What's the line? Good to eat for a thousand years? Truths assemble according to a transversal logic beyond my ken. For example: Expatiate to expiate, I once wrote, because those were the doppelganger words that leapt as in 3-D from the pages of Charles Brockden Brown. Now I find myself a father and a son walking a worldly city with which I exchange letters. Priorities. Meandering fathers my thoughts. But like Prairie, I do not know my mother, unless she is a cyborg. Assemblages traverse genres and media. The theory of assemblage is itself an assemblage, a phenomenon that illustrates this difficult truth: we construct our truths upon an infinite, parabolic transmission or iteration of a diverse array of loopy paradoxes and tautologies. We need others to see ourselves clearly, and this includes animals and machines. This is what I mean when I say "ecology" and "ethology," yet others hear only "Heidegger" when I say so. I have had my fill of tyrannical theoretical superegos, including my own. If unitarianarchy or chaosmosis is starvation, so be it. If I am dumb, deaf, and blind, who is not a bricoleur, cast the first stone already. This is my letter to the world wide web, an information superhighway. I ride a bi-cycle, but then again, vehicles are arbitrary. R2D2s across the country deliver holograms. Show me yours, I'll show you mind. 712 W. 8th St. Bloomington IN 47404 812-330-0843 Kevin Marzahl, 3 April 2007 ========================================================================= Date: Tue, 3 Apr 2007 00:30:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Three shadows - Xanax Pop by Lewis LaCook Comments: To: webartery , rhizome , netbehaviour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Three shadows April 3rd, 2007 The full moon trawls for ice behind Sheffield Centre. She likened it to swimming liquid vinyl, how quiescent bubbles effused solder, how her shoulders slipped out of place, leaving her staggering breathless through a ruddy underbrush, maybe even thatched. I was dreaming when I wrote this. I was interfacing with languaged. His evasiveness indicates that he has issues with relinquishing control to others. The trees on Clifton blacken and fan. He dreams this night about being prostrate before a car. That night of three shadows point me out. The same night of Housing Projects from the Seventies. She trawls a fur over stumps. She drags behind her those fractions of faces she thought to keep. Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. ========================================================================= Date: Tue, 3 Apr 2007 00:13:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sexdance and sololovely and goog urls below MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed sexdance and sololovely and goog urls below I'm writing after the uploading breathing down downloading on your end of the world, world's end, spatio, world's end, future anterior tempero. I'm waiting first for the rendering of sexdance w/ Sandy Baldwin. These are getting increasingly sophisticated, problematic, uncomfortable, up/loaded. ok this is long but for the first time alien lifeforms appear on the boundary-level of an alternative world. life lowers our expectations; life crawls under them. I'm uploading the rendering of sexdance w/ Sandy Baldwin in Odyssey East down there by the shoreline where the world falls off, new moves, new days, new complexities of behavior. I'm thinking of a theory but the theory falls flat-euclidean. Reading a biography of Celan, Benjamin's letters, neither help, are of use; they construct other interiors. China is on the shortwave. The flat landscape remains impervious, unpunctured. A surface is a surface with a vengeance. The Dutch mafia. Netherlands on the shortwave. At one point I tried to construct binary from topology; it doesn't hold, it slips out from under us. It's twenty-five years after the Falklands conflict. The Falklands broadcasting service carried on Radio Netherlands. Byron wrote Heaven and Earth, which is most curious, and The Deformed Transformed, which I haven't yet approached. Deformation retains more than vestige of the original: Every original is a deformation. Every original is a deformation degree zero. I get sick of Second Life; I will pack up and move there or move out. I don't want to live; I want to create. Living in any life is useless, exhausting, takes away from one or another realing. People suffering from Trauma from the Falklands. 250 died in the conflict, but 400 committed suicide. sexdance production delay today high compression algorithm collapsed narratives and metanarratives codework visible through cyclical interventions and punctured primitives http://www.asondheim.org/sexdance.mp4 sololovely - solo with looped primed inteferenced behaviors this is yet another solo mocap dancework http://www.asondheim.org/sololovely.mp4 duallovely from a different longtimeago world and another planet azure carter and foofwa d'imobilite older worked double solo duet http://www.asondheim.org/goog.mp4 ========================================================================= Date: Tue, 3 Apr 2007 11:31:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: joseph bradshaw Subject: The Way Birds Become MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Poetics Listers, My chapbook, The Way Birds Become, is now available from Weather Press. It is handbound, in an edition of 125, $7 (postage paid) See weatherpress.blogspot.com for ordering & other info. You can read earlier versions of a few of the poems from the book here: http://notellmotel.org/poem_single.php?id=496_0_1_0 www.caffeinedestiny.com/poetry/bradshaw.html http://www.kulturevulture.org/bradshaw.html http://www.webdelsol.com/DIAGRAM/6_2/bradshaw.html Best-- Joseph ========================================================================= Date: Tue, 3 Apr 2007 13:17:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Bryant/Koestenbaum/LaFarge @ REDHEAD, April 3, 2007 6-8p Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed NYC reading; please come! _______________________________________________ My concern is never art, but always what art can be used for. Gerhard Richter Begin forwarded message: > From: "Chris Stackhouse" > Date: March 29, 2007 12:20:16 AM EDT > To: mechanicalvenus@hotmail.com > Subject: Reading NYC/April: First Tuesday's Reading Series @ REDHEAD, =20= > April 3, 2007 6-8p > > First Tuesday's at REDHEAD > Coordinated and Hosted > by Christopher Stackhouse > =A0 > > REDHEAD > Lower Manhattan Cultural Council > 125 Maiden Lane 2nd Floor NYC 10038 > Phone: 212-219-9401 > > Tuesday, April 3, 2007 6p- 8p > > > The poets/readers will be: > > > Wayne Kostenbaum > Tisa Bryant > Paul La Farge > > > Reader Bios: > > > Wayne Koestenbaum has published five books of poetry:=A0 Best-Selling =20= > Jewish Porn Films, Model Homes, The Milk of Inquiry, Rhapsodies of a =20= > Repeat Offender, and Ode to Anna Moffo and Other Poems.=A0 He has also = =20 > published a novel, Moira Orfei in Aigues-Mortes, and five books of =20 > nonfiction:=A0 Andy Warhol, Cleavage, Jackie Under My Skin, The = Queen's =20 > Throat (a National Book Critics Circle Award finalist), and Double =20 > Talk.=A0 He wrote the libretto for Michael Daugherty's opera, Jackie = O.=A0 =20 > Koestenbaum's next book, Hotel Theory, will be published in May 2007.=A0= =20 > He is a Distinguished Professor of English at the CUNY Graduate =20 > Center, and currently also a Visiting Professor in the painting =20 > department of the Yale School of Art. > > =A0Tisa Bryant's writings, Unexplained Presence (forthcoming, Leon = Works, > 2007), andTzimmes (A+Bend Press, 2000) traverse the boundaries of > genre, culture and history. =A0Her writing has appeared inBombay > Gin,Chain,Hatred of Capitalism,Pom2,andXantippe. =A0She is currently = at > work curating a meditation on identity, visual culture, and the > lost films of Black auteur Justine Cable. =A0She is a founding editor = of > The Encyclopedia Project, and teaches composition and literature at = St. > John's University. > > =A0 Paul La Farge is the author of two novels, The Artist > of the Missing and Haussmann, or the Distinction. His > stories have appeared in Story, Fence, McSweeney's, > and elsewhere. He is a semi-regular contributor to The > Believer. He received a Guggenheim fellowship in 2002, > and won the Bard Fiction Prize in 2005. His third > book, The Facts of Winter, was published by > McSweeney's Books in 2005. > > > at REDHEAD > Lower Manhattan Cultural Council > 125 Maiden Lane 2nd Floor > New York, NY 10038 > Phone: 212-219-9401 > http://www.lmcc.net/ > > contact Jeanne Gerrity @ Phone: 212-219-9401 ext: 108 > > DIRECTIONS: A/C/J/M/Z/2/3/4/5 to =A0Fulton St. / Broadway-Nassau stop. = =20 > Exit near intersection of William =A0St. and Fulton St. Go South on =20= > William St. towards John St. Turn left =A0onto Maiden Ln. (Legion =20 > Memorial Sq.) Walk 2 1/2 blocks. The building =A0is on your left = between =20 > Pearl St. and Water St. > ----------------------------------------------- > Poems/Quotes: > ------------------------------------------------ > > > am too! > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 are not, > am too, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 are not, > > older than you are, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 are not, > am too, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= I'm twelve, > I'm twenty, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0 I'm fifty, > I'm a hunnert, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 I'm a hunnert > THOUSAND, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0 I'm a million billion - > Children, hush! > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 -are not, > are too, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 = I'm the same as you, > are not, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 am = too, > I'm dead, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 me = too, > > I was dead BEFORE you were born, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0 not me > I'm infinity, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0 me too, > are not, > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0 am too, > are not! > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0 am too! > > > "age of consent", > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 by Gary Fisher, = from Gary in Your Pocket Stories =20 > and Notebooks=A0 > = -----------------------------------------------------------------------=20= > ------------------------- > " The=A0 creative thinker is capable of alternating between =20 > differentiated and undifferentiated modes of thinking, harnessing them = =20 > together to give him service for solving very definite tasks." > > - from "The Hidden Order of Art: A Study in the Psychology of =20 > Imaginatin in Art > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 =20 > by Anton Ehrenzwieg > = -----------------------------------------------------------------------=20= > ------------------------- > > "15 June 1984. Lack of culture, directness, immediacy, spontaneity, > aunthenticity(!): this is pared-down art, which avoids all =20 > artificiality, > which no longer tries to take us in, which eliminates as a distraction = =20 > all > artistic skill and all complexity of reference. Brutal, stupid, and =20= > brazen, > like a peepshow (i.e., unequivocally pared-down ballet): therefore > radical, and therefore exactly what we need - what liberates us from > cultural constraints - what is really going to make us happy." > > - from "Notes 1984, The Daily Practice of Painting" by Gerhard = Richter > = -----------------------------------------------------------------------=20= > -------------------------- > > TO THE SALMON-PINK CARESSES OF THE LEAF a thousand times half-opened =20= > and fixed detached offered as music to the fires and long trains of =20= > spangles > waved and crazy so said and splashed in glory and rockets screamed and > painted to the pearly distinct braids to the solitudes seen all mixed =20= > up > with the caressing burned distillations to the branches and to the =20 > raised > hangings to the sordid little secrets and to the unfortunate =20 > discoveries in > digestions and prayers vomited from a point into far enamored = sumptuous > arabesques and ritornellos of the decompositions and tears to the =20 > spattered > and festooned arcs labors torn in perfumes and in crowns and diabolic =20= > sated > processions=A0 to the tendernesses prepared disappeared and undone so =20= > late of > each long trajectory revolted enveloped stretched in the woods to =20 > hooked and > shredded trances in meat and bone unfolded into veils and vellums oars = =20 > smack > raised in flames and good-byes rigorously projected as bait to the =20 > crowd of > mirrors aping the drained apparition at the bottom of the raised lakes = =20 > of > the sun with large brush strokes painting three quarters of the =20 > sideboard > buried in the mess of hairs of the fur caulking with cotton waste the =20= > belly > open to the light with large strokes of the icy roof of the stretched =20= > sheet > of the water armor screamed at the window with all the strength of the = =20 > gay > bouquet in plucked apparel to all chance and risk imagined. > > - from The Burial of The Count of Orgaz and Other Poems, Untitled from = =20 > April 26, 1943, by Pablo Picasso - Translated from the French by =20 > Pierre Joris > > = -----------------------------------------------------------------------=20= > ---------------------------------- > > Sooner, xo - CS > > > Please forward. > > =A0=A0=A0=A0=A0 ========================================================================= Date: Tue, 3 Apr 2007 14:03:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: wershler-henry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Well it isn't poetry, but it is a great Canadian poet. Darren Wershler-Henry's book on the history of typewriting gets some attention from the New Yorker. http://www.newyorker.com/arts/critics/books/2007/04/09/070409crbo_books_acocella ========================================================================= Date: Tue, 3 Apr 2007 15:44:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: E=?ISO-8859-1?Q?=B7ratio?= 8 Redux + Call Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed E=B7ratio 8 is online. http://www.eratiopostmodernpoetry.com With poetry by: Anne Gorrick, Marci Nelligan, Donald Wellman, Jody=20 Porter, Nicholas Manning, Chad Sweeney, Christine Hamm, MTC Cronin,=20 Amanda Laughtland, David Chikhladze, Jonathan Minton, and Scott=20 Wilkerson E=B7ratio is reading for poetry for issue 9, the Spring 2007 issue. Please see the Contact Page for guidelines before sending. http://www.eratiopostmodernpoetry.com Edited by Gregory Vincent St. Thomasino ========================================================================= Date: Tue, 3 Apr 2007 16:18:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: alternative spiritual traditions Comments: To: muratnn@gmail.com In-Reply-To: <1dec21ae0704030725j28235d07xb24a96cb9be27719@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Murat, thanks for your kind note. i have here some photos of slain iraqi children from the war. their bodies dressed in their own blood, and torn cloth. they died. they are gone. it has to stop. what is american poetry if it ignores things like this? can it claim to be spiritual in anyy sense at all? just my questions. thanks for previously mentioning your translation of Ece Ayhan, excellent! best, heidi On 4/3/07, Murat Nemet-Nejat wrote: > > Heidi, > > Thank you for the eloquent post. > > Murat > > On 4/2/07, heidi arnold wrote: > > > > to open this topic up to poetics, are there writers out there using New > > Age or alternative spiritual traditions in their work? I've been looking > > at the occult aspects of Spicer's and Duncan's poetry, but I wonder if > > there are other streams to investigate, more current ones. what about I > > Ching, a la Cage? I guess machine-generated, -altered, work is in a > > sense aleatory in similar ways to what the earlier crew were digging > > into. > > > > over & out, > > > > tl > > > > -- i wd agree with tom's skepticism regarding the new age or alternative > > spiritualities movements -- seems like religion in america often boils > > down > > to a question of -- how can this church improve my life -- how can this > > church give me a better deal -- make me more comfortable, more > successful > > -- > > what have you -- richer -- that's not religion and that sure as hell is > > not > > art, if you ask me -- it's some kind of self-improvement program that > > belongs in the self-help section -- > > > > -- if ultimate questions of origins, god, can be used to stop wars, end > > poverty, remedy homelessness -- that's a whole different ball game -- > it's > > no longer capitalism plus the protestant work ethic equals heaven on > earth > > for the white middle class -- instead you get something that might > require > > real selfless kinds of investment -- and in the end turn out with > > something > > that actually does create peace, end starvation, etc -- make the us govt > > stop the war on terror -- feed people who don't have enough money to go > to > > the store -- as poets and prose writers, reveal the human face of > > suffering > > people -- people the US military apparatus has attacked and exploited > and > > tortured -- > > > > Philip Jones Griffiths wrote, "The entire Iraq misadventure, based on > lies > > and deception, required a compliant media for support, and so a deal was > > > struck." > > > > -- they can have their goddamn money > > > > best to all, > > > > heidi > > > > -- > > www.heidiarnold.org > > http://peaceraptor.blogspot.com/ > > > -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 3 Apr 2007 17:36:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Why Persian Literature? Why Now? Tending Saadi's Garde ns in the 21st Century MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: quoted-printable NYU Persian Cultural Society Presents/Co-sponsored by Persian Arts = Festival Come hear poet & translator Richard Jeffrey Newman read from his two = books of translations, Selections from Saadi's Gulistan & Selections from = Saadi's Bustan (both published by Global Scholarly Publications.)=A0 Newman's = Bustan has been called "fine and engaging" by Professor John Moyne and "a = milestone in literary history" by Bob Holman. Richard Jeffrey Newman, Literary = Arts Director for Persian Arts Festival, is an Associate Professor in the = English Department at Nassau Community College and is the author of The Silence = Of Men (CavanKerry Press 2006), a book of his poems. Thursday, April 5, 2007 8 PM New York Univiersity, Kimmel Center Room 802=20 60 Washington Square South b/w LaGuardia & Thompson=20 N & R to W. 8th or 6 to Astor Place ========================================================================= Date: Wed, 4 Apr 2007 01:03:24 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: SEGUE PRESENTS CACONRAD / KENWARD ELMSLIE Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Segue Reading Series presents CACONRAD & KENWARD ELMSLIE Saturday, April 7, 2007 4PM (sharp!) at the Bowery Poetry Club (308 Bowery, just north of Houston) $6 admission goes to support the readers hosted by Erica Kaufman & Tim Peterson CAConrad's childhood included selling cut flowers along the highway for his mother and helping her shoplift. He escaped to Philadelphia the first chance he got, where he lives and writes today with the PhillySound poets (www.PhillySound.blogspot.com). His book Deviant Propulsion was published in 2006 by Soft Skull Press. “It Really Was For Love” one day we said let’s replicate flowers and not buy real ones any more Kenward Elmslie's recent publications include Agenda Melt, Snippets, Cyberspace, all with visuals by Trevor Winkfield, and Routine Disruptions, selected poems. from Saga of Skunk’s Misery “Thaw” Farmer Martin’s widow of old-time bulk is picking dandelion greens as mutt strains at rope to nip Land Rover tires. I wave too soon. She cranes too slow— in rear-view mirror, back picking dandelion greens. * * * To see the entire Winter/Spring 2007 Segue Reading Series, please visit: http://www.seguefoundation.com/calendar.htm ========================================================================= Date: Tue, 3 Apr 2007 22:30:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Devaney Subject: A few items from Philadelphia MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Please read thomasdevaney blogspot for the following items: http://thomasdevaney.blogspot.com/ * Report from Philadelphia (2/1/07) for spring Poetry Project Newsletter * Reading by Devaney & Coletti April 4th Writers House * Salad Days: A Toast to Aaron Igler & Kelly Cobb * 100-Mile Suit: Fiber to Finish (Wired Magazine article on 100-mile suit) * No Silence Here, Enjoy the Silence, at Locally Localized Gravity --http://thomasdevaney.blogspot.com/ ========================================================================= Date: Tue, 3 Apr 2007 20:08:45 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: alternative spiritual traditions MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I am not sure that I will be accurately answering this thread as Duncan was much more based on mythos than I usually enjoy (but I appreciate his sense of the line and durative, over line, breath) and Spicer does not hit me as being spiritual whatsoever in fact his poems are emptied of that resin. But they both had poetics written behind their work that suggested spirituality. So are you looking for suggestions of poets who have a spiritual poetics? Those whose poetry deals with spiritual or religious elements? Those who use poetry or spiritual ritual or practice within their poems (like mentioning it)? Or those who use poetry or spiritual ritual or practice as a process to form their poems? Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Tue, 3 Apr 2007 20:13:41 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: review copy MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I have one review copy (a pre-publication manuscript clip version w/ scratch and sniff postcard as sent to larger reviewers) left of Rachel Simon's new collection if you are interested in taking a look at it for possible review. If you do something with it I will send real book after. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Tue, 3 Apr 2007 23:27:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Mary Burger at Haverford, Thursday April 5 In-Reply-To: <50143.141.158.45.160.1175623419.squirrel@141.158.45.160> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit A Reading by Mary Burger Haverford College Thursday, April 5 4:30pm - 6:00pm CHASE HALL 104 Auditorium Haverford, PA Tea at 4:15 Please email if you need directions. Cheers, Sina http://www.maryburger.com/bio.htm -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Wed, 4 Apr 2007 00:25:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kerri Sonnenberg Subject: Discrete Series + Chicago Review= Andrea Brady, Peter Manson & Keston Sutherland this Friday In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable _________THE DISCRETE SERIES & THE CHICAGO REVIEW @ ELASTIC__________ present..:::: Andrea Brady:::::::Peter Manson:::::Keston Sutherland::: The Chicago Review is launching its next issue-- a special on British poetry--with a release party/reading featuring three of the four poets featured in the issue. =20 Friday, April 6th @ 8PM / 2830 N. Milwaukee Ave. 2nd Floor/ ***$0 suggested donation / BYOB and some refreshments available > Andrea Brady was born in=A0Philadelphia, studied at Columbia University and= then > at Cambridge, and=A0now teaches early modern literature at Brunel Universit= y in > London. Her=A0books of poetry include=A0Embrace (Object Permanence, 2005) > and=A0Vacation=A0of a Lifetime (Salt, 2001). Most recently, her long poem > =B3Wildfire,=B2 a verse=A0essay on obscurity and illumination, was published on > Dispatx.com. With=A0Keston Sutherland, Andrea runs the small press Barque. = She > is also Director=A0of the Archive of the Now, a site featuring readings by > nearly 100 contemporary=A0British-based poets which she commissioned and > collected. >=20 > Peter Manson was=A0born in Maryhill, Glasgow, Scotland, in 1969. He studied > English at Glasgow=A0University (lots of Old English and other medieval). H= e > co-edited (with=A0Robin Purves) the experimental/modernist poetry journal=A0O= bject > Permanence=A0(1994=AD1997, now re-actived as a pamphlet publisher). He has > worked=A0as a proofreader, editor, staple remover, civil servant and was th= e > 2005=AD2006=A0Judith E. Wilson Visiting Fellow in Poetry at the University of > Cambridge.=A0=A0His books include=A0Before and After Mallarm=E9 (Survivors=B9 Press= , > 2005),=A0Adjunct:=A0An Undigest (Edinburgh Review, 2005),=A0For the Good of Lia= rs > (Barque,=A02006). His website, Freebase Accordion, can be found > at=A0www.petermanson .com. He still lives in Glas= gow. >=20 > Keston Sutherland was=A0born in Bristol, England in 1976. He studied at > Cambridge and Harvard. He=A0lives in Brighton and has worked there since 20= 04 as > a lecturer in English=A0literature and critical theory at the University of > Sussex. With Andrea Brady=A0he is the co-editor of Barque Press > (www.barquepress.com ); he also edits > the=A0neopreraphaelite totalitarianist journal=A0quid (back issues of which c= an > be=A0read online via the Barque site) and co-edits the anonymous reviews > website=A0On Company Time with Justin Katko.=A0 Poems=A0authored by Keston have= been > published in French, German, and Chinese=A0translations. Current writing > projects include an annotated edition of the=A0critical prose works of J.H. > Prynne and a theoretical study of the meaning=A0and consequences of stupefa= ction > in western real life. A bibliography of essays, reviews, and books of poe= try, > together with some reviews and links,=A0can be found on Keston=B9s page on=A0th= e > University of Sussex website or at Barque; some readings are available=A0on > Archive of the Now. ELASTIC is a multi-disciplinary performance space run by the Elastic Arts Foundation. EAF is a 501(c)(3) tax exempt non-profit arts organization, producing arts events in Chicago. For more information about EAF or directions to the space, visit http://www.elasticrevolution.com Founded in 2003, the Discrete Series is a monthly literary series featuring poetry and other text-driven types of performance. For more information about this or upcoming events, email kerri@lavamatic.com. Coming Up... May 11 :: Kate Colby and Lisa Fishman ========================================================================= Date: Wed, 4 Apr 2007 07:34:04 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Alain Soubbotnik Subject: Re: wershler-henry In-Reply-To: <50143.141.158.45.160.1175623419.squirrel@141.158.45.160> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Bad link, it seems.One hist the New Yorker all right, but an error page... Michael A. Soubbotnik Universit=E9 de Marne-la-Vall=E9e UFR Lettres Arts Communication EA3349 LISAA=20 > De=A0: Sina Queyras > R=E9pondre =E0=A0: UB Poetics discussion group > Date=A0: Tue, 3 Apr 2007 14:03:39 -0400 > =C0=A0: "POETICS@LISTSERV.BUFFALO.EDU" > Objet=A0: wershler-henry >=20 > Well it isn't poetry, but it is a great Canadian poet. Darren > Wershler-Henry's book on the history of typewriting gets some attention > from the New Yorker. >=20 > http://www.newyorker.com/arts/critics/books/2007/04/09/070409crbo_books_a= cocel > la > -------------------------------------------------------------------------= ----- > --------- > Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. > Aucun virus connu a ce jour par nos services n'a ete detecte. >=20 >=20 >=20 ========================================================================= Date: Wed, 4 Apr 2007 10:01:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: *** FREE PERFORMANCE *** and buy-one-get-one-free In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable *** FREE PERFORMANCE *** and buy-one-get-one-free coupons for tickets to the show featuring Verb Ballets performing selections from Andrew Lloyd Webber=B4s Song & Dance Wednesday, April 4 12:00 to 2:00 p.m. Galleria Downtown (near elevators by Food Court) Enjoy your lunch while being entertained by the dynamic dancers from Verb Ballets and receive a special Buy One Get One Free discount offer for Song & Dance at the Beck Center through April 7. FINAL WEEKEND! "BECK=B4s SONG AND DANCE a solid winner..." ~ Roy Berko, The Times Beck Center and Verb Ballets present Andrew Lloyd Webber=B4s Song & Dance Now through April 7 Mackey Main Stage 17801 Detroit Avenue in Lakewood Just ten minutes west of downtown Cleveland Show times for Song & Dance are Fridays and Saturdays at 8:00 p.m. and Sundays at 3:00 p.m. There are two special Thursday evening performances on March 29 and April 5 at 8:00 p.m. Ticket prices are $28 for adults, $25 for seniors and $17 for students (22 and under with I.D.) which includes a $2 administrative fee. To reserve tickets, call the Beck Center Box Office at (216) 521-2540 or online at www.beckcenter.org. If you'd like to be removed from this list, please reply to mbales@oh.verio.com. ========================================================================= Date: Wed, 4 Apr 2007 14:58:08 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: T_Martin Subject: Re: alternative spiritual traditions Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Type: text/plain It seems that some "use" spritiuality as a means to create, as a = method. Others use the images of their sprirituality in their work. = Are you asking about the method or the message? Anne Waldman's work shows that American poetry can be spriritual (in = her case buddhist) and political at the same time. As do many = others. = As far as "new age" influences in their work, Robin Blaiser also uses = a touch of occult mythos. Hannah Weiner was thought to be clairvoyant = and "saw" words in the air that she included in her poetry. Lady = Gregory went into a trance and dictated poetry to Yeats(, although = that's hardly recent.) Automatic writing might be said to be "new = age" as it attempts to delve into the subconscious. = Tim ========================================================================= Date: Wed, 4 Apr 2007 09:32:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: review copy In-Reply-To: <979237.79490.qm@web83814.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I saw the scratch n sniff at AWP, and I want everyone to know how envious I am. I mean, John Waters had the first scratch n' sniff movie, but scracth n sniff poetry -- especially ORANGE scrtch n sniff. Waters wanted his film to be in the tradition of Willim Castle. I hope that poetry containing enough static electricity to literally shock consumers, poetry whoopee cushions and joy buzzers, ... didn't someone already do a poetry book with 3d glasses? I always wnted to do one of those. At Sundnce, Adobe displayed some prize-winning stills that were 3d. -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Wed, 4 Apr 2007 12:33:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Reading Announcement MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Berkeley Reading: POETRY FLASH PRESENTS! Mary Mackey Rochelle Ratner Corinne Robins Eileen Tabios Friday, April 13, 2007, 7:30 p.m. at Berkeley City College 2050 Center Street, between Milvia and Shattuck, Berkeley There are two public parking garages (right next door and across the street). You also may take BART since the venue is one-half block from downtown Berkeley BART. Mary Mackey is a novelist and a poet. Her tenth novel, The Notorious Mrs. Winston, has just been published. Her new book of poetry, Breaking the Fever, her fourth, was published in 2006. Dennis Nurkse says of it, "Most poets seem to write poetry with the will, relentlessly suppressing every part of themselves that isn't ecstatic. Mary Mackey writes as a whole person---mind and senses---and the poems are marvelous." Rochelle Ratner has published fifteen books of poems, most recently Balancing Acts, (2006), Beggars at the Wall, (2006), and House and Home, (2003). She's also published two novels, Bobby's Girl and The Lion's Share, and she's the editor of an anthology, Bearing Life: Women's Writings on Childlessness. Corinne Robins is a widely published art critic and art historian as well as a poet. She's the author of The Pluralist Era: American Art 1968-81 and of five books of poems, most recently Today's Menu. She coordinates the reading series Poets for Choice in Brooklyn, New York. Eileen R. Tabios has published fifteen collections of poems, a volume of art essays, a poetry essay/ interview anthology, and a book of short stories. Her most recent books of poems are Dredging for Atlantis, (2006), and SILENCES: The Autobiography of Loss, (2007). In fall 2007 she will publish the multi-genre collection The Light Sang As It Left Your Eyes. A budding vintner, she's Poet Laureate for Dutch Henry Winery in St. Helena, California, and is assiduously researching the poetry of wine. For info, Poetry Flash 510-525-5476, www.poetryflash.org ************************************** See what's free at http://www.aol.com. ========================================================================= Date: Wed, 4 Apr 2007 10:16:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: alternative spiritual traditions MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable ----- Original Message ---- From: T_Martin = =0A=0A----- Original Message ----=0A=0AFrom: T_Martin = =0A=0ATo: POETICS@LISTSERV.BUFFALO.EDU=0A=0ASent: Wednesday, April 4, 2007 = 7:58:08 AM=0A=0ASubject: Re: alternative spiritual traditions=0A=0A=0AIt se= ems that some "use" spritiuality as a means=0Ato create, as a =0A=0Amethod.= Others use the images of their sprirituality in their=0Awork. =0A=0AAre = you asking about the method or the message?=0A=0AAnne Waldman's work shows = that American poetry can be spriritual (in =0A=0Aher case buddhist) and pol= itical at the same time. As do many =0A=0Aothers. =0A=0AAs far as "new ag= e" influences in their work, Robin Blaiser also uses=0A=0A=0Aa touch of occ= ult mythos. Hannah Weiner was thought to be=0Aclairvoyant =0A=0Aand "saw"= words in the air that she included in her=0Apoetry. Lady =0A=0AGregory we= nt into a trance and dictated poetry to Yeats(, although =0A=0Athat's hardl= y recent.) Automatic writing might be said to be=0A"new =0A=0Aage" as it a= ttempts to delve into the subconscious. =0A=0A=0ATim=0A=0A=0A=0A=0A=0AAnd = for some the mode of composing is the spiritual event itself. It is the=0Am= ethod of soul-building, the "occasion of experience" as Alfred North=0AWhit= ehead believed is the basic element of how the world is constructed.=0A=0A= =0A=0AWords were the instruments by which Walt Whitman discovered himself a= nd used, first=0Ato communicate, and then understand the depths of the tran= sformative experience=0Ahe had. William Carlos Williams also was able to pe= rfect a quick writing style,=0Aoften between house calls and used the world= =93field=94 as applied to poetry in=0Athe late =9140=92s in reference to s= cientific discoveries of the early 20th=0Acentury. Charles Olson best docum= ented a process (Projective Verse) by which=0Aone can use the act of compos= ition to capture more energy in writing and spoke=0Aof the "stance toward r= eality" that brings such verse into being. He=0Awas referring to Whitehead'= s cosmology, which is a shift from a materialistic=0A(mechanistic) world vi= ew to that of an organismic (process) one.=0A=0A=0A=0ADuncan's esoteric spi= rituality is well-documented, but the implications of=0Aseeing the poem as = a field of resonance (where he was often permitted to=0Areturn) have not ye= t been fully understood by the mainstream literary community=0Aand the law = of attraction does apply to this even if some people on this list=0Afeel mo= vies like "The Secret" are New Age shit. (I think there is=0Asomething to w= hat the movie/book is saying despite its popularity.) As McClure=0Aput it "= We swirl out what we are and watch what returns."=0A=0A=0A=0AAnne Waldman= =92s work is an excellent example of content, commitment and process=0Athat= is deeply spiritual as is Joanne Kyger, Gary Snyder, George Bowering, Robi= n Blaser and many other poets.=0A=0A=0A=0AI could go on, but suffice it to = say the process may say more about one's view=0Aof the world (is it a hosti= le place? Is competition and domination the ethos,=0Aor interconnection?, e= tc.) than anything else. And one can always sense this=0Afield whether or n= ot the content is comprehended. =0A=0A=0A=0APaul=0A=0A=0A=0APaul E. Nelson = =0A=0Awww.GlobalVoicesRadio.org =0A=0Awww.SPLAB.org=0A=0A=0A908 I. St. N.E.= #4 =0A=0ASlaughter, WA 98002 =0A=0A253.735.6328 or 888.735.6328=0A=0A=0A = =0A=0A=0A ========================================================================= Date: Wed, 4 Apr 2007 11:32:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crane's Bill Books Subject: Re: alternative spiritual traditions MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit David, I've never thought of Spicer's work as being either "spiritual" or "emptied" of spirituality, but the latter seems accurate enough. Curiously, it doesn't seem incompatible with his embrace of magic, dictation, etc. Where does one end and the other begin? J. A. Lee Crane's Bill Books www.torriblezone.com ----- Original Message ----- From: "David Baratier" To: Sent: Tuesday, April 03, 2007 9:08 PM Subject: Re: alternative spiritual traditions >I am not sure that I will be accurately answering this thread as Duncan was >much more based on mythos than I usually enjoy (but I appreciate his sense >of the line and durative, over line, breath) and Spicer does not hit me as >being spiritual whatsoever in fact his poems are emptied of that resin. > > But they both had poetics written behind their work that suggested > spirituality. So are you looking for suggestions of poets who have a > spiritual poetics? Those whose poetry deals with spiritual or religious > elements? Those who use poetry or spiritual ritual or practice within > their poems (like mentioning it)? Or those who use poetry or spiritual > ritual or practice as a process to form their poems? > > > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus, OH 43206 > http://pavementsaw.org ========================================================================= Date: Wed, 4 Apr 2007 11:21:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mona Baroudi Subject: Performance Poetry Workshop with Award-Winning Writer James Kass at Intersection MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit INTERSECTION FOR THE ARTS presents Performance Poetry with James Kass Tuesdays . 6:30pm-9pm April 10, 17, 24; May 8 & 15 $180 ($170 for Intersection Members) Make your own stories come alive on stage... Learn how to write for an audience and perform your writing live. Join award-winning writer and Founder of Youth Speaks James Kass in a 5-week workshop teaching you how to be a performance poet. This workshop will include writing and performance exercises designed to help you discover your individual voice through poetry and performance. Click here to reserve your spot >>> or call us at 415.626.2787 ALL LEVELS ARE WELCOME James Kass is the Founder and Executive Director of Youth Speaks. Since 1996, Youth Speaks has set a national standard for creative writing, poetry, and spoken word programs for youth. James has facilitated workshops in over 350 high schools, numerous universities, public library systems, juvenile detention centers, and youth service agencies throughout the extensive international Youth Speaks/Brave New Voices network. Executive Editor of First Word Press, and creator of the annual Youth Speaks Teen Poetry Slam, Spoken City, Brave New Voices, and the Bringing the Noise reading series, James also coordinated the Youth Stage at the now-defunct San Francisco Bay Area Book Festival. James is a founding member of the San Francisco Poet Laureate Executive Committee, and has been a panelist for the California Arts Council Spoken Word Fellowship, The Oakland Creative Arts Spoken Word Fellowship and the San Francisco Arts Commission Creative Space Award. James sits on the Steering Committee for the Oakland International Hip Hop Museum (On Up), Chairs the Community Engagement Advisory Board for Yerba Buena Center for the Arts, is an Advisory Board Member for SlamBush.net, and the NYC Hip Hop Theater Festival, is a Board Member of CAS, a small school at Berkeley High, Speak Out, a progressive national speakers bureau, and Youth Sounds, the nation's premiere youth media program, teaches classes at the California College of Arts, and has partnered with The New York City Hip Hop Theater Festival to develop a festival in the Bay Area. Winner of a 1997 Bay Guardian Fiction Award and a 1999 Poetry Award, among many other awards for his writing, James was a 1996 San Francisco Poetry Slam Champion, has had his own work, both fiction and poetry, published in numerous journals and publications and performed nationwide from the Nuyorican to San Francisco's Fillmore. As part of his work, James also created and still chairs Brave New Voices, the International Youth Poetry Slam Festival, which is hosted in a different American city each year, and has overseen the development of Youth Speaks chapters and affiliate programs nationwide, including in NY, Seattle, Los Angeles, Ann Arbor, Minneapolis/St. Paul, Honolulu, and Madison, WI. He served as the Poetry Advisor and an Executive Producer for the award-winning documentary film Poetic License, which aired nationwide on PBS stations, was the Casting Director for a national anti-substance abuse Spoken Word PSA Program, is an Executive Producer of a forthcoming Documentary series on youth and spoken word on HBO, serves as Youth Casting Director for HBO's Def Poetry, and is a recipient of the prestigious Northern California Creative Work Fund Arts Grant, with which he wrote and starred in No Man's Land with Paul Flores, Marc Bamuthi Joseph and Beau Sia. James has also received awards and fellowships from the San Francisco Arts Commission, the California Arts Council, the Gerbode Foundation, amongst others, and has been recognized by San Francisco State University on three occasions for his work serving the arts. James was also recognized by the Ford Foundation as a Future Aesthetic artist and presenter as part of a national hip-hop generation movement. He has been featured in media across the nation, including Poets & Writers, the New York Times, Seventeen Magazine, the San Francisco Chronicle, CNN, ABC, Nightline, Source, Vibe and National Public Radio. James founded Youth Speaks while a graduate student in the MFA program at San Francisco State University. He is currently working on a memoir about Youth Speaks. The Intersection Institute provides year-round opportunities for people to engage in an interactive exploration of the complete process of creating new art from conception to fruition. The program includes classes, workshops, forums and performances that combine unique social and aesthetic content with interdisciplinary artistic elements. Our educational programs are suitable for all ages and are available to educators, students, community groups, artists and non-artists with all levels of skill and experience. Intersection for the Arts 446 Valencia Street (between 15 & 16) San Francisco, CA 94103 (415) 626-2787, www.theintersection.org INTERSECTION FOR THE ARTS is San Francisco's oldest alternative art space and provides a place where provocative ideas, diverse art forms, artists and audiences can intersect one another. At Intersection, experimentation and risk are possible, debate and critical inquiry are embraced, community is essential, resources and experience are democratized, and today's issues are thrashed about in the heat and immediacy of live art. We depend on the support of people like you. Please help ensure Intersection's future and become a Member today. To become a Member, simply visit our Website and click on the Donate Now icon at www.theintersection.org. _____ You are subscribed to this list as mona@theintersection.org. Click here to unsubscribe, or send email to unsubscribe.158491.132629032.379254683186754283-mona_theintersection.org @en.groundspring.org. Our postal address is 446 Valencia Street San Francisco, California 94103 United States ========================================================================= Date: Wed, 4 Apr 2007 13:46:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: UbuWeb Featured Resources: April 2007, Selected by Anthony Huberman Comments: To: rumori@detritus.net Comments: cc: lowercase-sound@yahoogroups.com, AudioFix@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit __ U B U W E B __ http://ubu.com UbuWeb Featured Resources: April 2007 Selected by Anthony Huberman 1. Art by Telephone, 1969 (MP3) http://www.ubu.com/sound/art_by_telephone.html 2. Richard Prince with Bob Gober, "Tell Me Everything", 1988 (MP3) http://ubu.wfmu.org/sound/artist_tellus/Tellus-21-Artists_21_prince.mp3 2.5 John Armleder, "16 Great Turn-Ons". 1988 (MP3) http://ubu.wfmu.org/sound/artist_tellus/Tellus-21-Artists_24_armleder.mp3 3. Jack Goldstein, "Soundworks" (MP3) http://www.ubu.com/sound/goldstein.html 4. Roman Opalka "1 to Infinity", 1965 / 1977 (MP3) http://ubu.com/sound/opalka.html 5. Seth Price, "Dispersion" (PDF) http://www.distributedhistory.com/Dispersion2007.comp.pdf 6. Erik Satie, "A Day in the Life of a Musician" http://www.ubu.com/papers/satie_day.html 7. Ian Baxter "Statements" (1970) http://www.ubu.com/papers/baxter_statements.html 8. Robert Smithson "Hotel Palenque Bootleg" (film) http://www.ubu.com/film/smithson.html 9. Richard Serra, "Verb List Compilation: Actions to Relate to Oneself" (1967-1968) http://www.ubu.com/concept/serra_verb.html 10. Robert Rauschenberg "Portrait of Iris Clert" http://www.ubu.com/concept/rauschenberg_portrait.html Anthony Huberman is Curator at the Palais de Tokyo in Paris. He has curated several group exhibitions in New York and in Europe, many special projects with emerging artists, as well as a broad range of performance, radio, and music events. "Grey Flags," a group show co-curated with the artist Paul Pfeiffer, was recently on view at the CAPC contemporary art museum in Bordeaux, France. __ U B U W E B __ http://ubu.com UbuWeb http://ubu.com ____________________________________________________________________________________ Sucker-punch spam with award-winning protection. Try the free Yahoo! Mail Beta. http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Wed, 4 Apr 2007 16:28:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Bay Area events next week? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable thanks for the word -- I'll be in Oakland from this Saturday through the 16th -- are there other events going on next week in the Bay Area?=20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Tom Beckett Sent: Wednesday, April 04, 2007 11:33 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Reading Announcement Berkeley Reading: POETRY FLASH PRESENTS! Mary Mackey Rochelle Ratner Corinne Robins Eileen Tabios Friday, April 13, 2007, 7:30 p.m. at Berkeley City College 2050 Center Street, between Milvia and Shattuck, Berkeley There are two public parking garages (right next door and across the=20 street). You also may take BART since the venue is one-half block from downtown=20 Berkeley BART. Mary Mackey is a novelist and a poet. Her tenth novel, The Notorious Mrs.=20 Winston, has just been published. Her new book of poetry, Breaking the Fever,=20 her fourth, was published in 2006. Dennis Nurkse says of it, "Most poets seem=20 to write poetry with the will, relentlessly suppressing every part of=20 themselves that isn't ecstatic. Mary Mackey writes as a whole person---mind and =20 senses---and the poems are marvelous."=20 Rochelle Ratner has published fifteen books of poems, most recently=20 Balancing Acts, (2006), Beggars at the Wall, (2006), and House and Home, (2003).=20 She's also published two novels, Bobby's Girl and The Lion's Share, and she's the=20 editor of an anthology, Bearing Life: Women's Writings on Childlessness. =20 Corinne Robins is a widely published art critic and art historian as well as=20 a poet. She's the author of The Pluralist Era: American Art 1968-81 and of=20 five books of poems, most recently Today's Menu. She coordinates the reading=20 series Poets for Choice in Brooklyn, New York. =20 Eileen R. Tabios has published fifteen collections of poems, a volume of art=20 essays, a poetry essay/ interview anthology, and a book of short stories. =20 Her most recent books of poems are Dredging for Atlantis, (2006), and SILENCES:=20 The Autobiography of Loss, (2007). In fall 2007 she will publish the=20 multi-genre collection The Light Sang As It Left Your Eyes. A budding vintner, she's=20 Poet Laureate for Dutch Henry Winery in St. Helena, California, and is=20 assiduously researching the poetry of wine. For info, Poetry Flash 510-525-5476, www.poetryflash.org ************************************** See what's free at http://www.aol.com. ========================================================================= Date: Wed, 4 Apr 2007 16:02:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: alternative spiritual traditions In-Reply-To: <672693.21608.qm@web83826.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable David Baratier wrote:=20 >and Spicer does not hit me as being spiritual whatsoever in fact his = poems >are emptied of that resin I agree -- there's something empty in his and Duncan's "ceremonial = robes," yet the fact that they're draped as they are is interesting by = itself. on the other hand, the purely occult writings of Aleister = Crowley and the Golden Dawn folks get old real fast, even though there's = a kind of oddness to them that can be artful. not sure if I am looking for any "true practitioners" of a spiritual = poetics (mostly 'cause I don't know what that means -- Gerard Manley = Hopkins is the most "spiritual" one I can think of, in a mainstream = religious sense, though not overtly church-dominated). I can imagine = there's some really awful neo-pagan writing out there, though this, = along with other faith-inspired texts, is probably ghettoized within = each group's own canons (in the Eastern Orth. sense of the word). as for me, a few years ago I started writing "charm poems" -- short = pieces that invoke a spirit related to physical objects, whether to act = on them in some way or to otherwise change a situation... I wasn't under = any illusions that this would have a real physical effect, but something = about the focus on a single object in the exercise appealed to me.=20 so, for instance, I wrote a series about a loose tooth that was due to = come out:=20 tooth come out light tooth come out stone tooth come out: nothing more to bite. so, re: Iraq and other injustices in the world: what happens if poets = write such focused pieces with the overt intention of changing events = through the power of the words? if you want to try, go ahead: only don't = get caught up in whether or not it will work, as I feel the "magic" is = in the ritual, not in the outcome. or is this true of all poetry?=20 check out this passage from the Finnish epic, the Kalevala: = http://www.sacred-texts.com/neu/kveng/kvrune09.htm (sorry about the = translation -- 1888 attempt to recreate the original Finnish meter) -- = the only way V=E4in=E4m=F6inen can heal the wound inflicted by his iron = axe is to learn the original spell that created its metal... a kind of = sympathetic magic at work.=20 can we try to "rewrite" history in our time by singing about what got us = into this mess? could this be what Blake was doing with his prophetic = books, relative to the crap going on in his time?=20 tl =20 ========================================================================= Date: Wed, 4 Apr 2007 15:03:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Bay Area events next week? In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D92@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Tom, Ed Roberson and Evie Shockley will be reading at Small Press Traffic on April 13th at 7:30 pm. Directions on the website at www.sptraffic.org -- though feel free to backchannel if you need more. Taylor "Tom W. Lewis" wrote: thanks for the word -- I'll be in Oakland from this Saturday through the 16th -- are there other events going on next week in the Bay Area? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Tom Beckett Sent: Wednesday, April 04, 2007 11:33 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Reading Announcement Berkeley Reading: POETRY FLASH PRESENTS! Mary Mackey Rochelle Ratner Corinne Robins Eileen Tabios Friday, April 13, 2007, 7:30 p.m. at Berkeley City College 2050 Center Street, between Milvia and Shattuck, Berkeley There are two public parking garages (right next door and across the street). You also may take BART since the venue is one-half block from downtown Berkeley BART. Mary Mackey is a novelist and a poet. Her tenth novel, The Notorious Mrs. Winston, has just been published. Her new book of poetry, Breaking the Fever, her fourth, was published in 2006. Dennis Nurkse says of it, "Most poets seem to write poetry with the will, relentlessly suppressing every part of themselves that isn't ecstatic. Mary Mackey writes as a whole person---mind and senses---and the poems are marvelous." Rochelle Ratner has published fifteen books of poems, most recently Balancing Acts, (2006), Beggars at the Wall, (2006), and House and Home, (2003). She's also published two novels, Bobby's Girl and The Lion's Share, and she's the editor of an anthology, Bearing Life: Women's Writings on Childlessness. Corinne Robins is a widely published art critic and art historian as well as a poet. She's the author of The Pluralist Era: American Art 1968-81 and of five books of poems, most recently Today's Menu. She coordinates the reading series Poets for Choice in Brooklyn, New York. Eileen R. Tabios has published fifteen collections of poems, a volume of art essays, a poetry essay/ interview anthology, and a book of short stories. Her most recent books of poems are Dredging for Atlantis, (2006), and SILENCES: The Autobiography of Loss, (2007). In fall 2007 she will publish the multi-genre collection The Light Sang As It Left Your Eyes. A budding vintner, she's Poet Laureate for Dutch Henry Winery in St. Helena, California, and is assiduously researching the poetry of wine. For info, Poetry Flash 510-525-5476, www.poetryflash.org ************************************** See what's free at http://www.aol.com. ========================================================================= Date: Wed, 4 Apr 2007 17:19:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Pritts Subject: National H_NGM_N Month MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://www.h-ngm-n.com =20 Hi! =20 In honor of National Poetry Month, that time of year when we all join = forces in the spirit of commodification & prostitute the art form we = love, H_NGM_N is announcing our new line of VALU_ DEALS! * VALU_ DEAL MENU #1 COMBATIVES/CHAPBOOK - Start a subscription to COMBATIVES (#'s 4-6) & = get a chapbook too! $8 ppd. #2 Any 2 chapbooks from the H_NGM_N list. $8 ppd. Order buttons for these special VALU_ DEALS are right here at = http://www.h-ngm-n.com! Please email editor@h-ngm-n.com to let us know = the title of your selections. Offer expires Monday, April 30th. =20 Best! =20 Nate Pritts, EIC & mogul. =20 ========================================================================= Date: Wed, 4 Apr 2007 12:46:48 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: CFP: Modern/Contemporary Poetry, Performance: audibleword.org (no deadline; scholarly website) (fwd) MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT ---------- Forwarded message ---------- Date: Fri, 23 Mar 2007 23:03:28 -0500 From: Kenneth Sherwood Audibleword.org, seeks critical essays, commentaries, and reviews on oral and aural poetries with an emphasis on the 20th- and 21st centuries. Contributions related to American Modernist poetry, Ethnopoetics, the Black Mountain School, New York School, and more recent experimental poetry are particularly welcome. Featured authors at Audibleword include: Cecilia Vicuna, Charles Bernstein, Rachel Blau DuPlessis, John Taggart, and Martin Espada. The pervasive digital distribution of poetry audio (and development of archives and portals such as PennSound, the Electronic Poetry Center, and Ubu Web, not to mention literary podcasts) suggest that the contexts for reception of poetry are undergoing a shift. Contributions are sought which will help shape the reception and critical discourse for aural poetry. - close-listening of poetry performance events - critical scholarly essays - reviews and hyrid genre commentaries (esp. as related to the featured poets) - methodological discussions and theorization of transcription, documentation, audio editing and presentation We will consider first web publication of pieces that have previously appeared in print only. ---- About the Site: AudibleWord.Org promotes the appreciation and study of oral and aural poetries of the twentieth and twenty-first centuries. We aim to make performance documents in digital media freely accessible to students, teachers, scholars, and artists. In collaboration with contemporary practitioners, as well as critics and educators, we also seek to create an informative context for the appreciation of this work by publishing original commentary, archival scholarship, and other relevant documents. Contact Kenneth Sherwood (sherwood@iup.edu) for information and enquiries. __________________________________ Kenneth Sherwood, PhD Department of English Graduate Program in Literature and Criticism Indiana University of PA www.sherwoodweb.org ========================================================== From the Literary Calls for Papers Mailing List CFP@english.upenn.edu Full Information at http://cfp.english.upenn.edu or write Jennifer Higginbotham: higginbj@english.upenn.edu ========================================================== ========================================================================= Date: Wed, 4 Apr 2007 16:26:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Behm-Steinberg Subject: Re: alternative spiritual traditions In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D91@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit What's difficult about spiritualist/spirituality writing is its propensity for sentimentality and kitsch on one hand, and our cultural cynicism, skepticism etc. about even the possibility of transcendent meaning on the other (especially in the poems we read and write). I find HD's Trilogy to be especially relevant o this discussion. Hugh Behm-Steinberg "Tom W. Lewis" wrote: David Baratier wrote: >and Spicer does not hit me as being spiritual whatsoever in fact his poems >are emptied of that resin I agree -- there's something empty in his and Duncan's "ceremonial robes," yet the fact that they're draped as they are is interesting by itself. on the other hand, the purely occult writings of Aleister Crowley and the Golden Dawn folks get old real fast, even though there's a kind of oddness to them that can be artful. not sure if I am looking for any "true practitioners" of a spiritual poetics (mostly 'cause I don't know what that means -- Gerard Manley Hopkins is the most "spiritual" one I can think of, in a mainstream religious sense, though not overtly church-dominated). I can imagine there's some really awful neo-pagan writing out there, though this, along with other faith-inspired texts, is probably ghettoized within each group's own canons (in the Eastern Orth. sense of the word). as for me, a few years ago I started writing "charm poems" -- short pieces that invoke a spirit related to physical objects, whether to act on them in some way or to otherwise change a situation... I wasn't under any illusions that this would have a real physical effect, but something about the focus on a single object in the exercise appealed to me. so, for instance, I wrote a series about a loose tooth that was due to come out: tooth come out light tooth come out stone tooth come out: nothing more to bite. so, re: Iraq and other injustices in the world: what happens if poets write such focused pieces with the overt intention of changing events through the power of the words? if you want to try, go ahead: only don't get caught up in whether or not it will work, as I feel the "magic" is in the ritual, not in the outcome. or is this true of all poetry? check out this passage from the Finnish epic, the Kalevala: http://www.sacred-texts.com/neu/kveng/kvrune09.htm (sorry about the translation -- 1888 attempt to recreate the original Finnish meter) -- the only way Väinämöinen can heal the wound inflicted by his iron axe is to learn the original spell that created its metal... a kind of sympathetic magic at work. can we try to "rewrite" history in our time by singing about what got us into this mess? could this be what Blake was doing with his prophetic books, relative to the crap going on in his time? tl --------------------------------- It's here! Your new message! Get new email alerts with the free Yahoo! Toolbar. ========================================================================= Date: Wed, 4 Apr 2007 22:01:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Re: wershler-henry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Sorry, I tried again and it worked for me... http://www.newyorker.com/arts/critics/books/2007/04/09/070409crbo_books_acocella Best, Sina > Bad link, it seems.One hist the New Yorker all right, but an error page... > > > Michael A. Soubbotnik > Université de Marne-la-Vallée > UFR Lettres Arts Communication > EA3349 LISAA > > > >> De : Sina Queyras >> Répondre à : UB Poetics discussion group >> Date : Tue, 3 Apr 2007 14:03:39 -0400 >> À : "POETICS@LISTSERV.BUFFALO.EDU" >> Objet : wershler-henry >> >> Well it isn't poetry, but it is a great Canadian poet. Darren >> Wershler-Henry's book on the history of typewriting gets some attention >> from the New Yorker. >> >> http://www.newyorker.com/arts/critics/books/2007/04/09/070409crbo_books_acocel >> la >> ------------------------------------------------------------------------------ >> --------- >> Orange vous informe que cet e-mail a ete controle par l'anti-virus >> mail. >> Aucun virus connu a ce jour par nos services n'a ete detecte. >> >> >> > -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Thu, 5 Apr 2007 08:58:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Bogle Subject: Re: the language of living in a ghetto MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Back when the Poetics List was debating the merits of declaring English the official language of the U.S., I realized for the first time that two years of Spanish ought to be required of all students in the U.S. AMB ************************************** See what's free at http://www.aol.com. ========================================================================= Date: Thu, 5 Apr 2007 11:47:45 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Switaj Subject: Seeking Work Situated in Change & Ambiguity MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline After two hard copy editions, Crossing Rivers Into Twilight: CRIT Journal seeks submissions for its first online issue, set to appear on May 1. CRIT is interested in poetry, prose, and visual art that deals with themes of liminality, transitions, thresholds, and the like. Hybrid genres are especially sought after. See http://www.critjournal.com/ for more details and send submissions to critjournal@gmail.com. Elizabeth Kate Switaj, editor ========================================================================= Date: Thu, 5 Apr 2007 21:48:27 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Re: the language of living in a ghetto Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Two years of Spanish, 29 1/2 of Italian (regional Bari/Barez), and a shot o= f SoCo. > ----- Original Message ----- > From: "Ann Bogle" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: the language of living in a ghetto > Date: Thu, 5 Apr 2007 08:58:34 EDT >=20 >=20 > Back when the Poetics List was debating the merits of declaring English t= he > official language of the U.S., I realized for the first time that two yea= rs > of Spanish ought to be required of all students in the U.S. AMB >=20 >=20 >=20 > ************************************** See what's free at http://www.aol.= com. > =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Thu, 5 Apr 2007 09:53:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Loucks, James" Subject: Re: the language of living in a ghetto MIME-version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Would two years be sufficient without the immersion one finds in Canada = (with French, of course)? -- Jim =20 James Loucks, Ph.D. Ohio State University-Newark 1179 University Dr. Newark, OH 43055-1797 loucks.1@osu.edu=20 740.366.9423 fax 740.366.5047 blog: http://jlouckscourses.blogspot.com=20 =20 ________________________________ From: UB Poetics discussion group on behalf of Ann Bogle Sent: Thu 05-Apr-07 8:58 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: the language of living in a ghetto Back when the Poetics List was debating the merits of declaring English = the=20 official language of the U.S., I realized for the first time that two = years=20 of Spanish ought to be required of all students in the U.S. AMB ************************************** See what's free at = http://www.aol.com. ========================================================================= Date: Thu, 5 Apr 2007 09:36:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: alternative spiritual traditions Comments: cc: Kass Fleisher In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D91@TLRUSMNEAGMBX10.ERF.THOMSON.COM > Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Might be of related interest to look at what Coleridge has to say about "Poetry and Religion." See Lecture VIII of his criticism (1811-12), from which: "I have heard it said that an undevout astronomer is mad. In the strict sense of the word, every being capable of understanding must be mad, who remains, as it were, fixed in the ground on which he treads -- who, gifted with the divine faculties of indefinite hope and fear, born with them, yet settles his faith upon that, in which neither hope nor fear has any proper field for display. Much more truly, however, might it be said that, an undevout poet is mad: in the strict sense of the word, an undevout poet is an impossibility...." Best, Joe ========================================================================= Date: Thu, 5 Apr 2007 11:06:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: I've been put in charge MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Fellow poets- You may or may not have heard that I have been put in charge of poetry. It is a temporary measure, just until we can come up with a solution to some of the challenges poetry currently faces. I want you to know that I know what an incredible responsibility this is, and I will do my best to account for the variety of opinions and aesthetics represented here. In fact, I would like to think of the recipients of this message as a sort of cabinet--an inner circle, if you will--advising me on how best to govern poetry during my tenure. Obviously we will need a manual to reference while we work together in this vast undertaking, a sort of common starting point, and I have decided, at least for the time being, to assign THE BIRD HOVERER, which can be ordered here: http://www.blazevox.org/bk-ab.htm Now the notion of using a book of original poems as the official manual for poetry might strike some as odd; indeed, a case might be made that a traditional reference volume, or an annotated anthology, might suit our purpose more effectively. However, THE BIRD HOVERER is *my* book, representing my own unique aesthetic priorities, and as such it would seem to be mandatory reading to prepare all of us for what lies ahead. Again, I know that my executive role was not assigned lightly. I will do my best to respect the office and to keep in mind the concerns of my constituency. Toward that end, I will employ an "open door" policy, fielding correspondence from anyone who needs my opinion on matters of policy and governance. All I require in return is that all of you immediately familiarize yourselves with the manual so that our discussions will reflect unity--or at least an aspiration toward unity--rather than the clamor and chaos that characterized the previous administration. In closing, I salute each one of you: your implicit hopefulness, your immeasurable talent, and the revolutionary spirit you bring to poetry-related tasks on a daily basis are what makes poetry *poetry*. What I want more than anything else is to function as a catalyst for what you are already doing. The present is bright. Let's work together to make the future even brighter. My best wishes, Aaron Belz ========================================================================= Date: Thu, 5 Apr 2007 11:42:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: JOINT READING BY U.S. AND BRITISH POETS LAUREATE] MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit thought I'd pass this along charlie ------------------- Poetry Foundation FOR IMMEDIATE RELEASE April 4, 2007 Media Contact: Anne Halsey 312.799.8016 ahalsey@poetryfoundation.org POETRY FOUNDATION PRESENTS FIRST-EVER JOINT READING BY U.S. AND BRITISH POETS LAUREATE Donald Hall and Andrew Motion to give series of poetry readings in Chicago, Washington, D.C., and London CHICAGO — The Poetry Foundation, publisher of Poetry magazine, is pleased to announce that it will host U.S. Poet Laureate Donald Hall and British Poet Laureate Andrew Motion in a series of poetry readings in Chicago, Washington, D.C., and London. The transatlantic presentations mark the first time two sitting laureates have shared a stage and will take place on May 7, May 10, and June 6, respectively. The readings are co-sponsored by the Library of Congress and the London-based Poetry Society. What: First-Ever Joint Readings by U.S. and British Poets Laureate Donald Hall and Andrew Motion When/Where: Monday, May 7, at 6 p.m., Fullerton Hall, Art Institute of Chicago Thursday, May 10, at 7 p.m., Coolidge Auditorium, Library of Congress, Washington, D.C. Wednesday, June 6, at 6 p.m., St. Giles-in-the-Fields Church, London All events are free and open to the public, but reservations are strongly encouraged; call (312) 787-7070. The U.S. and British Poets Laureate reading series is part of the Poetry Across the Atlantic program, an initiative to reacquaint the poetries of America and the United Kingdom. Both poets will read their own work as well as important works by their contemporaries. The talks will focus largely on each laureate's understanding of his country's most significant poetic voices—both established and emerging—that may be unfamiliar to readers overseas. "These historic readings will promote critical awareness of, and a shared readership for, the contemporary poetry written on both sides of the Atlantic," said John Barr, president of the Poetry Foundation, in making the announcement. "The Poetry Foundation is pleased to be in partnership with the offices of the U.S. and the British Poets Laureate in renewing an old and integral friendship." King James I established the office of "poet" in Great Britain for Ben Jonson in 1617, although the title "poet laureate" was not used until it was conferred on John Dryden in 1670. Historically, it has been the job of the British poet laureate to write poems commemorating state occasions or events related to the monarchy. In the United States, the Poet Laureate Consultant in Poetry to the Library of Congress serves as the nation's official lightning rod for the poetic impulse of Americans. During his or her term, the poet laureate seeks to raise the national consciousness to a greater appreciation of the reading and writing of poetry. The position has existed under two separate titles: from 1937 to 1986 as "Consultant in Poetry to the Library of Congress" and from 1986 forward as "Poet Laureate Consultant in Poetry." The poet laureate is appointed annually by the Librarian of Congress and serves from October to May. ****** Poetry Across the Atlantic In addition to the U.S. and British Poets Laureate reading series, the Poetry Foundation is working to raise awareness of and interest in poetry on both sides of the Atlantic through a variety of activities and partnerships with other leading poetry organizations around the world. For the second year in a row, the April issue of Poetry magazine is devoted to the art of translation. The issue showcases an incredible variety of talent, featuring new translations of classic authors such as Rimbaud, Horace, Dante, and Neruda, as well as poets relatively unknown in America, like Mexico's Coral Bracho and Korea's Jin Eun-Young, by renowned authors such as Robert Pinsky, Charles Simic, J.M. Coetzee, Rosanna Warren, and Paul Muldoon. In the coming months, subsequent issues of Poetry will publish a series of in-depth portfolios on the contemporary poetry of countries including India and Italy. This also marks the first year that poetry in translation will be included in the comprehensive archive of classic and contemporary English-language poetry available at the Foundation's website, www.poetryfoundation.org. Over the coming year, the Poetry Foundation will be adding poetry from Indian and Italian poets as well as from other major international poets who have influenced American poetry, such as Pablo Neruda, Czeslaw Milosz, Gabriela Mistral, Odysseus Elytis, and George Seferis. For more information, and to sign up to receive email notices of Poetry Foundation events, please visit www.poetryfoundation.org. ****** About the Poetry Foundation The Poetry Foundation, publisher of Poetry magazine is one of the largest literary foundations in the world. An independent literary organization committed to a vigorous presence for poetry in our culture, it exists to discover and celebrate the best poetry and to place it before the largest possible audience. The Poetry Foundation seeks to be a leader in shaping a receptive climate for poetry by developing new audiences, creating new avenues for delivery, and encouraging new kinds of poetry through innovative literary prizes and programs. The Poetry Foundation website, www.poetryfoundation.org, provides a variety of information about poetry as well as articles, podcasts, and reading guides. The Foundation recently completed Poetry in America, an unprecedented study aimed at understanding poetry's place in American culture. The study found that a lifelong love for poetry is most likely to result if cultivated early in childhood and reinforced thereafter. In 2006, the Poetry Foundation appointed Jack Prelutsky as the nation's first Children's Poet Laureate. The laureate serves as an advisor to the Poetry Foundation on children's poetry and engages in a variety of projects designed to instill a love of poetry among the nation's youngest readers. Now in its second year, Poetry Out Loud: National Recitation Contest, created by the NEA and the Poetry Foundation, encourages the study of great poetry by offering educational materials and a dynamic recitation competition to high schools across the country. For more information on these and other programs, please visit www.poetryfoundation.org. About the Library of Congress The office of the U.S. Poet Laureate is in the Library of Congress Poetry and Literature Center. The Center stimulates and enhances the public's appreciation of poetry and the literary arts as a creative activity and as part of the Library's living and historic treasures. Poet Laureate Consultant in Poetry at the Library is the highest public office for a poet in this country. Past laureate consultants include: Robert Frost, Elizabeth Bishop, Robert Lowell, James Dickey, and more recently, Stanley Kunitz, Maxine Kumin, Rita Dove, and Robert Pinsky. Founded in 1800, the Library of Congress is the nation's oldest federal cultural institution and the largest library in the world, with more than 134 million items in various languages, disciplines, and formats. As the world's largest repository of knowledge and creativity, the Library is a symbol of democracy and the principles on which this nation was founded. Today the Library serves the U.S. Congress and the nation both on site, in its 21 reading rooms on Capitol Hill, and through its award-winning website at www.loc.gov. Donald Hall was born in New Haven, Connecticut, in 1928. He received his bachelor's degree from Harvard College in 1951 and his bachelor's in literature from Oxford University in 1953. He has published 15 books of poetry, beginning with Exiles and Marriages in 1955; his most recent is White Apples and the Taste of Stone: Selected Poems 1946-2006, a volume of his essential life's work. One of his books for children, Ox-Cart Man, won the Caldecott Medal. His 20 books of prose include Willow Temple: New and Selected Stories (2003), The Best Day the Worst Day: Life with Jane Kenyon (2005), and a collection of his essays about poetry, Breakfast Served Any Time All Day (2003). Donald Hall received the Marshall/Nation Award in 1987 for The Happy Man; both the National Book Critics Circle Award and the Los Angeles Times Book Award in 1988 for The One Day; the Lilly Prize for Poetry in 1994; and two Guggenheim Fellowships. He is a member of the American Academy of Arts and Letters and lives in New Hampshire. In September 2006, Donald Hall was appointed U.S. Poet Laureate Consultant in Poetry. To read more about the poet laureate, visit www.loc.gov/poetry. Andrew Motion was born in 1952. He read English at University College, Oxford, and subsequently spent two years writing about the poetry of Edward Thomas for an M. Litt. From 1976 to 1980 he taught English at the University of Hull; from 1980 to 1982 he edited the Poetry Review; and from 1982 to 1989 he was editorial director and poetry editor at Chatto & Windus. He has recently been appointed professor of creative writing at Royal Holloway, University of London. Motion has published more than a dozen collections of poetry, as well as biographies of Philip Larkin and John Keats. He is a Fellow of the Royal Society of Literature and lives in London. Andrew Motion was appointed Poet Laureate of Great Britain in May 1999. If you no longer wish to receive emails from the Poetry Foundation, please send an email with "unsubscribe" in the subject line to media@poetryfoundation.org. ========================================================================= Date: Thu, 5 Apr 2007 06:55:26 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: the language of living in a ghetto In-Reply-To: MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT when i was a kid in england, several years of french was required of every student in grammar school--in addition to latin, of course. i've always been glad of both of them. gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Thu, 5 Apr 2007, Ann Bogle wrote: > Back when the Poetics List was debating the merits of declaring English the > official language of the U.S., I realized for the first time that two years > of Spanish ought to be required of all students in the U.S. AMB > > > > ************************************** See what's free at http://www.aol.com. > ========================================================================= Date: Thu, 5 Apr 2007 12:00:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Cope Subject: New from Essay Press MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT Announcing two new books from Essay Press: Kristin Prevallet, _I, Afterlife: Essay in Mourning Time_ & Albert Goldbarth, _Griffin_ On Prevallet: Much admired by her contemporaries for her experiments in poetic form, Kristin Prevallet now turns those gifts to the most vulnerable moments of her own life. In doing so, she has produced a testament that is both disconsolate and powerful. Meditating on her father's unexplained suicide, Prevallet alternates between the clinical language of the crime report and the lyricism of the elegy. Throughout, she offers a defiant refusal of east consolations or redemptions. Driven by "the need to extend beyond the personal and out the toward the intolerable present," Prevallet brings herself and her readers to the chilling but transcendent place where, as she promises, "darkness has its own resolutions." According to Fanny Howe, here elegy and essay "converge and there is left a beautiful sense of the poetic itself as all that is left to comfort a person facing a catastrophic loss." Forest Gander calls I, Afterlife "the quietest and most intimate book by one of our best poets." On Goldbarth: "These are a whole new breed," Robert Atwan writes of Goldbarth's essays. "Albert Goldbarth has spliced strands of the old genre with a powerful new gene and the results are miraculous." In Griffin -- that crossbred creature comprised of eagle, lion, and serpent -- Albert Goldbarth joins two essays to form one animal. "Roman Erotic Poetry,"written on the cusp of a friend's divorce, explores that strangely compound beast we call marriage. "Wuramon," written on the cusp of a friend's struggle with cancer, considers that strangely compound being every one of us is: an amalgam of spirit and physical body. The resulting book is eccentric, learned, and moving. Essay Press books are $12.95 and available through Small Press Distribution (www.spdbooks.org) or directly from the publisher (www.essaypress.org). For subscription information or how to receive Essay Press books at discounted rates, please visit www.essaypress.org. Forthcoming titles from Essay Press: Jenny Boully, _The Body: An Essay_ (reprint, corrected text) Carla Harryman, _Adorno's Noise_ Joshua Casteel, _Letters from Abu Ghraib_ Essay Press books are edited by Eula Biss, Stephen Cope, and Catherine Taylor. Submission info. available at www.essaypress.org. ========================================================================= Date: Thu, 5 Apr 2007 11:33:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Petermeier Subject: Re: alternative spiritual traditions In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Someone wrote: > to open this topic up to poetics, are there > writers out there using New Age or alternative > spiritual traditions in their work? I've been attending Ojibwe language tables for more than a year, and I have been learning a lot about Anishinaabe spiritual traditions. It has had a profound impact on me, though I don't know how that will impact my writing. It does make me think about other writers, such as Joy Harjo, as her work is infused with Mvskoke spiritual traditions. Are you interested in considering Native American spiritual traditions? I think they are fundamentally different than "New Age," but I'm not sure what you mean by "alternative spiritual traditions." Non-Christian beliefs? Wiccan? Paganism? Atheism? Physics? Theosophy? Sun Ra? pac, lov, and undrstanding (nvr giv up!) stv ptrmir no man's land minnapolis, mn usa ____________________________________________________________________________________ No need to miss a message. Get email on-the-go with Yahoo! Mail for Mobile. Get started. http://mobile.yahoo.com/mail ========================================================================= Date: Thu, 5 Apr 2007 01:21:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: slatter please view this one thanks MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed slatter http://www.asondheim.org/slatter.mp4 this isn't quite as bit as the other recent large files, but it is easily my masterpiece; if any of this work might be considered to break ground, this is the prime candidate. solo performance at the edge of SL universe; I could write reams (literally) about this piece, but perhaps it speaks for itself. con aphors specimen being ilent_editorial&ckey= % aepsg% aapn&lc=eng&cc=th ilent_editorial&ckey= % aepsg% aapn&lc=eng&cc=th both. power http://www.asondheim.org/conaphors.mp4 mm layer ion ... fla er fla yle also significan fla ness of ness for a fla such such the ... flatness diodes detectors. values . values flatness write life interesting. and flat people write down things people things ... within better and gmail better better and about thought gmail gmail er. fla ually be er sui he me he me op ( hough he reason why fla hough o sciences aphors and con he ar objec aphors and con aphors and con ions ... no with a critical is is has density hence flat flat is hence flat gr h me ransla echnology, : , - . s, fla y has no curva . fla s, hin . % of er er he peak value); a. more precise elimina he fla he fla he fla h remely fla h. ilen age of specimen and op he disadvan causing scra defuge = he fla he fla he fla he fla here is no above defuge = he fla he ness of he fla prac he fac he fac ical me ness in mechanical engineering. compression. for compression. flat contemporary sciences : , the gr the flat" the flat flat flat" joseph engineering. the the whitworth practical unpunctured. surface the flat surface surface the flatness: flat flat flat compression. objects, objects, gr sciences the compression. compression. fla defuge = he fla han ... arnumber= ically compu he fla ness of ha imum wf and al fil wf ( es imum wf and oma ails in ion of er al fil s. we show ically compu true causing in in at at joseph whi ness in mechanical engineering. joseph whi e fla he cri y has defuge = ness in mechanical engineering. joseph whi ical me prac ness of ha he fla ing. any ing. any fla yle also significan yle also significan o remains impervious, unpunc landscape remains impervious, unpunc ness of ... layer give layer of mm flatness a a thickness. a and the a flatness the mechanical joseph method flat of the practical during ... during peak value); a. more precise elimina hin . % of ions ... he ar ransla method of flat much provides flatness ... ... the of within suited suited hinking of a ness of here is no above defuge = he fla he fla landscape wi ually be ness seems so unna has ical fla abou er sui hough ical fla the seems why never about so with unnatural, why seems optical the optical flatness flat flat of = of flat make new hinking of a o make wri hing and boring. any hing he fla he hings fla ransla ness of ransla s, fla ions ... fla aphors and con he fla he ... an specimen optical disadvantage flat disadvantage in causing optical your es por orial&ckey= % aepsg% aapn&lc=eng&cc= ches in bo h es down and some people make fla hing new he fla he fla -euclidean. reading a testing. testing. at power testing. as such for for as detectors. diodes top flat of precise more of of precise the in more more wf ... better ... flatness : , sciences translations top top flatness ... flat the the causing scra causing scra has ness seems so unna ness seems so unna ical fla ing. power sensi ing. power sensi ness values of ha ch. s and he . automatically the weights. that filter. and filter. provides much the we part significantly significantly the and also flat flat significantly also tails in arnumber= the automatically better ... wf qgital wf making surfaces comes the flatness the flatness a with the comes that has there defuge no the flatness: = the the no defuge defuge flatness defuge technology, ... - . the sciences objects, and objects, - . ... the to anything the the to anything interesting. anything anything to down the landscape flat-euclidean. theory a a a flat the unpunctured. the the a people flat thinking theory i'm and i'm theory flat-euclidean. but of the no curva a universe wi e fla hod of making accura he fac . fla me objec h ness correc he user fla , for remely fla your ors. ness for a fla ion ... ========================================================================= Date: Thu, 5 Apr 2007 14:45:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: New on Mappemunde: Tim Peterson's blog Comments: cc: Tim Peterson MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Hi everyone, Just a brief plug for Ryan Daley's new book ARMORED ELEVATOR just out from = BlazeVox. Ryan is a helluva good young poet and his book is well worth the = dozen bucks I hope you have in your pocket! You can buy it here: http://www.blazevox.org/bk-rd.htm And the blurbs (below)! Michael Magee http://www.comboarts.org In ARMORED ELEVATOR, Ryan Daley writes like a traveler who's never seen an = airport in his life. Opening a crummy suitcase, he "release(s) the Diaspora= / from the citation" it received in an outr=C3=A9 lewd" fist fight and goe= s fugitive. The Earth we wander with him is "a wormy bot" where Jeremiad mo= rphs into "the new jingo" and "there's no ice cream to cry into." But fear = not! Daley speaks the pidgin of many a safe haven and after hours joint. A = bad fit for the "coterie of alphabetical choir guys," he's our best hope fo= r finding the real murderer.=20 =E2=80=93Michael Magee Ryan Daley is a dedicated dodgem of syntax. He is a multi kulti Mayan in Ne= wark whose wit=E2=80=99s as Pan-American as any Jose O=E2=80=99Shay=E2=80= =99s. He knows dystopias no longer wash unless in global neo-glot soup spra= cht. Armored Elevator is one of the best=E2=80=94certainly the edgiest=E2= =80=94first books I=E2=80=99ve read in quite awhile.=20 =E2=80=93Michael Gizzi ========================================================================= Date: Thu, 5 Apr 2007 15:20:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: I've been put in charge In-Reply-To: <014b01c7779c$540f97a0$220110ac@AARONLAPTOP> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable good to see someone's filling Il Duce's jackboots... now, anyone up for a literary insurgency?=20 FP (Free Poetry) tl -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Aaron Belz Sent: Thursday, April 05, 2007 11:06 To: POETICS@LISTSERV.BUFFALO.EDU Subject: I've been put in charge Fellow poets- You may or may not have heard that I have been put in charge of poetry. It is a temporary measure, just until we can come up with a solution to some of the challenges poetry currently faces. I want you to know that I know what an incredible responsibility this is, and I will do my best to account for the variety of opinions and aesthetics represented here. In fact, I would like to think of the recipients of this message as a sort of cabinet--an inner circle, if you will--advising me on how best to govern poetry during my tenure.=20 Obviously we will need a manual to reference while we work together in this vast undertaking, a sort of common starting point, and I have decided, at least for the time being, to assign THE BIRD HOVERER, which can be ordered here: http://www.blazevox.org/bk-ab.htm Now the notion of using a book of original poems as the official manual for poetry might strike some as odd; indeed, a case might be made that a traditional reference volume, or an annotated anthology, might suit our purpose more effectively. However, THE BIRD HOVERER is *my* book, representing my own unique aesthetic priorities, and as such it would seem to be mandatory reading to prepare all of us for what lies ahead.=20 Again, I know that my executive role was not assigned lightly. I will do my best to respect the office and to keep in mind the concerns of my constituency. Toward that end, I will employ an "open door" policy, fielding correspondence from anyone who needs my opinion on matters of policy and governance. All I require in return is that all of you immediately familiarize yourselves with the manual so that our discussions will reflect unity--or at least an aspiration toward unity--rather than the clamor and chaos that characterized the previous administration.=20 In closing, I salute each one of you: your implicit hopefulness, your immeasurable talent, and the revolutionary spirit you bring to poetry-related tasks on a daily basis are what makes poetry *poetry*. What I want more than anything else is to function as a catalyst for what you are already doing. The present is bright. Let's work together to make the future even brighter.=20 My best wishes, Aaron Belz ========================================================================= Date: Thu, 5 Apr 2007 15:49:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: the language of living in a ghetto In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Growing up in small town Wisconsin, foreign languages were an elective & consequently after school. Being that I lived way out in the sticks my parents refused to ferry me back & forth to take classes, especially since I was a self-proclaimed communist & wanted to take Russian. ~mIEKAL On Apr 5, 2007, at 11:55 AM, Gabrielle Welford wrote: > when i was a kid in england, several years of french was required > of every > student in grammar school--in addition to latin, of course. i've > always > been glad of both of them. gabe > > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: > 2/27/2007 > > On Thu, 5 Apr 2007, Ann Bogle wrote: > >> Back when the Poetics List was debating the merits of declaring >> English the >> official language of the U.S., I realized for the first time that >> two years >> of Spanish ought to be required of all students in the U.S. AMB >> ========================================================================= Date: Thu, 5 Apr 2007 14:44:41 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Chinese Village Struggles to Save Dying Language In-Reply-To: <565208.60267.qm@web54609.mail.yahoo.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=X-UNKNOWN Content-transfer-encoding: QUOTED-PRINTABLE dear alex. yes, very lucky to have such an interesting mom. you can see one of her sculptures with a spider on its eye at http://picasaweb.google.com/gabwelf/MomSculpture/photo#5050107962204621602. her mother took her to london from shanghai when she was 15, and she won a scholarship to the london polytechnic. she'll be 89 in a couple of mondays. we take her to yoga at redwood gardens senior housing in berkeley. my sister told some chinese residents there that my ma had lived in shanghai, and they surrounded her all talking at once. she still understands mandarin and could answer them. we were floored. :-) thanks for the kind words. best, gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Thu, 22 Mar 2007, agj wrote: > No apology. Please. Silly who?! If anything, I can't > help but to think you are very lucky to have such an > interesting mom - and that must mean you're as well! > > Best, > Alex > > > > -- > "[H]e who leaps into the void owes no explanation > to those who watch.=94 (Jean-Luc Godard) > > > > _________________________________________________________________________= ___________ > Finding fabulous fares is fun. > Let Yahoo! FareChase search your favorite travel sites to find flight and= hotel bargains. > http://farechase.yahoo.com/promo-generic-14795097 > ========================================================================= Date: Thu, 5 Apr 2007 19:44:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: lds Subject: Re: I've been put in charge In-Reply-To: <014b01c7779c$540f97a0$220110ac@AARONLAPTOP> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Dog, I thank God that you are temporarily in charge. I hope your tenure is = most glorious and I send my pro-rated Faith towards abolishment of any sort = of mutiny, or the mere unconscious thought manifestation thereof. The manual is a many leveled splendor of painful comedic metaphor. It's = the perfect springboard. Woof-Woof, Luc Simonic ========================================================================= Date: Thu, 5 Apr 2007 20:07:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: I've been put in charge In-Reply-To: <014b01c7779c$540f97a0$220110ac@AARONLAPTOP> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Don't be so modest! Poetry has long needed an Alexander Haig. Marcus On 5 Apr 2007 at 11:06, Aaron Belz wrote: > Fellow poets- > > You may or may not have heard that I have been put in charge of poetry. It > is a temporary measure, just until we can come up with a solution to some of > the challenges poetry currently faces. I want you to know that I know what > an incredible responsibility this is, and I will do my best to account for > the variety of opinions and aesthetics represented here. In fact, I would > like to think of the recipients of this message as a sort of cabinet--an > inner circle, if you will--advising me on how best to govern poetry during > my tenure. > > Obviously we will need a manual to reference while we work together in this > vast undertaking, a sort of common starting point, and I have decided, at > least for the time being, to assign THE BIRD HOVERER, which can be ordered > here: http://www.blazevox.org/bk-ab.htm Now the notion of using a book of > original poems as the official manual for poetry might strike some as odd; > indeed, a case might be made that a traditional reference volume, or an > annotated anthology, might suit our purpose more effectively. However, THE > BIRD HOVERER is *my* book, representing my own unique aesthetic priorities, > and as such it would seem to be mandatory reading to prepare all of us for > what lies ahead. > > Again, I know that my executive role was not assigned lightly. I will do my > best to respect the office and to keep in mind the concerns of my > constituency. Toward that end, I will employ an "open door" policy, fielding > correspondence from anyone who needs my opinion on matters of policy and > governance. All I require in return is that all of you immediately > familiarize yourselves with the manual so that our discussions will reflect > unity--or at least an aspiration toward unity--rather than the clamor and > chaos that characterized the previous administration. > > In closing, I salute each one of you: your implicit hopefulness, your > immeasurable talent, and the revolutionary spirit you bring to > poetry-related tasks on a daily basis are what makes poetry *poetry*. What I > want more than anything else is to function as a catalyst for what you are > already doing. The present is bright. Let's work together to make the future > even brighter. > > > My best wishes, > > Aaron Belz ========================================================================= Date: Fri, 6 Apr 2007 00:10:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: Love flies low whisper MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Love flies low whisper -- Peter Ciccariello Image - http://invisiblenotes.blogspot.com/ ========================================================================= Date: Thu, 5 Apr 2007 22:06:22 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: alternative spiritual traditions In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Since there was no answer on this thread I'll take my own bent, which is the poems have to exude spirituality through reading. Gerritt Lansing, the first book especially, the "pre-curriculum of the soul" version of Heavenly Tree Grows Downward. John Unland--The sea beneath the house Jack Gilbert-- Monolithos Sheila Murphy: Incessant Seeds, its one I published, an experimental meditation on spirituality. Maj Ragain-- A Hungry Ghost Surrenders his Tacklebox-- another one I published, poems themselves are a narrative spiritual, friend of Duncan & Dorn. Arthur Sze: The red-shifting web Niedecker-- T&G, if you can get this from a library, Williams original illustrated version substantially adds feeling to the poems. Various collections by George Quasha, most collections byTed Enslin & Cid Corman all I've time for-- Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Thu, 5 Apr 2007 22:45:31 -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 I'm only posting once a month during the last three months on chaxblog, but tonight I put enough on that I seem to have bumped all previous posts into the linked archive of posts. So check out those recent ones, too (links a little down & to the right). the new posts are * knowing & writing through overload * books keep coming: Andrew Joron's The Cry at Zero * Bonnie Jean Michalski & Karl Kelsey: a contrast in readings * recent readings in Tucson * the physical part of language, i.e. the letter * "how long has this been goin' on?" * piety & perversity 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 Chax Press 520-620-1626 (studio) 520-275-4330 (cell) chax@theriver.com chax.org 101 W. Sixth St. Tucson, AZ 85701-1000 ========================================================================= Date: Fri, 6 Apr 2007 01:43:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: David Markson's Latest In-Reply-To: <461556F4.2960.45F757@marcus.designerglass.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit David Markson's newest book, *The Last Novel* is just out from Shoemaker Hoard. Except for a few hours work, and dinner, I was unable to close this book, which I purchased today, until the last word. It is unquestionably one of Markson's greatest works, an incandescent, elegiac, aphoristic, gnomic masterpiece, satirically and hilariously critical of human cruelty, yet passionately, reverently and knowledgeably reflective of human accomplishment throughout history. His other works include *Wittgenstein's Mistress*, *Reader's Block* and *This is Not a Novel*. A few tidbits: "He who writes artistically dies without recognition or reward. Complained Lope de Vega- in 1609" "Our father who are in heaven/Stay there. Requested Jacques Prevert." "I am no Einstein. Once said Einstein." "It's later than you know. Printed Baudelaire on the face of his clock- after having broken off its hands." ========================================================================= Date: Fri, 6 Apr 2007 02:19:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Containment Scenario by M. Mara-Ann at Mills College MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 *** Containment Scenario T h e G l o b a l E n v i r o n m e n t a l C r i s i s by M.Mara-Ann ~ a multi-media performance ~ FRI :: April 6th @ 8pm Mills College Concert Hall, 5000 MacArthur Blvd., Oakland FREE featuring: Anantha Krishnan, percussion Andy Strain, trombone Caroline Penwarden, accordion Jordan Glenn, drums Travis Ortiz, electronics Alexa Hall, voice Erica Montoya, voice M.Mara-Ann, voice Sarah Elena Palmer, voice Vanessa Beggs, voice Janet Collard, movement Rebecca Wilson, movement ------------------------------ plus, two short films: Jacob Eichert Landscape Amongst Clouds Jennifer Nellis i, spoon and, Poetry PLASTIQUE (in the foyer) installations by: c.marie smith denni s oMera Dillon Westbrook Lara E. Durback Laurel DeCou Luke Selden Jeremy James Thompson, curator Mashinka Firunts POLIS (j.D. Mitchell-Lumsden/Chad Lietz) Travis Ortiz *** ========================================================================= Date: Fri, 6 Apr 2007 07:31:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: vispoets.com weekly winner Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii In the reward for interestingness weekly event* at vispoets.com, the winner for week #4 is: suzan sari for this image: relations 5** Congratulations to suzan, there's $25 worth of materials on their way to you from K. S. Ernst's Press Me Close. Thanks to everyone who uploaded images to the gallery this week. Keep uploading new images for your chance to win next week. Regards, Dan * http://vispoets.com/index.php?showtopic=481 ** http://vispoets.com/index.php?automodule=gallery&req=si&img=1206 ---------------------------- vispoets.com stats (to date) ---------------------------- Registered Users: 90 Total Posts: 2445 Gallery Stats Our members have posted a total of 940 images and made 116 comments. Total Gallery Size: 168.7mb Total Image Views: 8881 ========================================================================= Date: Fri, 6 Apr 2007 09:12:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Salt River Review Submissions notice 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 Salt River Review will be open for submissions May 1st for the > Fall, 2007 issue. Submission guidelines and details are available at > the site (see below). > > Poetry submissions for the Fall, 2007 issue should be directed to Greg > Simon. Guest fiction editor for for the fall issue will be Carol > Novack, Publisher & Editor of Mad Hatters' Review. > > Meanwhile, the Spring, 2007 issue is online, with: > Poetry by Tony Burfield, Sheila Black, Nathaniel Rounds, Frances > Ruhlen McConnel, Margo Solod, David Brendan Hopes, Flavia Cosma, > Glenna Luschei, Michael Scott Cain, Katherine Holmes, & Alexis Quinlan > Fiction by Noah McGee, Donna D. Vitucci, Mark McBride, & Tiffany > Promise > > The Salt River Review: http: www.poetserv.org ========================================================================= Date: Fri, 6 Apr 2007 10:40:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: April 7: X-Reference: Encyclopedia Project Reading in Amherst, MA! Comments: To: Brown Writing ListServ Comments: cc: Harry Denny , Harry Denny Mime-Version: 1.0 (Apple Message framework v624) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Dear all, If you're out in the Western MA terrain, please stop by! Visual art, film, poetry and prose presentations! Live cross-referencing! Books and CDs! The requisite wine and cheese! Free fun for all! X-Reference: Encyclopedia Vol 1A-E Event! April 7, 7pm Food for Thought Books Collective 106 N.Pleasant Street Amherst, MA 01002 Tel: 413-253-5432 Fax: 413-256-8329 Featuring: Tisa Bryant Sara Jaffe Xylor Jane EE Miller Sara Marcus Ronaldo V. Wilson Come! ******************************************************* A mile walked with a friend contains only a hundred steps. ******************************************************* ========================================================================= Date: Fri, 6 Apr 2007 08:02:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: Kenneth Goldsmith & David Grubbs: Brooklyn 4/8 Comments: To: lowercase-sound@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Kenneth Goldsmith & David Grubbs performing "Traffic" Sunday April 8, 2007 8pm ISSUE PROJECT ROOM 400 Carroll Street between Bond and Nevins Brooklyn, NY 11231 Further details: www.issueprojectroom.org As part of the 'S&W, P&P' Festival Friday April 6, 2007 6-8pm Exhibition opening 'P&P' Michael Graeve 8pm Performances ($10): Alison Knowles performs with Jessica Higgins Nicolas Collins performs 'Duck Pond' Saturday April 7, 2007 6-8pm Exhibition viewing 'P&P' Michael Graeve 8pm Performances ($10): Michael Graeve performs 'Simple Methods' Chris Mann performs 'told you so' Sunday April 8, 2007 6-8pm Exhibition viewing 'P&P' Michael Graeve 8pm Performances ($10): Dan St. Clair and Aki Sasamoto Kenneth Goldsmith and David Grubbs -- UbuWeb http://ubu.com UbuWeb http://ubu.com ____________________________________________________________________________________ Don't pick lemons. See all the new 2007 cars at Yahoo! Autos. http://autos.yahoo.com/new_cars.html ========================================================================= Date: Fri, 6 Apr 2007 10:37:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: alternative spiritual traditions In-Reply-To: <73875.37145.qm@web83816.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I think the problem is, "I don't know much about spirituality in poetry, but I know it when I see it" -- can't one experience a spiritual response to a poem that isn't technically spiritual?=20 my original question had to do with writers whose own (alternative) spirituality infused their work. great to see these names, as well as those proffered by others this week... now I've got a passel to hunt for while in SF. tl -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of David Baratier Sent: Friday, April 06, 2007 0:06 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: alternative spiritual traditions Since there was no answer on this thread I'll take my own bent, which is the poems have to exude spirituality through reading. =20 Gerritt Lansing, the first book especially, the "pre-curriculum of the soul" version of Heavenly Tree Grows Downward. John Unland--The sea beneath the house =20 Jack Gilbert-- Monolithos =20 Sheila Murphy: Incessant Seeds, its one I published, an experimental meditation on spirituality.=20 =20 Maj Ragain-- A Hungry Ghost Surrenders his Tacklebox-- another one I published, poems themselves are a narrative spiritual, friend of Duncan & Dorn.=20 =20 Arthur Sze: The red-shifting web =20 Niedecker-- T&G, if you can get this from a library, Williams original illustrated version substantially adds feeling to the poems.=20 =20 Various collections by George Quasha,=20 most collections byTed Enslin & Cid Corman =20 all I've time for-- =20 Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Fri, 6 Apr 2007 10:38:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Kenneth Goldsmith & David Grubbs: Brooklyn 4/8 In-Reply-To: <952291.25865.qm@web30414.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Speaking of Grubbs, looks like the first Grubbs/Susan Howe collaboration CD is already out of print. On 4/6/07, UbuWeb wrote: > Kenneth Goldsmith & David Grubbs performing "Traffic" > > Sunday April 8, 2007 > 8pm > > ISSUE PROJECT ROOM > 400 Carroll Street > between Bond and Nevins > Brooklyn, NY 11231 > Further details: www.issueprojectroom.org > > As part of the 'S&W, P&P' Festival > > Friday April 6, 2007 > 6-8pm > Exhibition opening 'P&P' Michael Graeve > 8pm > Performances ($10): > Alison Knowles performs with Jessica Higgins > Nicolas Collins performs 'Duck Pond' > > > Saturday April 7, 2007 > 6-8pm > Exhibition viewing 'P&P' Michael Graeve > 8pm > Performances ($10): > Michael Graeve performs 'Simple Methods' > Chris Mann performs 'told you so' > > > Sunday April 8, 2007 > 6-8pm > Exhibition viewing 'P&P' Michael Graeve > 8pm > Performances ($10): > Dan St. Clair and Aki Sasamoto > Kenneth Goldsmith and David Grubbs > > -- > UbuWeb > http://ubu.com > > > UbuWeb > http://ubu.com > > > > ____________________________________________________________________________________ > Don't pick lemons. > See all the new 2007 cars at Yahoo! Autos. > http://autos.yahoo.com/new_cars.html > -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Fri, 6 Apr 2007 11:50:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: alternative spiritual traditions In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052DA7@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline "my original question had to do with writers whose own (alternative) spirituality infused their work." well, CA Conrad certainly strikes me as someone who qualifies, especially with his astral projection and other spiritual thingees (technical term) perhaps he can come forward and say a thing or two about this On 4/6/07, Tom W. Lewis wrote: > > I think the problem is, "I don't know much about spirituality in poetry, > but I know it when I see it" -- can't one experience a spiritual > response to a poem that isn't technically spiritual? > > my original question had to do with writers whose own (alternative) > spirituality infused their work. > > great to see these names, as well as those proffered by others this > week... now I've got a passel to hunt for while in SF. > > tl > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of David Baratier > Sent: Friday, April 06, 2007 0:06 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: alternative spiritual traditions > > Since there was no answer on this thread I'll take my own bent, which is > the poems have to exude spirituality through reading. > > Gerritt Lansing, the first book especially, the "pre-curriculum of the > soul" version of Heavenly Tree Grows Downward. > > John Unland--The sea beneath the house > > Jack Gilbert-- Monolithos > > Sheila Murphy: Incessant Seeds, its one I published, an experimental > meditation on spirituality. > > Maj Ragain-- A Hungry Ghost Surrenders his Tacklebox-- another one I > published, poems themselves are a narrative spiritual, friend of Duncan > & Dorn. > > Arthur Sze: The red-shifting web > > Niedecker-- T&G, if you can get this from a library, Williams original > illustrated version substantially adds feeling to the poems. > > Various collections by George Quasha, > most collections byTed Enslin & Cid Corman > > all I've time for-- > > > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus, OH 43206 > http://pavementsaw.org > -- i could use some bone marrow, please http://fuckinglies.blogspot.com/ ========================================================================= Date: Fri, 6 Apr 2007 09:31:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Deborah A. Meadows" Subject: message from Lance Phillips on Here Comes Everybody anthology MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Bflo list, =20 Poet Lance Phillips just passed on this message on how to order the = newly produced Here Comes Everybody anthology (co-edited with Geoffrey = Gatza) with a request to pass on the message due to a hard drive crash.=20 Thanks, Deborah Meadows =20 Here: =20 Listen everybody I'm hoping you all can do me a favor. The HCE = anthology is finally (this finally is directed at at none other than = yours truly) available. There's info about how to obtain a copy at = http://herecomeseverybody.blogspot.com = . Geoffrey Gatza deserves all the credit on = this he got the book finished with no help from me (in addition to being = a procrastinator the last nine months or so have been very difficult for = me). The favor I have in mind is this. In addition to everything else = going on our hard drive crashed a couple of weeks ago and I lost some = things including my HCE email list. I'm trying to pick it out of a = rather long back-up document but its not going well. I have been able = to retrieve some emails, yours among them. I hoping you all can spread = the word about the anthology either by forwarding this email to whom = ever you think would be interested, by posting something about the = anthology on your blog or a listserv or just by mentioning the anthology = to a couple of friends. =20 =20 Thanks,=20 =20 Lance=20 http://lancephillips.blogspot = =20 ========================================================================= Date: Fri, 6 Apr 2007 12:44:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: alternative spiritual traditions In-Reply-To: <11d43b500704021303l3a9e9c95h536b6066dc5b69bf@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Tom L, and by extension, list -- I want to rescind my response on this thread, as it was in response to this (I had John Cayley in mind and mentioned some of my own work) to open this topic up to poetics, are there writers out there using New Age or alternative spiritual traditions in their work? no where do I read in this question, this one my original question had to do with writers whose own (alternative) spirituality infused their work. my own work (including my astrology!) is not founded on any spirituality or infused with any spirituality, while it does use main line as well as alternative traditions, including religious ones when one looks for spirituality, especially with Spicer, start carefully examining inspiration. Ann Lauterbach has some interesting things to say about inspiration, too; interestingly to me, one also starts looking at symbolism, the early science / alchemy blue (and Blake to Will Alexander, Eshleman, Olson & the Maya, don't forget Lamantia!!!) if you want to look at mysticism, which is certinly alternative to the main line within any religion, and Judaism, Adeena Karasick's translation of the sefer yetsirah and Nathaniel Tarn's lyrics for the bride of god -- one of the most troubling aspects of the new age religions as well as of the contemporary rhetorical separation of spirituality from religious belief and practice, and the perhaps blur of the definition of spirituality into a wide range of things -- including chance, consciousness, design, structure, etc., which are directly involved in making digital works -- is the way exoticism has been entwined with multiculturalism and tolerance has been confused with agreement Happy Good Friday -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Fri, 6 Apr 2007 14:38:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: need cheap accomodation in Santa Monica 04/19 to 05/19 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A friend from Germany, Martin Kloss--multimedia programmer extrordinaire--is visiting Santa Monica 04/19 to 05/19 and is looking for accomodation. He says: "I'll be in Los Angeles, to be precise Santa Monica from 04/19 - 05/19, and as this is a spontaneous thing, I'm now looking for places to stay without spending the millions I earned with Lingo coding." Not. He goes on to say: "So if aynone knows someone who knows someone who's looking for a temporary roommate or can you recommend affordable accommodations in Santa Monica, I would really appreciate it. Time is running out and any hint will help. I've looked at http://losangeles.craigslist.org and other sites, but the average >$2K / month is a little steep for my budget." Martin helped me with Arteroids and On Lionel Kearns. His sites are http://lingopark.de and http://martinkloss.com . Please backchannel me at jim@vispo.com if you can help. Thanks, ja http://vispo.com ========================================================================= Date: Fri, 6 Apr 2007 20:09:44 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 Javant Biarujia interviewed by Sheila E. Murphy at http://willtoexchange.blogspot.com ************************************** See what's free at http://www.aol.com. ========================================================================= Date: Fri, 6 Apr 2007 18:36:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Roberson & Shockley at SPT next Friday 4/13 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Small Press Traffic is pleased to present a reading by Ed Roberson & Evie Shockley Friday, April 13, 2007 at 7:30 p.m. Ed Roberson joins us in celebration of his seventh book of poems, City Eclogue, out last year from Atelos. Nathaniel Mackey has said of his earlier book, Atmosphere Conditions, winner of the National Poetry Series: “Atmosphere, omen, memory, lost amenity, homelessness of more than one sort, dream, social entropy, music, dance, death--these are among the matters which move through the poems with revenant, mercurial dispatch. Conceptually rich as well as technically inventive, these poems advance a wary measure, a wise, beautifully gruff, ongoing music. They haunt while being read and well after, refusing to settle.” Evie Shockley is the author of The Gorgon Goddess and a half-red sea, both from Carolina Wren Press. Of the latter, Harryette Mullen writes: “Navigating against prevailing currents, these poems sail on eddy and backflow, taking inspiration from knots and twists of American history and culture. Her gallery of lyric portraits presents a historical continuum of African Americans caught in double binds of culture and identity …Shockley’s firm grounding in history adds weight and depth to her observations of the recent past and present.” Shockley teaches at Rutgers University. 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) ?? http://www.sptraffic.org ???? & coming up April 22 Anne Boyer & William Moor (at New Yipes) April 27 Memorial for kari edwards May 18 Julie Carr & Andrew Joron May 25 Paul Hoover & Tenney Nathanson Elizabeth Treadwell, Director Small Press Traffic Literary Arts Center at CCA 1111—8th Street San Francisco, California 94107 Small Press Traffic is an autonomous, nonprofit community arts center and your donations are always welcome, helpful, & tax-deductible. Thank you. Elizabeth Treadwell http://elizabethtreadwell.com _________________________________________________________________ Can’t afford to quit your job? – Earn your AS, BS, or MS degree online in 1 year. http://www.classesusa.com/clickcount.cfm?id=866145&goto=http%3A%2F%2Fwww.classesusa.com%2Ffeaturedschools%2Fonlinedegreesmp%2Fform-dyn1.html%3Fsplovr%3D866143 ========================================================================= Date: Sat, 7 Apr 2007 10:33:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Here Comes Everybody anthology Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, Constant Critic , ImitaPo Memebers , new-poetry@wiz.cath.vt.edu, "Poetnews@Poets. Org" , Poetryetc provides a venue for a dialogue relating to poetry and poetics In-Reply-To: <50DB5033AA993E4FACE87C9DCD369C2D01CDEA0F@EX01.win.csupomona.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit HCE : An Here Comes Everybody Anthology By Lance Phillips (and some help from Geoffrey Gatza) BUY IT NOW!!! On Amazon.com http://www.blazevox.org/bk-lp.htm Book Information: . Paperback: 754 pages . Binding: Perfect-Bound . Publisher: BlazeVOX [books] (March 2007) . ISBN: 1-934289-04-3 $29.95 Buy it NOW! -------------------------------------------------- For List of all 130 poets included please go to webpage! -------------------------------------------------- http://herecomeseverybody.blogspot.com http://www.blazevox.org/bk-lp.htm ----------------- FROM THE INTRODUCTION ----------------- "No question is so difficult to answer as that to which the answer is obvious." George Bernard Shaw Ten Question! Lance Phillips asked the same ten question so as many writer as he could email and those that responded, and respond they did, became one of the hottest websites in the early days of blogging. A wildfire of excitement grew. Lance had what we call a YouTube a moment of capturing the right idea at the right moment. And this book is a gathering from that site. The idea is of course not new. These 10 questions originally came from a French series, "Bouillon de Culture" hosted by Bernard Pivot. It is probably more familiar to many as the question James Lipton asks at the end of "Inside the Actor's Studio." I've found these questions interesting among friends. It's amazing what the simple answers to these questions reveal about a person's thoughts, feelings and beliefs. Presented are 130 writers, each with their own 10 questions and their answers. These questions are disarmingly simple steps towards attaining a knowing, a greater understanding of person as poet. We also get a rare glimpse at how each brain wraps around a seemingly obvious question. Each author creates a charming portrait of themselves in their answers. Each writer comes to their craft in their own way and here we have a splendid way to engage each writer, in their own words, on a level playing field across a large strata of information. Here comes everybody, indeed. This book conducts itself away from the interactions of a collection of interviews. There is only the author and their reaction to the questions at the moment in time they were asked them. Many of these are from 2003 through 2005. And so the biographic texts that accompany each set of answers are deliberately left in their 'as-is' state. Also included in this volume is the reactions from friends, remarks made on this website in the days following Robert Creeley's death. This one poet influenced so many .... it is hard for me, even today to find the proper words one has to say to get out what it is that this section is supposed to do. The world no longer has a Creeley in it. This is a record, more or less, a portrait, maybe, a snapshot of sorts of grief. A reaction of artist for their artist, friend, mentor, father . so on. Here are questions, interviews and poems submitted by Ed Smith, Joseph Lease, Chris Stroffolino, Jim Ellis, Brent Cunningham, Elizabeth Robinson, Ann Lauterbach, Linh Dinh, Joel Lewis, and Ken Rumble. I hope you enjoy this book as much as we have had in putting it together. This is a captured frame of text in a wonderfully creative time. There is war, a troubled government, a thriving internet culture, a wonderfully safe/anonymous economically devoid environment to create our poetry. As the title wrongly indicates, here is everybody, if you are not in this edition, you will certainly appear in one of our upcoming editions of this series. Best Geoffrey Geoffrey Gatza March 8, 2007 Best, Geoffrey Geoffrey Gatza BlazeVOX [books] www.blazevox.org -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Deborah A. Meadows Sent: Friday, April 06, 2007 12:32 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: message from Lance Phillips on Here Comes Everybody anthology Dear Bflo list, Poet Lance Phillips just passed on this message on how to order the newly produced Here Comes Everybody anthology (co-edited with Geoffrey Gatza) with a request to pass on the message due to a hard drive crash. Thanks, Deborah Meadows Here: Listen everybody I'm hoping you all can do me a favor. The HCE anthology is finally (this finally is directed at at none other than yours truly) available. There's info about how to obtain a copy at http://herecomeseverybody.blogspot.com . Geoffrey Gatza deserves all the credit on this he got the book finished with no help from me (in addition to being a procrastinator the last nine months or so have been very difficult for me). The favor I have in mind is this. In addition to everything else going on our hard drive crashed a couple of weeks ago and I lost some things including my HCE email list. I'm trying to pick it out of a rather long back-up document but its not going well. I have been able to retrieve some emails, yours among them. I hoping you all can spread the word about the anthology either by forwarding this email to whom ever you think would be interested, by posting something about the anthology on your blog or a listserv or just by mentioning the anthology to a couple of friends. Thanks, Lance http://lancephillips.blogspot ========================================================================= Date: Sat, 7 Apr 2007 11:56:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: catastrophic thought MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Catastrophic Thought Its relationship to toggle, totter, topple: from binary relationship to abject destruction veering extremities, 'things' carried to an extreme thought that short-circuits itself, goes nowhere flatness, worlds without direction defuging of worlds always self-canceling using, devouring energy it's too difficult to think not the thought of the catastrophe there's no therapeutic or suture there's no projection, only introjection this is introjection without absorption blinking, unblinking, uncomprehending thought of the catastrophe already grasps thought is already thinking catastrophic thought is not thinking thought which is not thought catastrophic thought is physiological thought its limit thought on the borders of the conceivable in catastrophic thought nothing is conceivable in catastrophic thought there are no limits laughter, diabolic laughter catastrophic thought is the thought of the symptom thinking which eliminates the premise of thought thought which eliminates thinking thought of the i am that i am mute thought, inert thought, thought of the thing the thing thinking the catastrophe "what a catastrophe!" the disaster "what a disaster!" catastrophic thought A, then B, else B towards B, else B, towards B B becomes nameless, B is already nameless the subject undergoes, is undergone-ing, introjection inconceivable projection, nothing to project no projectors thinking the skein holding everything together thinking the collapse of the skein just beneath the surface there is no skein just beneath the surface there are no things there are no surfaces, there is no surface thinking which is deeply, inherently, mute unspeakable thinking, unspeaking thinking physiology of tremors, depressions, tremblings phenomenology of nightmares, hysterias suicidal thinking, thinking which produces limit thinking suicide, the production of a thing thoughtless, witless not always the worst, however, always mute "i can't think of this, this catastrophic thought ================================================= con aphors on youtube http://www.youtube.com/watch?v=fghsGZipjvc ========================================================================= Date: Sat, 7 Apr 2007 10:27:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: 25 questions MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: base64 Content-Disposition: inline R2xlbm4gQnJhbmNhIHJlY2VudGx5IHJhaXNlZCAyNSBxdWVzdGlvbnMgZm9yIHRoZSBjb25zaWRl cmF0aW9uIG9mb3RoZXIKY29tcG9zZXJzL211c2ljaWFucy4gSSd2ZSBiZWVuIHdvbmRlcmluZyB3 aGF0IGEgc2ltaWxhciBsaXN0Cm9mIHF1ZXN0aW9ucyBoYXZpbmcgdG8gZG8gd2l0aCBwb2V0cnkg bWlnaHQgbG9vayBsaWtlLiBTb21lIG9mCkJyYW5jYSdzIHF1ZXN0aW9ucyBjb3VsZCBlYXNpbHkg YmUgYWRhcHRlZCB0byBwb2V0cnksIGJ1dCBvdGhlcnMKbWlnaHQgbmVlZCB0byBiZSByZXBsYWNl ZCBhbHRvZ2V0aGVyLgoKT25lIGV4YW1wbGUgb2YgdGhlIGZvcm1lcjogIDQuIFdoeSBkb2VzIHRo ZSBjb250ZW1wb3JhcnkgcG9ldHJ5CmVzdGFibGlzaG1lbnQgcmVtYWluIHNvIGNvbnNlcnZhdGl2 ZSB3aGVuIGFsbCBvdGhlciBmaWVsZHMgb2YgdGhlCmFydHMgZW1icmFjZSBuZXcgaWRlYXM/CgpB bm90aGVyOiA3LiBJcyB0aGUgcG9ldHJ5IGFudGhvbG9neSBzdGlsbCByZWxldmFudCBvciBpcyBp dCBqdXN0IGEgbXVzZXVtPwoKT2YgdGhlIGxhdHRlciwgcXVlc3Rpb24gIzI1IG1pZ2h0IGJlIHJl cGxhY2VkIGJ5ICJXaGFzc3VwPyIKCjI1IFF1ZXN0aW9ucwoKMS4gU2hvdWxkIGEgbW9kZXJuIGNv bXBvc2VyIGJlIGp1ZGdlZCBhZ2FpbnN0IG9ubHkgdGhlIHZlcnkgYmVzdCB3b3JrcyBvZgp0aGUg cGFzdD8KMi4gQ2FuIHRoZXJlIGJlIHRydWx5IG9iamVjdGl2ZSBjcml0ZXJpYSBmb3IganVkZ2lu ZyBhIHdvcmsgb2YgYXJ0PwozLiBJZiBhIGNvbXBvc2VyIGNhbiB3cml0ZSBvbmUgb3IgdHdvIG9y IG1vcmUgZ3JlYXQgd29ya3Mgb2YgbXVzaWMgd2h5CmNhbm5vdCBhbGwgb2YgaGlzIG9yIGhlciB3 b3JrcyBiZSBncmVhdD8KNC4gV2h5IGRvZXMgdGhlIGNvbnRlbXBvcmFyeSBtdXNpY2FsIGVzdGFi bGlzaG1lbnQgcmVtYWluIHNvIGNvbnNlcnZhdGl2ZQp3aGVuIGFsbCBvdGhlciBmaWVsZHMgb2Yg dGhlIGFydHMgZW1icmFjZSBuZXcgaWRlYXM/CjUuIFNob3VsZCBhIGNvbXBvc2VyLCBpZiBjb25m cm9udGVkIHdpdGggYSBjaG9pY2UsIHdyaXRlIGZvciB0aGUgbXVzaWNpYW5zCndobyB3aWxsIHBs YXkgYSBwaWVjZSBvciB3cml0ZSBmb3IgdGhlIGF1ZGllbmNlIHdobyB3aWxsIGhlYXIgaXQ/CjYu IFdoZW4gaXMgYW4gYXVkaWVuY2UgYmlnIGVub3VnaCB0byBzYXRpc2Z5IGEgY29tcG9zZXIgb3Ig YSBtdXNpY2lhbj8gMTAwPwoxMDAwPyAxMCwwMDA/IDEwMCwwMDA/IDEsMDAwLDAwMD8gMTAwLDAw MCwwMDA/CjcuIElzIHRoZSBzeW1waG9ueSBvcmNoZXN0cmEgc3RpbGwgcmVsZXZhbnQgb3IgaXMg aXQganVzdCBhIG11c2V1bT8KOC4gSXMgbWljcm8tdG9uYWxpdHkgYSB2aWFibGUgY29tcG9zaXRp b25hbCB0b29sIG9yIGEgYnVybmVkIG91dCBtb2Rlcm5pc3QKY29uY2VwdD8KOS4gSW4gYW4gb3Jj aGVzdHJhIG9mIDgwIHRvIDEwMCBtdXNpY2lhbnMgZG9lcyB0aGUgdXNlIG9mIGltcHJvdmlzYXRp b24gbWFrZQphbnkgc2Vuc2U/CjEwLiBXaGF0IGlzIHRoZSBkaWNob3RvbXkgYmV0d2VlbiBkaXNz b25hbmNlIGFuZC4gdG9uYWxpdHkgYW5kIHdoZXJlIHNob3VsZAp0aGUgbGluZSBiZSBkcmF3bj8K MTEuIENhbiB0aGUgbXVzaWMgdGhhdCBzb290aHMgdGhlIHNhdmFnZSBiZWFzdCBiZSBzYXZhZ2U/ CjEyLiBTaG91bGQgYSBjb21wb3NlciBzcGVhayB3aXRoIHRoZSB2b2ljZSBvZiBoaXMgb3IgaGVy IG93biB0aW1lPwoxMy4gSWYgdGhlcmUncyBhbHJlYWR5IHNvIG11Y2ggZ29vZCBtdXNpYyB0byBs aXN0ZW4gdG8gd2hhdCdzIHRoZSBwb2ludCBvZgptb3JlIGNvbXBvc2VycyB3cml0aW5nIG1vcmUg bXVzaWM/CjE0LiBJZiBCYWNoIHdlcmUgYWxpdmUgdG9kYXkgd291bGQgaGUgYmUgd3JpdGluZyBp biB0aGUgYmFyb3F1ZSBzdHlsZT8KMTUuIE11c3QgYWxsIG1vZGVybiBjb21wb3NlcnMgcmVqZWN0 IHRoZSBwYXN0LCBhIGxhIEpvaG4gQ2FnZSBvciBNaWx0b24KQmFiYml0dCdzICJXaG8gQ2FyZXMg SWYgWW91IExpc3Rlbj8iCjE2LiBJcyB0aGUgc3ltcGhvbnkgYW4gYW50aXF1YXRlZCBpZGVhIG9y IGlzIGl0LCBsaWtlIHRoZSBub3ZlbCBpbgpsaXRlcmF0dXJlLCBzdGlsbCBhIHZpYWJsZSBsb25n IGZvcm0gb2YgbXVzaWM/CjE3LiBDYW4gaGFybW9ueSBiZSBub24tbGluZWFyPwoxOC4gV2FzIENh Z2UncyAiNDozMyIgYSBnb29kIHBpZWNlIG9mIG11c2ljPwoxOS4gQXJ0aXN0cyBhcmUgZXhwZWN0 ZWQgdG8gYWNjZXB0IGNyaXRpY2lzbSwgc2hvdWxkIGNyaXRpY3MgYmUgZXhwZWN0ZWQgdG8KYWNj ZXB0IGl0IGFzIHdlbGw/CjIwLiBTb21ldGltZXMgSSdtIHRlbXB0ZWQgdG8gdGFsayBhYm91dCB0 aGUgcm9sZSB0aGF0IGNvcnBvcmF0ZSBjdWx0dXJlCnBsYXlzIGluIHRoZSBzYWxlIGFuZCBkaXN0 cmlidXRpb24gb2YgaWxsZWdhbCBkcnVncyB0aHJvdWdob3V0IHRoZSBVbml0ZWQKU3RhdGVzIGFu ZCB0aGUgd29ybGQsIGFuZCB0aGF0IHRoZSBvcGl1bSBjcm9wIGluIEFmZ2hhbmlzdGFuIGhhcyBp bmNyZWFzZWQKYnkgODYgcGVyY2VudCBzaW5jZSB0aGUgQW1lcmljYW4gb2NjdXBhdGlvbiwgYW5k IHRoZSBmYWN0IHRoYXQgdGhlcmUgYXJlCjEyNiwwMDAgY2l2aWxpYW4gY29udHJhY3RvcnMgaW4g SXJhcSwgYnV0IHdoYXQgZG9lcyB0aGlzIGhhdmUgdG8gZG8gd2l0aAptdXNpYz8KMjEuIENhbiB0 aGUgb3JjaGVzdHJhIGJlIHJlcGxhY2VkIGJ5IGluY3JlYXNpbmdseSBzb3BoaXN0aWNhdGVkCmNv bXB1dGVyLXNhbXBsaW5nIHByb2dyYW1zIGFuZCByZWNvcmRpbmcgdGVjaG5pcXVlcywgYXQgbGVh c3QgYXMgZmFyIGFzCnJlY29yZGluZ3MgYXJlIGNvbmNlcm5lZD8KMjIuIFdoZW4gYSB2aXN1YWwg YXJ0aXN0IGNhbiBzZWxsIGEgb25lLW9mLWEta2luZCB3b3JrIGZvciBodW5kcmVkcyBvZgp0aG91 c2FuZHMgb2YgZG9sbGFycyBhbmQgYW55b25lIG9uIHRoZSBpbnRlcm5ldCBjYW4gaGF2ZSBhIGNv bXBvc2VyJ3Mgd29yawpmb3Igbm90aGluZywgaG93IGlzIGEgY29tcG9zZXIgZ29pbmcgdG8gc3Vy dml2ZT/igKhBbmQgZG9lcyBpdCBtYXR0ZXI/CjIzLiBTaG91bGQgY29tcG9zZXJzIHRyeSB0byBy ZWZsZWN0IGluIHRoZWlyIG11c2ljIHRoZSB0cnV0aCBvZiB0aGVpcgpuYXR1cmVzIGFuZCB0aGUg dmlzaW9ucyBvZiB0aGVpciBkcmVhbXMgd2hldGhlciBvciBub3QgdGhpcyBtdXNpYyBhcHBlYWxz IHRvCmEgd2lkZSBhdWRpZW5jZT8KMjQuIFdoeSBhcmUgYWR2YW5jZXMgaW4gc2NpZW5jZSBhbmQg dGVjaG5vbG9neSBub3QgcGFyYWxsZWxlZCBieSBhZHZhbmNlcyBpbgptdXNpYyB0aGVvcnkgYW5k IGNvbXBvc2l0aW9uYWwgdGVjaG5pcXVlPwoyNS4gUG9zdC1Qb3N0IE1pbmltYWxpc20/IFNpbmNl IE1pbmltYWxpc20gYW5kIFBvc3QtTWluaW1hbGlzbSB3ZSd2ZSBzZWVuIGEKc2hvcnQtbGl2ZWQg TmVvLVJvbWFudGljaXNtLCBtYWlubHkgYmFzZWQgb24gbWlzZ3VpZGVkIGF0dGVtcHRzIHRvIHJl dHVybiB0bwphIDE5dGggY2VudHVyeSB0b25hbGl0eSwgdGhlbiBhbiBpbXByb3Ygc2NlbmUgd2hp Y2ggaGFkIGxpdHRsZSBvciBub3RoaW5nIHRvCmRvIHdpdGggY29tcG9zaXRpb24sIHRoZW4gYSBo b2RnZS1wb2RnZSBvZiBzdHlsZXM6IGEgbGl0dGxlIG9sZCAibmV3IG11c2ljLCIKYSBsaXR0bGUg IjYwJ3Mgc291bmQgY29sb3Jpc20iLCB0aGVuIGFuIGVjbGVjdGljIHBvbW8gc3RldyBvZiBqYXp6 LCByb2NrIGFuZApjbGFzc2ljYWwsIHRoZW4gYSBsaXR0bGUgcmV0cm8tY2hpYyBSZW5haXNzYW5j ZSDigKYgZXZlbiB0b25hbCAxMi10b25hbGlzbS4KQW5kIG5vdyBpbiBHZXJtYW55IHNvbWUgImNv bmNlcHR1YWwiIHJlLXJlYWRpbmdzIG9mIFdhZ25lci4gV2hhdCBoYXZlIEkgbGVmdApvdXQ/IFdo ZXJlJ3MgdGhlIG11c2ljPwoKCkhhbAoKIlRoZSBkaXJ0IGlzIHRoZSBtYXJrIG9mIHlvdXIgZGVl cCBsb3ZlIG9mIHRoZSB0b29sLiIKCkhhbHZhcmQgSm9obnNvbgo9PT09PT09PT09PT09PT09Cmhh bHZhcmRAZ21haWwuY29tCmhhbHZhcmRAZWFydGhsaW5rLm5ldApodHRwOi8vaG9tZS5lYXJ0aGxp bmsubmV0L35oYWx2YXJkIDxodHRwOi8vaG9tZS5lYXJ0aGxpbmsubmV0LyU3RWhhbHZhcmQ+Cmh0 dHA6Ly9lbnRyb3B5YW5kbWUuYmxvZ3Nwb3QuY29tCmh0dHA6Ly9pbWFnZXN3aXRob3V0d29yZHMu YmxvZ3Nwb3QuY29tCmh0dHA6Ly93d3cuaGFtaWx0b25zdG9uZS5vcmcK ========================================================================= Date: Sat, 7 Apr 2007 13:16:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: 25 questions In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: base64 Content-Disposition: inline SXQgd2lsbCBiZSBmYXNjaW5hdGluZyB0byBhbnN3ZXIgdGhlc2UgcXVlc3Rpb24sIGluIG15IG9w aW5pb24sIGV4YWN0bHkgYXMKdGhleSBhcmUuCgpNdXJhdAoKT24gNC83LzA3LCBIYWx2YXJkIEpv aG5zb24gPGhhbHZhcmRAZWFydGhsaW5rLm5ldD4gd3JvdGU6Cj4KPiBHbGVubiBCcmFuY2EgcmVj ZW50bHkgcmFpc2VkIDI1IHF1ZXN0aW9ucyBmb3IgdGhlIGNvbnNpZGVyYXRpb24gb2ZvdGhlcgo+ IGNvbXBvc2Vycy9tdXNpY2lhbnMuIEkndmUgYmVlbiB3b25kZXJpbmcgd2hhdCBhIHNpbWlsYXIg bGlzdAo+IG9mIHF1ZXN0aW9ucyBoYXZpbmcgdG8gZG8gd2l0aCBwb2V0cnkgbWlnaHQgbG9vayBs aWtlLiBTb21lIG9mCj4gQnJhbmNhJ3MgcXVlc3Rpb25zIGNvdWxkIGVhc2lseSBiZSBhZGFwdGVk IHRvIHBvZXRyeSwgYnV0IG90aGVycwo+IG1pZ2h0IG5lZWQgdG8gYmUgcmVwbGFjZWQgYWx0b2dl dGhlci4KPgo+IE9uZSBleGFtcGxlIG9mIHRoZSBmb3JtZXI6ICA0LiBXaHkgZG9lcyB0aGUgY29u dGVtcG9yYXJ5IHBvZXRyeQo+IGVzdGFibGlzaG1lbnQgcmVtYWluIHNvIGNvbnNlcnZhdGl2ZSB3 aGVuIGFsbCBvdGhlciBmaWVsZHMgb2YgdGhlCj4gYXJ0cyBlbWJyYWNlIG5ldyBpZGVhcz8KPgo+ IEFub3RoZXI6IDcuIElzIHRoZSBwb2V0cnkgYW50aG9sb2d5IHN0aWxsIHJlbGV2YW50IG9yIGlz IGl0IGp1c3QgYSBtdXNldW0/Cj4KPiBPZiB0aGUgbGF0dGVyLCBxdWVzdGlvbiAjMjUgbWlnaHQg YmUgcmVwbGFjZWQgYnkgIldoYXNzdXA/Igo+Cj4gMjUgUXVlc3Rpb25zCj4KPiAxLiBTaG91bGQg YSBtb2Rlcm4gY29tcG9zZXIgYmUganVkZ2VkIGFnYWluc3Qgb25seSB0aGUgdmVyeSBiZXN0IHdv cmtzIG9mCj4gdGhlIHBhc3Q/Cj4gMi4gQ2FuIHRoZXJlIGJlIHRydWx5IG9iamVjdGl2ZSBjcml0 ZXJpYSBmb3IganVkZ2luZyBhIHdvcmsgb2YgYXJ0Pwo+IDMuIElmIGEgY29tcG9zZXIgY2FuIHdy aXRlIG9uZSBvciB0d28gb3IgbW9yZSBncmVhdCB3b3JrcyBvZiBtdXNpYyB3aHkKPiBjYW5ub3Qg YWxsIG9mIGhpcyBvciBoZXIgd29ya3MgYmUgZ3JlYXQ/Cj4gNC4gV2h5IGRvZXMgdGhlIGNvbnRl bXBvcmFyeSBtdXNpY2FsIGVzdGFibGlzaG1lbnQgcmVtYWluIHNvIGNvbnNlcnZhdGl2ZQo+IHdo ZW4gYWxsIG90aGVyIGZpZWxkcyBvZiB0aGUgYXJ0cyBlbWJyYWNlIG5ldyBpZGVhcz8KPiA1LiBT aG91bGQgYSBjb21wb3NlciwgaWYgY29uZnJvbnRlZCB3aXRoIGEgY2hvaWNlLCB3cml0ZSBmb3Ig dGhlIG11c2ljaWFucwo+IHdobyB3aWxsIHBsYXkgYSBwaWVjZSBvciB3cml0ZSBmb3IgdGhlIGF1 ZGllbmNlIHdobyB3aWxsIGhlYXIgaXQ/Cj4gNi4gV2hlbiBpcyBhbiBhdWRpZW5jZSBiaWcgZW5v dWdoIHRvIHNhdGlzZnkgYSBjb21wb3NlciBvciBhIG11c2ljaWFuPwo+IDEwMD8KPiAxMDAwPyAx MCwwMDA/IDEwMCwwMDA/IDEsMDAwLDAwMD8gMTAwLDAwMCwwMDA/Cj4gNy4gSXMgdGhlIHN5bXBo b255IG9yY2hlc3RyYSBzdGlsbCByZWxldmFudCBvciBpcyBpdCBqdXN0IGEgbXVzZXVtPwo+IDgu IElzIG1pY3JvLXRvbmFsaXR5IGEgdmlhYmxlIGNvbXBvc2l0aW9uYWwgdG9vbCBvciBhIGJ1cm5l ZCBvdXQgbW9kZXJuaXN0Cj4gY29uY2VwdD8KPiA5LiBJbiBhbiBvcmNoZXN0cmEgb2YgODAgdG8g MTAwIG11c2ljaWFucyBkb2VzIHRoZSB1c2Ugb2YgaW1wcm92aXNhdGlvbgo+IG1ha2UKPiBhbnkg c2Vuc2U/Cj4gMTAuIFdoYXQgaXMgdGhlIGRpY2hvdG9teSBiZXR3ZWVuIGRpc3NvbmFuY2UgYW5k LiB0b25hbGl0eSBhbmQgd2hlcmUKPiBzaG91bGQKPiB0aGUgbGluZSBiZSBkcmF3bj8KPiAxMS4g Q2FuIHRoZSBtdXNpYyB0aGF0IHNvb3RocyB0aGUgc2F2YWdlIGJlYXN0IGJlIHNhdmFnZT8KPiAx Mi4gU2hvdWxkIGEgY29tcG9zZXIgc3BlYWsgd2l0aCB0aGUgdm9pY2Ugb2YgaGlzIG9yIGhlciBv d24gdGltZT8KPiAxMy4gSWYgdGhlcmUncyBhbHJlYWR5IHNvIG11Y2ggZ29vZCBtdXNpYyB0byBs aXN0ZW4gdG8gd2hhdCdzIHRoZSBwb2ludCBvZgo+IG1vcmUgY29tcG9zZXJzIHdyaXRpbmcgbW9y ZSBtdXNpYz8KPiAxNC4gSWYgQmFjaCB3ZXJlIGFsaXZlIHRvZGF5IHdvdWxkIGhlIGJlIHdyaXRp bmcgaW4gdGhlIGJhcm9xdWUgc3R5bGU/Cj4gMTUuIE11c3QgYWxsIG1vZGVybiBjb21wb3NlcnMg cmVqZWN0IHRoZSBwYXN0LCBhIGxhIEpvaG4gQ2FnZSBvciBNaWx0b24KPiBCYWJiaXR0J3MgIldo byBDYXJlcyBJZiBZb3UgTGlzdGVuPyIKPiAxNi4gSXMgdGhlIHN5bXBob255IGFuIGFudGlxdWF0 ZWQgaWRlYSBvciBpcyBpdCwgbGlrZSB0aGUgbm92ZWwgaW4KPiBsaXRlcmF0dXJlLCBzdGlsbCBh IHZpYWJsZSBsb25nIGZvcm0gb2YgbXVzaWM/Cj4gMTcuIENhbiBoYXJtb255IGJlIG5vbi1saW5l YXI/Cj4gMTguIFdhcyBDYWdlJ3MgIjQ6MzMiIGEgZ29vZCBwaWVjZSBvZiBtdXNpYz8KPiAxOS4g QXJ0aXN0cyBhcmUgZXhwZWN0ZWQgdG8gYWNjZXB0IGNyaXRpY2lzbSwgc2hvdWxkIGNyaXRpY3Mg YmUgZXhwZWN0ZWQKPiB0bwo+IGFjY2VwdCBpdCBhcyB3ZWxsPwo+IDIwLiBTb21ldGltZXMgSSdt IHRlbXB0ZWQgdG8gdGFsayBhYm91dCB0aGUgcm9sZSB0aGF0IGNvcnBvcmF0ZSBjdWx0dXJlCj4g cGxheXMgaW4gdGhlIHNhbGUgYW5kIGRpc3RyaWJ1dGlvbiBvZiBpbGxlZ2FsIGRydWdzIHRocm91 Z2hvdXQgdGhlIFVuaXRlZAo+IFN0YXRlcyBhbmQgdGhlIHdvcmxkLCBhbmQgdGhhdCB0aGUgb3Bp dW0gY3JvcCBpbiBBZmdoYW5pc3RhbiBoYXMgaW5jcmVhc2VkCj4gYnkgODYgcGVyY2VudCBzaW5j ZSB0aGUgQW1lcmljYW4gb2NjdXBhdGlvbiwgYW5kIHRoZSBmYWN0IHRoYXQgdGhlcmUgYXJlCj4g MTI2LDAwMCBjaXZpbGlhbiBjb250cmFjdG9ycyBpbiBJcmFxLCBidXQgd2hhdCBkb2VzIHRoaXMg aGF2ZSB0byBkbyB3aXRoCj4gbXVzaWM/Cj4gMjEuIENhbiB0aGUgb3JjaGVzdHJhIGJlIHJlcGxh Y2VkIGJ5IGluY3JlYXNpbmdseSBzb3BoaXN0aWNhdGVkCj4gY29tcHV0ZXItc2FtcGxpbmcgcHJv Z3JhbXMgYW5kIHJlY29yZGluZyB0ZWNobmlxdWVzLCBhdCBsZWFzdCBhcyBmYXIgYXMKPiByZWNv cmRpbmdzIGFyZSBjb25jZXJuZWQ/Cj4gMjIuIFdoZW4gYSB2aXN1YWwgYXJ0aXN0IGNhbiBzZWxs IGEgb25lLW9mLWEta2luZCB3b3JrIGZvciBodW5kcmVkcyBvZgo+IHRob3VzYW5kcyBvZiBkb2xs YXJzIGFuZCBhbnlvbmUgb24gdGhlIGludGVybmV0IGNhbiBoYXZlIGEgY29tcG9zZXIncyB3b3Jr Cj4gZm9yIG5vdGhpbmcsIGhvdyBpcyBhIGNvbXBvc2VyIGdvaW5nIHRvIHN1cnZpdmU/4oCoQW5k IGRvZXMgaXQgbWF0dGVyPwo+IDIzLiBTaG91bGQgY29tcG9zZXJzIHRyeSB0byByZWZsZWN0IGlu IHRoZWlyIG11c2ljIHRoZSB0cnV0aCBvZiB0aGVpcgo+IG5hdHVyZXMgYW5kIHRoZSB2aXNpb25z IG9mIHRoZWlyIGRyZWFtcyB3aGV0aGVyIG9yIG5vdCB0aGlzIG11c2ljIGFwcGVhbHMKPiB0bwo+ IGEgd2lkZSBhdWRpZW5jZT8KPiAyNC4gV2h5IGFyZSBhZHZhbmNlcyBpbiBzY2llbmNlIGFuZCB0 ZWNobm9sb2d5IG5vdCBwYXJhbGxlbGVkIGJ5IGFkdmFuY2VzCj4gaW4KPiBtdXNpYyB0aGVvcnkg YW5kIGNvbXBvc2l0aW9uYWwgdGVjaG5pcXVlPwo+IDI1LiBQb3N0LVBvc3QgTWluaW1hbGlzbT8g U2luY2UgTWluaW1hbGlzbSBhbmQgUG9zdC1NaW5pbWFsaXNtIHdlJ3ZlIHNlZW4KPiBhCj4gc2hv cnQtbGl2ZWQgTmVvLVJvbWFudGljaXNtLCBtYWlubHkgYmFzZWQgb24gbWlzZ3VpZGVkIGF0dGVt cHRzIHRvIHJldHVybgo+IHRvCj4gYSAxOXRoIGNlbnR1cnkgdG9uYWxpdHksIHRoZW4gYW4gaW1w cm92IHNjZW5lIHdoaWNoIGhhZCBsaXR0bGUgb3Igbm90aGluZwo+IHRvCj4gZG8gd2l0aCBjb21w b3NpdGlvbiwgdGhlbiBhIGhvZGdlLXBvZGdlIG9mIHN0eWxlczogYSBsaXR0bGUgb2xkICJuZXcK PiBtdXNpYywiCj4gYSBsaXR0bGUgIjYwJ3Mgc291bmQgY29sb3Jpc20iLCB0aGVuIGFuIGVjbGVj dGljIHBvbW8gc3RldyBvZiBqYXp6LCByb2NrCj4gYW5kCj4gY2xhc3NpY2FsLCB0aGVuIGEgbGl0 dGxlIHJldHJvLWNoaWMgUmVuYWlzc2FuY2Ug4oCmIGV2ZW4gdG9uYWwgMTItdG9uYWxpc20uCj4g QW5kIG5vdyBpbiBHZXJtYW55IHNvbWUgImNvbmNlcHR1YWwiIHJlLXJlYWRpbmdzIG9mIFdhZ25l ci4gV2hhdCBoYXZlIEkKPiBsZWZ0Cj4gb3V0PyBXaGVyZSdzIHRoZSBtdXNpYz8KPgo+Cj4gSGFs Cj4KPiAiVGhlIGRpcnQgaXMgdGhlIG1hcmsgb2YgeW91ciBkZWVwIGxvdmUgb2YgdGhlIHRvb2wu Igo+Cj4gSGFsdmFyZCBKb2huc29uCj4gPT09PT09PT09PT09PT09PQo+IGhhbHZhcmRAZ21haWwu Y29tCj4gaGFsdmFyZEBlYXJ0aGxpbmsubmV0Cj4gaHR0cDovL2hvbWUuZWFydGhsaW5rLm5ldC9+ aGFsdmFyZCA8aHR0cDovL2hvbWUuZWFydGhsaW5rLm5ldC8lN0VoYWx2YXJkPgo+IGh0dHA6Ly9l bnRyb3B5YW5kbWUuYmxvZ3Nwb3QuY29tCj4gaHR0cDovL2ltYWdlc3dpdGhvdXR3b3Jkcy5ibG9n c3BvdC5jb20KPiBodHRwOi8vd3d3LmhhbWlsdG9uc3RvbmUub3JnCj4K ========================================================================= Date: Sat, 7 Apr 2007 11:01:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen Subject: Quilts by Carolyn Beard Whitlow - Dulles Expo, Chantilly, VA May 4-6 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear folks: Poet/artist Carolyn Beard Whitlow will be selling her unique and stunning quilts at the Dulles Expo in Chantilly, Virginia during May 4-6. If you've any family or friends in the area, please encourage them to visit her booth and purchase a quilt. If you are planning to be in that area, please visit! Or, you can purchase one online at her site below. She can also customize a quilt to your preference. Please take a look flyer below (if it translated properly) and her website, http://www.colorquiltsbycarolyn.com and share this information with all interested contacts. Thanks much for your consideration and support! PS - Also, take a look at her two books of poetry: Wild Meat (Lost Roads) and Vanished (2006 Naomi Long Madgett Poetry Prize Winner selected by Lotus Press) In peace, elen ========================================================================= Date: Sat, 7 Apr 2007 14:09:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: 25 questions In-Reply-To: <1dec21ae0704071016q69c4e068ufe61973d4b5db4a8@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable I can see many ways that my writing would relate to these questions and = think they're great questions to answer. They touch on a lot of the = basic aesthetic issues I've thought and talked about all my life. I can = answer them for literature and for music. Vernon=20 http://vernonfrazer.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Murat Nemet-Nejat Sent: Saturday, April 07, 2007 1:17 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: 25 questions It will be fascinating to answer these question, in my opinion, exactly = as they are. Murat On 4/7/07, Halvard Johnson wrote: > > Glenn Branca recently raised 25 questions for the consideration = ofother > composers/musicians. I've been wondering what a similar list > of questions having to do with poetry might look like. Some of > Branca's questions could easily be adapted to poetry, but others > might need to be replaced altogether. > > One example of the former: 4. Why does the contemporary poetry > establishment remain so conservative when all other fields of the > arts embrace new ideas? > > Another: 7. Is the poetry anthology still relevant or is it just a = museum? > > Of the latter, question #25 might be replaced by "Whassup?" > > 25 Questions > > 1. Should a modern composer be judged against only the very best works = of > the past? > 2. Can there be truly objective criteria for judging a work of art? > 3. If a composer can write one or two or more great works of music why > cannot all of his or her works be great? > 4. Why does the contemporary musical establishment remain so = conservative > when all other fields of the arts embrace new ideas? > 5. Should a composer, if confronted with a choice, write for the = musicians > who will play a piece or write for the audience who will hear it? > 6. When is an audience big enough to satisfy a composer or a musician? > 100? > 1000? 10,000? 100,000? 1,000,000? 100,000,000? > 7. Is the symphony orchestra still relevant or is it just a museum? > 8. Is micro-tonality a viable compositional tool or a burned out = modernist > concept? > 9. In an orchestra of 80 to 100 musicians does the use of = improvisation > make > any sense? > 10. What is the dichotomy between dissonance and. tonality and where > should > the line be drawn? > 11. Can the music that sooths the savage beast be savage? > 12. Should a composer speak with the voice of his or her own time? > 13. If there's already so much good music to listen to what's the = point of > more composers writing more music? > 14. If Bach were alive today would he be writing in the baroque style? > 15. Must all modern composers reject the past, a la John Cage or = Milton > Babbitt's "Who Cares If You Listen?" > 16. Is the symphony an antiquated idea or is it, like the novel in > literature, still a viable long form of music? > 17. Can harmony be non-linear? > 18. Was Cage's "4:33" a good piece of music? > 19. Artists are expected to accept criticism, should critics be = expected > to > accept it as well? > 20. Sometimes I'm tempted to talk about the role that corporate = culture > plays in the sale and distribution of illegal drugs throughout the = United > States and the world, and that the opium crop in Afghanistan has = increased > by 86 percent since the American occupation, and the fact that there = are > 126,000 civilian contractors in Iraq, but what does this have to do = with > music? > 21. Can the orchestra be replaced by increasingly sophisticated > computer-sampling programs and recording techniques, at least as far = as > recordings are concerned? > 22. When a visual artist can sell a one-of-a-kind work for hundreds of > thousands of dollars and anyone on the internet can have a composer's = work > for nothing, how is a composer going to survive?=E2=80=A8And does it = matter? > 23. Should composers try to reflect in their music the truth of their > natures and the visions of their dreams whether or not this music = appeals > to > a wide audience? > 24. Why are advances in science and technology not paralleled by = advances > in > music theory and compositional technique? > 25. Post-Post Minimalism? Since Minimalism and Post-Minimalism we've = seen > a > short-lived Neo-Romanticism, mainly based on misguided attempts to = return > to > a 19th century tonality, then an improv scene which had little or = nothing > to > do with composition, then a hodge-podge of styles: a little old "new > music," > a little "60's sound colorism", then an eclectic pomo stew of jazz, = rock > and > classical, then a little retro-chic Renaissance =E2=80=A6 even tonal = 12-tonalism. > And now in Germany some "conceptual" re-readings of Wagner. What have = I > left > out? Where's the music? > > > Hal > > "The dirt is the mark of your deep love of the tool." > > Halvard Johnson > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > halvard@gmail.com > halvard@earthlink.net > http://home.earthlink.net/~halvard = > http://entropyandme.blogspot.com > http://imageswithoutwords.blogspot.com > http://www.hamiltonstone.org > ========================================================================= Date: Sat, 7 Apr 2007 23:11:24 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: the Poets' Corner MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline 1. The one who will shine in the science of writing will shine like the sun= . A scribe (EP, p. 87) O Samas (sun-god), by your light you scan the totality of lands as if they were cuneiform signs (ibid.). from the opening of the *Exergue* by Jacques Derrida, *Of Grammatology* *New Poets: * *David Baratier* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D227 *Laura Heidy* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D228 *Tim Peterson* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D229 *Jeffrey Side* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D230 *Anne Tardos* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D233 *Luc Fierens* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D234 *Ruth Lepson* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D235 *Paul Vangelisti* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D236 *Joyce Nower* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D237 *Paul Muldoon* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D238 *Tom Beckett* http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D239 *New poems of already featured Poets:* *Richard Dillon * SUDDEN GIFT, A NEW YORK XMAS POEM http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1822 CHERRY CREEK CAPER http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1898 *Alan Sondheim * The gods http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1823 A/Rose for Baudrillard http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1904 *Barry Alpert* OF DOUGLAS GORDON http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1852 THE MARQUISE OF O=85 http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1853 WILLOW TREE http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1884 *Halvard Johnson* Favorite California Churches http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1882 *James Cervantes* Poems That Arrived Without a Briefcase http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1883 *David-Baptiste Chirot* light remains 1 http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1895 light remains 2 http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1896 light remains 3 http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1897 *Jeff Harrison* * The Recital * http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1909 * The Vying * http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D1910 *Under Poets on Poets:* * * *Paul Vangelisti* http://www.fieralingue.it/modules.php?name=3Dpoetsonpoets&pa=3Dlist_pages_c= ategories&cid=3D70 *Euripides by Jon Corelis* and ongoing work with new additions http://www.fieralingue.it/modules.php?name=3Dpoetsonpoets&pa=3Dlist_pages_c= ategories&cid=3D66 *Under Poem Reviews:* * * *Emanuele Carnevale by Dennis Barone* http://www.fieralingue.it/modules/poemreviews/corner.php?pa=3Dprintpage&pid= =3D260 My acknowledgment to all those who appear on the Poets' Corner _as usual th= e order of apparition follows the order by which I received the contribution. With my best wishes for a wonderful and fruitful Spring, 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: Sun, 8 Apr 2007 01:57:51 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: submissions welcome for Noon: Journal of the Short Poem In-Reply-To: <20070407180939.WXFX20109.ibm70aec.bellsouth.net@HPLASERJ> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello All, I am forwarding this call for submissions. This is a beautiful little magazine/book to hold in your hands, made in the way of binding with the string on the outside and the pages folded. I am afraid I do not know the terminology for Japanese binding. Dear readers and correspondents, This is to let you know that I have started reading for the next NOON (#5, due out in September), and that I expect to be able to accept submissions until approximately the end of June. Feel free to send via email if that's more convenient for you. There are few remaining copies of NOON 4, more of 2 and 3. Please ask for details if you'd like to purchase a back issue. (I can give no better guidelines.) Likewise, if you'd like to subscribe. The magazine receives no other funding than my own and that of subscribers. Best wishes, Philip Philip Rowland, editor Noon: Journal of the Short Poem Minami Motomachi 4-49-506 Shinjuku-ku Tokyo 160-0012 Japan ========================================================================= Date: Sat, 7 Apr 2007 21:27:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Here Comes Everybody anthology now canceled Comments: To: ggatza@gmail.com, Lance Phillips In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit HCE now being pulled from shelves. Reason: poets are suing! Can you believe it! Sorry, Geoffrey ========================================================================= Date: Sat, 7 Apr 2007 18:57:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Wilkinson Subject: Rabbit Light Movies (Gordon, Doxsee, Nakayasu, Rexilius, Greenstreet, et al.) MIME-Version: 1.0 Content-Type: text/plain; charset=ascii Hello, Friends, I have started a new little journal on dvd format called Rabbit Light Movies. They are very short poemfilms of poets reading from their work. There are three poets (three films) per episode. Each episode is limited to 99 copies. Each episode is also free. Episode #1: Noah Eli Gordon: 5 poems Julie Doxsee: The Knife-Grasses Joshua Marie Wilkinson: Wolf Dust Episode #2: Sawako Nakayasu: 2 poems Kate Greenstreet: from [Salt] (from case sensitive) Andrea Rexilius: from Gravity / Hem I have about 20 copies of Episode #1 left; Episode #2 is hot off the press and I can start sending them next week. If you would like an episode, please feel free to email me your name and address and I'm happy to send you one or both (please specify which or both). rabbitlightmovies@gmail.com [international: I think the dvds are region free and I'm pleased to send one anywhere] If you are interested in submitting audio for consideration, there are some guidelines posted at http://rabbitlightmovies.blogspot.com They are low budget little movies and they're for you. New episodes will feature Jaswinder Bolina, Allison Titus, Mathias Svalina, Sommer Browning, George Kalamaras, Lily Brown, Bin Ramke, Joshua Poteat, c. marie smith, Joshua Kryah, Jon Woodward, Eleni Sikelianos, and many others. Also: In the new Criterion Collection set of Paul Robeson films, one of the movies included co-stars H.D. Yes, H.D. I think it's called Borderline. Also: Here's a new interview I did with Danielle Dutton on Fascicle. http://www.fascicle.com/issue03/essays/dutton1.htm Also: Here's a new interview (just up today) with Noah Eli Gordon on Rain Taxi. http://www.raintaxi.com/online/2007spring/gordon.shtml Also: look for a long, wonderful interview with Shanxing Wang that Nathan Brown did. Somewhere. Thank you! joshua Joshua Marie Wilkinson http://eyelashfire.blogspot.com ____________________________________________________________________________________ 8:00? 8:25? 8:40? Find a flick in no time with the Yahoo! Search movie showtime shortcut. http://tools.search.yahoo.com/shortcuts/#news ========================================================================= Date: Sat, 7 Apr 2007 21:29:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Murphy Subject: interview with JAVANT BIARUJIA MIME-Version: 1.0 Content-Type: text/plain; charset=ascii Many of you will be familiar with Javant Biarujia, a brilliant being who resides in Melbourne. Check out my interview with him at: http://willtoexchange.blogspot.com/ ========================================================================= Date: Sat, 7 Apr 2007 23:48:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Simone Roberts Subject: 25 Questions MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi, new to list. Lurking about, reading mostly. Favor? The 25 questions came through like this on the digest form: SXQgd2lsbCBiZSBmYXNjaW5hdGluZyB0byBhbnN3ZXIgdGhlc2UgcXVlc3Rpb24sIGluIG15IG9w aW5pb24sIGV4YWN0bHkgYXMKdGhleSBhcmUuCgpNdXJhdAoKT24gNC83LzA3LCBIYWx2YXJkIEpv and so forth. Any tips on turning that into a human language? A setting I missed? Is there a plain text issue here? Flummoxed. Apologies for any bother. All thanks, Si ========================================================================= Date: Sun, 8 Apr 2007 02:05:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: <003801c7797d$1570b7d0$030aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: 7bit hi all, i'm sure i'm not the only one wondering who the poets suing and threatening over this now-pulled anthology are and what are their reasons. if you're one of the people who has caused this anthology to be pulled if you can share with us why i'd be much obliged. thanks, david Quoting Geoffrey Gatza : > HCE now being pulled from shelves. > > Reason: poets are suing! > > Can you believe it! > > > > Sorry, Geoffrey > ========================================================================= Date: Sun, 8 Apr 2007 12:42:03 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: <20070408020517.7bwxe706bfms4sks@boogcity.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I am with David. It would be interesting to have this point discussed, be it front/ or back/channel. I know that Lance has invested much into it, and I think, as I was notified, that he got in contact with all those who took part in it before publishing it. The book is already out also thanks to Geoffrey Gatza's work, why pull it back now, isn't it too late? What is the difference between being published online and being published in a book? Thanks to those who are directly involved and will explain their position, Anny On 4/8/07, David A. Kirschenbaum wrote: > > hi all, > > i'm sure i'm not the only one wondering who the poets suing and > threatening over this now-pulled anthology are and what are their > reasons. if you're one of the people who has caused this anthology to > be pulled if you can share with us why i'd be much obliged. > > thanks, > david > > Quoting Geoffrey Gatza : > > > HCE now being pulled from shelves. > > > > Reason: poets are suing! > > > > Can you believe it! > > > > > > > > Sorry, Geoffrey > > > ========================================================================= Date: Sun, 8 Apr 2007 06:17:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Kasimor Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <003801c7797d$1570b7d0$030aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Well Geoffrey, if you would have asked, I would have been very happy to be a part of your anthology. Poets suing--that is ridiculous. Best, Mary Geoffrey Gatza wrote: HCE now being pulled from shelves. Reason: poets are suing! Can you believe it! Sorry, Geoffrey --------------------------------- Never miss an email again! Yahoo! Toolbar alerts you the instant new Mail arrives. Check it out. ========================================================================= Date: Sun, 8 Apr 2007 02:38:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sue walker Subject: Re: submissions welcome for Noon: Journal of the Short Poem 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 What is the e-mail address of Philip Rowland and NOON? S Walker On Apr 7, 2007, at 6:57 PM, cralan kelder wrote: > Hello All, I am forwarding this call for submissions. > > This is a beautiful little magazine/book to hold in your hands, > made in the way of binding with the string on the outside and > the pages folded. I am afraid I do not know the terminology for > Japanese binding. > > > > > > Dear readers and correspondents, > > This is to let you know that I have started reading for the next NOON > (#5, due out in September), and that I expect to be able to accept > submissions until approximately the end of June. Feel free to send > via email if that's more convenient for you. > > > There are few remaining copies of NOON 4, more of 2 and 3. Please ask > for details if you'd like to purchase a back issue. (I can give no > better guidelines.) Likewise, if you'd like to subscribe. The > magazine receives no other funding than my own and that of > subscribers. > > Best wishes, > > Philip > > Philip Rowland, editor > Noon: Journal of the Short Poem > Minami Motomachi 4-49-506 > Shinjuku-ku > Tokyo 160-0012 > Japan ========================================================================= Date: Sun, 8 Apr 2007 10:59:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <894745.66786.qm@web51811.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Geoffrey - Can you explain the situation in more detail? This sounds absurd. - Alan, thanks ======================================================================= Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check WVU Zwiki, Google for recent. Write for info on books, cds, performance, dvds, etc. ============================================================= ========================================================================= Date: Sun, 8 Apr 2007 12:45:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit It is absurd and I'll do my best to explain. I will not tell any names as to not harm anyone in relating what has happened. We do good work here and are not trying to get sued! Several problems arose in the first 12 hours after an announcement was made. Lance and I have been working on this as a book for over a year and a half. Maybe more. Anyway, we thought we had all the permissions in hand. We did not. Two poets threatened to sue me and the press if we did not remove their entries. I consulted our lawyers and they said to just stop the whole project. We had several poets concerned about permission to use their words. Some angry others just protecting themselves and their ideas. One forgot if they did give permission, but this is still a problem. Another problem raised was payment to the contributors. Print on Demand is a book made when someone orders it. The base price for HCE is 12 dollars. This is the most expensive text we have as it is 740 pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 remaining for Lance and I to get rich off of. We are a poor press and this book works out as such. A solution would be to provide a one copy payment to the 130 authors. This is way beyond our budget, actually more than our budget for the next 7 years. This is a huge text, 740 pages and our base cost is 12 per book and to ship this to 130 people would cost us $2210. We don't have that kind of money and we should have realized at some point that someone would want one. So it would be better to use these resources in a better fashion, as this is a webpage and it's 'out there' already. I have offered a book deal to Lance so as he is not 'out' anything. Thanks to everyone concerned and BlazeVOX will come out on top on this and continue to offer high quality, relevant texts! Best, Geoffrey Geoffrey Gatza BlazeVOX [books] www.blazevox.org -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Alan Sondheim Sent: Sunday, April 08, 2007 11:00 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Here Comes Everybody anthology now canceled Geoffrey - Can you explain the situation in more detail? This sounds absurd. - Alan, thanks ======================================================================= Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check WVU Zwiki, Google for recent. Write for info on books, cds, performance, dvds, etc. ============================================================= ========================================================================= Date: Sun, 8 Apr 2007 12:49:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: looking for work MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed If you know of any mentoring, tutoring, part-time teaching, or visiting artist positions, in the areas of new media, video, film, or English, please let me know. I'm currently teaching a filmmaking course at Brown, which will be coming to an end in May; my students are doing amazing work. I can get references, recommendation letters, and so forth. I wouldn't be asking on email lists, but I'm relatively out of the academic loop at this point. Thanks greatly, Alan ========================================================================= Date: Sun, 8 Apr 2007 10:20:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New de blog Comments: cc: "Poetryetc: poetry and poetics" , UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable http://stephenvincent.net/blog/ A few things, photographs, haptic drawings and commentary: 1. Philip Guston's Ghost(s) While out walking, I am sometimes haunted by the ghost of the work of Phili= p Guston - or is it, as well, the actual presence of the artist himself? Whic= h is to say, whatever I remember of seeing Guston=B9s work - and I have seen a great deal - the work, or some aspect of the spirit of the work, periodically transforms itself to reappear in the form of something local, something material... 2. =B3Derelict=B2 Proclamation, Noe Valley, San Francisco TO WHOEVER PUT THAT UGLY SIGN LAST NIGHT DESPARAGING DERELICTS... 3. New York City "Haptic" Haptic: Pertaining to the sense of touch, from the Greek word haptein, to grasp. Sporadically, in the past year, I have been exploring environments through = a drawing technique that I call Haptics. The pieces are not =8Cdrawings=B9 in any conventional sense - perspective, volume, figures and all of that. The drawing is built around listening closely. Instead of haptics the pieces might equally well be called "soundscapes..." 4. What Suzanne Stein Did! Performing at Small Press Traffic, San Francisc= o Suzanne Stein - poet and performance artist - created what might be called =B3a presence=B2 (rather than a =8Creading=B9 or =8Cperformance=B9) to an audience of primarily poets last Friday night at Small Press Traffic. The event was a combination of =8Coff-putting=B9, =8Cembracing=B9 and =8Cthought provoking.=B9... And, by the way, Happy Holidays!! Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Sun, 8 Apr 2007 10:26:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <00a801c779fd$61379d70$030aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline you could probably bookmobile (or some other digital short run printer) just 130 copies for way less (I'm guessing 7 dollars per, including set up costs), and then use pod for regular order fulfillment; or, you could redo the permissions process, and allow interviewees to buy however many copies at cost (I know that I for example, like to have 2-5 copies of anything like this I'm in, to sell at readings, give to my folks, etc., and at least 25-50 copies of books, and I don't really care if they cost money or not, but it becomes a real consideration when I have to pay list price -- say 29.95 rather than cost, say 3-10 dollars) also, I know it is a pain, and I don't know if you've paid an initial set up cost already, but pulling a dozen interviews will make it a little shorter/cheaper -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Sun, 8 Apr 2007 13:29:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Poets suing poets? Here Comes Everybody Kiboshers Who Are You? In-Reply-To: <00a801c779fd$61379d70$030aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Everything posted here so far is making these two poets not look that =20 good, to say the least. No one's going to know if this is so if you =20 two don't speak up. best, david Quoting Geoffrey Gatza : > It is absurd and I'll do my best to explain. I will not tell any names as = to > not harm anyone in relating what has happened. We do good work here and ar= e > not trying to get sued! > > Several problems arose in the first 12 hours after an announcement was mad= e. > Lance and I have been working on this as a book for over a year and a half= . > Maybe more. Anyway, we thought we had all the permissions in hand. We did > not. > > Two poets threatened to sue me and the press if we did not remove their > entries. I consulted our lawyers and they said to just stop the whole > project. > > We had several poets concerned about permission to use their words. Some > angry others just protecting themselves and their ideas. One forgot if the= y > did give permission, but this is still a problem. > > Another problem raised was payment to the contributors. > > > Print on Demand is a book made when someone orders it. The base price for > HCE is 12 dollars. This is the most expensive text we have as it is 740 > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > remaining for Lance and I to get rich off of. > > We are a poor press and this book works out as such. A solution would be t= o > provide a one copy payment to the 130 authors. This is way beyond our > budget, actually more than our budget for the next 7 years. This is a huge > text, 740 pages and our base cost is 12 per book and to ship this to 130 > people would cost us $2210. > > We don't have that kind of money and we should have realized at some point > that someone would want one. So it would be better to use these resources = in > a better fashion, as this is a webpage and it's 'out there' already. > > I have offered a book deal to Lance so as he is not 'out' anything. > > Thanks to everyone concerned and BlazeVOX will come out on top on this and > continue to offer high quality, relevant texts! > > > > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Alan Sondheim > Sent: Sunday, April 08, 2007 11:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Here Comes Everybody anthology now canceled > > Geoffrey - Can you explain the situation in more detail? This sounds > absurd. > > - Alan, thanks > > > =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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. =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 > ========================================================================= Date: Sun, 8 Apr 2007 12:37:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: This Wednesday: Lisa Fishman / Michael Palmer, Columbia College Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit LISA FISHMAN and MICHAEL PALMER POETRY READING Wednesday, April 11, 2007 (5:30 p.m.) Hokin Hall (first floor auditorium, 623 S. Wabash Ave.) Free and open to the public For more information, call 312-344-8138 LISA FISHMAN is the author of three books of poetry: THE HAPPINESS EXPERIMENT (Ahsahta, 2007); DEAR, READ (Ahsahta, 2002) and THE DEEP HEART'S CORE IS A SUITCASE (New Issues, 1998). She has also published a chapbook, KABBALOOM (Wyrd Press, 2007). Her work is anthologized in POETRY: THE NEXT GENERATION (Carnegie Mellon, 2000), AND WE THE CREATURES (Dream Horse Press, 2003) and SHADE (Four Way Press, 2005). She has poems in recent or forthcoming issues of WOMEN'S STUDIES QUARTERLY, 1913: A JOURNAL OF FORMS, CRAZYHORSE, AMERICAN LETTERS & COMMENTARY, FIVE FINGERS REVIEW, 26: A JOURNAL OF POETRY AND POETICS, VOLT, and elsewhere. Her reviews, essays and interviews have appeared in SMALL PRESS TRAFFIC, POETRY SALZBURG, identitytheory.com, herecomeseverybody, and on public radio stations in New Jersey and Columbia, Missouri. She recently joined the core faculty in the Poetry Program of Columbia College Chicago. Born in Manhattan, poet and translator MICHAEL PALMER has lived in San Francisco since 1969. For over thirty years he has collaborated with many visual artists and composers and the choreographer Margaret Jenkins. His most recent collections are THE PROMISES OF GLASS, CODES APPEARING (POEMS 1979-1988, and COMPANY OF MOTHS, all from New Directions. Among his awards, Palmer has received a Guggenheim Fellowship, A Lila Wallace Reader's Digest Fund Award, two National Endowment for the Arts grants in poetry, the Shelley Memorial Award of the Poetry Society of America and, in the fall of 2006, the Wallace Stevens Award from the Academy of American Poets. He has taught at many universities in the United States and in Europe, and his work has been translated into more than twenty-five languages. ========================================================================= Date: Sun, 8 Apr 2007 15:05:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Pound on PennSound Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed PennSound is pleased to announce The Complete Poetry Recordings of Ezra Pound edited, with an extended listening guide, by Richard Sieburth The PennSound Pound includes many rare recordings, as well as a set of private recordings, made in 1962-1972, whose existence had not previously been known. Sieburth provides a detailed essay to accompany the recordings, which cover Pound's two major recording sessions, at Harvard in 1939 and in Washington, DC, in 1958. In addition, we include Pound's 1942 reading of Canto XLVI, broadcast on Italian radio as part of his radio speeches; Pound's reading at Spoleto in 1967; Pound's reading of his "Confucian Odes" (Spoleto, 1970), and a private recording of three Cantos from the early 1970s. We are grateful to New Directions Publishing Corporation and the heirs of Ezra Pound for making these recordings available for noncommercial and educational use. As with all PennSound recordings, these file are downloadable MP3 sound files. PennSound was launched on January 1, 2006 by Charles Bernstein and Al Filreis. We are currently making available about 8,000 MP3 files and continue to expand rapidly. In the last year, over eight million individual sound files were downloaded from PennSound. Other recent additions to PennSound include the complete recordings of William Carlos Williams, and extensive collections of recordings by Jackson Mac Low, Susan Howe, Anne Tardos, Anne Waldman, Myung Mi Kim, Charles Reznikofff, Alan Davies, Tracie Morris, Bruce Andrews, Barbara Guest, Nicole Brossard, Robin Blaser, Amiri Baraka, Bern Porter, Robert Grenier, Mei-mei Berssenbrugge, Allen Ginsberg, Brian Kim Stefans, Kenneth Goldsmith & many others. We also host two poetry radio programs, Close Listening, with Charles Bernstein; and Cross-Cultural Poetics with Leonard Schwartz. Al Filreis hosts our monthly PennSound podcast. http://writing.upenn.edu/pennsound http://writing.upenn.edu/pennsound/x/Pound.html ========================================================================= Date: Sun, 8 Apr 2007 14:05:11 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Chaudiere Books (Ottawa), spring releases Content-transfer-encoding: 7BIT Chaudiere Books spring releases ; Ottawa publisher announces its second season of publishing Everything is Movies, a first poetry collection by Ottawa poet Nicholas Lea & The Ottawa City Project, poems by rob mclennan his thirteenth poetry collection both launching at the spring edition of the ottawa international writers festival www.writersfestival.org & a few weeks later, watch for our two other spring titles Decalogue 2: ten Ottawa fiction writers featuring the work of Emily Falvey, Matthew Firth, Gabriela Goliger, Alison Gresik, John-James Ford, Clare Latremouille, John Lavery, Nadine McInnis, rob mclennan and Ian Roy. scheduled to launch Friday, May 18th at The Mercury Lounge, 56 Byward Street, Ottawa & There Is No Mountain: Selected Poems of Andrew Suknaski edited with an introduction by rob mclennan scheduled to launch in Ottawa in June for more information on the books, including excerpts, biographical and ordering information (review copies available upon request), check out www.chaudierebooks.com for more information on Chaudiere Books authors readings, check out the ongoing Chaudiere Books blog at www.chaudierebooks.blogspot.com -- poet/editor/publisher ...STANZAS mag, above/ground press & Chaudiere Books (www.chaudierebooks.com) ...coord.,SPAN-O + ottawa small press fair ...13th poetry coll'n - The Ottawa City Project .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Sun, 8 Apr 2007 14:12:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Howe Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: <4b65c2d70704080342pb454c14l98c2ef39e2c72868@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I'd like to hear these "poets" explain themselves as well. For what it's worth, I (would have) appeared in the book, and the first I heard of the book project was on this list-- I hadn't granted permission or been promised any money. And do you know how I felt when I heard about the book? Pleased, of course! It didn't occur to me for a second to get angry at Lance for not getting permission or, good god, to sue. This is yet another example of the dire effect of commerce, with its built-in notions of ownership, on poetry-- the free exchange of ideas has been foiled by greed and a perception of art that's completely beholden to commerical imperatives. There is nothing benign to me about "protecting what one owns" when it comes to artistic creation, although so many take it for granted that it is-- I just see white picket fences trimmed with concertina wire. The whole thing makes me feel a bit depressed and angry. I'd love to hear an explanation, but I really can't think of one that would justify mobilizing the ponderous US judicial system against a small poetry press. What sort of poet would submit willingly to such a soul-demolishing and art-compromising enterprise? Not any that I'd call poets. Poetry is one of the few remaining spaces for personal freedom! So by all means, let's litigate against it for impinging on the rights granted us the mental enslavement of capitalism. Happy Zombie Day Brian Howe On 4/8/07, Anny Ballardini wrote: > > I am with David. It would be interesting to have this point discussed, be > it > front/ or back/channel. I know that Lance has invested much into it, and I > think, as I was notified, that he got in contact with all those who took > part in it before publishing it. The book is already out also thanks to > Geoffrey Gatza's work, why pull it back now, isn't it too late? > What is the difference between being published online and being published > in > a book? > > Thanks to those who are directly involved and will explain their position, > Anny > > On 4/8/07, David A. Kirschenbaum wrote: > > > > hi all, > > > > i'm sure i'm not the only one wondering who the poets suing and > > threatening over this now-pulled anthology are and what are their > > reasons. if you're one of the people who has caused this anthology to > > be pulled if you can share with us why i'd be much obliged. > > > > thanks, > > david > > > > Quoting Geoffrey Gatza : > > > > > HCE now being pulled from shelves. > > > > > > Reason: poets are suing! > > > > > > Can you believe it! > > > > > > > > > > > > Sorry, Geoffrey > > > > > > ========================================================================= Date: Sun, 8 Apr 2007 19:38:00 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit What Catherine says about redoing the permissions process seems reasonable. Probably the permissions process was handled a little too informally. What you should do is draw up a formal permissions letter, setting out terms that do not include payment or free copies but should include an authors' discount. Then make a somewhat smaller volume out of the interviews with those who make a positive response to this within a certain time frame. On the other hand I wouldn't moralize against the people who want to prevent their interviews being reprinted. They probably regret something they said and don't want to disseminate it any further. We all say stupid things we regret sometimes, things we wish we could erase from the record. And to some extent we have the right to try and do this. Catherine Daly wrote: you could probably bookmobile (or some other digital short run printer) just 130 copies for way less (I'm guessing 7 dollars per, including set up costs), and then use pod for regular order fulfillment; or, you could redo the permissions process, and allow interviewees to buy however many copies at cost (I know that I for example, like to have 2-5 copies of anything like this I'm in, to sell at readings, give to my folks, etc., and at least 25-50 copies of books, and I don't really care if they cost money or not, but it becomes a real consideration when I have to pay list price -- say 29.95 rather than cost, say 3-10 dollars) also, I know it is a pain, and I don't know if you've paid an initial set up cost already, but pulling a dozen interviews will make it a little shorter/cheaper -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Sun, 8 Apr 2007 08:53:53 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <00a801c779fd$61379d70$030aa8c0@adminstret4wjx> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT i agree with what other people are saying also. bloody ingrates! pull them and put in a couple of us joyce loving hce'ers. do whatever it takes to get it out there. sounds wonderful--and so much dedicated work. i hope you don't let them bully you. best, gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > It is absurd and I'll do my best to explain. I will not tell any names as to > not harm anyone in relating what has happened. We do good work here and are > not trying to get sued! > > Several problems arose in the first 12 hours after an announcement was made. > Lance and I have been working on this as a book for over a year and a half. > Maybe more. Anyway, we thought we had all the permissions in hand. We did > not. > > Two poets threatened to sue me and the press if we did not remove their > entries. I consulted our lawyers and they said to just stop the whole > project. > > We had several poets concerned about permission to use their words. Some > angry others just protecting themselves and their ideas. One forgot if they > did give permission, but this is still a problem. > > Another problem raised was payment to the contributors. > > > Print on Demand is a book made when someone orders it. The base price for > HCE is 12 dollars. This is the most expensive text we have as it is 740 > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > remaining for Lance and I to get rich off of. > > We are a poor press and this book works out as such. A solution would be to > provide a one copy payment to the 130 authors. This is way beyond our > budget, actually more than our budget for the next 7 years. This is a huge > text, 740 pages and our base cost is 12 per book and to ship this to 130 > people would cost us $2210. > > We don't have that kind of money and we should have realized at some point > that someone would want one. So it would be better to use these resources in > a better fashion, as this is a webpage and it's 'out there' already. > > I have offered a book deal to Lance so as he is not 'out' anything. > > Thanks to everyone concerned and BlazeVOX will come out on top on this and > continue to offer high quality, relevant texts! > > > > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Alan Sondheim > Sent: Sunday, April 08, 2007 11:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Here Comes Everybody anthology now canceled > > Geoffrey - Can you explain the situation in more detail? This sounds > absurd. > > - Alan, thanks > > > ======================================================================= > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. ============================================================= > ========================================================================= Date: Sun, 8 Apr 2007 13:02:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: kari edwards on miporadio In-Reply-To: <1e7ff3150704081112m119015a7hce0dbb4d424d6cec@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit kari edwards' audio here ----> http://www.miporadio.net/kari_edwards/index.html --------------------------------- Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. ========================================================================= Date: Sun, 8 Apr 2007 13:04:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: kari edwards on miporadio In-Reply-To: <1e7ff3150704081112m119015a7hce0dbb4d424d6cec@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Incidentally, the second poem is hypnotic~ kari edwards' audio here ----> http://www.miporadio.net/kari_edwards/index.html --------------------------------- No need to miss a message. Get email on-the-go with Yahoo! Mail for Mobile. Get started. ========================================================================= Date: Sun, 8 Apr 2007 16:09:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Here Comes Everybody anthology now canceled Comments: To: welford@HAWAII.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline I emailed Geoffrey when I got the publication announcement yesterday. I = don't consider myself an ingrate. I would have liked to know about the = publication in advance. I would have also liked to the opportunity to = read proofs. My interview depended on links. It wasn't intended for = print, and I'd have to reconsider it in the light of that. Perhaps Lance = contacted me and I have somehow forgotten it, but I don't think so. The = question of how work is presented is still a live one for me; I think = notification and permission are pretty basic. Mairead >>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> i agree with what other people are saying also. bloody ingrates! pull them and put in a couple of us joyce loving hce'ers. do whatever it takes to get it out there. sounds wonderful--and so much dedicated work. i hope you don't let them bully you. best, gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > It is absurd and I'll do my best to explain. I will not tell any names = as to > not harm anyone in relating what has happened. We do good work here and = are > not trying to get sued! > > Several problems arose in the first 12 hours after an announcement was = made. > Lance and I have been working on this as a book for over a year and a = half. > Maybe more. Anyway, we thought we had all the permissions in hand. We = did > not. > > Two poets threatened to sue me and the press if we did not remove their > entries. I consulted our lawyers and they said to just stop the whole > project. > > We had several poets concerned about permission to use their words. Some > angry others just protecting themselves and their ideas. One forgot if = they > did give permission, but this is still a problem. > > Another problem raised was payment to the contributors. > > > Print on Demand is a book made when someone orders it. The base price = for > HCE is 12 dollars. This is the most expensive text we have as it is 740 > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > remaining for Lance and I to get rich off of. > > We are a poor press and this book works out as such. A solution would be = to > provide a one copy payment to the 130 authors. This is way beyond our > budget, actually more than our budget for the next 7 years. This is a = huge > text, 740 pages and our base cost is 12 per book and to ship this to 130 > people would cost us $2210. > > We don't have that kind of money and we should have realized at some = point > that someone would want one. So it would be better to use these = resources in > a better fashion, as this is a webpage and it's 'out there' already. > > I have offered a book deal to Lance so as he is not 'out' anything. > > Thanks to everyone concerned and BlazeVOX will come out on top on this = and > continue to offer high quality, relevant texts! > > > > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On > Behalf Of Alan Sondheim > Sent: Sunday, April 08, 2007 11:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Here Comes Everybody anthology now canceled > > Geoffrey - Can you explain the situation in more detail? This sounds > absurd. > > - Alan, thanks > > > =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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. =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 > ========================================================================= Date: Sun, 8 Apr 2007 16:16:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Here Comes Everybody anthology now canceled Comments: To: welford@HAWAII.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline I didn't threaten to sue of course & that seems an overreaction. =20 But still, courtesy is appreciated, even needed, where publication is = concerned. Probably lots of people spent some time on these interviews, = as I did. Maybe even designed them specifically for a web context too. I = think that should be respected; maybe an appreciation for individuality = has been lost because of the large number of poets involved. Lance's = questions were the same, but the responses were individual. Mairead >>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> i agree with what other people are saying also. bloody ingrates! pull them and put in a couple of us joyce loving hce'ers. do whatever it takes to get it out there. sounds wonderful--and so much dedicated work. i hope you don't let them bully you. best, gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > It is absurd and I'll do my best to explain. I will not tell any names = as to > not harm anyone in relating what has happened. We do good work here and = are > not trying to get sued! > > Several problems arose in the first 12 hours after an announcement was = made. > Lance and I have been working on this as a book for over a year and a = half. > Maybe more. Anyway, we thought we had all the permissions in hand. We = did > not. > > Two poets threatened to sue me and the press if we did not remove their > entries. I consulted our lawyers and they said to just stop the whole > project. > > We had several poets concerned about permission to use their words. Some > angry others just protecting themselves and their ideas. One forgot if = they > did give permission, but this is still a problem. > > Another problem raised was payment to the contributors. > > > Print on Demand is a book made when someone orders it. The base price = for > HCE is 12 dollars. This is the most expensive text we have as it is 740 > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > remaining for Lance and I to get rich off of. > > We are a poor press and this book works out as such. A solution would be = to > provide a one copy payment to the 130 authors. This is way beyond our > budget, actually more than our budget for the next 7 years. This is a = huge > text, 740 pages and our base cost is 12 per book and to ship this to 130 > people would cost us $2210. > > We don't have that kind of money and we should have realized at some = point > that someone would want one. So it would be better to use these = resources in > a better fashion, as this is a webpage and it's 'out there' already. > > I have offered a book deal to Lance so as he is not 'out' anything. > > Thanks to everyone concerned and BlazeVOX will come out on top on this = and > continue to offer high quality, relevant texts! > > > > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On > Behalf Of Alan Sondheim > Sent: Sunday, April 08, 2007 11:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Here Comes Everybody anthology now canceled > > Geoffrey - Can you explain the situation in more detail? This sounds > absurd. > > - Alan, thanks > > > =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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. =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 > ========================================================================= Date: Sun, 8 Apr 2007 22:49:43 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <153874.5378.qm@web86002.mail.ird.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Barry says it perfectly, and Catherine. It is a pity though because the book is already out, that is the only point that hurts. Maybe those who pulled back are willing to rethink their positions? Both for Lance and Geoffrey, I think they deserve more than this. Those who are not interested won't buy the anthology and won't put it on their CV's, maybe this is not asking too much - there are so many anthologies out there, it is very unlikely this one will get to the top of the hits, ... On 4/8/07, Barry Schwabsky wrote: > > What Catherine says about redoing the permissions process seems > reasonable. Probably the permissions process was handled a little too > informally. What you should do is draw up a formal permissions letter, > setting out terms that do not include payment or free copies but should > include an authors' discount. Then make a somewhat smaller volume out of the > interviews with those who make a positive response to this within a certain > time frame. > > On the other hand I wouldn't moralize against the people who want to > prevent their interviews being reprinted. They probably regret something > they said and don't want to disseminate it any further. We all say stupid > things we regret sometimes, things we wish we could erase from the record. > And to some extent we have the right to try and do this. > > Catherine Daly wrote: > you could probably bookmobile (or some other digital short run printer) > just > 130 copies for way less (I'm guessing 7 dollars per, including set up > costs), and then use pod for regular order fulfillment; or, > > you could redo the permissions process, and allow interviewees to buy > however many copies at cost (I know that I for example, like to have 2-5 > copies of anything like this I'm in, to sell at readings, give to my > folks, > etc., and at least 25-50 copies of books, and I don't really care if they > cost money or not, but it becomes a real consideration when I have to pay > list price -- say 29.95 rather than cost, say 3-10 dollars) > > also, I know it is a pain, and I don't know if you've paid an initial set > up > cost already, but pulling a dozen interviews will make it a little > shorter/cheaper > > -- > All best, > Catherine Daly > c.a.b.daly@gmail.com > ========================================================================= Date: Sun, 8 Apr 2007 22:50:37 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: kari edwards on miporadio In-Reply-To: <20070408200406.67061.qmail@web83304.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Thank you Amy. Hypnotically so_ On 4/8/07, amy king wrote: > > Incidentally, the second poem is hypnotic~ > > > kari edwards' audio here ----> > http://www.miporadio.net/kari_edwards/index.html > > > > > > > > --------------------------------- > No need to miss a message. Get email on-the-go > with Yahoo! Mail for Mobile. Get started. > ========================================================================= Date: Sun, 8 Apr 2007 20:03:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: praise to the swiss federation MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- ========================================================================= Date: Sun, 8 Apr 2007 21:25:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Parable of the return MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Parable of the return Having perfected the machine which allowed us to travel backwards in time, we decided to visit the very origins of humankind, that savanna where proto-hominids roamed, beginning their conquest of the flora and fauna of the planet. We returned to a period before the great dispersion, before the diasporic spread of humans fearful of themselves. We brought clubs, knives, guns, explosives; we brought encapsulated germs and plagues. Around eleven o'clock in the morning, we appeared on the savanna. The hominids, tearing a sloth to pieces, were everywhere. They carried clubs, hand axes, crude knives. We knew the slaughter would kill us as well. We imagined the arrival of other intelligent species who might know better, or who would also send expeditions of destruction into their pasts. We were prepared for death, an oddly retroactive form of suicide. We began the slaughter; clubs and knives did not become us. We began shooting and the hominids ran in all directions. We still survived. We bombed their gathering places. We killed families indiscriminately. We released smallpox, measles, plagues of all sorts. We machine-gunned men, women, and children. We were harbingers of death. And yet we survived. We checked our demographies; we were at the center of the holocaust We were the holocaust. We knew one or two might escape; we were prepared for that. The future, our present, would be transformed. Hominids would either go extinct or become a minor species with an ecological niche in some savanna backwater. We discovered this: We changed evolution utterly. We changed it towards ourselves, the most violent of the futures of the hominids. The ones that escaped would live to slaughter others. It was slaughter that guided them all along. It was slaughter that created us. For those that escaped, wounded, life would be constant fury. We had set the script of revenge into motion. We produced ourselves. We knew then that attempts to change the past only produced it. We knew then that there was no escape; life itself would wane as plants and animals hurtled towards extinction. Our return had created our return; our return from the botched journey produced at best a botched species. We had only ourselves to blame; our ancestors, each and every one, were innocent, following the path we had set for them. We knew then that we followed the same path, that we were determined as well, produced by the circularity of our return. We were at the birth of the wounded, the birth of indiscriminate slaughter. We were at our own birth as well. We understood that there was nothing to do, nothing to be done, that death was always in the doing, that violence was mandated from our own beginnings. We knew then that we would die soon, just as others died, fellow travelers back in time, fellow architects of doom. http://www.asondheim.org/moon.mp4 ========================================================================= Date: Sun, 8 Apr 2007 21:28:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Kimmelman's ut pictura MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On re-reading Burt Kimmelman's title poem for his book SOMEHOW, I was struck by a strange sense of "process", of "nature" as physically--identically--"human". The poem begins in what sounds like a familiar "genre"--a cold February, a bird is singing "into the thin/early/light" ---almost like rough indications for a painting, a still life, or Nature Morte. And there is indeed an implied "still life", but it's not "morte". It's quite active, an activity imposed through human imgaination: "red/ and blue flecks/incising the/day" The birds are calling to each other and become "raucous/gangs seizing/territory" so that in its entirety the poem enacts a subtle shift from the potentially "prettified" scene to inimations of settled aggresssion" so that in this most unforgiving world their insistance is all there is. From "thin light" to "insistence"--an illuminating insistence emerges and is modulated by the extraordinary interplay of lines and space in the rhythmic patterns in a single sentence. SOMEHOW Somehow through the cold February a bird is singing into the thin early light, its trill then another among the branches empty but for the red and blue flecks incising the day and very soon the riotous raucous gangs seizing territory so that in this most unforgiving world their insistence is all there is. ========================================================================= Date: Sun, 8 Apr 2007 21:55:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Gil Ott Tribute & the 1st Annual GIL OTT BOOK AWARD ---- 4/15/07, Philadelphia MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline *Gil Ott Tribute & the 1st Annual GIL OTT BOOK AWARD ---- 4/15/07, Philadelphia* ** *full details at: http://PhillySound.blogspot.com* ** *Sunday, April 15th, 3pm* *ROBIN'S BOOKSTORE* http://www.robinsbookstore.com/ *108 S. 13th St., Philadelphia* ** *Tim Peterson is the recipient of the 1st Annual GIL OTT BOOK AWARD for his book* *SINCE I MOVED IN (Chax Press, 2007): ** http://www.chax.org/poets/peterson.htm* ** *We will also be celebrating Gil Ott's work and life as told and read by a few of his many* *friends and admirers. It's going to be a poetry event to remember! Please join us!* *Those participating:* *Alicia Askenase* *Julia Blumenreich* *CAConrad* *Rachel Blau DuPlessis* *Ryan Eckes* *Kristen Gallagher* *Eli Goldblatt* *Chris McCreary* *Jenn McCreary* *Bob Perelman* *Ken Rumble* *Joshua Schuster* *Frank Sherlock* *Ron Silliman* ========================================================================= Date: Sun, 8 Apr 2007 17:04:33 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <461913B40200001E00000395@risd.edu> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT hi mairead. sorry to have suggested you're an ingrate. i didn't know enough about the circumstances to throw words around like that. but the idea of sueing and bringing the project down is bad. seems a shame. i'm wondering how it can be preserved and made right. best gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Sun, 8 Apr 2007, Mairead Byrne wrote: > I emailed Geoffrey when I got the publication announcement yesterday. > I don't consider myself an ingrate. I would have liked to know about > the publication in advance. I would have also liked to the opportunity > to read proofs. My interview depended on links. It wasn't intended for > print, and I'd have to reconsider it in the light of that. Perhaps > Lance contacted me and I have somehow forgotten it, but I don't think > so. The question of how work is presented is still a live one for me; I > think notification and permission are pretty basic. Mairead > > >>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> > i agree with what other people are saying also. bloody ingrates! pull > them and put in a couple of us joyce loving hce'ers. do whatever it takes > to get it out there. sounds wonderful--and so much dedicated work. i > hope you don't let them bully you. best, gabe > > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 > > On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > > > It is absurd and I'll do my best to explain. I will not tell any names as to > > not harm anyone in relating what has happened. We do good work here and are > > not trying to get sued! > > > > Several problems arose in the first 12 hours after an announcement was made. > > Lance and I have been working on this as a book for over a year and a half. > > Maybe more. Anyway, we thought we had all the permissions in hand. We did > > not. > > > > Two poets threatened to sue me and the press if we did not remove their > > entries. I consulted our lawyers and they said to just stop the whole > > project. > > > > We had several poets concerned about permission to use their words. Some > > angry others just protecting themselves and their ideas. One forgot if they > > did give permission, but this is still a problem. > > > > Another problem raised was payment to the contributors. > > > > > > Print on Demand is a book made when someone orders it. The base price for > > HCE is 12 dollars. This is the most expensive text we have as it is 740 > > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > > remaining for Lance and I to get rich off of. > > > > We are a poor press and this book works out as such. A solution would be to > > provide a one copy payment to the 130 authors. This is way beyond our > > budget, actually more than our budget for the next 7 years. This is a huge > > text, 740 pages and our base cost is 12 per book and to ship this to 130 > > people would cost us $2210. > > > > We don't have that kind of money and we should have realized at some point > > that someone would want one. So it would be better to use these resources in > > a better fashion, as this is a webpage and it's 'out there' already. > > > > I have offered a book deal to Lance so as he is not 'out' anything. > > > > Thanks to everyone concerned and BlazeVOX will come out on top on this and > > continue to offer high quality, relevant texts! > > > > > > > > Best, Geoffrey > > > > Geoffrey Gatza > > BlazeVOX [books] > > www.blazevox.org > > > > -----Original Message----- > > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > > Behalf Of Alan Sondheim > > Sent: Sunday, April 08, 2007 11:00 AM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: Here Comes Everybody anthology now canceled > > > > Geoffrey - Can you explain the situation in more detail? This sounds > > absurd. > > > > - Alan, thanks > > > > > > ======================================================================= > > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > > dvds, etc. ============================================================= > > > > ========================================================================= Date: Mon, 9 Apr 2007 05:47:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Here Comes Everybody anthology now canceled Comments: To: welford@HAWAII.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline That's okay, Gabe. My own case makes me think that there may be others = interested in proofing, or adapting the text from web-specific to print. = It's very difficult to comment on the question of the poets who have = threatened to sue as we don't have the information necessary to make an = assessment. It may be just a case of ruffled feathers, if they weren't = informed or consulted about the anthology; it may be something more = serious. I think, by and large, poets are very generous with their work = -- I was surprised at the quick rush to adverse judgement here on this = list. =20 Mairead >>> welford@HAWAII.EDU 04/08/07 11:04 PM >>> hi mairead. sorry to have suggested you're an ingrate. i didn't know enough about the circumstances to throw words around like that. but the idea of sueing and bringing the project down is bad. seems a shame. i'm wondering how it can be preserved and made right. best gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Sun, 8 Apr 2007, Mairead Byrne wrote: > I emailed Geoffrey when I got the publication announcement yesterday. > I don't consider myself an ingrate. I would have liked to know about > the publication in advance. I would have also liked to the opportunity > to read proofs. My interview depended on links. It wasn't intended for > print, and I'd have to reconsider it in the light of that. Perhaps > Lance contacted me and I have somehow forgotten it, but I don't think > so. The question of how work is presented is still a live one for me; I > think notification and permission are pretty basic. Mairead > > >>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> > i agree with what other people are saying also. bloody ingrates! pull > them and put in a couple of us joyce loving hce'ers. do whatever it = takes > to get it out there. sounds wonderful--and so much dedicated work. i > hope you don't let them bully you. best, gabe > > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: = 2/27/2007 > > On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > > > It is absurd and I'll do my best to explain. I will not tell any names = as to > > not harm anyone in relating what has happened. We do good work here = and are > > not trying to get sued! > > > > Several problems arose in the first 12 hours after an announcement was = made. > > Lance and I have been working on this as a book for over a year and a = half. > > Maybe more. Anyway, we thought we had all the permissions in hand. We = did > > not. > > > > Two poets threatened to sue me and the press if we did not remove = their > > entries. I consulted our lawyers and they said to just stop the whole > > project. > > > > We had several poets concerned about permission to use their words. = Some > > angry others just protecting themselves and their ideas. One forgot if = they > > did give permission, but this is still a problem. > > > > Another problem raised was payment to the contributors. > > > > > > Print on Demand is a book made when someone orders it. The base price = for > > HCE is 12 dollars. This is the most expensive text we have as it is = 740 > > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > > remaining for Lance and I to get rich off of. > > > > We are a poor press and this book works out as such. A solution would = be to > > provide a one copy payment to the 130 authors. This is way beyond our > > budget, actually more than our budget for the next 7 years. This is a = huge > > text, 740 pages and our base cost is 12 per book and to ship this to = 130 > > people would cost us $2210. > > > > We don't have that kind of money and we should have realized at some = point > > that someone would want one. So it would be better to use these = resources in > > a better fashion, as this is a webpage and it's 'out there' already. > > > > I have offered a book deal to Lance so as he is not 'out' anything. > > > > Thanks to everyone concerned and BlazeVOX will come out on top on this = and > > continue to offer high quality, relevant texts! > > > > > > > > Best, Geoffrey > > > > Geoffrey Gatza > > BlazeVOX [books] > > www.blazevox.org > > > > -----Original Message----- > > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]= On > > Behalf Of Alan Sondheim > > Sent: Sunday, April 08, 2007 11:00 AM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: Here Comes Everybody anthology now canceled > > > > Geoffrey - Can you explain the situation in more detail? This sounds > > absurd. > > > > - Alan, thanks > > > > > > =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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285.= > > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com.= > > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > > WVU Zwiki, Google for recent. Write for info on books, cds, performance= , > > dvds, etc. =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 > > > > ========================================================================= Date: Mon, 9 Apr 2007 06:36:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Lovelace Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Does anyone know how many copies of HCE made it out into the world, if any? thanks patrick On 4/8/07, Gabrielle Welford wrote: > > hi mairead. sorry to have suggested you're an ingrate. i didn't know > enough about the circumstances to throw words around like that. but the > idea of sueing and bringing the project down is bad. seems a shame. i'm > wondering how it can be preserved and made right. best gabe > > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 > > On Sun, 8 Apr 2007, Mairead Byrne wrote: > > > I emailed Geoffrey when I got the publication announcement yesterday. > > I don't consider myself an ingrate. I would have liked to know about > > the publication in advance. I would have also liked to the opportunity > > to read proofs. My interview depended on links. It wasn't intended for > > print, and I'd have to reconsider it in the light of that. Perhaps > > Lance contacted me and I have somehow forgotten it, but I don't think > > so. The question of how work is presented is still a live one for me; I > > think notification and permission are pretty basic. Mairead > > > > >>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> > > i agree with what other people are saying also. bloody ingrates! pull > > them and put in a couple of us joyce loving hce'ers. do whatever it > takes > > to get it out there. sounds wonderful--and so much dedicated work. i > > hope you don't let them bully you. best, gabe > > > > No virus found in this incoming message. > > Checked by AVG Free Edition. > > Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: > 2/27/2007 > > > > On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > > > > > It is absurd and I'll do my best to explain. I will not tell any names > as to > > > not harm anyone in relating what has happened. We do good work here > and are > > > not trying to get sued! > > > > > > Several problems arose in the first 12 hours after an announcement was > made. > > > Lance and I have been working on this as a book for over a year and a > half. > > > Maybe more. Anyway, we thought we had all the permissions in hand. We > did > > > not. > > > > > > Two poets threatened to sue me and the press if we did not remove > their > > > entries. I consulted our lawyers and they said to just stop the whole > > > project. > > > > > > We had several poets concerned about permission to use their words. > Some > > > angry others just protecting themselves and their ideas. One forgot if > they > > > did give permission, but this is still a problem. > > > > > > Another problem raised was payment to the contributors. > > > > > > > > > Print on Demand is a book made when someone orders it. The base price > for > > > HCE is 12 dollars. This is the most expensive text we have as it is > 740 > > > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > > > remaining for Lance and I to get rich off of. > > > > > > We are a poor press and this book works out as such. A solution would > be to > > > provide a one copy payment to the 130 authors. This is way beyond our > > > budget, actually more than our budget for the next 7 years. This is a > huge > > > text, 740 pages and our base cost is 12 per book and to ship this to > 130 > > > people would cost us $2210. > > > > > > We don't have that kind of money and we should have realized at some > point > > > that someone would want one. So it would be better to use these > resources in > > > a better fashion, as this is a webpage and it's 'out there' already. > > > > > > I have offered a book deal to Lance so as he is not 'out' anything. > > > > > > Thanks to everyone concerned and BlazeVOX will come out on top on this > and > > > continue to offer high quality, relevant texts! > > > > > > > > > > > > Best, Geoffrey > > > > > > Geoffrey Gatza > > > BlazeVOX [books] > > > www.blazevox.org > > > > > > -----Original Message----- > > > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On > > > Behalf Of Alan Sondheim > > > Sent: Sunday, April 08, 2007 11:00 AM > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > Subject: Re: Here Comes Everybody anthology now canceled > > > > > > Geoffrey - Can you explain the situation in more detail? This sounds > > > absurd. > > > > > > - Alan, thanks > > > > > > > > > > ======================================================================= > > > Work on YouTube, blog at http://nikuko.blogspot.com . Tel > 718-813-3285. > > > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com > . > > > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > > > WVU Zwiki, Google for recent. Write for info on books, cds, > performance, > > > dvds, etc. > ============================================================= > > > > > > > > ========================================================================= Date: Mon, 9 Apr 2007 09:29:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Re: submissions welcome for Noon: Journal of the Short Poem In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Noon#4 was great...and Cralan was among the gems! AlexJ. aka !Xiao Yao! -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ Finding fabulous fares is fun. Let Yahoo! FareChase search your favorite travel sites to find flight and hotel bargains. http://farechase.yahoo.com/promo-generic-14795097 ========================================================================= Date: Mon, 9 Apr 2007 12:18:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: <1e7ff3150704081112m119015a7hce0dbb4d424d6cec@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/8/07, Brian Howe wrote: > > I'd like to hear these "poets" explain themselves as well. For what it's > worth, I (would have) appeared in the book, and the first I heard of the > book project was on this list-- I hadn't granted permission or been > promised > any money. And do you know how I felt when I heard about the book? > Pleased, > of course! I can imagine a number of scenarios in which someone might *not* be pleased. What if the poem in question was the very one a particular poet wished he/she had never published at all and never wanted to have see the light of day again? What if it was a poem that he/she felt was over-anthologized and did not represent well what he/she was currently writing? What if the venue was one in which the poet just did not want to be a part of? What if the poet just can't stand anthologies? Personally I too would have been pleased to be included in this particular anthology-- but if some editor at some other press decided to use one of my poems (horribly misread) for some vile version of 'Chicken Soup for the Soul", all without asking permission, I might very well get out my guns. I think it is okay for poets to have feelings about these matters. You have to make room for the fact that the poet's vision might be very different from yours. In any event, asking permission first is good manners. I think Catherine's suggestion to redo the permissions process is a good one. All does not have to be lost. Suzanne ========================================================================= Date: Mon, 9 Apr 2007 12:05:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 4.09.07-4.15.07 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 4.09.07-4.15.07 LITERARY BUFFALO IN THE NEWS Look for my article on Charles Olson in Thursday's Artvoice, as well as my = film review of Henry Ferrini's, =22Polis Is This: Charles Olson and the Per= sistence of Place.=22 SPEAKING OF WHICH::::::: OlsonNow 3: Charles Olson =40 Buffalo_ April 14, 2007, 1 p.m._ Hallwalls Cinema at the Church_ 341 Delaware Avenue, Buffalo, NY_ =246, =244 members of Hallwalls or Just Buffalo/Students with I.D. Schedule: 1 p.m. Presentations and discussion of Olson 4 p.m. Screening of Polis Is This: Charles Olson and the Persistence of Pla= ce and Q & A with Henry Ferrini. 6-8 Break for food, etc. 8 p.m. Poetry readings by Anne Waldman, Ammiel Alcalay, Benjamin Friedlande= r, Jonathan Skinner, Michael Basinski, Bill Sylvester, David Landrey. The third installment of OlsonNow: Charles Olson =40 Buffalo will take plac= e on April 14 at Hallwalls Contemporary Arts Center Cinema in Buffalo, New = York. At this event, we hope to highlight Olson's brief but important tenur= e at the University at Buffalo. Confirmed guests include Anne Waldman, Ammi= el Alcalay, Michael Basinski, Robert Bertholf, William Sylvester, Michael K= elleher, David Landrey, Jonathan Skinner, Benjamin Friedlander and others. = Michael Basinski, Curator of the Poetry Collection at SUNY Buffalo will tal= k about the Poetry Collection's recent acquisition of the papers of Jack Cl= arke. The event will also include a screening of Henry Ferrini's Polis is T= his: Charles Olson and the Persistence of Place. The filmmaker will be on h= and to introduce the film and to answer questions afterward. All are welcom= e to participate in the discussion that will take place throughout the afte= rnoon. If you would like to make a brief, informal presentation at the even= t, please click the contact link to the right. Sponsored by Just Buffalo, Hallwalls, UB Poetry Collection, Talking Leaves = Books, and UB Humanities Institute, with a major grant from the New York Co= uncil for the Humanities, a state affiliate of the National Endowment for t= he Humanities. Any views, findings, conclusions or recommendations expresse= d in this program do not necessarily represent those of the National Endowm= ent for the Humanities. READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 4.11.07 Just Buffalo Open Reading Featured: Ken Feltges Wednesday, April 11. 7 p.m. Carnegie Art Center 240 Goundry St., North Tonawanda 10 open slots: all readers welcome=21 & Earth's Daughters Collective's Gray Hair Reading Series Joy Walsh & Helen Ruggieri Poetry Reading Wednesday, April 11, 7:30 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) Joy Walsh is the author of several volumes of poetry, including Locating Po= sitions (Backstreet, 1983), Hymn to Prometheus Transistor (Atticus Press, 1= 984), The Absent are Always in the Wrong (Water Row Press, 1985), Mary Magd= alen Sings the Mass in Ordinary Time (Alpha Beat Press, 1989), and Obsessio= ns (Authorhouse, 2000). Helen Ruggieri is an award-winning poet who resides= in Olean, NY. Currently a Professor of English at the University of Pittsb= urgh in Bradford, PA, she also teaches in the Arts in Education Program in = Cattaraugus, Allegany, and Chautauqua counties, and previously taught at Ja= mestown Community College. She spent a semester teaching in Japan at Yokoha= ma College of Commerce, and is a member of the East Asian Faculty Associati= on at Pitt. She was also editor and publisher of Allegany Mountain Press. 4.12.07 Poetics Plus at UB Contemporary British Poets Readings & Talks by: Keston Sutherland, Andrea Brady, Peter Manson, Robin Purves Thursday, April 12 2 p.m. Round Table Discussion 4 p.m. Readings by Sutherland, Brady, Manson UB Poetry Collection, 420 Capen Hall & The Write Thing at Medaille College Sejal Shah Fiction and Poetry Reading Thursday, April 12, 7 p.m. The Library at Huber Hall, Medaille College, 18 Agassiz Cir. 4.15.07 Just Buffalo Open Reading Featured: Karen Lewis Sunday, April 15, 7 p.m. Rust Belt Books, 202 Allen St., Buffalo 10 open slots: all readers welcome=21 JUST BUFFALO WRITING 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 Washing= ton Street. Free parking on Washington Street evenings and weekends. Two-do= llar parking in fenced, guarded, M & T lot on Washington. Visit our website= for detailed descriptions, instructor bios, and to register online. THE WRITE GROUP FOR YOU AT THE JCC: BEGINNING WRITERS WORKSHOP_ Instructor: Karen Lewis _8 Tuesdays: April 17, 24, May 1, 8,15, 29, June 5, 12, 7-9 p.m. _ Jewish Community Center of Greater Buffalo, 2640 N Forest Rd, Getzville, NY= =2E =24195, =24150 for members of Just Buffalo or the JCC RECURRING LITERARY EVENTS 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 Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 9 Apr 2007 13:33:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Howe Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline You're right. I posted in a moment of anger at the venality that has in my view infected poetry, and overstated my case. What really upset me was the threat of legal action-- there are so many ways humans can resolve disputes without surrendering their personal agency to the legal justice system, and any sort of concession of the will to governmental controls I find anti-poetic in the extreme. I can understand someone being upset about their work being reprinted without permission (although this was to be a book of interviews, not poems). That said, that these poets would go so far to sink the project entirely on such a basis is very strange to me. I did my interview for HCE two or three years ago, and while some things I said in it now strike me as silly... I mean, I said them. I meant them at the time. And that kind of image-control-- of wanting to disavow embarrassing things I've said in the past-- seems profoundly dishonest to me. I understand the urge to control one's public image, but I don't admire it. Best, Brian On 4/9/07, Suzanne Burns wrote: > > On 4/8/07, Brian Howe wrote: > > > > I'd like to hear these "poets" explain themselves as well. For what it's > > worth, I (would have) appeared in the book, and the first I heard of the > > book project was on this list-- I hadn't granted permission or been > > promised > > any money. And do you know how I felt when I heard about the book? > > Pleased, > > of course! > > > > I can imagine a number of scenarios in which someone might *not* be > pleased. > > What if the poem in question was the very one a particular poet wished > he/she had never published at all and never wanted to have see the light > of > day again? What if it was a poem that he/she felt was over-anthologized > and > did not represent well what he/she was currently writing? What if the > venue > was one in which the poet just did not want to be a part of? What if the > poet just can't stand anthologies? > > Personally I too would have been pleased to be included in this particular > anthology-- but if some editor at some other press decided to use one of > my > poems (horribly misread) for some vile version of 'Chicken Soup for the > Soul", all without asking permission, I might very well get out my guns. > > I think it is okay for poets to have feelings about these matters. You > have > to make room for the fact that the poet's vision might be very different > from yours. In any event, asking permission first is good manners. > > I think Catherine's suggestion to redo the permissions process is a good > one. All does not have to be lost. > > Suzanne > ========================================================================= Date: Mon, 9 Apr 2007 09:28:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: blog MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline my blog is updated at www.peaceraptor.blogspot.com -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Mon, 9 Apr 2007 10:48:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: noah eli gordon _INBOX_ Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, Constant Critic , ImitaPo Memebers , new-poetry@wiz.cath.vt.edu, "Poetnews@Poets. Org" , Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit [now for something a little less controversial] noah eli gordon _INBOX_ A prolific younger poet discusses his writing process and the 2007 publication of four collections of poetry. -interviewed by Joshua Marie Wilkinson http://raintaxi.com/online/2007spring/gordon.shtml BUY IT NOW : $12 Direct from Amazon http://www.amazon.com/inbox-noah-eli-gordon/dp/1934289205/sr=1-6/qid=1168915 381/ref=sr_1_6/103-6971696-8767859?ie=utf8&s=books BlazeVOX http://www.blazevox.org/bk-neg.htm Best, Geoffrey Geoffrey Gatza BlazeVOX [books] www.blazevox.org -----Original Message----- From: noah eli gordon [mailto:noaheligordon@hotmail.com] Sent: Saturday, April 07, 2007 5:41 PM To: editor@blazevox.org Subject: interview! Hey Geoffrey, hope yr well. I wanted to let you know about this interview that just posted: http://raintaxi.com/online/2007spring/gordon.shtml It's a pretty long interview & we talk in depth about the book that you published (thanks!), I'm wondering if you might be willing to forward a link to the review to folks on yr email list? I ask because if feels silly when I forward stuff about myself, but since you published the book, it'd wouldn't seem so odd... Thanks much!!! ______________________________________ http://raintaxi.com/online/2007spring/gordon.shtml A prolific younger poet discusses his writing process and the 2007 publication of four collections of poetry. -interviewed by Joshua Marie Wilkinson _________________________________________________________________ Download Messenger. Join the i'm Initiative. Help make a difference today. http://im.live.com/messenger/im/home/?source=TAGHM_APR07 ========================================================================= Date: Mon, 9 Apr 2007 17:31:18 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I believe somebody said this is print ond demand. If so, it should be rather easy to omit the parts where the publishing rights are questioned, and just publish the rest. Karl-Erik Tallmo >hi mairead. sorry to have suggested you're an ingrate. i didn't know >enough about the circumstances to throw words around like that. but the >idea of sueing and bringing the project down is bad. seems a shame. i'm >wondering how it can be preserved and made right. best gabe > ========================================================================= Date: Mon, 9 Apr 2007 13:40:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: <1e7ff3150704091033x154e32afnf4bbef4cd0bd7b20@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline And that kind of image-control-- of wanting to disavow embarrassing things I've said in the past-- seems profoundly dishonest to me. also, if it is that much of a concern, perhaps one should decline opportunities for publicity, be it interview or poem publication On 4/9/07, Brian Howe wrote: > > You're right. I posted in a moment of anger at the venality that has in my > view infected poetry, and overstated my case. What really upset me was the > threat of legal action-- there are so many ways humans can resolve > disputes > without surrendering their personal agency to the legal justice system, > and > any sort of concession of the will to governmental controls I find > anti-poetic in the extreme. I can understand someone being upset about > their > work being reprinted without permission (although this was to be a book of > interviews, not poems). That said, that these poets would go so far to > sink > the project entirely on such a basis is very strange to me. I did my > interview for HCE two or three years ago, and while some things I said in > it > now strike me as silly... I mean, I said them. I meant them at the time. > And > that kind of image-control-- of wanting to disavow embarrassing things > I've > said in the past-- seems profoundly dishonest to me. I understand the urge > to control one's public image, but I don't admire it. > > Best, > Brian > > > On 4/9/07, Suzanne Burns wrote: > > > > On 4/8/07, Brian Howe wrote: > > > > > > I'd like to hear these "poets" explain themselves as well. For what > it's > > > worth, I (would have) appeared in the book, and the first I heard of > the > > > book project was on this list-- I hadn't granted permission or been > > > promised > > > any money. And do you know how I felt when I heard about the book? > > > Pleased, > > > of course! > > > > > > > > I can imagine a number of scenarios in which someone might *not* be > > pleased. > > > > What if the poem in question was the very one a particular poet wished > > he/she had never published at all and never wanted to have see the light > > of > > day again? What if it was a poem that he/she felt was over-anthologized > > and > > did not represent well what he/she was currently writing? What if the > > venue > > was one in which the poet just did not want to be a part of? What if the > > poet just can't stand anthologies? > > > > Personally I too would have been pleased to be included in this > particular > > anthology-- but if some editor at some other press decided to use one of > > my > > poems (horribly misread) for some vile version of 'Chicken Soup for the > > Soul", all without asking permission, I might very well get out my guns. > > > > I think it is okay for poets to have feelings about these matters. You > > have > > to make room for the fact that the poet's vision might be very different > > from yours. In any event, asking permission first is good manners. > > > > I think Catherine's suggestion to redo the permissions process is a good > > one. All does not have to be lost. > > > > Suzanne > > > -- i could use some bone marrow, please http://fuckinglies.blogspot.com/ ========================================================================= Date: Mon, 9 Apr 2007 12:28:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline This was an anthology of interviews, not poems, yes? On 4/9/07, Suzanne Burns wrote: > On 4/8/07, Brian Howe wrote: > > > > I'd like to hear these "poets" explain themselves as well. For what it's > > worth, I (would have) appeared in the book, and the first I heard of the > > book project was on this list-- I hadn't granted permission or been > > promised > > any money. And do you know how I felt when I heard about the book? > > Pleased, > > of course! > > > > I can imagine a number of scenarios in which someone might *not* be pleased. > > What if the poem in question was the very one a particular poet wished > he/she had never published at all and never wanted to have see the light of > day again? What if it was a poem that he/she felt was over-anthologized and > did not represent well what he/she was currently writing? What if the venue > was one in which the poet just did not want to be a part of? What if the > poet just can't stand anthologies? > > Personally I too would have been pleased to be included in this particular > anthology-- but if some editor at some other press decided to use one of my > poems (horribly misread) for some vile version of 'Chicken Soup for the > Soul", all without asking permission, I might very well get out my guns. > > I think it is okay for poets to have feelings about these matters. You have > to make room for the fact that the poet's vision might be very different > from yours. In any event, asking permission first is good manners. > > I think Catherine's suggestion to redo the permissions process is a good > one. All does not have to be lost. > > Suzanne > -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Mon, 9 Apr 2007 17:23:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: <1e7ff3150704091033x154e32afnf4bbef4cd0bd7b20@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/9/07, Brian Howe wrote: > > What really upset me was the > threat of legal action-- there are so many ways humans can resolve > disputes > without surrendering their personal agency to the legal justice system... > I don't know any of the details (note: I did not even know that this was a collection of interviews rather than poems) but I would hope that a person who wasn't happy about having their work included would, ermmmm, write a nice letter first before running to their lawyer. That sounds like the neighborly thing to do. The whole thing sounds weird. Did they really not know until the eleventh hour what was going on? But who knows? Miscommunications happen and some people aren't very organized about reading their correspondence. I can understand someone being upset about their > work being reprinted without permission (although this was to be a book of > interviews, not poems). That said, that these poets would go so far to > sink > the project entirely on such a basis is very strange to me. I did my > interview for HCE two or three years ago, and while some things I said in > it > now strike me as silly... I mean, I said them. I meant them at the time. > And > that kind of image-control-- of wanting to disavow embarrassing things I've > said in the past-- seems profoundly dishonest to me. I understand the urge > to control one's public image, but I don't admire it. I've given a few interviews in my day which I will be very glad to not have anthologized. They weren't horrible, mind you-- but they also weren't what I would consider my best words, and I have changed my mind about a lot of things over the years. I can also remember one interview in which the journalist really did seriously misquote me-- not too much but enough to radically change the meaning of what I said. Without getting all hyper about "image control" I would feel that giving permission to reprint the interview would be tantamount to saying "Hey! This represents my aesthetic very well and I consider this to be me at my best!" That's fine if I feel that way, but if I don't feel that way I don't think it is especially dishonest to say "No thanks. Really, no. I have thought this over and I don't want to resurrect this." I had a poet friend once who did a second adavnaced degree in psychology, writing her thesis on the psychological function of writing elegies-- specifically what writing elegies did for the poet emotionally. She interviewed several poets in the process, including me. It was a great process, I thoroughloy enjoyed the process, but this is another example of an "interview" which, if published in the wrong context, would come across as very misleading about my work. Remember this was for a psychology dissertation, not a literary magazine-- most of the interview dwelled on autobiography in ways that I would consider irrelevant to the aesthetic experience of my work. So you see-- it gets to be a prickly issue. I can see a lot of different sides to it. Maybe some of the people interviewed had no idea that their off-the-cuff interview was going to be published like this. Whatever the case, communication really is the key to avoiding these mishaps. The editorial process serves a purpose. Likewise,, giving benefit of the doubt and speaking up earlier rather than later about one's wishes before resorting to lawyers would have made this less painful for everyone. Honestly I din't understand why it had to come to this. I hope the solution doesn't have to be so either/or-- that really would be a shame. Just my two bits. thanks for listening. Suzanne Burns ========================================================================= Date: Mon, 9 Apr 2007 14:59:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: edwin torres Subject: apriltentheightpm/readingundertheinfluence MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit here's a shot into the unknown wherein actors will improvise to my poems & vocalizings I read a poem they do a 5-8 minute skit we play back and forth for an hour what will happen? find out if so inclined: Tues. April 10, 8PM "UNDER THE INFLUENCE" at Magnet Theater 254 west 29th St. (bet. 7th and 8th Ave.) $5 http://www.magnettheater.com/shows.html (scroll to April 10 for more info) ========================================================================= Date: Mon, 9 Apr 2007 15:28:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Without digging deeper into the issue of permissions, I'd like to ask what the difference is in allowing, or not, someone to print the interview in an anthology and allowing it to remain online? If the interview is not your "best", why leave it online for the world to see? It probably receives more views over the three years that it's been available online than the entire run of the anthology will ever see. And must every interview, or poem for that matter, be our "best" to be in print? Not our best to be online? Just by putting this link here -- http://herecomeseverybody.blogspot.com/ -- on a list of nearly 1,400 subscribers, the site will now, in one day & at minimum, possibly get a hundred plus hits alone today. That is solid reading base of a representation of oneself. The first thing I do now whenever I come across a poem by someone that strikes me or when someone recommends a poet's work is to google them and see what I can find online! Then I'll buy their book if I like their work and lust for more. Amy http://www.amyking.org/blog Suzanne Burns wrote: Without getting all hyper about "image control" I would feel that giving permission to reprint the interview would be tantamount to saying "Hey! This represents my aesthetic very well and I consider this to be me at my best!" That's fine if I feel that way, but if I don't feel that way I don't think it is especially dishonest to say "No thanks. Really, no. I have thought this over and I don't want to resurrect this." --------------------------------- The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. ========================================================================= Date: Mon, 9 Apr 2007 15:23:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline > > it would be nice if people looked at the site before commenting on this thread! http://herecomeseverybody.blogspot.com/ -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Mon, 9 Apr 2007 23:35:40 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <461913B40200001E00000395@risd.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Mairead, I just looked at your interview online and there are no links in it--except for the link to your blog at the top of the page and two links each to online publications and publishers' pages for your print publications. Mairead Byrne wrote: I emailed Geoffrey when I got the publication announcement yesterday. I don't consider myself an ingrate. I would have liked to know about the publication in advance. I would have also liked to the opportunity to read proofs. My interview depended on links. It wasn't intended for print, and I'd have to reconsider it in the light of that. Perhaps Lance contacted me and I have somehow forgotten it, but I don't think so. The question of how work is presented is still a live one for me; I think notification and permission are pretty basic. Mairead >>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> i agree with what other people are saying also. bloody ingrates! pull them and put in a couple of us joyce loving hce'ers. do whatever it takes to get it out there. sounds wonderful--and so much dedicated work. i hope you don't let them bully you. best, gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > It is absurd and I'll do my best to explain. I will not tell any names as to > not harm anyone in relating what has happened. We do good work here and are > not trying to get sued! > > Several problems arose in the first 12 hours after an announcement was made. > Lance and I have been working on this as a book for over a year and a half. > Maybe more. Anyway, we thought we had all the permissions in hand. We did > not. > > Two poets threatened to sue me and the press if we did not remove their > entries. I consulted our lawyers and they said to just stop the whole > project. > > We had several poets concerned about permission to use their words. Some > angry others just protecting themselves and their ideas. One forgot if they > did give permission, but this is still a problem. > > Another problem raised was payment to the contributors. > > > Print on Demand is a book made when someone orders it. The base price for > HCE is 12 dollars. This is the most expensive text we have as it is 740 > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > remaining for Lance and I to get rich off of. > > We are a poor press and this book works out as such. A solution would be to > provide a one copy payment to the 130 authors. This is way beyond our > budget, actually more than our budget for the next 7 years. This is a huge > text, 740 pages and our base cost is 12 per book and to ship this to 130 > people would cost us $2210. > > We don't have that kind of money and we should have realized at some point > that someone would want one. So it would be better to use these resources in > a better fashion, as this is a webpage and it's 'out there' already. > > I have offered a book deal to Lance so as he is not 'out' anything. > > Thanks to everyone concerned and BlazeVOX will come out on top on this and > continue to offer high quality, relevant texts! > > > > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Alan Sondheim > Sent: Sunday, April 08, 2007 11:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Here Comes Everybody anthology now canceled > > Geoffrey - Can you explain the situation in more detail? This sounds > absurd. > > - Alan, thanks > > > ======================================================================= > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. ============================================================= > ========================================================================= Date: Mon, 9 Apr 2007 18:37:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larissa Shmailo Subject: April 12th at 6PM - ANDY WARHOL: IN HIS WAKE & FIVE MINUTES OF FAME READING MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit April 12th at 6PM - ANDY WARHOL: IN HIS WAKE - Closing Reception @ The Carrozini von Buhler Gallery, 407 West 13th Street, (btwn. 9th Ave. & Washington St) 6 - 7:30PM Five Minutes of Fame Reading and Magazine Collation with Patricia Carragon, Roxanne Hoffman, Ron Kolm, Bill Kushner, Phoebe Legere, Taylor Mead, Stephen Paul Miller, Robert Roth, Jackie Sheeler, Larissa Shmailo, John Silver, Carol Wierzbicki . The exhibition is free and open to the public. Reading curated and hosted by Dorothy F.August. Art exhibit curated by Cynthia von Buhler, Amy Cohen Banker and Kevin Kushel. Call 646 - 336 - 8387 for more information Take the A, C, E, or L train to 14th Street at 8th Ave. Larissa Shmailo _http://www.cdbaby.com/cd/shmailo_ (http://www.cdbaby.com/cd/shmailo) _http://larissashmailo.blogspot.com_ (http://larissashmailo.blogspot.com/) _http://www.idiolexicon.com/archive/shmailo1.html_ (http://www.idiolexicon.com/archive/shmailo1.html) _http://poetry.about.com/library/weekly/blshmailospring.htm_ (http://poetry.about.com/library/weekly/blshmailospring.htm) _http://myspace.com/larissaworld_ (http://myspace.com/larissaworld) _http://blog.myspace.com/larissaworld_ (http://www.myspace.com/larissaworld) _http://cervenabarvapress.com/shmailointerview.htm_ (http://cervenabarvapress.com/shmailointerview.htm) _http://www.bigbridge.org/deathlshmailo.htm_ (http://www.bigbridge.org/deathlshmailo.htm) ************************************** See what's free at http://www.aol.com. ========================================================================= Date: Tue, 10 Apr 2007 08:10:11 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Ahadada Books: Jerome Rothenberg's China Notes & The Treasures of Dunhuang At Rain Taxi MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" A great review by Lucas Klein of a stunning collection by Jerome Rothenberg in a fine edition by Ahadada Books. http://www.raintaxi.com/online/2007spring/rothenberg.shtml Enjoy! Jess ========================================================================= Date: Mon, 9 Apr 2007 14:14:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: CONTEMPORARY CHINESE POETS AT YALE: BILINGUAL POETRY READING--Wednesday, April 18, 2007, 4:30 PM, LC 211, 63 High St. Comments: To: nancy.kuhl@yale.edu, richard.deming@yale.edu, sheyd@snet.net, Abbey Newman , Peggy Keating Comments: cc: Cameron Gearen , Jennifer Feeley MIME-Version: 1.0 Content-Type: text/plain; charset="gb2312" Content-Transfer-Encoding: quoted-printable Please forward to your lists. =20 =20 Contemporary Chinese Poets at Yale: Poetry Reading in Chinese & English Historic Gathering Featuring=20 Seven Established & Emerging=20 Poets from Mainland China Xi Chuan =CE=F7=B4=A8 Zhai Yongming =B5=D4=D3=C0=C3=F7 Tang Xiaodu =CC=C6=CF=FE=B6=C9 Zhou Zan =D6=DC=E8=B6 Zhao Ye =D5=D4=D2=B0 Chen Chao =B3=C2=B3=AC Luo Ying =C2=E6=D3=A2 =20 Wednesday, April 18, 2007, 4:30 pm Room 211, Linsley-Chittenden Hall, 63 High Street, New Haven, CT =20 Poets' bios appear below: Xi Chuan =CE=F7=B4=A8 Xi Chuan, penname of Liu Jun, is a poet, essayist, and translator, and = has been recognized as one of the most dynamic poets living in China today. = He was born in 1963 in Xuzhou, Jiangsu Province, and graduated from the = English Department of Beijing University in 1985. He was a frequent contributor = to unofficial poetry journals in Beijing, Shanghai, and Sichuan during the 1980s and 1990s. Xi Chuan has published four collections of poems = including A Fictitious Family Tree (1997) and Roughly Speaking (1997), two books = of essays and one book of critique, in addition to a play and numerous translations, including works of Ezra Pound, Jorge Luis Borges and = Czeslaw Milosz. His own poetry and essays have been widely anthologized and translated into many languages. He was awarded the October Prize for literature by October Bimonthly in 1988, the Prize of Shanghai = Literature Monthly in 1992, the Prize of the People's Literature Monthly in 1994, = the Modern Chinese Poetry Prize in 1994, the Anne Kao Prize for Poetry in = 1995, and the Aiwen Prize for Literature in 1999. He is now an associate professor at the Central Academy of Fine Arts in Beijing, currently = serving as Freeman Visiting Professor at New York University. =20 =20 Zhai Yongming =B5=D4=D3=C0=C3=F7 Zhai Yongming was born in 1955 in Chengdu, Sichuan Province. A graduate = of the Chengdu Institute for Electronic Science and Technology, she = formerly worked in a research institute of physics. She published her first book = of poetry, Woman, in 1986. Her other poetry collections include Above All = Else the Roses (1989), Collected Poems of Zhai Yongming (1994), Plain Songs = in the Dark Night (1996), Call It Everything (1997), and I Am Eventually = Made Unworkable (2000). She is also the author of three books of essays: Buildings on Paper (1997), Tenacious Broken Flowers (1999), New York, to = the West of New York (2003), and a book of criticism, Just as What = You=A1=AFve Seen (2005). Her poems have been translated into English, French, Dutch, = Italian, Spanish, German and other languages. In 2004, translated collections of = her poems were published in German under the title Caf=A8=A6 Song and in = French under the title Consciousness of the Dark Night. She has been invited to international conferences and poetry festivals in England (1992), the Netherlands (1992), France (1997), and other countries. She was awarded = the USA-Italian Civitella Ranieri fellowship in 2005. Tang Xiaodu =CC=C6=CF=FE=B6=C9 Born in 1954 in Yizheng, Jiangsu Province, Tang Xiaodu is a prolific = poetry critic and poet. After graduating from Nanjing University in 1981, the following year he became an editor at Poetry Monthly in Beijing. He is = now a senior editor at The Writers Publishing House and is a member of the = Chinese Writers=A1=AF Association, a council member of the Chinese New Poetry = Institute, a research fellow at the New Poetry Research Center at Beijing = University, and a professor at Hainan University. For over 20 years, Tang has = devoted himself to researching, criticizing, and compiling materials on Chinese contemporary poetry, especially works of the avant-garde. He has = published four collections of critical essays including Starting Points Anew Constantly (1989), Self-Selected Anthology of Tang Xiaodu=A1=AFs Poetic Criticism (1993), Close Readings of Masterpieces of Worldwide Modern = Poetry (1998), and An Anthology of Tang Xiaodu=A1=AFs Essays on Poetics (2001). = He has also translated the works of many poets into Chinese, including Sylvia Plath, Vaclaw Havel, Czeslaw Milosz, Zbigniew Herbert, and Miroslav = Holub. He has edited numerous poetry anthologies, and his own work is much anthologized at home and abroad. He was the recipient of the first Literature and Art=A1=AFs Zhengming (contending) Award and the first = Shanhua (countryside flowers) Award for excellence in literary theory in 1995. = He was awarded the Modern Writers Review Prize for excellence in literary criticism in 2004 and 2005. Tang has been a frequent guest at poetry conferences and festivals in the West since the mid- 1990s and has also = been a visiting scholar at many universities abroad. Zhou Zan =D6=DC=E8=B6 Zhou Zan was born in 1968 in Jiangsu Province. She is a poet, scholar, translator, and editor-in-chief of Wings, a literary journal for Chinese women=A1=AFs poetry. She holds a PhD from the Chinese department of = Beijing University, where she completed a dissertation on the avant-garde in contemporary Chinese poetry. Her poetry collection, Loosen: Selected = Poems 1997-2005, was published in 2007, and her other works include volumes of critical essays entitled Through the Periscope of Poetic Writing (2007) = and Studies on Chinese Contemporary Literature (2001). Her translation of Margaret Atwood=A1=AFs Eating Fire: Selected Poetry 1965-1995 is = forthcoming from The Writers Press in 2007. She currently lives in New York as a visiting scholar at Columbia University. Zhao Ye =D5=D4=D2=B0 Zhao Ye was born in Sichuan Province in 1964 and graduated from the = Foreign Languages Department of Sichuan University. In 1982, he initiated the = poetic movement of =A1=B0The Third Generation,=A1=B1 and in 1983 he organized = the Poetry League of University Students in Chengdu, where he compiled The Third Generation, the first unofficial poetic journal in China. In 1985 he = joined the Young Poets=A1=AF Association of Sichuan Province and jointly = compiled The Collection of Modern Poetry for Internal Exchange. In 1989 he helped initiate the unofficial poetry journal Xiang Wang. In 2000 he was = awarded a poetry prize by The Writer, one of the most influential literary = magazines in China. In 2003, his poetry collection Time Passes Like Flowing Water = was published by the Writers=A1=AF Press. In 2005 he attended the Asia and Circum-Pacific Region Poetry Conference in Tokyo. Chen Chao =B3=C2=B3=AC Chen Chao was born in 1958 in Taiyuan, Shanxi Province. He is a = professor in the Literature Department of Hebei Normal University, as well as a research fellow of the Chinese New Poetry Research Institute affiliated = with Beijing University, an editorial member of the literary journal New = Poetry Review, and the vice-chairperson of the Hebei Writers=A1=AF Association. = His main works include: =A1=B0A Discussion of Poetry of the School of = Life,=A1=B1 =A1=B0Opening the Drifting Bottle of Poetry-Modern Poetry Research = Papers,=A1=B1 =A1=B0An Appreciation of Inquiries on Twentieth-Century Chinese = Poetry,=A1=B1 =A1=B0A Guide to Reading Outstanding Works of Contemporary Foreign Poetry,=A1=B1 = and a collection of original poems entitled Passion, Yes. In total, he has published more than two hundred academic articles and more than three hundred poems. In 1993 he was awarded the Sixth Zhuang Zhongwen = Literary Prize by the Chinese Writers=A1=AF Association, in 2000 he received the = annual poetry prize from the literary journal The Writer, and in 2005 he took = third place in the =A1=B0Lu Xun Literary Prize=A1=B1 awarded by the Chinese = Writers=A1=AF Association. Additionally, he has won many other literary prizes. =20 Luo Ying =C2=E6=D3=A2 Luo Ying is the penname of Huang Nubo. Born in Lanzhou, Gansu Province, = he grew up in Yinchuan, Ningxia Province. He graduated from the Chinese Language and Literature Department of Beijing University in 1981 and obtained an EMBA from the Chinese-European International Industry and Commerce Institute in 1998. He began writing poetry in 1976, and, in = 1992, he published his first poetry collection, Don=A1=AFt Love Me Anymore. = His other poetry collections include Melancholy Declined (1995), Fallen Blossoms (2003), and Wandering in Cities (2005). While acknowledging that there = are many =A1=B0I=A1=AFs=A1=B1 in his poems, he believes that even if one = adds his real persona to all of these, it is still impossible to make up an integral = self. He believes himself to be a world abundant in possibilities and transformations. ========================================================================= Date: Mon, 9 Apr 2007 19:38:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: <750741.59419.qm@web83311.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/9/07, amy king wrote: > > Without digging deeper into the issue of permissions, I'd like to ask what > the difference is in allowing, or not, someone to print the interview in an > anthology and allowing it to remain online? If the interview is not your > "best", why leave it online for the world to see? It probably receives more > views over the three years that it's been available online than the entire > run of the anthology will ever see. This is I think where we descend into hair-splitting. Yeah, I agree: I personally don't see a difference at all, but then I am very much at home with multi-media. I think for a lot of people who are less than comfortable with electronic media, online is less "real" to them. It doesn't "feel" like publication. (I am not offering that as an excuse, but more as an explanation as to why some people, will not care much about something online, but suddenly make a very big deal when paper and ink come into play). I can also imagine an editor who is very comfortable with electronic media to interpret permission to publish online as, well, overall permission. A publication is a publication. This is how I would feel in any event. For me the real issue is if a writer has any objection to any part of the process why keep quiet until the 11th hour? I'll assume someone has an explanation about that, but for now I am scratching my head. Cheers, Suzanne ========================================================================= Date: Mon, 9 Apr 2007 17:18:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Poets Suing Over Here Comes Everybody Anthology Step Up In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit You originally made the distinction that paper means the work should be of value whereas the online work can be less so -- and you're right, some people still hold that view, though I don't think it's just about being abstractly more "real". Ultimately, why should anyone be less concerned with something they've published online that is more accessible than print very often? A representation is a representation is a representation ... The notion that a work is better, or more authentic somehow, because it is in print speaks to the more pointed and complex issue of money and capitalism - that system which declares a specific value. The commodification of the poem, a tangible-paid-for-item, to a certain degree removes the poem from the context of how it functions in the world and reduces it, or re-focuses it, to measures such as what publisher, how many copies sold, what name is attached, etc. The poem's value then becomes the book and what doors it can open, etc ... I'm not saying that's it, that print isolates the poem, but it certainly is viewed through that lens, which is why even poets, who so rarely earn a living from writing poetry, can come undone when it comes to putting a poem in print and turning it into a commodity -- one that will rarely show any monetary return -- because the poem's value is no longer just measured by what the poem itself is doing; it can now be measured by what it will return to the poet. Just what is the price of that ticket? Does the poetry finally pay when it becomes currency? Is the poem no good when it can't give back? Amy Suzanne Burns wrote: On 4/9/07, amy king wrote: > > Without digging deeper into the issue of permissions, I'd like to ask what > the difference is in allowing, or not, someone to print the interview in an > anthology and allowing it to remain online? If the interview is not your > "best", why leave it online for the world to see? It probably receives more > views over the three years that it's been available online than the entire > run of the anthology will ever see. Suzanne Burns wrote: Without getting all hyper about "image control" I would feel that Giving permission to reprint the interview would be tantamount to saying "Hey! This represents my aesthetic very well and I consider this to be me at my best!" That's fine if I feel that way, but if I don't feel that way I don't think it is especially dishonest to say "No thanks. Really, no. I have thought this over and I don't want to resurrect this." This is I think where we descend into hair-splitting. Yeah, I agree: I personally don't see a difference at all, but then I am very much at home with multi-media. I think for a lot of people who are less than comfortable with electronic media, online is less "real" to them. It doesn't "feel" like publication. (I am not offering that as an excuse, but more as an explanation as to why some people, will not care much about something online, but suddenly make a very big deal when paper and ink come into play). I can also imagine an editor who is very comfortable with electronic media to interpret permission to publish online as, well, overall permission. A publication is a publication. This is how I would feel in any event. For me the real issue is if a writer has any objection to any part of the process why keep quiet until the 11th hour? I'll assume someone has an explanation about that, but for now I am scratching my head. Cheers, Suzanne --------------------------------- Be a PS3 game guru. Get your game face on with the latest PS3 news and previews at Yahoo! Games. ========================================================================= Date: Mon, 9 Apr 2007 17:52:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: books -- trade? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline available to trade (these books mostly cost me a dollar) The owning Stone, Jim Peterson, Red hen, 1999 prize winner Jonah & Job, Judson Jerome, john Daniel & Co, 1991, bible poems the trouble making finch, len roberts, u of i press, some markings lucid suitcase, diane wald, red hen, 1999, I reviewed this for the boston review ralph burns, swamp candles, iowa prize, 1996 gaylord brewer, devilfish, red hen, 1998 prize winner norman stock, buying breakfast for my kamikaze pilot, mostly prose poems, peregrine smith winner, 1993 stephen gibson, rorschach art, red hen, 2001 for the kingdon, anthony piccione, boa, 1995 good hope road, stuart dischell, hardcover, nps tom lux selection, viking 1991 I'm going to be getting rid of more books soon, probably mostly mainstream stuff from the 90s by men -- thus, I am probably not interested in trading for lyric/narrative left-justified free verse written by men about anything in woods or farmland, or children -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Mon, 9 Apr 2007 21:47:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Here Comes Everybody anthology now canceled Comments: To: b.schwabsky@BTOPENWORLD.COM Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Thanks Barry. I realized some time today that the links interview was a = Chicago Postmodern one that I did around the same time. I'm sorry! Now my only issue is not knowing about the book until it was = published. And maybe I did & have forgotten that too. Luckily all this = has brought me to read the HCE interview again. What an utterly delightful= person I was back then! Mairead: you'll be pleased to know that you = *have* managed to make some strides in developing a course in Sound = Poetry. Yes! I kid you not! And you're a citizen now! Your hair's not = so red though. Pity about those old brain cells! How can you be such a = fuddy-duddy about consultation etc???? Happy days--at least the night = that photo was taken. Mairead >>> b.schwabsky@BTOPENWORLD.COM 04/09/07 6:35 PM >>> Mairead, I just looked at your interview online and there are no links in = it--except for the link to your blog at the top of the page and two links = each to online publications and publishers' pages for your print publicatio= ns. Mairead Byrne wrote: I emailed Geoffrey when I got the = publication announcement yesterday. I don't consider myself an ingrate. I = would have liked to know about the publication in advance. I would have = also liked to the opportunity to read proofs. My interview depended on = links. It wasn't intended for print, and I'd have to reconsider it in the = light of that. Perhaps Lance contacted me and I have somehow forgotten it, = but I don't think so. The question of how work is presented is still a = live one for me; I think notification and permission are pretty basic. Mairead >>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> i agree with what other people are saying also. bloody ingrates! pull them and put in a couple of us joyce loving hce'ers. do whatever it takes to get it out there. sounds wonderful--and so much dedicated work. i hope you don't let them bully you. best, gabe No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > It is absurd and I'll do my best to explain. I will not tell any names = as to > not harm anyone in relating what has happened. We do good work here and = are > not trying to get sued! > > Several problems arose in the first 12 hours after an announcement was = made. > Lance and I have been working on this as a book for over a year and a = half. > Maybe more. Anyway, we thought we had all the permissions in hand. We = did > not. > > Two poets threatened to sue me and the press if we did not remove their > entries. I consulted our lawyers and they said to just stop the whole > project. > > We had several poets concerned about permission to use their words. Some > angry others just protecting themselves and their ideas. One forgot if = they > did give permission, but this is still a problem. > > Another problem raised was payment to the contributors. > > > Print on Demand is a book made when someone orders it. The base price = for > HCE is 12 dollars. This is the most expensive text we have as it is 740 > pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 > remaining for Lance and I to get rich off of. > > We are a poor press and this book works out as such. A solution would be = to > provide a one copy payment to the 130 authors. This is way beyond our > budget, actually more than our budget for the next 7 years. This is a = huge > text, 740 pages and our base cost is 12 per book and to ship this to 130 > people would cost us $2210. > > We don't have that kind of money and we should have realized at some = point > that someone would want one. So it would be better to use these = resources in > a better fashion, as this is a webpage and it's 'out there' already. > > I have offered a book deal to Lance so as he is not 'out' anything. > > Thanks to everyone concerned and BlazeVOX will come out on top on this = and > continue to offer high quality, relevant texts! > > > > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On > Behalf Of Alan Sondheim > Sent: Sunday, April 08, 2007 11:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Here Comes Everybody anthology now canceled > > Geoffrey - Can you explain the situation in more detail? This sounds > absurd. > > - Alan, thanks > > > =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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. =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 > ========================================================================= Date: Mon, 9 Apr 2007 22:43:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/9/07, Karl-Erik Tallmo wrote: > > I believe somebody said this is print ond demand. If so, it should be > rather easy to omit the parts where the publishing rights are > questioned, and just publish the rest. This makes sense to me. Is there a reason why this can't be done? It would be ashame to have to drop the whole thing. Suzanne ========================================================================= Date: Mon, 9 Apr 2007 22:50:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Daley, Willner, Lepson and Crump -- 3 new books Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, Constant Critic , ImitaPo Memebers , new-poetry@wiz.cath.vt.edu, "Poetnews@Poets. Org" , Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Armored Elevator by Ryan Daley Ryan Daley is a dedicated dodgem of syntax. He is a multi kulti Mayan in Newark whose wit's as Pan-American as any Jose O'Shay's. He knows dystopias no longer wash unless in global neo-glot soup spracht. Armored Elevator is one of the best-certainly the edgiest-first books I've read in quite awhile. -Michael Gizzi http://www.blazevox.org/bk-rd.htm ISBN: 1-934289-38-8 $14 homemade traps for new world Brians by Evan Willner Evan Willner reinvisions fifty states as fifty poems that each have the flinty, hard logic and formal density of stone slabs-stele or gravestones-or of teeth. And yet, the language within these poems is palpable and mysterious and alive, the connection between words and things skew in all sorts of right ways that end up making everything seem to be wriggling and formicating on the same level of consciousness: next time you look at nature, don't be surprised if it gives you a come-hither look back. A must read for all Brians. Brian Evenson, author of The Open Curtain and The Wavering Knife: Stories. http://www.blazevox.org/bk-ew.htm ISBN: 1-934289-44-2 $14 Morphology by Ruth Lepson and Walter Crump In Lepson and Crump's collaborative improvisations, language becomes a playful substance in which we find ourselves furtively embodied, "camped out near a shoulder" or "standing in the middle of a paragraph." Acts of renaming and comparing create a flux of metamorphoses both ominously curious and sweetly surprised. These exuberant, synesthetic leaps between the visual and the verbal bypass unlikeness, pursuing instead a kind of social dreaming in which everyone is included. - Tim Peterson http://www.blazevox.org/bk-lc.htm ISBN: 1-934289-19-1 $16 Happy Poetry Month, we will be bringing you a look into our books all month long. All BlazeVOX books available on Amazon. ------------------------------------ BlazeVOX [books] Geoffrey Gatza Editor, Publisher editor@blazevox.org 14 Tremaine Ave Kenmore, NY 14217 tel: 716-873-5454 ------------------------------------ ========================================================================= Date: Mon, 9 Apr 2007 18:57:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: books -- trade? In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit wow, a statement of poetics... ah lyric/narrative left-justified free verse written by men about anything in children.... what would "the politics of poetics form?" police thing of that? anything men in urban (or suburban) children can be celebrated if it's "free-justified left verse" and the thematic re strict ion seems to carry equal weight as the formal.... thanks... On Apr 9, 2007, at 5:52 PM, Catherine Daly wrote: > available to trade (these books mostly cost me a dollar) > > The owning Stone, Jim Peterson, Red hen, 1999 prize winner > Jonah & Job, Judson Jerome, john Daniel & Co, 1991, bible poems > the trouble making finch, len roberts, u of i press, some markings > lucid suitcase, diane wald, red hen, 1999, I reviewed this for the > boston > review > ralph burns, swamp candles, iowa prize, 1996 > gaylord brewer, devilfish, red hen, 1998 prize winner > norman stock, buying breakfast for my kamikaze pilot, mostly prose > poems, > peregrine smith winner, 1993 > stephen gibson, rorschach art, red hen, 2001 > for the kingdon, anthony piccione, boa, 1995 > good hope road, stuart dischell, hardcover, nps tom lux selection, > viking > 1991 > I'm going to be getting rid of more books soon, probably mostly > mainstream > stuff from the 90s by men -- thus, I am probably not interested in > trading > for lyric/narrative left-justified free verse written by men about > anything > in woods or farmland, or children > > -- > All best, > Catherine Daly > c.a.b.daly@gmail.com ========================================================================= Date: Mon, 9 Apr 2007 23:14:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Re: Here Comes Everybody anthology now canceled In-Reply-To: <461AB46E0200001E000003AF@risd.edu> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit And all this has brought me to read your interview again, Mairead. What an odd turn of events. My condolences to the editors for all of their hard work. I hope the project can be salvaged, and all parties satisfied. It's a pity to waste all that energy. Sina > Thanks Barry. I realized some time today that the links interview was a > Chicago Postmodern one that I did around the same time. > I'm sorry! Now my only issue is not knowing about the book until it was > published. And maybe I did & have forgotten that too. Luckily all this > has brought me to read the HCE interview again. What an utterly > delightful person I was back then! Mairead: you'll be pleased to know > that you *have* managed to make some strides in developing a course in > Sound Poetry. Yes! I kid you not! And you're a citizen now! Your > hair's not so red though. Pity about those old brain cells! How can you > be such a fuddy-duddy about consultation etc???? Happy days--at least the > night that photo was taken. > Mairead > > >>>> b.schwabsky@BTOPENWORLD.COM 04/09/07 6:35 PM >>> > Mairead, I just looked at your interview online and there are no links in > it--except for the link to your blog at the top of the page and two links > each to online publications and publishers' pages for your print > publications. > > Mairead Byrne wrote: I emailed Geoffrey when I got the > publication announcement yesterday. I don't consider myself an ingrate. I > would have liked to know about the publication in advance. I would have > also liked to the opportunity to read proofs. My interview depended on > links. It wasn't intended for print, and I'd have to reconsider it in the > light of that. Perhaps Lance contacted me and I have somehow forgotten it, > but I don't think so. The question of how work is presented is still a > live one for me; I think notification and permission are pretty basic. > Mairead > >>>> welford@HAWAII.EDU 04/08/07 2:53 PM >>> > i agree with what other people are saying also. bloody ingrates! pull > them and put in a couple of us joyce loving hce'ers. do whatever it takes > to get it out there. sounds wonderful--and so much dedicated work. i > hope you don't let them bully you. best, gabe > > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 > > On Sun, 8 Apr 2007, Geoffrey Gatza wrote: > >> It is absurd and I'll do my best to explain. I will not tell any names >> as to >> not harm anyone in relating what has happened. We do good work here and >> are >> not trying to get sued! >> >> Several problems arose in the first 12 hours after an announcement was >> made. >> Lance and I have been working on this as a book for over a year and a >> half. >> Maybe more. Anyway, we thought we had all the permissions in hand. We >> did >> not. >> >> Two poets threatened to sue me and the press if we did not remove their >> entries. I consulted our lawyers and they said to just stop the whole >> project. >> >> We had several poets concerned about permission to use their words. Some >> angry others just protecting themselves and their ideas. One forgot if >> they >> did give permission, but this is still a problem. >> >> Another problem raised was payment to the contributors. >> >> >> Print on Demand is a book made when someone orders it. The base price >> for >> HCE is 12 dollars. This is the most expensive text we have as it is 740 >> pages. Amazon takes 60% of the 29.95 book price. That leaves us 1.95 >> remaining for Lance and I to get rich off of. >> >> We are a poor press and this book works out as such. A solution would be >> to >> provide a one copy payment to the 130 authors. This is way beyond our >> budget, actually more than our budget for the next 7 years. This is a >> huge >> text, 740 pages and our base cost is 12 per book and to ship this to 130 >> people would cost us $2210. >> >> We don't have that kind of money and we should have realized at some >> point >> that someone would want one. So it would be better to use these >> resources in >> a better fashion, as this is a webpage and it's 'out there' already. >> >> I have offered a book deal to Lance so as he is not 'out' anything. >> >> Thanks to everyone concerned and BlazeVOX will come out on top on this >> and >> continue to offer high quality, relevant texts! >> >> >> >> Best, Geoffrey >> >> Geoffrey Gatza >> BlazeVOX [books] >> www.blazevox.org >> >> -----Original Message----- >> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] >> On >> Behalf Of Alan Sondheim >> Sent: Sunday, April 08, 2007 11:00 AM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: Here Comes Everybody anthology now canceled >> >> Geoffrey - Can you explain the situation in more detail? This sounds >> absurd. >> >> - Alan, thanks >> >> >> ======================================================================= >> Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. >> Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. >> http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check >> WVU Zwiki, Google for recent. Write for info on books, cds, performance, >> dvds, etc. ============================================================= >> > -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Tue, 10 Apr 2007 03:37:28 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: SEGUE 4/14 Beverly Dahlen & Craig Watson: A RARE NY APPEARANCE Mime-Version: 1.0 Content-Type: text/plain; format=flowed A RARE NEW YORK APPEARANCE The Segue Reading Series Presents BEVERLY DAHLEN AND CRAIG WATSON Saturday, April 14, 2007 4PM (sharp!) at the Bowery Poetry Club (308 Bowery, just North of Houston) $6 admission goes to support the readers hosted by Erica Kaufman and Tim Peterson Ron Silliman writes, "Beverly Dahlen is the most enigmatic American poet since Laura (Riding) Jackson. Not that Dahlen is unnecessarily difficult or obtuse, but that – like Riding – she writes brilliantly, but has also proven exceptionally reluctant to letting her work into print...Dahlen had helped to co-found HOW(ever) (now How2) and was already well into writing A Reading, an "endless" – the term she has used more than once – poem that is, to my mind, one of the masterworks of the 20th century." Robert Duncan said of Dahlen, "The psychic life she draws in writing may be drawn from her own psychic life, but here its body is the text and it speaks to the psyche of the reader as a reader." Dahlen is the author of The Egyptian Poems, Out of the Third and 4 volumes of A Reading. A native of Oregon, she has lived and worked in San Francisco for many years. from A Reading 18 "therefore I'd be a shadow freed of former hands and execute this mission of destruction on past lives. there is nothing that can be safely brought in to the arena. the body question. the Frankfurt school in a loose coalition with strippers and wombats. he raised the antenna and the picture cleared. wherever two or three are gathered together in my name the project prospers. ego is now supposed to have given way to mercy and light. cracks through which you could drive a needle whatever was the point of organizing the world in this way: the helpless baby. further evidence: my father thought me up fully armed. no consolation there. where does she arise from the sea or in the mountains beyond reason." ** Craig Watson is the author of Secret Histories, True News , and Free Will. He works as a producer and dramaturg at Trinity Repertory Company, a professional theater in Rhode Island. Andrew Joron writes, "Craig Watson's engaged lyric continues to discover "more songs in the gaps" of the system; as he traces the antinomies, his long poems build toward an almost orchestral scale and ordonnance. Fiercely and deliberately, Watson redesigns the echoes inside such hollow abstractions as Reason and Free Will, and so allows us to hear, even with "ears knotted into the wall," the real music of thought." from "Last Man Standing" --January hello mutant welcome back horses are falling birds freeze under the bed god told the first lie ends-over-means excess is not a weakness * the distance between seeing and thinking is everything else what we hated was expression ========================================================================= Date: Tue, 10 Apr 2007 09:26:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: books -- trade? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed How about poems by sensitive new age guys about dead animals? At 08:52 PM 4/9/2007, you wrote: >available to trade (these books mostly cost me a dollar) > >The owning Stone, Jim Peterson, Red hen, 1999 prize winner >Jonah & Job, Judson Jerome, john Daniel & Co, 1991, bible poems >the trouble making finch, len roberts, u of i press, some markings >lucid suitcase, diane wald, red hen, 1999, I reviewed this for the boston >review >ralph burns, swamp candles, iowa prize, 1996 >gaylord brewer, devilfish, red hen, 1998 prize winner >norman stock, buying breakfast for my kamikaze pilot, mostly prose poems, >peregrine smith winner, 1993 >stephen gibson, rorschach art, red hen, 2001 >for the kingdon, anthony piccione, boa, 1995 >good hope road, stuart dischell, hardcover, nps tom lux selection, viking >1991 >I'm going to be getting rid of more books soon, probably mostly mainstream >stuff from the 90s by men -- thus, I am probably not interested in trading >for lyric/narrative left-justified free verse written by men about anything >in woods or farmland, or children > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "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] Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Tue, 10 Apr 2007 06:12:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: SEGUE 4/14 Beverly Dahlen & Craig Watson: A RARE NY APPEARANCE In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed WOW! This is definitely one not to be missed. Thank you, Erica & Tim, for putting this together. Every reading I've ever been to by Bev Dahlen (five now, spread over quite a few years) has been amazing. And Craig Watson is someone I've wanted to hear read for a very long time. cheers! c At 08:37 PM 4/9/2007, you wrote: >A RARE NEW YORK APPEARANCE > >The Segue Reading Series Presents > >BEVERLY DAHLEN AND CRAIG WATSON > >Saturday, April 14, 2007 >4PM (sharp!) >at the Bowery Poetry Club >(308 Bowery, just North of Houston) >$6 admission goes to support the readers > > charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then Chax Press 520-620-1626 (studio) 520-275-4330 (cell) chax@theriver.com chax.org 101 W. Sixth St. Tucson, AZ 85701-1000 ========================================================================= Date: Tue, 10 Apr 2007 08:57:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: acrylabet, by Dan Waber Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii As we wave goodbye to the z of Marko Niemi's Pietist Compositions, it's time to wave hello to the a of Dan Waber's acrylabet. New series begins 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. C'mon, you know you want to. ========================================================================= Date: Tue, 10 Apr 2007 08:46:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The ars poetica project continues to broadcast at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: Rick Benjamin, mIEKAL aND, Stephen Paul Miller, Denise Duhamel, and Jordan Stempleman. Poems will appear this week by: Mikhail Horowitz, Thomas Devaney, and Lawrence Welsh. A new poem about poetry every day. Enjoy, Dan ========================================================================= Date: Tue, 10 Apr 2007 09:09:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: books -- trade? In-Reply-To: <7.0.1.0.2.20070410092531.02455b40@psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline maybe if they're not spiritual or left justified I did put them up at the bookswap site, which now has some poetry (it is a ten to one swap situation, I think), although it is still mostly mysteries and romances -- these are books I attempted to sell on Amazon I have noticed that mny of the poems are arranged in stanza-like groupings of equal length, oftentimes without a really good reason to display them that way while I hve given hundreds of books to the library, and then to the local friends of the library I have been extremely disheartened by the country-wide book deaccessioning that libraries are doing, which is increasingly focussed on "the classics" which don't get checked out as often as the new danielle steele while it is new, books on religion and diet, books with a local focus (for example, the locl branch deaccessioned all its Gayl Jones, while paradoxically keeping all of the August Wilson plays -- which are now almost ALL of the plays they have -- they have a copy of Streetcar): the library doesn't want books like my books on its shelves, the library doesn't want book donations, they don't even want donations of *my* books, and they don't want to purchase my books or books like them. they have given the branch librarians charge cards to BARNES AND NOBLE to buy books [this is a radical change from 98-2001, when the central library had literally *every* book of experimental poetry they knew about when it was brand new -- now they don't even buy poetry] and the same goes for the friends of the library, where they are trying to sell donated paperbacks for 25 cents, but I don't think they've sold any of the plays, criticism, or poetry we've donated we thought about donating everything as a "special collection" of plays and poetry, but of course then they wanted us to also give them money to catalog -- all for a copy of, oh some Strindberg play we have multiples of that they'd wait a year or two to deaccession -- All best, Catherine Daly c.a.b.daly@gmail.com The Owning Stone 1. The Ritual Three years ago I cleared this field dragged the pines and sweetgums and stacked them at the edge home now to black widows and hog-nosed snakes ... I say to the oaks this stone has traveled one thousand miles ... but trees already know the heft of stones ========================================================================= Date: Tue, 10 Apr 2007 11:45:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Zoe Ward Subject: Reminder: Czech & Polish poetry - Tues, April 11th @ 192 Books Comments: To: newyork@archipelagobooks.org Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Join Archipelago Books & Ugly Duckling Presse for an evening of Czech=20 and Polish poetry... Bill Johnston, Edward Hirsch, & Matthew Sweney read and discuss the works of Tadeusz Rozewicz & Ivan Blatny Wednesday, April 11th @ 7 p.m. 192 Books 192 Tenth Avenue New York, NY www.192books.com Free and open to the public. Edward Hirsch will introduce the work of Tadeusz Rozewicz, the=20 brilliant post-war Polish poet. Bill Johnston reads from his=20 translation of Rozewicz's three-book collection "new poems"=20 (Archipelago Books, April 2007). Matthew Sweney reads from his=20 translations of Ivan Blatny's work included in "The Drug of Art:=20 Selected Poems" (forthcoming from Ugly Duckling Presse). Written in a pared-down, direct language, and filled with allusions to=20= everything from philosophy to TV talk shows, the poetry of TADEUSZ=20 ROZEWICZ encompasses the complexity that is human experience in the=20 early 21st century. R=F3zewicz's unique voice, formed during his=20 experiences as a member of the Polish resistance in World War II, and=20 honed by decades living under communist rule, holds a merciless mirror=20= up to the crimes and excesses of the poet's lifetime. Lost to the world for twenty-five years, IVAN BLATNY was, according to=20= the Czech Ministry of Culture, =93one of the most significant Czech=20 poets of the twentieth century.=94 Blatny fled Czechoslovakia after the=20= Communist coup in 1948, spending the rest of his life in England. This=20= volume spans fifty years of his career and is notable for being the =20 first major collection of Blatny=92s work in English, including=20 multi-lingual poems and some poems written mostly or entirely in=20 English.=A0 V=E1clav Havel has written: =93The verses and fate of the = poet=20 Ivan Blatny . . . complete the fate of Czech literature, which=20 transcended the borders of the nation, often struggling for survival.=94 EDWARD HIRSCH is the author of six books of poems. His collection "For=20= the Sleepwalkers" (1981) received the Lavan Younger Poets Award from=20 The Academy of American Poets and the Delmore Schwartz Memorial Award=20 from New York University. Hirsch is currently the president of the John=20= Simon Guggenheim Memorial Foundation. BILL JOHNSTON=92s translations include Gustaw Herling=92s "The Noonday=20= Cemetary and Other Stories" and Jerzy Pilch=92s "His Current Woman,"=20 among many others. He received the 2005 AATSEEL (Slavicists=92=20 Association) translation award for his translation of Magdalena Tulli=92s=20= "Dreams and Stones," which is a=A0current finalist for the Dublin IMPAC=20= Literary Award. MATTHEW SWENEY is a former resident of Maine and NYC, now residing in=20 Olomouc, Czech Republic, where he is a teacher, translator and=A0editor.=20= He has edited numerous volumes of American literature in=A0Czech=20 translation, and is one of the main organizers of Slova bez=20 hranic/Words without Borders, the annual Czech international=20 poetry=A0festival. He is currently working on an=A0anthology of Czech = love=20 poetry in English translation. This is his first public performance in=20= the NY metropolitan area since his punk band broke up in the 1980s. 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: Tue, 10 Apr 2007 10:59:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: NYC This Thurs. 4/12: Boog City presents Corollary Press MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable please forward -------------------- Boog City presents d.a. levy lives: celebrating the renegade press Corollary Press (Philadelphia) this Thurs. April 12, 6:00 p.m. sharp, free ACA Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by Corollary Press editor Sueyeun Juliette Lee Featuring readings from Jason Daniel Schwartz Christopher Stackhouse Lynn Xu and music from friends from Frances the Band There will be wine, cheese, and crackers, too. Curated and with an introduction by Boog City editor David Kirschenbaum ------ **Corollary Press** http://www.corollarypress.blogspot.com/ Corollary Press is small chapbook series edited by Sueyeun Juliette =20 Lee. The press features innovative work by writers of color in =20 hand-bound and letterpressed editions of 150. Corollary has a tendency =20 towards the beautiful, baffling, and unruly in language. You can visit =20 the website to see samples of new work by Corollary authors Bhanu =20 Kapil, Pamela Lu, Christopher Stackouse, Lynn Xu, and Jason Schwartz. *Performer Bios* **Jason Daniel Schwartz Jason Daniel Schwartz grew up in New Jersey. He has lived in New York, =20 India, and rural Massachusetts, which he left with an MFA, courtesy of =20 the University of Massachusets Amherst. He now lives in San Francisco =20 and teaches animal science at Holden High School and writing at De =20 Anza College. His stories have been in Black Warrior Review and Crab =20 Orchard Review. He feels great joy when people say, "go easy on =20 yourself." **Christopher Stackhouse Christopher Stackhouse is a painter, draftsman, and poet. He is a Cave =20 Canem Writers Fellow, a Fellow in Poetry from the New York Foundation =20 of the Arts, and a poetry editor for Fence Magazine. His work has =20 appeared in Hambone, nocturne(s), and Aufgabe as well as other =20 journals. He is co-author of a limited edition hand crafted artist =20 book Seismosis (The Center for Book Arts, 2003), which features =20 selected drawings in collaboration with writer John Keene's selected =20 texts. Seismosis Complete Drawings and Texts is out now from 1913 press. **Lynn Xu Lynn Xu was born in Shanghai. She is a graduate fellow at Brown's MFA =20 program. Her poems were selected by Anne Carson as the winner of the =20 2006 Greg Grummer Contest: "these have the passionate compression and =20 quick syntactic spring of a John Donne lyric ? [but] the way these =20 disintegrate gently into an imprecision which is sort of raw, but even =20 more thoughtful" (Carson). In the summer Lynn wishes to move away from =20 Providence and closer to water. This will likely not happen. Her poems =20 have appeared in The Canary and Phoebe. June is her first chapbook. **Frances the Band http://www.myspace.com/francestheband http://www.francestheband.com Pitchfork media describes Frances the Band's music as having "a =20 mysterious, antique feel, like something that might have played as an =20 old carousel spun endlessly by a boardwalk and people walked by at =20 sunset in their Sunday best." Lead man Paul Hogan and friends will =20 make an appearance to charm us with their ditties. ---- Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues Next event: Thurs. May 3, Fewer & Further Press (Wendell, Mass.) and Anchorite Editions (Albany, N.Y.) -- 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, 10 Apr 2007 10:41:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Ismus vs. Rutgers Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit If CNN replays it, the half hour news conference with the women on the Rutgers Basketball team is worth its weight in gold. Absolutely refreshing - rarely do you get to see such a demonstration between a totally screwed up, brutal language (Ismus's) and the demonstration of fact in the language and physical presence of the women. And no ads breaks in the middle of it. A delight and more. Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Tue, 10 Apr 2007 09:55:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: harry k stammer on PFS Post MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Check out new work from harry k stammer on PFS Post: http://www.artrecess.blogspot.com. Others on PFS right now: Simone Muench, Anselm Berrigan, Jordan Stempleman, Lars Palm, Tom Orange, Steve Halle, Eric Elshtain. Coming up later this week on PFS: Gabriel Gudding. Also a few new bits on http://www.adamfieled.blogspot.com. "Don't let me hear you say life's taking you nowhere, baby..." http://www.myspace.com/dangracemusic Love, Ad --------------------------------- Looking for earth-friendly autos? Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. ========================================================================= Date: Tue, 10 Apr 2007 13:50:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: Ismus vs. Rutgers In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.youtube.com/watch?v=iNExi1puzz0 you tube link On 4/10/07, Stephen Vincent wrote: > > If CNN replays it, the half hour news conference with the women on the > Rutgers Basketball team is worth its weight in gold. Absolutely refreshing > - > rarely do you get to see such a demonstration between a totally screwed > up, > brutal language (Ismus's) and the demonstration of fact in the language > and > physical presence of the women. And no ads breaks in the middle of it. > > A delight and more. > > Stephen Vincent > http://stephenvincent.net/blog/ > > > -- i could use some bone marrow, please http://fuckinglies.blogspot.com/ ========================================================================= Date: Tue, 10 Apr 2007 11:25:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Book Release Party - This Thursday In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Poets and Friends, Please come this Thursday, April 12, 2007 @ 7 p.m. to celebrate the release of my new book, I'M THE MAN WHO LOVES YOU, hosted by Word of Mouth . The reading will be held at Bluestockings Radical Books, located in the Lower East Side of Manhattan at 172 Allen Street between Stanton and Rivington - which is 1 block south of Houston and 1st Avenue. Early copies of the book will be available at a discounted price — as well as poets imbibing! They're cheaper though ... ~~~~~~ I'M THE MAN WHO LOVES YOU -- http://www.blazevox.org/bk-ak2.htm More revealing details -- http://www.amyking.org/blog/ ~~~~~~ Word of Mouth Readers -- Amy King lives in Brooklyn, NY, and is the author of the poetry collections, I'M THE MAN WHO LOVES YOU (BlazeVOX Books, 2007), ANTIDOTES FOR AN ALIBI (BlazeVOX Books, 2005), and THE PEOPLE INSTRUMENTS (Pavement Saw Press, 2003). E-Books are available through Duration Press and Dusie Press online. Amy teaches Creative Writing and English at SUNY Nassau Community College is the editor-in-chief for the literary arts journal, MiPOesias. Please visit www.amyking.org for more. Matthew Everett is a writer, musician and graduate student in the MFA program at the New School. His preoccupations include death, relativity, the mutability of personalities and the difficulty of meaning. Matt has two chapbooks available for purchase, From Out, a collection of poems, and Unredeemed, a poem with illustrations by the author. Some more of Matt's writing and music can be found at www.myspace.com/mateverett. Alexandra Grace (poetry) is a graduate from the Sarah Lawrence MFA program. She has been published in RHINO, Lumina, Impetus and Thorny Locust. She is the curator of the Post-MFA/Pre-Book reading series at Cornelia Street Cafe. Alexandra grew up in a flowerpot in her parents backyard, where they watered her everyday. Siobhan Ciminera (poetry) is finishing up her MFA in Creative Writing, Poetry at The New School. By day she is an editor at Penguin Young Readers Group where she edits books for such brands as Mad Libs, Nancy Drew and Angelina Ballerina. ** Hosted by Meghan Punschke --------------------------------- Now that's room service! Choose from over 150,000 hotels in 45,000 destinations on Yahoo! Travel to find your fit. ========================================================================= Date: Tue, 10 Apr 2007 14:24:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Re: Ismus vs. Rutgers In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit They are impressive on the court. Next year I hope they take the title. Ismus be damned. > If CNN replays it, the half hour news conference with the women on the > Rutgers Basketball team is worth its weight in gold. Absolutely refreshing > - > rarely do you get to see such a demonstration between a totally screwed > up, > brutal language (Ismus's) and the demonstration of fact in the language > and > physical presence of the women. And no ads breaks in the middle of it. > > A delight and more. > > Stephen Vincent > http://stephenvincent.net/blog/ > > > -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Tue, 10 Apr 2007 14:22:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: letters to my sister--new from revelator press MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Hello, good poetry folks! Just wanted to drop a little plug--my chapbook, Letters to My Sister, has just gone to "e-print" with Revelator Press. The direct link is http://revelatorpress.blogspot.com/2007/04/letters-to-my-sister.html , and you may view the chapbook by clicking on the image, which then opens a .pdf= . "the blurb": Composed as a series of letters to a family member serving in Iraq, Angela Vasquez-Giroux's first poetry chapbook is a vivid evocation of the fear, displacement, and uncertainty that war imposes on those who are left behind= . Through images of fragmentation and fragility=97misreadings of scripture, partial glimpses of a loved one in a news report=97*Letters to My Sister*speaks of the challenges of survival, both for those in the field and at home. I hope you take a moment from your day to check out my work, and the work being done over at Revelator. These letters were truly a labor; you can reach me at angela.vasquez.giroux@gmail.com with any comments, critiques, "go to hells", etc. Angela ========================================================================= Date: Tue, 10 Apr 2007 12:56:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: North-3 Text-3 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable North-3 Text-3 http://web.pdx.edu/~pdx00282/North/North-3/text-3.htm Introduction: http://web.pdx.edu/~pdx00282/North/Intro.htm Notes: Speakers on. Hidden paratext boxes are opened by cursor held on words in = text. -Joel ========================================================================= Date: Tue, 10 Apr 2007 14:33:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Ismus vs. Rutgers/his name is Imus (if not much more than that--) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable actually his name is Imusthe Captain of the team pointed out in interview t= hat is an issue for all women--> Date: Tue, 10 Apr 2007 14:24:37 -0400> Fro= m: squeyras@HAVERFORD.EDU> Subject: Re: Ismus vs. Rutgers> To: POETICS@LIST= SERV.BUFFALO.EDU> > They are impressive on the court.> > Next year I hope t= hey take the title.> > Ismus be damned.> > > > If CNN replays it, the half = hour news conference with the women on the> > Rutgers Basketball team is wo= rth its weight in gold. Absolutely refreshing> > -> > rarely do you get to = see such a demonstration between a totally screwed> > up,> > brutal languag= e (Ismus's) and the demonstration of fact in the language> > and> > physica= l presence of the women. And no ads breaks in the middle of it.> >> > A del= ight and more.> >> > Stephen Vincent> > http://stephenvincent.net/blog/> >>= >> >> > > -- > Sina Queyras> Visiting Assistant Professor> Department of E= nglish> Woodside Cottage> Haverford College> 370 Lancaster Avenue> Haverfor= d, PA 19041-1392> (610) 896-1256 _________________________________________________________________ i'm making a difference.=A0Make every IM count for the cause of your choice= . Join Now. http://clk.atdmt.com/MSN/go/msnnkwme0080000001msn/direct/01/?href=3Dhttp://= im.live.com/messenger/im/home/?source=3Dwlmailtagline= ========================================================================= Date: Tue, 10 Apr 2007 14:44:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Himus in the mourning Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed at least part of the Rutgers Women's press conference is streaming at the CNN web site. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "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] Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Tue, 10 Apr 2007 12:04:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristen Hanlon Subject: new issue of XANTIPPE now available Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Announcing XANTIPPE 4/5 with poems by Julie Carr, Jay Hopler, Chris Pusateri, Kristen Yawitz, Jasper Bernes, Brenda Iijima, John Aragon-Chavez, Sharon Lynn Osmond, Lisanne Thompson, Tanya Larkin, K.Silem Mohammad, Juana de Ibarbourou (trans. by Liz Henry), Nathan Hauke, Noah Eli Gordon, Catherine Taylor, Colleen Lookingbill, Rodney Koeneke, Nick Bacon, Brandon Shimoda, Jack Martin, Margaret Ronda, India Radfar, Sam Witt, Elizabeth Marie Young, Gina Myers, Sandra Miller, Christopher Sindt, & Karla Kelsey; an excerpt from Robert Duncan: The Ambassador from Venus by Lisa Jarnot; plus reviews: Megan Pruiett: Around Sea by Brenda Iijima // David Harrison Horton: Saline by Kimberly Lyons // Miranda Field: The Last Clear Narrative by Rachel Zucker // Allyn West: The Babies by Sabrina Orah Mark // Denise Nico Leto: Emptied of all Ships by Stacy Szymaszek // India Radfar: Some Mountains Removed by Daniel Bouchard // Catherine Taylor: Often Capital by Jennifer Moxley // Tanya Larkin: Blue Collar Holiday by Jeni Olin // Jasper Bernes: Starred Wire by Ange Mlinko // Trevor Calvert: Meteoric Flowers by Elizabeth Willis // Anne Heide: Transiting Indigo by Susanne Dyckman // J. Michael Martinez: The Pitch by Tom Thompson // Stan Apps: Musee Mechanique by Rodney Koeneke // Brandon Shimoda: Apostrophe by Elizabeth Robinson // Matt Shears: Because Why by Sarah Fox // Tisa Bryant: a half-red sea by Evie Shockley //James Belflower: case sensitive by Kate Greenstreet A reading to celebrate the issue will be held at Pegasus Books in downtown Berkeley on June 9; check the blog (http://xantippemag.blogspot.com) in May for details. XANTIPPE will soon be available at select independent bookstores; more details will be posted in the coming weeks. To order by mail, send a check or money order (payable to Kristen Hanlon) in the amount of $12 to: XANTIPPE P.O. Box 20997 Oakland, CA 94620-0997 ========================================================================= Date: Tue, 10 Apr 2007 17:33:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Re: Ismus vs. Rutgers/his name is Imus (if not much more than that--) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.scarletknights.com/ > actually his name is Imusthe Captain of the team pointed out in interview > that is an issue for all women--> Date: Tue, 10 Apr 2007 14:24:37 -0400> > From: squeyras@HAVERFORD.EDU> Subject: Re: Ismus vs. Rutgers> To: > POETICS@LISTSERV.BUFFALO.EDU> > They are impressive on the court.> > Next > year I hope they take the title.> > Ismus be damned.> > > > If CNN replays > it, the half hour news conference with the women on the> > Rutgers > Basketball team is worth its weight in gold. Absolutely refreshing> > -> > > rarely do you get to see such a demonstration between a totally screwed> > > up,> > brutal language (Ismus's) and the demonstration of fact in the > language> > and> > physical presence of the women. And no ads breaks in > the middle of it.> >> > A delight and more.> >> > Stephen Vincent> > > http://stephenvincent.net/blog/> >> >> >> > > -- > Sina Queyras> Visiting > Assistant Professor> Department of English> Woodside Cottage> Haverford > College> 370 Lancaster Avenue> Haverford, PA 19041-1392> (610) 896-1256 > _________________________________________________________________ > i'm making a difference. Make every IM count for the cause of your choice. > Join Now. > http://clk.atdmt.com/MSN/go/msnnkwme0080000001msn/direct/01/?href=http://im.live.com/messenger/im/home/?source=wlmailtagline > -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Tue, 10 Apr 2007 13:37:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: barbara jane bermeo Subject: Evie Shockley & Barbara Jane Reyes 4/15/07 @ Pegasus Books, Berkeley MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Evie Shockley & Barbara Jane Reyes Sunday, April 15th, 7:30 pm Pegasus Books Dowtown 2349 Shattuck Avenue, Berkeley (510) 649-1320 Evie Shockley published a chapbook of poems, The Gorgon Goddess, with Carolina Wren Press in 2001. Her new collection, a half-red sea, will be released in Fall, 2006. Her poetry has appeared widely in journals and anthologies, including Beloit Poetry Journal, Callaloo, Hambone, HOW2 and Poetry Daily: Poems from the World’s Most Popular Poetry Website. She has also placed her prose-fiction and literary criticism-in such publications as Dark Matter: A Century of Speculative Fiction from the African Diaspora, African American Review, North American Review, and Rainbow Darkness: An Anthology of African American Poetry. Shockley is an assistant professor of English at Rutgers University in New Brunswick, NJ. Barbara Jane Reyes was born in Manila, Philippines and raised in the San Francisco Bay Area. She received her undergraduate education at UC Berkeley, and her MFA at San Francisco State University. She is the author of Gravities of Center (Arkipelago, 2003) and Poeta en San Francisco (Tinfish, 2005), for which she received the James Laughlin Award of the Academy of American Poets. She is a Visiting Assistant Professor of Creative Writing at Mills College, and she lives with her husband, poet Oscar Bermeo, in Oakland, CA. ---------- http://barbarajanereyes.com ========================================================================= Date: Tue, 10 Apr 2007 16:26:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Three Kenneth Patchen Events: the Kenneth Patchen Art Opening and Reception, the Kenneth Patchen Festival, and the Kenneth Patchen Jam. Content-Type: text/plain; charset=utf-8 Three kenneth patchen events: the Kenneth Patchen Art Opening and Reception, the Kenneth Patchen Festival, and the Kenneth Patchen Jam. The Kenneth Patchen Reception is at Gallery 324 on April 13, 2007 from 6 pm – 9pm. The Kenneth Patchen Festival is at Gallery 324 at Noon on Saturday, April 14, 2007 at noon. The Kenneth Patchen Jam is at and the Jam at The Barking Spider April 14, 2007 at 7 pm. Gallery 324 The Galleria at Erieview 1301 East 9th Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.veior.com April 13, 2007 –Friday at 6 pm – 9 pm Larry Smith (Bottom Dog Press), Kenneth Patchen biographer, & Bree (Green Panda Press), poet, singer, bookseller, and publisher & Marcus Bales (Gallery324) Present The Kenneth Patchen Silkscreens on loan from the Trumbull Art Guild, Warren, Ohio, and Douglas Paisley’s paintings of The Journal of Albion Moonlight with Kenneth Patchen’s text, and Featuring, from Detroit, M.L.Liebler and the Magic Poetry Band accompanying readings by Chris Franke Nina Gibans Tom Kryss Jim Lang Michael McMahon Charles Potts Larry Smith, and others to be announced Reception 6 pm – 9 pm PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH Kenneth Patchen Festival in Cleveland this April 8-15. Larry Smith, Marcus Bales and Bree Ingst are coordinating the week-long event honoring Kenneth Patchen (1911-1972), Ohio rebel poet-artist. Patchen published over 36 books during his lifetime. April 8-15th Patchen's two silkscreen collections will be shown at Gallery 324 (E. 9th Street in Galleria, downtown Cleveland) that week... Kenneth Patchen Silkscreens They are from the Trumbull Art Guild in Patchen's hometown of Warren. Photo Copies of Prints will be available for order, and there will be an auction of Patchen items. First, April 13th 6 pm – 9 pm Gallery 324 – Reception and Talks on Patchen’s Life and Art, including showing of a group of paintings depicting scenes from The Journal of Albion Moonlight done by Doug Paisley with Kenneth Patchen’s text Second, April 14th Noon at Gallery 324 featuring M.L.Liebler and the Magic Poetry Band Readers: Charles Potts, Tom Kryss, Chris Franke, Michael McMahon, Nina Gibans, Mark Kuhar, Jim Lang, John Paisley…hosted by Larry Smith Third: April 14th 7pm at Barking Spider Tavern, University Circle, featuring John Richmond All-Stars/ Poet-Readers: Ben Guylas, Bree, Katie Daley, Terry Provost, Adam Brodsky, Maj Ragain, Adam Brodsky Sponsors of the festival are Bottom Dog Press and Green Panda Press. Book sales are being done by Mac’s Backs Books of Coventry Road, Cleveland. All events free and open to the public. Kenneth Patchen page: http://www.connectotel.com/patchen/ Patchen biography & places page: http://members.aol.com/smithcours/Patchen/KennethPatchenPlaces.htm FOR MORE INFORMATION: Contact: e-mail: lsmithdog@aol.com or breestings@yahoo.com (graphics available) or mbales@oh.verio.com, or call 216/780-1522 There is $1.00 Parking for these events on Saturdays in the Galleria Parking Garage: enter off Lakeside between East 9th and East 12th. There´s a large sign with a 3-D curly-cue design that says "Galleria Parking", and a ramp down under the building. There is free street parking on E 9th, E 12th, and St Clair on Saturdays, and after 7 pm on weekdays, but only the E 12th Street entrance to the Galleria is open on weekdays after 7. Gallery 324 is in the middle of the Galleria by the escalator down into the parking garage. DIRECTIONS to the GALLERIA From the west side 2 East - East Ninth Street, right - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign). Parking is Free on Saturdays, $3 after 4pm on Fridays. Go up the escalator or elevator to the FIRST FLOOR. Out of the elevator turn right and walk past the escalator to the Courtyard 480 - 176North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 71 North - 90 East - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the east side 480 - 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 90 West - 2 West - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the Heights Martin Luther King Jr Blvd North - 90 West - 2 west - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) By RTA Rapid From wherever you are go to the Tower City station and change for the Waterfront Line - get off at East 9th street, up the stairs, turn right on East Ninth Street (away from the lake, away from the R&R Hall) walk half a block to Lakeside, cross Ninth Street to your left, cross Lakeside, and half a block further on is the Ninth Street Entrance to the Galleria. If the weather's nice, you can also walk from Tower City across Public Square away from the Terminal Tower building you came out of (the building in which the RTA Rapid lets you off) and toward the BP Building. Walk east (that is, turn right just past the BP building) on any of Superior, Rockwell, or St Clair streets, to East Ninth. Turn left. From St Clair, it's right there; from Rockwell, one block, from Superior two blocks, to the entrance at East Ninth and St Clair. If you´d like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. ========================================================================= Date: Tue, 10 Apr 2007 16:04:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sidebrow Editors Subject: Sidebrow: Call for Submissions MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Sidebrow (http://www.sidebrow.net) — an online & print journal dedicated to innovation & collaboration — seeks fiction, poetry, art, essay, ephemera, found text, & academia, as well as creative response to current posts and ongoing projects. Submissions to Sidebrow are evaluated both as stand-alone set pieces & as points of departure for establishing multi-authored/multi-genre works. Submissions that re-imagine, depart from, or explore the interstices between posted pieces are highly encouraged. To that end, we have relaunched Pasteboard (http://www.sidebrow.net/2006/pasteboard.php), a frequently updated catalog of prompts that illuminate potential resonances among posted pieces in hopes of stirring creative response. + + + + + + + Recently launched projects include: Build: Our Fathers: A multi-author paen to the paternal. With posts by Kim Chinquee, Kristin Prevallet, A.K. Arkadin, Anne Heide, & Stephen Ratcliffe. (http://www.sidebrow.net/2006/ourfathers.php) & The Ghost Project: A multi-author exploration of the disembodied & otherworldly. With posts by Bob Marcacci, Richard Kostelanetz, Paul Hardacre, Cole Swensen, & Andrea Baker. (http://www.sidebrow.net/2006/ghost.php) + + + + + + + Coming up: Expansion of The Litopolis Project beyond San Francisco. Send us your place-based works regardless of location for the construction of our literary map. (http://www.sidebrow.net/2006/litopolissf.php) The inaugural print anthology, slated for Fall 2007. + + + + + + + Current and forthcoming contributors to date: Jenny Allan, A.K. Arkadin, Jeff Bacon, Andrea Baker, Julia Bloch, Lawrence Ytzhak Braithwaite, Nick Bredie, Mez Breeze, Amina Cain, Kate Hill Cantrill, Nona Caspers, Jimmy Chen, Kim Chinquee, John Cleary, Steve Dalachinsky, Catherine Daly, Brett Evans, Brian Evenson, Raymond Farr, Sandy Florian, Paul Gacioch, Anne Germanacos, Scott Glassman, Noah Eli Gordon, Paul Hardacre, HL Hazuka, Anne Heide, Malia Jackson, Carrie Katz, Susanna Kittredge, Richard Kostelanetz, Kristine Leja, Norman Lock, Doug Macpherson, Scott Malby, Bob Marcacci, Bill Marsh, rob mclennan, L.J. Moore, Greg Mulcahy, Cathi Murphy, Eireene Nealand, Daniel Pendergrass, Kristin Prevallet, Kathryn Pringle, Stephen Ratcliffe, Francis Raven, AE Reiff, Daniel C. Remein, Elizabeth Robinson, Zach Savich, Len Shneyder, Nina Shope, Kyle Simonsen, Ed Skoog, Anna Joy Springer, Chris Stroffolino, Cole Swensen, Joanne Tracy, Chris Tysh, Nico Vassilakis, James Wagner, Derek White, Joshua Marie Wilkinson, Angela Woodward (http://www.sidebrow.net/2006/contributors.php) + + + + + + + Projects to date: Build: Mother, I: A multi-author, multi-genre exploration of seeds sown by Bataille. (http://www.sidebrow.net/2006/motheri.php) Build: Post-Hole: A multi-author, multi-genre menagerie of grotesques. (http://www.sidebrow.net/2006/posthole.php) The Letters Project: Reviving the epistolary novella. (http://www.sidebrow.net/2006/epistolary.php) Page 24 Project: A chapbook concerning and consisting exclusively of page 24s. (http://www.sidebrow.net/2006/page24.php) Work Seeking Work: Possible emerging projects. (http://www.sidebrow.net/2006/workseekwork.php) Other projects to be defined by future submissions and response. For more information, and to peruse currently posted works, visit http://www.sidebrow.net. ========================================================================= Date: Tue, 10 Apr 2007 18:43:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 4/11 - 4/13 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dear dears, Just a reminder that we are back in the office and that readings are indeed going on... Please join us for two more this week. Love The Poetry Project Wednesday, April 11, 8:00 pm Way More West: The Poems of Ed Dorn A reading to mark the publication of Way More West: New and Selected Poems by Edward Dorn. Ed Dorn was author of numerous books, including the comic-epic masterpiece Gunslinger. At the core of all of Dorn=B9s work is a deep sense of place and the people who occupy it, underpinned by a wry ironic dissent. Reading Dorn=B9s work will be Jennifer Dorn, Michael Rothenberg, Amiri Baraka, Anne Waldman, Ed Sanders, Ammiel Alcalay, George Kimball, Rosalie Sorrels and Anselm Berrigan. Friday, April 13, 10:00 pm *note earlier start time! Pocket Myths: The Odyssey A reading to celebrate the fourth publication of the Pocket Myths series. The Odyssey is a film and book collaboration curated by Andrea Lawlor and Bernadine Mellis. The project features mostly queer, trans, and women artists working in and between genres to retell Homer's ancient epic of the aftermath of war. Readings by Emily Abendroth, Justin Audia, Ari Banias, Julia Bloch, Tonya Foster, Laura Jaramillo, Delia Mellis, Megan Milks, Ariana Reines and Frances Richard with a special presentation of Eileen Myles=B9s first film, Book 22. Emily Abendroth is a writer and artist currently residing in Philadelphia, where she co-curates (with Justin Audia= ) the Moles Not Molar experimental reading series. Justin Audia lives in Philadelphia. He learned everything he knows about sailors from Kenneth Anger, Herman Melville, and Guy Maddin. Ari Banias studies poetry in the MF= A program at Hunter College, and has recent poems in RealPoetik and Arts & Letters Journal of Contemporary Culture. Julia Bloch, whose poetry has appeared recently in Bay Poetics, earned an MFA at Mills College and is pursuing a PhD at the University of PA. Tonya Foster is the author of A Swarm of Bees in High Court (Belladonna Press, 2002) and co-editor of Third Mind: Creative Writing Through Visual Art and she teaches at Cooper Union and Bard College. Laura Jaramillo currently lives and writes in Philadelphia, where she is acquiring her Masters in Creative Writing at Temple University. Andrea Lawlor lives in Philadelphia, edits the Pocket Myths series, and is working on a collection of short stories. Bernadine Mellis is a filmmaker in Philadelphia. Her films include Born, The Golden Pheasant, farm-in-the-city (a collaboration with EE Miller), and The Forest for the Trees. Delia Mellis is a historian and martial artist who lives by the river in Athens, New York. Megan Milks writes for PopMatters.com and co-edits Mildred Pierce, a zine of cultural criticism. Eileen Myles=B9s newes= t collection of poems, Sorry, Tree, is out from Wave Books in April. Ariana Reines's first book, The Cow, won the Alberta Prize from Fence Books and wa= s published in December 2006. Frances Richard is a poet (See Through, Four Wa= y Books 2003) who lives in Brooklyn and teaches at Barnard College and the Rhode Island School of Design. Please visit www.pocketmyths.com for a complete list of contributors and more info on the project and series. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring Calendar: http://www.poetryproject.com/calendar.php 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: Tue, 10 Apr 2007 16:23:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: I enter the phrase: Enduring the realm of inherent contradiction. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed I enter the phrase: Enduring the realm of inherent contradiction. Endurance: here, to subsist within for an indefinite period of time. The realm is that of broken, convoluted, fragmented information. Contradiction references multiple strands tending towards differing and temporary truth- tables.Inherent, because this becomes the condition of existence; outside the realm of language, what is, is, but within the same, mappings are fast-forward, imminent, and decomposable. Fragment generates fragment; the goal of the fragment is the fragment; there is no goal. What happens in the real is the incandescent slaughter- house; ecologies and bodies burn. The fragment is the life-raft. The iron-clad fragment protects itself as ideology within the inerrancy of a text. The text itself is of little matter; what matters is its command- structure. An inerrant text is absolutist; it brooks no contradiction; it is nothing but words. One word follows another; within the fragment, they are deeply untethered. The inerrant text constructs the digital world; the digital world decon- structs, destroys, the inerrant text. The construction of the digital world: from parts and parcels of the analogic, the inert real. The frag- ments otherwise; the fragment returns to the analogic - is fragment pre- cisely because of the analogic; in relation to the analogic; within the analogic. The fragment is the passing symptom; the symptom is the passing trope; the trope stands in for the raster, the horizon of the digital. What one says and does is irrevocable. The fragment is endured; the fragmented is nostalgia for a lost and mythic coherent. The fragment leaves the fragment, leaves language and name behind. The fragment is the dream of the proper name. "To fragment something" carries the torn world on its shoulders. Contra- diction seeps from the torn. The hole dreams of the whole; the hole dreams of the whole dreaming of the hole. This has nothing, has everything, to do with the slaughterhouse. The slaughterhouse is the last of the shifters - meat and dwelling of the shifters. Contradiction: seepage from the slaughterhouse. Slaughterhouse: the irrevocable torn. */ Who carries my voice when I speak? To where and when is it carried? And from where? And from when? ========================================================================= Date: Tue, 10 Apr 2007 20:23:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: Re: North-3 Text-3 In-Reply-To: <020501c77bb2$bb0376b0$0300a8c0@Weishaus> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit this piece is awesomely beautiful. a text that gives compelling pleasure to the eye, and more, it asserts a broader scope for how words can play on the mind. 'poetic' and intelligent and heartfelt. Joel Weishaus wrote: > North-3 Text-3 > > http://web.pdx.edu/~pdx00282/North/North-3/text-3.htm > > Introduction: > http://web.pdx.edu/~pdx00282/North/Intro.htm > > Notes: Speakers on. > Hidden paratext boxes are opened by cursor held on words in text. > > -Joel > > > ========================================================================= Date: Tue, 10 Apr 2007 20:19:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Celebrate Ed Dorn in NY and Boulder MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Dear Friends, If you can't make the NY reading for Ed Dorn's Way More West then join us in Boulder. Wednesday, April 11, 8:00 pm Friday, Way More West: The Poems of Ed Dorn A reading to mark the publication of Way More West: New and Selected Poems by Edward Dorn. Ed Dorn was author of numerous books, including the comic-epic masterpiece Gunslinger. At the core of all of Dorn's work is a deep sense of place and the people who occupy it, underpinned by a wry ironic dissent. Reading Dorn's work will be Jennifer Dorn, Michael Rothenberg, Amiri Baraka, Anne Waldman, Ed Sanders, Ammiel Alcalay, George Kimball, Rosalie Sorrels and Anselm Berrigan. ------------------------------------------------------------------------------------------------------------- Friday, April 13, 7:30 Boulder Bookstore Way More West: The Poems of Ed Dorn Reading Dorn's work will be Jennifer Dorn, Michael Rothenberg. Joe Ritchie, Peter Michelson, Steven Taylor, Jack Collom, Bobbie Louise Hawkins, Matthew Cooperman, Randall Schroth and Jane Wodening ========================================================================= Date: Wed, 11 Apr 2007 01:15:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: christopher smart born 285 yrs ago today MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Let the Levites of the Lord take the Beavers of the brook alive into the Ark of the Testimony. __________________________________ http://gabrielgudding.blogspot.com ========================================================================= Date: Wed, 11 Apr 2007 06:58:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Reminder, Lisa Fishman & Michael Palmer, tonight, Columbia College Chicago MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit LISA FISHMAN and MICHAEL PALMER POETRY READING Wednesday, April 11, 2007 (5:30 p.m.) Columbia College Chicago Hokin Hall (first floor auditorium, 623 S. Wabash Ave.) Free and open to the public For more information, call 312-344-8138 LISA FISHMAN is the author of three books of poetry: THE HAPPINESS EXPERIMENT (Ahsahta, 2007); DEAR, READ (Ahsahta, 2002) and THE DEEP HEART'S CORE IS A SUITCASE (New Issues, 1998). She has also published a chapbook, KABBALOOM (Wyrd Press, 2007). Her work is anthologized in POETRY: THE NEXT GENERATION (Carnegie Mellon, 2000), AND WE THE CREATURES (Dream Horse Press, 2003) and SHADE (Four Way Press, 2005). She has poems in recent or forthcoming issues of WOMEN'S STUDIES QUARTERLY, 1913: A JOURNAL OF FORMS, CRAZYHORSE, AMERICAN LETTERS & COMMENTARY, FIVE FINGERS REVIEW, 26: A JOURNAL OF POETRY AND POETICS, VOLT, and elsewhere. Her reviews, essays and interviews have appeared in SMALL PRESS TRAFFIC, POETRY SALZBURG, identitytheory.com, herecomeseverybody, and on public radio stations in New Jersey and Columbia, Missouri. She recently joined the core faculty in the Poetry Program of Columbia College Chicago. Born in Manhattan, poet and translator MICHAEL PALMER has lived in San Francisco since 1969. For over thirty years he has collaborated with many visual artists and composers and the choreographer Margaret Jenkins. His most recent collections are THE PROMISES OF GLASS, CODES APPEARING (POEMS 1979-1988, and COMPANY OF MOTHS, all from New Directions. Among his awards, Palmer has received a Guggenheim Fellowship, A Lila Wallace Reader's Digest Fund Award, two National Endowment for the Arts grants in poetry, the Shelley Memorial Award of the Poetry Society of America and, in the fall of 2006, the Wallace Stevens Award from the Academy of American Poets. He has taught at many universities in the United States and in Europe, and his work has been translated into more than twenty-five languages. ========================================================================= Date: Wed, 11 Apr 2007 09:34:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Burt Kimmelman Subject: NYC Reading, April 22nd Comments: To: poetz@yahoogroups.com, poetrynj@yahoogroups.com, poetrynj-owner@yahoogroups.com, pembroke9@yahoo.com, slurp@mailbucket.org, staff@poems.com Comments: cc: kimmelma@NJIT.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Burt Kimmelman will be reading in Manhattan from his new collection, = There Are Words (Dos Madres Press, 2007), on Sunday, April 22nd (details = below), at 2 PM. All are welcome to attend. =20 When: Sunday, April 22nd. =20 Where: High Chai Caf=E9 18 Avenue B (between 2nd and 3rd Streets) Manhattan=20 Phone: 212.477.2424).=20 =20 See write up including map: =20 http://newyork.citysearch.com/review/41797825 =20 and =20 http://www.yelp.com/biz/wwe8E9lGVMdZJCWBWzT74g. =20 ========================================================================= Date: Wed, 11 Apr 2007 15:49:00 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: Re: submissions welcome for Noon: Journal of the Short Poem In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello Sue, Sorry about that, silly not to include the email address. Here is the email address of Philip Rowland, editor of Noon; Philip Rowland where submissions can be sent cralan http://www.cralan.com On 4/8/07 9:38 AM, "sue walker" wrote: > What is the e-mail address of Philip Rowland and NOON? > > S Walker > > On Apr 7, 2007, at 6:57 PM, cralan kelder wrote: > >> > Hello All, I am forwarding this call for submissions. >> > >> > This is a beautiful little magazine/book to hold in your hands, >> > made in the way of binding with the string on the outside and >> > the pages folded. I am afraid I do not know the terminology for >> > Japanese binding. >> > >> > >> > >> > >> > >> > Dear readers and correspondents, >> > >> > This is to let you know that I have started reading for the next NOON >> > (#5, due out in September), and that I expect to be able to accept >> > submissions until approximately the end of June. Feel free to send >> > via email if that's more convenient for you. >> > >> > >> > There are few remaining copies of NOON 4, more of 2 and 3. Please ask >> > for details if you'd like to purchase a back issue. (I can give no >> > better guidelines.) Likewise, if you'd like to subscribe. The >> > magazine receives no other funding than my own and that of >> > subscribers. >> > >> > Best wishes, >> > >> > Philip >> > >> > Philip Rowland, editor >> > Noon: Journal of the Short Poem >> > Minami Motomachi 4-49-506 >> > Shinjuku-ku >> > Tokyo 160-0012 >> > Japan ========================================================================= Date: Wed, 11 Apr 2007 10:07:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Fwd: [norcallitlist] Northern California Book Awards In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ---------- Forwarded message ---------- From: Joyce Jenkins Date: Apr 10, 2007 9:05 PM Subject: [norcallitlist] Northern California Book Awards To: norcallitlist norcallitlist@yahoogroups.com Celebrate the Bay Area's vibrant literary scene at the 26th annual Northern California Book Awards Sunday, April 15, 2007, 1:00-2:30 pm Koret Auditorium at the San Francisco Main Library 100 Larkin Street in San Francisco Reception & book signing follow, 2:30-4:00, in the Latino/Hispanic Community Room Nominated books will be for sale by the Friends of the San Francisco Public Library. Admission is free; it is wheelchair accessible. For more information, please call (510) 525-5476 or visit www.poetryflash.org/NCBA.html. Eligible books are divided into five categories: Fiction, Nonfiction, Poetry, Children's Literature and Translation, published in 2006. Local critics read the books, discuss their merits and pick the winners. All of the nominated books are saluted at the ceremony. Fred Cody Award for lifetime achievement to Andrew Hoyem: This year's Fred Cody Award for lifetime achievement will be presented to Andrew Hoyem, the creative spirit of Arion Press. History of the Northern California Book Awards: Since 1981, the Northern California Book Reviewers (formerly BABRA), a volunteer group of book reviewers and book review editors, has honored the work of Northern California authors. One of the group's founders was Fred Cody, proprietor of the famed independent bookstore in Berkeley. Shortly after his death, the group created an award in his name to honor a lifetime of achievements and distinguished service to the literary community. Previous recipients include Diane di Prima, Orville Schell, Philip Levine, Ronald Takaki, Francisco X. Alarcon, Carolyn Kizer, Ishmael Reed, Maxine Hong Kingston, Robert Hass, Lawrence Ferlinghetti, Malcom Margolin, Adrienne Rich, Wallace Stegner, Kay Boyle, William Everson, Alice Walker, Gary Snyder, Jessica Mitford, Tillie Olsen, M.F.K. Fisher, and Robert Duncan. The Awards' Sponsors: Northern California Book Reviewers,* Poetry Flash,* Northern California Independent Booksellers Association, and the Center for the Art of Translation, with the Mechanics' Institute, PEN West, the San Francisco Public Library and the Friends of the San Francisco Public Library. 2007 Northern California Book Award Nominees [for books published in 2006 by Northern California authors] SPECIAL AWARD IN PUBLISHING *Veterans of War, Veterans of Peace,* edited by Maxine Hong Kingston, Koa Books. FICTION NOMINEES *Buffalo Boy and Geronimo,* James Janko, Curbstone Press. *Samba Dreamers,* Kathleen de Azevedo, University of Arizona Press. *Miss Kansas City,* Joan Frank, University of Michigan Press. *What is the What,* Dave Eggers, McSweeney's. *The Beheading Game,* Brenda Webster, Wings Press. POETRY *The Totality for Kids,* Joshua Clover, University of California Press. *After,* Jane Hirshfield, HarperCollins. *Angle of Yaw,* Ben Lerner, Copper Canyon Press. *Splay Anthem,* Nathaniel Mackey, New Directions. *Deconstruction of the Blues,* Richard Silberg, Red Hen Press. NONFICTION NOMINEES *Art of Engagement: Visual Politics in California and Beyond,* Peter Selz, University of California Press/San Jose Museum of Art. *The Heartless Stone: A Journey Through the World of Diamonds, Deceit, and Desire,* Tom Zoellner, St. Martin's Press. *Follies of the Wise: Dissenting Essays,* Frederick Crews, Shoemaker & Hoard. *The Omnivore's Dilemma: A Natural History of Four Meals,* Michael Pollan, The Penguin Press. *The Lemon Tree: An Arab, a Jew, and the Heart of the Middle East,* Sandy Tolan Bloomsbury USA. TRANSLATION NOMINEES *Sweetbitter Love: Poems of Sappho,* translated by Willis Barnstone, Shambhala. *Flowers of a Moment,* Ko Un, translated by Brother Anthony, Young-Moo Kim, and Gary Gach, BOA Editions. *Paradise Travel,* Jorge Franco, translated by Katherine Silver, Farrar, Straus, and Giroux. *Letter to My Mother,* Edith Bruck, translated by Brenda Webster with Gabriella Romani, Modern Language Association of America. *The Three Way Tavern,* Ko Un, translated by Clare You and Richard Silberg, University of California Press. CHILDREN'S LITERATURE NOMINEES *American Born Chinese,* Gene Luen Yang, First Second Books. *Probably the World's Best Story About a Dog and the Girl Who Loved Me,* D. James Smith, Atheneum/Richard Jackson Books. *The Green Glass Sea,* Ellen Klages, Viking Juvenile. *King Dork,* Frank Portman, Delacorte Press Books for Young Readers. *Roar of a Snore,* Marsha Diane Arnold, illustrated by Pierre Pratt, Dial. FRED CODY AWARD FOR LIFETIME ACHIEVEMENT ANDREW HOYEM Born in 1935 in Sioux Falls, South Dakota, to second-generation Norwegian parents, Andrew Hoyem graduated from Pomona College and served in the U. S. Navy. Upon settling in San Francisco in 1961, he became involved with the avant-garde literature scene. During the early 1960s, Hoyem was a partner in the Auerhahn Press, the publisher of numerous Beat Generation writers like John Weiners, Michael McClure, William Burroughs, Philip Lamantia, Philip Whalen, and Charles Olson. He designed several of the books written by his friend Richard Brautigan. After a nearly eight-year partnership with legendary San Francisco fine printer Robert Grabhorn, Hoyem struck out on his own and founded Arion Press. Considered one of the most accomplished printers of today, Hoyem is also a published poet and exhibited artist who occasionally includes his own writings and drawings in Arion books. The concepts for all Arion publications originate with Hoyem, who chooses literary texts, commission new work from writers and artists he admires, and designs the books, including their bindings and typography. In the Press's livre d'artiste series, he has worked closely with distinguished artists - Robert Motherwell, Jasper Johns, Ida Applebroog, John Baldessari, and Richard Diebenkorn, many of who come to the Press in San Francisco to work with him on projects. Individuals, museums and libraries including the Museum of Modern Art in New York, British Library, Huntington Library, and the Library of Congress collect Arion editions. -- *-------------------------------------------------------------------- -------------------------------------------------* *Poetry Flash* 1450 Fourth Street, #4 Berkeley, CA 94710 tel.510.525.5476 fax.510.525.6752 email:editor@poetryflash.org web:www.poetryflash.org (http://www.poetryflash.org) . __,_._,___ -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Wed, 11 Apr 2007 16:56:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: OT/Boog City presents Fleetwood Mac=?ISO-8859-1?Q?=B9s?= Rumours at 30 Mime-version: 1.0 Content-type: text/plain; charset="EUC-KR" Content-transfer-encoding: quoted-printable please forward -------------------- =20 Boog City's Classic Albums Live presents =20 for the album=A9=F6s 30th anniversary =20 Fleetwood Mac=A1=AFs Rumours =20 Wed. April 18, 7:00 p.m., $8 =20 Knitting Factory Old Office 74 Leonard Street=20 NYC =20 With individual sets from =20 7:15 p.m. Genan Zilkha 7:45 p.m. Matt Lydon 10:00 p.m. The Trouble Dolls 10:30 p.m. Matthew Iselin 11:00 p.m. The Sewing Circle =20 and the album performed live at 8:15 p.m. by =20 Genan Zilkha --Second Hand News --Dreams =20 Matt Lydon --Never Going Back Again --Don't Stop =20 The Sewing Circle --Go Your Own Way --Songbird =20 The Trouble Dolls --The Chain --You Make Loving Fun =20 Matthew Iselin --I Don't Want to Know --Oh Daddy =20 The Faggots --Gold Dust Woman =20 Hosted by Boog City editor and publisher David Kirschenbaum =20 Directions: 1/9 to Franklin St., or A/C/E to Canal St. Venue is bet. Church St. and Broadway. =20 For further information: 212-842-BOOG(2664) * editor@boogcity.com http://www.knittingfactory.com/ * 212-219-3132 =20 Bios: =20 *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=A9=F6s 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 up to 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. =20 *Genan Zilkha http://www.myspace.com/genanisfabulous 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. =20 *Matt Lydon http://www.myspace.com/mattlydon Matt Lydon was born and raised in south central New Hampshire. McDonald's. Rollerblades. Trees. He is married and has two beautiful children. He lives in Greenpoint, Brooklyn. =20 *The Sewing Circle http://www.myspace.com/thesewingcircle The Sewing Circle is a musical collective centered around keyboardist/multi-instrumentalist Preston Spurlock, with frequent collaborations from his first cousin Chase McGuire. The project started in West Palm Beach, Florida in the summer of 2003. Since then, they have recorded two full albums and are currently working on a third, and have had several live performances. The Sewing Circle specializes in songs about cryptozoology, extinction, and sleep. =20 *The Trouble Dolls http://www.troubledolls.net/ Trouble Dolls are Cheri, Matty, and Chris. They play pop music. They are from Brooklyn. They do not smoke. Their album "Sticky" is available on Half a Cow Records. They thank you for coming to see them play. =20 *Matthew Iselin http://www.myspace.com/matthewiselin Matthew Iselin is a native New Yorker now residing in Brooklyn. He has been playing and writing music all his life with many musicians but only recentl= y made the jump to play on his own. Matt=A1=AFs soulful writing style mixes fluently with his penchant for creating themes in his music that span from quirky blues to haunting melodic folk. He holds down the piano chair for singer-songwriters Alan Semerdjian, Adam Mugavero, and Carol Thomas. When not playing with them, he breaks out the keys with aggressive NOLA-funkster= s Afroskull. Matt also can be heard playing piano throughout the original score of Frank Whaley=A1=AFs critically acclaimed film Joe the King, starring V= al Kilmer, Ethan Hawke, and John Leguizamo. *The Faggots http://www.myspace.com/danfishback The Faggots are a conceptual post-punk gender experiment, led by queer performance artist/singer-songwriter Dan Fishback, executed by a oft-rotating cast of heterosexual musician-slaves. =20 --=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: Wed, 11 Apr 2007 18:06:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Howe Subject: TIMBREL featuring Sabrina Orah Mark MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear Poetics, New from Glossolalia: TIMBREL, featuring Sabrina Orah Mark reading "Walter B. Needs Some Time" and "Beatrice Takes a Lover" Now available for stream or download at http://glossolalia-blacksail.blogspot.com/ Given that were I forced to choose a favorite book of poetry from the Aughties, it would probably have to be *The Babies*, I'm surprised it's taken this long for me to get around to remixing Sabrina. Yet here we are. One might note that there is no timbrel in the mix. To be fair, there's no timbrel in the poem either. Coming soon(-ish, probably): Mixes featuring Laura Carter, Jon Leon, and Allyssa Wolf. Best, Brian Howe ========================================================================= Date: Thu, 12 Apr 2007 05:24:54 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Re: NYC Reading, April 22nd Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Burt, I thought only royalty spoke in the third person. All hail, King Burt! Love, Christophe Casamassima > ----- Original Message ----- > From: "Burt Kimmelman" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: NYC Reading, April 22nd > Date: Wed, 11 Apr 2007 09:34:00 -0400 >=20 >=20 > Burt Kimmelman will be reading in Manhattan from his new=20 > collection, There Are Words (Dos Madres Press, 2007), on Sunday,=20 > April 22nd (details below), at 2 PM. All are welcome to attend. >=20 >=20 >=20 > When: >=20 > Sunday, April 22nd. >=20 >=20 >=20 > Where: High Chai Caf=E9 >=20 > 18 Avenue B (between 2nd and 3rd Streets) >=20 > Manhattan >=20 > Phone: 212.477.2424). >=20 >=20 >=20 > See write up including map: >=20 >=20 >=20 > http://newyork.citysearch.com/review/41797825 >=20 >=20 >=20 > and >=20 >=20 >=20 > http://www.yelp.com/biz/wwe8E9lGVMdZJCWBWzT74g. >=20 >=20 > =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Thu, 12 Apr 2007 00:35:47 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: Thursday night in Amsterdam In-Reply-To: <1e7ff3150704111506j64fed878va3978a18cb4a6c30@mail.gmail.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Music and Poetry at the Sugar Factory Thursday 12 April The Open Stanza in the fair city of amsterdam brought to you by wordsinhere.com Across from the Melkweg, just off Leidseplein. Doors Open 7pm, performers on at 20.00 (that=B9s 8pm). 5 euro-clams, please =20 =20 Music by a jazz-electro maestro Oguz Buyukberber (Turkey). A veteran of th= e jazz music scene, Oguz has performed at the Northsea Jazz festival, London Jazz, Sonic Acts and the Dutch Jazz Meeting to name a few. His trio CD =B3Koan=B2 was released to critical acclaim in 2006. =20 =20 MC Jabber (UK/DK): Sometimes others say it best: 'His machine-gun delivery is marshaled into highly focused forms, and has the power of rap mixed with philosophical riffs. Phenomenal.' (Time Out) =20 Michel Delville (B): Michel is an established writer and musician based in Li=E8ge, Belgium. He ha= s penned several critical books and has two live albums being released this year. His band, The Wrong Object, has been a cult favorite for years. Michel, an associate editor of Sentence, will be giving one his rare lone appearances and performing poetry. =20 Gaby Bila-Gunther AKA Lady Gaby (Au/D): Poet Lady Gaby, born in Romania, raised in Australia, and based in Berlin. Her unique works have been self-published on windows, cans, shopping bags and aprons=20 =20 Philip Meersman (B) is an avant-garde performance poet who combines linguistics, images, sounds and samples to achieve new poetic forms. He is currently busy organizing a 100 poet tour of Europe; the Terranova Tour Poetry 2007 =AD 100 Poets, 7 countries. He will be accompanied by fellow Belgian fjorton (B) (alias of Lieven Vercauteren) who practices a mix of theatre, poetry, and plastic arts.=20 ========================================================================= Date: Wed, 11 Apr 2007 15:47:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: NYC Reading, April 22nd In-Reply-To: <20070411212454.59A5A13EEE@ws5-9.us4.outblaze.com> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=ISO-8859-1; format=flowed Content-transfer-encoding: quoted-printable Nope. Editors do, too. And Snoop Daddy. gb On Apr 11, 2007, at 2:24 PM, Christophe Casamassima wrote: > Burt, I thought only royalty spoke in the third person. > > All hail, King Burt! > > Love, > > Christophe Casamassima > > >> ----- Original Message ----- >> From: "Burt Kimmelman" >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: NYC Reading, April 22nd >> Date: Wed, 11 Apr 2007 09:34:00 -0400 >> >> >> Burt Kimmelman will be reading in Manhattan from his new >> collection, There Are Words (Dos Madres Press, 2007), on Sunday, >> April 22nd (details below), at 2 PM. All are welcome to attend. >> >> >> >> When: >> >> Sunday, April 22nd. >> >> >> >> Where: High Chai Caf=E9 >> >> 18 Avenue B (between 2nd and 3rd Streets) >> >> Manhattan >> >> Phone: 212.477.2424). >> >> >> >> See write up including map: >> >> >> >> http://newyork.citysearch.com/review/41797825 >> >> >> >> and >> >> >> >> http://www.yelp.com/biz/wwe8E9lGVMdZJCWBWzT74g. >> >> > >> > > > =3D > Search for products and services at: > http://search.mail.com > > --=20 > Powered By Outblaze > > George Harvey Bowering Fond of many dead people. ========================================================================= Date: Wed, 11 Apr 2007 18:43:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Art Show Opening Saturday, April 14, 6-8pm, at Gallery 324 =?utf-8?Q?=96_=93Between_Two_Spirits:_Valleys_of_Virginia=94,?= an exhibition of works by local Cleveland artists Bruce and Geraldine Kiefer. Content-Type: text/plain; charset=utf-8 Art show opening saturday, april 14, 6-8pm, at gallery 324 – “between two spirits: Valleys of Virginia”, an exhibition of works by local Cleveland artists Bruce and Geraldine Kiefer. Photographs and framed assemblages, from $190 - $250, will be on display from April 14 through April 28, 2007. Gallery Hours: M-F 10 am – 5 pm, Saturday 10 am – 2 pm For more information: Gallery 324 The Galleria at Erieview 1301 East 9th Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.verio.com The title “Between Two Spirits: Valleys of Virginia” is both literal and metaphorical. Literal in that the work was created in the valleys of western Virginia, and metaphorical in that it melds, intersects, and counterpoises the creative spirits of the two artists. Bruce Kiefer is a fine art photographer. Geraldine Kiefer does mixed-media work. At Gallery 324 they will be exhibiting landscapes from Bath County Virginia where they participate in the Nimrod Hall Artists Program, and other sites in Virginia’s western valleys and ridges. In these works the literal image is sometimes manipulated in Bruce Kiefer’s work, to create new compositions. Geraldine Kiefer takes Bruce’s prints as the starting point for her meditations that enrich the original scenes. Parking There is $1.00 Parking for these events on Saturdays in the Galleria Parking Garage: enter off Lakeside between East 9th and East 12th. There´s a large sign with a 3-D curly-cue design that says "Galleria Parking", and a ramp down under the building. There is free street parking on E 9th, E 12th, and St Clair on Saturdays, and after 7 pm on weekdays, but only the E 12th Street entrance to the Galleria is open on weekdays after 7. Location Gallery 324 is in the middle of the Galleria by the escalator down into the parking garage. DIRECTIONS to the GALLERIA From the west side 2 East - East Ninth Street, right - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign). Parking is Free on Saturdays, $3 after 4pm on Fridays. Go up the escalator or elevator to the FIRST FLOOR. Out of the elevator turn right and walk past the escalator to the Courtyard 480 - 176North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 71 North - 90 East - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the east side 480 - 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 90 West - 2 West - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the Heights Martin Luther King Jr Blvd North - 90 West - 2 west - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) By RTA Rapid From wherever you are go to the Tower City station and change for the Waterfront Line - get off at East 9th street, up the stairs, turn right on East Ninth Street (away from the lake, away from the R&R Hall) walk half a block to Lakeside, cross Ninth Street to your left, cross Lakeside, and half a block further on is the Ninth Street Entrance to the Galleria. If the weather's nice, you can also walk from Tower City across Public Square away from the Terminal Tower building you came out of (the building in which the RTA Rapid lets you off) and toward the BP Building. Walk east (that is, turn right just past the BP building) on any of Superior, Rockwell, or St Clair streets, to East Ninth. Turn left. From St Clair, it's right there; from Rockwell, one block, from Superior two blocks, to the entrance at East Ninth and St Clair. If you´d like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. ========================================================================= Date: Wed, 11 Apr 2007 15:38:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: JOB: Hyde Park Art Center MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hyde Park Art Center (Chicago, IL) http://www.hydeparkart.org Job Description: The Hyde Park Art Center seeks a full-time Development Associate. The Development Associate will report directly to the Associate Director and will be actively involved in all aspects of the Center's fundraising activities. This position will provide a broad base of experience in non-profit fundraising, as well as non-profit management more generally, in a dynamic,fast-paced environment. Specific duties include: * Management and Coordination of the growth of the Art Center's Annual Fund and membership campaigns. * Assistance with foundation and corporate relations, researching and writing grants and proposals. * Assistance with the planning of all of the Center's cultivation and fundraising events, including its annual Spring Gala. * Coordination of all donor stewardship, including weekly donor acknowledgements and special communications. * Assist with the Center's current Capital Campaign and major gifts efforts. * Manage the Art Center's donor database and mailing list * Oversight of Development Intern Qualifications: Smart, motivated, energetic, well-spoken, hard-working, personable candidate interested in a career in non-profit development, event planning, or management should apply. Masters degree and two to three years work experience preferred. Interested candidates should thrive in a fast-paced, fun-loving, environment; be prepared to take ownership of major projects and their success; be thorough and detail oriented while able to prioritize and manage his/her own time. The Hyde Park Art Center is an equal opportunity employer. Salary/Benefits: mid-thirties; medical, dental, and life insurance included How to Apply: Interested applicants should mail or email a cover letter and resume to Kate Lorenz, Associate Director, by May 7, 2007 at: Hyde Park Art Center 5020 S. Cornell Avenue Chicago, IL 60615 recruiting@hydeparkart.org No phone calls please. ____________________________________________________________________________________ It's here! Your new message! Get new email alerts with the free Yahoo! Toolbar. http://tools.search.yahoo.com/toolbar/features/mail/ ========================================================================= Date: Wed, 11 Apr 2007 11:18:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Both - Xanax Pop by Lewis LaCook Comments: To: rhizome , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Is it? Oh, I’m sorry. Sometimes it feels as if my fingers lock up, and I’m alone on the bed, cupping my rage like my stepfather did, or sleeping off the annoyances. It’s the ease that does it. How easy it is for everyone else. The sky grays out, as if disabled; clicking on that sky brings you nothing. Then rain furs the bare trees, fuzzing the edges off everything, and it’s too cold to think. When will Winter leave us alone, or beat us up? I like one or the other. Not both. Walking from one room to the next, holding in front of her the copper rods, waiting for them to cross over water, over pregnancies, over the dead and their awkward ashes. In this box, note how your memories curl at the edges, licked by invisible fire, but slowly, almost imperceptible. It would be a whole lot simpler if we just disappeared. I’d never have to bloat and blue in an August cold; I’d never have to serrate to dust, to become aloof to changing. A current of everything happening always smothers our corposes. Always. they’re in the way. She remains very calm while addressing me. Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. ========================================================================= Date: Wed, 11 Apr 2007 23:44:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Ken Rumble Readings 4/12 to 4/21, East Coast Tour MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hello Buffalo'ers, I'm hitting the road to give some readings over the next week -- maybe in your town... Details: Thursday, April 12th, 7pm, Barnes & Noble, Friendly Center, Greensboro, NC Friday, April 13th, 3pm, Hollins University, Green Room, Roanoke, VA (scroll down to April 13th) Saturday, April 14th, 8pm, Pyramid Atlantic, Silver Spring, MD, with C. S. Giscombe & Susan Tichy Gil Ott Memorial Award Reading Sunday, April 15th, 3pm, Robin's Bookstore, Philadelphia, PA, with Alicia Askenase, Julia Blumenreich, CAConrad, Rachel Blau DuPlessis, Ryan Eckes, Kristen Gallagher, Eli Goldblatt, Chris McCreary, Jenn McCreary, Bob Perelman, Ken Rumble, Joshua Schuster, Frank Sherlock, Ron Silliman Monday, April 16th, 7pm, Robin's Bookstore, Philadelphia, PA, with Sueyeun Juliette Lee Thursday, April 19th, 8pm, Red Weather Reading Series, 112 Walker, Pennsylvania State University, State College, PA Friday, April 20th, at some time and somewhere in Cleveland, Ohio, with Joseph Makkos & crew. Saturday, April 21st, Chillicothe, OH, at a branch campus of OU I think, sometime in the afternoon I believe -- I'm sure they'll tell me before the reading at some point. Also.... Monday, April 30th, 7pm, Regulator Bookshop, Durham, NC Maybe I'll see some of you there -- email me if you'd like details. xoxo, Ken -- Check out my new book Key Bridge: http://www.carolinawrenpress.org/books.html info about it: http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf ========================================================================= Date: Thu, 12 Apr 2007 13:42:14 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Thank God for Christopher Smart! MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I think the best part of Jubilate Agno comes when Smart tells us that if we all stop what we're doing and applaud, then God will reveal himself (no doubt bowing to left and right as in an opera by Handel) and the end of time will be upon us. What sublime absurdity! Visionary Poets of the English Language Blake Smart Vaughn Dee & Kelley Traherne Coleridge Wordsworth (At his best) Dickinson Southwell Chivers More? ========================================================================= Date: Thu, 12 Apr 2007 01:01:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: CNN Breaking News - Kurt Vonnegut MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed ---------- Forwarded message ---------- Date: Thu, 12 Apr 2007 00:34:02 -0400 From: CNN Breaking News Reply-To: newseditor@MAIL.CNN.COM To: TEXTBREAKINGNEWS@CNNIMAIL12.CNN.COM Subject: CNN Breaking News -- Kurt Vonnegut, whose novels included "Slaughterhouse Five" and "Cat's Cradle," has died at 84, his wife tells The Associated Press. ========================================================================= Date: Thu, 12 Apr 2007 01:05:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Kurt Vonnegut, Pilgrim MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 He's gone to Tralfamador -- http://www.nytimes.com/2007/04/11/books/11cnd-vonnegut.html <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> We are enslaved by what makes us free -- intolerable paradox at the heart of speech. --Robert Kelly 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, 11 Apr 2007 23:24:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: Kurt Vonnegut (1922-2007) Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Just seeing a headline, Vonnegut passed away. SF Chronicle has a decent obit: http://sfgate.com/cgi-bin/article.cgi?f=/n/a/2007/04/11/ national/a212252D92.DTL sad, but a long productive life writing. ========================================================================= Date: Thu, 12 Apr 2007 01:12:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Gricevich Subject: Music, Theater, Poetry you might want to see in CA this month MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poets, Two ensembles I’m part of will be performing in California in the next couple of weeks as part of our spring tour, and we love it when poets come to see us. They seem to like it as well. The Nonsense Company, a trio of musician/poet/actors, performs music and theater with an emphasis on composed speech, investigation of language, and sociopolitical issues. The Prince Myshkins perform satirical cabaret/folk songs (mostly funny and thought-provoking) on a wide range of topics (mostly not funny, though occassionally thought-provoking). Here are some dates, followed by descriptions of what we’re doing. I think some of you may really enjoy this stuff, and we’d love to talk with you about what you’re doing as well. Our websites are: http://www.princemyshkins.com http://www.princemyshkins.com/nonsensecompany.html Sunday, April 15th, 8 PM The Prince Myshkins Biko Garage Space 6612 Sueno Rd. Isla Vista, CA Monday, April 16th, 8 PM The Nonsense Company The Old Little Theater UCSB Campus Santa Barbara, CA “Conversation Storm” Tuesday, April 17th, afternoon The Nonsense Company SFSU San Francisco, CA Four chamber pieces (described below) (I don’t have all the info, but I can get it if you’re interested) Friday, April 20th, 7 p.m. The Prince Myshkins Bookbeat 28 Bolinas Rd. Fairfax, CA with the great Roy Zimmerman Saturday, April 21st, 7:30 p.m. (performances 8:30-10 p.m.) The Nonsense Company 1024A Shotwell St. (btwn. 24th & 25th) San Francisco, CA “Great Hymn of Thanksgiving,” “Conversation Storm, ” “words without song” Sunday, April 22nd, 8 p.m. The Prince Myshkins La Pena 3105 Shattuck Ave. Berkeley, CA with the Fromer Family THE NONSENSE COMPANY: TOUR REPERTOIRE “Great Hymn of Thanksgiving” by Rick Burkhardt Three speaking percussionists, around a dinner table setup (with tuned glasses and bowls, scraping forks, rumbling furniture and meticulously composed group speech), perform this work in which mealtime talk is replaced with news from the war in Iraq, scraps from the Army prayer manual, invented Arab folk tales, the poetry of Rae Armantrout, and “a recurring state of emergency pointing everywhere and leading nowhere.” “words without song”—poems by Andy Gricevich “Strange Autumn” by Steven Kazuo Takasugi for reciter, percussionist (playing amplified books), and tape Issues of irresolvable translation are complicated by impossible sonic landscapes. Writing and speech collide with sandstorms of flies. “Conversation Storm” by Rick Burkhardt In this 40-minute play, three old acquaintances from three sides of the political spectrum argue their way through a hypothetical “ticking time bomb” scenario, brutalizing their own positions in the process. Recent U.S. torture policies infect the form of the play, distorting time and character. “Mapuana mai kekahi” by Robert Phillips for speakers performing on various Hawaiian instruments and percussion. Western musicians encounter the smooth sounds of Harry Hoomele and his Island Orchestra in a ritualistic space that makes an other of anything within it. “Song Without Words” by Rick Burkhardt for prepared guitar, ukulele, accordion and harmonica. Incredibly quiet and indescribable. --------------------------------- Sucker-punch spam with award-winning protection. Try the free Yahoo! Mail Beta. ========================================================================= Date: Thu, 12 Apr 2007 05:27:20 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Kurt Vonnegut In-Reply-To: <748207.9276.qm@web35509.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Novelist Kurt Vonnegut dies at age 84 By CRISTIAN SALAZAR, Associated Press Writer NEW YORK - Kurt Vonnegut, the satirical novelist who captured the absurdity of war and questioned the advances of science in darkly humorous works such as "Slaughterhouse-Five" and "Cat's Cradle," died Wednesday. He was 84. Vonnegut, who often marveled that he had lived so long despite his lifelong smoking habit, had suffered brain injuries after a fall at his Manhattan home weeks ago, said his wife, photographer Jill Krementz. The author of at least 19 novels, many of them best-sellers, as well as dozens of short stories, essays and plays, Vonnegut relished the role of a social critic. Indianapolis, his hometown, declared 2007 as "The Year of Vonnegut" — an announcement he said left him "thunderstruck." He lectured regularly, exhorting audiences to think for themselves and delighting in barbed commentary against the institutions he felt were dehumanizing people. "I will say anything to be funny, often in the most horrible situations," Vonnegut, whose watery, heavy-lidded eyes and unruly hair made him seem to be in existential pain, once told a gathering of psychiatrists. A self-described religious skeptic and freethinking humanist, Vonnegut used protagonists such as Billy Pilgrim and Eliot Rosewater as transparent vehicles for his points of view. He also filled his novels with satirical commentary and even drawings that were only loosely connected to the plot. In "Slaughterhouse-Five," he drew a headstone with the epitaph: "Everything was beautiful, and nothing hurt." But much in his life was traumatic, and left him in pain. Despite his commercial success, Vonnegut battled depression throughout his life, and in 1984, he attempted suicide with pills and alcohol, joking later about how he botched the job. "I think he was a man who combined a wicked sense of humor and sort of steady moral compass, who was always sort of looking at the big picture of the things that were most important," said Joel Bleifuss, editor of In These Times, a liberal magazine based in Chicago that featured Vonnegut articles. His mother killed herself just before he left for Germany during World War II, where he was quickly taken prisoner during the Battle of the Bulge. He was being held in Dresden when Allied bombs created a firestorm that killed an estimated tens of thousands of people. "The firebombing of Dresden explains absolutely nothing about why I write what I write and am what I am," Vonnegut wrote in "Fates Worse Than Death," his 1991 autobiography of sorts. But he spent 23 years struggling to write about the ordeal, which he survived by huddling with other POW's inside an underground meat locker labeled slaughterhouse-five. The novel, in which Pvt. Pilgrim is transported from Dresden by time-traveling aliens from the planet Tralfamadore, was published at the height of the Vietnam War, and solidified his reputation as an iconoclast. "He was sort of like nobody else," said Gore Vidal, who noted that he, Vonnegut and Norman Mailer were among the last writers around who served in World War II. "He was imaginative; our generation of writers didn't go in for imagination very much. Literary realism was the general style. Those of us who came out of the war in the 1940s made it sort of the official American prose, and it was often a bit on the dull side. Kurt was never dull." Vonnegut was born on Nov. 11, 1922, in Indianapolis, a "fourth-generation German-American religious skeptic Freethinker," and studied chemistry at Cornell University before joining the Army. When he returned, he reported for Chicago's City News Bureau, then did public relations for General Electric, a job he loathed. He wrote his first novel, "Player Piano," in 1951, followed by "The Sirens of Titan," "Canary in a Cat House" and "Mother Night," making ends meet by selling Saabs on Cape Cod. Critics ignored him at first, then denigrated his deliberately bizarre stories and disjointed plots as haphazardly written science fiction. But his novels became cult classics, especially "Cat's Cradle" in 1963, in which scientists create "ice-nine," a crystal that turns water solid and destroys the earth. Many of his novels were best-sellers. Some also were banned and burned for suspected obscenity. Vonnegut took on censorship as an active member of the PEN writers' aid group and the American Civil Liberties Union. The American Humanist Association, which promotes individual freedom, rational thought and scientific skepticism, made him its honorary president. His characters tended to be miserable anti-heros with little control over their fate. Vonnegut said the villains in his books were never individuals, but culture, society and history, which he said were making a mess of the planet. "We probably could have saved ourselves, but we were too damned lazy to try very hard... and too damn cheap," he once suggested carving into a wall on the Grand Canyon, as a message for flying-saucer creatures. He retired from novel writing in his later years, but continued to publish short articles. He had a best-seller in 2005 with "A Man Without a Country," a collection of his nonfiction work, including jabs at the Bush administration ("upper-crust C-students who know no history or geography") and the uncertain future of the planet. He called the book's success "a nice glass of champagne at the end of a life." In recent years, Vonnegut worked as a senior editor and columnist at In These Times. Bleifuss said he had been trying to get Vonnegut to write something more for the magazine, but was unsuccessful. "He would just say he's too old and that he had nothing more to say. He realized, I think, he was at the end of his life," Bleifuss said. Vonnegut, who had homes in Manhattan and the Hamptons in New York, adopted his sister's three young children after she died. He also had three children of his own with his first wife, Ann Cox, and later adopted a daughter, Lily, with his second wife, the noted photographer Jill Krementz. Vonnegut once said that of all the ways to die, he'd prefer to go out in an airplane crash on the peak of Mount Kilimanjaro. He often joked about the difficulties of old age. "When Hemingway killed himself he put a period at the end of his life; old age is more like a semicolon," Vonnegut told The Associated Press in 2005. "My father, like Hemingway, was a gun nut and was very unhappy late in life. But he was proud of not committing suicide. And I'll do the same, so as not to set a bad example for my children." ___ Associated Press writers Michael Warren, Hillel Italie and Chelsea Carter contributed to this report.(and love to hate): Yahoo! TV's Guilty Pleasures list. ========================================================================= Date: Thu, 12 Apr 2007 08:02:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: Simplex 17 Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable from publisher derek beaulieu: Simplex 17 On December 7, 2005 I sent the following invitation: "this is an invitation to participate in a collaborative / constraint-based= concrete poetry portfolio. Letraset was created as a business tool for the= standardization of lettering in technical drawings and blueprints. Althoug= h it has fallen out of favour due to the proliferation of computers in tech= nical drawing, letraset continues to be used in concrete poetry. By assigni= ng the same material to a variety of international concrete poets and artis= ts, this project examines how content and form interplay in concrete poetry= , and will be an insight in to the malleability of language and materiality= through different visual compositional structures and styles." Seventeen poets and artists agreed to participate. Each received a full she= et of Simplex letraset dry-transfer lettering (every participant received t= he same typeface, although the size of the face varied due to difficulties = i had in finding enough sheets) and were restricted to using only the mater= ial supplied (i.e.: no additional materials), and responses had to fit on a= single sheet of 8 =BD" x 11" (or A4 if international) paper. Simplex 17 contains work by: Bruce Andrews, Jonathan Ball, John M. Bennett,= Christian B=F6k, Nicole Burisch, Jason Christie, Craig Dworkin, Geoffrey H= libchuk, Matthew Hollett, Frances Kruk, Donato Mancini, Billy Mavreas, kevi= n mcpherson-eckhoff, Max Middle, Rob Read, Pete Spence, Dan Waber This portfolio is published in an edition of 60 copies, of which 20 are for= sale at $8 each. for more information, or to order copies please contact d= erek beaulieu at: derek@housepress.ca ========================================================================= Date: Thu, 12 Apr 2007 10:09:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Christopher Smart and the Clapping of Hands MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Jesse, I'd forgotten about that part you mention. Smart had this about clapping hands. He mentions the clapping of hands a few times in the Jubilate. I had a friend, Tom Andrews, a lovely man who died (2001) when he was 41. He was a hemophiliac. When he was 12 or so he made the Guinness Book of World Records for clapping his hands. His mother admonished him during the middle of the attempt on record, "Are you clapping your hands for yourself or for the glory of God!" (This is recorded in his memoir CODEINE DIARY). When I read that, I showed him this passage in the Jubilate: "For the CLAPPING of the hands is naught unless it be to the glory of God." He looked at me with big tears in his eyes. Gabe "Let Ross, house of Ross rejoice with the Great Flabber Dabber Flat Clapping Fish with hands. Vide Anson's Voyage and Psalm 98th ix." "For applause or the clapping of the hands is the natural action of a man on the descent of the glory of God." __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Thu, 12 Apr 2007 09:49:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Thank God for Christopher Smart! MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable visionary poets english language (a few more--)Alice Notelybp Nichold a lev= yWalt WhitmanAllen GinsbergJack KerouacRobert GrenierThomas A. ClarkBarry M= acSweeneyHopkinsYeatsMarlowe> Date: Thu, 12 Apr 2007 13:42:14 +0900> From: = ahadada@GOL.COM> Subject: Thank God for Christopher Smart!> To: POETICS@LIS= TSERV.BUFFALO.EDU> > I think the best part of Jubilate Agno comes when Smar= t tells us that if> we all stop what we're doing and applaud, then God will= reveal himself> (no doubt bowing to left and right as in an opera by Hande= l) and the end> of time will be upon us.> > What sublime absurdity!> > Visi= onary Poets of the English Language> > > Blake> > Smart> > Vaughn> > Dee & = Kelley> > Traherne> > Coleridge> > Wordsworth (At his best)> > Dickinson> = > Southwell> > Chivers> > More? _________________________________________________________________ It=92s tax season, make sure to follow these few simple tips=20 http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.= aspx?icid=3DWLMartagline= ========================================================================= Date: Thu, 12 Apr 2007 09:44:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: jennifer knox MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline please send me her email backhannel if at all possible please and thank you -- i could use some bone marrow, please http://fuckinglies.blogspot.com/ ========================================================================= Date: Thu, 12 Apr 2007 09:29:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Munday Subject: Zolf, Mandel and Harris at Just Buffalo Small Press Series Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed APRIL 19 =97 RACHEL ZOLF AT JUST BUFFALO'S SMALL PRESS SERIES Been made =91redundant=92? Burned by =91synergy=92? Human Resources is the book for you, perverting corporate language to=20 artistic ends. Just Buffalo Literary Centre=92s regular celebration of independent=20 presses and poets welcomes Rachel Zolf, author of Human Resources, to=20 Rust Belt Books on April 19, 2007. Rachel Zolf joins fellow Canadian=20 poet Sharon Harris (Avatar) and Tom Mandel (To the Cognoscenti, The=20 Grand Piano). Zolf brings her irreverent fusion of poetry and corporate=20= jargon, Human Resources, to Buffalo for the first time since its March=20= publication. Just Buffalo=92s Small Press Series is hosted by Kevin=20 Thurston and Michael Kelleher. Tom Mandel, Rachel Zolf and Sharon Harris at Just Buffalo=92s Small = Press=20 Series Thursday, April 19, 7:00 p.m. Rust Belt Books, 202 Allen Street Buffalo, NY *** About Human Resources: Poetry and =91plain language=92 collide in the writing machine = that is=20 Human Resources. Here at the intersection of creation and repackaging,=20= we experience the visceral and psychic cost of selling things with=20 depleted words. Pilfered rhetorics fed into the machine are spit out as=20= bungled associations among money, shit, culture, work and=20 communication. With the help of online engines that numericize=20 language, Human Resources explores writing as a process of encryption. Deeply inflected by the polyvocality and encoded rhetorics of = the=20 screen, Human Resources is perched at the limits of language,=20 irreverently making and breaking meaning. Navigating the crumbling=20 boundaries among page, screen, reader, engine, writer and database,=20 Human Resources investigates wasting words and words as waste =96 and = the=20 creative potential of salvage. Written by Rachel Zolf (Masque), who works days as a corporate=20= communications consultant, churning out language to fire employees=20 gently or convince them to toe the corporate line, Human Resources=20 =91repurposes=92 for artistic ends the words and energy she wastes = daily.=20 The book exposes the codes =96 programming codes, social codes, = political=20 codes =96 that we live under every day that tell us how to act, what to=20= buy, who to love, who to bomb. =91What=92s the use of Jews writing limericks? An archaeologist of=20 language, Rachel Zolf asks questions, or just maybe tricks the language=20= into asking them for her, and for us, that we would never think to=20 pose. Check back on that stanza=96this is a marathon of writing and=20 thinking both. There are riches [in Human Resources] not previously=20 imagined.=92 =96 Ron Silliman Rachel Zolf is the author of the poetry collections Masque (The=20 Mercury Press, 2004), which was shortlisted for the 2005 Trillium Book=20= Award for Poetry, and Her absence, this wanderer (BuschekBooks, 1999),=20= which was a finalist in the cbc Literary Competition. Zolf lives in=20 Toronto and was the founding poetry editor for Walrus magazine. human resources =95 rachel zolf =95 march 2007 =95 96 pp. =95 $16.95 cdn = |=20 $14.95 us =95 isbn 1 55245 182 8 For review copies or media requests, contact Evan Munday at 416 979=20 2217 or evan@chbooks.com. ========================================================================= Date: Thu, 12 Apr 2007 09:28:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: Sol LeWitt (1928-2007) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hello all, this is already old news but i did not see notice of it pass through here yet... tom orange ------------------ Sol LeWitt, Master of Conceptualism, Dies at 78 By MICHAEL KIMMELMAN Sol LeWitt's deceptively simple geometric sculptures and drawings and ecstatically colored and jazzy wall paintings established him as a lodestar of modern American art. http://www.nytimes.com/2007/04/09/arts/design/09lewitt.html ========================================================================= Date: Thu, 12 Apr 2007 09:23:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Burt Kimmelman Subject: NYC Reading (Response) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Chris, I believe royalty speak in the first person plural, not the third = person. Burt Date: Thu, 12 Apr 2007 05:24:54 +0800 From: Christophe Casamassima Subject: Re: NYC Reading, April 22nd Burt, I thought only royalty spoke in the third person. All hail, King Burt! Love, Christophe Casamassima > ----- Original Message ----- > From: "Burt Kimmelman" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: NYC Reading, April 22nd > Date: Wed, 11 Apr 2007 09:34:00 -0400 >=3D20 >=3D20 > Burt Kimmelman will be reading in Manhattan from his new=3D20 > collection, There Are Words (Dos Madres Press, 2007), on Sunday,=3D20 > April 22nd (details below), at 2 PM. All are welcome to attend. >=3D20 >=3D20 >=3D20 > When: >=3D20 > Sunday, April 22nd. >=3D20 >=3D20 >=3D20 > Where: High Chai Caf=3DE9 >=3D20 > 18 Avenue B (between 2nd and 3rd Streets) >=3D20 > Manhattan >=3D20 > Phone: 212.477.2424). >=3D20 >=3D20 >=3D20 > See write up including map: >=3D20 >=3D20 >=3D20 > http://newyork.citysearch.com/review/41797825 >=3D20 >=3D20 >=3D20 > and >=3D20 >=3D20 >=3D20 > http://www.yelp.com/biz/wwe8E9lGVMdZJCWBWzT74g. >=3D20 >=3D20 > =3D3D Search for products and services at:=3D20 http://search.mail.com --=3D20 ========================================================================= Date: Thu, 12 Apr 2007 08:57:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Danon Subject: Summer Intensive Workshops at NYU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Study wth Charles Bernstein, Carole Maso, and Michael Steinberg at this = year's Summer Intensive in Creative Writing at NYU. The dates are June 10-June 22nd.=20 For information and applications contact Charles Bradshaw at = cb97@nyu.edu Or contact me via backchannel. Thanks, Ruth Danon ========================================================================= Date: Thu, 12 Apr 2007 07:42:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Sharpton and poet Maya Angelou on Imus -- and another missed opportunity? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hearing Al Sharpton interviewed today I of course agreed with him when he said, "I wouldn't want to hear a daughter of mine called a ho." And he's right too of course that we have a problem with racism that runs deep in America. There's really nothing he says that I disagree with (Maya Angelou's interview from yesterday on the other hand! I'll get back to her in a minute...), but I just wish we had used this situation while we had it to use. Meaning, imagine if Imus were required to take phone calls all day for a month from an 800 call-in number from anyone and everyone who wanted to talk about racism, sexism, and all the other forms of bigotry he upholds (no one bothers to mention the endless homophobic comments he makes)? It's too easy for us to slap this behavior down, in fact it's the easiest thing to do. Meanwhile all that's happened is that yet another bigot has been made to feel ashamed, and endlessly apologize, as though apologies really mean anything. He's just gone underground is all. What good's an apology when you REALLY listen to what he said that got him into this mess in the first place? I mean the thing that horrified me about his statement was mostly HOW it was said. He didn't say it with any emphasis to be shocking, it was merely SAID, as it's part of the man's vernacular, part of his easy everyday vocabulary. Policing what people say is our shortcoming in many ways. What we really need is the courage to allow EVERYTHING to be said. Imagine if we really did allow an 800 call-in number where callers could engage him all day long, callers who are against him, or callers who are with him, or a caller who might have some kind of strange insight none of us had ever thought of yet? I say we need to have more courage and allow Imus to PROVE his apology by engaging the country. Because while I agree with Sharpton's comments he's really said nothing new. What he said is said over and over again and gets us nowhere. We have a problem that needs a new solution. And I'm not even saying that my 800 call-in is the solution. I'm saying that this idea might possibly lead to a better solution along the way. And it could also be an opportunity for the country to engage. HEY, LET'S NOT FORGET HOW POPULAR THIS MAN IS! Let his stupidity and the stupidity of his fans be a pivot for change. NOW, yesterday's interview with poet Maya Angelou. GEESH! Did anyone else hear this? What rubbish! What's wrong with her!? And here I thought just her poems were awful! Of course I agree with her that the situation was shocking, yes, but I'm referring to when she was asked if suspending Imus was enough action, and she answered with, "I don't think so, the airwaves have been so polluted by him, and rappers and Hip Hop!" Is she out of her mind? This is the VERY SAME poet who I'm sure would LOVE to smack down any pro Patriot Act conversation, yet she calls publicly for the TOTAL fascist control of the airwaves! This "poet" grumbles like any grumpy old granny about the situation. That's all she's got? SHUT EVERYONE UP, that's the solution? No more rap, no more uncomfortable words. This is a poet? What? Since when are poets afraid of words!? How ridiculous! Is she too comfortable with all her accolades now to be bothered? What's her deal? And what EXACTLY would she prefer to hear on the radio WHILE WE'RE A COUNTRY A WAR!? At war in Iraq, and at war at home against the poor! Does she want soothing mood music? Does she want GOOD FEELING stories about saving puppies from the edge of swimming pools? How nice for her. Yes, that's lovely. The thing that irritates me most about her is that she wants to be known as this activist poet who confronts injustice so long as she doesn't have to actually expand the width of her worldview to engage. Courage it seems is always in short supply. CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Thu, 12 Apr 2007 08:14:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Thank God for Christopher Smart! MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit More...? Ronald Johnson. All through Ark and beyond. >I think the best part of Jubilate Agno comes when Smart tells us that if > we all stop what we're doing and applaud, then God will reveal himself > (no doubt bowing to left and right as in an opera by Handel) and the end > of time will be upon us. > > What sublime absurdity! > > Visionary Poets of the English Language > > > Blake > > Smart > > Vaughn > > Dee & Kelley > > Traherne > > Coleridge > > Wordsworth (At his best) > > Dickinson > > Southwell > > Chivers > > More? ========================================================================= Date: Thu, 12 Apr 2007 09:11:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Rexilius Subject: PARCEL (journal) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Parcel call for submissions PARCEL is a non-profit online journal that publishes innovative poetry, prose, artwork, essays and reviews. Long poems, collaborations and works from a series are especially welcome. Featured visual artists will be solicited until further notice, though feel free to send queries. Visit PARCEL at www.parceljournal.org. Submissions & Queries To be considered send up to 10 pages of prose or 5-7 poems to * * Parcel c/o Andrea Rexilius 2174 S. Grant St. Denver, Co 80210 or submit by email at editor@parceljournal.org Submissions are read year-round. New parcels will appear every 3 months. ========================================================================= Date: Thu, 12 Apr 2007 10:35:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another missed opportunity? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Although I too dislike most of the poetry by Maya Angelou I've seen over the years, I have to agree with her comment about rap and hip hop. For over a decade, drug dealers parked on the stoop of my building and forced me to listen to rap/hip hop at all hours of the day and night and I must agree that it's comments about women, gays, and all manner of other abused minorities are horrible. I was overjoyed when the police finally chased the dealers away and I was no longer forced to listen to this junk. But, to be honest, she isn't asking for the removal from the airwaves of this bilious crap, she is just pointing out what's out there. Regards, Tom Savage CA Conrad wrote: Hearing Al Sharpton interviewed today I of course agreed with him when he said, "I wouldn't want to hear a daughter of mine called a ho." And he's right too of course that we have a problem with racism that runs deep in America. There's really nothing he says that I disagree with (Maya Angelou's interview from yesterday on the other hand! I'll get back to her in a minute...), but I just wish we had used this situation while we had it to use. Meaning, imagine if Imus were required to take phone calls all day for a month from an 800 call-in number from anyone and everyone who wanted to talk about racism, sexism, and all the other forms of bigotry he upholds (no one bothers to mention the endless homophobic comments he makes)? It's too easy for us to slap this behavior down, in fact it's the easiest thing to do. Meanwhile all that's happened is that yet another bigot has been made to feel ashamed, and endlessly apologize, as though apologies really mean anything. He's just gone underground is all. What good's an apology when you REALLY listen to what he said that got him into this mess in the first place? I mean the thing that horrified me about his statement was mostly HOW it was said. He didn't say it with any emphasis to be shocking, it was merely SAID, as it's part of the man's vernacular, part of his easy everyday vocabulary. Policing what people say is our shortcoming in many ways. What we really need is the courage to allow EVERYTHING to be said. Imagine if we really did allow an 800 call-in number where callers could engage him all day long, callers who are against him, or callers who are with him, or a caller who might have some kind of strange insight none of us had ever thought of yet? I say we need to have more courage and allow Imus to PROVE his apology by engaging the country. Because while I agree with Sharpton's comments he's really said nothing new. What he said is said over and over again and gets us nowhere. We have a problem that needs a new solution. And I'm not even saying that my 800 call-in is the solution. I'm saying that this idea might possibly lead to a better solution along the way. And it could also be an opportunity for the country to engage. HEY, LET'S NOT FORGET HOW POPULAR THIS MAN IS! Let his stupidity and the stupidity of his fans be a pivot for change. NOW, yesterday's interview with poet Maya Angelou. GEESH! Did anyone else hear this? What rubbish! What's wrong with her!? And here I thought just her poems were awful! Of course I agree with her that the situation was shocking, yes, but I'm referring to when she was asked if suspending Imus was enough action, and she answered with, "I don't think so, the airwaves have been so polluted by him, and rappers and Hip Hop!" Is she out of her mind? This is the VERY SAME poet who I'm sure would LOVE to smack down any pro Patriot Act conversation, yet she calls publicly for the TOTAL fascist control of the airwaves! This "poet" grumbles like any grumpy old granny about the situation. That's all she's got? SHUT EVERYONE UP, that's the solution? No more rap, no more uncomfortable words. This is a poet? What? Since when are poets afraid of words!? How ridiculous! Is she too comfortable with all her accolades now to be bothered? What's her deal? And what EXACTLY would she prefer to hear on the radio WHILE WE'RE A COUNTRY A WAR!? At war in Iraq, and at war at home against the poor! Does she want soothing mood music? Does she want GOOD FEELING stories about saving puppies from the edge of swimming pools? How nice for her. Yes, that's lovely. The thing that irritates me most about her is that she wants to be known as this activist poet who confronts injustice so long as she doesn't have to actually expand the width of her worldview to engage. Courage it seems is always in short supply. CAConrad http://PhillySound.blogspot.com --------------------------------- Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. ========================================================================= Date: Thu, 12 Apr 2007 13:35:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another missed opportunity? In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed I just wonder if it isn't too easy to condemn Imus as a way of sublimating our own racism, potential and/or actual? How many of us haven't made racist comments about one or another group, including our own? I agree with the punishment but he's also being made the scapegoat for a LOT of behavior that doesn't get talked about, ever, and this situation isn't going to change that. Let I. be "punished" but let's also look at ourselves. - Alan On Thu, 12 Apr 2007, CA Conrad wrote: > Hearing Al Sharpton interviewed today I of course > agreed with him when he said, "I wouldn't want to > hear a daughter of mine called a ho." And he's right > too of course that we have a problem with racism > that runs deep in America. There's really nothing > he says that I disagree with (Maya Angelou's interview > from yesterday on the other hand! I'll get back to her > in a minute...), but I just wish we had used this > situation while we had it to use. > > Meaning, imagine if Imus were required to take phone > calls all day for a month from an 800 call-in number > from anyone and everyone who wanted to talk about > racism, sexism, and all the other forms of bigotry he > upholds (no one bothers to mention the endless > homophobic comments he makes)? It's too easy for > us to slap this behavior down, in fact it's the easiest > thing to do. Meanwhile all that's happened is that yet > another bigot has been made to feel ashamed, and > endlessly apologize, as though apologies really mean > anything. He's just gone underground is all. > > What good's an apology when you REALLY listen to > what he said that got him into this mess in the first > place? I mean the thing that horrified me about his > statement was mostly HOW it was said. He didn't > say it with any emphasis to be shocking, it was merely > SAID, as it's part of the man's vernacular, part of his > easy everyday vocabulary. > > Policing what people say is our shortcoming in many > ways. What we really need is the courage to allow > EVERYTHING to be said. Imagine if we really did > allow an 800 call-in number where callers could engage > him all day long, callers who are against him, or callers > who are with him, or a caller who might have some kind > of strange insight none of us had ever thought of yet? > I say we need to have more courage and allow Imus to > PROVE his apology by engaging the country. > > Because while I agree with Sharpton's comments he's > really said nothing new. What he said is said over and > over again and gets us nowhere. We have a problem > that needs a new solution. And I'm not even saying that > my 800 call-in is the solution. I'm saying that this idea > might possibly lead to a better solution along the way. > And it could also be an opportunity for the country to > engage. HEY, LET'S NOT FORGET HOW POPULAR > THIS MAN IS! Let his stupidity and the stupidity of his > fans be a pivot for change. > > NOW, yesterday's interview with poet Maya Angelou. > GEESH! Did anyone else hear this? What rubbish! > What's wrong with her!? And here I thought just her > poems were awful! Of course I agree with her that the > situation was shocking, yes, but I'm referring to when > she was asked if suspending Imus was enough action, > and she answered with, "I don't think so, the airwaves > have been so polluted by him, and rappers and Hip Hop!" > > Is she out of her mind? This is the VERY SAME poet > who I'm sure would LOVE to smack down any pro > Patriot Act conversation, yet she calls publicly for > the TOTAL fascist control of the airwaves! This > "poet" grumbles like any grumpy old granny about > the situation. That's all she's got? SHUT EVERYONE > UP, that's the solution? No more rap, no more > uncomfortable words. This is a poet? What? Since > when are poets afraid of words!? How ridiculous! > > Is she too comfortable with all her accolades now to > be bothered? What's her deal? And what EXACTLY > would she prefer to hear on the radio WHILE WE'RE > A COUNTRY A WAR!? At war in Iraq, and at war at > home against the poor! Does she want soothing mood > music? Does she want GOOD FEELING stories about > saving puppies from the edge of swimming pools? How > nice for her. Yes, that's lovely. > > The thing that irritates me most about her is that she > wants to be known as this activist poet who confronts > injustice so long as she doesn't have to actually expand > the width of her worldview to engage. > > Courage it seems is always in short supply. > > CAConrad > http://PhillySound.blogspot.com > > ======================================================================= Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check WVU Zwiki, Google for recent. Write for info on books, cds, performance, dvds, etc. ============================================================= ========================================================================= Date: Thu, 12 Apr 2007 12:35:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: Thank God for Christopher Smart! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit John Clare Patti Smith Jones Very Else von Freytag-Loringhoven -- __________________________________ http://gabrielgudding.blogspot.com ---------------------------------- Gabriel Gudding Department of English Illinois State University Normal, Illinois 61790 309.438.5284 (office) ========================================================================= Date: Thu, 12 Apr 2007 10:52:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: SCOTT HOWARD Subject: Visionary poetics & poetry? In-Reply-To: <001501c77cfc$311cead0$63ae4a4a@yourae066c3a9b> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT The list potentially goes on-and-on, depending upon what you mean by 'visionary'. (What do you mean by that?) Without being nasty about it, which writers would you include on a counter-list of 'non-visionary' poetics & poetry? ////////////// On Thu, 12 Apr 2007, Gerald Schwartz wrote: > More...? Ronald Johnson. All > through Ark and beyond. > > > >I think the best part of Jubilate Agno comes when Smart tells us that if > > we all stop what we're doing and applaud, then God will reveal himself > > (no doubt bowing to left and right as in an opera by Handel) and the end > > of time will be upon us. > > > > What sublime absurdity! > > > > Visionary Poets of the English Language > > > > > > Blake > > > > Smart > > > > Vaughn > > > > Dee & Kelley > > > > Traherne > > > > Coleridge > > > > Wordsworth (At his best) > > > > Dickinson > > > > Southwell > > > > Chivers > > > > More? > ========================================================================= Date: Thu, 12 Apr 2007 11:04:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Tonight~ In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poets and Friends, Please come this Thursday, April 12, 2007 @ 7 p.m. to celebrate the release of my new book, I'M THE MAN WHO LOVES YOU, hosted by Word of Mouth . The reading will be held at Bluestockings Radical Books, located in the Lower East Side of Manhattan at 172 Allen Street between Stanton and Rivington - which is 1 block south of Houston and 1st Avenue. Copies available at the reading for a discounted price -- I'M THE MAN WHO LOVES YOU -- http://www.blazevox.org/bk-ak2.htm ~~~~~~ Book Release Party for I'M THE MAN WHO LOVES YOU (Blazevox 2007) Amy King lives in Brooklyn, NY, and is the author of the poetry collections, I'M THE MAN WHO LOVES YOU (BlazeVOX Books, 2007), ANTIDOTES FOR AN ALIBI (BlazeVOX Books, 2005), and THE PEOPLE INSTRUMENTS (Pavement Saw Press, 2003). E-Books are available through Duration Press and Dusie Press online. Amy teaches Creative Writing and English at SUNY Nassau Community College and is the editor-in-chief for the literary arts journal, MiPOesias ( http://www.mipoesias.com) . Matthew Everett is a writer, musician and graduate student in the MFA program at the New School. His preoccupations include death, relativity, the mutability of personalities and the difficulty of meaning. Matt has two chapbooks available for purchase, From Out, a collection of poems, and Unredeemed, a poem with illustrations by the author. Some more of Matt's writing and music can be found at www.myspace.com/mateverett. Alexandra Grace (poetry) is a graduate from the Sarah Lawrence MFA program. She has been published in RHINO, Lumina, Impetus and Thorny Locust. She is the curator of the Post-MFA/Pre-Book reading series at Cornelia Street Cafe. Alexandra grew up in a flowerpot in her parents backyard, where they watered her everyday. Siobhan Ciminera (poetry) is finishing up her MFA in Creative Writing, Poetry at The New School. By day she is an editor at Penguin Young Readers Group where she edits books for such brands as Mad Libs, Nancy Drew and Angelina Ballerina. ** Hosted by Meghan Punschke --------------------------------- Bored stiff? Loosen up... Download and play hundreds of games for free on Yahoo! Games. ========================================================================= Date: Thu, 12 Apr 2007 13:03:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Walter Lew Subject: Walter K. Lew Lecture Friday and Reading Saturday in Minneapolis Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed For those of you in the Twin Cities area, a last-minute notice of a=20 talk and reading I'm giving: "Meaning's Many-Patterned Movement: What the Long History of Korean Intermedia Texts Can Offer Us as New=20 Artists=94 Korean studies scholar and poet Walter K. Lew will present different=20 examples from the long history of Korean texts that combine language,=20 icons and other imagery, and sometimes performance. These range from=20 7th-century Buddhist dharani and the 15th-century development of a new=20= Korean orthography (actually, "orthophony") to multimedia performances=20= during the Japanese colonial era and the avant-garde poetries of Yi=20 Sang (1910-1937) and Yi Won (b. 1968). Time permitting, he will suggest=20= ways in which they can serve as models for new work in the present. Lew=20= teaches in the English Dept. of the U. of Miami in Coral Gables, FL. WHEN: Friday. April 13 at 3 p.m. WHERE: Minnesota Population Center Seminar room Lower Level, 50 Willey Hall University of Minnesota, West Bank CONTACT: Karen Kinoshita University of Minnesota College of Liberal Arts Institute for Advanced Study 612.626.5054 or 612.626.5028 SPONSORS: The Institute for Advanced Study and Dept. of English of the University=20= of Minnesota Lew will also give a brief reading the following evening, Sat., April=20 14, as part of the opening ceremony for an exhibit on the Korean War=20 titled "Still Present Pasts" at Intermedia Arts in Minneapolis (2822=20 Lyndale Avenue South / phone: 612.871.4444). ========================================================================= Date: Thu, 12 Apr 2007 13:58:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another missed opportunity? In-Reply-To: <637721.35466.qm@web31111.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline tom, can you name which rappers you find most offensive? is it every single mc performing today? ludacris is the new judas priest On 4/12/07, Thomas savage wrote: > > Although I too dislike most of the poetry by Maya Angelou I've seen over > the years, I have to agree with her comment about rap and hip hop. For over > a decade, drug dealers parked on the stoop of my building and forced me to > listen to rap/hip hop at all hours of the day and night and I must agree > that it's comments about women, gays, and all manner of other abused > minorities are horrible. I was overjoyed when the police finally chased the > dealers away and I was no longer forced to listen to this junk. But, to be > honest, she isn't asking for the removal from the airwaves of this bilious > crap, she is just pointing out what's out there. Regards, Tom Savage > > CA Conrad wrote: Hearing Al Sharpton interviewed > today I of course > agreed with him when he said, "I wouldn't want to > hear a daughter of mine called a ho." And he's right > too of course that we have a problem with racism > that runs deep in America. There's really nothing > he says that I disagree with (Maya Angelou's interview > from yesterday on the other hand! I'll get back to her > in a minute...), but I just wish we had used this > situation while we had it to use. > > Meaning, imagine if Imus were required to take phone > calls all day for a month from an 800 call-in number > from anyone and everyone who wanted to talk about > racism, sexism, and all the other forms of bigotry he > upholds (no one bothers to mention the endless > homophobic comments he makes)? It's too easy for > us to slap this behavior down, in fact it's the easiest > thing to do. Meanwhile all that's happened is that yet > another bigot has been made to feel ashamed, and > endlessly apologize, as though apologies really mean > anything. He's just gone underground is all. > > What good's an apology when you REALLY listen to > what he said that got him into this mess in the first > place? I mean the thing that horrified me about his > statement was mostly HOW it was said. He didn't > say it with any emphasis to be shocking, it was merely > SAID, as it's part of the man's vernacular, part of his > easy everyday vocabulary. > > Policing what people say is our shortcoming in many > ways. What we really need is the courage to allow > EVERYTHING to be said. Imagine if we really did > allow an 800 call-in number where callers could engage > him all day long, callers who are against him, or callers > who are with him, or a caller who might have some kind > of strange insight none of us had ever thought of yet? > I say we need to have more courage and allow Imus to > PROVE his apology by engaging the country. > > Because while I agree with Sharpton's comments he's > really said nothing new. What he said is said over and > over again and gets us nowhere. We have a problem > that needs a new solution. And I'm not even saying that > my 800 call-in is the solution. I'm saying that this idea > might possibly lead to a better solution along the way. > And it could also be an opportunity for the country to > engage. HEY, LET'S NOT FORGET HOW POPULAR > THIS MAN IS! Let his stupidity and the stupidity of his > fans be a pivot for change. > > NOW, yesterday's interview with poet Maya Angelou. > GEESH! Did anyone else hear this? What rubbish! > What's wrong with her!? And here I thought just her > poems were awful! Of course I agree with her that the > situation was shocking, yes, but I'm referring to when > she was asked if suspending Imus was enough action, > and she answered with, "I don't think so, the airwaves > have been so polluted by him, and rappers and Hip Hop!" > > Is she out of her mind? This is the VERY SAME poet > who I'm sure would LOVE to smack down any pro > Patriot Act conversation, yet she calls publicly for > the TOTAL fascist control of the airwaves! This > "poet" grumbles like any grumpy old granny about > the situation. That's all she's got? SHUT EVERYONE > UP, that's the solution? No more rap, no more > uncomfortable words. This is a poet? What? Since > when are poets afraid of words!? How ridiculous! > > Is she too comfortable with all her accolades now to > be bothered? What's her deal? And what EXACTLY > would she prefer to hear on the radio WHILE WE'RE > A COUNTRY A WAR!? At war in Iraq, and at war at > home against the poor! Does she want soothing mood > music? Does she want GOOD FEELING stories about > saving puppies from the edge of swimming pools? How > nice for her. Yes, that's lovely. > > The thing that irritates me most about her is that she > wants to be known as this activist poet who confronts > injustice so long as she doesn't have to actually expand > the width of her worldview to engage. > > Courage it seems is always in short supply. > > CAConrad > http://PhillySound.blogspot.com > > > > --------------------------------- > Need Mail bonding? > Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. > -- i could use some bone marrow, please http://fuckinglies.blogspot.com/ ========================================================================= Date: Thu, 12 Apr 2007 12:25:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: V Nicholas LoLordo Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another missed opportunity? In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Fair enough, Alan--of course, the ruling media elites (who come on Imus' show year after hear, thereby implicitly signing off on his comments) aren't just "us"--they're power brokers, and an attack on them should be considered part of an effort at political reform: this isn't ultimately about scapegoating at all, I don't think..... Nick On Apr 12, 2007, at 10:35 AM, Alan Sondheim wrote: > I just wonder if it isn't too easy to condemn Imus as a way of > sublimating our own racism, potential and/or actual? How many of us > haven't made racist comments about one or another group, including > our own? I agree with the punishment but he's also being made the > scapegoat for a LOT of behavior that doesn't get talked about, > ever, and this situation isn't going to change that. > > Let I. be "punished" but let's also look at ourselves. > > - Alan > > > ==================================================== V Nicholas LoLordo Assistant Professor Department of English University of Nevada-Las Vegas 4505 Maryland Parkway Box 455011 Las Vegas, NV 89154-5011 Phone: 702-895-3623 Fax: 702-895-4801 ========================================================================= Date: Thu, 12 Apr 2007 15:18:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another missed opportunity? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Of all the disgusting things Imus seems to be saying on the radio over the years, why is this one picked up, "nappy-headed hos"? To call Highfill a cleaning woman or referring to the tattoos of Rutgers basketball players as opposed to the pretty chicks of the other team (a complex set of slurs which involves both gay bashing, dykes, and sexual/racial stereotyping, Georgia peach feminine as opposed to tattoo wearing blacks) seems much more vile and profound to me. Is it because the proverbial last drop or the straw breaking the camel's back is reached. I doubt it. The fact is that if the objection had been around the cleaning woman reference or even the dyke joke the uproar would not have reached, I think, the intensity it has.Gay bashing jokes are too "main-stream," so to speak. Many people still believe any black in a position of power has reached that position because of special dispensations. The "nappy headed hos," unfortunately for Imus, was a perfect storm because everybody could find an "outsider" target they could jointly attack, "rap music" (with the exception of some people here on the list). Though I feel mixed about the Imus situation (basically I think there are too many taboos in our culture now, but if the jokes were about Jews I would have been first asking for his removal), the scapegoat is not Imus, who is basically getting what was coming to him, but rap music. Ironically, it is an easier target. I am personaly amazed that so many companies have withdrawn their advertizements from Imus's show. Perhaps,there is now a truly powerful constituency in our culture against such shameless racism. Ciao, Murat On 4/12/07, Alan Sondheim < sondheim@panix.com> wrote: > > I just wonder if it isn't too easy to condemn Imus as a way of sublimating > > our own racism, potential and/or actual? How many of us haven't made > racist comments about one or another group, including our own? I agree > with the punishment but he's also being made the scapegoat for a LOT of > behavior that doesn't get talked about, ever, and this situation isn't > going to change that. > > Let I. be "punished" but let's also look at ourselves. > > - Alan > > > On Thu, 12 Apr 2007, CA Conrad wrote: > > > Hearing Al Sharpton interviewed today I of course > > agreed with him when he said, "I wouldn't want to > > hear a daughter of mine called a ho." And he's right > > too of course that we have a problem with racism > > that runs deep in America. There's really nothing > > he says that I disagree with (Maya Angelou's interview > > from yesterday on the other hand! I'll get back to her > > in a minute...), but I just wish we had used this > > situation while we had it to use. > > > > Meaning, imagine if Imus were required to take phone > > calls all day for a month from an 800 call-in number > > from anyone and everyone who wanted to talk about > > racism, sexism, and all the other forms of bigotry he > > upholds (no one bothers to mention the endless > > homophobic comments he makes)? It's too easy for > > us to slap this behavior down, in fact it's the easiest > > thing to do. Meanwhile all that's happened is that yet > > another bigot has been made to feel ashamed, and > > endlessly apologize, as though apologies really mean > > anything. He's just gone underground is all. > > > > What good's an apology when you REALLY listen to > > what he said that got him into this mess in the first > > place? I mean the thing that horrified me about his > > statement was mostly HOW it was said. He didn't > > say it with any emphasis to be shocking, it was merely > > SAID, as it's part of the man's vernacular, part of his > > easy everyday vocabulary. > > > > Policing what people say is our shortcoming in many > > ways. What we really need is the courage to allow > > EVERYTHING to be said. Imagine if we really did > > allow an 800 call-in number where callers could engage > > him all day long, callers who are against him, or callers > > who are with him, or a caller who might have some kind > > of strange insight none of us had ever thought of yet? > > I say we need to have more courage and allow Imus to > > PROVE his apology by engaging the country. > > > > Because while I agree with Sharpton's comments he's > > really said nothing new. What he said is said over and > > over again and gets us nowhere. We have a problem > > that needs a new solution. And I'm not even saying that > > my 800 call-in is the solution. I'm saying that this idea > > might possibly lead to a better solution along the way. > > And it could also be an opportunity for the country to > > engage. HEY, LET'S NOT FORGET HOW POPULAR > > THIS MAN IS! Let his stupidity and the stupidity of his > > fans be a pivot for change. > > > > NOW, yesterday's interview with poet Maya Angelou. > > GEESH! Did anyone else hear this? What rubbish! > > What's wrong with her!? And here I thought just her > > poems were awful! Of course I agree with her that the > > situation was shocking, yes, but I'm referring to when > > she was asked if suspending Imus was enough action, > > and she answered with, "I don't think so, the airwaves > > have been so polluted by him, and rappers and Hip Hop!" > > > > Is she out of her mind? This is the VERY SAME poet > > who I'm sure would LOVE to smack down any pro > > Patriot Act conversation, yet she calls publicly for > > the TOTAL fascist control of the airwaves! This > > "poet" grumbles like any grumpy old granny about > > the situation. That's all she's got? SHUT EVERYONE > > UP, that's the solution? No more rap, no more > > uncomfortable words. This is a poet? What? Since > > when are poets afraid of words!? How ridiculous! > > > > Is she too comfortable with all her accolades now to > > be bothered? What's her deal? And what EXACTLY > > would she prefer to hear on the radio WHILE WE'RE > > A COUNTRY A WAR!? At war in Iraq, and at war at > > home against the poor! Does she want soothing mood > > music? Does she want GOOD FEELING stories about > > saving puppies from the edge of swimming pools? How > > nice for her. Yes, that's lovely. > > > > The thing that irritates me most about her is that she > > wants to be known as this activist poet who confronts > > injustice so long as she doesn't have to actually expand > > the width of her worldview to engage. > > > > Courage it seems is always in short supply. > > > > CAConrad > > http://PhillySound.blogspot.com > > > > > > > ======================================================================= > Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. > Webpage directory http://www.asondheim.org . Email: sondheim@panix.com . > http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check > WVU Zwiki, Google for recent. Write for info on books, cds, performance, > dvds, etc. ============================================================= > ========================================================================= Date: Thu, 12 Apr 2007 14:17:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Cope Subject: query MIME-version: 1.0 Content-type: text/plain; format=flowed; charset=us-ascii Content-transfer-encoding: 7BIT Would anyone mind backchannelling a current email contact for Ed Roberson. Thanks in advance, Stephen Cope stephen.cope@drake.edu ========================================================================= Date: Thu, 12 Apr 2007 15:00:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Visionary poetics & poetry? MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit > The list potentially goes on-and-on, depending upon what you mean by > 'visionary'. (What do you mean by that?) By visionary I mean visions (as I understood the original post). Wasn't considering "visionary" to mean innovative. And, by visions, I mean corporeal, imaginative, and intellectual. Shelley, Keats, Goethe (to some extent), Novalis, Poe, H. D., Duncan, Merrill, etc., claimed to have corporeal visions--with which may have been coupled locutions and other supernatural maifestations which were, or appeared to be, perceived by means of the senses--eather as figures really present externally stiking the retina or other organ of sense, there determining the physical phenomena of their visions: or else (they reported) agents superior to them directly modified their eye, or othe sensual organ, so as to produce a sensation equivalent to that which an external object would produce. Many of them also reported imaginative visions in that the sensible representation of an object by the action of the imagination alone, without the aid of the eye or other sensual organ. In these visions the poet may have been aware that the object apparently seen existed only in her imagination, or she may have been, so to speak, projecting it without herself, in which case there was a hallucination. These writers have noted that imaginative visions usually last for a short time only; because 1. the poet's attempt to define or fix the elements of the vision by conscious effort tended to wash it away quickly, or 2. because they were soon enfolded into intellectual visions-- those in which no sensible image was perceived, but the intelligency was enlightened directly, without the support of either images, external or imagined, or even of the work of reason. > Without being nasty about it, which writers would you include on a > counter-list of 'non-visionary' poetics & poetry? Specifically, those not being able to be placed by the above descriptions. > ////////////// > > > On Thu, 12 Apr 2007, Gerald Schwartz wrote: > >> More...? Ronald Johnson. All >> through Ark and beyond. >> >> >> >I think the best part of Jubilate Agno comes when Smart tells us that if >> > we all stop what we're doing and applaud, then God will reveal himself >> > (no doubt bowing to left and right as in an opera by Handel) and the >> > end >> > of time will be upon us. >> > >> > What sublime absurdity! >> > >> > Visionary Poets of the English Language >> > >> > >> > Blake >> > >> > Smart >> > >> > Vaughn >> > >> > Dee & Kelley >> > >> > Traherne >> > >> > Coleridge >> > >> > Wordsworth (At his best) >> > >> > Dickinson >> > >> > Southwell >> > >> > Chivers >> > >> > More? >> ========================================================================= Date: Thu, 12 Apr 2007 11:25:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Maya Angelou on Imus -- and another missed opportunity? In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed CA-- Opportunity isn't yet missed... Obviously, there's a debate amongst blacks about the representative role of hip hop.... there's the brilliant bell hooks argument (from the early 90s) when she was asked to criticize the sexism of hip-hop by a white-run magazine, and instead talked about the seemingly more 'benign' forms of sexism in the white media (the movie 'the piano' for instance, she mentioned) sure, angelou in many ways is saying what imus himself said (in imus' 'apology,' he said he just got those words from hip hop....) and eliding the possible difference between what happens when a black uses a word and a white uses the same word.... but she does raise the question about whether the mostly white- controlled media's pushing of certain forms of hip hop that use words that, yes, some blacks find demeaning (whether rightly or wrongly; i leave that debate for others), at the expense of other forms of rap/hip hop or even other genres that black musicians often feel they have to 'go against the grain' to work in might itself be a fascist control of the media while pretending to be freedom (Oh we're just 'giving the people what they want,' 'letting boys be boys" etc....) Angelou's statement may be short on deep social analysis here (in contrast to bell hooks and others), but it is a valid point, and I don't think she's arguing for fascism and media control-- in a way, i think her statement can be read as arguing for less of it (if you accept the argument that there was a white sanctioned 'bling' conspiracy that forced a lot of the most progressive rap off the mainstream commercial airwaves in the last ten or so years.... (on another point---and it's not really an argument, or defense of imus, but i'm not so sure that really is the way he really talks; it may not have been intended to 'shock' per se, but like so many whites attempting to appropriate black slang to give them some kind of 'edge' and not really getting it....not that i do either.... I'm hearing a lot of blacks speak up about this, and that to me is a good thing, especially as it moves into these larger issues that got shut up after the New Orleans diaspora.. Chris On Apr 12, 2007, at 5:42 AM, CA Conrad wrote: > she answered with, "I don't think so, the airwaves > have been so polluted by him, and rappers and Hip Hop!" > > Is she out of her mind? This is the VERY SAME poet > who I'm sure would LOVE to smack down any pro > Patriot Act conversation, yet she calls publicly for > the TOTAL fascist control of the airwaves! ========================================================================= Date: Thu, 12 Apr 2007 13:10:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: robert dewhurst Subject: joshua beckman's email In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit trying to get in touch with him. can somebody please backchannel? thanks, robert ========================================================================= Date: Thu, 12 Apr 2007 17:10:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Zoe Ward Subject: Great new fiction @ the Tribes - April 15th Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Lee Stringer, Felicia Luna Lemus & Joseph Coulson Sunday, April 15th @ 5 p.m. FREE Gathering of the Tribes 285 East Third Street (btw Ave. C & D) New York, NY www.tribes.org for venue info Reading is hosted by Akashic Books, Archipelago Books & Seven Stories=20 Press JOSEPH COULSON is the author of Of Song and Water (Archipelago Books,=20 2007) and The Vanishing Moon (Archipelago, 2004, Harcourt paperback=20 2005) which was selected for the Barnes & Noble Great New Writers=20 series. "Love abandoned, violence sustained, guilt, grief, the transcendence of=20= sailing and making music, all play in jazzlike counterpoint. Coulson's=20= rhapsodic novel progresses from harsh equations of black and white to=20 an exaltation of color." =97Donna Seaman, Booklist =93The jazz scenes crackle with energy and authority... the novel is=20 ultimately quiet, affecting and redemptive.=94 =97Publishers Weekly LEE STRINGER is the author of the acclaimed Grand Central Winter:=20 Stories from the Street (Seven Stories Press, 1998), which chronicled=20 his twelve years of homelessness in New York City. Grand Central Winter=20= has been translated into eighteen languages and was both a New York=20 Times Notable Book and one of the Top Ten Recommended Titles of the=20 year in USA Today. Stringer is also the author of Sleepaway School:=20 Stories from a Boy=92s Life (Seven Stories Press, 2004) and Like Shaking=20= Hands with God: A Conversation on Writing (1999), written with Kurt=20 Vonnegut. He lives in Mamaroneck, New York, where he grew up. =93In Sleepaway School, a boy becomes a man. The way Lee Stringer tells=20= it, that is by itself more than enough for an enthralling story. Never=20= mind which boy, never mind the milieu, although the boy and the milieu=20= can in their own right be called really something.=94 =97Kurt Vonnegut,=20= from the Foreword FELICIA LUNA LEMUS is the author of the novel Like Son (Akashic Books,=20= 2007) and Trace Elements of Random Tea Parties (Farrar, Straus and=20 Giroux, 2003). She teaches writing at The New School and lives in the=20 East Village of Manhattan. "Felicia Luna Lemus's fresh yet plain-spoken prose roots us in today's=20= sad and sweeping chaos, as hope, love, and wild myth propel her unique=20= characters into an unknown future. Like Son is a sweet song of a=20 story." =97Michelle Tea, author of Rose of No Man's Land "Like Son moves on the wings of a soulful, visceral kind of androgeny.=20= Old men, young men, hot girls=97all step forward and sing from their=20 stuttering hearts. Like Son is one terrific read." =97Eileen Myles,=20 author of Cool for You 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, 12 Apr 2007 17:44:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 4/13 - 4/18 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, We would love to see you. Love The Poetry Project Friday, April 13, 10:00 pm *note earlier start time! Pocket Myths: The Odyssey A reading to celebrate the fourth publication of the Pocket Myths series. The Odyssey is a film and book collaboration curated by Andrea Lawlor and Bernadine Mellis. The project features mostly queer, trans, and women artists working in and between genres to retell Homer's ancient epic of the aftermath of war. Readings by Emily Abendroth, Justin Audia, Ari Banias, Julia Bloch, Tonya Foster, Laura Jaramillo, Delia Mellis, Megan Milks and Frances Richard with a special presentation of Eileen Myles=B9s first film, Book 22. Emily Abendroth is a writer and artist currently residing in Philadelphia, where she co-curates (with Justin Audia) the Moles Not Molar experimental reading series. Justin Audia lives in Philadelphia. He learned everything he knows about sailors from Kenneth Anger, Herman Melville, and Guy Maddin. Ari Banias studies poetry in the MFA program at Hunter College, and has recent poems in RealPoetik and Arts & Letters Journal of Contemporary Culture. Julia Bloch, whose poetry has appeared recently in Ba= y Poetics, earned an MFA at Mills College and is pursuing a PhD at the University of PA. Tonya Foster is the author of A Swarm of Bees in High Court (Belladonna Press, 2002) and co-editor of Third Mind: Creative Writin= g Through Visual Art and she teaches at Cooper Union and Bard College. Laura Jaramillo currently lives and writes in Philadelphia, where she is acquirin= g her Masters in Creative Writing at Temple University. Andrea Lawlor lives i= n Philadelphia, edits the Pocket Myths series, and is working on a collection of short stories. Bernadine Mellis is a filmmaker in Philadelphia. Her film= s include Born, The Golden Pheasant, farm-in-the-city (a collaboration with E= E Miller), and The Forest for the Trees. Delia Mellis is a historian and martial artist who lives by the river in Athens, New York. Megan Milks writes for PopMatters.com and co-edits Mildred Pierce, a zine of cultural criticism. Eileen Myles=B9s newest collection of poems, Sorry, Tree, is out from Wave Books in April. Frances Richard is a poet (See Through, Four Way Books 2003) who lives in Brooklyn and teaches at Barnard College and the Rhode Island School of Design. Please visit www.pocketmyths.com for a complete list of contributors and more info on the project and series. Monday, April 16, 8:00 pm Lori Lubeski & Mark Tardi Lori Lubeski's latest chapbook, Undermined, is forthcoming this spring from Carve Press. She is the author of Dissuasion Crowds the Slow Worker, STAMINA, eyes dipped in longitude lines, as well as Sweet Land and Trickle, collaborations with Bay Area artist Jakub Kalousek. She recently collaborated with artist Jeannette Landrie on a collection of poetry and photographs titled has the river of the body risen. She teaches at Boston University and Curry College. Mark Tardi is from Chicago, Illinois. His first book, Euclid Shudders, was a finalist for the 2002 National Poetry Series and was published by Litmus Press. More recently, two chapbooks have appeared: Airport music from Bronze Skull Press, and Part First-----Chopin'= s Feet from g o n g. Poems and reviews can be found in Aufgabe, Bird Dog, Boo= g City, Chicago Review, the Review of Contemporary Fiction, and other periodicals. Wednesday, April 18, 8:00 pm Joseph Lease & Paul Vazquez Joseph Lease=8Cs books of poetry include Broken World and Human Rights. Lease=B9s poems have also been featured on NPR and published in Bay Poetics, Colorado Review, Five Fingers Review, New American Writing, Paris Review, Talisman, and elsewhere. Lease is Chair of the MFA Program in Writing at California College of the Arts. Paul Vazquez is the author and artist of From Irony to Laughter, a long prose poem and images, variations and one installation. He has exhibited and read widely throughout the US and Europe= . This reading will include projected images and 4 variations. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring Calendar: http://www.poetryproject.com/calendar.php 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. POETRY IS NEWS: PULLING IT DOWN: The Aesthetics of Common Ground An Important Community Event Saturday April 21, noon =AD 4pm Bowery Poetry Club 308 Bowery Panels, Performances, Readings and Community Meeting on: Race, Culture, Class, Environment with Tonya Foster, Alan Gilbert, David Henderson, Erica Hunt, Brenda Iijima= , Erica Kaufman, Rachel Levitsky, Akilah Oliver, Jena Osman, Edwin Torres, Cecilia Vicu=F1a, Anne Waldman and others TBA. Contribution at the door. Red beans and rice served. ========================================================================= Date: Thu, 12 Apr 2007 23:20:43 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Bill Berkson joins Michael Glover and Ernesto Priego at Parasol Unit, London MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The Parasol Unit poetry series is pleased to announce that a third reader has been added to our previously announced reading on Tuesday, 5 June, at 6:30 PM. In addition to the English poet Michael Glover and the Mexican poet Ernesto Priego, this reading will also feature the distinguished American poet Bill Berkson. Bill Berkson, poet, critic, and teacher, was born in New York City in 1939. A longtime resident of California, he has for many years taught at the San Francisco Art Institute. He is the author of sixteen books and pamplets of poetry, most recently Our Friends Will Pass Silently Among You (The Owl Press, 2007) and Gloria (Arion Press, 2005, with etchings by Alex Katz). Other recent books include Sudden Address: Selected Lectures 1981-2006 (Cuneiform Press, 2007), What’s Your Idea of a Good Time: Letters & Interviews 1977-1985 with Bernadette Mayer (Tuumba Press, 2006), and The Sweet Singer of Modernism & Other Art Writings (Qua Books, 2004). As Ron Padgett says: "Bill Berkson's writing is witty, musical, daily, and deep, underpinned by a bracing integrity and shot through with gorgeous abstraction and other brilliant hookups between eye, ear, mind, and heart." Michael Glover has written art criticism for The Times, The Economist, The Independent, and The Financial Times, among others. He is the author of several books and chapbooks of poetry, including Amidst All This Debris (2001) and The Bead-Eyed Man (2000), both from Dagger Press, and Impossible Horizons (Sinclair-Stevenson, 1995). Of his new book, For the Sheer Hell of Living, to be published this year by San Marco Press, John Ashbery writes, "Michael Glover’s lines unspool gravely and efficiently with few commas like waves that know they are on the way to someplace but without making much fuss about it. They can be piercingly sad and hilariously wry, sometimes at the same time, as: ‘Someone loses the midge swat./ Many glasses are raised.’—this from a poem called ‘Few things happen.’ Few things happen here, true, but those that do are tremendously important even when tiny." Ernesto Priego is a Mexican poet, essayist, and translator presently living in London. He is the author of Not Even Dogs (Meritage Press, 2006) as well as the blogs "Never Neutral" (http://neverneutral.wordpress.com/) and "The Jainakú Project" (http://thejainakuproject.blogspot.com/). A recent interview with him can be found on Tom Beckett’s blog "e-x-c-h-a-n-g-e-v-a-l-u-e -s" (willtoexchange.blogspot.com). The readings at Parasol Unit are organized and introduced by Barry Schwabsky. Previous readers have been Tim Atkins, Guy Bennett, Peter Cole, Kelvin Corcoran, Linh Dinh, Carrie Etter, Allen Fisher, Mark Ford, Lee Harwood, Lyn Hejinian, Sue Hubbard, Vincent Katz, Tony Lopez, Drew Milne, Redell Olsen, Anthony Rudolf, Leslie Scalapino, Barry Schwabsky, John Seed, Simon Smith, Carol Szymanski, Catherine Wagner, and Barrett Watten. Readings begin at 6:30 PM and are free to the public. Parasol Unit is located at 14 Wharf Road, London N1, near the Old Street and Angel tube stations. If you would like to be removed from this mailing list, please reply with "Remove" as the subject ========================================================================= Date: Thu, 12 Apr 2007 21:00:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another missed opportunity MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline OH MAN, where to begin!? I can't believe yet another poet, this time one on this List is going to THROW rap and Hip Hop into one chuck bucket! Oh brother, I can't believe it! What's with this weird want for control? First of all you can't say ALL rap and Hip Hop fall into the "scary" category, GEESH! Not only that, but IS IT POSSIBLE you actually believe RAP AND HIP HOP are the problem and NOT poverty and a host of other issues at hand? Silencing human beings who are presenting their message is about YOU, is for YOU, and not helping EITHER them or YOU in the long run. Listen, I'm a faggot who has been abused verbally and physically over the years for being a faggot and I'm STILL SAYING we need a better solution than sending the bigots underground. Seriously, just hear me out for a sec here. Shipping Imus down the river (no pun intended) is no victory for anyone. Spreading the fear of expressing HONEST FEELINGS is the worst possible thing, that's my whole point. The Imus fan base is not going to suddenly catch of whiff of some kind of enlightened readjustment! They're going to slip further into their tangle of feeling abandoned, or whatever the fuck they're feeling. Racism, homophobia, sexism, it's all born out of a deep fear, primal fear of scarcity of things and security and love and who the fuck knows what else! But clearly bigotry is sick, it's an illness, it's the brain and heart LITERALLY acting out of proportion to reality! But while AN OUTRIGHT PUSH to get folks to be open and honest is always at hand, we let it go. Firing Imus the prime example today. How much more progress COULD HAVE BEEN MADE if we had had the opportunity to dialogue with him? But instead we're left with this same old two-sided argument that pushes the fear into hiding, merely creating more fear in the end. Let me tell you something, I may not be black, but I KNOW WHEN someone is homophobic and hiding it! And I bet you people of color know when someone's racist in a very similar way. And Chris, yeah man I know what you're saying that there's dialogue going on all over the place, but I'm talking about THIS SUDDENLY HUGE Imus issue getting lost. Everyone puckered up and kissed the asses that needed kissing and got on their way with things. And the CEOs of these corporations pulling their ads are the worst contributors of sexism and racism and poverty and murder and war and let's keep going because the list is mighty long! These corporations in question for NBC are conglomerates OWNING the very news stations OWNING weapons manufacturing plants while also selling gum drops and tricycles. In other words it's SO LAUGHABLE that corporations are actually trying to use this situation to look good. They couldn't wash the blood off their hands with Imus's spit if they wrung that man out for every drop of pit stored in his glands! CAConrad ========================================================================= Date: Thu, 12 Apr 2007 21:32:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: call for work --- listenlight 09 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Dear All, Listenlight is seeking visual and textual work for the upcoming issue 09 (first beta published , come see). Again, it seems our "male" design patterns aren't warming to many women, so, women are especially encouraged to send in. In fact, we will prefer to receive work only by women at this point. And let me know if you want to design the next issue. Best, Jesse Wayne Crockett, Guillermo Juan Parra, editors ========================================================================= Date: Fri, 13 Apr 2007 13:37:55 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Announcing David B. Axelrod's The Impossibility of Dreams from Ahadada Books MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" www.ahadadabooks.com for more information. You may also purchase the book directly from Axelrod at www.poetrydoctor.com Enjoy! Jess ========================================================================= Date: Fri, 13 Apr 2007 13:35:12 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Flabber Dabber Flat Clapping Fish With Hands! MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Yes! Yes! Yes! Three cheers for The Baroness Elsa von Freytag-Loringhoven too! Don't forget that great word "Clapperclaw" too! Jess ========================================================================= Date: Thu, 12 Apr 2007 21:59:26 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I just find it hard to believe that Imus picked up the first comment "vaudville hoes" from rap. Vaudville hoes? that is indicative of something much deeper than common rap music. It is black face and the whole history brought out. The full on contra-indicative problem flowing straighout forth, full fathom five. I just don't buy the excuse being sold. ========================================================================= Date: Thu, 12 Apr 2007 22:18:19 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: Kurt Vonnegut, Pilgrim In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The time before last that I saw Kurt Vonnegut he was smoking a lucky strike and asked me if I was a writer and I said "that is what they brought me in for" and he said "me too" and we sat there watching all of the traffic go by. ========================================================================= Date: Fri, 13 Apr 2007 01:10:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Registration for the Paris E-Poetry symposium MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT I received the below from Philippe Bootz, one of the organizers of the E-Poetry symposium happening in Paris May 20-23. The upshot is that if you plan to go, please register, using the below. I'm really looking forward to this trip to the city of light. ja vispo.com ************************************ The program for the symposium is now on-line at http://paragraphe.univ-paris8.fr/epoetry/infospratiques/programme.html Registration ( http://burgaudp.free.fr/inscriptions.php ) is free until May 5th, if you haven't already registered. It is useful for the organization of the event. Best Regards Philippe Bootz Maître de Conférences Laboratoire Paragraphe (EA349) / Université Paris VIII http://paragraphe.univ-paris8.fr/epoetry ========================================================================= Date: Fri, 13 Apr 2007 05:46:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: listenlight new issue 09 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit "Purple and White and Red" --- listenlight 09 featuring visual & textual work by --- Brian Howe, Peter Jay Shippy, Andrea Rexilius, T. F. Rice, Ruth Lepson, K. Silem Mohammad http://listenlight.net happy springtime to all your humble editors, Jesse Crockett, Guillermo Parra ========================================================================= Date: Fri, 13 Apr 2007 09:00:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Sharpton and poet Maya Angelou on Imus -- and another Comments: To: editor@pavementsaw.org MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Totally agree here. Imus is too into kickin' back with old school country. He might listen to Ray Charles, but only in duet with Willy Nelson. Or if he listens to or hosts Sam Moore, it's simply cause it was the music of his life back when he was scoring 8-balls and being a human for vodka. Problem here is (and it's the same one we have with our current president) we are dealing with brains that have been dmaged by years of alcohol, drugs, you name it. Instead of trying to repair these people we foist them into the limelight... into the White House. Sad thing is: Imus seems (admittedly so) to have replaced his chemical addictions with his addictions to work...and power... (or the illusion of the latter, since this week he learned that he too works for Pharoh.) Yes, the only rap he's ever heard is the rap he may have overheard while passing his engineer's little hole in the station. >I just find it hard to believe that Imus picked up the first comment >"vaudville hoes" from rap. Vaudville hoes? that is indicative of something >much deeper than common rap music. It is black face and the whole history >brought out. The full on contra-indicative problem flowing straighout >forth, full fathom five. I just don't buy the excuse being sold. ========================================================================= Date: Fri, 13 Apr 2007 08:55:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: five pieces for solo classical guitar MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed five pieces for solo classical guitar instrument: Romeo Di Giorgio 1949 http://www.asondheim.org/riffa1.mp3 http://www.asondheim.org/riffa2.mp3 http://www.asondheim.org/riffa3.mp3 http://www.asondheim.org/riffa4.mp3 http://www.asondheim.org/riffb.mp3 the first four are probably some of the most difficult I've played the last is denouement ========================================================================= Date: Fri, 13 Apr 2007 07:44:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Gabriel Gudding on PFS Post MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Check out two sprezzatura-rich poems from Gabriel Gudding on PFS Post: http://www.artrecess.blogspot.com "the key to the city is in the sun that pins the branches to the sky" http://www.adamfieled.blogspot.com http://www.myspace.com/dangracemusic --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Fri, 13 Apr 2007 09:16:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: 30 by Cecil Touchon Comments: To: announce 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 30 pieces by Cecil Touchon. When scraps and snippets and swatches of language are stitched together with supreme care a new kind of look into the world of letterforms and formulations appears. Come get lost. Regards, Dan ========================================================================= Date: Fri, 13 Apr 2007 09:13:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Kurt Vonnegut, Pilgrim Comments: To: editor@pavementsaw.org MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Here's the poem he delivered at my commencement several centuries ago: Hey, Sonia, Please meet me in Fredonia. I'll give you a begonia. What do you say? Won't ya? Afterwards a group of about seven of us took him up the road to see Twain's house. And I told him that the funeral parlor the next house up was a stop on the underground railroad during the time M. T. was there. And he wondered aloud "about how many of the good people of Hadleyburg* were corrupted by that knowledge." * Hadleyburg is generally considered to be modeled after Fredonia, New York. > The time before last that I saw Kurt Vonnegut he was smoking a lucky > strike > and asked me if I was a writer and I said > "that is what they brought me in for" and he said "me too" > and we sat there watching all of the traffic go by. > > > ========================================================================= Date: Fri, 13 Apr 2007 10:26:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sandra de 1913 Subject: The Sonneteers MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline let us not to the marriage of two minds admit amphetamines: Sandra Miller + Ben Doyle collaborations on the New West's "play/no play" kicking out the vispo-collabpo good times. check it here: http://playnoplay.blogspot.com/ -- http://www.journal1913.org http://www.1913press.org ========================================================================= Date: Fri, 13 Apr 2007 10:48:14 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: Kurt Vonnegut, Pilgrim MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Please forgive me, I made a mistake. It was, of course, a Pall Mall. > The time before last that I saw Kurt Vonnegut he was smoking a lucky > strike > and asked me if I was a writer and I said > "that is what they brought me in for" and he said "me too" > and we sat there watching all of the traffic go by. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Fri, 13 Apr 2007 12:03:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: 2 Walter Lew Events on Fri and Sat Apr. 13,14. Comments: To: wryting-l@listserv.uwv.edu, spidertangle@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" These should be well worth your time and energy! From: Walter Lew Subject: Walter K. Lew Lecture Friday and Reading Saturday in Minneapolis To: POETICS@LISTSERV.BUFFALO.EDU For those of you in the Twin Cities area, a last-minute notice of a talk and reading I'm giving: "Meaning's Many-Patterned Movement: What the Long History of Korean Intermedia Texts Can Offer Us as New Artists" Korean studies scholar and poet Walter K. Lew will present different examples from the long history of Korean texts that combine language, icons and other imagery, and sometimes performance. These range from 7th-century Buddhist dharani and the 15th-century development of a new Korean orthography (actually, "orthophony") to multimedia performances during the Japanese colonial era and the avant-garde poetries of Yi Sang (1910-1937) and Yi Won (b. 1968). Time permitting, he will suggest ways in which they can serve as models for new work in the present. Lew teaches in the English Dept. of the U. of Miami in Coral Gables, FL. WHEN: Friday. April 13 at 3 p.m. WHERE: Minnesota Population Center Seminar room Lower Level, 50 Willey Hall University of Minnesota, West Bank CONTACT: Karen Kinoshita University of Minnesota College of Liberal Arts Institute for Advanced Study 612.626.5054 or 612.626.5028 SPONSORS: The Institute for Advanced Study and Dept. of English of the University of Minnesota Lew will also give a brief reading the following evening, Sat., April 14, as part of the opening ceremony for an exhibit on the Korean War titled "Still Present Pasts" at Intermedia Arts in Minneapolis (2822 Lyndale Avenue South / phone: 612.871.4444). ========================================================================= Date: Fri, 13 Apr 2007 11:59:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Tonight @ Woodland Pattern: E. Ethelbert Miller & John Keene MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable > Date: Thu, 12 Apr 2007 14:37:33 -0700> From: woodlandpattern@sbcglobal.ne= t> Subject: E. Ethelbert Miller & John Keene this Friday> To: woodlandpatte= rn@sbcglobal.net> > =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=3D=3D=3D=3D=3D=3D=3D= > E. ETHELBERT MILLER AND JOHN KEENE THIS FRIDAY> =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=3D=3D=3D=3D=3D=3D=3D> > E. Ethelbert Miller and John Keene this F= riday> > Friday, April 13, 2007, 7 p.m.> > Woodland Pattern Book Center> 72= 0 East Locust Street, Milwaukee> > $8 general, $7 students and seniors, $6 = members> > Friday, 4/13: E. Ethelbert Miller & John Keene, 7:00 p.m.> > E. = Ethelbert Miller is a literary activist and both his writing and> other wor= k credentials testify to the meaning of that term. He is> the board chairpe= rson of the Institute for Policy Studies (IPS). He> is a board member of Th= e Writer's Center and editor of Poet Lore> magazine. Since 1974, he has bee= n the director of the African> American Resource Center at Howard Universit= y. Mr. Miller is the> author of numerous books of poetry, including How We = Sleep On the> Nights We Don't Make Love and Love Poems for Dictators. His w= ork has> been included in many of the most distinguished of anthologies,> i= ncluding The Oxford Anthology of African-American Poetry and> Trouble the W= ater, 250 Years of African American Poetry.> > http://www.woodlandpattern.o= rg/poems/e_ethelbert_miller01.shtml> > John Keene is the author of the awar= d-winning novel Annotations (New> Directions, 1995), and of the poetry coll= ection Seismosis (1913> Press, 2006), with artwork by Christopher Stackhous= e. A longtime> member of the Dark Room Writers Collective of Cambridge and = Boston> and a Graduate Fellow of Cave Canem, he teaches courses in fiction>= and cross-genre writing, American, African-American and African> Diasporic= literature, aesthetics, and literary translation at> Northwestern Universi= ty.> > http://www.woodlandpattern.org/poems/john_keene01.shtml> > =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=3D=3D=3D=3D=3D=3D=3D> IN THE GALLERY: JOEL LIPMAN>= =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=3D=3D=3D=3D=3D=3D=3D> > Joel Lipman: O= RIGINS OF POETRY> Stamp Art, PoeMvelopes, & Visual Poems> > April 1 through= May 13> > Woodland Pattern Book Center> 720 East Locust Street, Milwaukee>= > Joel Lipman is a native of Kenosha and graduate of UW-Madison. He is> pr= ofessor of Art and English at the University of Toledo. Among his> beautifu= lly obscure books of poetry are Provocateur [Bloody Twin> Press, 1988], Mac= hete Chemistry/Panades Physics, with Yasser Musa> [Cubola New Art Foundatio= n, 1994], The Real Ideal [Luna Bisante> Prods, 1996], and Subversao Deliber= ada [International Writers &> Artists Association, 2000]. Represented in th= e anthology Writing To> Be Seen [Core, Light & Dust, 2001], his visual poem= s were exhibited> in 2002 and 2003 at the New York Center for the Book and = the> Minnesota Center for Book Arts. Long active as a mail artist and a> fi= ve-time recipient of Ohio Arts Council Individual Artist> Fellowships in Po= etry, an on-line portfolio of his work can be found> at Light and Dust Poet= s.> > http://www.thing.net/~grist/ld/lipman/lipman.htm> http://www.woodland= pattern.org/gallery/exhibits.shtml> > =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=3D= =3D=3D=3D=3D=3D=3D> UPCOMING EVENTS> =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=3D= =3D=3D=3D=3D=3D=3D> > Th. 4/12: Ethelbert Miller on Langston Hughes at MPL;= 7:00 pm> > Fri. 4/13: Ethelbert Miller & John Keene; 7:00 pm> > Sun. 4/15:= Duncan / Levertov Reading Group; 3:00 pm> > Wed. 4/18: Elliot O. Lipchik &= Stephen Anderson; 7:00 pm> > Fri. 4/20: Redletter Reading Series> > Sat. 4= /21: Serious Play Workshop with Robert McDonald; 1:00 pm> > Sat. 4/21: Wisc= onsin Lit Bash, Milladore WI; 10:00 am to 4:00 pm> > Sun. 4/22: Audiotrope;= 2:00 pm> > Tue. 4/24: Discussion and Craft with Gene Tanta; 6:30 pm> > Th.= 4/26: Ron Padgett on O'Hara & Koch at MPL; 7:00 pm> > Fri. 4/27: Ron Padge= tt & Daniel Borzutzky; 7:00 p.m> > Sat. 4/28: Film performances by Grant Wi= edenfeld> > http://www.woodlandpattern.org/> > ____________________________= ________________________________________> To receive regular messages notif= ying you of Woodland Pattern> events, send a message to us at woodlandpatte= rn@sbcglobal.net with> "Join E-List" in the subject line.> > To unsubscribe= from these mailings send a reply with "unsubscribe"> in the subject line.>= > PLEASE FORWARD! THANKS!!!> > http://www.woodlandpattern.org/> > Woodlan= d Pattern Book Center> 720 E. Locust Street> Milwaukee, WI 53212> phone 414= .263.5001 _________________________________________________________________ Your friends are close to you.=A0Keep them that way. http://spaces.live.com/signup.aspx= ========================================================================= Date: Fri, 13 Apr 2007 10:36:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: poetry auction: Rae Armantrout, Charles Bernstein, Lee Ann Brown, Tina Darragh, Rachel Blau DuPlessis, Peter Gizzi, P. Inman, Kevin Killian, Eileen Myles, Alice Notley, Ron Padgett, Ted Pearson, Bob Perelman, Simon Pettet, Sparrow, Susie Timmons, THE MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline poetry auction: Rae Armantrout, Charles Bernstein, Lee Ann Brown, Tina Darragh, Rachel Blau DuPlessis, Peter Gizzi, P. Inman, Kevin Killian, Eileen Myles, Alice Notley, Ron Padgett, Ted Pearson, Bob Perelman, Simon Pettet, Sparrow, Susie Timmons, THE COLLECTED SAMUEL BECKETT donated by Sina Queyras, and water color paintings by Colleen Hammond For the Frank Sherlock EMERGENCY FUND This online auction can be viewed here: http://poetryAUCTION.blogspot.com Poets and artists have very generously donated the following items on this auction blog for the purpose of raising money for the Frank Sherlock EMERGENCY FUND. You can click on items to enlarge the picture. The bidding begins Friday, April 13th, and will stay open until noon, Sunday, May 13th (eastern standard time). Once a week in this time period the bidders will be given updates about the highest bids. On the morning of Sunday, May 13th bidders will be given one more update on the highest bids. Please send bids to the e-mail provided at the bottom of each item, but remember to include in your subject line the name of the item you are bidding on. Many thanks to the poets and artists who have contributed work, and thanks too to all of you who are bidding on these items to help out our good friend Frank Sherlock. And thanks to Linh Dinh for suggesting this fund raiser project. This auction is put together and overseen by CAConrad, hassen, Jenn McCreary ========================================================================= Date: Fri, 13 Apr 2007 15:33:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: **Last Call: Advertise in Boog City 40** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please forward ----------------------- Advertise in Boog City 40 *Deadline --Wed. April 18-Ad copy to editor --Sat. April 21-Issue to be distributed Email to reserve ad space ASAP We have 2,250 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: Fri, 13 Apr 2007 15:50:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: Susan Briante and Maureen Owen in Boulder April 21st MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hey all you poetics people, Apologies for the short notice. Please note if the weather is bad, we'll be having the reading at our house instead (address at the bottom). If you're going to be in or around Boulder, CO, please check out this reading. 8:00pm Saturday April 21st hot whiskey presents... Pioneers in the Study of Motion a poetry evening with Susan Briante & Maureen Owen Trident Booksellers (in the backyard) FREE! 940 Pearl Street (303)443-3133 Note: If weather is bad, reading will be held at 1727 Pine St. #1 at the same time Feel free to spread the word. Thanks, Michael & Jennifer -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Fri, 13 Apr 2007 18:44:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Dr. Barry S. Alpert" Subject: Drop Dead Twice Mime-Version: 1.0 Content-Type: text/plain; format=flowed Against a backdrop of the presentation of quite innovative artists, filmmakers, & musicians as well as critical coverage thereof, the National Gallery of Art embarrasses itself by offering up this series of lit-crit lectures which doesn't even hint at treatment of the fine arts in its attempt to polish the tombs of a dead New England lineage. Whether individuals in the audience will challenge Vendler's "taste" remains to be seen. Barry Alpert The Fifty-sixth A. W. Mellon Lectures in the Fine Arts 2007 Last Looks, Last Books: The Binocular Poetry of Death Helen Vendler, the A. Kingsley Porter University Professor at Harvard University Introduction: Sustaining a Double View April 15 Facing the Worst: Wallace Stevens, "The Rock" April 22 The Contest of Melodrama and Restraint: Sylvia Plath, "Ariel" April 29 Death by Subtraction: Robert Lowell, "Day by Day" May 6 Caught and Freed: Elizabeth Bishop, "Geography III" May 13 Self-Portraits while Dying: James Merrill, "A Scattering of Salts" May 20 _________________________________________________________________ Exercise your brain! Try Flexicon. http://games.msn.com/en/flexicon/default.htm?icid=flexicon_hmemailtaglineapril07 ========================================================================= Date: Fri, 13 Apr 2007 23:00:34 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: HCE anthology--a note about permissions Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit In L.A. this week, at the great art & arch bookstore, Hennessy and Ingalls, I bought a book called PERMISSIONS: A Survival Guide--Blunt Talk about Art as Intellectual Property, by Susan Bielstein, an editor at University of Chicago Press. Though she focuses on visual art, her discussion of copyright, fair use, and print and digital rights all made me think of the list discussion about the HCE anthology. I haven't finished the book yet but can recommend it just on the strength of the sample legal forms and contractual language she offers in the appendix. I'm very interested in the subject on practical and theoretical levels and I appreciate Bielstein's approach to artists' "moral rights." Her captions for the illustrations in the book include notes about costs, permissions received, etc. Francis Bacon's estate wouldn't let her use one of his paintings so she has a blank page with a brief caption about her futile attempt to get permission. L.E.N. ========================================================================= Date: Sat, 14 Apr 2007 14:57:42 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: "Do You Know Chivers? Give me your hand!" MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" If you haven't come across the greatest 19th century--and perhaps 20th and 21st century--experimental poet of the South, it's high time you learned of Thomas Holley Chivers, author of Eonchs of Ruby, Virginalia, and other attempts at capturing the speech of Angels. The title of this posting is something that Swinburne is alleged to have said to a visiting poet. Yes Chivers is yet another of the sublime absurdists. May he live forever in the Swedenborgian outback of American letters! Jess ========================================================================= Date: Sat, 14 Apr 2007 09:38:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: vispoets.com weekly winner Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii In the reward for interestingness weekly event* at vispoets.com, the winner for week #4 is: ed schenk for this piece: redundancy test 1 test 2, movie** Congratulations to ed, there's $25 worth of materials on their way to you from Mark Young's Otoliths. Thanks to everyone who uploaded images to the gallery this week. Keep uploading new images for your chance to win next week. Regards, Dan * http://vispoets.com/index.php?showtopic=481 ** http://vispoets.com/index.php?automodule=gallery&req=si&img=1260 ---------------------------- vispoets.com stats (to date) ---------------------------- Registered Users: 97 Total Posts: 2049 Gallery Stats Our members have posted a total of 1057 images and made 120 comments. Total Gallery Size: 187 Total Image Views: 100019 ========================================================================= Date: Sat, 14 Apr 2007 09:28:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Wilcox Subject: Third Thursday Poetry Night in Albany, April 19 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 Poetry Night at the Social Justice Center 33 Central Ave., Albany, NY Thursday, April 19, 2007=A0=A0=A0=A0=A0=A0=A0=A0 7:00 sign up; 7:30 start Featured Poet: Mimi Moriarty with open mic for poets before & after the feature $3.00 donation.=A0 Your host since 1997: Dan Wilcox. Mimi Moriarty is the producer and host of =93Write Stuff,=94 a cable = access=20 TV program in the Albany, NY area.=A0 Her short fiction, poems, essays=20= and articles have been published in many journals, magazines and=20 newspapers, includingMargie, Alehouse, SLAB, PeregrineandIrish=20 America,and she has read her poems and essays on NPR.=A0 She holds an = MFA=20 in Creative Writing from Goddard College, and teaches creative writing=20= to adults and teens.=A0 A chapbook of 23 poems about the aftermath of war,War Psalm,has been=20 accepted for publication in 2007 by Finishing Line Press, and will be=20 out at the end of July.=A0 Her plan is leave copies of this chapbook on=20= buses, subways and at airports to reach an audience that might not=20 otherwise purchase a book of poetry.=A0=A0 sample poem - fromWar Psalm Fatherland I remember little of his charred homecoming, the fog of my childhood muddles the fatherless beginning, the hollow middle with its coatless summers. I must piece together my early life with hearsay and tall tales of Fatherland,=A0 good years I have been reassured but when I reach for an old photograph ask for a name or location he flicks away the simplest memory=A0 as ash, and I am left holding=A0 an album of nameless warriors each one uniformed and in formation, steady eyes, pale lips, cigarettes dangling. ####= ========================================================================= Date: Sat, 14 Apr 2007 11:16:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: J. Side's blog update Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu Blog update. My response to criticism by George Szirtes in his 2007 Stanza Lecture of a statement made by me. http://jeffreyside.tripod.com/ ========================================================================= Date: Sat, 14 Apr 2007 23:01:38 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: Simon Cutts and Steve Beresford in New York In-Reply-To: <20070414144926.F0F4C1C00085@mwinf3423.me.freeserve.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Simon Cutts will be visiting the US next week to mark publication of two ne= w books from Granary Books. He will appear on Friday April 20th at the CUE Art Foundation Please see below for details. When i was a kid, i had a copy of the Hobbit, or Lord of the Rings, that ha= d a preface saying =B3Oh dear reader, I am jealous of you, not having yet read this great story=B2, or something like that. =20 It=B9s the same with Simon Cutts, a poet who is tremendous fun to discover. O= n the dust flap of Cutt=B9s 1982 Pianostool Footnotes (Jargon 94), the inimitable Jonathan Williams wrote =B3You haven=B9t heard of him because the Poetic Apparatus in Great Britain, [is] seldom able to tell chalk from cheese.=B2 On the same dust flap, Thomas Meyer wrote; =B3And what do you do? Seated last summer next to the cold daughter of an earl at lunch, in answer= , I announced; =B3I am a poet=B2. =B3How gloomy!=B2 she shuddered, resuming her salmo= n mousse. Not so, were I Simon Cutts.=B2 =20 =20 His last book from Granary =AD A Smell of Printing, contained a thin strip of paper with this text; =20 addendum erratum =20 for shade read puddle =20 for pebble paddle-boat =20 or pedal =20 =20 =20 =20 and many fine poems; =20 =20 =20 I prefer the streams of the mountains to the sea =20 Simon Cutts & Steve Beresford will perform Poetry and Music including An English Dictionary of French Place Names together with Jean-Noel Herlin on Friday April 20th 2007 at 6.30pm to launch the publication by Granary Books of as if it is at all and Some Forms of Availability by Simon Cutts CUE Art Foundation 511 West 25th Street, New York, New York 10001 Tel 212 206 3583 ========================================================================= Date: Sat, 14 Apr 2007 16:01:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Fwd: Turntable & Blue Light Issue 2 Up! In-Reply-To: <18026ee7fb50fa047fb381b04bb2b16a@mindspring.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Issue 2 is live, here, in the wee hours of the morning on April 14th, 2007. Featuring the following new work at turntablebluelight.com: ~Madame Talbot's Victorian Era Dead~~Athanasius Kircher & the Cabinet of Curiosity~~Hoarding, writing & objects by G.L. Ford~~ ~My new editorial about growing up music-challenged in Philly~ ~Sunny Buick's Paintings & Tattoos~~Review of Kiiiii by Diana Slampyak~ ~Magnet 659, a short story by Sadie Worth~~Poetry by Aaron Tieger~ ~Poetry by Catherine Daly~~Paintings by Tim Lane~ I am so grateful to all the contributors and all the readers of the magazine. Thank you so much for making the second year even better than the first! I wish you all the best ~ and drop me a line and let me know what you think ~ ! 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 "Much has occurred . . . so much - that I stagger as I write, in its sharp remembrance." - from the letters of Emily Dickinson -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Sat, 14 Apr 2007 23:17:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The Poetics of WALKING: 2 Events at Poets House Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Two WALKING related events at POETS HOUSE in Manhattan. One a Friday evenin= g Panel, and one, a late Saturday morning, early afternoon walk. If you are anywhere near the neighborhood, you are invited to come join us: Friday, May 4, 7:00pm The Poetics of Walking: Baudelaire and Beyond with Brenda Coultas, Lytle Shaw, Jonathan Skinner & Stephen Vincent At Poets House, 72 Spring Street, Second Floor, Manhattan, New York In this foray into the fl=E2neur tradition, panelists address the poetry that emerges from the fundamental act of walking, with insights from such immortal amblers as Whitman, Baudelaire, O=B9Hara and other peripatetic poets= . In conjunction with the panel, Poets House will sponsor a series of weekend poetry walks in Manhattan on Saturday, May 5th at 11:00am. Brenda Coultas is the author of A Handmade Museum. Lytle Shaw=B9s books include A Side of Closure and Frank O=B9Hara: The Poetics of Coterie. Jonatha= n Skinner is the editor of ecopoetics and teaches Environmental Studies at Bates College. Stephen Vincent=B9s most recent poetry books include Walking and, soon forthcoming, Walking Theory (Junction Press). Saturday, May 5, 11:00am - 1:00pm The Poetics of Walking: Weekend Poetry Walk In conjunction with =B3The Poetics of Walking=B2 panel (on May 4), Poets House will sponsor a series of urban poetry strolls for writers and artists. Each walking tour will be led by a =B3Poetics of Walking=B2 panelist and will featur= e illuminating historical information and a series of creative exercises en route. Participants are encouraged to bring writing and/or drawing materials. Meetup locations will be specified upon registration. $25/ $15 for students. Pre-registration is required. To register, call (212= ) 431-7920 or email classes@poetshouse.org. Registered participants will also receive free admission to the May 4th panel discussion. Walking the Bowery Guide: Brenda Coultas Brenda Coultas, the author of A Handmade Museum, leads a writing tour from Cooper Union to Chinatown, with stops along the way to observe signage, graffiti, people, nature and the changing demographics of the Bowery. Listening Walk in Central Park Guide: Jonathan Skinner Jonathan Skinner, the editor of ecopoetics, leads an acoustical tour throug= h Olmstead=B9s oasis with exercises that focus on sounds both natural and human= . Canal Street & Tribeca: The Street vs. Architecture Guide: Stephen Vincent Stephen Vincent, the author of the poetry collection Walking and the forthcoming, Walking Theory, explores walking as =B3immersion and revelation=B2 and invites participants to take note of voices, sounds, signage, colors an= d architectural shapes in the cityscape. The walk will culminate in a gathering and discussion at Walkers, a restaurant. Dutch Manhattan : Controversial Terrain Guides: Lytle Shaw with Jimbo Blachly Lytle Shaw, the author of Frank O=B9Hara: The Poetics of Coterie, and visual artist Jimbo Blachly introduce participants to the Chadwick Family, who wil= l offer a rare perspective on Manhattan=B9s past, revealing several 17th Centur= y sites that pertain to their family=B9s misunderstood and maligned history. @ Poets House $7, Free to Poets House Members ========================================================================= Date: Sun, 15 Apr 2007 01:59:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Tim Peterson book party and Gil Ott TRIBUTE postponed... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Due to the coming storm, and a few other sudden, unexpected illnesses, etc., the book party and tribute scheduled for tomorrow in Philadelphia will be postponed. THE LOVE FOR GIL OTT CANNOT BE DIMINISHED BY POSTPONEMENT! Stay tuned to PhillySound for details: http://PhillySound.blogspot.com It's going to be an amazing event! CAConrad ========================================================================= Date: Sun, 15 Apr 2007 02:43:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Nelson Subject: game as poetry MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit New digital poem/net art/game, this is the beta version so ideas, thoughts and other whimsies are more than pleaded...... title: game, game, game and again game http://www.secrettechnology.com/gamegame/gamegamebegin.html cheers, Jason Nelson --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Sun, 15 Apr 2007 12:24:25 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Drop Dead Twice In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit What's your problem? Live and let live. Nothing forces you to read Robert Lowell or listen to Helen Vendler's lecture. "Dr. Barry S. Alpert" wrote: Against a backdrop of the presentation of quite innovative artists, filmmakers, & musicians as well as critical coverage thereof, the National Gallery of Art embarrasses itself by offering up this series of lit-crit lectures which doesn't even hint at treatment of the fine arts in its attempt to polish the tombs of a dead New England lineage. Whether individuals in the audience will challenge Vendler's "taste" remains to be seen. Barry Alpert The Fifty-sixth A. W. Mellon Lectures in the Fine Arts 2007 Last Looks, Last Books: The Binocular Poetry of Death Helen Vendler, the A. Kingsley Porter University Professor at Harvard University Introduction: Sustaining a Double View April 15 Facing the Worst: Wallace Stevens, "The Rock" April 22 The Contest of Melodrama and Restraint: Sylvia Plath, "Ariel" April 29 Death by Subtraction: Robert Lowell, "Day by Day" May 6 Caught and Freed: Elizabeth Bishop, "Geography III" May 13 Self-Portraits while Dying: James Merrill, "A Scattering of Salts" May 20 _________________________________________________________________ Exercise your brain! Try Flexicon. http://games.msn.com/en/flexicon/default.htm?icid=flexicon_hmemailtaglineapril07 ========================================================================= Date: Sun, 15 Apr 2007 12:54:30 +0000 Reply-To: zoe@archipelagobooks.org Sender: UB Poetics discussion group From: Zoe Ward Subject: TONIGHT! - New fiction @ the Tribes in LES Comments: To: newyork@archipelagobooks.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Lee Stringer, Felicia Luna Lemus & Joseph Coulson Sunday, April 15th @ 5 p.m. FREE Gathering of the Tribes 285 East Third Street (btw Ave. C & D) New York, NY www.tribes.org for venue info Reading is hosted by Akashic Books, Archipelago Books & Seven Stories Press JOSEPH COULSON is the author of Of Song and Water (Archipelago Books, 2007) and The Vanishing Moon (Archipelago, 2004, Harcourt paperback 2005) which was selected for the Barnes & Noble Great New Writers series. "Love abandoned, violence sustained, guilt, grief, the transcendence of sailing and making music, all play in jazzlike counterpoint. Coulson's rhapsodic novel progresses from harsh equations of black and white to an exaltation of color." —Donna Seaman, Booklist “The jazz scenes crackle with energy and authority... the novel is ultimately quiet, affecting and redemptive.” —Publishers Weekly LEE STRINGER is the author of the acclaimed Grand Central Winter: Stories from the Street (Seven Stories Press, 1998), which chronicled his twelve years of homelessness in New York City. Grand Central Winter has been translated into eighteen languages and was both a New York Times Notable Book and one of the Top Ten Recommended Titles of the year in USA Today. Stringer is also the author of Sleepaway School: Stories from a Boy’s Life (Seven Stories Press, 2004) and Like Shaking Hands with God: A Conversation on Writing (1999), written with Kurt Vonnegut. He lives in Mamaroneck, New York, where he grew up. “In Sleepaway School, a boy becomes a man. The way Lee Stringer tells it, that is by itself more than enough for an enthralling story. Never mind which boy, never mind the milieu, although the boy and the milieu can in their own right be called really something.” —Kurt Vonnegut, from the Foreword FELICIA LUNA LEMUS is the author of the novel Like Son (Akashic Books, 2007) and Trace Elements of Random Tea Parties (Farrar, Straus and Giroux, 2003). She teaches writing at The New School and lives in the East Village of Manhattan. "Felicia Luna Lemus's fresh yet plain-spoken prose roots us in today's sad and sweeping chaos, as hope, love, and wild myth propel her unique characters into an unknown future. Like Son is a sweet song of a story." —Michelle Tea, author of Rose of No Man's Land "Like Son moves on the wings of a soulful, visceral kind of androgeny. Old men, young men, hot girls—all step forward and sing from their stuttering hearts. Like Son is one terrific read." —Eileen Myles, author of Cool for You ========================================================================= Date: Sun, 15 Apr 2007 07:04:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: { brad brace } Subject: Re: vispoets In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > Date: Sat, 14 Apr 2007 09:38:30 -0400 > From: Dan Waber > > Thanks to everyone who uploaded images to the gallery this week. Keep > uploading new images for your chance to win next week. Dan, is there an email address that would accept jpeg-attachments for your gallery... { brad brace } <<<<< bbrace@eskimo.com >>>> ~finger for pgp The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<< "... easily the most venerable media-art project of all time." + + + serial ftp://ftp.eskimo.com/u/b/bbrace + + + eccentric ftp:// (your-site-here!) + + + continuous hotline://artlyin.ftr.va.com.au + + + hypermodern ftp://ftp.rdrop.com/pub/users/bbrace + + + imagery http://kunst.noemata.net/12hr/ News: alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc alt.12hr . 12hr email subscriptions => http://bbrace.laughingsquid.net/buy-into.html . Other | Mirror: http://www.eskimo.com/~bbrace/bbrace.html Projects | Reverse Solidus: http://bbrace.laughingsquid.net/ | http://bbrace.net . Blog | http://bbrace.laughingsquid.net/wordpress/ . IM | bbrace@unstable.nl | Registered Linux User #323978 ========================================================================= Date: Sun, 15 Apr 2007 09:16:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Now On-line! ~ Origin, Sixth Series, Issue 2 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable > Date: Sun, 15 Apr 2007 09:29:39 -0400> To: > From: poetry@sover.net> Subj= ect: Now On-line! ~ Origin, Sixth Series, Issue 2> > Origin, Sixth Series, = Issue 2, Spring 2007 ~ Now Online> > http://www.LonghousePoetry.com/origin= .html> > Visit the above webpage for information & to download the PDF file= > format (Best viewed with Adobe Reader 7 ~ 4.7 MB ~ three color text, > a= rt and photographs ~ 343 pages ! )> > We only have dial-up service; so yes= , we do understand the patience > it may take to download this PDF. We beli= eve it will be worth your > while. Many thanks to all of you.> > Forthcomin= g Origin, Sixth Series, Issues 3 & 4 will be published > throughout the spr= ing months of 2007. We'll continue to post these in > PDF format (approachi= ng1000 pages, with 100 authors & artists).> > Already online Origin, Sixth = Series, Issue 1 (March 12, 2007)> > Please share this notice ~ with our tha= nks!> -------------------> > Poetry & More! available at> > Bob & Susan Arn= old> Longhouse, Publishers & Booksellers> 1604 River Road> Guilford, Vermon= t 05301> > our web-site: http://www.LonghousePoetry.com> > Seeing doubles= or wish to share this email - or be removed? - please > reply. Thanks. _________________________________________________________________ Live Search Maps =96 find all the local information you need, right when yo= u need it. http://maps.live.com/?icid=3Dwlmtag2&FORM=3DMGAC01= ========================================================================= Date: Sun, 15 Apr 2007 12:26:34 -0400 Reply-To: lmelvin1@binghamton.edu Sender: UB Poetics discussion group From: Metta Sama Subject: cfp: writing by degrees] MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ---------------------------- Forwarding for Deb Poe---------------------------------------- The 10th Annual Writing By Degrees Conference is seeking creative and academic submissions demonstrating or contemplating the craft of writing. Conference Dates: September 27-29, 2007 Submission Deadline: August 20, 2007 Keynote Speakers: Chimamanda Adichie Vijay Seshadri Guidelines: All applicants must be currently enrolled as graduate students in order to be eligible. Submissions may fall into one of the categories below: Creative Submissions: Creative prose, fiction or creative non-fiction should be of a length to be read within a 20-minute period (roughly 10-12 pages); please submit the entire piece to be read. Poetry submissions should be 10 pages. Note: Authors of creative submissions accepted by Writing By Degrees will be invited to submit the works to a special Fall edition of the journal Harpur Palate, although acceptance for publication is not guaranteed. Academic Submissions: Please submit a 1-2pp abstract.Possible Academic Submission Topics: the craft and/or practice of writing creative writing pedagogy creative writing versus composition the avant-garde in poetry or fiction Hardcopy submissions may be sent to: Writing By Degrees Department of English Binghamton University PO Box 6000 Binghamton, NY 13902-6000 Please Note: Writing by Degrees no longer accepts e-submissions. Please include your email address with your submission for correspondence. Hardcopy submissions will only be returned upon request, and only if accompanied by a self-addressed envelope with sufficient postage. Upon acceptance of your submission, there will be a $50.00 conference fee. Questions or comments? Email us at wbdegree@binghamton.edu For more information, visit: writingbydegrees.binghamton.edu ========================================================================= Date: Sun, 15 Apr 2007 09:36:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: The 10th Annual Writing By Degrees Conference MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit > The 10th Annual Writing By Degrees Conference is > seeking creative and > academic submissions demonstrating or contemplating > the craft of writing. > > > > Conference Dates: September 27-29, 2007 > > Submission Deadline: August 20, 2007 > > > > Keynote Speakers: > > Chimamanda Adichie > > Vijay Seshadri > > > > Guidelines: > > All applicants must be currently enrolled as > graduate students in order to > be eligible. Submissions may fall into one of the > categories below: > > > > Creative Submissions: > > Creative prose, fiction or creative non-fiction > should be of a length to be > read within a 20-minute period (roughly 10-12 > pages); please submit the > entire piece to be read. > > > > Poetry submissions should be 10 pages. > > > > Note: Authors of creative submissions accepted by > Writing By Degrees will be > invited to submit the works to a special Fall > edition of the journal Harpur > Palate, although acceptance for publication is not > guaranteed. > > > > Academic Submissions: > > Please submit a 1-2pp abstract.Possible Academic > Submission Topics: > > > > the craft and/or practice of writing > > creative writing pedagogy > > creative writing versus composition > > the avant-garde in poetry or fiction > > > > Hardcopy submissions may be sent to: > > Writing By Degrees > > Department of English > > Binghamton University > > PO Box 6000 > > Binghamton, NY 13902-6000 > > > > > > Please Note: > > Writing by Degrees no longer accepts e-submissions. > Please include your > email address with your submission for > correspondence. Hardcopy submissions > will only be returned upon request, and only if > accompanied by a > self-addressed envelope with sufficient postage. > > Upon acceptance of your submission, there will be a > $50.00 conference fee. > > Questions or comments? Email us at > wbdegree@binghamton.edu > > > > For more information, visit: > > writingbydegrees.binghamton.edu > > > > > > -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 14 Apr 2007 21:54:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: soulfunremembersdirtybolo - Xanax Pop, by Lewis LaCook Comments: To: rhizome , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit White arc whole fan a smoking I thrashed chickie soul happening Cinema is who dirty mine no means hey duh h-here ill fun or guilt or fun and his canadian–bolo trim Try it–remembers who baby– in minutes minatures such re-arranging Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Sun, 15 Apr 2007 10:33:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: blocks MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed blocks set of late 19th cent early 20th cent children's blocks. rearranged i desperately tried to fill in the gaps. closed in one area and expanded in another, just like the true-real, nothing fits any more. the gaps are small, hiatus, liminal, interval. they tend towards closure, implying they didn't mean it, they meant nothing by it, it was an accident, it was nothing at all. teeth are always on the edge of things, and that's where the world forms and tears apart. later, azure appeared and set everything aright. it took her a few minutes. she followed the diagrams. http://www.asondheim.org/bock.mov perhaps also http://www.asondheim.org/skinstretch.mp4 ========================================================================= Date: Sun, 15 Apr 2007 13:41:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: Re: vispoets In-Reply-To: (brad brace's message of "Sun, 15 Apr 2007 07:04:05 -0700") MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii >> Thanks to everyone who uploaded images to the gallery this week. Keep >> uploading new images for your chance to win next week. > > Dan, is there an email address that would accept > jpeg-attachments for your gallery... The galleries are all maintained by the individual artists, all you need to do is register to begin creating your own album(s). Regards, Dan ========================================================================= Date: Sun, 15 Apr 2007 19:43:13 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: from Edward Byrne MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Just an update about the Valparaiso Poetry Review editor's blog, "One Poet's Notes," complementing work in VPR and recognizing notable recent publications of poetry: I want to invite all to visit the blog and encourage you to pass along information about the blog's contents to any individuals or lists you think might be interested. Poets whose works are considered and currently on the main page include Kwame Dawes, Kay Ryan, David Bottoms, Honor Moore, Charles Simic, Daisy Fried, Charles Wright, Margot Schilpp, Jeffrey Franklin, Joan Houlihan, Greg Pape, Leslie Heywood, Mark Strand, and Derek Walcott. The URL for the blog: http://edwardbyrne.blogspot.com/ ========================================================================= Date: Sun, 15 Apr 2007 11:34:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: CELEBRATING ED DORN AT BEYOND BAROQUE MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Reading from Way More West, Selected Poems of Edward Dorn on 21 April, Saturday - 7:30 PM at Beyond Baroque, 681 Venice Blvd, Venice, California, 310.822-3006 ED DORN, one of America's great, courageous poets, began at Black Mountain with Creeley and Olson. He wrote such classics as Gunslinger (Duke), with its critique of the Vietnam War and America's "Shortage Industry," Hello La Jolla, Some Business Recently Transacted in the White World, the groundbreaking Shoshoneans, and much more. MICHAEL ROTHENBERG has edited a Selected Poems for the prestigious Penguin Poets series (following Kyger, Meltzer and Whalen), and co-hosts this tribute with JENNIFER DUNBAR DORN. Readers include JOHN DALEY, JERRY CASALE, PHOEBE MACADAMS, JASON HORWITCH, JOE SAFDIE, LEWIS MACADAMS, and MAYA DORN. ========================================================================= Date: Sun, 15 Apr 2007 17:51:59 -0400 Reply-To: lmelvin1@binghamton.edu Sender: UB Poetics discussion group From: Metta Sama Subject: Update: Writing by Degrees In-Reply-To: <05cc01c77f8c$da565b30$6401a8c0@LENOVO5E22278F> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Please note that the Writing by Degrees conference does encourage the submission of plays. Plays are welcome. Plays, like prose, should be of a length to be read within 20 minutes. http://writingbydegrees.binghamton.edu/home.html ========================================================================= Date: Sun, 15 Apr 2007 15:34:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Reiner Subject: Poe's Masque of the Red Death Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Poetics Listers in the Los Angeles area might be interested in a theatrical production of Edgar Allan Poe's "Masque of the Red Death" at Zombie Joe's Underground Theatre in the NoHo arts district. It runs Friday and Saturday through April 28th, at 8:30. I've written the music and songs for the show. We use every word of Poe's text, which often reads more like poetry than prose. The staging is masque- like -- a revel in which the audience can sit, stand, or move around the playing area. Reviews? How about this . . . "This macabre in-the-round reading of Poe's plague-ridden classic typifies the company's skill at interpretive mayhem. Poe would surely approve" -- Los Angeles Times ("Recommended") "The troupe acts as an eight-headed monster, often crammed together in a writhing, groping, orgiastic mass. The players deliver their successive lines with the assuredness and timing of the Beastie Boys. Never were they more horrifying than when marching in a dance line directly toward this reviewer, who soon thereafter found a safer seat off to the side." -- LA Weekly ("GO") The show lasts about an hour and costs $12. There's plenty of free parking. This staging requires that tickets for each performance are very limited, so reserve early. RESERVATION HOTLINE: 818-202-4120 EDGAR ALLAN POE'S MASQUE OF THE RED DEATH @ ZOMBIE JOE'S UNDERGROUND THEATRE 4850 LANKERSHIM BLVD., NORTH HOLLYWOOD, CA www.zombiejoes.com www.christopherreiner.com ========================================================================= Date: Sun, 15 Apr 2007 21:22:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: SPECIAL RELEASE OFFER: DAYS POEM by ALLEN BRAMHALL MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit MERITAGE PRESS ANNOUNCEMENT A Two-Volume Poetry Collection by Allen Bramhall: DAYS POEM, Vol. I 494 pages ISBN: 978-0-9709-1798-0 Price: $28.00 DAYS POEM, Vol. II 441 pages ISBN: 978-0-9709-1799-7 Price: $28.00 Meritage Press (www.meritagepress.com) is delighted to announce a PRE-RELEASE SPECIAL OFFER for a unique and ambitious two-volume collection by Allen Bramhall: DAYS POEM. Mr. Bramhall describes his project with: "Begun casually, the writing of Days Poem quickly grew into a daily necessity to write, even to plug onward. In this way, it resembles a journal or novel, tho it claims neither genre as its own. It started with an idea of writing large and embracing extent. It settled (and unsettled) itself within the compelling philosophical argument that it is what it is. The thrill of relentlessness and perseverance pushed it until, you know, it came to an end. As the writer of these pages, I wanted to play with hobos, and bears, and Tarzan & Jane, and Walden Pond, and all the words in between. I wanted a little amazement in every day." BIO: Allen Bramhall was born by the banks of the Concord River in 1952 and has lived in Massachusetts ever since. He was educated at Franconia College and Lesley University, and in non-academic places as well. / Simple Theory / (Potes & Poets Press) was his first book. He maintains a blog called Tributary, and a life with Beth and Erin. To celebrate the release of Days Poem, Meritage Press is pleased to offer the following PRE-RELEASE OFFER: To order a single volume, a 20% discount and free shipping/handling (about a $3.00 value) for a single-volume price of $22.40 To order both volumes, a 25% discount and free shipping handling for a 2-volume price of $42.00 This offer will be good through May 31, 2007...and is expected to be the least expensive rate for purchasing the book(s). Please send checks made out to "Meritage Press" and mail to Eileen Tabios Meritage Press 256 North Fork Crystal Springs Rd. St. Helena, CA 94574 This offer is good throughout the United States; Meritage Press will take international orders but will have to adjust shipping/handling costs. If you wish to place an international order, or have any other queries, please email MeritagePress@aol.com Beyond the expiry of this PRE-RELEASE OFFER, Days Poem will be available through the publisher (email MeritagePress@aol.com) or you can order through Meritage Press' Lulu account at: Days Poem, Vol 1: http://www.lulu.com/content/748585 Days Poem, Vol 2: http://www.lulu.com/content/748595 FOR MORE INFO: MeritagePress@aol.com ========================================================================= Date: Sun, 15 Apr 2007 21:51:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Thank God for Christopher Smart! 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 What does the word "Agno" translate into? Assuming it's latin, not in my dictionaries. For there is a language of flowers. For there is a sound reasoning upon all flowers. For elegant phrases are nothing but flowers. On Apr 11, 2007, at 11:42 PM, Jesse Glass wrote: > I think the best part of Jubilate Agno comes when Smart tells us > that if > we all stop what we're doing and applaud, then God will reveal himself > (no doubt bowing to left and right as in an opera by Handel) and > the end > of time will be upon us. > > What sublime absurdity! ========================================================================= Date: Mon, 16 Apr 2007 10:46:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Dreams Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Currently leading a workshop where folks wake up wanting to liberate their dreams into poems. Will appreciate anyone's suggestions or directions to any writing on interesting ways to jump beyond the journal "reportage" hurdle. Front or back channel, whatever works. Thanks so much, Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Mon, 16 Apr 2007 12:03:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 4.16-4.22.06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 4.16.07-4.22.07 LITERARY BUFFALO IN THE NEWS My article on Charles Olson in Artvoice http://artvoice.com/issues/v6n15/living_breath & My review of Henry's Ferrini's Film: Polis is Thus: Charles Olson and the Persistence of Place http://artvoice.com/issues/v6n15/film_reviews/poet_and_the_city & Buffalo News article on Olson by Jeff Simon http://www.buffalonews.com/204/story/53005.html LAST CHANCE TO SIGN UP FOR JCC WORKSHOP WITH KAREN LEWIS THE WRITE GROUP FOR YOU AT THE JCC: BEGINNING WRITERS WORKSHOP_ Instructor: Karen Lewis 8 Tuesdays: April 17, 24, May 1, 8,15, 29, June 5, 12, 7-9 p.m. Jewish Community Center of Greater Buffalo, 2640 N Forest Rd, Getzville, NY= =2E =24195, =24150 for members of Just Buffalo or the JCC REGISTER ONLINE AT OUR WEBSITE OR CALL 832.5400 READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 4.17.07 Poetics Plus at UB Arthur Sze Poetry Reading Tuesday, April 17, 4 p.m. UB Poetry Collection, 420 Capen Hall 4.18.07 Hallwalls/Talking Leaves Joseph Coulson Fiction Reading and Signing for Of Song & Water Wednesday, April 18, 7:30 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) 4.19.07 Just Buffalo/Small Press Poetry Series Tom Mandel, Rachel Zolf, Sharon Harris Poetry Reading Thursday, April 19, 7 p.m. Rust Belt Books, 202 Allen St., Buffalo & Exhibit X Fiction Joanna Scott Fiction Reading Thursday, April 19, 7 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) & Canisius College Contemporary Writers Series Connie Porter Fiction Reading Thursday, April 19, 7 p.m. Grupp Fireside Lounge, Canisius College 4.21.07 Talking Leaves/Hallwalls/Buffalo State College Indies Under Fire Film and Panel discussion w/director Jacob Bricca & Talking Leaves Proprietor Jon Welch Saturday April 21, 8 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) 4.22.07 Burchfield-Penney Poets and Writers Carl Dennis Poetry Reading Sunday, April 22, 2 p.m. Burchfield-Penney Art Center, Buffalo State College & Talking Leaves Tom Waters Reading and signing for Clean Up After Me, I'm Irish Sunday April 22, 8 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) RECURRING LITERARY EVENTS 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 Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 16 Apr 2007 08:21:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Nobel Laureate J.M. Coetzee, Edward Hirsch in Brazil MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Friends: EDWARD HIRSCH will be teaching at the creative writing workshop in Brazil from July 9-16, 2007. Nobel Laureate J.M. Coetzee, Alan Pauls e Rodrigo Fresan, and screenwriter Guillermo Arriaga (Babel, 21 Grams & Amores Peros) are headlining FLIP this year. Sign-up now and get a 30% discount on tuition. Participate in a week-long poetry workshop with Edward Hirsch and a translation class on Brazilian poets Carlos Drummond de Andrade and Joao Cabral de Melo Neto. Discussions on Elizabeth Bishop in Brazil and tours of important cultural sites and literary landmarks. Also, casual get togethers with leading contemporary Brazilian poets, editors, writers, translators, and publishers. MORE INFORMATION AT http://www.creativewritingbrazil.org/ ----- Creative Writing Brazil is an unique literary workshop in Sao Paulo, Brazil organized by Rattapallax magazine and Academia Interncional de Cinema. The workshops are run by leading American and Brazilian poets, writers and educators and conducted in English. The purpose of the workshop is to experience the culture of Brazil and produce new and complex literary work. Poets and writers who have participated in our trips to Brazil include Pulitzer Prize winning poet Yusef Komunyakaa, Breytan Breytanbach, Jerome Rothenberg, Cecilia Vicuna, Edwin Torres, Nathalie Handal, and Poetry Wales editor Robert Minhinnick. Edward Hirsch is a poet and critic. He has published six books of poems: For the Sleepwalkers (1981), Wild Gratitude (1986), which won the National Book Critics Circle Award, The Night Parade (1989), Earthly Measures (1994), On Love (1998), and Lay Back the Darkness (2003). He has also written four prose books: How to Read a Poem and Fall in Love with Poetry (1999), a national bestseller, Responsive Reading (1999), The Demon and the Angel: Searching for the Source of Artistic Inspiration (2002), and Poet's Choice (2006). He is the editor of Transforming Vision: Writers on Art (1994) and Theodore Roethke's Selected Poems (2005). He is also the co-editor of A William Maxwell Portrait: Memories and Appreciations (2004). He has received the Prix de Rome, a Guggenheim Fellowship, the American Academy of Arts and Letters Award for Literature, and a MacArthur Fellowship. He taught for eighteen years at the University of Houston, and is now the fourth president of the John Simon Guggenheim Memorial Foundation. ---- Elizabeth Bishop in Brazil. Lecture by Paulo Henriques Britto Elizabeth Bishop lived in Brazil more or less continuously from 1951 to 1966 and then intermittently to 1971. The country functioned as a necessary escape from the deprived and anxious world of her early childhood. Creative Writing Brazil will have a discussion about Bishop's life and work in Brazil. We can also assist you with your travel plans to visit Elizabeth Bishop's house in Ouro Preto and other noted Bishop landmarks in Brazil. Also, introduce you to renowned Bishop scholars and translators of her work. Paulo Henriques Britto was born in Rio de Janeiro in 1951. His third collection of poems, Trovar Claro, received Brazil's equivalent of the National Book Award from the Biblioteca Nacional, and his fourth book, Macau, won Brazil's most prestigious award, the Portugal Telecom Prize. In 2005, he published his first short story collection, Paraisos artificiais. Britto is also one of Brazil's principle translators of British and American literature, and received the National Library Foundation's prize for his 1995 translation of E. L. Doctorow's The Waterworks. His other translations include works by Henry James, V. S. Naipaul, Thomas Pynchon, Wallace Stevens, and Elizabeth Bishop's poems about Brazil. He currently teaches at the Catholic University of Rio de Janeiro. ---- Translation Workshop Translation class on Brazilian poets Carlos Drummond de Andrade and Joao Cabral de Melo Neto lead by Flavia Rocha. Flavia 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, Republica, Valor Economico and Bravo!. She has an M.F.A program in Writing at Columbia University and is the editor of Rattapallax magazine. Her first collection of poetry, The Blue House Around Noon was released by Travessa dos Editores in 2004. Her translations of contemporary American and Brazilian poets have appeared in The Chattahoochee Review, Callaloo, Rattapallax, and Poetry Wales. ----- Tour of Sao Paulo & Salon Reading Throughout the week, everyone will be having casual get togethers with leading Brazilian poets, editors, writers, and publishers. An important aspect of the workshop is an interaction between participants and their contemporary counterparts in Brazil. You will visit important cultural sites, bookstores, and literary landmarks. All participants will have an opportunity to read at the Salons in Sao Paulo and New York City. Also, Rattapallax magazine will assist with the publication of the work produced during the workshops in literary and online journals. ---- Festa Literaria Internacional de Parati (FLIP) Nobel Laureate J.M. Coetzee, Alan Pauls e Rodrigo Fresan, and screenwriter Guillermo Arriaga (Babel, 21 Grams & Amores Peros) are headlining FLIP this year. FLIP is a leading and truly international literary jamborees, known for the outstanding quality of its guest authors, for the overwhelming enthusiasm of its audiences, and for the town's relaxed hospitality. FLIP has continued to attract some of the world's finest authors including Toni Morrison, Don DeLillo, Salman Rushdie, Martin Amis, Margaret Atwood, Paul Auster, Michael Ondaatje, alongside living Brazilian legends such as Chico Buarque and Caetano Veloso. The festival is held in Parati is a colonial sea-side town nestled between the turquoise waters of Ilha Grande Bay and vast swathes of unspoilt Atlantic rainforest. Only a few hours from Sao Paulo. Attend the Creative Writing Workshop and FLIP! We plan to organize a trip to FLIP and will help you with your travel plans to the festival. Must register early because the festival sells out. Please send future emails to devineni@rattapallax.com for press ========================================================================= Date: Mon, 16 Apr 2007 10:50:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Michael Mollohan" Subject: Re: Thank God for Christopher Smart! MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Actually, it's Greek. The 'A' translates to 'not,' and the 'gno' is the root of the Greek word, 'gnossis,' or spiritual knowledge. The closest I can come in my Greek dictionary is spelled "alpha, gamma, omnicron, omega," and means "I ignore" or "I am ignorant of." HTH ----- Original Message ----- From: "mIEKAL aND" To: Sent: Sunday, April 15, 2007 10:51 PM Subject: Re: Thank God for Christopher Smart! > What does the word "Agno" translate into? Assuming it's latin, not in my > dictionaries. > > > > > > For there is a language of flowers. > > For there is a sound reasoning upon all flowers. > > For elegant phrases are nothing but flowers. > > > > > > > > > On Apr 11, 2007, at 11:42 PM, Jesse Glass wrote: > >> I think the best part of Jubilate Agno comes when Smart tells us that if >> we all stop what we're doing and applaud, then God will reveal himself >> (no doubt bowing to left and right as in an opera by Handel) and the end >> of time will be upon us. >> >> What sublime absurdity! ========================================================================= Date: Mon, 16 Apr 2007 10:50:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: BlazeVOX 2k7 \\ Spring 2007 Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, Constant Critic , ImitaPo Memebers , new-poetry@wiz.cath.vt.edu, "Poetnews@Poets. Org" , Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit BlazeVOX 2k7 \\ Spring 2007 http://www.blazevox.org/ http://www.blazevox.org/ http://www.blazevox.org/ Including a Full PDF of spring issue http://www.blazevox.org/2k7-spring.pdf \\ FEATURING \\ + Jack Alun + Jessica Worden + Louis E. Bourgeois + Mary Kasimor + Marc Lowe + Matthew Osborne + Michele F Sweeney + Matt Shears + Seth Berg + Suchoon Mo + Tom Jenks + Arlene Ang + Adrian Kien + Alex Butler + Andrew Farkas + Beth Balousek + David Ensminger + Eddie Kilowatt + Eddie Jeffrey + Felino Soriano + Geoffrey Gatza + Gianina Opris + Thomas Fink + Mike Young \\ New eBooks \\ L E T T E R S By Michael Gessner Bone Cages : A Lyric Memoir By Donora Hillard Windshields: a chapbook of playlet-poems By Benjamin Buchholz \\ Buffalo Focus \\ Richard Owens | Poetry http://www.blazevox.org/07-bf-ro.pdf Every issue we will try to explore a new Buffalo writer. There is a lot going on here in Buffalo and I think it is important to engage some of that energy and bring you a sample of our home Let's cook this pig! ------------------------------------ BlazeVOX [books] Geoffrey Gatza Editor, Publisher editor@blazevox.org 14 Tremaine Ave Kenmore, NY 14217 tel: 716-873-5454 ------------------------------------ ------------------------------------ BlazeVOX [books] Geoffrey Gatza Editor, Publisher editor@blazevox.org 14 Tremaine Ave Kenmore, NY 14217 tel: 716-873-5454 ------------------------------------ ========================================================================= Date: Mon, 16 Apr 2007 15:14:25 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Thank God for Christopher Smart! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Jubilate agno = Rejoice in the lamb. agnus -i m. [lamb]. --------------------------------- a *o 1 masc sing abl a *o 1 masc sing dat a *o 1 neut sing abl a *o 1 neut sing dat n *o : masc. abl. sing. 2 n *o : masc. dat. sing. 2 n *o : neut. abl. sing. 2 n *o : neut. dat. sing. 2 v *o 1-5 1s pr act ind I see, I do see, I am seeing. n *ora : neut. nom. pl. 3 n *ori : neut. dat. sing. n *oribus : neut. abl. pl. n *oribus : neut. dat. pl. n *oris : neut. gen. sing. a *orum 1 neut plur gen a *orum 1 masc plur gen n *orum : masc. gen. pl. 2 n *orum : neut. gen. pl. 2 n *orum : neut. nom. pl. 3 a *os 1 masc plur acc n *os : masc. acc. pl. 2 mIEKAL aND wrote: What does the word "Agno" translate into? Assuming it's latin, not in my dictionaries. For there is a language of flowers. For there is a sound reasoning upon all flowers. For elegant phrases are nothing but flowers. On Apr 11, 2007, at 11:42 PM, Jesse Glass wrote: > I think the best part of Jubilate Agno comes when Smart tells us > that if > we all stop what we're doing and applaud, then God will reveal himself > (no doubt bowing to left and right as in an opera by Handel) and > the end > of time will be upon us. > > What sublime absurdity! ========================================================================= Date: Mon, 16 Apr 2007 09:44:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Burt Kimmelman Subject: Kimmelman Reading Canceled Comments: To: ClaudiaC3@aol.com, Madeline Tiger , TALISMANED@aol.com, "Liu, Timothy" , Holly Scalera , joel s lewis , Marilyn Mohr , MuratNN@aol.com, JAY KAPPRAFF , will rosenthal , Nathalie Bailey , Kathie and Lance , drhoffner@juno.com, mapst@aol.com, km.reilly@verizon.net, Diane Simmons , Dorothea Hoffner , "Coakley, John" , "Lynch, Robert" , lallyjmf@comcast.net, donahue@NJIT.EDU, EdMyers134@aol.com, LBoss79270@aol.com, mariagillan@optonline.net, Carole Stone , msuewillis@aol.com, sanderzpoet@msn.com, forsusanstock@comcast.net, Bruce Frankel , ktlque1@aol.com, DeniseRue59@aol.com, Karen Hubbard , Donald Lev , Sander Zulauf , ljegrey@comcast.net, Jean Gallagher , Stillernikki@aol.com, couperann@aol.com, listings@poetz.com, Marina Cramer , jgallagh@poly.edu, Jody Widelitz , kimmelma@NJIT.EDU Comments: cc: poetz-owner@yahoogroups.com, pembroke9@yahoo.com, slurp@mailbucket.org, staff@poems.com, poetrynj-owner@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Burt Kimmelman's scheduled NYC reading for this Saturday, April 21st, is = canceled. The reading will be rescheduled for some time in June. = Apologies for extraordinary circumstances. ========================================================================= Date: Mon, 16 Apr 2007 08:21:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: unintentional essay --- revised for imaginary audience MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit After posting this earlier, I thought to adapt it for an imaginary audience of college freshmen in a first composition and literature course. Something like this, while admittingly somewhat idiosyncratic, might have helped me a lot at that time. If you like it, you're welcome to distribute it freely --- especially to college freshmen. Unintentional essay on literature and music i. Music is the best case to compare modes of popularity within the arts. Compare a band like The Beatles to Ernest Hemingway. Hemingway will reach farther into the future, but doesn't reach as much of the now as The Beatles, who in turn reach less of the real. (Only reality can grasp time (because nothing else is just as unending as time)). In popular music, six months after the singles aren't in quadruple-daily rotation, they strain to elicit feelings beyond nostalgia. Yet we can read and read again a great novel or poetry without feeling nostalgia per se. In literature the goal is more a reigning in of time, where in music it is meant to inflate a particular time. We don't return to a work of literature to re-live our first encounter with it, but out of wonderment or concern over how it will "speak" (reflect) into our present and present-future circumstances. Honestly, our circumstances predicate our "worldview" (by which one might have objected to the former statement). So it isn't nostalgia which clears the way to a great literary work. It's vanity. ii. After thinking more about the impulses that lead us back to favorite music and books, it seems that the literary impulse is comparably more vain than the musical. This is still inchoate, but you will agree that literature as almost nothing else helps us check our vanities. It might be said to be the function of literature. So, a good work thereof must have at ready disposal a considerable nuance of vanity, make a deft flourish thereby, then proceed with our attention into its moral and aesthetic content. So, it can be said that it's not vanity which brings us to literature, but the want of ridding vanity. Is there a precise word for this feeling? I don't think so. There are great distinctions to make between modes of delivery within the realm of the written word. It's my opinion that poetry, intrinsic of its most immediate recognizance, works to empty us of vanity (or pity and fear, adapted from Aristotelian vocabulary), that poetry works to empty us of this at an earliest juncture and then replace it with something else, something useful in our business of widening our emotional and social balance. Fiction (more to the point, the novel) develops a climactic arc of filling us first with this stuff before working to purge it later on, which is the narrative mode, applicable to all tragedy, comedy, absurdity. Poetry is more challenging for its attenuated narrative. It works to reverse engineer a vanity, let's say, so that later on (often much later, so it will not have seemed to be an effect of the poem) the vanity appears and is recognized at once, in what we might call an epiphany. Narrative does not seek such lofty fame. And anything that makes us feel more balanced and whole, or alive to the world, has some actual poetry to it. iii. The other day I was listening to some music that had been of much interest to me several months ago on first hearing it. I caught myself in a strange loop. I felt now that my first experience to the music had been during a better time, maybe idyllic, and not that of the same petulant torpor. I laughed. Nostalgia was telling me too soon that I am happy and warm on any angle approaching this music. It comes from a word meaning "a return home," and it's more than pressing to find a negative thought in us for nostalgia, besides a removed fear for talking too loudly of it in public, "I won't be the nostalgic." But it's the first feeling we crave when we are alone. Nostalgia is so accommodating to our desires that it easily mixes with any other feeling, without complaint or prejudice, for any circumstance. It is probably why babies know how to cry. ---Jesse Crockett ========================================================================= Date: Mon, 16 Apr 2007 07:57:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Trolley book wins odd title prize Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Trolley book wins odd title prize http://news.bbc.co.uk/2/hi/entertainment/6553497.stm A book titled The Stray Shopping Carts of Eastern North America: A Guide to Field Identification has been named as the oddest book title of the year. The annual prize, awarded by industry magazine Bookseller, drew more than 5,500 internet voters to its website. The shopping trolley book, by Julian Montague, picked up 1,866 votes. Tattooed Mountain Women and Spoon Boxes of Dagestan came second, with Better Never To Have Been: The Harm of Coming Into Existence in third place. "We are delighted to reward a brilliant piece of niche publishing again this year," said Joel Rickett, deputy editor of The Bookseller. "For everyone who has ever seen an abandoned supermarket trolley and wondered how it got there, The Stray Shopping Carts of Eastern North America is an indispensable guide." SELECTION OF PAST WINNERS The Joy of Chickens American Bottom Archaeology Versailles: The View From Sweden Re-using Old Graves Highlights in the History of Concrete The Joy of Sex: Pocket Edition Greek Rural Postmen and Their Cancellation Numbers "The book is a labour of love and apparently took the author six years to compile," he added. Other runners-up include How Green Were the Nazis? and D Di Mascio of Coventry - An Ice Cream Company of Repute, With An Interesting and Varied Fleet of Ice Cream Vans. The contest began in 1978 - previous winners include High Performance Stiffened Structures, Living with Crazy Buttocks and How To Avoid Huge Ships. ========================================================================= Date: Mon, 16 Apr 2007 07:47:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Thank God for Christopher Smart! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" in/of the lamb At 9:51 PM -0500 4/15/07, mIEKAL aND wrote: >What does the word "Agno" translate into? Assuming it's latin, not >in my dictionaries. > > > > > >For there is a language of flowers. > >For there is a sound reasoning upon all flowers. > >For elegant phrases are nothing but flowers. > > > > > > > > >On Apr 11, 2007, at 11:42 PM, Jesse Glass wrote: > >>I think the best part of Jubilate Agno comes when Smart tells us that if >>we all stop what we're doing and applaud, then God will reveal himself >>(no doubt bowing to left and right as in an opera by Handel) and the end >>of time will be upon us. >> >>What sublime absurdity! ========================================================================= Date: Mon, 16 Apr 2007 08:14:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The ars poetica project continues to thrill and amaze at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: Mikhail Horowitz, Thomas Devaney, Lawrence Welsh, and John Bloomberg Rissman Poems will appear this week by: Richard Owens, Gale Swiontkowski, Audacia Dangereyes, Martin Stannard, John Byrum, and Richard Denner. A new poem about poetry every day. Enjoy, Dan ========================================================================= Date: Mon, 16 Apr 2007 06:38:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: unintentional essay on literature and music MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Unintentional essay on literature and music i. Music is the best case to compare modes of popularity within the arts. Compare a band like The Beatles to Ernest Hemingway. Hemingway will reach farther into the future, but doesn't reach as much of the now as The Beatles, who in turn reach less of the real. (Only reality can grasp time (because nothing else is just as ugly as time)). In popular music, six months after the singles aren't in quadruple-daily rotation, they strain to elicit feelings beyond nostalgia. Yet we can read and read again a great novel or poetry without feeling nostalgia per se. In literature the goal is more a reigning in of time, rather than in music which means to inflate a particular time. We don't return to a work of literature to re-live our first encounter with it, but out of wonderment or concern over how it will "speak" (reflect) into our present and present-future circumstances. Honestly, our circumstances predicate our "worldview" (by which one might have objected to the former statement). So it isn't nostalgia which leads us back to a great literary work. It's vanity. Huh? Have we uncovered a secret between the popular and elite arts? ii. After thinking more about the impulses that lead us back to favorite music and books, it seems that the literary impulse is comparably more vain than the musical. This is still inchoate, but you will agree that literature as almost nothing else helps us check our vanities. It might be said to be the function of literature. So, a good work thereof must have at ready disposal a considerable nuance of vanity, make a deft flourish thereby, then proceed with our attention into its moral and aesthetic content. So, it can be said that it's not vanity which brings us to literature, but the want of ridding vanity. Is there a precise word for this feeling? I don't think so. There are great distinctions to make between modes of delivery within the realm of the written word. It's my opinion that poetry, intrinsic of its most immediate recognizance, works to empty us of vanity (or pity and fear, adapted from the Aristotelian vocabulary), that poetry works to empty us of this at an earliest juncture and then replace it with something else, something useful in our business of widening our emotional and social balance. Fiction (more to the point, the novel) develops a climactic arc of filling us first with this stuff before working to purge it later on, which is the narrative mode, applicable to all tragedy, comedy, absurdity. Poetry is more challenging for its attenuated narrative. It works to reverse engineer a vanity, let's say, so that later on (often much later, so it will not have seemed to be an effect of the poem) the vanity appears and is recognized at once, in what we might call an epiphany. Narrative does not seek such lofty fame. And anything that makes us feel more balanced and whole, or alive to the world, has some actual poetry to it. iii. The other day I was listening to some music that had been of much interest to me several months ago on first hearing it. I caught myself in a strange loop. I felt now that my first experience to the music had been during a better time, maybe idyllic, and not that of the same petulant torpor. I laughed. Nostalgia was telling me too soon that I was happy and warm on any angle approaching this music. It comes from a word meaning "a return home," and it's more than pressing to find a negative thought in us for nostalgia, besides a removed fear for talking too loudly of it in public, "I won't be the nostalgic." But it's the first feeling we crave when we are alone. Nostalgia is so accommodating to our desires that it's easily mixed with any other feeling, without complaint or prejudice. And it's probably why babies know how to cry. --Jesse Crockett ========================================================================= Date: Mon, 16 Apr 2007 11:14:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Chief: Gunman kills at least 21 at Virginia Tech - Today In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.cnn.com/2007/US/04/16/vtech.shooting/index.html (CNN) -- A lone gunman is dead after police said he killed at least 21 people Monday during twin shootings on the Virginia Tech campus -- the worst school shooting incident in U.S. history. "Some victims were shot in a classroom," university police Chief Wendell Flinchum said during a news conference in Blacksburg. Police believe there was only one gunman, Flinchum said. "Today the university was struck with a tragedy that we consider of monumental proportions," said university President Charles Steger. "The university is shocked and indeed horrified." (Map of Blacksburg) The shootings mark the deadliest school shooting incident in U.S. history, topping attacks at Columbine High School in 1999 and at the University of Texas in 1966. The Associated Press quoted officials saying more than 20 people were wounded. A hospital spokeswoman told AP that 17 Virginia Tech students were being treated for gunshot wounds and other injuries. Sharon Honaker at the Carilion New River Valley Medical Center in nearby Christiansburg, Virginia, told CNN that four patients had been transported there, one in critical condition. One person was killed and others were wounded at multiple locations inside a dormitory about 7:15 a.m., Flinchum said. Two hours later, another shooting at Norris Hall, the engineering science and mechanics building, resulted in multiple casualties, the university reported. (Campus map) The first reported shooting occurred at West Ambler Johnston Hall, a four-story coed dormitory that houses 895 students. The dormitory, one of the largest residence halls on the 2,600-acre campus, is located near the drill field and stadium. Amie Steele, editor-in-chief of the campus newspaper, said one of her reporters at the dormitory reported "mass chaos." The reporter said there were "lots of students running around, going crazy, and the police officers were trying to settle everyone down and keep everything under control," according to Steele. (Watch police, ambulances hustle to the scene ) Kristyn Heiser said she was in class about 9:30 a.m. when she and her classmates saw about six gun-wielding police officers run by a window. "We were like, 'What's going on?' Because this definitely is a quaint town where stuff doesn't really happen. It's pretty boring here," said Heiser during a phone interview as she sat on her classroom floor. Student reports 'mayhem' Student Matt Waldron said he did not hear the gunshots because he was listening to music, but he heard police sirens and saw officers hiding behind trees with their guns drawn. "They told us to get out of there so we ran across the drill field as quick as we could," he said. Waldron described the scene on campus as "mayhem." (Watch a student's recording of police responding to loud bangs "It was kind of scary," he said. "These two kids I guess had panicked and jumped out of the top-story window and the one kid broke his ankle and the other girl was not in good shape just lying on the ground." Madison Van Duyne said she and her classmates in a media writing class were on "lockdown" in their classrooms. They were huddled in the middle of the classroom, writing stories about the shootings and posting them online. The university is updating its more than 26,000 students through e-mails, and an Internet webcam is broadcasting live pictures of the campus. The shootings came three days after a bomb threat Friday forced the cancellation of classes in three buildings, WDBJ in Roanoke reported. Also, the 100,000-square-foot Torgersen Hall was evacuated April 2 after police received a written bomb threat, The Roanoke Times reported. Last August, the first day of classes was cut short by a manhunt after an escaped prisoner was accused of killing a security guard at a Blacksburg hospital and a sheriff's deputy. After the Monday shootings, students were instructed to stay indoors and away from windows, police at the university said. (Watch the police chief explain where bodies were found ) "Virginia Tech has canceled all classes. Those on campus are asked to remain where they are, lock their doors and stay away from windows. Persons off campus are asked not to come to campus," a statement on the university Web site said. Before Monday, the deadliest school shootings came in 1966 and 1999. In the former, Charles Joseph Whitman, a 25-year-old ex-Marine, killed 13 people on the University of Texas campus. He was killed by police. In 1999, 17-year-old Dylan Klebold and 18-year-old Eric Harris -- armed with guns and pipe bombs -- killed 12 students and a teacher before killing themselves. --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Mon, 16 Apr 2007 14:51:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Dreams In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi, Stephen, Since you asked... Photographer Rusty Crump & I have just had a book of photos (his & mine) & my tiny synasthetic dream prose poems come out as a free e-book & a POD book at blazevox.org. Rusty superimposed some of my words on his photos & one of the points of the book is show some relationship btwn the waking life & the dream life. It's called Morphology for the way organism grow & change, and words do, so there is that parallel. And I've kept in only the synasthetic moments or those close to synasthetic, often cutting the dream down from a page to a sentence. Be interested to hear how that goes. Best, Ruth Lepson On 4/16/07 1:46 PM, "Stephen Vincent" wrote: > Currently leading a workshop where folks wake up wanting to liberate their > dreams into poems. > Will appreciate anyone's suggestions or directions to any writing on > interesting ways to jump beyond the journal "reportage" hurdle. > > Front or back channel, whatever works. > > Thanks so much, > > Stephen Vincent > http://stephenvincent.net/blog/ ========================================================================= Date: Mon, 16 Apr 2007 13:26:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: do not MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Honestly, they do not predicate our world view. Other changes, see blog. So, does anyone have a mint? Jess ========================================================================= Date: Mon, 16 Apr 2007 14:22:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Dylan Welch Subject: Baseball Haiku Anthology In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" A quick message to mention that I've got some work in a new anthology of baseball haiku just published in hardback by W. W. Norton. Baseball Haiku (http://www.amazon.com/Baseball-Haiku-Cor-van-Heuvel/dp/0393062198), edited by Cor van den Heuvel and Nanae Tamura, contains Japanese and North American haiku about baseball, including the earliest known haiku about baseball, by Shiki (one of Japan's four great haiku masters), plus haiku by other poets such as Jack Kerouac. Cor van den Heuvel was interviewed about the book on NPR recently, too (the interview is available at http://www.npr.org/templates/story/story.php?storyId=9264826 -- click Listen at the top of the page). Michael ________________________________________________________________________ AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ========================================================================= Date: Mon, 16 Apr 2007 14:52:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Chief: Gunman kills at least 21 at Virginia Tech - Today In-Reply-To: <725124.7527.qm@web83303.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Earlier today I was talking about how lovely it is to work at a = university. How civilized and welcoming. Etc. I still believe it is, especially = compared to places I've worked before. This is terrible news, but a measure of = the sense of community for those who work at a university is the shock they = feel with confronted with something like this. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of amy king Sent: Monday, April 16, 2007 1:15 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Chief: Gunman kills at least 21 at Virginia Tech - Today http://www.cnn.com/2007/US/04/16/vtech.shooting/index.html =20 (CNN) -- A lone gunman is dead after police said he killed at least 21 people Monday during twin shootings on the Virginia Tech campus -- the = worst school shooting incident in U.S. history. "Some victims were shot in a classroom," university police Chief = Wendell Flinchum said during a news conference in Blacksburg.=20 Police believe there was only one gunman, Flinchum said.=20 "Today the university was struck with a tragedy that we consider of monumental proportions," said university President Charles Steger. "The university is shocked and indeed horrified." (Map of Blacksburg) The shootings mark the deadliest school shooting incident in U.S. = history, topping attacks at Columbine High School in 1999 and at the University = of Texas in 1966.=20 The Associated Press quoted officials saying more than 20 people were wounded. A hospital spokeswoman told AP that 17 Virginia Tech students = were being treated for gunshot wounds and other injuries.=20 Sharon Honaker at the Carilion New River Valley Medical Center in = nearby Christiansburg, Virginia, told CNN that four patients had been = transported there, one in critical condition.=20 One person was killed and others were wounded at multiple locations = inside a dormitory about 7:15 a.m., Flinchum said. Two hours later, another shooting at Norris Hall, the engineering science and mechanics building, resulted in multiple casualties, the university reported. (Campus map) The first reported shooting occurred at West Ambler Johnston Hall, a four-story coed dormitory that houses 895 students. The dormitory, one = of the largest residence halls on the 2,600-acre campus, is located near = the drill field and stadium. Amie Steele, editor-in-chief of the campus newspaper, said one of her reporters at the dormitory reported "mass chaos." The reporter said there were "lots of students running around, going crazy, and the police officers were trying to settle everyone down and = keep everything under control," according to Steele. (Watch police, = ambulances hustle to the scene ) Kristyn Heiser said she was in class about 9:30 a.m. when she and her classmates saw about six gun-wielding police officers run by a window. "We were like, 'What's going on?' Because this definitely is a quaint = town where stuff doesn't really happen. It's pretty boring here," said Heiser during a phone interview as she sat on her classroom floor. Student reports 'mayhem' Student Matt Waldron said he did not hear = the gunshots because he was listening to music, but he heard police sirens = and saw officers hiding behind trees with their guns drawn.=20 "They told us to get out of there so we ran across the drill field as quick as we could," he said.=20 Waldron described the scene on campus as "mayhem." (Watch a student's recording of police responding to loud bangs=20 "It was kind of scary," he said. "These two kids I guess had panicked = and jumped out of the top-story window and the one kid broke his ankle and = the other girl was not in good shape just lying on the ground."=20 Madison Van Duyne said she and her classmates in a media writing class were on "lockdown" in their classrooms. They were huddled in the middle = of the classroom, writing stories about the shootings and posting them = online.=20 The university is updating its more than 26,000 students through = e-mails, and an Internet webcam is broadcasting live pictures of the campus.=20 The shootings came three days after a bomb threat Friday forced the cancellation of classes in three buildings, WDBJ in Roanoke reported. = Also, the 100,000-square-foot Torgersen Hall was evacuated April 2 after = police received a written bomb threat, The Roanoke Times reported.=20 Last August, the first day of classes was cut short by a manhunt after = an escaped prisoner was accused of killing a security guard at a Blacksburg hospital and a sheriff's deputy.=20 After the Monday shootings, students were instructed to stay indoors = and away from windows, police at the university said. (Watch the police = chief explain where bodies were found ) "Virginia Tech has canceled all classes. Those on campus are asked to remain where they are, lock their doors and stay away from windows. = Persons off campus are asked not to come to campus," a statement on the = university Web site said.=20 Before Monday, the deadliest school shootings came in 1966 and 1999.=20 In the former, Charles Joseph Whitman, a 25-year-old ex-Marine, killed = 13 people on the University of Texas campus. He was killed by police.=20 In 1999, 17-year-old Dylan Klebold and 18-year-old Eric Harris -- = armed with guns and pipe bombs -- killed 12 students and a teacher before = killing themselves.=20 =20 --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Mon, 16 Apr 2007 12:19:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Dreams In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks, Ruth, I will check this out. Stephen V http://stephenvincent.net/blog/ > Hi, Stephen, > > Since you asked... > Photographer Rusty Crump & I have just had a book of photos (his & mine) & > my tiny synasthetic dream prose poems come out as a free e-book & a POD book > at blazevox.org. Rusty superimposed some of my words on his photos & one of > the points of the book is show some relationship btwn the waking life & the > dream life. It's called Morphology for the way organism grow & change, and > words do, so there is that parallel. And I've kept in only the synasthetic > moments or those close to synasthetic, often cutting the dream down from a > page to a sentence. > > Be interested to hear how that goes. > > Best, > > Ruth Lepson > > > On 4/16/07 1:46 PM, "Stephen Vincent" wrote: > >> Currently leading a workshop where folks wake up wanting to liberate their >> dreams into poems. >> Will appreciate anyone's suggestions or directions to any writing on >> interesting ways to jump beyond the journal "reportage" hurdle. >> >> Front or back channel, whatever works. >> >> Thanks so much, >> >> Stephen Vincent >> http://stephenvincent.net/blog/ ========================================================================= Date: Mon, 16 Apr 2007 16:43:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Re: Dreams In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Hi Stephen-- Might be interesting to have them read Rumi or Hafez, though I would recommend neither Coleman Barks nor Daniel Ladinsky. Here's a link to some new translations of Rumi that I think are really beautiful: http://www.archipelago.org/vol10-34/rumi.htm. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Stephen Vincent Sent: Monday, April 16, 2007 1:47 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Dreams Currently leading a workshop where folks wake up wanting to liberate their dreams into poems. Will appreciate anyone's suggestions or directions to any writing on interesting ways to jump beyond the journal "reportage" hurdle. Front or back channel, whatever works. Thanks so much, Stephen Vincent http://stephenvincent.net/blog/ -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.446 / Virus Database: 269.4.0/762 - Release Date: 4/15/2007 4:22 PM ========================================================================= Date: Mon, 16 Apr 2007 17:40:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Howe Subject: Re: game as poetry In-Reply-To: <308307.12721.qm@web30208.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline This game is my new favorite poem. Well done! Best Brian H. On 4/15/07, Jason Nelson wrote: > > New digital poem/net art/game, this is the beta version so ideas, thoughts > and other whimsies are more than pleaded...... > > title: game, game, game and again game > > http://www.secrettechnology.com/gamegame/gamegamebegin.html > > cheers, Jason Nelson > > > --------------------------------- > Ahhh...imagining that irresistible "new car" smell? > Check outnew cars at Yahoo! Autos. > ========================================================================= Date: Mon, 16 Apr 2007 17:02:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Dreams In-Reply-To: <000601c78067$dce0df20$96a29d60$@net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit thank you--these are the largest, most moving translations of rumi I have read. On 4/16/07 4:43 PM, "Richard Jeffrey Newman" wrote: > Hi Stephen-- > > Might be interesting to have them read Rumi or Hafez, though I would > recommend neither Coleman Barks nor Daniel Ladinsky. Here's a link to some > new translations of Rumi that I think are really beautiful: > http://www.archipelago.org/vol10-34/rumi.htm. > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Stephen Vincent > Sent: Monday, April 16, 2007 1:47 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Dreams > > Currently leading a workshop where folks wake up wanting to liberate their > dreams into poems. > Will appreciate anyone's suggestions or directions to any writing on > interesting ways to jump beyond the journal "reportage" hurdle. > > Front or back channel, whatever works. > > Thanks so much, > > Stephen Vincent > http://stephenvincent.net/blog/ > ========================================================================= Date: Mon, 16 Apr 2007 21:18:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Dreams In-Reply-To: <000601c78067$dce0df20$96a29d60$@net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Richard, Thank you for the pointer to the new translations of Rumi. Particularly the gazel translations are wonderful. Ciao, Murat On 4/16/07, Richard Jeffrey Newman wrote: > > Hi Stephen-- > > Might be interesting to have them read Rumi or Hafez, though I would > recommend neither Coleman Barks nor Daniel Ladinsky. Here's a link to some > new translations of Rumi that I think are really beautiful: > http://www.archipelago.org/vol10-34/rumi.htm. > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Stephen Vincent > Sent: Monday, April 16, 2007 1:47 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Dreams > > Currently leading a workshop where folks wake up wanting to liberate their > dreams into poems. > Will appreciate anyone's suggestions or directions to any writing on > interesting ways to jump beyond the journal "reportage" hurdle. > > Front or back channel, whatever works. > > Thanks so much, > > Stephen Vincent > http://stephenvincent.net/blog/ > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.446 / Virus Database: 269.4.0/762 - Release Date: 4/15/2007 > 4:22 PM > ========================================================================= Date: Mon, 16 Apr 2007 14:08:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the usual avatar visiting the real MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the usual avatar visiting the real the sitting position makes the sequence simple the stretches are customary and conceivable the mudrah hands and the rasa eyes the possibiity of this choreography the shuddering feet of the usual avatar the imitating performer of the shuddering feet the peripheral vision of the real from the box-seat of the digital the memory of the analog through the dna of collision analog the uncontrollability of the usual avatar the hello world program of the usual avatar http://www.asondheim.org/touchme.mp4 visiting avatar visiting position sitting avatar avatar makes the sequence the position stretches conceivable are sequence the mudrah the mudrah customary the the of rasa hands rasa the feet of the choreography avatar the feet the the the the avatar usual of vision vision the of vision the from peripheral peripheral the the the from from memory through the the the dna analog dna the through uncontrollability usual uncontrollability of the hello program avatar of avatar usual program hello the usual the usual avatar the visiting usual real visiting sitting the position sitting makes position sequence the simple sequence stretches are the customary stretches and are conceivable customary mudrah the hands mudrah rasa the eyes rasa possibiity of this the choreography possibiity shuddering the feet shuddering imitating the performer imitating peripheral real vision from from the box-seat the digital of memory analog analog dna through of dna analog collision memory uncontrollability hello hello world world program program [new material at http://nikuko.blogspot.com ] ========================================================================= Date: Mon, 16 Apr 2007 20:23:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Chief: Gunman kills at least 21 at Virginia Tech - Today In-Reply-To: <000001c78060$c98104c0$f4954682@win.louisiana.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thank you, Skip. It is strange, esp since it really is unrelated to my life, save the fact that it reminds of one's own tenuousness ... Moreover, since I am not a mother (and am often reduced to a ticked-off instructor in the face of seeming apathy or resistance), I can only imagine the sorrow some parents are feeling for their children, just becoming adults, tonight. Skip Fox wrote: Earlier today I was talking about how lovely it is to work at a university. How civilized and welcoming. Etc. I still believe it is, especially compared to places I've worked before. This is terrible news, but a measure of the sense of community for those who work at a university is the shock they feel with confronted with something like this. --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Tue, 17 Apr 2007 06:01:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Re: Dreams In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit If I can be a little self-promoting: On this page on my website--http://www.richardjnewman.com/publications/bustan.htm--is a substantial excerpt from the introduction to my translation of selections from Saadi's Bustan. (Saadi was a contemporary of Rumi and was, in Iran at least, and by some still is placed higher in the Persian literary canon than Rumi.) The introduction takes on Barks' and Ladinsky's translations of Rumi and Hafez respectively in a highly critical way that people on this list might find interesting. Murat also wrote a review of one of Ladinsky's books that is well worth reading, though I cannot now lay my hands on the link. Murat, maybe you can post it? Rich Newman ========================================================================= Date: Tue, 17 Apr 2007 08:25:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: buffluxus, yochadot & me MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hello & excuse the cross-listing * Ffrummsbo! *Two nights of text-based performance and performing writers, toward an aesthetic of grotesque lo-brow transcendentalism. buffluxus and i will be at the yochadot poetics theatre festivalapril 27th in baltimore and april 28th in alexandria virginia along with a whole host of others (rodrigo toscano, brent cunnigham, lee ann brown) throughout the festival which runs april 26th-30th, then closes on may 5th. events are in both baltimore, alexandria & fairfax, most of which are free, one asks for a measly $6. i hope to see some of you there that's it -- i could use some bone marrow, please http://fuckinglies.blogspot.com/ ========================================================================= Date: Tue, 17 Apr 2007 08:43:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: New Beard of Bees Chapbook MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "A document gets a security sticker-- bright orange as the sun beats the nation we transmit across..." from "Border Crossing" Beard of Bees Press is pleased to announce the publication of Passport, by Sean Singer. http://www.beardofbees.com/singer.html Ada Goodzeit says of Passport: "Filled with articulate Yankee grist--these poems read like early Colonial charters: all that anti-imperial freedom-speak before all the paperwork got in the way." Yours, Eric Elshtain Editor Beard of Bees Press http://www.beardofbees.com ========================================================================= Date: Tue, 17 Apr 2007 09:42:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: ornette wins pulitzer MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline dear listers, from the AP: "Ornette Coleman won the Pulitzer Prize for music on Monday for his 2006 album, 'Sound Grammar,' the second jazz artist to receive the honor." http://www.iht.com/articles/ap/2007/04/16/america/NA-GEN-US-Pulitzers-Arts-Coleman.php a small sign that something is right with the world. surprising? well, it's one of those things, i think, kind of like when robert duncan won big awards for poetry in 1978 -- major artist releases first new work in ten years -- in duncan's case, the groundwork poem. and likewise as duncan's work had circulated privately and in limited editions, so coleman had been touring with his two-bass quartet for a number of year. so anyone who was listening knew this was great music, tho i had no idea there was a CD in the works until it was released. and it as i wrote a while back, it is a pretty special recording. what's more shocking is that coleman is only the second-ever jazz musician to win the pulitzer, and when wynton marsalis won it in 1997 it was for his three-hour oratorio on slavery. so this is the first time it's ever been won for a jazz work since it was first awarded in 1943! congrats, mr. coleman! tom orange ========================================================================= Date: Tue, 17 Apr 2007 09:15:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: just buffalo's small press series recordings Comments: To: lexiconjury@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline the fall 2006 series has been (again) graciously hosted by housepress.org the archive includes (in order of the readers) geoffrey gatza amy king daniel f bradley gustave morin james hart iii mark trucott angela rawlings the spring archive is (still) there as well containing: kemeny babineau rob read john barlow justin sirois lauren bender ca conrad buck downs so, should you wish, head to the homepage and scroll down -- i could use some bone marrow, please http://fuckinglies.blogspot.com/ ========================================================================= Date: Tue, 17 Apr 2007 14:11:41 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Dreams In-Reply-To: <003001c780d7$60dba5c0$2292f140$@net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Surely there is room for all sorts of translations, adaptations, versions, and for all I know channelings of classic texts--that is part of their vitality. I read Barks' Rumi -- striking, well-turned new-agey lyric poems. It was clear enough that these were probably none too faithful, and there was no way to gather from Barks any sense of the formal character of the original (let alone the cultural context that you emphasize in your essay, Richard). The translated poem can't usually do this very well, of course, but it's helpful if the translator writes thoughtfully about the matter, explaining how they attempted to handle the particular linguistic challenges offered by the text. Since I wanted to get a better idea of this than Barks could offer, I naively bought a translation of Rumi published in the Oxford World Authors series -- imagining that this would surely be a serious scholarly approach to Rumi. Well, what I found there would be enough to drive anyone right back into the arms of Barks! An embarrassing rendering into jangly rhymed couplets, completely unreadable. So my question is: Is there a book out there that gives the anglophone reader access to the poetry of Rumi? Richard Jeffrey Newman wrote: If I can be a little self-promoting: On this page on my website--http://www.richardjnewman.com/publications/bustan.htm--is a substantial excerpt from the introduction to my translation of selections from Saadi's Bustan. (Saadi was a contemporary of Rumi and was, in Iran at least, and by some still is placed higher in the Persian literary canon than Rumi.) The introduction takes on Barks' and Ladinsky's translations of Rumi and Hafez respectively in a highly critical way that people on this list might find interesting. Murat also wrote a review of one of Ladinsky's books that is well worth reading, though I cannot now lay my hands on the link. Murat, maybe you can post it? Rich Newman ========================================================================= Date: Tue, 17 Apr 2007 07:34:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: NYTimes.com: 2007 Pulitzer Prizes for Letters, Drama and Music MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable From: davidbchirot@hotmail.comTo: davidbchirot@hotmail.comSubject: NYTimes.= com: 2007 Pulitzer Prizes for Letters, Drama and MusicDate: Tue, 17 Apr 200= 7 04:08:04 -0700 =09 This page was sent to you by:=20 davidbchirot@hotmail.com Message from sender: Ornette Coleman winner in music-- ARTS=20 =20 | April 16, 2007 2007 Pulitzer Prizes for Letters, Drama and Music By THE NEW YORK TIMES The winners included Cormac McCarthy for fiction, Lawrence Wright for gener= al nonfiction and Ornette Coleman for music. =20 =09 =09 =09 =09 1. The Power of Green=20 2. Editorial Observer: A Woman Wrongly Convicted and a U.S. Attorney Who Ke= pt His Job=20 3. 36 Hours in Portland, Ore.=20 4. I.R.S. Audits Middle Class More Often, More Quickly=20 5. Virginia Tech Shooting Leaves 33 Dead=20 =BB =20 Go to Complete List =09 Advertisement=20 The NAMESAKE From acclaimed director Mira Nair and based on the best-selling novel, THE = NAMESAKE is a universal, multi-generational love story. Now playing in sele= ct theatres. Click here to watch trailer Copyright 2007 The New York Times Company | Privacy Policy =20 =09 =09 _________________________________________________________________ News, entertainment and everything you care about at Live.com. Get it now! http://www.live.com/getstarted.aspx= ========================================================================= Date: Tue, 17 Apr 2007 08:41:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: pulitzers Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed the award to Ornette Coleman and special citation to John Coltrane got me looking through the Pulitzers, back as far as the early 1970s. The special citation last year to Thelonius Monk was also a highlight. but the poetry . . . I had to go back quite a few years to find works I thought deserving at all, and there were some, though rarely the best books of their year. Even in a string of three good years, 1974-1976, with the winners The Dolphin, by Robert Lowell Turtle Island, by Gary Snyder Self-Portrait in a Convex Mirror, by John Ashbery (and there's no 3-year run I can find with winners as good as those), yes even those, I have to say, don't sound like clear choices at all as those years saw the publication of such works as vol. 3 of The Maximus Poems by Charles Olson, Edward Dorn's Selected Poems 1956-1974, Ted Berrigan's Back in Boston, Barbara Guest's Moscow Mansions, The Selected Poems of Frank O'Hara, Adrienne Rich's Poems: Selected and New, two volumes of Robin Blaser's Image Nations (although I guess Canada doesn't count for the Pulitzers), The Maintains by Clark Coolidge, Things Stirring Together and Far Away by Larry Eigner, and, I imagine, many more books I would consider better than those three winners, and those three are just a few among Pulitzer winners that I would even want to read. So why are the Pulitzers so bad at poetry? Mostly I ignore them and don't care. It would be nice, though, to have a Linh Dinh or Stacy Doris or Beverly Dahlen or Ron Silliman (yes, The Age of Huts (compleat) for a Pulitzer!) receive that attention. charles ========================================================================= Date: Tue, 17 Apr 2007 10:30:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: The Loft Literary Center seeks a new Executive Director Comments: To: engrad-l@LISTSERV.BUFFALO.EDU, wryting-l@mail.uwv.edu, spidertangle@yahoogroups.com, patrickdurgin@earthlink.net Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable >From: OPwll@aol.com >Date: Tue, 17 Apr 2007 09:53:50 EDT >Subject: Fwd: The Loft Literary Center seeks a new Executive Director > >In a message dated 4/17/07 5:58:10 AM, tigeroak@gmail.com writes: > ><< *please forward widely* > > > > Opportunities. . . *at the Loft* > >------------------------------ > > > * > >* > > >*Executive Director > >**THE LOFT LITERARY CENTER* > >Minneapolis, Minnesota > > >*Executive Director* > > The Executive Director (the "ED") is the principal executive offic= er > >of the Loft Literary Center. The ED is responsible for the overall > >direction, management, financial health, organizational development and fun= d > >development of the Loft. > > The ED is charged with implementing the mission of the Loft and > >carrying out the vision, programs and strategic plan of the Loft, in > >accordance with policies set by the Board. To achieve this, the ED oversee= s > >the daily operation of the Loft's programs, activities, finances and > >funding, and the management of the staff. The ED is supervised by the > >Executive Committee of the Loft Board of Directors and reports to the full > >Board, and s/he is an ex-officio nonvoting member of both bodies. > >*Specific Responsibilities* > >-Leadership and Vision: > >* =B7* Articulates and communicates the Loft's vision and mission as= a > >national leader among literary centers and in the field of literature to: > >staff, board, members, funders, legislators, the local community, and the > >national arts community > >* =B7* Ensures that Loft programs and services carry out the > >organization's mission > >* =B7* Identifies planning needs, communicates needs to the board, a= nd > >manages the planning process > >* =B7* Creates the organizational strategic plan in coordination wit= h > >Board and staff leadership every three to five years > >* =B7* Oversees the implementation and achievement of the strategic > >plan > >* =B7* Develops (with the administrative director) new organizationa= l > >structures, systems, and programs as needed and/or as directed by the Board > > >-Fund Development: > >* =B7* Develops (with the development staff and Board Development > >Committee) the organization's fundraising strategy > >* =B7* Is responsible for and actively involved in the organization'= s > >annual fundraising activities > >* =B7* Cultivates relationships with (with the Development Committee > >and Board) major donors, grantmakers and funders > >* =B7* Identifies (with Board and staff) the organization's capital > >needs and ensures that fundraising for those capital needs is successfully > >incorporated into the organization's on-going fundraising plans > >* =B7* Advocates for funding for literature and the Loft on a state = and > >national level > > >-Administration of the Loft's Programs and Activities: > >* =B7* Ensures that the Loft's programs are meeting the needs of the > >community > >* =B7* Provides organizational leadership, artistic leadership and > >expertise in major new program development > >* =B7* Serves as the primary liaison between the staff and the Board > >* =B7* Ensures that the staff informs the Board about new and existi= ng > >programs and activities and encourages Board support > >* =B7* Ensures that the Loft has sound fiscal management > >* =B7* Develops (with staff and the Board) facility options to meet = the > >current and future needs of the organization > > >-Management: > >* =B7* Hires and supervises the administrative director, program > >director, education director, marketing and membership director, developmen= t > >director, and other senior staff as needed > >* =B7* Determines (with administrative director) staff needs for eac= h > >fiscal year > >* =B7* Maintains staff productivity, esprit de corps, and job > >satisfaction > > >-The ideal candidate will have: > >* =B7* Graduate degree or equivalent experience in literature and/or= in > >nonprofit leadership > >* =B7* Senior management and leadership experience; knowledge of boa= rd > >development > >* =B7* Passion for literature and for the Loft's mission > >* =B7* Ability to work with diverse constituencies > >* =B7* Excellent written and oral communication skills > >* =B7* Experience with, and enthusiasm for, new technologies > >* =B7* Strong relationships in the nonprofit, arts, publishing, and > >funding communities > >* =B7* Skills in collaboration and partnership building > >* =B7* Proven fundraising ability > >* =B7* Financial literacy and experience; thorough understanding of > >financial statements > >* =B7* Experience with identifying and developing leadership in othe= rs > > >*Compensation* > >* =B7* Salary commensurate with experience; is competitive with > >comparable Twin Cities arts organizations in the $2-5 million annual budget > >range > >* =B7* Excellent benefits package > > >*To Apply* > > Submit a cover letter, resume, contact information for three > >professional references, and a personal statement of purpose of 500 words o= r > >less about your interest in this position. > > E-mail the above materials (Word or PDF format) no later than 5:00 > >PM CDT, June 8, 2007 to: > >Executive Search Committee Chair Shawn Lawrence Otto at > >loft.search@gmail.com > >No telephone inquiries, please. > > Submissions are confidential. References will not be contacted > >until a candidate becomes a finalist. The Loft is an equal opportunity > >employer. > > >*About the Loft* > > Founded in 1974 in a loft above a Minneapolis bookstore, the Loft = is > >now the nation's largest and most comprehensive literary center, offering > >programs and services for readers and writers in a diverse community. For > >full description of the Loft, its mission and its programs, please visit > >http://www.loft.org. > > >*Contact Information* > > The Loft Literary Center, Minneapolis, Minnesota > > Web: http://www.loft.org > > Confidential e-mail: Executive Search Committee Chair Shawn Lawren= ce > >Otto > > at loft.search@gmail.com > > > >> > >


**************************************
See what's free at >http://www.aol.com. > > >Return-Path: >Received: from rly-xa02.mx.aol.com=20 >(rly-xa02.mail.aol.com [172.20.64.38]) by=20 >air-xa01.mail.aol.com (v114_r3.6) with ESMTP id=20 >MAILINXA12-564624a82720e; Tue, 17 Apr 2007=20 >06:58:10 -0400 >Received: from an-out-0708.google.com=20 >(an-out-0708.google.com [209.85.132.249]) by=20 >rly-xa02.mx.aol.com (v114_r3.6) with ESMTP id=20 >MAILRELAYINXA26-564624a82720e; Tue, 17 Apr 2007=20 >06:57:43 -0400 >Received: by an-out-0708.google.com with SMTP id c31so2330482ana > for ; Tue, 17 Apr 2007 03:57:43 -0700 (PDT) >DKIM-Signature: a=3Drsa-sha1; c=3Drelaxed/relaxed; > d=3Dgmail.com; s=3Dbeta; >=20 >h=3Ddomainkey-signature:received:received:message-id:date:from:subject:in-r= eply-to:mime-version:content-type:references; >=20 >b=3DNLq4dhv3Wmm5MxrzJBDN/0l1o84RkdgxBRnYMT46/zmC5SGTsizyuFvfn1A8JqTAy5Pa36b= LsverpGNcvixHD/ZPJQp6uV4TaMABJAa8T3YC/8LyZsWEMlLWNRC2Uiwia4p4bEW6VAPa5+JkZQt= =46NuFtTBUyHgnX9yNQPlXNrrc=3D >DomainKey-Signature: a=3Drsa-sha1; c=3Dnofws; > d=3Dgmail.com; s=3Dbeta; >=20 >h=3Dreceived:message-id:date:from:subject:in-reply-to:mime-version:content-= type:references; >=20 >b=3DMJ/TdgHNnytiMpDtD9XQYjCJXBEtuN6GJsmHc8Zvnvv22d0nJWZKied4WSulQWeScDpNDVA= QGawLROfHl58B9FdBilboQ/jODCjZi4iHEXMi5/I3mFWQltIR1ndMtWS4KuiVdoy4DbhEso3OgvR= ij+sXyOnHTH2/a3ssVlH5oa4=3D >Received: by 10.100.122.8 with SMTP id u8mr5287964anc.1176807463029; > Tue, 17 Apr 2007 03:57:43 -0700 (PDT) >Received: by 10.100.197.19 with HTTP; Tue, 17 Apr 2007 03:57:42 -0700 (PDT) >Message-ID: <3bb85d2b0704170357o579aa1acob4839c6b888071b@mail.gmail.com> >Date: Tue, 17 Apr 2007 18:57:42 +0800 >From: "Lisa Fink" >Subject: The Loft Literary Center seeks a new Executive Director >In-Reply-To: >MIME-Version: 1.0 >Content-Type: multipart/alternative; > boundary=3D"----=3D_Part_57198_26413444.1176807462963" >References: >X-AOL-IP: 209.85.132.249 >To: undisclosed-recipients:; >X-Mailer: Unknown (No Version) > >please forward widely > > > Opportunities. . . at the Loft > > >Executive Director >THE LOFT LITERARY CENTER >Minneapolis, Minnesota > >Executive Director > The Executive Director (the "ED") is the=20 >principal executive officer of the Loft Literary=20 >Center. The ED is responsible for the overall=20 >direction, management, financial health,=20 >organizational development and fund development=20 >of the Loft. > The ED is charged with implementing the=20 >mission of the Loft and carrying out the vision,=20 >programs and strategic plan of the Loft, in=20 >accordance with policies set by the Board. To=20 >achieve this, the ED oversees the daily=20 >operation of the Loft's programs, activities,=20 >finances and funding, and the management of the=20 >staff. The ED is supervised by the Executive=20 >Committee of the Loft Board of Directors and=20 >reports to the full Board, and s/he is an=20 >ex-officio nonvoting member of both bodies. > >Specific Responsibilities >-Leadership and Vision: > =B7 Articulates and communicates the=20 >Loft's vision and mission as a national leader=20 >among literary centers and in the field of=20 >literature to: staff, board, members, funders,=20 >legislators, the local community, and the=20 >national arts community > =B7 Ensures that Loft programs and=20 >services carry out the organization's mission > =B7 Identifies planning needs,=20 >communicates needs to the board, and manages the=20 >planning process > =B7 Creates the organizational strategic=20 >plan in coordination with Board and staff=20 >leadership every three to five years > =B7 Oversees the implementation and achievement of the strategic p= lan > =B7 Develops (with the administrative=20 >director) new organizational structures,=20 >systems, and programs as needed and/or as=20 >directed by the Board > >-Fund Development: > =B7 Develops (with the development staff=20 >and Board Development Committee) the=20 >organization's fundraising strategy > =B7 Is responsible for and actively=20 >involved in the organization's annual=20 >fundraising activities > =B7 Cultivates relationships with (with=20 >the Development Committee and Board) major=20 >donors, grantmakers and funders > =B7 Identifies (with Board and staff) the=20 >organization's capital needs and ensures that=20 >fundraising for those capital needs is=20 >successfully incorporated into the=20 >organization's on-going fundraising plans > =B7 Advocates for funding for literature=20 >and the Loft on a state and national level > >-Administration of the Loft's Programs and Activities: > =B7 Ensures that the Loft's programs are=20 >meeting the needs of the community > =B7 Provides organizational leadership,=20 >artistic leadership and expertise in major new=20 >program development > =B7 Serves as the primary liaison between the staff and the Board > =B7 Ensures that the staff informs the=20 >Board about new and existing programs and=20 >activities and encourages Board support > =B7 Ensures that the Loft has sound fiscal management > =B7 Develops (with staff and the Board)=20 >facility options to meet the current and future=20 >needs of the organization > >-Management: > =B7 Hires and supervises the=20 >administrative director, program director,=20 >education director, marketing and membership=20 >director, development director, and other senior=20 >staff as needed > =B7 Determines (with administrative=20 >director) staff needs for each fiscal year > =B7 Maintains staff productivity, esprit de corps, and job satisfa= ction > >-The ideal candidate will have: > =B7 Graduate degree or equivalent=20 >experience in literature and/or in nonprofit=20 >leadership > =B7 Senior management and leadership=20 >experience; knowledge of board development > =B7 Passion for literature and for the Loft's mission > =B7 Ability to work with diverse constituencies > =B7 Excellent written and oral communication skills > =B7 Experience with, and enthusiasm for, new technologies > =B7 Strong relationships in the nonprofit,=20 >arts, publishing, and funding communities > =B7 Skills in collaboration and partnership building > =B7 Proven fundraising ability > =B7 Financial literacy and experience;=20 >thorough understanding of financial statements > =B7 Experience with identifying and developing leadership in other= s > >Compensation > =B7 Salary commensurate with experience;=20 >is competitive with comparable Twin Cities arts=20 >organizations in the $2-5 million annual budget=20 >range > =B7 Excellent benefits package > >To Apply > Submit a cover letter, resume, contact=20 >information for three professional references,=20 >and a personal statement of purpose of 500 words=20 >or less about your interest in this position. > E-mail the above materials (Word or PDF=20 >format) no later than 5:00 PM CDT, June 8, 2007=20 >to: >Executive Search Committee Chair Shawn Lawrence=20 >Otto at=20 >loft.search@gmail.com >No telephone inquiries, please. > Submissions are confidential.=20 >References will not be contacted until a=20 >candidate becomes a finalist. The Loft is an=20 >equal opportunity employer. > >About the Loft > Founded in 1974 in a loft above a=20 >Minneapolis bookstore, the Loft is now the=20 >nation's largest and most comprehensive literary=20 >center, offering programs and services for=20 >readers and writers in a diverse community. For=20 >full description of the Loft, its mission and=20 >its programs, please visit=20 >http://www.loft.org. > >Contact Information > The Loft Literary Center, Minneapolis, Minnesota > Web: http://www.loft.org > Confidential e-mail: Executive Search=20 >Committee Chair Shawn Lawrence Otto > at loft.search@gmail.com ========================================================================= Date: Tue, 17 Apr 2007 11:15:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Lawlor Subject: Friday April 20 7pm: Odyssey in Western Mass Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed PLEASE COME AND SPREAD THE WORD! THE ODYSSEY - film screening plus performances - Friday April 20th - 7pm West Lecture Hall, Franklin Patterson Hall Hampshire College, Amherst MA With project creators Andrea Lawlor and Bernadine Mellis, and=20 contributors EE Miller, Xylor Jane, Kara Lynch, and Jo Kent/Katz. Free! THE ODYSSEY=A0is 4th=A0in the POCKET MYTHS series and is a collaboration=20= between editor Andrea Lawlor and=A0filmmaker Bernadine Mellis. It=20 comprises a zine complete with stories, poetry, and art, and an=20 accompanying film on DVD. The film consists of 24 continuous shorts by=20= 24 groups of filmmakers telling the complete story of THE ODYSSEY,=20 Homer=92s epic tale. The epic hints at what it might mean to travel to wage war, to then try=20= to return to the point of departure,=A0and to have both left behind and=20= carried home chaos. The original impulse for the project came --in=20 part--out of a desire to create a forum for exploring some of these=20 themes. Then again, each piece of THE ODYSSEY represents each artist's=20= particular interpretation. THE ODYSSEY DVD includes films by:=A0 Eileen Myles,=A0Irit=20 Reinheimer,=A0Mendal Polish, Kara Lynch,=A0Corinna Press,=A0Bill=20 Basquin,=A0Lizzy Bonaventura,=A0Paula Cronan, Kara Hearn, Gretchen=20 Hildebran,=A0 Laska Jimsen, Rebecca Lee, Laura Mays, Mary McDermott,=20 Bernadine Mellis,=A0 Dori Midnight,=A0EE Miller,=A0 Zoe Strauss, Samuael=20= Topiary, Laurie Weeks, and Rebecca Yaffe. THE ODYSSEY BOOK includes work by: Julia Bloch, CAConrad, Tonya=20 Foster, Xylor Jane, Robin Coste Lewis, Miranda Mellis, Maggie Nelson,=20 Christian Nagler, Frances Richard, and many more. POCKET MYTHS=A0is a series of zines, each with the theme of a particular=20= Greek myth. Previous zines :=A0PERSEPHONE (2003), CUPID + PSYCHE (2004), and ORPHEUS=20= (2005). Local Bookstores that carry POCKET MYTHS: Food For Thought=A0=A0in Amherst Broadside Books=A0in Northampton More at www.pocketmyths.com= ========================================================================= Date: Tue, 17 Apr 2007 08:00:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: ornette wins pulitzer In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed and you can add that there were two "Special Citations" given by the Pulitzers, one "to Ray Bradbury for his distinguished, prolific and deeply influential career as an unmatched author of science fiction and fantasy." and one "posthumous special citation to composer John Coltrane for his masterful improvisation, supreme musicianship and iconic centrality to the history of jazz." about time, i'd say, but also just happy to see such recognition. charles At 06:42 AM 4/17/2007, you wrote: >dear listers, > >from the AP: > >"Ornette Coleman won the Pulitzer Prize for music on Monday for his >2006 album, 'Sound Grammar,' the second jazz artist to receive the >honor." >http://www.iht.com/articles/ap/2007/04/16/america/NA-GEN-US-Pulitzers-Arts-Coleman.php > >a small sign that something is right with the world. surprising? well, >it's one of those things, i think, kind of like when robert duncan won >big awards for poetry in 1978 -- major artist releases first new work >in ten years -- in duncan's case, the groundwork poem. and likewise as >duncan's work had circulated privately and in limited editions, so >coleman had been touring with his two-bass quartet for a number of >year. so anyone who was listening knew this was great music, tho i had >no idea there was a CD in the works until it was released. and it as i >wrote a while back, it is a pretty special recording. > >what's more shocking is that coleman is only the second-ever jazz >musician to win the pulitzer, and when wynton marsalis won it in 1997 >it was for his three-hour oratorio on slavery. so this is the first >time it's ever been won for a jazz work since it was first awarded in >1943! > >congrats, mr. coleman! > >tom orange ========================================================================= Date: Tue, 17 Apr 2007 07:14:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: Re: ornette wins pulitzer In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Thanks, Tom, for posting this- can't believe it didn't make any of the SF Bay Area papers. Way to go Ornette! His comments in that AP article are also typically brilliant. He's not kidding about a "sound grammar", his playing, and harmolodics in general, is probably the best argument for music as another natural grammar anyone could make. I'll not use this space to shit-talk Wynton, though I'm putting a hole in my lip trying to hold back, but there is something telling in the fact that by the time the Pulitzer gets around to recognizing the entire art form, so many have passed away that a "young lion" gets the award for his made-for-critics opus. Let's see Sonny Rollins, Sam Rivers, Max Roach, Carla Bley, Dave Holland, Herbie Hancock (who amongst the living am I leaving out- all apologies) getting theirs quick! On Apr 17, 2007, at 6:42 AM, Tom Orange wrote: > dear listers, > > from the AP: > > "Ornette Coleman won the Pulitzer Prize for music on Monday for his > 2006 album, 'Sound Grammar,' the second jazz artist to receive the > honor." > http://www.iht.com/articles/ap/2007/04/16/america/NA-GEN-US- > Pulitzers-Arts-Coleman.php > > a small sign that something is right with the world. surprising? well, > it's one of those things, i think, kind of like when robert duncan won > big awards for poetry in 1978 -- major artist releases first new work > in ten years -- in duncan's case, the groundwork poem. and likewise as > duncan's work had circulated privately and in limited editions, so > coleman had been touring with his two-bass quartet for a number of > year. so anyone who was listening knew this was great music, tho i had > no idea there was a CD in the works until it was released. and it as i > wrote a while back, it is a pretty special recording. > > what's more shocking is that coleman is only the second-ever jazz > musician to win the pulitzer, and when wynton marsalis won it in 1997 > it was for his three-hour oratorio on slavery. so this is the first > time it's ever been won for a jazz work since it was first awarded in > 1943! > > congrats, mr. coleman! > > tom orange ========================================================================= Date: Tue, 17 Apr 2007 10:02:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Dreams In-Reply-To: <003001c780d7$60dba5c0$2292f140$@net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Richard, The review of The Gift (Ladinsky's translations of Hafiz) is in two places in the web. The first is the e-zine read me, edited by Nada Gordon and Gary Sullivan: http://home.jps.net/~nada/hafiz.htm The other is the blog, Internation Exchange for Poetic Invention: http://poeticinvention.blogspot.com/ There, clicking on any one of the labels, "Persian Poetry," "Poetics of Translation," "Translations" "Reviews," will get you to the essay. From what I understand, a publisher's blog in Germany discussed the review at some length about a year ago. Talking about dream poetry, my poem "A 13th Century Dream" is in the e-zine Cipher Journal. The address is http://www.cipherjournal.com/html/13th_century_dream.html This poem several pages long integrates, contains poems from the Turkish Sufi troubadour poet Yunus Emre, who was a contemporary of Rumi and lived basically in the same areas in Anatolia. Though contemporaries, Emre's poetry presents a different kind of Sufism, one more based on weeping and dissolution of identity, from Rumi's. Cipher Journal also contains my essay, "Translation: Contemplating against the Grain," which discusses Walter's Benjamin and Jack Spicer in relation to each other. Ciao, Murat On 4/17/07, Richard Jeffrey Newman wrote: > > If I can be a little self-promoting: On this page on my > website--http://www.richardjnewman.com/publications/bustan.htm--is a > substantial excerpt from the introduction to my translation of selections > from Saadi's Bustan. (Saadi was a contemporary of Rumi and was, in Iran at > least, and by some still is placed higher in the Persian literary canon > than > Rumi.) The introduction takes on Barks' and Ladinsky's translations of > Rumi > and Hafez respectively in a highly critical way that people on this list > might find interesting. Murat also wrote a review of one of Ladinsky's > books > that is well worth reading, though I cannot now lay my hands on the link. > Murat, maybe you can post it? > > Rich Newman > ========================================================================= Date: Tue, 17 Apr 2007 11:20:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: REMINDER: CONTEMPORARY CHINESE POETS AT YALE: BILINGUAL POETRY READING--TOMORROW Wednesday, April 18, 2007, 4:30 PM, LC 211, 63 High St. Comments: To: nancy.kuhl@yale.edu, richard.deming@yale.edu, sheyd@snet.net, Abbey Newman MIME-Version: 1.0 Content-Type: text/plain; charset="gb2312" Content-Transfer-Encoding: quoted-printable Please forward to your lists. =20 Contemporary Chinese Poets at Yale: Poetry Reading in Chinese & English Historic Gathering Featuring=20 Seven Established & Emerging=20 Poets from Mainland China Xi Chuan =CE=F7=B4=A8 Zhai Yongming =B5=D4=D3=C0=C3=F7 Tang Xiaodu =CC=C6=CF=FE=B6=C9 Zhou Zan =D6=DC=E8=B6 Zhao Ye =D5=D4=D2=B0 Chen Chao =B3=C2=B3=AC Luo Ying =C2=E6=D3=A2 =20 Wednesday, April 18, 2007, 4:30 pm Room 211, Linsley-Chittenden Hall, 63 High Street, New Haven, CT =20 Poets' bios appear below: Xi Chuan =CE=F7=B4=A8 Xi Chuan, penname of Liu Jun, is a poet, essayist, and translator, and = has been recognized as one of the most dynamic poets living in China today. = He was born in 1963 in Xuzhou, Jiangsu Province, and graduated from the = English Department of Beijing University in 1985. He was a frequent contributor = to unofficial poetry journals in Beijing, Shanghai, and Sichuan during the 1980s and 1990s. Xi Chuan has published four collections of poems = including A Fictitious Family Tree (1997) and Roughly Speaking (1997), two books = of essays and one book of critique, in addition to a play and numerous translations, including works of Ezra Pound, Jorge Luis Borges and = Czeslaw Milosz. His own poetry and essays have been widely anthologized and translated into many languages. He was awarded the October Prize for literature by October Bimonthly in 1988, the Prize of Shanghai = Literature Monthly in 1992, the Prize of the People's Literature Monthly in 1994, = the Modern Chinese Poetry Prize in 1994, the Anne Kao Prize for Poetry in = 1995, and the Aiwen Prize for Literature in 1999. He is now an associate professor at the Central Academy of Fine Arts in Beijing, currently = serving as Freeman Visiting Professor at New York University. =20 =20 Zhai Yongming =B5=D4=D3=C0=C3=F7 Zhai Yongming was born in 1955 in Chengdu, Sichuan Province. A graduate = of the Chengdu Institute for Electronic Science and Technology, she = formerly worked in a research institute of physics. She published her first book = of poetry, Woman, in 1986. Her other poetry collections include Above All = Else the Roses (1989), Collected Poems of Zhai Yongming (1994), Plain Songs = in the Dark Night (1996), Call It Everything (1997), and I Am Eventually = Made Unworkable (2000). She is also the author of three books of essays: Buildings on Paper (1997), Tenacious Broken Flowers (1999), New York, to = the West of New York (2003), and a book of criticism, Just as What = You=A1=AFve Seen (2005). Her poems have been translated into English, French, Dutch, = Italian, Spanish, German and other languages. In 2004, translated collections of = her poems were published in German under the title Caf=A8=A6 Song and in = French under the title Consciousness of the Dark Night. She has been invited to international conferences and poetry festivals in England (1992), the Netherlands (1992), France (1997), and other countries. She was awarded = the USA-Italian Civitella Ranieri fellowship in 2005. Tang Xiaodu =CC=C6=CF=FE=B6=C9 Born in 1954 in Yizheng, Jiangsu Province, Tang Xiaodu is a prolific = poetry critic and poet. After graduating from Nanjing University in 1981, the following year he became an editor at Poetry Monthly in Beijing. He is = now a senior editor at The Writers Publishing House and is a member of the = Chinese Writers=A1=AF Association, a council member of the Chinese New Poetry = Institute, a research fellow at the New Poetry Research Center at Beijing = University, and a professor at Hainan University. For over 20 years, Tang has = devoted himself to researching, criticizing, and compiling materials on Chinese contemporary poetry, especially works of the avant-garde. He has = published four collections of critical essays including Starting Points Anew Constantly (1989), Self-Selected Anthology of Tang Xiaodu=A1=AFs Poetic Criticism (1993), Close Readings of Masterpieces of Worldwide Modern = Poetry (1998), and An Anthology of Tang Xiaodu=A1=AFs Essays on Poetics (2001). = He has also translated the works of many poets into Chinese, including Sylvia Plath, Vaclaw Havel, Czeslaw Milosz, Zbigniew Herbert, and Miroslav = Holub. He has edited numerous poetry anthologies, and his own work is much anthologized at home and abroad. He was the recipient of the first Literature and Art=A1=AFs Zhengming (contending) Award and the first = Shanhua (countryside flowers) Award for excellence in literary theory in 1995. = He was awarded the Modern Writers Review Prize for excellence in literary criticism in 2004 and 2005. Tang has been a frequent guest at poetry conferences and festivals in the West since the mid- 1990s and has also = been a visiting scholar at many universities abroad. Zhou Zan =D6=DC=E8=B6 Zhou Zan was born in 1968 in Jiangsu Province. She is a poet, scholar, translator, and editor-in-chief of Wings, a literary journal for Chinese women=A1=AFs poetry. She holds a PhD from the Chinese department of = Beijing University, where she completed a dissertation on the avant-garde in contemporary Chinese poetry. Her poetry collection, Loosen: Selected = Poems 1997-2005, was published in 2007, and her other works include volumes of critical essays entitled Through the Periscope of Poetic Writing (2007) = and Studies on Chinese Contemporary Literature (2001). Her translation of Margaret Atwood=A1=AFs Eating Fire: Selected Poetry 1965-1995 is = forthcoming from The Writers Press in 2007. She currently lives in New York as a visiting scholar at Columbia University. Zhao Ye =D5=D4=D2=B0 Zhao Ye was born in Sichuan Province in 1964 and graduated from the = Foreign Languages Department of Sichuan University. In 1982, he initiated the = poetic movement of =A1=B0The Third Generation,=A1=B1 and in 1983 he organized = the Poetry League of University Students in Chengdu, where he compiled The Third Generation, the first unofficial poetic journal in China. In 1985 he = joined the Young Poets=A1=AF Association of Sichuan Province and jointly = compiled The Collection of Modern Poetry for Internal Exchange. In 1989 he helped initiate the unofficial poetry journal Xiang Wang. In 2000 he was = awarded a poetry prize by The Writer, one of the most influential literary = magazines in China. In 2003, his poetry collection Time Passes Like Flowing Water = was published by the Writers=A1=AF Press. In 2005 he attended the Asia and Circum-Pacific Region Poetry Conference in Tokyo. Chen Chao =B3=C2=B3=AC Chen Chao was born in 1958 in Taiyuan, Shanxi Province. He is a = professor in the Literature Department of Hebei Normal University, as well as a research fellow of the Chinese New Poetry Research Institute affiliated = with Beijing University, an editorial member of the literary journal New = Poetry Review, and the vice-chairperson of the Hebei Writers=A1=AF Association. = His main works include: =A1=B0A Discussion of Poetry of the School of = Life,=A1=B1 =A1=B0Opening the Drifting Bottle of Poetry-Modern Poetry Research = Papers,=A1=B1 =A1=B0An Appreciation of Inquiries on Twentieth-Century Chinese = Poetry,=A1=B1 =A1=B0A Guide to Reading Outstanding Works of Contemporary Foreign Poetry,=A1=B1 = and a collection of original poems entitled Passion, Yes. In total, he has published more than two hundred academic articles and more than three hundred poems. In 1993 he was awarded the Sixth Zhuang Zhongwen = Literary Prize by the Chinese Writers=A1=AF Association, in 2000 he received the = annual poetry prize from the literary journal The Writer, and in 2005 he took = third place in the =A1=B0Lu Xun Literary Prize=A1=B1 awarded by the Chinese = Writers=A1=AF Association. Additionally, he has won many other literary prizes. =20 Luo Ying =C2=E6=D3=A2 Luo Ying is the penname of Huang Nubo. Born in Lanzhou, Gansu Province, = he grew up in Yinchuan, Ningxia Province. He graduated from the Chinese Language and Literature Department of Beijing University in 1981 and obtained an EMBA from the Chinese-European International Industry and Commerce Institute in 1998. He began writing poetry in 1976, and, in = 1992, he published his first poetry collection, Don=A1=AFt Love Me Anymore. = His other poetry collections include Melancholy Declined (1995), Fallen Blossoms (2003), and Wandering in Cities (2005). While acknowledging that there = are many =A1=B0I=A1=AFs=A1=B1 in his poems, he believes that even if one = adds his real persona to all of these, it is still impossible to make up an integral = self. He believes himself to be a world abundant in possibilities and transformations. ========================================================================= Date: Tue, 17 Apr 2007 09:45:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Book Review: Aaron Belz: The Bird Hoverer MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ...a review of the new Belz book from Blazevox: http://www.adamfieled.blogspot.com ....and some other stuff too --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Tue, 17 Apr 2007 13:49:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Virginia Tech MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 on top of everyting else, he was an English major -- damn <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> We are enslaved by what makes us free -- intolerable paradox at the heart of speech. --Robert Kelly 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: Tue, 17 Apr 2007 10:49:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: Chicago Reading: Joan Retallack & John Beer MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit CHICAGO POETRY PROJECT SEASON SIX | READING FOUR Joan Retallack & John Beer Saturday, April 21 at 3.00pm Chicago Authors Room, 7th Floor Harold Washington Library 400 South State Street ***PLEASE NOTE NEW TIME: 3.00 PM*** the same miskates are maid overt overt agon it’s all Euclidean to me say she le bouncing ball O the cones and bones and breasts and cylinders of it knocksternal nowmere an squish a gosh outa you eltano ex me thane onto next elect first ed official truth they only did the static course of algorithmic yes from “BOY AND HER DOG” Joan Retallack is the author of six books of poetry including MEMNOIR, HOW TO DO THINGS WITH WORDS, AFTERIMAGES, and ERRATA 5UITE which won the Columbia Book Award chosen by Robert Creeley. She is currently at work on an investigative poetic project: The Reinvention of Truth. Retallack is the author of MUSICAGE: JOHN CAGE IN CONVERSATION WITH JOAN RETALLACK, published by Wesleyan University Press and recipient of the America Award in Belles-Lettres. POETRY AND PEDAGOGY: THE CHALLENGE OF THE CONTEMPORARY, co-edited with Juliana Spahr, came out last year from Palgrave MacMillan. THE POETICAL WAGER, a book of interrelated essays exploring the consequences of form (including that of the essay), was published in 2004 by the University of California Press which is also bringing out her GERTRUDE STEIN: SELECTIONS. A collection of Retallack’s procedural poems will come out from Roof Books in 2008. She has received a Lannan Literary Grant for Poetry and is John D. and Catherine T. MacArthur Professor of Humanities at Bard College. * * * This isn’t my apartment, so I won’t sleep here for long. Tomorrow I’ll return to lovely wandering through the halls of the house I have stolen from children I don’t expect to ever see. from “Swift Boat Veteran for Beauty” John Beer's poems and criticism have appeared in periodicals including Barrow Street, Brooklyn Rail, Chicago Review, the Chicago Tribune, Colorado Review, Crowd, Denver Quarterly, Iowa Review, Verse, and the Village Voice. He is a Ph.D. candidate at the University of Chicago in philosophy and social thought. Chicago Poetry Project http://www.chicagopoetryproject.org __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 17 Apr 2007 10:42:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Real Dreams / Real Poems 2nd try! Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit When I started the dream query, I was and remain looking for interesting strategies to liberate the dream into poetic form(s). Somehow the Sufis came in - as if in a dream - and stole the show! I want concrete stuff. I have students whose heads are about to explode from the dreams they carry from the night, or weeks before! I am being asked to lighten their loads! So I want to hear from the Doctors of Dream Poems. I recollect someone or several mention Bernadette Meyer had some exercises. (Anybody know those?) And, for example, here are several possibilities from Charles Bernstein: Dream work: Write down your dreams as the first thing you do every morning for 30 days. Apply translation and aleatoric processes to this material. Double the length of each dream. Weave them together into one poem, adding or changing or reordering material. Negate or reverse all statements (I went down the hill to I went up the hill, I didn't to I did). Borrow a friend's dreams and apply these techniques to them. 4. Synchronicity: Write a poem in which all the events occur simultaneously. But I will appreciate more, if possible, or directions to any, so speak, manual resources. Either front or back channel responses will be much appreciated, and thanks for those who have already responded. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Tue, 17 Apr 2007 10:22:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eireene Nealand Subject: Sidebrow: Call for Submissions In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Sidebrow (http://www.sidebrow.net) =97 an online & print journal dedicated = to innovation & collaboration =97 seeks fiction, poetry, art, essay, ephemera, found text, & academia, as well as creative response to current posts and ongoing projects. Submissions to Sidebrow are evaluated both as stand-alone set pieces & as points of departure for establishing multi-authored/multi-genre works. Submissions that re-imagine, depart from, or explore the interstices between posted pieces are highly encouraged. To that end, we have relaunched Pasteboard (http://www.sidebrow.net/2006/pasteboard.php), a frequently updated catalog of prompts that illuminate potential resonances among posted pieces in hopes of stirring creative response. + + + + + + + Recently launched projects include: Build: Our Fathers: A multi-author paen to the paternal. With posts by Kim Chinquee, Kristin Prevallet, A.K. Arkadin, Anne Heide, & Stephen Ratcliffe. (http://www.sidebrow.net/2006/ourfathers.php) & The Ghost Project: A multi-author exploration of the disembodied & otherworldly. With posts by Bob Marcacci, Richard Kostelanetz, Paul Hardacre, Cole Swensen, & Andrea Baker. (http://www.sidebrow.net/2006/ghost.php) + + + + + + + Coming up: Expansion of The Litopolis Project beyond San Francisco. Send us your place-based works regardless of location for the construction of our literary map. (http://www.sidebrow.net/2006/litopolissf.php) The inaugural print anthology, slated for Fall 2007. + + + + + + + Current and forthcoming contributors to date: Jenny Allan, A.K. Arkadin, Jeff Bacon, Andrea Baker, Julia Bloch, Lawrence Ytzhak Braithwaite, Nick Bredie, Mez Breeze, Amina Cain, Kate Hill Cantrill= , Nona Caspers, Jimmy Chen, Kim Chinquee, John Cleary, Steve Dalachinsky, Catherine Daly, Brett Evans, Brian Evenson, Raymond Farr, Sandy Florian, Paul Gacioch, Anne Germanacos, Scott Glassman, Noah Eli Gordon, Paul Hardacre, HL Hazuka, Anne Heide, Malia Jackson, Carrie Katz, Susanna Kittredge, Richard Kostelanetz, Kristine Leja, Norman Lock, Doug Macpherson= , Scott Malby, Bob Marcacci, Bill Marsh, rob mclennan, L.J. Moore, Greg Mulcahy, Cathi Murphy, Eireene Nealand, Daniel Pendergrass, Kristin Prevallet, Kathryn Pringle, Stephen Ratcliffe, Francis Raven, AE Reiff, Daniel C. Remein, Elizabeth Robinson, Zach Savich, Len Shneyder, Nina Shope= , Kyle Simonsen, Ed Skoog, Anna Joy Springer, Chris Stroffolino, Cole Swensen= , Joanne Tracy, Chris Tysh, Nico Vassilakis, James Wagner, Derek White, Joshu= a Marie Wilkinson, Angela Woodward (http://www.sidebrow.net/2006/contributors.php) + + + + + + + Projects to date: Build: Mother, I: A multi-author, multi-genre exploration of seeds sown by Bataille. (http://www.sidebrow.net/2006/motheri.php) Build: Post-Hole: A multi-author, multi-genre menagerie of grotesques. (http://www.sidebrow.net/2006/posthole.php) The Letters Project: Reviving the epistolary novella. (http://www.sidebrow.net/2006/epistolary.php) Page 24 Project: A chapbook concerning and consisting exclusively of page 24s. (http://www.sidebrow.net/2006/page24.php) Work Seeking Work: Possible emerging projects. (http://www.sidebrow.net/2006/workseekwork.php) Other projects to be defined by future submissions and response. For more information, and to peruse currently posted works, visit http://www.sidebrow.net. _________________________________________________________________ Mortgage refinance is Hot. *Terms. Get a 5.375%* fix rate. Check savings https://www2.nextag.com/goto.jsp?product=3D100000035&url=3D%2fst.jsp&tm=3Dy= &search=3Dmortgage_text_links_88_h2bbb&disc=3Dy&vers=3D925&s=3D4056&p=3D511= 7 Posts should be sent to: ampersand@yahoogroups.com To subscribe: ampersand-subscribe@yahoogroups.com To unsubscribe: ampersand-unsubscribe@yahoogroups.com To contact owner: ampersand-owner@yahoogroups.com Our web address: http://groups.yahoo.com/group/ampersand Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/ampersand/ <*> Your email settings: Individual Email | Traditional <*> To change settings online go to: http://groups.yahoo.com/group/ampersand/join (Yahoo! ID required) <*> To change settings via email: mailto:ampersand-digest@yahoogroups.com mailto:ampersand-fullfeatured@yahoogroups.com <*> To unsubscribe from this group, send an email to: ampersand-unsubscribe@yahoogroups.com <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/ ========================================================================= Date: Tue, 17 Apr 2007 13:21:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Novack Subject: Impending postal rate increases will damage freedom of the press In-Reply-To: <4624C23D.B9EA.00C6.0@svsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline *Dear literary and publishing friends, and others who will be concerned -* * * *I apologize for adding to your Inbox, but this is something you should kno= w about. * * * *All of us who publish in literary magazines (or read any small magazine) are affected by the upcoming postal rate change, which will strongly advantage the largest media corporations at the expense of small media in all fields, including the arts, political opinion, etc. * * * *Freedom of the press belongs to those who own the press, as we have always known, and the balance between government support of monopoly/oligarchy and government support of liberty swings back and forth. * * * *Please add your weight to the voices for a free press.* * * Carol Novack Publisher/Editor Mad Hatters' Review * * forwarded to you from *Robert W. McChesney * www.mediaproblem.org www.freepress.net *Department of Communication University of **Illinois** at ** Urbana**-**Champaign* The news media are covering the tragic murders in Virginia this morning, an= d as they do an extraordinarily significant story is slipping through the cracks. On very rare occasions I send a message to everyone in my email address boo= k on an issue that I find of staggering importance and urgency. (My address book includes pretty much everyone who emails me in one form or another, an= d I apologize if you get this message more than once.) This is one of those times. There is a major crisis in our media taking place right now; it is getting almost no attention and unless we act very soon the consequences for our society could well be disastrous. And it will only take place because it is being done without any public awareness or participation; it goes directly against the very foundations of freedom of the press in the entirety of American history. The U.S. Post Office is in the process of implementing a radical reformulation of its rates for magazines, such that smaller periodicals wil= l be hit with a much much larger increase than the largest magazines. Because the Post Office is a monopoly, and because magazines must use it, the postal rates always have been skewed to make it cheaper for smaller publications to get launched and to survive. The whole idea has been to use the postal rates to keep publishing as competitive and wide open as possible. This bedrock principle was put in place by James Madison and Thomas Jefferson. They considered it mandatory to create the press system, the Fourth Estate necessary for self-government. It was postal policy that converted the free press clause in the First Amendment from an abstract principle into a living breathing reality for Americans. And it has served that role throughout our history. What the Post Office is now proposing goes directly against 215 years of postal policy. The Post Office is in the process of implementing a radical reformulation of its mailing rates for magazines. Under the plan, smaller periodicals will be hit with a much larger increase than the big magazines, as much as 30 percent. Some of the largest circulation magazines will face hikes of less than 10 percent. The new rates, which go into effect on July 15, were developed with no public involvement or congressional oversight, and the increased costs coul= d damage hundreds, even thousands, of smaller publications, possibly putting many out of business. This includes nearly every political journal in the nation. These are the magazines that often provide the most original journalism and analysis. These are the magazines that provide much of the content on Common Dreams. We desperately need them. What the Post Office is planning to do now, in the dark of night, is implement a rate structure that gives the best prices to the biggest publishers, hence letting them lock in their market position and lessen the threat of any new competition. The new rates could make it almost impossibl= e to launch a new magazine, unless it is spawned by a huge conglomerate. Not surprisingly, the new scheme was drafted by Time Warner, the largest magazine publisher in the nation. All evidence available suggests the bureaucrats responsible have never considered the implications of their draconian reforms for small and independent publishers, or for citizens who depend upon a free press. The corruption and sleaziness of this process is difficult to exaggerate. A= s one lawyer who works for a large magazine publisher admits, =CFIt takes a publishing company several hundred thousand dollars to even participate in these rate cases. Some large corporations spend millions to influence these rates.=D3 Little guys, and the general public who depend upon these magazin= es, are not at the table when the deal is being made. The genius of the postal rate structure over the past 215 years was that it did not favor a particular viewpoint; it simply made it easier for smaller magazines to be launched and to survive. That is why the publications opposing the secretive Post Office rate hikes cross the political spectrum. This is not a left-wing issue or a right-wing issue, it is a democracy issue. And it is about having competitive media markets that benefit all Americans. This reform will have disastrous effects for * all* small and mid-sized publications, be they on politics, music, sports or gardening. This process was conducted with such little publicity and pitched only at the dominant players that we only learned about it a few weeks ago and it i= s very late in the game. But there is something you can do. Please go to www.stoppostalratehikes.comand sign the letter to the Postal Board protesting the new rate system and demanding a congressional hearing before any radical changes are made. * Th= e deadline for comments is April 23*. I know many of you are connected to publications that go through the mail, or libraries and bookstores that pay for subscriptions to magazines and periodicals. If you fall in these categories, it is imperative you get everyone connected to your magazine or operation to go to www.stoppostalratehikes.com . *We do not have a moment to lose*. If everyone who reads this email respond= s at www.stoppostalratehikes.com , and then sends it along to their friends urging them to do the same, we can win. If there is one thing we have learned at Free Press over the past few years, it is that if enough people raise hell, we can force politicians to do the right thing. This is a time for serious hell-raising. And to my friends from outside the United States, I apologize for clutterin= g your inbox. If you read this far, we can use your moral support. From the bottom of my heart, thanks. Bob ---------------------------------------------------------------------------= ----------------- COPY OF ORIGINAL *WASHINGTON** MONTHLY *ARTICLE * Going postal: Washington's recurring attempts to squeeze small magazines out of business* Washington Monthly , April, 2005 by Victor S. Navasky When I heard recently about the United States Postal Service's plans to hol= d hearings on hiking rates for periodical class mail--the bulk postage class which gives lower postal rates to magazines--it reminded me of the day in 1995 when I returned to the offices of The Nation after an executive training program at the Harvard Business School. I had been editing the magazine for 16 years when Arthur Carter, then the publisher, made me an offer I should have refused and sold me the magazine for money I didn't have. As I was making the transition from editor to publisher, imagine then my consternation on returning from Harvard to discover that the postal service had recommended the abolition of the the discounted mail class for periodicals. All of my new financial projections, I feared, would go up in smoke. We survived that round, but now I am worried again. If implemented, higher postal rates, whether the originally rumored 15 percent increase or the recently rumored "6% solution," could bankrupt many small circulation magazines. Although any change in rates would probably not go into effect until 2006, it seems to me that now is the time for the independent press community and all those who care about the free flow of information to mobilize. In the mid-1980s, at a conference on the role of journals of opinion that w= e co-sponsored with the journalism department at the University of Southern California, I made a point of putting postal matters at the top of the agenda, since keeping postage costs under control was one of the few issues around which journals of the left, right, and center might organize to mutual advantage. Robert Myers, a former publisher of The New Republic, tol= d us about how, in the 1960s, he had put together a group of small-circulatio= n magazines whose purpose was precisely to promote their common postal interests and which had even come up with a constructive proposal that he persuaded congressman Morris Udall to introduce as legislation: that the first 250,000 copies (in Udall's bill, it was only 25,000) of all publications be mailable at reduced rates. That way, smaller publications and journals with heavy content (perhaps for reasons of high seriousness) would get the largest proportional benefit, but all magazines would get som= e benefit. Alas, the legislation never got anywhere. The most articulate opposition to government help for small magazines came= , surprisingly, from our friend Michael Kinsley, who had already come out against the second-class mail "subsidy," as he called it, in a 1975 article in The Washington Monthly. At the conference he boiled his continuing objections down to three: Since the readership of journals like The Nation, The New Republic, and National Review were largely drawn from the highly educated elite, whose income was above average, the second-class subsidy therefore amounted to "a transfer of wealth from the poor to the rich." Second, the camel's nose of government got into the tent of subsidizing opinion journals, Kinsley argued, content requirements would be inevitably hooked to the subsidy, raising profound First Amendment concerns; and, third, since opinion journalists were supposed to be watchdogs against special interests, it was wrong for us to become one ourselves. Kinsley observed that right-wingers should oppose such subsidies because they interfered with the free market, and left-wingers because they were regressive. It was a virtuoso performance, and Kinsley, his forensic skills sharpened b= y hundreds of hours on "Crossfire," had my vote as captain of the debate team= . But then Tom Silk, the lawyer who successfully defended Mother Jones when the Reagan administration challenged its nonprofit tax status, made a telling point. Some things are too important to leave to the vicissitudes o= f the market, like national defense and clean air--even Kinsley conceded that these two were "public goods"--and public discourse and the dissemination o= f literature were two more. And so, in 1995, when the trade press reported that the Postal Service (USPS) wanted to abolish second-class mail, my first impulse was to write a= n op-ed piece denouncing that agency. But that, I quickly realized, was the writer in me wanting to sound off. Now that I was a publisher (ahem) I had bigger guns to deploy. As a member of the Magazine Publishers Association (MPA), I assumed my trade group would be up in arms. So imagine my further consternation when I discovered that not only was the MPA not interested in challenging the USPS proposal, they were supporting it. I had foolishly believed that since the MPA has a membership of 250 magazines, and since most of these magazines have circulations of 250,000 o= r under, they would represent their members' interest. No such luck; 20 percent of the MPA's members are responsible for 80 percent of its budget. Karl Marx was out of fashion, but he would surely have reminded me that if = I had simply looked at the figures, I could have predicted MPA's position, th= e position of the mega-publishers, the position of Time Warner and Dow Jones. --=20 MAD HATTERS' REVIEW: Edgy & Enlightened Literature, Art & Music in the Age of Dementia: http://www.madhattersreview.com KEEP THE MAD HATTERS ALIVE! MAKE A TAX DEDUCTIBLE DONATION HERE: https://www.fracturedatlas.org/site/contribute/donate/580 ========================================================================= Date: Tue, 17 Apr 2007 16:01:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Real Dreams / Real Poems 2nd try! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Wouldn't the Surrealists be a good place--the best probably for investigati= ng the dream in poetry and life---- to begin considering?I forget at the mo= ment which Surrealist poet it was--hung a sign on his door when sleeping--"= do not disturb--poet at work".An ur-text of dream writing is AURELIA by the= poet Gerard de Nerval, subtitled, "the Dream and Life". There are also the= dream journals published of Kerouac (Book of Dreams) Eric Basso (Revagatio= ns) and Burroughs for example--Burroughs in interviews and texts explains h= ow he would use dream writings intercut with material written down in noteb= ooks intercut with material cut out of newspapers--making for synchroniciti= es, space-time travel.Though not about dreams per se two very useful books = to go along with the writings of the Surrealists are Gaston Bachelard's Poe= tics of Reverie and Poetics of Space.> Date: Tue, 17 Apr 2007 10:42:25 -070= 0> From: steph484@PACBELL.NET> Subject: Real Dreams / Real Poems 2nd try!= > To: POETICS@LISTSERV.BUFFALO.EDU> > When I started the dream query, I was= and remain looking for interesting> strategies to liberate the dream into = poetic form(s). Somehow the Sufis> came in - as if in a dream - and stole = the show!> > I want concrete stuff. I have students whose heads are about t= o explode from> the dreams they carry from the night, or weeks before! I am= being asked to> lighten their loads!> > So I want to hear from the Doctors= of Dream Poems.> > I recollect someone or several mention Bernadette Meye= r had some exercises.> (Anybody know those?)> And, for example, here are se= veral possibilities from Charles Bernstein:> > Dream work: Write down you= r dreams as the first thing you do every morning> for 30 days. Apply trans= lation and aleatoric processes to this material.> Double the length of each= dream. Weave them together into one poem, adding> or changing or reorderin= g material. Negate or reverse all statements (I> went down the hill to I w= ent up the hill, I didn't to I did). Borrow a> friend's dreams and apply t= hese techniques to them.> 4. Synchronicity: Write a poem in which all the e= vents occur simultaneously.> But I will appreciate more, if possible, or di= rections to any, so speak,> manual resources. > > Either front or back chan= nel responses will be much appreciated, and thanks> for those who have alre= ady responded.> > > Stephen V> http://stephenvincent.net/blog/ _________________________________________________________________ Connect to the next generation of MSN Messenger=A0 http://imagine-msn.com/messenger/launch80/default.aspx?locale=3Den-us&sourc= e=3Dwlmailtagline= ========================================================================= Date: Tue, 17 Apr 2007 22:50:49 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: Virginia Tech In-Reply-To: <1176832163l.618746l.0l@psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline From the WOM-PO list: Lucinda Roy has an op-ed in the NY Times: http://www.nytimes.com/2007/04/17/opinion/17roy.html On 4/17/07, ALDON L NIELSEN wrote: > on top of everyting else, he was an English major -- damn > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > We are enslaved by > what makes us free -- intolerable > paradox at the heart of speech. > --Robert Kelly > > 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: Tue, 17 Apr 2007 15:45:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Virginia Tech shootings In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Probably too soon -- too much grief still in the air -- to launch into an intellectual exchange on all of this. But if you've taught creative writing -- if you've taught -- the appended will strike close to home. Best, Joe ----------------------------------------------------------------------------------------------------------- Va. Tech Gunman Writings Raised Concerns Apr 17, 01:16 PM EDT By ADAM GELLER - AP National Writer BLACKSBURG, Va. (AP) -- The gunman suspected of carrying out the Virginia Tech massacre that left 33 people dead was identified Tuesday as an English major whose creative writing was so disturbing that he was referred to the school's counseling service. News reports also said that he may have been taking medication for depression, that he was becoming increasingly violent and erratic, and that he left a note in his dorm in which he railed against "rich kids," "debauchery" and "deceitful charlatans" on campus. Cho Seung-Hui, a 23-year-old senior, arrived in the United States as boy from South Korea in 1992 and was raised in suburban Washington, D.C., officials said. He was living on campus in a different dorm from the one where Monday's bloodbath began. Police and university officials offered no clues as to exactly what set him off on the deadliest shooting rampage in modern U.S. history. "He was a loner, and we're having difficulty finding information about him," school spokesman Larry Hincker said. Professor Carolyn Rude, chairwoman of the university's English department, said she did not personally know the gunman. But she said she spoke with Lucinda Roy, the department's director of creative writing, who had Cho in one of her classes and described him as "troubled." "There was some concern about him," Rude said. "Sometimes, in creative writing, people reveal things and you never know if it's creative or if they're describing things, if they're imagining things or just how real it might be. But we're all alert to not ignore things like this." She said Cho was referred to the counseling service, but she said she did not know when, or what the outcome was. Rude refused to release any of his writings or his grades, citing privacy laws. The Chicago Tribune reported on its Web site that he left a note in his dorm room that included a rambling list of grievances. Citing unidentified sources, the Tribune said he had recently shown troubling signs, including setting a fire in a dorm room and stalking some women. ABC, citing law enforcement sources, reported that the note, several pages long, explains Cho's actions and says, "You caused me to do this." Investigators believe Cho at some point had been taking medication for depression, the Tribune reported. The rampage consisted of two attacks, more than two hours apart - first at a dormitory, where two people were killed, then inside a classroom building, where 31 people, including Cho, died after being locked inside, Virginia State Police said. Cho committed suicide; two guns were found in the classroom building. One law enforcement official said Cho's backpack contained a receipt for a March purchase of a Glock 9 mm pistol. Cho held a green card, meaning he was a legal, permanent resident, federal officials said. That meant he was eligible to buy a handgun unless he had been convicted of a felony. Investigators stopped short of saying Cho carried out both attacks. But ballistics tests show one gun was used in both, Virginia State Police said. And two law enforcement officials, speaking on condition of anonymity because the information had not been announced, said Cho's fingerprints were found on both guns. The serial numbers on the two weapons had been filed off, the officials said. Col. Steve Flaherty, superintendent of the Virginia State Police, said it was reasonable to assume that Cho was the shooter in both attacks but that the link was not yet definitive. "There's no evidence of any accomplice at either event, but we're exploring the possibility," he said. Officials said Cho graduated from a public high school in Chantilly, Va., in 2003. His family lived in an off-white, two-story townhouse in Centreville, Va. "He was very quiet, always by himself," neighbor Abdul Shash said. Shash said Cho spent a lot of his free time playing basketball and would not respond if someone greeted him. He described the family as quiet. Virginia Tech Police issued a speeding ticket to Cho on April 7 for going 44 mph in a 25 mph zone, and he had a court date set for May 23. South Korea expressed its condolences, and said it hoped that the tragedy would not "stir up racial prejudice or confrontation." "We are in shock beyond description," said Cho Byung-se, a Foreign Ministry official handling North American affairs. A memorial service was planned for the victims Tuesday afternoon at the university, and President Bush planned to attend. Gov. Tim Kaine was flying back to Virginia from Tokyo for the gathering. Classes were canceled for the rest of the week. Many students were leaving town quickly, lugging pillows, sleeping bags and backpacks down the sidewalks. Jessie Ferguson, 19, a freshman from Arlington, left Newman Hall and headed for her car with tears streaming down her red cheeks. "I'm still kind of shaky," she said. "I had to pump myself up just to kind of come out of the building. I was going to come out, but it took a little bit of 'OK, it's going to be all right. There's lots of cops around.'" Although she wanted to be with friends, she wanted her family more. "I just don't want to be on campus," she said. The first deadly attack was at the dormitory around 7:15 a.m., but some students said they didn't get their first warning about a danger on campus until two hours later, in an e-mail at 9:26 a.m., around the time the second attack began. Two students told NBC's "Today" show they were unaware of the dorm shooting when they walked into Norris Hall for a German class where the gunman later opened fire. The victims in Norris Hall were found in four classrooms and a stairwell, Flaherty said. Cho was found dead in one of those classrooms, he said. Derek O'Dell, his arm in a cast after being shot, described a shooter who fired away in "eerily silence" with "no specific target - just taking out anybody he could." After the gunman left the room, students could hear him shooting other people down the hall. O'Dell said he and other students barricaded the door so the shooter couldn't get back in - though he later tried. "After he couldn't get the door open he tried shooting it open ... but the gunshots were blunted by the door," O'Dell said. Virginia Tech President Charles Steger emphasized that the university closed off the dorm after the first attack. He said that before the e-mail was sent, the university began telephoning resident advisers in the dorms and sent people to knock on doors to warn them. "We can only make decisions based on the information you had at the time. You don't have hours to reflect on it," Steger said. Until Monday, the deadliest shooting in modern U.S. history was in Killeen, Texas, in 1991, when George Hennard plowed his pickup truck into a Luby's Cafeteria and shot 23 people to death, then himself. Previously, the deadliest campus shooting in U.S. history was a rampage that took place in 1966 at the University of Texas at Austin, where Charles Whitman climbed the clock tower and opened fire with a rifle from the 28th-floor observation deck. He killed 16 people before he was shot to death by police. --- Associated Press writers Stephen Manning in Centreville, Va.; Matt Barakat in Richmond, Va.; and Vicki Smith, Sue Lindsey and Justin Pope in Blacksburg contributed to this report. ========================================================================= Date: Tue, 17 Apr 2007 17:16:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Check out my song on Nefarious Bovine Radio - Episode 125 Now Available MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hey: Check out my song "Field of Wanting" on this great internet radio show Nefarious Bovine Radio - Episode 125. I'm the second song on the show. Let me know what you think! Here's what the guy who runs the show, Sean, says about the episode: We circle the globe not once but twice in one show. If that's not enough for you we also shed some light on the mysterious enigma that is Jeff Jacobson and give you a preview of his debut album. What more can you ask for? Well yes, pie would be nice right about now. The perfectaccompaniment to the music of Winger, Wanda Phipps, Paz Lenchantin, The Slow Beings, UMEED, Slow Death of Autumn, Jeff Jacobson, Pralay, V'nessa Tzavellas, A Flock of Seagulls, Tracey Amos, In Fine, Dasha, Kyle Ervin and Eluvium. Hope you enjoy the show and don't forget to check us out at these fine locations: Go to: http://www.myspace.com/nefariousbovineradio to be our friend and to stream the show or Go to: http://www.nefariousbovineradio.com to get all the news, MP3s of episodes, artist information, links and contact information. You can also find Nefarious Bovine Radio podcast on iTunes and subscribe to this fine, fine program Until we meet again. Be Well The Nefarious Bovine And you will know me by the drink in my hand -- Wanda Phipps Check out my website MIND HONEY http://www.mindhoney.com and my latest book of poetry Wake-Up Calls: 66 Morning Poems available at: http://www.softskull.com/detailedbook.php?isbn=1-932360-31-X and http://www.amazon.com/exec/obidos/ASIN/193236031X/ref=rm_item ========================================================================= Date: Tue, 17 Apr 2007 14:15:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Virginia Tech - Andrew Sullivan Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit from recovering neo-con, Andrew Sullivan. To the point. Imagine that this kind of massacre happened every day. Imagine a police force that was far too small to even respond to most of them. Imagine this occurring repeatedly for years until the perpetrators and their accomplices became the de facto power-brokers throughout the land. Imagine the shootings also being accompanied by the brutal torture of victims. Imagine families never having finality on whether their own siblings or parents or children have been murdered or not. This is Iraq today. Now think of the justified rage many feel at the VT campus police chief and university president for misjudgments. Now imagine them presiding over several more massacres in the same place. Ask yourself: why do we not feel as enraged by those responsible for security in Iraq? Are those victims not human beings too? Are they not children and mothers and fathers and sons? Are we not ultimately responsible for them, having destroyed the institutions of order in their country? (forward from Susan Schultz, the poet, publisher in Hawaii) ========================================================================= Date: Tue, 17 Apr 2007 16:11:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: REMINDER: Kevin Varrone, Pattie McCarthy, Buck Downs, Chris Toll at ROBIN'S BOOKSTORE! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline REMINDER: Kevin Varrone, Pattie McCarthy, Buck Downs, Chris Toll at ROBIN'S BOOKSTORE! IF YOU MISS THIS READING DON'T COME CRYING TO ME WHEN YOU HEAR HOW GOOD IT WAS! DETAILS ON THE PHILLYSOUND!: http://PhillySound.blogspot.com Sunday, April 22nd 4pm ROBIN'S BOOKSTORE 108 S. 13th St., Philly Kevin Varrone is the author of the chapbook, g-point Almanac (6/21-9/21) (ixnay press, 2000) and the forthcoming collection id est (g-point Almanac 9/22-12-20) (forthcoming, Fall 2007, from Instance Press). He teaches at Temple University and The University of the Arts in Philadelphia. Pattie McCarthy is the author of bk of (h)rs (2002) and Verso (2004), both from Apogee Press. She teaches at Temple University and the University of the Arts in Philadelphia. Chris Toll has been writing for many many years. In 2006, Open 24 Hours Press published his chapbook, Love Everyone. Apathy Press has just released his new book, Be Light - it is half of a double book with Buck Downs - Buck's half is Recreational Vehicle. A native of Jones County, Miss., Buck Downs lives in Washington D.C. and works for a database publisher in a nearby location. Recent projects include Recreational Vehicle (Apathy Poets Press) and Ladies Love Outlaws (Edge Books). ========================================================================= Date: Tue, 17 Apr 2007 17:11:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: Virginia Tech In-Reply-To: <4b65c2d70704171350xa0d6bdmad7a931fa89dde3e@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit It turns out that the killer was in Lucinda Roy's creative writing class -- something she wasn't aware of when she wrote the op-ed. The dealer who sold him the guns said "he looked like a nice clean-cut kid." Aren't they all? Apparently Virginia's gun laws (if you can call them that) are among the laxest in this cowboy land of ours. ----- Original Message ----- From: Anny Ballardini Date: Tuesday, April 17, 2007 5:07 pm Subject: Re: Virginia Tech To: POETICS@LISTSERV.BUFFALO.EDU > From the WOM-PO list: > > Lucinda Roy has an op-ed in the NY Times: > > http://www.nytimes.com/2007/04/17/opinion/17roy.html > > > > On 4/17/07, ALDON L NIELSEN wrote: > > on top of everyting else, he was an English major -- damn > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > We are enslaved by > > what makes us free -- intolerable > > paradox at the heart of speech. > > --Robert Kelly > > > > 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: Tue, 17 Apr 2007 16:36:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: NYC/*VIP: Help Boog City Distrib. Sat., & We'll Help You, Too* Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, Still no new permanent distributor for Boog City as yet, so I'll be borrowing my dad's jeep to deliver the paper this Saturday, April 21. I'm hoping someone might be game to ride along and jump out and drop off the papers at each of our 33 distribution points. I can pick you up and drop you back off and, if there's something you've been needing to pick up and haven't had a vehicle to do so, help you out with that, too. Please let me know as soon as you can. 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: Tue, 17 Apr 2007 14:59:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Report On OlsonNow 3 Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Read R.D. Pohl's report on Saturday's OlsonNow 3: Charles Olson in Buffalo on the Buffalo News Poetry Blog: http://buffalonews.typepad.com/poetry_beat/2007/04/charles_olsons_.html Photos of the event from Geoffrey Gatza http://picasaweb.google.com/ggatza/OlsonNowCharlesOlsonBuffalo Michael Kelleher's review of Henry's Ferrini's Film http://artvoice.com/issues/v6n15/film_reviews/poet_and_the_city Michael Kelleher's article on Olson in Artvoice http://artvoice.com/issues/v6n15/living_breath Buffalo News article by Jeff Simon http://www.buffalonews.com/204/story/53005.html ========================================================================= Date: Tue, 17 Apr 2007 14:22:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Real Dreams / Real Poems 2nd try! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Stephen, Sufism did not steal the show, is a significant part of the show, for centuries. On the other hand, I can understand your predicament. If so, why don't you suggest that they write down their dreams, even suggesting techniques how they can make themselves wake up. Within that framework, Yeats (The Vision, how he made his wife Lady Gregory (?) write down his dreams. That insanity may be liberating for the students. Or let them read Ginsberg's "The White Shroud," the structure of the whole poem being built around the process of waking up and writing about the dream. (And an absolutely great poem to boot!). Or you might discuss with the students what the phrase "content's dream" mean, one of the great titles in modern poetry. How content itself may be dreaming, what a suggestive idea, to me, clearly at the heart of Charles's project. Some students may benefit from these discussions. The possibilities seem to me quite endless, the surrealist techniques being "the more traveled" ones among them. If this were the sixties, I would bring some mescalin to the class room. Just kidding! Ciao, Murat On 4/17/07, Stephen Vincent wrote: > > When I started the dream query, I was and remain looking for interesting > strategies to liberate the dream into poetic form(s). Somehow the Sufis > came in - as if in a dream - and stole the show! > > I want concrete stuff. I have students whose heads are about to explode > from > the dreams they carry from the night, or weeks before! I am being asked to > lighten their loads! > > So I want to hear from the Doctors of Dream Poems. > > I recollect someone or several mention Bernadette Meyer had some > exercises. > (Anybody know those?) > And, for example, here are several possibilities from Charles Bernstein: > > Dream work: Write down your dreams as the first thing you do every > morning > for 30 days. Apply translation and aleatoric processes to this material. > Double the length of each dream. Weave them together into one poem, adding > or changing or reordering material. Negate or reverse all statements (I > went down the hill to I went up the hill, I didn't to I did). Borrow a > friend's dreams and apply these techniques to them. > 4. Synchronicity: Write a poem in which all the events occur > simultaneously. > But I will appreciate more, if possible, or directions to any, so speak, > manual resources. > > Either front or back channel responses will be much appreciated, and > thanks > for those who have already responded. > > > Stephen V > http://stephenvincent.net/blog/ > ========================================================================= Date: Tue, 17 Apr 2007 13:12:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Virginia Tech In-Reply-To: <1176832163l.618746l.0l@psu.edu> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit from the Guardian: News reports also said that he may have been taking medication for depression, that he was becoming increasingly violent and erratic, and that he left a note in his dorm in which he railed against ``rich kids,'' ``debauchery'' and ``deceitful charlatans'' on campus. Cho Seung-Hui, a 23-year-old senior, arrived in the United States as boy from South Korea in 1992 and was raised in suburban Washington, D.C., officials said. He was living on campus in a different dorm from the one where Monday's bloodbath began. Professor Carolyn Rude, chairwoman of the university's English department, said she did not personally know the gunman. But she said she spoke with Lucinda Roy, the department's director of creative writing, who had Cho in one of her classes and described him as ``troubled.'' ``There was some concern about him,'' Rude said. ``Sometimes, in creative writing, people reveal things and you never know if it's creative or if they're describing things, if they're imagining things or just how real it might be. But we're all alert to not ignore things like this.'' She said Cho was referred to the counseling service, but she said she did not know when, or what the outcome was. Rude refused to release any of his writings or his grades, citing privacy laws. http://www.guardian.co.uk/worldlatest/story/0,,-6564994,00.html On Apr 17, 2007, at 12:49 PM, ALDON L NIELSEN wrote: > on top of everyting else, he was an English major -- damn > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>> > > We are enslaved by > what makes us free -- intolerable > paradox at the heart of speech. > --Robert Kelly > > 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: Tue, 17 Apr 2007 12:37:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: celebration of Ed Dorn; Way More West, SF MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit A Celebration of Way More West: Selected Poems of Edward Dorn with Jennifer Dunbar Dorn, editor Michael Rothenberg, Bob Callahan, John Daley, Diane di Prima, Stephen Emerson, Joanne Kyger, Michael McClure and Duncan McNaughton Saturday April 28 7:30 pm @ Unitarian Center 1187 Franklin (at Geary), $5 SF, CA Edward Dorn was born in the prairie town of Villa Grove, Illinois, on April 2, 1929. After attending Black Mountain College and studying with Charles Olson, he wandered through the West doing manual and odd jobs before beginning to teach, and spent a long period as an academic migrant before accepting a professorship at the University of Colorado in Boulder in 1978. It was Dorn's comic-epic masterpiece Gunslinger, which began appearing in 1968 and had already become an underground classic by the time it was published in its entirety in 1974, that established his reputation in the wider world, beyond those who knew his earlier lyric work, from such volumes as The Newly Fallen, Hands Up!, Geography, and The North Atlantic Turbine. He published over 40 books of poetry, prose, and translations before his death in 1999. Way More West: Selected Poems of Edward Dorn (new from Penguin Poets, 2007), edited by Michael Rothenberg and with an introduction by Dale Smith, brings together poems from Dorn's entire career, including previously uncollected work. ========================================================================= Date: Tue, 17 Apr 2007 14:37:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Behm-Steinberg Subject: Re: pulitzers In-Reply-To: <6.2.1.2.2.20070417081114.02bb8690@mail.theriver.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi Charles, 80-82 wasn't a bad run either: Selected Poems, Donald Justice The Morning of the Poem, James Schuyler Collected Poems, Sylvia Plath The vitality of American poetry is found in its small presses; the Pulitzers are almost never drawn from small presses; at best there's a sort of career retrospective recognition 20-30 years after the groundbreaking work gets published. Jurors tend to include previous winners, so that also ensures consistency, and mostly mainstream types (good luck finding one who hasn't been published in the New Yorker), which determine taste. Hugh Behm-Steinberg charles alexander wrote: the award to Ornette Coleman and special citation to John Coltrane got me looking through the Pulitzers, back as far as the early 1970s. The special citation last year to Thelonius Monk was also a highlight. but the poetry . . . I had to go back quite a few years to find works I thought deserving at all, and there were some, though rarely the best books of their year. Even in a string of three good years, 1974-1976, with the winners The Dolphin, by Robert Lowell Turtle Island, by Gary Snyder Self-Portrait in a Convex Mirror, by John Ashbery (and there's no 3-year run I can find with winners as good as those), yes even those, I have to say, don't sound like clear choices at all as those years saw the publication of such works as vol. 3 of The Maximus Poems by Charles Olson, Edward Dorn's Selected Poems 1956-1974, Ted Berrigan's Back in Boston, Barbara Guest's Moscow Mansions, The Selected Poems of Frank O'Hara, Adrienne Rich's Poems: Selected and New, two volumes of Robin Blaser's Image Nations (although I guess Canada doesn't count for the Pulitzers), The Maintains by Clark Coolidge, Things Stirring Together and Far Away by Larry Eigner, and, I imagine, many more books I would consider better than those three winners, and those three are just a few among Pulitzer winners that I would even want to read. So why are the Pulitzers so bad at poetry? Mostly I ignore them and don't care. It would be nice, though, to have a Linh Dinh or Stacy Doris or Beverly Dahlen or Ron Silliman (yes, The Age of Huts (compleat) for a Pulitzer!) receive that attention. charles --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Tue, 17 Apr 2007 17:25:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: Simon Cutts and Steve Beresford / Granary book launch in NYC Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Simon Cutts & Steve Beresford will perform Poetry and Music including "An English Dictionary of French Place Names" (together with Jean-Noel Herlin) on Friday April 20, 2007 6:30-8:30 to launch the publication by Granary Books of "as if it is at all" and "Some Forms of Availability" by Simon Cutts CUE Art Foundation 511 West 25th St NY NY 10012 All are welcome Admission is free but please RSVP 212 206 3583 ========================================================================= Date: Tue, 17 Apr 2007 19:02:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Nancy Shaw (1962-2007) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Christine Stewart wrote to me last night that Nancy Shaw had died. I asked her to send me a brief obituary notice, which I am forwarding to the list. All who knew Nancy will join Christine and me, and the Kootenay School of Writing poetry community, in raging against her death but also celebrating her poetry, poetics, and contribution to the world our poetry collectively makes. ***** Nancy Shaw born May 24th, 1962, died early Monday morning April 16th, 2007. A founding member of the Kootenay School of Writing in Vancouver, Shaw authored Affordable Tedium (Tsunami 1991) and Scoptocratic (ECW Press 1992). She also collaborated on several chapbooks with Catriona Strang, including Busted (Coach House Books 2001, http://www.chbooks.com.) and most recently Cold Trip (Nomados 2006). In addition, Shaw was a visual artist, curator and wrote for various art catalogues. A service will be held in Vancouver at St.Andrew's-Wesley Church, 1022 Nelson Ave. at 1:00 PM, Saturday April 21, 2007. Instead of flowers, please donate to the BC Cancer Fund. I should have been listening To every word you sang Rapt pious chant [from Cold Trip] Other publications include: "McLuhan, or Modernism in Reverse Glenn Wilmot" Canadian Journal of Communication Volume 21, No. 1. 1999. http://www.cjc-online.ca/viewarticle.php?id=511&layout=html "The Method is the Message: Rethinking McLuhan Through Critical Theory" Canadian Journal of Communication Volume 24, No. 1. 1999. http://www.cjc-online.ca/viewarticle.php?id=510&layout=abstract Alan Gilbert to Nancy Shaw, Notes on Cultural Poetics. Open Letter Eleventh Series, No. 3, Fall 2001 http://slought.org/files/downloads/publications/openletter/03a.pdf "Cloning Scapegoats Martha Stewart Does Insider Trading" Social Text 21.4 (2003) 51-67 http://muse.jhu.edu/journals/social_text/v021/21.4shaw.html ========================================================================= Date: Tue, 17 Apr 2007 18:24:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: Virginia Tech shootings In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- i'm going to be away from my desk for the next few days, or else i'd post this later -- but just to be clear -- i had a student once in a g.e.d. course i was teaching, from chicago's south side -- went to jail for allegedly shooting his mother -- which he was later cleared of, and which he DID NOT DO -- let's not racially stereotype this incident when it is too soon for anyone to draw conclusions about what might have happened -- i'm stuffing my backpack as i write this, sorry, it's not terribly subtle best, h On 4/17/07, Joe Amato wrote: > > Probably too soon -- too much grief still in the air -- to launch > into an intellectual exchange on all of this. But if you've taught > creative writing -- if you've taught -- the appended will strike > close to home. > > Best, > > Joe > > > ----------------------------------------------------------------------------------------------------------- > > Va. Tech Gunman Writings Raised Concerns > Apr 17, 01:16 PM EDT > By ADAM GELLER - AP National Writer > > BLACKSBURG, Va. (AP) -- The gunman suspected of carrying out the > Virginia Tech massacre that left 33 people dead was identified > Tuesday as an English major whose creative writing was so disturbing > that he was referred to the school's counseling service. > > News reports also said that he may have been taking medication for > depression, that he was becoming increasingly violent and erratic, > and that he left a note in his dorm in which he railed against "rich > kids," "debauchery" and "deceitful charlatans" on campus. > > Cho Seung-Hui, a 23-year-old senior, arrived in the United States as > boy from South Korea in 1992 and was raised in suburban Washington, > D.C., officials said. He was living on campus in a different dorm > from the one where Monday's bloodbath began. > > Police and university officials offered no clues as to exactly what > set him off on the deadliest shooting rampage in modern U.S. history. > > "He was a loner, and we're having difficulty finding information > about him," school spokesman Larry Hincker said. > > Professor Carolyn Rude, chairwoman of the university's English > department, said she did not personally know the gunman. But she said > she spoke with Lucinda Roy, the department's director of creative > writing, who had Cho in one of her classes and described him as > "troubled." > > "There was some concern about him," Rude said. "Sometimes, in > creative writing, people reveal things and you never know if it's > creative or if they're describing things, if they're imagining things > or just how real it might be. But we're all alert to not ignore > things like this." > > She said Cho was referred to the counseling service, but she said she > did not know when, or what the outcome was. Rude refused to release > any of his writings or his grades, citing privacy laws. > > The Chicago Tribune reported on its Web site that he left a note in > his dorm room that included a rambling list of grievances. Citing > unidentified sources, the Tribune said he had recently shown > troubling signs, including setting a fire in a dorm room and stalking > some women. > > ABC, citing law enforcement sources, reported that the note, several > pages long, explains Cho's actions and says, "You caused me to do > this." > > Investigators believe Cho at some point had been taking medication > for depression, the Tribune reported. > > The rampage consisted of two attacks, more than two hours apart - > first at a dormitory, where two people were killed, then inside a > classroom building, where 31 people, including Cho, died after being > locked inside, Virginia State Police said. Cho committed suicide; two > guns were found in the classroom building. > > One law enforcement official said Cho's backpack contained a receipt > for a March purchase of a Glock 9 mm pistol. Cho held a green card, > meaning he was a legal, permanent resident, federal officials said. > That meant he was eligible to buy a handgun unless he had been > convicted of a felony. > > Investigators stopped short of saying Cho carried out both attacks. > But ballistics tests show one gun was used in both, Virginia State > Police said. > > And two law enforcement officials, speaking on condition of anonymity > because the information had not been announced, said Cho's > fingerprints were found on both guns. The serial numbers on the two > weapons had been filed off, the officials said. > > Col. Steve Flaherty, superintendent of the Virginia State Police, > said it was reasonable to assume that Cho was the shooter in both > attacks but that the link was not yet definitive. "There's no > evidence of any accomplice at either event, but we're exploring the > possibility," he said. > > Officials said Cho graduated from a public high school in Chantilly, > Va., in 2003. His family lived in an off-white, two-story townhouse > in Centreville, Va. > > "He was very quiet, always by himself," neighbor Abdul Shash said. > Shash said Cho spent a lot of his free time playing basketball and > would not respond if someone greeted him. He described the family as > quiet. > > Virginia Tech Police issued a speeding ticket to Cho on April 7 for > going 44 mph in a 25 mph zone, and he had a court date set for May 23. > > South Korea expressed its condolences, and said it hoped that the > tragedy would not "stir up racial prejudice or confrontation." > > "We are in shock beyond description," said Cho Byung-se, a Foreign > Ministry official handling North American affairs. > > A memorial service was planned for the victims Tuesday afternoon at > the university, and President Bush planned to attend. Gov. Tim Kaine > was flying back to Virginia from Tokyo for the gathering. > > Classes were canceled for the rest of the week. > > Many students were leaving town quickly, lugging pillows, sleeping > bags and backpacks down the sidewalks. > > Jessie Ferguson, 19, a freshman from Arlington, left Newman Hall and > headed for her car with tears streaming down her red cheeks. > > "I'm still kind of shaky," she said. "I had to pump myself up just to > kind of come out of the building. I was going to come out, but it > took a little bit of 'OK, it's going to be all right. There's lots of > cops around.'" > > Although she wanted to be with friends, she wanted her family more. > "I just don't want to be on campus," she said. > > The first deadly attack was at the dormitory around 7:15 a.m., but > some students said they didn't get their first warning about a danger > on campus until two hours later, in an e-mail at 9:26 a.m., around > the time the second attack began. > > Two students told NBC's "Today" show they were unaware of the dorm > shooting when they walked into Norris Hall for a German class where > the gunman later opened fire. > > The victims in Norris Hall were found in four classrooms and a > stairwell, Flaherty said. Cho was found dead in one of those > classrooms, he said. > > Derek O'Dell, his arm in a cast after being shot, described a shooter > who fired away in "eerily silence" with "no specific target - just > taking out anybody he could." > > After the gunman left the room, students could hear him shooting > other people down the hall. O'Dell said he and other students > barricaded the door so the shooter couldn't get back in - though he > later tried. > > "After he couldn't get the door open he tried shooting it open ... > but the gunshots were blunted by the door," O'Dell said. > > Virginia Tech President Charles Steger emphasized that the university > closed off the dorm after the first attack. He said that before the > e-mail was sent, the university began telephoning resident advisers > in the dorms and sent people to knock on doors to warn them. > > "We can only make decisions based on the information you had at the > time. You don't have hours to reflect on it," Steger said. > > Until Monday, the deadliest shooting in modern U.S. history was in > Killeen, Texas, in 1991, when George Hennard plowed his pickup truck > into a Luby's Cafeteria and shot 23 people to death, then himself. > > Previously, the deadliest campus shooting in U.S. history was a > rampage that took place in 1966 at the University of Texas at Austin, > where Charles Whitman climbed the clock tower and opened fire with a > rifle from the 28th-floor observation deck. He killed 16 people > before he was shot to death by police. > > --- > > Associated Press writers Stephen Manning in Centreville, Va.; Matt > Barakat in Richmond, Va.; and Vicki Smith, Sue Lindsey and Justin > Pope in Blacksburg contributed to this report. > -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 17 Apr 2007 18:59:22 -0400 Reply-To: tyrone williams Sender: UB Poetics discussion group From: tyrone williams Subject: Re: Virginia Tech - Andrew Sullivan Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Thanks Stephen for this much-needed perspective. Tyrone -----Original Message----- >From: Stephen Vincent >Sent: Apr 17, 2007 5:15 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Virginia Tech - Andrew Sullivan > >from recovering neo-con, Andrew Sullivan. To the point. > >Imagine that this kind of massacre happened every day. Imagine a police >force that was far too small to even respond to most of >them. Imagine this occurring repeatedly for years until the perpetrators and >their accomplices became the de facto power-brokers >throughout the land. Imagine the shootings also being accompanied by the >brutal torture of victims. Imagine families never having >finality on whether their own siblings or parents or children have been >murdered or not. > >This is Iraq today. Now think of the justified rage many feel at the VT >campus police chief and university president for >misjudgments. Now imagine them presiding over several more massacres in the >same place. Ask yourself: why do we not feel as >enraged by those responsible for security in Iraq? Are those victims not >human beings too? Are they not children and mothers and >fathers and sons? Are we not ultimately responsible for them, having >destroyed the institutions of order in their country? > > >(forward from Susan Schultz, the poet, publisher in Hawaii) Tyrone Williams ========================================================================= Date: Wed, 18 Apr 2007 00:44:47 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Poets Nikolayev & bar Nadav in Harvard Square April 23 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: 7bit Philip Nikolayev will read from his new volume of poems, Letters from Aldenderry, with Hadara bar Nadav, whose first collection is A Glass of Milk to Kiss Goodnight. WHEN: Monday, April 23, 8:00 pm WHERE: Blacksmith House, 56 Brattle Street, Cambridge, MA $3 ========================================================================= Date: Wed, 18 Apr 2007 09:28:05 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Virginia Tech - Andrew Sullivan In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline When I first saw the headline "massacre", I actually thought it was referring to the carnage of the most recent car bombs (what, 54 dead?) No disrespect to the dead at Virginia, it is unambiguously a terrible thing, but there is something deeply discomforting about the coverage. All best A On 4/18/07, Stephen Vincent wrote: > > from recovering neo-con, Andrew Sullivan. To the point. > > Imagine that this kind of massacre happened every day. Imagine a police > force that was far too small to even respond to most of > them. Imagine this occurring repeatedly for years until the perpetrators > and > their accomplices became the de facto power-brokers > throughout the land. Imagine the shootings also being accompanied by the > brutal torture of victims. Imagine families never having > finality on whether their own siblings or parents or children have been > murdered or not. > > This is Iraq today. Now think of the justified rage many feel at the VT > campus police chief and university president for > misjudgments. Now imagine them presiding over several more massacres in > the > same place. Ask yourself: why do we not feel as > enraged by those responsible for security in Iraq? Are those victims not > human beings too? Are they not children and mothers and > fathers and sons? Are we not ultimately responsible for them, having > destroyed the institutions of order in their country? > > > (forward from Susan Schultz, the poet, publisher in Hawaii) > -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Wed, 18 Apr 2007 01:55:14 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Segue 4/21: "E-POETRY NYC" {Glazier; Karpinska; Knipe; Rider; Rosenberg} Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Segue Reading Series presents E-Poetry 2007 NYC Performances And A Symposium for the LEA New Media Poetry Special Issue Event Guest-Curated by Loss Pequeño Glazier. Featuring Aya Karpinska, Elizabeth Knipe, and Jim Rosenberg. Shawn Rider, Respondent. 21 April 2007, 4 PM at the Bowery Poetry Club, 308 Bowery at Bleecker, New York City Hosted by Tim Peterson and Erica Kaufman. Live performances, talks, and discussion about New Media art forms, issues, and poetics in a cordial setting. Poetry is on the move ... catch a glimpse of present poetic forms in action! This event seeks to further conversation about poetics through its sampling in digital forms. Join us for an historic presentation of digital poetics featuring an engaging mix of foundational and emerging digital poets! About the participants Aya Karpinska (http://technekai.com) is a digital media artist and interaction designer. She is the 2006 recipient of the prestigious Brown University Fellowship in Electronic Writing. Elizabeth Knipe ( www.dreamdilation.com) is an engaging interdisciplinary artist. She is digital poet and experimental video artist who entertains an interest in physical electronic installations. Jim Rosenberg (http://www.well.com/user/jer) has been working in non-linear poetic forms in one medium or another since 1966 and is one of the foundational figures in digital poetry. His best-known work is Intergrams. Shawn Rider (http://www.shawnrider.com) is a writer, artist, teacher and programmer, currently working as a Web Technologist for PBS TeacherLine. He is also the owner and Editor in Chief of GamesFirst.com, a long-running independent videogame review website. Loss Pequeño Glazier (http://epc.buffalo.edu/authors/glazier) is a digital poet, professor of Media Study, and Founder and Director of the Electronic Poetry Center. He is the author of the digitally-informed poetry collection Anatman, Pumpkin Seed, Algorithm (Salt Press) and the digital theory treatise Digital Poetics: The Making of E-Poetries (Alabama UP). Tim Peterson (http://mappemunde.typepad.com/) is the author of Since I Moved In (Chax Press). He edits EOAGH: A Journal of the Arts and currently curates part of the Segue Reading Series in New York. About the LEA New Media Poetry and Poetics issue Guest edited by Tim Peterson, the issue features Loss Pequeño Glazier, John Cayley with Dimitri Lemmerman, Lori Emerson, Phillippe Bootz, Manuel Portela, Stephanie Strickland, Mez, Maria Engberg and 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 and Gast Bouschet. Click here to access the LEA New Media Poetics Special (LEA Vol 14 No 5 - 6). URL: http://leoalmanac.org/journal/Vol_14/lea_v14_n05-06/index.asp Join us on April 21st for this celebration of LEA, the poetics of the present, and the diversity of digital forms! * * * For the rest of the Winter/Spring Segue Reading Series, please visit http://www.seguefoundation.com/calendar.htm Also, visit the Segue Series Blog at http://segueseries.blogspot.com for photos, commentary, and more... ========================================================================= Date: Wed, 18 Apr 2007 01:03:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Salon with Robert Polito, Todd Colby & films from the Dark City MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Friends: please join us: Thursday, April 19, 2007 at 7pm. Free Featuring Robert Polito & Todd Colby. Films by Ry-Russo Young, Steven K. Tsuchida & Gabe Ibanez. Jonathan Shorr Gallery, 109 Crosby St. (off Prince St.) in SOHO, NYC. http://www.rattapallax.com/salon_04192007.htm Robert Polito is the author of Savage Art: A Biography of Jim Thompson, which received the National Book Critics Circle Award and an Edgar; Doubles (a book of poems); and others. He is the editor of the Library of America volumes Crime Novels: American Noir of the 30s and 40s and American Noir of the 50s. He is Director of the Writing Program at The New School. Todd Colby is the author of Riot in the Charm Factory: New and Selected Work and more recently, Tremble & Shine (Soft Skull Press) and the editor of Heights of the Marvelous: A New York Anthology (St. Martins Press). He was the lyricist and vocalist for the now-legendary New York band Drunken Boat. FILMS: Maquina. Gabe Ibanez's remarkable urban horror film giving illusions to the work of Shinya Tsukamoto. A lonely young girl is surgically fitted with a sexual contraption that makes her the deadliest instrument to men. Won top prize at the Potenza International Film Festival. Director Ry Russo-Young presents a film-as-art projection that puts a personalized and distinctly modern spin on the Hitchcock classic Psycho. Three separate women play Marion Crane -- now immortalized by Janet Leigh and a certain shower scene-in three different scenes. Official selection Tribeca Film Festival and won Best Experimental Film at 2005 Chicago International Film Festival and 2006 SXSW Film Festival. A Ninja Pays Half My Rent follows the story of a young man who learns to deal with a ninja as a roommate. Barry's roommate suddenly passes away from eating a grapefruit. Unable to pay the entire rent for his apartment, Barry must find a roommate. Mysteriously, a ninja appears in his apartment and the crazy and comical story unfolds in Steven K. Tsuchida's short film. Provided by Filmmovement.com Co-sponsored with Academia Internacional de Cinema, Rattapallax, Soft Skull Press, Pampero Rum & Filmmovement.com Please send future emails to devineni@rattapallax.com for press ========================================================================= Date: Tue, 17 Apr 2007 19:14:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Virginia Tech/Nancy Shaw In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Yes. Please don't take this as flippancy, but it's fortuitous for those who need to deflect attention from the Gonzales hearing for instance.... Also, R.I.P Nancy Shaw, who I deeply admired. Chris On Apr 17, 2007, at 4:28 PM, Alison Croggon wrote: > When I first saw the headline "massacre", I actually thought it was > referring to the carnage of the most recent car bombs (what, 54 > dead?) No > disrespect to the dead at Virginia, it is unambiguously a terrible > thing, > but there is something deeply discomforting about the coverage. > > All best > > A > > On 4/18/07, Stephen Vincent wrote: >> >> from recovering neo-con, Andrew Sullivan. To the point. >> >> Imagine that this kind of massacre happened every day. Imagine a >> police >> force that was far too small to even respond to most of >> them. Imagine this occurring repeatedly for years until the >> perpetrators >> and >> their accomplices became the de facto power-brokers >> throughout the land. Imagine the shootings also being accompanied >> by the >> brutal torture of victims. Imagine families never having >> finality on whether their own siblings or parents or children have >> been >> murdered or not. >> >> This is Iraq today. Now think of the justified rage many feel at >> the VT >> campus police chief and university president for >> misjudgments. Now imagine them presiding over several more >> massacres in >> the >> same place. Ask yourself: why do we not feel as >> enraged by those responsible for security in Iraq? Are those >> victims not >> human beings too? Are they not children and mothers and >> fathers and sons? Are we not ultimately responsible for them, having >> destroyed the institutions of order in their country? >> >> >> (forward from Susan Schultz, the poet, publisher in Hawaii) >> > > > > -- > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com ========================================================================= Date: Wed, 18 Apr 2007 09:17:42 -0400 Reply-To: lmelvin1@binghamton.edu Sender: UB Poetics discussion group From: Metta Sama Subject: deadline extension: AWP Panels MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit -x-posting. -------------------------------------------------------------------------- The deadline has been extened to 24 April 2007; notification 27 April 2007; submission to AWP 29 April 2007. Be well, Metta Call for Papers: AWP Panel, In Praise of: 13 Ways to Be Mentored Mentoring often happens in private, between a person and a book, one writer alone with a few pages of someone's text, another writer she feels inexplicably drawn to. Who are the writers we return to? And for what reasons? How do writers enter an alternative form of mentorship with writers they've only met on the page? This panel will explore how emerging writers of color have been influenced by the aesthetics, content, and/or craft of other writers of color, how they feel mentored by these writers whom they've met on the page. This panel will be proposed for the 2008 AWP Conference, and while it is intended as a scholarship panel, anyone interested should be mindful that the conference panels focus mainly on the art and act of writing. The accepted papers will draw attention to particulars of writing that attract & speak to you as a writer of color, for example, form, structure, style, theme, language, tone, etc. I hope to hear from folks writing in all genres: poems, plays, prose. I'm taking submissions of short abstracts (no more than 100 words), with a deadline of 24 April 2007. I will contact with you a final decision by 27 April 2007. Contact Information: Metta Sama (mae_b@mac.com) I look forward to hearing from you. Call for Papers: AWP Panel, Tribute of Herb Scott, poet, editor, teacher, mentor, friend This panel will be a tribute to visionary teacher, leader, organizer, editor, mentor, friend, & poet Herb Scott, founder and editor of New Issues Press, author of _Groceries_, _Disguises_, and _Sleeping Woman_,and professor at Western Michigan University. The panel will be 2-fold, 1-part essay/ reflections on your personal intersection with Herb, and 1-part reading of Herb's poems. Your paper (in its final stage) should be no more than 5 minutes long, and you will have 8 minutes to read poems of Herb Scotts that you have chosen. Interested parties should send a very brief abstract (about 100 words) that includes names of poems they're interested in reading, as well as a general description of the type of essay they'd like to deliver (i.e. personal reflection on Herb as an editor, critical reflection on Herb building New Issues press, reflection on Herb as teacher, reflection on Herb as mentor, as friend, etc.). Interested parties can reach me at mae_b@mac.com, & I need to have the responses in by 24 April 2007. I will inform everyone who has been selected to participate by 27 April 2007, and will have the proposal ready forvreview on 29 April 2007. To offer a balanced panel, I will chose one ex-student, one editor (either current or past of New Issues Press), one friend/colleague, one New Issues author (who could discuss their relationship with Herb-as-editor), and one (hopefully) editor of an independent press (who could offer some insight on building a press while maintaining one's identity as a poet). Please note, however, that this is all open to change, is fluid. Metta Sama (mae_b@mac.com) Author, _South of Here_ (New Issues Press, 2005) ========================================================================= Date: Wed, 18 Apr 2007 09:21:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Munday Subject: Tomorrow Night - Tom Mandel and Rachel Zolf at Just Buffalo Small Press Series Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed APRIL 19 =97 TOM MANDEL & RACHEL ZOLF AT JUST BUFFALO'S SMALL PRESS = SERIES Just Buffalo Literary Centre=92s regular celebration of independent=20 presses and poets welcomes Rachel Zolf, author of Human Resources, to=20 Rust Belt Books on April 19, 2007. Rachel Zolf joins Tom Mandel (To the=20= Cognoscenti, The Grand Piano) for the evening's readings. Zolf brings=20 her irreverent fusion of poetry and corporate jargon, Human Resources,=20= to Buffalo for the first time since its recent publication. Just=20 Buffalo=92s Small Press Series is hosted by Kevin Thurston and Michael=20= Kelleher. Tom Mandel and Rachel Zolf at Just Buffalo=92s Small Press Series Thursday, April 19, 7:00 p.m. Rust Belt Books, 202 Allen Street Buffalo, NY *** About Human Resources: Poetry and =91plain language=92 collide in the writing machine = that is=20 Human Resources. Here at the intersection of creation and repackaging,=20= we experience the visceral and psychic cost of selling things with=20 depleted words. Pilfered rhetorics fed into the machine are spit out as=20= bungled associations among money, shit, culture, work and=20 communication. With the help of online engines that numericize=20 language, Human Resources explores writing as a process of encryption. Deeply inflected by the polyvocality and encoded rhetorics of = the=20 screen, Human Resources is perched at the limits of language,=20 irreverently making and breaking meaning. Navigating the crumbling=20 boundaries among page, screen, reader, engine, writer and database,=20 Human Resources investigates wasting words and words as waste =96 and = the=20 creative potential of salvage. Written by Rachel Zolf (Masque), who works days as a corporate=20= communications consultant, churning out language to fire employees=20 gently or convince them to toe the corporate line, Human Resources=20 =91repurposes=92 for artistic ends the words and energy she wastes = daily.=20 The book exposes the codes =96 programming codes, social codes, = political=20 codes =96 that we live under every day that tell us how to act, what to=20= buy, who to love, who to bomb. =91In this badmouthing and incandescent burlesque, Rachel Zolf = transforms=20 a necessary social anger into the pure fuel that takes us to "the=20 beautiful excess of the unshackled referent." We learn something new=20 about guts, and about how dictions slip across one another, entwining,=20= shimmering, wisecracking. For Zolf, political invention takes=20 precedent, works the search engine.=92 =96 Lisa Robertson Rachel Zolf is the author of the poetry collections Masque (The=20 Mercury Press, 2004), which was shortlisted for the 2005 Trillium Book=20= Award for Poetry, and Her absence, this wanderer (BuschekBooks, 1999),=20= which was a finalist in the cbc Literary Competition. Zolf lives in=20 Toronto and was the founding poetry editor for Walrus magazine. human resources =95 rachel zolf =95 march 2007 =95 96 pp. =95 $16.95 cdn = |=20 $14.95 us =95 isbn 1 55245 182 8 For review copies or media requests, contact Evan Munday at 416 979=20 2217 or evan@chbooks.com. ------------------------------ Evan Munday Publicist Coach House Books 401 Huron St. (rear) on bpNichol Lane Toronto ON, M5S 2G5 416.979.2217 evan@chbooks.com May 2 is the Coach House Spring Launch! featuring Sean Dixon, Andrew Wedderburn, Nicole Brossard, Rachel Zolf=20 and Amiel Gladstone Revival, 783 College Street Toronto, ON 8:00 p.m.=20= ========================================================================= Date: Tue, 17 Apr 2007 19:31:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: wil Hallgren Subject: Re: school shooters -- teachers watch out for stupid responses MIME-Version: 1.0 Content-Type: text/plain; charset=ascii This is to all poet/teachers in the wake of the Virginia Horror. The shooter seems to have been attending off-roster classes and getting away with simply being there. If your school is like my school, horrible ineptitude in scheduling allows such a situation to become commonplace. Aside from the academic failure that bad scheduling practices promote, we have this -- to what extent does such administrative ineptitude create the sloppiness that allows such horrors to happen? Such situations endanger both students and teachers. Students suffer academically and personally. Teachers are always at risk on some many and increasingly bizarre levels. In a national environment where across-the-board teacher bashing is even more popular than Bush-era xenophobia, I would humbly suggest that this current horror envinces a failure in our national non-dialog on education reform that goes completely undiscussed: Why aren't we looking at where the real opportunities for waste and ineptitude exist -- at the administrative level where binding decisions are made and money is spent/wasted. Blame the teachers--it's easier! Almost everyone everywhere in our vastly undereducated country has a grudge against at least one teacher! The stupid questions about this horror are already being formed: Why didn't his teachers see he was disturbed? Weren't there warning signs the teachers could have noticed? Why in our extremely violent society was his imaginative writing so violent? Teachers, we need to turn the beat around! Why didn't the Administration know where he was? Where he wasn't? What systems were not in place to allow teacher to completely know who was or was not legally entitled to be in their classrooms? If a teacher did notice something amiss, was there any administrative support for the teacher to follow up? Did the administration do its part and actually do the follow up? Was the teacher updated of administrative attempts to follow up? Far more money is truly wasted at the administrative level than is ever wasted in any classroom anywhere. Any honest MBA or CPA knows the essential truth of this in any organization of any form. With the weight of cynicism on our shoulders, let's all take bets and watch how the media seeks to put the onus for discovering such lunatics solely upon the teachers. Let's all watch as they hang this one University president, and fail to review administrative ineptitude across the board. Let's watch other University presidents and high school principals cluck their blackened and guilt swollen tongues at the misfortune of their fallen brother. let's listen to the silence of many, many more. Remember that half of all graduates, at any level, anywhere in our country, graduated in the bottom half of their graduating classes (they had to by virtue of simple mathmatics). No wonder so many people love to blame their teachers and not themselves! I can't think of a single person who blames the Principal. Can you? In our simplistic society we like our scapegoats to appear singularly and in black and white simplicity. This has happened before; there is nothing new under the sun; it will happen again! Fraternally yours, Wil Hallgren ========================================================================= Date: Wed, 18 Apr 2007 09:53:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: NANCY SHAW MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ---------- Forwarded message ---------- From: RT5LE9@aol.com (Rodrigo Toscano) To: POETICS@listserv.buffalo.edu Date: Tue, 17 Apr 2007 22:36:04 EDT Subject: NANCY SHAW was one of the most lovely, intelligent, creative, humane, people i'd ever met...i am so saddened by her death... i've no more to say than that... (nancy...oh nancy...) ************************************** See what's free at http://www.aol.com. ========================================================================= Date: Wed, 18 Apr 2007 10:05:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: virginia tech/nikki giovanni In-Reply-To: <602632.33548.qm@web84215.mail.re3.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit This just gets more and more disturbing. >> Teacher had Cho moved out of class ALAN FREEMAN Globe and Mail Update BLACKSBURG, Va. — One of Cho Seung-Hui's English professors at Virginia Tech said Wednesday that she so feared the intimidating nature of 23-year-old English student that she threatened to resign if he were not removed from her class. "He was a very intimidating student to my other students," poetry professor Nikki Giovanni said. As a result of his disturbing presence and his graphic writing,she actually wrote to the chairman of the English Department, Lucinda Roy, asking that he be removed from her class, which he was. "I was willing to resign before I was going to continue with him," Ms. Giovanni told CNN. Mr. Cho killed 32 students and faculty members at the university on Monday, the worst such shooting in U.S. history before ending his own life. Related to this article Cho Seung-Hui, in an undated photo, was identified as the gunman in the massacre that left 33 people dead at Virginia Tech in Blacksburg, Va., on Monday. (Virginia State Police/AP) Articles Earlier Q&A: Expert on school shootings Hero 'had no fear' Gunman's last message: 'You caused me to do this' Slain Canadian was passionate about her teaching In a crisis, a wave of 'citizen journalism' Vicrtim profiles Disturbing writings Access to guns 'catalytic' in killings Campuses revisit warning systems Shootings 'I-Report' a coup for CNN Eerie timing for trio's school-violence song Photogalleries Deadly shooting rampage Interactives Map: North American school violence since 1975 Internet Links Video: Picture emerges of suspect Video: Shooting timeline Video: Remembering Univ. of Texas, 1966 Virginia Tech University web site Follow this writer Add ALAN FREEMAN to my e-mail alerts Latest Comments Why doesn't the G&M allow comments on the heroic actions of Prof... Why are we so fascinated by the darkness of these demented people... What bothers me is that he is said to have tried to start a fire... It could very well have something to do with the more Socialist... 13 reader comments | Join the conversation "There was something mean about this boy, and it was the meanness that bothered me," she said. On Monday, as she heard about the shooting while travelling back to the university from California and there were rumours that the perpetrator was Asian, she said she knew immediately that he was Mr. Cho. "In front of my mind, I knew it was" him, she said in an interview. Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's concerns to university authorities and the campus police but was told that because he was expressing himself freely in his writings, there was nothing that could be done. As a result of these concerns, she had him removed from class and began to teach Mr. Cho privately in a special workshop. Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very withdrawn and very depressed." "There was this steady tone of anger in his writings. It seemed as if he was expressing emptiness and fury at himself and at people around him," Ms. Roy said. She said that was worried that Mr. Cho could be a threat to other students as well as to himself. "I really felt very strongly that he was suicidal, that he was so depressed that he had a negativity about him, like it was like talking to a hole sometimes, that the person wasn't really there," she said. "Of course, we never imagined these kinds of things." ========================================================================= Date: Wed, 18 Apr 2007 11:42:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Re: virginia tech/nikki giovanni In-Reply-To: <50247.141.158.45.160.1176905116.squirrel@141.158.45.160> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Wikipedia writes on the Giovanni page today - [On April 17, 2007, at the Virginia Tech Convocation commemorating the April 16 Virginia Tech massacre, Giovanni closed the ceremony, stating, "We are sad today, and we will be sad for quite a while. We are not moving on. We are embracing our mourning. We are Virginia Tech... We do not understand this tragedy... Neither does the baby elephant watching his community be devastated for ivory..No one deserves a tragedy."] I didn't quite get the "ivory" metaphor. The fact that Cho was an English student, is unfortunate and might tempt many of us in this list to face our own mirrors. I am also curious why Cho chose the "Science & Engineering" class as the venue for his second killing spree! Did he see that community as some sort of a "privileged" section of the academic society ? Did the "debauchery" he hated, came mostly from those quarters ? We'll never know. However, as a poet engaged in engieering practice, I'm almost compelled to raise this question. If we take the gun out of the picture, Cho's story might sound quite familiar with many of us who grew up in a foreign society and went to foreign universities. In fact, in much of the developing world, where walls are far steeper between liberal arts and science, so much so, that a chance of making a respectable livelihood in the arts arena is rarer than "ivory"; frustrations do become paramount, and they do manifest themselves ....but we don't get to hear of such campus-massacres. Of course, there are many like me, who give up the dream of pursuing fine arts for the fear of going astray, and study engineering because they are also good at math. Sadly, the tragedy turns four-fold when a gun gets into the picture. Aryanil -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Sina Queyras Sent: Wednesday, April 18, 2007 10:05 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: virginia tech/nikki giovanni This just gets more and more disturbing. >> Teacher had Cho moved out of class ALAN FREEMAN Globe and Mail Update BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at Virginia Tech said Wednesday that she so feared the intimidating nature of 23-year-old English student that she threatened to resign if he were not removed from her class. "He was a very intimidating student to my other students," poetry professor Nikki Giovanni said. As a result of his disturbing presence and his graphic writing,she actually wrote to the chairman of the English Department, Lucinda Roy, asking that he be removed from her class, which he was. "I was willing to resign before I was going to continue with him," Ms. Giovanni told CNN. Mr. Cho killed 32 students and faculty members at the university on Monday, the worst such shooting in U.S. history before ending his own life. Related to this article Cho Seung-Hui, in an undated photo, was identified as the gunman in the massacre that left 33 people dead at Virginia Tech in Blacksburg, Va., on Monday. (Virginia State Police/AP) Articles Earlier Q&A: Expert on school shootings Hero 'had no fear' Gunman's last message: 'You caused me to do this' Slain Canadian was passionate about her teaching In a crisis, a wave of 'citizen journalism' Vicrtim profiles Disturbing writings Access to guns 'catalytic' in killings Campuses revisit warning systems Shootings 'I-Report' a coup for CNN Eerie timing for trio's school-violence song Photogalleries Deadly shooting rampage Interactives Map: North American school violence since 1975 Internet Links Video: Picture emerges of suspect Video: Shooting timeline Video: Remembering Univ. of Texas, 1966 Virginia Tech University web site Follow this writer Add ALAN FREEMAN to my e-mail alerts Latest Comments Why doesn't the G&M allow comments on the heroic actions of Prof... Why are we so fascinated by the darkness of these demented people... What bothers me is that he is said to have tried to start a fire... It could very well have something to do with the more Socialist... 13 reader comments | Join the conversation "There was something mean about this boy, and it was the meanness that bothered me," she said. On Monday, as she heard about the shooting while travelling back to the university from California and there were rumours that the perpetrator was Asian, she said she knew immediately that he was Mr. Cho. "In front of my mind, I knew it was" him, she said in an interview. Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's concerns to university authorities and the campus police but was told that because he was expressing himself freely in his writings, there was nothing that could be done. As a result of these concerns, she had him removed from class and began to teach Mr. Cho privately in a special workshop. Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very withdrawn and very depressed." "There was this steady tone of anger in his writings. It seemed as if he was expressing emptiness and fury at himself and at people around him," Ms. Roy said. She said that was worried that Mr. Cho could be a threat to other students as well as to himself. "I really felt very strongly that he was suicidal, that he was so depressed that he had a negativity about him, like it was like talking to a hole sometimes, that the person wasn't really there," she said. "Of course, we never imagined these kinds of things." ========================================================================= Date: Wed, 18 Apr 2007 10:04:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crane's Bill Books Subject: Re: virginia tech/nikki giovanni MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's concerns to university authorities and the campus police but was told that because he was expressing himself freely in his writings, there was nothing that could be done." But where is this going? Police powers for creative writing teachers? The fact is, Cho Seung-Hui had been reported to the police for harassing and threatening women, which means this horror would have been prevented by a simple background check before guns were made available to him. We can wring our hands all we want about whether there were failures on the part of "university authorities," but if a background check had been required, this would not have happened. Sorry, I know this isn't poetics, but it seems like an important point to make. J. A. Lee Crane's Bill Books ----- Original Message ----- From: "Sina Queyras" To: Sent: Wednesday, April 18, 2007 8:05 AM Subject: virginia tech/nikki giovanni > This just gets more and more disturbing. > >>> > Teacher had Cho moved out of class > ALAN FREEMAN > Globe and Mail Update > BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at Virginia > Tech said Wednesday that she so feared the intimidating nature of > 23-year-old English student that she threatened to resign if he were not > removed from her class. > > "He was a very intimidating student to my other students," poetry > professor Nikki Giovanni said. As a result of his disturbing presence and > his graphic writing,she actually wrote to the chairman of the English > Department, Lucinda Roy, asking that he be removed from her class, which > he was. > > "I was willing to resign before I was going to continue with him," Ms. > Giovanni told CNN. > > Mr. Cho killed 32 students and faculty members at the university on > Monday, the worst such shooting in U.S. history before ending his own > life. > > Related to this article > > > Cho Seung-Hui, in an undated photo, was identified as the gunman in the > massacre that left 33 people dead at Virginia Tech in Blacksburg, Va., on > Monday. (Virginia State Police/AP) > Articles > > Earlier Q&A: Expert on school shootings > Hero 'had no fear' > Gunman's last message: 'You caused me to do this' > Slain Canadian was passionate about her teaching > In a crisis, a wave of 'citizen journalism' > Vicrtim profiles > Disturbing writings > Access to guns 'catalytic' in killings > Campuses revisit warning systems > Shootings 'I-Report' a coup for CNN > Eerie timing for trio's school-violence song > Photogalleries > > Deadly shooting rampage > Interactives > > Map: North American school violence since 1975 > Internet Links > > Video: Picture emerges of suspect > Video: Shooting timeline > Video: Remembering Univ. of Texas, 1966 > Virginia Tech University web site > Follow this writer > > Add ALAN FREEMAN to my e-mail alerts > Latest Comments > > Why doesn't the G&M allow comments on the heroic actions of Prof... > Why are we so fascinated by the darkness of these demented people... > What bothers me is that he is said to have tried to start a fire... > It could very well have something to do with the more Socialist... > 13 reader comments | Join the conversation > > "There was something mean about this boy, and it was the meanness that > bothered me," she said. > > On Monday, as she heard about the shooting while travelling back to the > university from California and there were rumours that the perpetrator was > Asian, she said she knew immediately that he was Mr. Cho. > > "In front of my mind, I knew it was" him, she said in an interview. > > Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's > concerns to university authorities and the campus police but was told that > because he was expressing himself freely in his writings, there was > nothing that could be done. > > As a result of these concerns, she had him removed from class and began to > teach Mr. Cho privately in a special workshop. > > Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very withdrawn > and very depressed." > > "There was this steady tone of anger in his writings. It seemed as if he > was expressing emptiness and fury at himself and at people around him," > Ms. Roy said. > > She said that was worried that Mr. Cho could be a threat to other students > as well as to himself. > > "I really felt very strongly that he was suicidal, that he was so > depressed that he had a negativity about him, like it was like talking to > a hole sometimes, that the person wasn't really there," she said. > > "Of course, we never imagined these kinds of things." ========================================================================= Date: Wed, 18 Apr 2007 11:26:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: virginia tech/nikki giovanni In-Reply-To: <000801c781d3$34ef0270$55111341@JEFFREY> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline 1. At my alma mater, Michigan State, there is a steep divide between the arts and sciences--and in many of these "second tier" type schools, this is becoming the nrm. So much so that a university administrator told a group of graduate students 2 months ago that the arts and humanities have gotten all the money they are going to get. He added that the only useful thin a philosopher/english phd/artist could do would be to make the world more comfortable with science. In fact, the University is making no great pains to maintain these humanities and arts programs beyond the bare minimum that is required to keep our status as a "research one" institution. The arts and sciences divide is HUGE here--and, frankly, I only know one person who is an artist and makes a living from it (that would be my poetry prof)--here in Michigan, it's tough enough to make a living. 2. The shooter did pass a background check. The scary thing is that he was manipulative enough to repress those terrifying aspects of his personality and not "spill the beans" on how disturbed he really was. 3. The shooter was removed from classes not simply because his writings were violent, but because he (and his work) personally intimidated: the teacher (Ms. Giovanni); two other students, who stopped coming to class. Additionally, he was taking photographs in class of other students (by hiding the camera under his desk). Ever prof I have ever had is smart enough to know the difference between "self-expression" and downright disturbing. This has nothing to do with creative-writing profs being given police powers. It has everything to do with having a responsibility to protect your students; in my experience, when someone "creeps you out" enough that you have them removed from your class, you're generally right. All of this info was on cnn.com today; Angela On 4/18/07, Crane's Bill Books wrote: > > "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's > concerns to university authorities and the campus police but was told that > because he was expressing himself freely in his writings, there was > nothing > that could be done." > > But where is this going? Police powers for creative writing teachers? The > fact is, Cho Seung-Hui had been reported to the police for harassing and > threatening women, which means this horror would have been prevented by a > simple background check before guns were made available to him. We can > wring > our hands all we want about whether there were failures on the part of > "university authorities," but if a background check had been required, > this > would not have happened. Sorry, I know this isn't poetics, but it seems > like > an important point to make. > > J. A. Lee > Crane's Bill Books > > > > ----- Original Message ----- > From: "Sina Queyras" > To: > Sent: Wednesday, April 18, 2007 8:05 AM > Subject: virginia tech/nikki giovanni > > > > This just gets more and more disturbing. > > > >>> > > Teacher had Cho moved out of class > > ALAN FREEMAN > > Globe and Mail Update > > BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at Virginia > > Tech said Wednesday that she so feared the intimidating nature of > > 23-year-old English student that she threatened to resign if he were not > > removed from her class. > > > > "He was a very intimidating student to my other students," poetry > > professor Nikki Giovanni said. As a result of his disturbing presence > and > > his graphic writing,she actually wrote to the chairman of the English > > Department, Lucinda Roy, asking that he be removed from her class, which > > he was. > > > > "I was willing to resign before I was going to continue with him," Ms. > > Giovanni told CNN. > > > > Mr. Cho killed 32 students and faculty members at the university on > > Monday, the worst such shooting in U.S. history before ending his own > > life. > > > > Related to this article > > > > > > Cho Seung-Hui, in an undated photo, was identified as the gunman in the > > massacre that left 33 people dead at Virginia Tech in Blacksburg, Va., > on > > Monday. (Virginia State Police/AP) > > Articles > > > > Earlier Q&A: Expert on school shootings > > Hero 'had no fear' > > Gunman's last message: 'You caused me to do this' > > Slain Canadian was passionate about her teaching > > In a crisis, a wave of 'citizen journalism' > > Vicrtim profiles > > Disturbing writings > > Access to guns 'catalytic' in killings > > Campuses revisit warning systems > > Shootings 'I-Report' a coup for CNN > > Eerie timing for trio's school-violence song > > Photogalleries > > > > Deadly shooting rampage > > Interactives > > > > Map: North American school violence since 1975 > > Internet Links > > > > Video: Picture emerges of suspect > > Video: Shooting timeline > > Video: Remembering Univ. of Texas, 1966 > > Virginia Tech University web site > > Follow this writer > > > > Add ALAN FREEMAN to my e-mail alerts > > Latest Comments > > > > Why doesn't the G&M allow comments on the heroic actions of Prof... > > Why are we so fascinated by the darkness of these demented people... > > What bothers me is that he is said to have tried to start a fire... > > It could very well have something to do with the more Socialist... > > 13 reader comments | Join the conversation > > > > "There was something mean about this boy, and it was the meanness that > > bothered me," she said. > > > > On Monday, as she heard about the shooting while travelling back to the > > university from California and there were rumours that the perpetrator > was > > Asian, she said she knew immediately that he was Mr. Cho. > > > > "In front of my mind, I knew it was" him, she said in an interview. > > > > Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's > > concerns to university authorities and the campus police but was told > that > > because he was expressing himself freely in his writings, there was > > nothing that could be done. > > > > As a result of these concerns, she had him removed from class and began > to > > teach Mr. Cho privately in a special workshop. > > > > Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very > withdrawn > > and very depressed." > > > > "There was this steady tone of anger in his writings. It seemed as if he > > was expressing emptiness and fury at himself and at people around him," > > Ms. Roy said. > > > > She said that was worried that Mr. Cho could be a threat to other > students > > as well as to himself. > > > > "I really felt very strongly that he was suicidal, that he was so > > depressed that he had a negativity about him, like it was like talking > to > > a hole sometimes, that the person wasn't really there," she said. > > > > "Of course, we never imagined these kinds of things." > ========================================================================= Date: Wed, 18 Apr 2007 12:46:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: virginia tech/nikki giovanni In-Reply-To: <000801c781d3$34ef0270$55111341@JEFFREY> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/18/07, Crane's Bill Books wrote: > > > But where is this going? Police powers for creative writing teachers? The > fact is, Cho Seung-Hui had been reported to the police for harassing and > threatening women, which means this horror would have been prevented by a > simple background check before guns were made available to him. We can > wring > our hands all we want about whether there were failures on the part of > "university authorities," but if a background check had been required, > this > would not have happened. Sorry, I know this isn't poetics, but it seems > like > an important point to make. Could someone clarify something for me? I know he had harrassment complaints from women on campus-- but did anyone actually press charges against him and was he ever put on trial and found guilty? Was he ever even issued with a restraining order? You see the problem here is that anyone can make a complaint-- and it is entirely possible for a complaint to be scurrilous, or for that matter for a complaint to be dropped. A lot of people who go to the police to complain about stalking will in fact drop the complaint if the stalking behaviour stops-- heck, I remember being mildly stalked when I was an undergraduate and I happily put the issue aside when the creepy guy finally went away. What happened to these complaints? Before something like this can go on someone's record (and thus be the sort of thing that would turn up in a background check) it has to go past the complaint stage-- there has to be some sort of follow-through and due process. Same with restraining orders-- I always get upset when people claim that its easy to get a restraining order on somebody. In point of fact, it can be pretty difficult, especially if you are not in an intimate relationship with the person. There has to have been an actual threat made against a person. This whole thing is absolutely heartwrenching. I applaud both Lucinda and Nikki for doing what they could. It may very well be that this man was pushing the boundary for a very long time, stopping just short of where he would actually have to face charges-- until the other day. That's what it sounds like to me. Suzanne Burns ========================================================================= Date: Wed, 18 Apr 2007 11:54:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: virginia tech/nikki giovanni In-Reply-To: <000801c781d3$34ef0270$55111341@JEFFREY> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable Yes. Important considerations for many of us. =20 I saw Giovanni on CNN this am and she was highly articulate and = intelligent and wonderfully human. One thing she did mention was that hundreds of = young writers in workshops write things that are violent and angry and most of them are alright. I, too, hope this doesn't put a chill in the creative writing classroom. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Crane's Bill Books Sent: Wednesday, April 18, 2007 11:04 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: virginia tech/nikki giovanni "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's=20 concerns to university authorities and the campus police but was told = that=20 because he was expressing himself freely in his writings, there was = nothing=20 that could be done." But where is this going? Police powers for creative writing teachers? = The=20 fact is, Cho Seung-Hui had been reported to the police for harassing and = threatening women, which means this horror would have been prevented by = a=20 simple background check before guns were made available to him. We can = wring our hands all we want about whether there were failures on the part of=20 "university authorities," but if a background check had been required, = this=20 would not have happened. Sorry, I know this isn't poetics, but it seems = like an important point to make. J. A. Lee Crane's Bill Books ----- Original Message -----=20 From: "Sina Queyras" To: Sent: Wednesday, April 18, 2007 8:05 AM Subject: virginia tech/nikki giovanni > This just gets more and more disturbing. > >>> > Teacher had Cho moved out of class > ALAN FREEMAN > Globe and Mail Update > BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at = Virginia > Tech said Wednesday that she so feared the intimidating nature of > 23-year-old English student that she threatened to resign if he were = not > removed from her class. > > "He was a very intimidating student to my other students," poetry > professor Nikki Giovanni said. As a result of his disturbing presence = and > his graphic writing,she actually wrote to the chairman of the English > Department, Lucinda Roy, asking that he be removed from her class, = which > he was. > > "I was willing to resign before I was going to continue with him," Ms. > Giovanni told CNN. > > Mr. Cho killed 32 students and faculty members at the university on > Monday, the worst such shooting in U.S. history before ending his own > life. > > Related to this article > > > Cho Seung-Hui, in an undated photo, was identified as the gunman in = the > massacre that left 33 people dead at Virginia Tech in Blacksburg, Va., = on > Monday. (Virginia State Police/AP) > Articles > > Earlier Q&A: Expert on school shootings > Hero 'had no fear' > Gunman's last message: 'You caused me to do this' > Slain Canadian was passionate about her teaching > In a crisis, a wave of 'citizen journalism' > Vicrtim profiles > Disturbing writings > Access to guns 'catalytic' in killings > Campuses revisit warning systems > Shootings 'I-Report' a coup for CNN > Eerie timing for trio's school-violence song > Photogalleries > > Deadly shooting rampage > Interactives > > Map: North American school violence since 1975 > Internet Links > > Video: Picture emerges of suspect > Video: Shooting timeline > Video: Remembering Univ. of Texas, 1966 > Virginia Tech University web site > Follow this writer > > Add ALAN FREEMAN to my e-mail alerts > Latest Comments > > Why doesn't the G&M allow comments on the heroic actions of Prof... > Why are we so fascinated by the darkness of these demented people... > What bothers me is that he is said to have tried to start a fire... > It could very well have something to do with the more Socialist... > 13 reader comments | Join the conversation > > "There was something mean about this boy, and it was the meanness that > bothered me," she said. > > On Monday, as she heard about the shooting while travelling back to = the > university from California and there were rumours that the perpetrator = was > Asian, she said she knew immediately that he was Mr. Cho. > > "In front of my mind, I knew it was" him, she said in an interview. > > Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's > concerns to university authorities and the campus police but was told = that > because he was expressing himself freely in his writings, there was > nothing that could be done. > > As a result of these concerns, she had him removed from class and = began to > teach Mr. Cho privately in a special workshop. > > Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very = withdrawn > and very depressed." > > "There was this steady tone of anger in his writings. It seemed as if = he > was expressing emptiness and fury at himself and at people around = him," > Ms. Roy said. > > She said that was worried that Mr. Cho could be a threat to other = students > as well as to himself. > > "I really felt very strongly that he was suicidal, that he was so > depressed that he had a negativity about him, like it was like talking = to > a hole sometimes, that the person wasn't really there," she said. > > "Of course, we never imagined these kinds of things."=20 ========================================================================= Date: Wed, 18 Apr 2007 10:24:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: Re: POETICS Digest - 16 Apr 2007 to 17 Apr 2007 (#2007-107) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "which Surrealist poet it was--hung a sign on his door when sleeping--"= do not disturb--poet at work"." David, Robert Desnos. According to Breton's account, I think, not Desnos himself. Amities, Alex PS: A note about the disturbing disproportion between coverage of violence in Iraq and elsewhere and that of Virginia Tech: my experience of human beings everywhere has shown me that we worry about what's close to home much more readily than things far away. It's much less a "racial" issue than a psychological one found everywhere. This, of course, doesn't make it any less troubling, and in this country there are plenty of signs of dehumanizing Iraqis et al. because of their otherness, even if I don't think the disproportionate coverage is one of them. www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Wed, 18 Apr 2007 10:21:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: virginia tech/nikki giovanni/jan richman In-Reply-To: <000801c781d3$34ef0270$55111341@JEFFREY> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit This is starting to remind me (more as a point of a contrast) with that incident in San Francisco a few years back, when Jan Richman brought disturbing writings by a student to the attention of her chair. The student was promptly exprelled, but then they fired Ms. Richman too. Many protested; Rushdie and Eggers, et al, wrote letters of support. Stories in national press, etc. But Richman didn't get reinstated at her job. Chris On Apr 18, 2007, at 9:04 AM, Crane's Bill Books wrote: > "...Ms. Roy, the department chairwoman, said she brought Ms. > Giovanni's concerns to university authorities and the campus police > but was told that because he was expressing himself freely in his > writings, there was nothing that could be done." > > But where is this going? Police powers for creative writing > teachers? The fact is, Cho Seung-Hui had been reported to the > police for harassing and threatening women, which means this horror > would have been prevented by a simple background check before guns > were made available to him. We can wring our hands all we want > about whether there were failures on the part of "university > authorities," but if a background check had been required, this > would not have happened. Sorry, I know this isn't poetics, but it > seems like an important point to make. > > J. A. Lee > Crane's Bill Books > > > > ----- Original Message ----- From: "Sina Queyras" > > To: > Sent: Wednesday, April 18, 2007 8:05 AM > Subject: virginia tech/nikki giovanni > > >> This just gets more and more disturbing. >> >>>> >> Teacher had Cho moved out of class >> ALAN FREEMAN >> Globe and Mail Update >> BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at >> Virginia >> Tech said Wednesday that she so feared the intimidating nature of >> 23-year-old English student that she threatened to resign if he >> were not >> removed from her class. >> >> "He was a very intimidating student to my other students," poetry >> professor Nikki Giovanni said. As a result of his disturbing >> presence and >> his graphic writing,she actually wrote to the chairman of the English >> Department, Lucinda Roy, asking that he be removed from her class, >> which >> he was. >> >> "I was willing to resign before I was going to continue with him," >> Ms. >> Giovanni told CNN. >> >> Mr. Cho killed 32 students and faculty members at the university on >> Monday, the worst such shooting in U.S. history before ending his own >> life. >> >> Related to this article >> >> >> Cho Seung-Hui, in an undated photo, was identified as the gunman >> in the >> massacre that left 33 people dead at Virginia Tech in Blacksburg, >> Va., on >> Monday. (Virginia State Police/AP) >> Articles >> >> Earlier Q&A: Expert on school shootings >> Hero 'had no fear' >> Gunman's last message: 'You caused me to do this' >> Slain Canadian was passionate about her teaching >> In a crisis, a wave of 'citizen journalism' >> Vicrtim profiles >> Disturbing writings >> Access to guns 'catalytic' in killings >> Campuses revisit warning systems >> Shootings 'I-Report' a coup for CNN >> Eerie timing for trio's school-violence song >> Photogalleries >> >> Deadly shooting rampage >> Interactives >> >> Map: North American school violence since 1975 >> Internet Links >> >> Video: Picture emerges of suspect >> Video: Shooting timeline >> Video: Remembering Univ. of Texas, 1966 >> Virginia Tech University web site >> Follow this writer >> >> Add ALAN FREEMAN to my e-mail alerts >> Latest Comments >> >> Why doesn't the G&M allow comments on the heroic actions of Prof... >> Why are we so fascinated by the darkness of these demented people... >> What bothers me is that he is said to have tried to start a fire... >> It could very well have something to do with the more Socialist... >> 13 reader comments | Join the conversation >> >> "There was something mean about this boy, and it was the meanness >> that >> bothered me," she said. >> >> On Monday, as she heard about the shooting while travelling back >> to the >> university from California and there were rumours that the >> perpetrator was >> Asian, she said she knew immediately that he was Mr. Cho. >> >> "In front of my mind, I knew it was" him, she said in an interview. >> >> Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's >> concerns to university authorities and the campus police but was >> told that >> because he was expressing himself freely in his writings, there was >> nothing that could be done. >> >> As a result of these concerns, she had him removed from class and >> began to >> teach Mr. Cho privately in a special workshop. >> >> Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very >> withdrawn >> and very depressed." >> >> "There was this steady tone of anger in his writings. It seemed as >> if he >> was expressing emptiness and fury at himself and at people around >> him," >> Ms. Roy said. >> >> She said that was worried that Mr. Cho could be a threat to other >> students >> as well as to himself. >> >> "I really felt very strongly that he was suicidal, that he was so >> depressed that he had a negativity about him, like it was like >> talking to >> a hole sometimes, that the person wasn't really there," she said. >> >> "Of course, we never imagined these kinds of things." ========================================================================= Date: Wed, 18 Apr 2007 13:43:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shaunanne Tangney Subject: va. tech Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit **************** FROM PREVIOUS POSTS: ``There was some concern about him,'' Rude said. ``Sometimes, in creative writing, people reveal things and you never know if it's creative or if they're describing things, if they're imagining things or just how real it might be. But we're all alert to not ignore things like this.'' "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's concerns to university authorities and the campus police but was told that because he was expressing himself freely in his writings, there was nothing that could be done." But where is this going? Police powers for creative writing teachers? The fact is, Cho Seung-Hui had been reported to the police for harassing and threatening women, which means this horror would have been prevented by a simple background check before guns were made available to him. We can wring our hands all we want about whether there were failures on the part of "university authorities," but if a background check had been required, this would not have happened. Sorry, I know this isn't poetics, but it seems like an important point to make. ***************** I feel really uncertain about this--probably because I had a very similar thing happen to me. A few years ago, a young man who was a student at the college where I teach--and indeed, had been a student in my creative writing course--murdered his girlfriend. The authorities confiscated his computer and on it found stories he wrote for my class that they found "disturbing." I was subpeoned to testify in court--his lawyer wanted me to testify as to his state of mind, having read his short stories. I was appalled (and was never actually called to the stand--I think his lawyer figured out I would be rather hostile): I can't testify to someone's state of mind--I'm an English teacher, not a psychologist or mental health expert! Were his stories creepy? No more than say, oh, Stephen King's stories! When I heard the teacher on the radio this morning say, "you can just tell that something's off" I really worried--for every depressed kid in a creative writing class anywhere in the nation...because there sure as hell aren't any of those people..! Now clearly, this kid at VA Tech was more than depressed...but where do we draw the line? What do people think they can "just tell" by reading someone's fiction or poetry or whatever? I haven't seen anything that this kid wrote--and maybe it was beyond the pale--but so is Was Craven's stuff, and so was Poe's and Baudelaire's--and as a writer and a teacher, I worry that we are on the verge of a dangerous precedent here... It also gives "creative writing" a bad--or at least limited--rap: that all writing is "confessional." God, can we please get past that?! And if we don't--if that is all that "creative writing" teachers stress--that writing is solely personal, confessional, expressive--what do we expect we'll get? I'm sad and confused by all of this...not the least of which this growing notion that English teachers are supposed to be able to judge someone's mental state... --ShaunAnne Tangney Associate Professor of English Minot State University ========================================================================= Date: Wed, 18 Apr 2007 18:22:56 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: ***SINCERE APOLOGIES FOR CROSS-DRESSING*** Mime-Version: 1.0 Content-Type: text/plain; format=flowed No, I'm not actually sorry for my cross-dressing. But now that I have your attention, I'm looking for someone who might be able to make a digital videotape of an event this weekend. I am willing to pay you. Amateur video jockeys welcome. Best, Tim ========================================================================= Date: Wed, 18 Apr 2007 13:37:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: va. tech In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I've taken, by my count, at least 6 semesters of writing courses. Never once was there a person who scared other students, intimidated them, etc. Never once was someone's poetry or or fiction or personal essay so disturbing as to make me uneasy. I think there is a marked difference between just having a disturbing storytelling ability (a la Stephen King) and being a sociopath, who is in writing classes only because he can outlet some of his twistedness there (as opposed to say a math class). There were always pleanty of terrible poems, and goth kids, and "depressed" kids (I'm not being sarcastic, I know people who are biochemically imbalanced, and that's a hell of a lot different then what a lot of kids in writing classes are, which isn't depressed, but looking for attention/playing a role). No one was ever scared of them. On 4/18/07, Shaunanne Tangney wrote: > > **************** > FROM PREVIOUS POSTS: > > ``There was some concern about him,'' Rude said. ``Sometimes, in > creative writing, people reveal things and you never know if it's > creative or if they're describing things, if they're imagining things > or just how real it might be. But we're all alert to not ignore things > like this.'' > > "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's > concerns to university authorities and the campus police but was told > that because he was expressing himself freely in his writings, there > was nothing that could be done." > > But where is this going? Police powers for creative writing teachers? > The fact is, Cho Seung-Hui had been reported to the police for > harassing and threatening women, which means this horror would have > been prevented by a simple background check before guns were made > available to him. We can wring our hands all we want about whether > there were failures on the part of "university authorities," but if a > background check had been required, this would not have happened. > Sorry, I know this isn't poetics, but it seems like an important point > to make. > ***************** > > I feel really uncertain about this--probably because I had a very > similar thing happen to me. > > A few years ago, a young man who was a student at the college where I > teach--and indeed, had been a student in my creative writing > course--murdered his girlfriend. The authorities confiscated his > computer and on it found stories he wrote for my class that they found > "disturbing." I was subpeoned to testify in court--his lawyer wanted > me to testify as to his state of mind, having read his short stories. > I was appalled (and was never actually called to the stand--I think his > lawyer figured out I would be rather hostile): I can't testify to > someone's state of mind--I'm an English teacher, not a psychologist or > mental health expert! > > Were his stories creepy? No more than say, oh, Stephen King's stories! > When I heard the teacher on the radio this morning say, "you can just > tell that something's off" I really worried--for every depressed kid in > a creative writing class anywhere in the nation...because there sure as > hell aren't any of those people..! > > Now clearly, this kid at VA Tech was more than depressed...but where do > we draw the line? What do people think they can "just tell" by reading > someone's fiction or poetry or whatever? I haven't seen anything that > this kid wrote--and maybe it was beyond the pale--but so is Was > Craven's stuff, and so was Poe's and Baudelaire's--and as a writer and > a teacher, I worry that we are on the verge of a dangerous precedent > here... > > It also gives "creative writing" a bad--or at least limited--rap: that > all writing is "confessional." God, can we please get past that?! And > if we don't--if that is all that "creative writing" teachers > stress--that writing is solely personal, confessional, expressive--what > do we expect we'll get? > > I'm sad and confused by all of this...not the least of which this > growing notion that English teachers are supposed to be able to judge > someone's mental state... > > --ShaunAnne Tangney > Associate Professor of English > Minot State University > ========================================================================= Date: Wed, 18 Apr 2007 11:41:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: ***SINCERE APOLOGIES FOR CROSS-DRESSING*** In-Reply-To: MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit Well, if you will be doing it in Kitsilano or West Point Grey, I can do it. gb On Apr 18, 2007, at 11:22 AM, Tim Peterson wrote: > No, I'm not actually sorry for my cross-dressing. But now that I have > your attention, I'm looking for someone who might be able to make a > digital videotape of an event this weekend. I am willing to pay you. > Amateur video jockeys welcome. > > Best, Tim > > Mr. G.H. Bowering Does not get up immoderately early. ========================================================================= Date: Wed, 18 Apr 2007 11:45:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: virginia tech/nikki giovanni/creative writing programs MIME-Version: 1.0 Content-Type: text/plain; charset=ascii ----- Original Message ---- From: Skip Fox To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 18, 2007 9:54:43 AM Subject: Re: virginia tech/nikki giovanni I saw Giovanni on CNN this am and she was highly articulate and intelligent and wonderfully human. One thing she did mention was that hundreds of young writers in workshops write things that are violent and angry and most of them are alright. I, too, hope this doesn't put a chill in the creative writing classroom. What if this does put a chill in the creative writing classroom? What if creative writing programs were eliminated? Would this have the effect of improving North American poetry in general? It would be sad to see people lose their jobs and I don't want to minimize that, but there has been an explosion in these writing programs and I am not sure there has been a similar increase in the quality of work on this continent in that time. Paul Paul E. Nelson www.OrganicPoetry.org Slaughter, WA 98002 253.735.6328 or 888.735.6328 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Crane's Bill Books Sent: Wednesday, April 18, 2007 11:04 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: virginia tech/nikki giovanni "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's concerns to university authorities and the campus police but was told that because he was expressing himself freely in his writings, there was nothing that could be done." But where is this going? Police powers for creative writing teachers? The fact is, Cho Seung-Hui had been reported to the police for harassing and threatening women, which means this horror would have been prevented by a simple background check before guns were made available to him. We can wring our hands all we want about whether there were failures on the part of "university authorities," but if a background check had been required, this would not have happened. Sorry, I know this isn't poetics, but it seems like an important point to make. J. A. Lee Crane's Bill Books ========================================================================= Date: Wed, 18 Apr 2007 11:54:46 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: va tech/restraining orders/guns Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Suzanne, Apparently the young women did not press charges. You are right, it is not easy to get a restraining order, even if the police advise you to get one (as happened to me). It is expensive to hire a process server and there's a lot of bureaucracy and the attitude and obstacles that go with that. If the stalker is a seemingly "nice guy" and/or someone with money and stature, it becomes even harder to go through with getting a restraining order. And then if the person stops harrassing you, you're right, one is so happy to let it go. Of course the stalker, whether a weird loner or a seemingly nice upstanding guy, then goes on to stalk some other woman. And if and when these incidents erupt in violence, earlier victims will appear, and a pattern and timeline for the now inevitable disaster is established. I don't think the emphasis should be (or is) on freedom of expression and the policing of it. It has to be about easy access to guns, with or without an official criminal background check. Although creative writing classes play a role in this incident, there are tons of others where it plays no role. It's a red herring, as is the emphasis on this one crazy individual, or on his Korean nationality. There will be another well-armed madman at another school, post office, or Burger King before too long. This is about what such people do with GUNS, not pens and paper. Predictably, the NRA folks are posting on the Times VA TECH story blogs, saying that this murderer could have been stopped if everyone on campus had been packing guns . . . What they don't say is, if everyone on campus were packing guns, stuff like this would happen more often, whenever people are in despair, angry, chemically unbalanced, at a loss for any perspective at all on the trials of life. And what if everyone in that German class had been carrying guns but couldn't move fast enough to stop the killer? You can bet that many of those fine, gun-toting citizens would be out killing innocent Koreans in revenge. Hell, if I had a gun and my child had been attacked or slaughtered, I'd be dangerous. And I am sure I am not unique in this regard. It doesn't have to be like this in America. It shouldn't be like this. * * * I know he had harrassment complaints from women on campus-- but did anyone actually press charges against him and was he ever put on trial and found guilty? Was he ever even issued with a restraining order? You see the problem here is that anyone can make a complaint-- and it is entirely possible for a complaint to be scurrilous, or for that matter for a complaint to be dropped. A lot of people who go to the police to complain about stalking will in fact drop the complaint if the stalking behaviour stops-- heck, I remember being mildly stalked when I was an undergraduate and I happily put the issue aside when the creepy guy finally went away. What happened to these complaints? Before something like this can go on someone's record (and thus be the sort of thing that would turn up in a background check) it has to go past the complaint stage-- there has to be some sort of follow-through and due process. Same with restraining orders-- I always get upset when people claim that its easy to get a restraining order on somebody. In point of fact, it can be pretty difficult, especially if you are not in an intimate relationship with the person. There has to have been an actual threat made against a person. This whole thing is absolutely heartwrenching. I applaud both Lucinda and Nikki for doing what they could. It may very well be that this man was pushing the boundary for a very long time, stopping just short of where he would actually have to face charges-- until the other day. That's what it sounds like to me. Suzanne Burns "trying to survive and, if we're lucky, thrive - be all the way live" Janet McDonald--author of PROJECT GIRL--b. Brooklyn, NY-d. Paris, France 4/11/07 R.I.P. ========================================================================= Date: Wed, 18 Apr 2007 13:01:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crane's Bill Books Subject: Re: Do Not Disturb - Poet At Work MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Desnos was one of the the French Surrealists who had the most facility for slipping into trances and bringing forth amazing dream texts--Crevel was another--but I think it was the proto-Surrealist Saint-Pol-Roux who hung the sign on his door. J. A. Lee ----- Original Message ----- From: "Alexander Dickow" To: Sent: Wednesday, April 18, 2007 11:24 AM Subject: Re: POETICS Digest - 16 Apr 2007 to 17 Apr 2007 (#2007-107) > "which Surrealist poet it was--hung a sign on his door > when > sleeping--"= > do not disturb--poet at work"." > > David, > Robert Desnos. According to Breton's account, I think, > not Desnos himself. > Amities, > Alex ========================================================================= Date: Wed, 18 Apr 2007 12:13:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: virginia tech/nikki giovanni/jan richman In-Reply-To: <78B96C82-6AE5-409C-A46C-075EEB0E9764@earthlink.net> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: quoted-printable Just to clarify one small point: in most if not all colleges and universities in Canada (and, I'd expect, south of the border) faculty = can exclude any and all students whose behaviour is "disruptive" i.e. makes = it impossible for students to give the matter of the course their = attention, and for the faculty likewise to get on with the business of the course. = One does not do this lightly, and one does not do without discussing it with = (at the very least) middle management (i.e. department or programme heads) = and presumably after discussing it with the student.=20 It is not a question of "disturbing writings" but of "disruptive = behaviour." =3D=3D=3D=3D=3D=3D=3D=3D=3D Peter Quartermain 846 Keefer Street Vancouver BC Canada V6A 1Y7 604 255 8274 (voice) quarterm@interchange.ubc.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Chris Stroffolino Sent: 18 April 2007 10:21 To: POETICS@LISTSERV.BUFFALO.EDU Subject: virginia tech/nikki giovanni/jan richman This is starting to remind me (more as a point of a contrast) with =20 that incident in San Francisco a few years back, when Jan Richman =20 brought disturbing writings by a student to the attention of her =20 chair. The student was promptly exprelled, but then they fired Ms. =20 Richman too. Many protested; Rushdie and Eggers, et al, wrote letters of support. =20 Stories in national press, etc. But Richman didn't get reinstated at =20 her job. Chris On Apr 18, 2007, at 9:04 AM, Crane's Bill Books wrote: > "...Ms. Roy, the department chairwoman, said she brought Ms. =20 > Giovanni's concerns to university authorities and the campus police =20 > but was told that because he was expressing himself freely in his =20 > writings, there was nothing that could be done." > > But where is this going? Police powers for creative writing =20 > teachers? The fact is, Cho Seung-Hui had been reported to the =20 > police for harassing and threatening women, which means this horror =20 > would have been prevented by a simple background check before guns =20 > were made available to him. We can wring our hands all we want =20 > about whether there were failures on the part of "university =20 > authorities," but if a background check had been required, this =20 > would not have happened. Sorry, I know this isn't poetics, but it =20 > seems like an important point to make. > > J. A. Lee > Crane's Bill Books > > > > ----- Original Message ----- From: "Sina Queyras" =20 > > To: > Sent: Wednesday, April 18, 2007 8:05 AM > Subject: virginia tech/nikki giovanni > > >> This just gets more and more disturbing. >> >>>> >> Teacher had Cho moved out of class >> ALAN FREEMAN >> Globe and Mail Update >> BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at =20 >> Virginia >> Tech said Wednesday that she so feared the intimidating nature of >> 23-year-old English student that she threatened to resign if he =20 >> were not >> removed from her class. >> >> "He was a very intimidating student to my other students," poetry >> professor Nikki Giovanni said. As a result of his disturbing =20 >> presence and >> his graphic writing,she actually wrote to the chairman of the English >> Department, Lucinda Roy, asking that he be removed from her class, =20 >> which >> he was. >> >> "I was willing to resign before I was going to continue with him," =20 >> Ms. >> Giovanni told CNN. >> >> Mr. Cho killed 32 students and faculty members at the university on >> Monday, the worst such shooting in U.S. history before ending his own >> life. >> >> Related to this article >> >> >> Cho Seung-Hui, in an undated photo, was identified as the gunman =20 >> in the >> massacre that left 33 people dead at Virginia Tech in Blacksburg, =20 >> Va., on >> Monday. (Virginia State Police/AP) >> Articles >> >> Earlier Q&A: Expert on school shootings >> Hero 'had no fear' >> Gunman's last message: 'You caused me to do this' >> Slain Canadian was passionate about her teaching >> In a crisis, a wave of 'citizen journalism' >> Vicrtim profiles >> Disturbing writings >> Access to guns 'catalytic' in killings >> Campuses revisit warning systems >> Shootings 'I-Report' a coup for CNN >> Eerie timing for trio's school-violence song >> Photogalleries >> >> Deadly shooting rampage >> Interactives >> >> Map: North American school violence since 1975 >> Internet Links >> >> Video: Picture emerges of suspect >> Video: Shooting timeline >> Video: Remembering Univ. of Texas, 1966 >> Virginia Tech University web site >> Follow this writer >> >> Add ALAN FREEMAN to my e-mail alerts >> Latest Comments >> >> Why doesn't the G&M allow comments on the heroic actions of Prof... >> Why are we so fascinated by the darkness of these demented people... >> What bothers me is that he is said to have tried to start a fire... >> It could very well have something to do with the more Socialist... >> 13 reader comments | Join the conversation >> >> "There was something mean about this boy, and it was the meanness =20 >> that >> bothered me," she said. >> >> On Monday, as she heard about the shooting while travelling back =20 >> to the >> university from California and there were rumours that the =20 >> perpetrator was >> Asian, she said she knew immediately that he was Mr. Cho. >> >> "In front of my mind, I knew it was" him, she said in an interview. >> >> Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's >> concerns to university authorities and the campus police but was =20 >> told that >> because he was expressing himself freely in his writings, there was >> nothing that could be done. >> >> As a result of these concerns, she had him removed from class and =20 >> began to >> teach Mr. Cho privately in a special workshop. >> >> Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very =20 >> withdrawn >> and very depressed." >> >> "There was this steady tone of anger in his writings. It seemed as =20 >> if he >> was expressing emptiness and fury at himself and at people around =20 >> him," >> Ms. Roy said. >> >> She said that was worried that Mr. Cho could be a threat to other =20 >> students >> as well as to himself. >> >> "I really felt very strongly that he was suicidal, that he was so >> depressed that he had a negativity about him, like it was like =20 >> talking to >> a hole sometimes, that the person wasn't really there," she said. >> >> "Of course, we never imagined these kinds of things." ========================================================================= Date: Wed, 18 Apr 2007 15:40:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: virginia tech/nikki giovanni/jan richman In-Reply-To: <78B96C82-6AE5-409C-A46C-075EEB0E9764@earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit why? On 4/18/07 1:21 PM, "Chris Stroffolino" wrote: > This is starting to remind me (more as a point of a contrast) with > that incident in San Francisco a few years back, when Jan Richman > brought disturbing writings by a student to the attention of her > chair. The student was promptly exprelled, but then they fired Ms. > Richman too. > Many protested; Rushdie and Eggers, et al, wrote letters of support. > Stories in national press, etc. But Richman didn't get reinstated at > her job. > > Chris > > > On Apr 18, 2007, at 9:04 AM, Crane's Bill Books wrote: > >> "...Ms. Roy, the department chairwoman, said she brought Ms. >> Giovanni's concerns to university authorities and the campus police >> but was told that because he was expressing himself freely in his >> writings, there was nothing that could be done." >> >> But where is this going? Police powers for creative writing >> teachers? The fact is, Cho Seung-Hui had been reported to the >> police for harassing and threatening women, which means this horror >> would have been prevented by a simple background check before guns >> were made available to him. We can wring our hands all we want >> about whether there were failures on the part of "university >> authorities," but if a background check had been required, this >> would not have happened. Sorry, I know this isn't poetics, but it >> seems like an important point to make. >> >> J. A. Lee >> Crane's Bill Books >> >> >> >> ----- Original Message ----- From: "Sina Queyras" >> >> To: >> Sent: Wednesday, April 18, 2007 8:05 AM >> Subject: virginia tech/nikki giovanni >> >> >>> This just gets more and more disturbing. >>> >>>>> >>> Teacher had Cho moved out of class >>> ALAN FREEMAN >>> Globe and Mail Update >>> BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at >>> Virginia >>> Tech said Wednesday that she so feared the intimidating nature of >>> 23-year-old English student that she threatened to resign if he >>> were not >>> removed from her class. >>> >>> "He was a very intimidating student to my other students," poetry >>> professor Nikki Giovanni said. As a result of his disturbing >>> presence and >>> his graphic writing,she actually wrote to the chairman of the English >>> Department, Lucinda Roy, asking that he be removed from her class, >>> which >>> he was. >>> >>> "I was willing to resign before I was going to continue with him," >>> Ms. >>> Giovanni told CNN. >>> >>> Mr. Cho killed 32 students and faculty members at the university on >>> Monday, the worst such shooting in U.S. history before ending his own >>> life. >>> >>> Related to this article >>> >>> >>> Cho Seung-Hui, in an undated photo, was identified as the gunman >>> in the >>> massacre that left 33 people dead at Virginia Tech in Blacksburg, >>> Va., on >>> Monday. (Virginia State Police/AP) >>> Articles >>> >>> Earlier Q&A: Expert on school shootings >>> Hero 'had no fear' >>> Gunman's last message: 'You caused me to do this' >>> Slain Canadian was passionate about her teaching >>> In a crisis, a wave of 'citizen journalism' >>> Vicrtim profiles >>> Disturbing writings >>> Access to guns 'catalytic' in killings >>> Campuses revisit warning systems >>> Shootings 'I-Report' a coup for CNN >>> Eerie timing for trio's school-violence song >>> Photogalleries >>> >>> Deadly shooting rampage >>> Interactives >>> >>> Map: North American school violence since 1975 >>> Internet Links >>> >>> Video: Picture emerges of suspect >>> Video: Shooting timeline >>> Video: Remembering Univ. of Texas, 1966 >>> Virginia Tech University web site >>> Follow this writer >>> >>> Add ALAN FREEMAN to my e-mail alerts >>> Latest Comments >>> >>> Why doesn't the G&M allow comments on the heroic actions of Prof... >>> Why are we so fascinated by the darkness of these demented people... >>> What bothers me is that he is said to have tried to start a fire... >>> It could very well have something to do with the more Socialist... >>> 13 reader comments | Join the conversation >>> >>> "There was something mean about this boy, and it was the meanness >>> that >>> bothered me," she said. >>> >>> On Monday, as she heard about the shooting while travelling back >>> to the >>> university from California and there were rumours that the >>> perpetrator was >>> Asian, she said she knew immediately that he was Mr. Cho. >>> >>> "In front of my mind, I knew it was" him, she said in an interview. >>> >>> Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's >>> concerns to university authorities and the campus police but was >>> told that >>> because he was expressing himself freely in his writings, there was >>> nothing that could be done. >>> >>> As a result of these concerns, she had him removed from class and >>> began to >>> teach Mr. Cho privately in a special workshop. >>> >>> Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very >>> withdrawn >>> and very depressed." >>> >>> "There was this steady tone of anger in his writings. It seemed as >>> if he >>> was expressing emptiness and fury at himself and at people around >>> him," >>> Ms. Roy said. >>> >>> She said that was worried that Mr. Cho could be a threat to other >>> students >>> as well as to himself. >>> >>> "I really felt very strongly that he was suicidal, that he was so >>> depressed that he had a negativity about him, like it was like >>> talking to >>> a hole sometimes, that the person wasn't really there," she said. >>> >>> "Of course, we never imagined these kinds of things." ========================================================================= Date: Wed, 18 Apr 2007 15:49:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: 4 events Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Four bilingual events celebrating the release of=20 Jos=E9 Kozer's Stet: Selected Poems, translated and edited by Mark Weiss Monday, April 23, 8 p.m. St Marks Church, 131 East 10th Street Jos=E9 Kozer and Harris Schiff. Tuesday, April 24, 7 p.m. Poets House, 72 Spring Street A discussion with Ammiel Alcalay and a reading. Thursday, April 26, 7 p.m. Americas Society, 680 Park Ave. at 67th Street Jos=E9 Kozer and Achy Obejas Friday, April 27, 6:15 p.m. King Juan Carlos I of=20 Spain Center, NYU, 53 Washington Square South Reading Mark Weiss will read his translations at all events. Kozer is Cuba's most important living poet. He's=20 famous among poetry lovers throughout the=20 Spanish-speaking world, though largely unknown in=20 the United States, despite his 45 years here.=20 He's also a great reader. Not to be missed. ========================================================================= Date: Wed, 18 Apr 2007 15:51:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Loucks, James" Subject: Re: va. tech In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: quoted-printable I found one of Cho's one-act plays via the Drudge Report; it's a very harrowing read, to be sure. -- Jim James Loucks, Ph.D. Department of English OSU-Newark 1179 University Drive Newark, OH 43055-1797 FAX: 740-366-5047 loucks.1@osu.edu blog: http://jlouckscourses.blogspot.com =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Shaunanne Tangney Sent: Wednesday, April 18, 2007 2:43 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: va. tech **************** FROM PREVIOUS POSTS: ``There was some concern about him,'' Rude said. ``Sometimes, in=20 creative writing, people reveal things and you never know if it's=20 creative or if they're describing things, if they're imagining things=20 or just how real it might be. But we're all alert to not ignore things=20 like this.'' "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's=20 concerns to university authorities and the campus police but was told=20 that because he was expressing himself freely in his writings, there=20 was nothing that could be done." But where is this going? Police powers for creative writing teachers?=20 The fact is, Cho Seung-Hui had been reported to the police for=20 harassing and threatening women, which means this horror would have=20 been prevented by a simple background check before guns were made=20 available to him. We can wring our hands all we want about whether=20 there were failures on the part of "university authorities," but if a=20 background check had been required, this would not have happened.=20 Sorry, I know this isn't poetics, but it seems like an important point=20 to make. ***************** I feel really uncertain about this--probably because I had a very=20 similar thing happen to me. A few years ago, a young man who was a student at the college where I=20 teach--and indeed, had been a student in my creative writing=20 course--murdered his girlfriend. The authorities confiscated his=20 computer and on it found stories he wrote for my class that they found=20 "disturbing." I was subpeoned to testify in court--his lawyer wanted=20 me to testify as to his state of mind, having read his short stories. =20 I was appalled (and was never actually called to the stand--I think his=20 lawyer figured out I would be rather hostile): I can't testify to=20 someone's state of mind--I'm an English teacher, not a psychologist or=20 mental health expert! Were his stories creepy? No more than say, oh, Stephen King's stories!=20 When I heard the teacher on the radio this morning say, "you can just=20 tell that something's off" I really worried--for every depressed kid in=20 a creative writing class anywhere in the nation...because there sure as=20 hell aren't any of those people..! Now clearly, this kid at VA Tech was more than depressed...but where do=20 we draw the line? What do people think they can "just tell" by reading=20 someone's fiction or poetry or whatever? I haven't seen anything that=20 this kid wrote--and maybe it was beyond the pale--but so is Was=20 Craven's stuff, and so was Poe's and Baudelaire's--and as a writer and=20 a teacher, I worry that we are on the verge of a dangerous precedent=20 here... It also gives "creative writing" a bad--or at least limited--rap: that all writing is "confessional." God, can we please get past that?! And=20 if we don't--if that is all that "creative writing" teachers=20 stress--that writing is solely personal, confessional, expressive--what=20 do we expect we'll get? I'm sad and confused by all of this...not the least of which this=20 growing notion that English teachers are supposed to be able to judge=20 someone's mental state... --ShaunAnne Tangney Associate Professor of English Minot State University ========================================================================= Date: Wed, 18 Apr 2007 22:59:54 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: 4 events In-Reply-To: <7.0.1.0.1.20070418154643.05a9d930@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Congratulations to both: Mark Weiss and Jos=E9 Kozer! On 4/18/07, Mark Weiss wrote: > Four bilingual events celebrating the release of > Jos=E9 Kozer's Stet: Selected Poems, translated and edited by Mark Weiss > > Monday, April 23, 8 p.m. St Marks Church, 131 East 10th Street > Jos=E9 Kozer and Harris Schiff. > > Tuesday, April 24, 7 p.m. Poets House, 72 Spring Street > A discussion with Ammiel Alcalay and a reading. > > Thursday, April 26, 7 p.m. Americas Society, 680 Park Ave. at 67th Street > Jos=E9 Kozer and Achy Obejas > > Friday, April 27, 6:15 p.m. King Juan Carlos I of > Spain Center, NYU, 53 Washington Square South > Reading > > Mark Weiss will read his translations at all events. > > Kozer is Cuba's most important living poet. He's > famous among poetry lovers throughout the > Spanish-speaking world, though largely unknown in > the United States, despite his 45 years here. > He's also a great reader. Not to be missed. > ========================================================================= Date: Wed, 18 Apr 2007 16:33:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: va. tech In-Reply-To: <185EDFC7ED559C41A0EA62B52C50200F043D7F51@CAMPUS01.newark-campus.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Both plays can be found here: http://newsbloggers.aol.com/2007/04/17/cho-seung-huis-plays/ I would not have seen enough on the basis of these two plays (even with their violence, exaggerated and occasionally inexplicable action, sexual valences, language, etc.) to have notified the authorities. I'm just basing this on these two plays, not behavior or anything else. Would anyone else have discussed the student's problems with a chair or the consoling services simply on the basis of these? This question seems worth asking though it only touches part of the tragedy. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Loucks, James Sent: Wednesday, April 18, 2007 2:52 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: va. tech I found one of Cho's one-act plays via the Drudge Report; it's a very harrowing read, to be sure. -- Jim James Loucks, Ph.D. Department of English OSU-Newark 1179 University Drive Newark, OH 43055-1797 FAX: 740-366-5047 loucks.1@osu.edu blog: http://jlouckscourses.blogspot.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Shaunanne Tangney Sent: Wednesday, April 18, 2007 2:43 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: va. tech **************** FROM PREVIOUS POSTS: ``There was some concern about him,'' Rude said. ``Sometimes, in creative writing, people reveal things and you never know if it's creative or if they're describing things, if they're imagining things or just how real it might be. But we're all alert to not ignore things like this.'' "...Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's concerns to university authorities and the campus police but was told that because he was expressing himself freely in his writings, there was nothing that could be done." But where is this going? Police powers for creative writing teachers? The fact is, Cho Seung-Hui had been reported to the police for harassing and threatening women, which means this horror would have been prevented by a simple background check before guns were made available to him. We can wring our hands all we want about whether there were failures on the part of "university authorities," but if a background check had been required, this would not have happened. Sorry, I know this isn't poetics, but it seems like an important point to make. ***************** I feel really uncertain about this--probably because I had a very similar thing happen to me. A few years ago, a young man who was a student at the college where I teach--and indeed, had been a student in my creative writing course--murdered his girlfriend. The authorities confiscated his computer and on it found stories he wrote for my class that they found "disturbing." I was subpeoned to testify in court--his lawyer wanted me to testify as to his state of mind, having read his short stories. I was appalled (and was never actually called to the stand--I think his lawyer figured out I would be rather hostile): I can't testify to someone's state of mind--I'm an English teacher, not a psychologist or mental health expert! Were his stories creepy? No more than say, oh, Stephen King's stories! When I heard the teacher on the radio this morning say, "you can just tell that something's off" I really worried--for every depressed kid in a creative writing class anywhere in the nation...because there sure as hell aren't any of those people..! Now clearly, this kid at VA Tech was more than depressed...but where do we draw the line? What do people think they can "just tell" by reading someone's fiction or poetry or whatever? I haven't seen anything that this kid wrote--and maybe it was beyond the pale--but so is Was Craven's stuff, and so was Poe's and Baudelaire's--and as a writer and a teacher, I worry that we are on the verge of a dangerous precedent here... It also gives "creative writing" a bad--or at least limited--rap: that all writing is "confessional." God, can we please get past that?! And if we don't--if that is all that "creative writing" teachers stress--that writing is solely personal, confessional, expressive--what do we expect we'll get? I'm sad and confused by all of this...not the least of which this growing notion that English teachers are supposed to be able to judge someone's mental state... --ShaunAnne Tangney Associate Professor of English Minot State University ========================================================================= Date: Wed, 18 Apr 2007 22:39:58 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: POETICS Digest - 16 Apr 2007 to 17 Apr 2007 (#2007-107) In-Reply-To: <275289.36414.qm@web35508.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Having seen this attributed to a number of French poets, including Pierre-Jean Jouve and Gerard de Nerval as well as Desnos, I'd be hesitant to accept any as correct without a reliable citation. You can't keep a good line down. Alexander Dickow wrote: "which Surrealist poet it was--hung a sign on his door when sleeping--"= do not disturb--poet at work"." David, Robert Desnos. According to Breton's account, I think, not Desnos himself. Amities, Alex PS: A note about the disturbing disproportion between coverage of violence in Iraq and elsewhere and that of Virginia Tech: my experience of human beings everywhere has shown me that we worry about what's close to home much more readily than things far away. It's much less a "racial" issue than a psychological one found everywhere. This, of course, doesn't make it any less troubling, and in this country there are plenty of signs of dehumanizing Iraqis et al. because of their otherness, even if I don't think the disproportionate coverage is one of them. www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Wed, 18 Apr 2007 14:45:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: va tech/restraining orders/guns Comments: To: linda norton In-Reply-To: <10386045.1176922486945.JavaMail.root@elwamui-milano.atl.sa.earthlink.net> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On Apr 18, 2007, at 11:54 AM, linda norton wrote: > It doesn't have to be like this in America. It shouldn't be like this. > > In much of America it is not. Unfortunately it is, in the U.S. part. > Mr. G.H. Bowering Does not get up immoderately early. ========================================================================= Date: Wed, 18 Apr 2007 22:03:37 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: ***SINCERE APOLOGIES FOR CROSS-DRESSING*** Mime-Version: 1.0 Content-Type: text/plain; format=flowed The event is in New York City. Please send responses backchannel to me at tscotpeterson@hotmail.com Best, Tim On Apr 18, 2007, at some time or other, George Bowering wrote: Well, if you will be doing it in Kitsilano or West Point Grey, I can do it. gb On Apr 18, 2007, at 11:22 AM, Tim Peterson wrote: >No, I'm not actually sorry for my cross-dressing. But now that I have your >attention, I'm looking for someone who might be able to make a digital >videotape of an event this weekend. I am willing to pay you. Amateur video >jockeys welcome. > >Best, Tim > > Mr. G.H. Bowering Does not get up immoderately early. ========================================================================= Date: Wed, 18 Apr 2007 18:14:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: paolo javier Subject: Veronica Corpuz/Michelle Naka Pierce's info? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hello All, Just wanted to know if anyone has Veronica Corpuz and/or Michelle Naka Pierce's contact info? If so, please backchannel. thanks, Paolo -- http://blog.myspace.com/paolojavier http://www.2ndavepoetry.com/ ========================================================================= Date: Wed, 18 Apr 2007 15:20:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Friday 4/2 ~ Bar-Nadav & Tate ~ Brooklyn MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable The Burning Chairs Readings suggest you spend an evening wi= =0A=0AThe Burning Chairs=0AReadings=0A=0A=0Asuggest you spend an evening wi= th=0A=0A=0A =0A=0A=0AHadara Bar-Nadav & Bronwen Tate=0A=0A=0A =0A=0A=0AFrid= ay, April 20th, 7:30 PM=0A=0A=0AThe Fall Caf=E9=0A=0A=0A307 Smith Street=0A= =0A=0Abetween Union & President=0A=0A=0ACarroll Gardens, Brooklyn=0A=0A=0AF= /G to Carroll Street=0A=0A=0ARuthlessly FREE=0A=0A=0A =0A=0A=0AHadara Bar-N= adav=92s book=0Aof poetry A Glass of Milk to Kiss Goodnight (MARGIE/IntuiT = House,=0A2007) was chosen by Kim Addonizio as the winner of the 2005 MARGIE= Book=0APrize. Recent publications appear or are forthcoming in Beloit Poet= ry=0AJournal, Chelsea, Colorado Review, Denver Quarterly, The Journal, Prai= rie=0ASchooner, TriQuarterly, Verse, and other journals. Born in New York, = she=0Alives in Kansas City, MO with her husband and their standard poodle, = Ella. Find=0Aout more at www.hadarabarnadav.com.=0A=0A=0A =0A=0A=0ABronwen = Tate lives and writes happily in Brooklyn, enjoys=0Ateaching English Compos= ition in various parts of Manhattan, yet still considers=0Amoving back to t= he West Coast. She holds an MFA in Poetry from Brown University=0Aand her w= ork has appeared in Horse Less Review, How2, Word For/Word, No Tell=0AMotel= , and others. She can be found writing about the books she reads and the=0A= bread she bakes online at .=0A=0A=0A =0A= =0A=0A=0A=0A=0A__________________________________________________=0ADo You = Yahoo!?=0ATired of spam? Yahoo! Mail has the best spam protection around = =0Ahttp://mail.yahoo.com ========================================================================= Date: Thu, 19 Apr 2007 08:30:29 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Jones Subject: Re: 4 events In-Reply-To: <7.0.1.0.1.20070418154643.05a9d930@earthlink.net> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable Hope they all go well, Mark. The book's a revelation here in Australia as well. best, Jill On 19/04/2007, at 5:49 AM, Mark Weiss wrote: > Four bilingual events celebrating the release of Jos=E9 Kozer's Stet: =20= > Selected Poems, translated and edited by Mark Weiss > > Monday, April 23, 8 p.m. St Marks Church, 131 East 10th Street > Jos=E9 Kozer and Harris Schiff. > > Tuesday, April 24, 7 p.m. Poets House, 72 Spring Street > A discussion with Ammiel Alcalay and a reading. > > Thursday, April 26, 7 p.m. Americas Society, 680 Park Ave. at 67th =20 > Street > Jos=E9 Kozer and Achy Obejas > > Friday, April 27, 6:15 p.m. King Juan Carlos I of Spain Center, =20 > NYU, 53 Washington Square South > Reading > > Mark Weiss will read his translations at all events. > > Kozer is Cuba's most important living poet. He's famous among =20 > poetry lovers throughout the Spanish-speaking world, though largely =20= > unknown in the United States, despite his 45 years here. He's also =20 > a great reader. Not to be missed. ========================================================================= Date: Wed, 18 Apr 2007 16:33:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7bit > > It doesn't have to be like this in America. It shouldn't be like this. > In much of America it is not. Unfortunately it is, in the U.S. part. In Vancouver there's a man on trial for murdering many women. He was a pig farmer and is accused of grinding the women up and feeding them to the pigs; their DNA has been found around the farm. And there's a serial killer loose on one of the highways in BC. There's a lot of murderous crazy anger in Canada/BC too, George, as I'm sure you know. It isn't a specifically USAmerican thing. The details may be marked with circumstances specific to the nation where it festered, but the disease does not acknowledge national boundaries. ja ========================================================================= Date: Wed, 18 Apr 2007 18:39:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Useful as usual George! Thanks for reminding us again of the semantic complexity of "America." On 4/18/07, George Bowering wrote: > On Apr 18, 2007, at 11:54 AM, linda norton wrote: > > > It doesn't have to be like this in America. It shouldn't be like this. > > > > > In much of America it is not. Unfortunately it is, in the U.S. part. > > > > > > > Mr. G.H. Bowering > Does not get up immoderately early. > -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Wed, 18 Apr 2007 16:53:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline > I have been wondering, though, if the death penlty here (I haven't checked > VA law, so don't know...) is a factor somehow -- what would be a suicide > becomes, why don't I kill that girl who won't sleep with me, becomes -- > "since "they" will kill me anyway, then I will take out as many as I can > before myself"... -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Wed, 18 Apr 2007 17:18:56 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Re: va tech/restraining orders/guns Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Yes, I agree that George's comment was astute, but it only raised more ques= tions for me. For example, soon after I read George's pithy response to my = rather long post, I read a Pew poll that said that 69% of Americans know th= at Cheney is V.P. (the rest don't). Of course we know they mean USAians when they say Americas. So then I got to wondering if Canadians actually call themselves Americans = in daily life, the way we USAians do. And do people in Europe, the Middle E= ast, and Africa, for example, include Canadians when they deride Americans?= And are Canadians mistaken or properly taken for Americans when they trave= l overseas? And isn't "American" so associated with the U. S. that it is difficult or i= mpossible to recoup it for other purposes, whatever it means geographically= ? Meanwhile, all over the world, not just in Canada and the U.S., guys with g= reat potential to do harm often start by intimidating/harrassing/stalking w= omen. And though great strides have been made in U. S. courts and police de= partments with regard to human rights for women, such things are still not = taken terribly seriously. -----Original Message----- >From: Dan Coffey >Sent: Apr 18, 2007 4:39 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: va tech/restraining orders/guns > >Useful as usual George! Thanks for reminding us again of the semantic >complexity of "America." > >On 4/18/07, George Bowering wrote: >> On Apr 18, 2007, at 11:54 AM, linda norton wrote: >> >> > It doesn't have to be like this in America. It shouldn't be like this. >> > >> > >> In much of America it is not. Unfortunately it is, in the U.S. part. >> >> >> >> >> > >> Mr. G.H. Bowering >> Does not get up immoderately early. >> > > >--=20 >http://hyperhypo.org/blog >http://www.pftborder.blogspot.com =20 =20 If I had to carry a gun just because the guy next to me might be carrying a= gun, then that wouldn=E2=80=99t be freedom, that would be slavery.=20 True freedom is NOT having to carry a gun.=20 And true freedom is knowing that the guy next to me ISN=E2=80=99T carrying = a gun either.=20 Support true freedom: Support gun control now.=20 =E2=80=94 Posted by "Orange" on a NYT blog, 4/18/2007 ========================================================================= Date: Wed, 18 Apr 2007 19:51:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Stigge Subject: Fwd: virginia tech/nikki giovanni/jan richman In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline If the "why" was addressed to Peter Quartermain's comment, in the case of Nikki Giovanni and this particular student, she had two other students refusing to attend class anymore because of his behavior: she said in an interview that he was taking photos of other students with his cell phone under the table. This was a case of both "disturbing writing" AND "disruptive behavior"--it's probably just that the disruptive behavior can't be sent all around the internet and be watched on CNN after the fact, so it's not getting as much attention. Is anyone bringing this up with the classes that they're teaching now? I feel like it would be good to give my students the space to talk over the tragedy a little if they want to, but wonder if anyone has strategies for guiding the discussion positively. -Rebecca On 4/18/07, Ruth Lepson wrote: > > why? > > > On 4/18/07 1:21 PM, "Chris Stroffolino" wrote: > > > This is starting to remind me (more as a point of a contrast) with > > that incident in San Francisco a few years back, when Jan Richman > > brought disturbing writings by a student to the attention of her > > chair. The student was promptly exprelled, but then they fired Ms. > > Richman too. > > Many protested; Rushdie and Eggers, et al, wrote letters of support. > > Stories in national press, etc. But Richman didn't get reinstated at > > her job. > > > > Chris > > > > > > On Apr 18, 2007, at 9:04 AM, Crane's Bill Books wrote: > > > >> "...Ms. Roy, the department chairwoman, said she brought Ms. > >> Giovanni's concerns to university authorities and the campus police > >> but was told that because he was expressing himself freely in his > >> writings, there was nothing that could be done." > >> > >> But where is this going? Police powers for creative writing > >> teachers? The fact is, Cho Seung-Hui had been reported to the > >> police for harassing and threatening women, which means this horror > >> would have been prevented by a simple background check before guns > >> were made available to him. We can wring our hands all we want > >> about whether there were failures on the part of "university > >> authorities," but if a background check had been required, this > >> would not have happened. Sorry, I know this isn't poetics, but it > >> seems like an important point to make. > >> > >> J. A. Lee > >> Crane's Bill Books > >> > >> > >> > >> ----- Original Message ----- From: "Sina Queyras" > >> > >> To: > >> Sent: Wednesday, April 18, 2007 8:05 AM > >> Subject: virginia tech/nikki giovanni > >> > >> > >>> This just gets more and more disturbing. > >>> > >>>>> > >>> Teacher had Cho moved out of class > >>> ALAN FREEMAN > >>> Globe and Mail Update > >>> BLACKSBURG, Va. - One of Cho Seung-Hui's English professors at > >>> Virginia > >>> Tech said Wednesday that she so feared the intimidating nature of > >>> 23-year-old English student that she threatened to resign if he > >>> were not > >>> removed from her class. > >>> > >>> "He was a very intimidating student to my other students," poetry > >>> professor Nikki Giovanni said. As a result of his disturbing > >>> presence and > >>> his graphic writing,she actually wrote to the chairman of the English > >>> Department, Lucinda Roy, asking that he be removed from her class, > >>> which > >>> he was. > >>> > >>> "I was willing to resign before I was going to continue with him," > >>> Ms. > >>> Giovanni told CNN. > >>> > >>> Mr. Cho killed 32 students and faculty members at the university on > >>> Monday, the worst such shooting in U.S. history before ending his own > >>> life. > >>> > >>> Related to this article > >>> > >>> > >>> Cho Seung-Hui, in an undated photo, was identified as the gunman > >>> in the > >>> massacre that left 33 people dead at Virginia Tech in Blacksburg, > >>> Va., on > >>> Monday. (Virginia State Police/AP) > >>> Articles > >>> > >>> Earlier Q&A: Expert on school shootings > >>> Hero 'had no fear' > >>> Gunman's last message: 'You caused me to do this' > >>> Slain Canadian was passionate about her teaching > >>> In a crisis, a wave of 'citizen journalism' > >>> Vicrtim profiles > >>> Disturbing writings > >>> Access to guns 'catalytic' in killings > >>> Campuses revisit warning systems > >>> Shootings 'I-Report' a coup for CNN > >>> Eerie timing for trio's school-violence song > >>> Photogalleries > >>> > >>> Deadly shooting rampage > >>> Interactives > >>> > >>> Map: North American school violence since 1975 > >>> Internet Links > >>> > >>> Video: Picture emerges of suspect > >>> Video: Shooting timeline > >>> Video: Remembering Univ. of Texas, 1966 > >>> Virginia Tech University web site > >>> Follow this writer > >>> > >>> Add ALAN FREEMAN to my e-mail alerts > >>> Latest Comments > >>> > >>> Why doesn't the G&M allow comments on the heroic actions of Prof... > >>> Why are we so fascinated by the darkness of these demented people... > >>> What bothers me is that he is said to have tried to start a fire... > >>> It could very well have something to do with the more Socialist... > >>> 13 reader comments | Join the conversation > >>> > >>> "There was something mean about this boy, and it was the meanness > >>> that > >>> bothered me," she said. > >>> > >>> On Monday, as she heard about the shooting while travelling back > >>> to the > >>> university from California and there were rumours that the > >>> perpetrator was > >>> Asian, she said she knew immediately that he was Mr. Cho. > >>> > >>> "In front of my mind, I knew it was" him, she said in an interview. > >>> > >>> Ms. Roy, the department chairwoman, said she brought Ms. Giovanni's > >>> concerns to university authorities and the campus police but was > >>> told that > >>> because he was expressing himself freely in his writings, there was > >>> nothing that could be done. > >>> > >>> As a result of these concerns, she had him removed from class and > >>> began to > >>> teach Mr. Cho privately in a special workshop. > >>> > >>> Ms. Roy said that Mr. Cho appeared to be deeply disturbed, "very > >>> withdrawn > >>> and very depressed." > >>> > >>> "There was this steady tone of anger in his writings. It seemed as > >>> if he > >>> was expressing emptiness and fury at himself and at people around > >>> him," > >>> Ms. Roy said. > >>> > >>> She said that was worried that Mr. Cho could be a threat to other > >>> students > >>> as well as to himself. > >>> > >>> "I really felt very strongly that he was suicidal, that he was so > >>> depressed that he had a negativity about him, like it was like > >>> talking to > >>> a hole sometimes, that the person wasn't really there," she said. > >>> > >>> "Of course, we never imagined these kinds of things." > ========================================================================= Date: Thu, 19 Apr 2007 10:06:38 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: 4 events In-Reply-To: <7.0.1.0.1.20070418154643.05a9d930@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Who is the publisher? Where can those of us far from New York order the book? And on the 26th, would please pass my regards on to Achy, an old acquaintance? Mark Weiss wrote: Four bilingual events celebrating the release of José Kozer's Stet: Selected Poems, translated and edited by Mark Weiss Monday, April 23, 8 p.m. St Marks Church, 131 East 10th Street José Kozer and Harris Schiff. Tuesday, April 24, 7 p.m. Poets House, 72 Spring Street A discussion with Ammiel Alcalay and a reading. Thursday, April 26, 7 p.m. Americas Society, 680 Park Ave. at 67th Street José Kozer and Achy Obejas Friday, April 27, 6:15 p.m. King Juan Carlos I of Spain Center, NYU, 53 Washington Square South Reading Mark Weiss will read his translations at all events. Kozer is Cuba's most important living poet. He's famous among poetry lovers throughout the Spanish-speaking world, though largely unknown in the United States, despite his 45 years here. He's also a great reader. Not to be missed. ========================================================================= Date: Wed, 18 Apr 2007 23:24:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit Last time I looked, Virginia was one of the big capital punishment states. On Apr 18, 2007, at 4:53 PM, Catherine Daly wrote: >> I have been wondering, though, if the death penlty here (I haven't >> checked >> VA law, so don't know...) is a factor somehow -- what would be a >> suicide >> becomes, why don't I kill that girl who won't sleep with me, becomes >> -- >> "since "they" will kill me anyway, then I will take out as many as I >> can >> before myself"... > > > > > -- > All best, > Catherine Daly > c.a.b.daly@gmail.com > > GB Is currently imagining the universe. ========================================================================= Date: Wed, 18 Apr 2007 23:16:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: SF Reading with Akilah Oliver and Brenda Iijima Comments: To: ampersand@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Please Join Us for a Reading: BRENDA IIJIMA and AKILAH OLIVER Saturday, April 28 at 4 pm LAST LAUGH CAF=C9 On the corner of Dolores and Valley (betwn. 28th and 29th) Both Brenda and Akilah will be in town for the=20 kari edwards memorial and Last Laugh has offered=20 us the use of their wonderful caf=E9 so that we=20 might host them for a reading. The caf=E9 is just=20 south of C=E9sar Ch=E1vez street, and is accessible=20 by BART together with any of the Mission Street=20 buses. We hope to see you there! - Rob Halpern & Taylor Brady Brenda Iijima's books include Around Sea (O Books, 2004) and Animate, Inanimate Aims (Litmus Press, forthcoming, May, 2007), Eco Quarry Bellwether (forthcoming, Outside Voices). Chapbooks: Color And Its Antecedents (Yen Agat, 2004), Early Linoleum=20 (Furniture Press, 2004), Spacious (Other=20 Publications, 2003), If Not Metamorphic?=20 (Portable Press At Yo-Yo Labs, 2004), Audible Bio=20 (Longhouse, 2003), In A Glass Box (Pressed Wafer=20 2002) and several other artist's books. She is=20 the editor of Portable Press At Yo-Yo Labs and=20 art editor for Boog City, a Manhattan-based=20 newspaper. As well she is a visual artist. She=20 grew up in North Adams, Massachusetts and now=20 lives in Prospect Heights, Brooklyn. Akilah Oliver is a poet and performance artist.=20 Her most recent publications are "a(A)ugust"=20 (Yo-Yo Labs, 2007), "The Putterer's Notebook"=20 (Belladonna, 2006), "An Arriving Guard of Angels,=20 Thusly Coming to Greet" (Farfalla Press, 2004).=20 She is also the author of "the she said=20 dialogues: flesh memory", a book of experimental=20 prose poetry honored by the PEN American Center's=20 "Open Book" program. She has read and performed=20 her work throughout the country as a solo artist=20 and as a founding member of the post-feminist=20 performance arts collective, Sacred Naked Nature=20 Girls. She has been artist in residence at Beyond=20 Baroque Literary Arts Center in Los Angeles, and=20 has received grants from the California Arts=20 Council, The Flintridge Foundation and the=20 Rockefeller Foundation. She has been on faculty=20 at the University of Colorado, Boulder where she=20 taught courses in research writing integrating=20 critical theory and cultural theory. Currently=20 she is core faculty at Naropa University's Summer=20 Writing Program. She lives in Brooklyn. ========================================================================= Date: Wed, 18 Apr 2007 22:41:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: Re: POETICS Digest - 17 Apr 2007 to 18 Apr 2007 (#2007-108) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Barry et al, It *was* Saint-Pol-Roux, at least according to Breton (at least I had that part right). Silly me! Here's the quote: "On raconte que chaque jour, au moment de s'endormir, Saint-Pol-Roux faisait naguere placer, sur la porte de son manoir de Camaret, un ecriteau sur lequel on pouvait lire: LE POETE TRAVAILLE." Breton, Andre. Manifestes du surrealisme. Paris: Editions Gallimard, 1979. 24. As for me, I place the following sign above my door when I sleep: WHOOOOPS. Amicalement, Alex www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Thu, 19 Apr 2007 13:32:05 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Biting the Bullet MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I never liked guns to begin with, but I grew up around hunters, so I did have a small tolerance for hunting rifles up to two days ago. Va. Tech has made a believer out of me--NO MORE GUNS FOR AMERICAN CITIZENS. Interestingly enough, we have a gun scandal going on here in Japan. The mayor of Nagasaki was shot down by the Yakusa. It's made national headlines. Don't know if Nikki Giovanni meant to give the impression of passing on blame to Roy and the other creative writer at Virginia Tech during her CNN interview, but her speech could certainly have been interpreted as an attempt to do so. Should creative writing "professors" be required to take classes in abnormal psychology, or have certification in various fields of counseling and social work? Stay tuned. Jess ========================================================================= Date: Wed, 18 Apr 2007 23:26:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: Poet Stood Up To Virginia Tech Killer--link to the article MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit I'm not sure, but it sounds like a lot of you have not seen the article--someone sent it to me, so here it is. charlie -- "Poetry is good for you and so is the blues." Charlie said that. www.poetrypoetry.com where you hear poems read by poets who wrote them www.myspace.com/charlierossiter hear Charlie as solo performance poet ---------------- charlie, Seems the Virginia Tech mass murderer was a poetry student in Nikki Giovanni's class. She ended up expelling him and calling him a "bully." For the entire story, here is a direct link: http://chicagopoetry.com/modules.php?op=modload&name=News&file=article&sid=691 ========================================================================= Date: Wed, 18 Apr 2007 23:08:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Pritts Subject: COMBATIVES #5 // Andy Mister Comments: To: Nate Pritts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://www.h-ngm-n.com RE: New Combatives. National H_NGM_N Month continues with the release of COMBATIVES #5, our single-author 'zine, this time featuring the work of Andrew Mister: * Old Style Miso soup & Guinness Landlord still hasn't turned on the heat Leave the notebook to itself Traffic's dull refrain, something the music can't drown out The traffic most music has become no face, no name, no number At least we're trying. Thru the buildings December's scorched tinsel, a light I see at the same time every day: 5:45 p.m. Watch the news. Wait for Gina. Go back to work. * Click over to the H_NGM_N mothership for info on this newest issue of COMBATIVES. There are still a few copies of #4 : ELISA GABBERT : left. Also, don't forget to take advantage of some of this month's special = VALU_ DEALS. Be on the look out for the 6th & final issue of COMBATIVES Vol. 1 : Noah Falck : as well as a new chapbook by Julia Cohen. All this & H_NGM_N #7 = is not far behind. yrs, Nate @ H_NGM_N http://www.h-ngm-n.com =20 ========================================================================= Date: Thu, 19 Apr 2007 08:45:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: va tech/restraining orders/guns In-Reply-To: <10386045.1176922486945.JavaMail.root@elwamui-milano.atl.sa.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/18/07, linda norton wrote: > > > > Predictably, the NRA folks are posting on the Times VA TECH story blogs, > saying that this > murderer could have been stopped if everyone on campus had been packing > guns . . . I get so outraged when people make that absurd wild west argument that the solution to the situation is for EVERYONE to have guns. Gee, even children? This sort of logic is the sign of things really breaking down. It's absurd, its dangerous, and while we are at it it didn't even work in the "wild west". More people having guns = a greater likelihood that your gun will be stolen or used against you or picked up by a small child, etc. It means nobody is safe. *fume* I can't believe that we live in a cuntry where so many people cannot get emdical care (including mental health services) but anyone can get a gun. I heard commentator on the radio last night who made the point that if an anti-depressant caused 30,000 deaths a year, you bet we would control it-- but nobody wants to control the guns. *fume* It also just came out today that yes in fact the killer WAS declared a danger to himself and others-- but almost nothing was done about it. I am so outraged I can't even speak. Holy crap. ========================================================================= Date: Thu, 19 Apr 2007 08:47:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: 4 events In-Reply-To: <826189.37531.qm@web86013.mail.ird.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable I'll give your regards to Achy. The publisher is=20 Junction Press, the book (pb, 6x9, 220 pages) is=20 published by Junction Press, and sells at $20,=20 minus 20% to list members, plus $3 shipping in=20 the US. Easiest to order directly from me. Below is the review from ForeWord, the only one=20 so far. Hard to cavile about an otherwise great=20 review, but her only criticism is simply=20 wrong--there's nothing colloquial about the word=20 nalga, which is standard Spanish. Mark Cuban-American poet Kozer, the author of=20 thirty-seven previous books and regarded as the=20 leading Cuban poet of his generation, is=20 presented here in the first bilingual edition of=20 his work. His inspiration appears to be the=20 outcry of a tortured soul who has lived long=20 enough to become fatigued with even torture and=20 has arrived at a kind of wry wit suffused with a=20 bitter nostalgia and a desperate search for=20 identity. His struggle weaves a fabric composed=20 of tangled cultures, ethnicities, and language=20 that can only be reported as a kind of literary EEG. Translator-editor-publisher Mark Weiss sets the=20 stage with an incisive introduction which=20 compares the pared-down verbiage of the =93new=94=20 poetry with the dense prolixity that has=20 characterized Spanish-language poetry down=20 through the ages. Poet Kozer=92s work exuberantly=20 embraces the description. The poem condenses=20 space, time, and sensory perception into a single=20 image. In the poet=92s observation of a scene, for=20 example, a particular shade of blue may register=20 not only visually, but recall in the same moment=20 a scrap of color hidden among dense clouds on a=20 day years ago, a flash of the edging on a=20 particular girl=92s petticoat, with the effect that=20 the image not merely describes, but evokes its resonance. The translations are brilliant as Weiss plunges=20 into this dense forest of syntax, synesthesia,=20 and coined language, and ends up with a real poem=20 in standard American English: academic when=20 necessary, colloquial when called for. Rather=20 than a mere gloss of the Spanish text, it appears=20 that the translator has plunged into the heart of=20 each poem until he gains the attention of the=20 same muse who inspired the original. A special treat awaits the bilingual reader. In a=20 poem about Havana, tidy-housekeeper Mama is=20 cleaning for a special day, in language evoking=20 the mixed European backgrounds of herself and=20 Papa, and even erasing traces of a departed Jewish Grandpa. Outside: =93. . . afuera la calle era una fiebre de mulatas=20 encendidas, / la calle se desbocaba en la triple=20 iridiscencia de un bong=F3 cubano. / y las tres=20 lindas cubanas mov=EDan tr=E9mulas las nalgas de una=20 / canci=F3n. / mientras mi madre ordenaba decisivamente los espejos. . . . outside was a tumult of inflamed mulatas /=20 the street overflowing with the triple flame of=20 the bongo / and three lovely Cubans, their cheeks quivering, swayed to the rhythm of a song. / While my mother straightened the mirrors for once and= all.=94 In the Spanish version, what the mulattas shake=20 to the music is the Spanish word =93nalgas,=94 which=20 means (colloquially) =93buns,=94 translated=20 discreetly as =93cheeks.=94 Comparing the=20 sensibilities of these two poets is possibly the=20 most delightful aspect of the work. Review by: Sandy McKinney At 05:06 AM 4/19/2007, you wrote: >Who is the publisher? > Where can those of us far from New York order the book? > And on the 26th, would please pass my regards=20 > on to Achy, an old acquaintance? > >Mark Weiss wrote: > Four bilingual events celebrating the release of >Jos=E9 Kozer's Stet: Selected Poems, translated and edited by Mark Weiss > >Monday, April 23, 8 p.m. St Marks Church, 131 East 10th Street >Jos=E9 Kozer and Harris Schiff. > >Tuesday, April 24, 7 p.m. Poets House, 72 Spring Street >A discussion with Ammiel Alcalay and a reading. > >Thursday, April 26, 7 p.m. Americas Society, 680 Park Ave. at 67th Street >Jos=E9 Kozer and Achy Obejas > >Friday, April 27, 6:15 p.m. King Juan Carlos I of >Spain Center, NYU, 53 Washington Square South >Reading > >Mark Weiss will read his translations at all events. > >Kozer is Cuba's most important living poet. He's >famous among poetry lovers throughout the >Spanish-speaking world, though largely unknown in >the United States, despite his 45 years here. >He's also a great reader. Not to be missed. ========================================================================= Date: Thu, 19 Apr 2007 14:18:57 -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 -- festival notes, day two, maybe three, maybe four -- Nancy Shaw (1962-2007) -- John Newlove documentary on BRAVO! this Thursday -- festival notes, day one (to blog, or not to blog?) -- The Peter F Yacht Club #7 -- Erin Moure's O Cadoiro, poems -- some upcoming rob mclennan readings, Ottawa + Toronto -- ropewalk, poems by Angela Carr, and songs for the dancing chicken by Emily Schultz -- Ongoing notes & more notes: early April, 2007 -- The Bindery, Shane Rhodes -- Catherine Kidd's Missing the Ark -- (interview) Cameron Anstee questions, Carleton University, April 2007 -- The Griffin Poetry Prize Announces the 2007 Canadian and International Shortlist ; An Unprecedented 483 Eligible Books Submitted -- (poem) poem for cheryl referencing diane arbus & werner herzog -- falling in love, falling in love with poetry -- Matrix 76: Robert Allen Tribute (and Sina Queyras) -- Robin Blaser: The Fire & The Holy Forest -- a note on (literary) history -- Introduction: There Is No Mountain: Selected Poems of Andrew Suknaski (draft), Chaudiere Books, 2007 -- Artie Gold Memorial -- Birk Sproxton Obituary, from the Red Deer Advocate -- rob mclennan at the ottawa international writers festival -- Brad Cran's "Cinma Vrit and the Collected Works of Ronald Reagan: A History of Propaganda in Motion Pictures" from Fence magazine, Volume 9, No. 2 -- call for submissions: who wears short shorts? -- meditation, mennonites, poetry & prairie thinking: Di Brandt's So this is the world & here I am in it & Patrick Friesen's Earth's Crude Gravities -- Birk Sproxton, 1943-2007 -- today is my 37th birthday -- blog on blog redux -- a brief note on "political" (what's that?) poetry www.robmclennan.blogspot.com + some other new things at ottawa poetry newsletter, www.ottawapoetry.blogspot.com + some other other new things at the Chaudiere Books blog, www.chaudierebooks.blogspot.com -- poet/editor/publisher ...STANZAS mag, above/ground press & Chaudiere Books (www.chaudierebooks.com) ...coord.,SPAN-O + ottawa small press fair ...13th poetry coll'n - The Ottawa City Project .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Thu, 19 Apr 2007 09:54:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amalio Madueno Subject: Cho's Martyrdom Bagdad's Grief In-Reply-To: <794018.52541.qm@web56903.mail.re3.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Imagine Cho's Virginia Tech martyrdom continuing day after day after day throughout the US for four years. Thus one might imagine Bagdad's grief and the enormity of the American transgression in Iraq. --- Paul Nelson wrote: > On Friday night I witnessed one of the more > remarkable evenings of poetry I have seen in many > months. The event was an performance of > SOUND/VISUAL/DIGITAL/POETRIES with > Crag Hill, Geof Huth, Jim Andrews & Nico Vassilakis. > > > The venue was Seattle's historic Good Shepherd > Center, which for sixty years served women with > shelter, training and education opportunities until > 1973. Located in the Wallingford Neighborhood, home > to Seattle's wonderful all poetry bookstore Open > Books, it would have been turned into a shopping > mall if not for the intervention of residents over > thirty years ago. The Subtext reading is slated to > move to this venue in summer. > > I did not expect to write a review of the evening, > so did not take notes and do not want this post to > be confused with anything of that sort, but each > performer had a compelling contribution to the > evening's festivities. Jim Andrews, of Victoria, BC > and vispo.com fame demonstrated his vis/soundpo > program Nio, linked here: http://www.vispo.com/nio/ > The simple tune, which can be manipulated by the > person browsing his site, has a catchy little melody > which lingers in one's mind, as well as interesting > graphics. What a great teaching tool this program > would make for beginning computer users! > > Geof Huth gave a power point tour of work done by > important North American visual poetry artists, such > as Peter Ciccariello, Nico and Lionel Kearns, who > just happened to be in the audience, visiting from > Vancouver, BC. Crag performed and directed a > multi-voice sound poem using a stomp of his foot to > cue the readers to the next stanza. > > Nico had one of his concrete films play and was > quite mesmerizing. The silence during the film, at > certain points when there was no soundtrack, was > quite remarkable. Being in the chapel of the old > building with HUGE ceilings, this experience of > silence was all too rare these days, and welcome. > > Later, at the restaurant afterwards I was introduced > to Lionel and given a copy of his new collection > of selected poems on Talonbooks, "A Few Words Will > Do." There is some incredibly remarkable poetry in > that collection and I am grateful to have had such > an introduction to the man and his important work. > It was good to reconnect with David Abel, Michael > Dylan Welch, Joe Keppler, mARK oWEns and the > featured poets. > > Now, as a person who has studied Open Form, the > notion of process being open is rather important to > me. My question to those on this list is about > content. Certainly the kinds of poems performed > Friday night are the most open in terms of content. > It is almost totally up to the (listener) viewer as > to what connections are made, what meaning is drawn. > What do poets on this list feel is the poet's > responsibility regarding content, if any? > > I hope for an enlightening discussion, but I'll take > what I can get from this list. > > Paul Nelson > > > > Paul E. Nelson > www.GlobalVoicesRadio.org > www.SPLAB.org > Slaughter, WA 98002 > 253.735.6328 or 888.735.6328 > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 19 Apr 2007 20:59:49 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ren Powell Subject: Re: Cho's Martyrdom Bagdad's Grief In-Reply-To: <341085.53027.qm@web33304.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I am wondering what's wrong with my email, I got the following non-sequitor: Subject: Cho's Martyrdom Bagdad's Grief Imagine Cho's Virginia Tech martyrdom continuing day after day after day throughout the US for four years. Thus one might imagine Bagdad's grief and the enormity of the American transgression in Iraq. --- Paul Nelson wrote: > On Friday night I witnessed one of the more > remarkable evenings of poetry I have seen in many > months. The event was an performance of > SOUND/VISUAL/DIGITAL/POETRIES with > Crag Hill, Geof Huth, Jim Andrews & Nico Vassilakis. But I can't find the context for Paul's original posting. I think his question about content in poetry is interesting. Not as a direct response, but in the same vein: last week I heard a poetry reading and one of the women introduced her work with a long presentation of her problems dealing with her incest issues and how difficult her relationships were with her mother and sister etc. etc. She spoke for about 5 or 6 minutes before reading her poem. When she was finished two people in the audience stood and applauded and whistled. So, my question is how often context plays a role in poetry? Is that valid in terms of evaluating quality? Ren ========================================================================= Date: Thu, 19 Apr 2007 09:35:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: several strands Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed After a couple days trying not to think about Virginia, lots of things seem to be coalescing around this discussion. One of the news stories that got back-paged after Tuesday was the meeting between Russell SImmons and several other prominent CEO's with ties to the hip-hop industry (and lets not forget that there is one) about the fallout form the Imus thing. Simmons had interesting things to say. "Whether it's our sexism, our racism, our homophobia or our violence, the hip-hop community sometimes can be a good mirror of our dirt and sometimes the dirt that we try to cover up," Simmons said. "Pointing at the conditions that create these words from the rappers ... should be our No. 1 concern." I'm recalling the year I spent volunteer-teaching a creative writing class in Alameda County Juvenile Hall. I'm sure there's other people on this list who have worked in detention facilities, youth or adult, and maybe you have thoughts on this. When I moved away from very specific craft exercises and opened up the floor to whatever they were writing, very violent stuff immediately made its way in. To this day, I think the majority of those kids (and the whole time I taught there, that's what I kept thinking every week- these are kids!) were grand-standing and posing, participating in a certain dialogue which applauds boasting about ones potential for violence. At the same time, I know for a fact that some of these kids' actions were indeed as violent as their writing. When I started to piece all of this out and try to establish some guidelines for how we would proceed in class, it got incredibly complicated incredibly quickly. On one hand, the presence of the "confessional" voice had a very literal meaning- anything they said in detention could become evidence, and whenever one of them got a court date or an actual conviction, they would come back the next week thinking I was a snitch- i.e. they were worried their poems had become confessions. I had to start warning them against writing "confessionally", i.e. against portraying actual events of their lives. At the same time, the staff there wanted the class to be all about positivity- staff didn't want the word "nigger" to appear in their poems (which was used by all the kids, latino, black, loatian, even white- and none of them ever blinked or seemed to think it was an issue), didn't want drug use represented or glorified (which was an even more common theme than violence in their writings), and of course didn't want violence or references to guns or weapons. But, as depressing as it sounds, the removal of these topics left these kids with nothing they found worth writing about. Everything that was salient and poetic to them was criminal/criminalized, right down to the name of the street they live on (which signifies "turf", and "turf" is also illegal). So, while my dilemma didn't involve asking whether to report the writings of my students to authorities (they were already in the room), I often return to this experience when I teach in other classrooms. One thing I tried to do, in order to keep them writing, was to let them write what they were going to write, and ask them to analyze it with me. If it was a character they were creating, which was their assignment one time, I asked them what they intended their audience to think about that character, whether anyone besides the character himself would applaud his actions. In short, I tried to have an ethical discussion with them, one time going so far as to look at passages of Plato's Republic (Book II, I think, where Socrates argues that it is better to suffer injustice than commit it). Like anyone, these students had a rich and complex ethical world, and felt accountable when they fell short of those ethics or discovered an inconsistency. The rules I established about writing came out of those discussions, and they were quite simply that you ought not write something that you would find indefensible in actual practice (I think you could create a tertiary guideline that says if you're doing so consciously, as in writing form an anti-hero or such, you ought to have some intention behind what you're doing to people's expectations of good and just behavior). The results were very mixed, with some students continuing to write comfortably in these perimeters, and some completely turning off, but it did allow me not to have to forbid them upfront from writing any particular poem or story. I still use this notion in other classrooms. I get right up in the face of someone writing something I think is indefensible ethically, and often require that a defense be presented to credit it as work for the course. That second level of writing, the apology, is usually richer and more interesting that the original stuff. So I guess that's my contribution to the discussion on how to proceed in writing classes. I don't try to draw the distinction between writing that's just writing and writing that's somehow symptomatic of real disturbance- the writing itself is an act, with its own set of repercussions. I deal with those, because that's all I'm equipped to deal with. Of course, I also try to get any student who seems to be having real trouble to appropriate counseling services (and I've been lucky enough to have classrooms small enough to recognize this- which is to me the best argument for keeping those small class sizes that writing departments everywhere are constantly trying to defend), and I take it Ms. Giovanni and Ms. Roy acted about as well as anyone possibly could have, even going beyond normal expectations of identifying and working with a troubled student. But I don't think we simply let all the students who are writing purely fictitiously, the ones we have no suspicion of going out and acting on violent fantasies, off the hook. The writing itself needs accounting for, and even treated casuistically, needs some good reason for existing. Dillon ========================================================================= Date: Thu, 19 Apr 2007 17:01:09 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Fernandes Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm sorry. I'm portuguese so I feel myself like a monkey in this discussion, but can someone explain to me why is so easy to buy a gun in USA? It's really legal to buy one? Is it something to do with freedom? David Portugal 2007/4/19, Suzanne Burns : > > On 4/18/07, linda norton wrote: > > > > > > > > Predictably, the NRA folks are posting on the Times VA TECH story blogs, > > saying that this > > murderer could have been stopped if everyone on campus had been packing > > guns . . . > > > > I get so outraged when people make that absurd wild west argument that the > solution to the situation is for EVERYONE to have guns. Gee, even > children? This sort of logic is the sign of things really breaking down. > It's absurd, its dangerous, and while we are at it it didn't even work in > the "wild west". More people having guns = a greater likelihood that your > gun will be stolen or used against you or picked up by a small child, etc. > It means nobody is safe. *fume* > > I can't believe that we live in a cuntry where so many people cannot get > emdical care (including mental health services) but anyone can get a gun. > I heard commentator on the radio last night who made the point that if an > anti-depressant caused 30,000 deaths a year, you bet we would control it-- > but nobody wants to control the guns. *fume* > > It also just came out today that yes in fact the killer WAS declared a > danger to himself and others-- but almost nothing was done about it. > > I am so outraged I can't even speak. Holy crap. > ========================================================================= Date: Thu, 19 Apr 2007 08:47:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Virginia, revenge & masculine myths In-Reply-To: <31f32f900bc4ef4c66dda574d236f510@sfu.ca> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Without trying at all to limit the issue of the ways in which creative writing or any other kind of teacher deals with "disruption" or bullying behavior and more serious possibilities of potential violent catastrophe (all important), I think we should also be interested in 'the shooter' and the culture of revenge that fed into this event - no matter how pathologically - the his justification for his actions. I remember vividly the shift in vocabulary of the Bush Administration after 9/11 - how they loved to use the word/verb "kill." It was never about bringing anybody to justice - the options were either to kill or, apparently, torture the perceived enemy, and, again, apparently, if you did not have an enemy crossing your national doorstep, you would invent an invader and kill it too. (I remember Rumsfeld before an audience of troops in Missouri pounding the podium and gleefully celebrating the number of the enemy that had been "killed" and thinking this guy is really a murderer in the disguise of public office). There was never talk of bringing x, y or z "to justice", that is bringing things into balance and order. "Islamic radicalists" etc. are never be considered for negotiation, etc., but be snuffed continuously in a war that can go forever. The revenge mindset is clearly that of Cheney and Bush and seeps into the culture everywhere in this country, including the battlefields and the 'revenge' killings of civilians by marines in Iraq and Afghanistan. But this kid in Virginia - reading his 'well-written' reprinted pieces of rage, no matter what marbles were let loose in him, he was carrying a huge amount of pain (sexual, racial, class). His solution was to resort to the models, the well known scripts that are pummeled into the culture everywhere. I actually recently saw the movie, "Shooter", which is equally all about righteous revenge - not bringing to justice, but killing every one known or perceived to be part of the plot to eliminate the shooter. The movie was preceded by 5 preview trailers with the same roaring dolby sound violent revenge motifs. It's both the ancient and contemporary masculine myth rolled into one. If somebody's in your way, kill 'em. And cheer. Cho, in his own demented way, was behaving according to well known violent revenge scripts (from Bush to Hollywood to our streets). Why no one - from an early age - was able to reach out to Cho, or in one way or other, respond effectively and compassionately to whatever was legitimate about his rage and isolation, remains an important part of the question. In what ways, mad pathologies aside, can a University - let alone a creative writing class or the society as a whole - alter revenge scripts? Or maybe there are other ways to frame the question. Ismus - was a piece of good news - in that his script (implicitly violent towards African Americans) was effectively challenged by the women on the basketball team. Minimally, I think people will think twice before using that kind of language again as somehow appropriate. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Thu, 19 Apr 2007 13:48:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: several strands In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Dillon--- these are great thoughts, and it certainly re-grounds the academic poet discussion of the word "confessional" (often seen more in terms of a trembling Robert Lowell panting and sweating in the back of a church...) One question about your rules for acceptable work in this context----taking this in particular-- from your post--- "you ought not write something that you would find indefensible in actual practice (I think you could create a tertiary guideline that says if you're doing so consciously, as in writing form an anti-hero or such, you ought to have some intention behind what you're doing to people's expectations of good and just behavior)" I would love to hear more about the 'mixed results' you found as a result of thus, about how or why you think some students shut down, and if there's strategies you think you can develop to prevent such shutting down within those perimeters. I can see how such a rule can be interpreted, or misinterpreted, by some as being closed off to the ethical complexity of many situations, dialogue poems (or songs for that matter) that don't necessarily club the reader over the head with their moral, and can therefore sometimes be called morally irresponsible, in presenting that "dirt" of which Russell Simmons speak. I'm not at all saying that you shouldn't continue to try this, I'm just curious about why you think some students shut down because of it. Chris On Apr 19, 2007, at 9:35 AM, Dillon Westbrook wrote: > After a couple days trying not to think about Virginia, lots of > things seem to be coalescing around this discussion. One of the > news stories that got back-paged after Tuesday was the meeting > between Russell SImmons and several other prominent CEO's with ties > to the hip-hop industry (and lets not forget that there is one) > about the fallout form the Imus thing. Simmons had interesting > things to say. > > "Whether it's our sexism, our racism, our homophobia or our > violence, the hip-hop community sometimes can be a good mirror of > our dirt and sometimes the dirt that we try to cover up," Simmons > said. "Pointing at the conditions that create these words from the > rappers ... should be our No. 1 concern." > > I'm recalling the year I spent volunteer-teaching a creative > writing class in Alameda County Juvenile Hall. I'm sure there's > other people on this list who have worked in detention facilities, > youth or adult, and maybe you have thoughts on this. When I moved > away from very specific craft exercises and opened up the floor to > whatever they were writing, very violent stuff immediately made its > way in. To this day, I think the majority of those kids (and the > whole time I taught there, that's what I kept thinking every week- > these are kids!) were grand-standing and posing, participating in a > certain dialogue which applauds boasting about ones potential for > violence. At the same time, I know for a fact that some of these > kids' actions were indeed as violent as their writing. When I > started to piece all of this out and try to establish some > guidelines for how we would proceed in class, it got incredibly > complicated incredibly quickly. > > On one hand, the presence of the "confessional" voice had a very > literal meaning- anything they said in detention could become > evidence, and whenever one of them got a court date or an actual > conviction, they would come back the next week thinking I was a > snitch- i.e. they were worried their poems had become confessions. > I had to start warning them against writing "confessionally", i.e. > against portraying actual events of their lives. At the same time, > the staff there wanted the class to be all about positivity- staff > didn't want the word "nigger" to appear in their poems (which was > used by all the kids, latino, black, loatian, even white- and none > of them ever blinked or seemed to think it was an issue), didn't > want drug use represented or glorified (which was an even more > common theme than violence in their writings), and of course didn't > want violence or references to guns or weapons. But, as depressing > as it sounds, the removal of these topics left these kids with > nothing they found worth writing about. Everything that was salient > and poetic to them was criminal/criminalized, right down to the > name of the street they live on (which signifies "turf", and "turf" > is also illegal). > > So, while my dilemma didn't involve asking whether to report the > writings of my students to authorities (they were already in the > room), I often return to this experience when I teach in other > classrooms. One thing I tried to do, in order to keep them writing, > was to let them write what they were going to write, and ask them > to analyze it with me. If it was a character they were creating, > which was their assignment one time, I asked them what they > intended their audience to think about that character, whether > anyone besides the character himself would applaud his actions. In > short, I tried to have an ethical discussion with them, one time > going so far as to look at passages of Plato's Republic (Book II, I > think, where Socrates argues that it is better to suffer injustice > than commit it). Like anyone, these students had a rich and complex > ethical world, and felt accountable when they fell short of those > ethics or discovered an inconsistency. The rules I established > about writing came out of those discussions, and they were quite > simply that you ought not write something that you would find > indefensible in actual practice (I think you could create a > tertiary guideline that says if you're doing so consciously, as in > writing form an anti-hero or such, you ought to have some intention > behind what you're doing to people's expectations of good and just > behavior). The results were very mixed, with some students > continuing to write comfortably in these perimeters, and some > completely turning off, but it did allow me not to have to forbid > them upfront from writing any particular poem or story. > > I still use this notion in other classrooms. I get right up in the > face of someone writing something I think is indefensible > ethically, and often require that a defense be presented to credit > it as work for the course. That second level of writing, the > apology, is usually richer and more interesting that the original > stuff. So I guess that's my contribution to the discussion on how > to proceed in writing classes. I don't try to draw the distinction > between writing that's just writing and writing that's somehow > symptomatic of real disturbance- the writing itself is an act, with > its own set of repercussions. I deal with those, because that's all > I'm equipped to deal with. Of course, I also try to get any student > who seems to be having real trouble to appropriate counseling > services (and I've been lucky enough to have classrooms small > enough to recognize this- which is to me the best argument for > keeping those small class sizes that writing departments everywhere > are constantly trying to defend), and I take it Ms. Giovanni and > Ms. Roy acted about as well as anyone possibly could have, even > going beyond normal expectations of identifying and working with a > troubled student. But I don't think we simply let all the students > who are writing purely fictitiously, the ones we have no suspicion > of going out and acting on violent fantasies, off the hook. The > writing itself needs accounting for, and even treated > casuistically, needs some good reason for existing. > > Dillon ========================================================================= Date: Thu, 19 Apr 2007 15:45:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: in response to the virginia tech discussion... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline someone posted a great piece today (sorry, it has been a long week and i can't remember a thing!) about their experience teaching in a juvenielle detention center; the most striking bit, i think, was the question of holding the violent writing accountable. i.e. removing from the discussion whether this person was going to hurt someone else. at what point is violence ever acceptable in art/writing? i think there are two paths--a sort of passive violence that reflects something that has happened to a person/in the news but doesn't glorify it; and then the kind which seems to be a methos for the author/artist to act out their own violent temptations--rape scenes, glorified violence, etc. why is it okay for violence to be part of artistic liscense? what is there about, say, a graphic rape or torture scene that can't be better explicated some other way? why does rape/murder have to be a method to characterize something or express oneself? why don't we see it for what it is--someone acting out some type of rage. or looking for an easy, sensational add in to their work. if we stop allowing violence to be glamorous, and stop glorifying this revenge culture, and stop making it so okay to let violence saturate all things as long as you don't DO IT--will it stop? i hope so. it seems to me to be a case of drawing the line--and in this case, you cannot. you cannot simply state that it is okay to write/draw/glorify violence, as long as you do not hurt people. the mere act of "putting it out there" compounds the problem, and makes it incredibly hairy to stop a person from "crossing the line". (i feel the same way about the use of the n-word, and the don imus rant...it's never okay to say those things, no matter what race you are.) final thought: i hope we (nationally) begin to take a serious look at stricter gun control. i know the nra is already all over this--but there is no way that young man walks around campous and stabs 32 people to death. we have got to take a real look at how (even in our choice of words, as another poster noted today--rumsfield with his KILL KILL KILL) we have made negation and eradication so attractive and permissible. we allowed our country to eradicate two others. we allowed the government we created to execute a man, and his former cabinet members. why, then, are we so surprised that this would happen here? we have made it happen everywhere else, and made everyone so passively alright with it, that we made it frighteningly easy to happen here. ========================================================================= Date: Thu, 19 Apr 2007 16:39:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: Virginia, revenge & masculine myths In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Good comments from Dillon Westbrook and Steve Vincent! There's one detail that's been studiously avoided by commentators on the Virginia Tech shootings and on Cho: the fact that he had been taking prescription medication. Given that psychotic side effects are often produced by these one-size-fits-all prescriptions ("take these and get a refill when you're done"), I'm surprised folks haven't been taking aim at the pharmaceutical industry as well as the firearms lobby. Evidently during middle school and high school, Cho had been bullied and subjected to taunts for his reticence and his "accent" as if all of us don't speak with accents -- "Go back to China," was a particularly ignorant example. So we also need to look at racism and the Darwinian pecking orders --cliques, petty rivalries, bullying -- of students in the U.S. school system as contributory causes. And a footnote on Nikki Giovanni: a few decades back, before she became a distinguished professor of creative writing, she wrote a poem called, if memory serves: "nigger can you kill," in which the "interpellated subject" is interrogated as to his/her capacity to kill several allegedly deserving targets, including "a jew." Several years later, though, she took a trip to apartheid South Africa while a boycott was on!! (Baraka, himself no stranger to rhetorical violence, called her on that in no uncertain terms -- not one of his more fortunate poetic polemics, either; it was entitled "Niggy the Ho" and went downhill from there.) ========================================================================= Date: Thu, 19 Apr 2007 18:03:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 4/23 - 4/28 *Special Spring Fundraiser Explosive Schedule! In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, In celebration of fundraising, we have 5 terrific readings planned for next week. Please scroll down and discover what awaits you. In addition, please make a note of a recent addition to our Spring Schedule= . Harry Mathews and Doug Nufer will give a reading on Monday May 7 at 6pm. More details below. We hope to see you nearly every day this coming week. Love, The Poetry Project Monday, April 23, 8:00 pm Jos=E9 Kozer & Harris Schiff Jos=E9 Kozer is the preeminent Cuban poet of his generation and one of the most influential poets in Latin America. His 37 books and 15 chapbooks have been published in Mexico, Spain, the United States, Argentina, Brazil, Cuba= , the Dominican Republic, Venezuela, and Chile, and he has been translated into many languages. His book, No buscan reflejarse, was the first book by = a Cuban poet in exile to be published on the island since the 1970s. His book= , Stet, from which he will read with his translator, Mark Weiss, is the first English or bilingual attempt to survey his career. Since his first reading at the Poetry Project in 1968, Harris Schiff has worked for the Poetry Project as Co-Coordinator Workshop Instructor, Advisory Board Member and editor of The World. His most recent book is Abandonship. He is the editor and curator of the oldest established literary e-zine on the World Wide Web= , $lavery, Cyberzine of the Arts, which he first uploaded in 1996 and most recently updated on Martin Luther King Day, 2007. The site is located at http://www.cyberpoems.com. Wednesday, April 25, 8:00 pm John Ashbery John Ashbery has published more than 20 collections, beginning in 1953 with Turandot and Other Poems. His Self-Portrait in a Convex Mirror won the thre= e major American prizes: the Pulitzer, National Book Award, and National Book Critics Circle Award. His most recent volumes are Girls on the Run, Your Name Here, As Umbrellas Follow Rain, Chinese Whispers and Where Shall I Wander. A Worldly Country was just published by Ecco. A selection of his ar= t writings was published by Knopf in 1989 as Reported Sightings: Art Chronicles 1957-1987. His work has been translated into more than twenty languages, and the first poem in his new book rhymes. This reading will be held in the sanctuary. Thursday, April 26, 8:00 pm A Tribute to C=E9sar Vallejo A reading to mark the publication of C=E9sar Vallejo: The Complete Poetry in = a bilingual edition edited and translated by Clayton Eshleman. C=E9sar Vallejo (1892-1938) was a poetical innovator whose syntax-breaking search for meaning has been compared to James Joyce and Paul Celan. Readers of Vallejo=B9s work will include Jayne Cortez, Mariela Dreyfus, Clayton Eshleman= , Forrest Gander, Edward Hirsch, Sam Shepard, M=F3nica de la Torre, Cecilia Vicu=F1a and Anne Waldman. Co-sponsored by PEN World Voices, Poets House, and The University of California Press. This reading will be held in the sanctuary. Friday, April 27, 8:00 pm Anselm Hollo, Eileen Myles & Anne Waldman Anselm Hollo, poet and literary translator, has been a faculty member of th= e Jack Kerouac School of Poetics at Naropa University in Boulder, Colorado, for more than twenty years. He is the author of thirty-odd books and chapbooks of his own works, the most recent one being Guests of Space, just out from Coffee House Press. Eileen Myles is one of the best-known unofficial poets in America. She was a Director of St. Mark's Poetry Projec= t during the Reagan years. And she conducted an openly female write in campaign for President of the United States in 1992. She has toured her wor= k all over the world and with Sister Spit in '97 and now this year again with Sister Spit. Sorry, Tree (poems) is very recently out from Wave Books. Anne Waldman=B9s most recent books are Structure of the World Compared to a Bubble= , a long Buddhist poem, and Outrider, a selection of essays, interviews and poetry just published by La Alameda Press. Red Noir, a collection of short performance pieces, and the CD The Eye of the Falcon (produced and with music by her son Ambrose Bye) are now available from Farfalla, McMillen and Parrish.=20 This reading will be held in the sanctuary. Saturday, April 28, 8:00 pm Not For Mothers Only A launch party and reading for Not for Mothers Only: Contemporary Poems on Child-Getting and Child Rearing. This anthology brings to light the many strong, scary, gorgeous motherhood poems bring written right now =AD poems that address the politics and difficulties and stubborn satisfactions of mothering =AD while also publishing earlier poems that opened the space in which this new work might appear. Readers will include Rachel Zucker, Deborah Landau, Kimiko Hahn, Ann Lauterbach, Camille Guthrie, Caroline Crumpacker, Marie Howe, Miranda Field, Kathleen Ossip, Rebecca Wolff, Claudia Keelan and Catherine Wagner. Monday, May 7, 6:00 pm Following Rules: An Oulipian Reading with Harry Mathews & Doug Nufer Born in New York in 1930, Harry Mathews settled in Europe in 1952 and has since then lived in Spain, Germany, Italy, and (chiefly) France. In 1978 he returned to the United States to teach for several years at Bennington College, Columbia University, and the New School University. Now married to the French writer Marie Chaix, he divides his time between Paris and Key West. When Mathews published his first poems in 1956, he was associated wit= h the so-called New York School of poets, with three of whom (John Ashbery, Kenneth Koch, James Schuyler) he founded the review Locus Solus in 1961. Through his friendship with Georges Perec, he became a member of the Oulipo in 1972. The author of six novels and several collections of poetry, his most recent publications are Sainte Catherine, a novella written in French (=C9ditions P.O.L, 2000), The Human Country: the Collected Short Stories (Dalkey Archive Press, 2002), The Case of the Persevering Maltese: Collecte= d Essays (Dalkey Archive Press, 2003), Oulipo Compendium (co-edited with Alastair Brotchie; Atlas Press and Make Now Press, 2005), and My Life in CIA: A Chronicle of 1973 (Dalkey Archive Press, 2005). Doug Nufer writes works of fiction and poetry and pieces for performance that seem to follow odd procedures, even when they don't. His novels include Never Again, Negativeland, and most recently, a double novel, The Mudflat Man/ The River Boys. His fiction and/or poetry has appeared in Chain, Fence, Monkey Puzzle= , Bird Dog, and The Golden Handcuffs Review. He also performs his work with choreographer Erin Mitchell and her dance troupe (he speaks/ they dance). H= e lives in Seattle, where he runs a wine shop. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring Calendar: http://www.poetryproject.com/calendar.php 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. POETRY IS NEWS: PULLING IT DOWN: The Aesthetics of Common Ground An Important Community Event Saturday April 21, noon =AD 4pm Bowery Poetry Club 308 Bowery Panels, Performances, Readings and Community Meeting on: Race, Culture, Class, Environment with Tonya Foster, Alan Gilbert, David Henderson, Erica Hunt, Brenda Iijima= , Erica Kaufman, Rachel Levitsky, Akilah Oliver, Jena Osman, Edwin Torres, Cecilia Vicu=F1a, Anne Waldman and others TBA. Contribution at the door. Red beans and rice served. ========================================================================= Date: Thu, 19 Apr 2007 14:44:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: several strands In-Reply-To: <49500293-BEA2-4A57-8C1C-B0424D2B7389@earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I agree with Chris S's take on Dillon's post. I personally taught for a couple of years in the Juvenile Hall here in San Francisco. A fantastic experience on several levels - the creativity with and excitement about making language challenging, variously accurate, et al. Yet, I don't think I ever reached the level of getting students to examine (explore) and defend the use of x, y or z language in a poem, or any other context. I think Dillon's contribution is vital and useful here whether among the incarcerated, or quite possible any writing class. Cho was apparently a scary, bully of a figure to have in class. I suspect he would not have cottoned to defending the actions in his writing - where, in the context of a prison, where good performance is rewarded towards release, might have risen to the occasion with who knows what results. Some students, Chris, I think will always close down under the pressure of limits and potential scrutiny. But maybe that has good consequences for when they consider actions, counterproductive ones, in other situations. "Indefensible" might enter their interior dialog! Stephen V http://stephenvincent.net/blog/ > Dillon--- > these are great thoughts, and it certainly re-grounds > the academic poet discussion of the word "confessional" (often seen > more in terms of a trembling Robert Lowell panting and sweating in > the back of a church...) > One question about your rules for acceptable work in > this context----taking this in particular-- from your post--- > > "you ought not write something that you would find > indefensible in actual practice (I think you could create a tertiary > guideline that says if you're doing so consciously, as in writing > form an anti-hero or such, you ought to have some intention behind > what you're doing to people's expectations of good and just behavior)" > > I would love to hear more about the 'mixed results' you found as a > result of thus, about how or why you think some students shut down, > and if there's strategies you think you can develop to prevent such > shutting down within those perimeters. I can see how such a rule can > be interpreted, or misinterpreted, by some as being closed off to the > ethical complexity of many situations, dialogue poems (or songs for > that matter) that don't necessarily club the reader over the head > with their moral, and can therefore sometimes be called morally > irresponsible, in presenting that "dirt" of which Russell Simmons > speak. I'm not at all saying that you shouldn't continue to try this, > I'm just curious about why you think some students shut down because > of it. > > Chris > > > On Apr 19, 2007, at 9:35 AM, Dillon Westbrook wrote: > >> After a couple days trying not to think about Virginia, lots of >> things seem to be coalescing around this discussion. One of the >> news stories that got back-paged after Tuesday was the meeting >> between Russell SImmons and several other prominent CEO's with ties >> to the hip-hop industry (and lets not forget that there is one) >> about the fallout form the Imus thing. Simmons had interesting >> things to say. >> >> "Whether it's our sexism, our racism, our homophobia or our >> violence, the hip-hop community sometimes can be a good mirror of >> our dirt and sometimes the dirt that we try to cover up," Simmons >> said. "Pointing at the conditions that create these words from the >> rappers ... should be our No. 1 concern." >> >> I'm recalling the year I spent volunteer-teaching a creative >> writing class in Alameda County Juvenile Hall. I'm sure there's >> other people on this list who have worked in detention facilities, >> youth or adult, and maybe you have thoughts on this. When I moved >> away from very specific craft exercises and opened up the floor to >> whatever they were writing, very violent stuff immediately made its >> way in. To this day, I think the majority of those kids (and the >> whole time I taught there, that's what I kept thinking every week- >> these are kids!) were grand-standing and posing, participating in a >> certain dialogue which applauds boasting about ones potential for >> violence. At the same time, I know for a fact that some of these >> kids' actions were indeed as violent as their writing. When I >> started to piece all of this out and try to establish some >> guidelines for how we would proceed in class, it got incredibly >> complicated incredibly quickly. >> >> On one hand, the presence of the "confessional" voice had a very >> literal meaning- anything they said in detention could become >> evidence, and whenever one of them got a court date or an actual >> conviction, they would come back the next week thinking I was a >> snitch- i.e. they were worried their poems had become confessions. >> I had to start warning them against writing "confessionally", i.e. >> against portraying actual events of their lives. At the same time, >> the staff there wanted the class to be all about positivity- staff >> didn't want the word "nigger" to appear in their poems (which was >> used by all the kids, latino, black, loatian, even white- and none >> of them ever blinked or seemed to think it was an issue), didn't >> want drug use represented or glorified (which was an even more >> common theme than violence in their writings), and of course didn't >> want violence or references to guns or weapons. But, as depressing >> as it sounds, the removal of these topics left these kids with >> nothing they found worth writing about. Everything that was salient >> and poetic to them was criminal/criminalized, right down to the >> name of the street they live on (which signifies "turf", and "turf" >> is also illegal). >> >> So, while my dilemma didn't involve asking whether to report the >> writings of my students to authorities (they were already in the >> room), I often return to this experience when I teach in other >> classrooms. One thing I tried to do, in order to keep them writing, >> was to let them write what they were going to write, and ask them >> to analyze it with me. If it was a character they were creating, >> which was their assignment one time, I asked them what they >> intended their audience to think about that character, whether >> anyone besides the character himself would applaud his actions. In >> short, I tried to have an ethical discussion with them, one time >> going so far as to look at passages of Plato's Republic (Book II, I >> think, where Socrates argues that it is better to suffer injustice >> than commit it). Like anyone, these students had a rich and complex >> ethical world, and felt accountable when they fell short of those >> ethics or discovered an inconsistency. The rules I established >> about writing came out of those discussions, and they were quite >> simply that you ought not write something that you would find >> indefensible in actual practice (I think you could create a >> tertiary guideline that says if you're doing so consciously, as in >> writing form an anti-hero or such, you ought to have some intention >> behind what you're doing to people's expectations of good and just >> behavior). The results were very mixed, with some students >> continuing to write comfortably in these perimeters, and some >> completely turning off, but it did allow me not to have to forbid >> them upfront from writing any particular poem or story. >> >> I still use this notion in other classrooms. I get right up in the >> face of someone writing something I think is indefensible >> ethically, and often require that a defense be presented to credit >> it as work for the course. That second level of writing, the >> apology, is usually richer and more interesting that the original >> stuff. So I guess that's my contribution to the discussion on how >> to proceed in writing classes. I don't try to draw the distinction >> between writing that's just writing and writing that's somehow >> symptomatic of real disturbance- the writing itself is an act, with >> its own set of repercussions. I deal with those, because that's all >> I'm equipped to deal with. Of course, I also try to get any student >> who seems to be having real trouble to appropriate counseling >> services (and I've been lucky enough to have classrooms small >> enough to recognize this- which is to me the best argument for >> keeping those small class sizes that writing departments everywhere >> are constantly trying to defend), and I take it Ms. Giovanni and >> Ms. Roy acted about as well as anyone possibly could have, even >> going beyond normal expectations of identifying and working with a >> troubled student. But I don't think we simply let all the students >> who are writing purely fictitiously, the ones we have no suspicion >> of going out and acting on violent fantasies, off the hook. The >> writing itself needs accounting for, and even treated >> casuistically, needs some good reason for existing. >> >> Dillon ========================================================================= Date: Thu, 19 Apr 2007 15:14:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: patrick dunagan Subject: Some of the World's Diamonds: Pieces from Living Rooms MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Some of the World's Diamonds: Pieces from Living Rooms Andrew McKinley Bill Berkson Cedar Sigo Chris Corales Colter Jacobsen Corina Bilandzija Darin Klein David Meltzer Donald Guravich Duncan McNaughton Jeff Butler Joanne Kyger Kevin Opstedal Larry Rinder Micah Ballard Patrick Dunagan Sarah Cain Skip Fox Steve Dickison Sunnylyn Thibodeaux Will Skinker Will Yackulic Opening Reception Friday April 20th, 6-9pm April 20th - May 19th Lew Gallery 766 Valencia, 1st Floor S.F. CA 94110 ========================================================================= Date: Thu, 19 Apr 2007 17:29:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Some of the World's Diamonds: Pieces from Living Rooms In-Reply-To: <5fabddd10704191514l51a4a59dn5e3ed31b3a0e53a9@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Can you expand on the particulars of this show? Thanks, Dan On 4/19/07, patrick dunagan wrote: > Some of the World's Diamonds: Pieces from Living Rooms > > Andrew McKinley > Bill Berkson > Cedar Sigo > Chris Corales > Colter Jacobsen > Corina Bilandzija > Darin Klein > David Meltzer > Donald Guravich > Duncan McNaughton > Jeff Butler > Joanne Kyger > Kevin Opstedal > Larry Rinder > Micah Ballard > Patrick Dunagan > Sarah Cain > Skip Fox > Steve Dickison > Sunnylyn Thibodeaux > Will Skinker > Will Yackulic > > Opening Reception > Friday April 20th, 6-9pm > > April 20th - May 19th > > Lew Gallery > 766 Valencia, 1st Floor S.F. CA 94110 > -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Thu, 19 Apr 2007 01:01:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: arousal MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed arousal certain objects or items on a psychoanalytical scale create arousal; por- nography operates off this principle. the objects or items are presumed human, that is to say, projection/introjection (my 'jectivity') occurs across the threshold of the space between viewer and image. if the items are non-human, one presumes fetishism (with all the overdetermined accom- panying psychoanalytic theory), but this need not be the case: given what elsewhere might be considered dismemberment, but is read here as the dream screen of the sexual, arousal occurs through a litany of movement and geometry, nothing more. it's as if we're imprinted (and i think we are to an extent), as if items appear which construct desire, reproduction, species. the visual in these cases is a zeroing-in. avatrex.mp4 is an item (not a human) which simultaneously projects and falls apart; what arouses are mediated part-objects which seem capable in this respect of standing alone, standing for, standing in-for. i think all of this relates to a potential wellspring of violence; if all that's needed is surface, is the rest of the body to be discarded? an uneasy question, troubling phenomen- ology as well. http://www.asondheim.org/avartrex.mp4 ========================================================================= Date: Thu, 19 Apr 2007 20:35:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: Thank God for Christopher Smart! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit it's the ablative of agnus <What does the word "Agno" translate into? Assuming it's latin, not >in my dictionaries. > > > > > >For there is a language of flowers. > >For there is a sound reasoning upon all flowers. > >For elegant phrases are nothing but flowers. > > > > > > > > >On Apr 11, 2007, at 11:42 PM, Jesse Glass wrote: > >>I think the best part of Jubilate Agno comes when Smart tells us that if >>we all stop what we're doing and applaud, then God will reveal himself >>(no doubt bowing to left and right as in an opera by Handel) and the end >>of time will be upon us. >> >>What sublime absurdity! ========================================================================= Date: Thu, 19 Apr 2007 17:34:25 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Re: several strands Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Ever since these Virginia Tech discussions began on the list, I've been wondering if anyone's read or seen Martin McDonagh's play, THE PILLOWMAN. It's all about writing and storytelling and violence and culpability and torture and versions, in ways I'm still trying to understand. -----Original Message----- >From: Chris Stroffolino >Sent: Apr 19, 2007 1:48 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: several strands > >Dillon--- > these are great thoughts, and it certainly re-grounds >the academic poet discussion of the word "confessional" (often seen >more in terms of a trembling Robert Lowell panting and sweating in >the back of a church...) > One question about your rules for acceptable work in >this context----taking this in particular-- from your post--- > > "you ought not write something that you would find >indefensible in actual practice (I think you could create a tertiary >guideline that says if you're doing so consciously, as in writing >form an anti-hero or such, you ought to have some intention behind >what you're doing to people's expectations of good and just behavior)" > >I would love to hear more about the 'mixed results' you found as a >result of thus, about how or why you think some students shut down, >and if there's strategies you think you can develop to prevent such >shutting down within those perimeters. I can see how such a rule can >be interpreted, or misinterpreted, by some as being closed off to the >ethical complexity of many situations, dialogue poems (or songs for >that matter) that don't necessarily club the reader over the head >with their moral, and can therefore sometimes be called morally >irresponsible, in presenting that "dirt" of which Russell Simmons >speak. I'm not at all saying that you shouldn't continue to try this, >I'm just curious about why you think some students shut down because >of it. > >Chris > > >On Apr 19, 2007, at 9:35 AM, Dillon Westbrook wrote: > >> After a couple days trying not to think about Virginia, lots of >> things seem to be coalescing around this discussion. One of the >> news stories that got back-paged after Tuesday was the meeting >> between Russell SImmons and several other prominent CEO's with ties >> to the hip-hop industry (and lets not forget that there is one) >> about the fallout form the Imus thing. Simmons had interesting >> things to say. >> >> "Whether it's our sexism, our racism, our homophobia or our >> violence, the hip-hop community sometimes can be a good mirror of >> our dirt and sometimes the dirt that we try to cover up," Simmons >> said. "Pointing at the conditions that create these words from the >> rappers ... should be our No. 1 concern." >> >> I'm recalling the year I spent volunteer-teaching a creative >> writing class in Alameda County Juvenile Hall. I'm sure there's >> other people on this list who have worked in detention facilities, >> youth or adult, and maybe you have thoughts on this. When I moved >> away from very specific craft exercises and opened up the floor to >> whatever they were writing, very violent stuff immediately made its >> way in. To this day, I think the majority of those kids (and the >> whole time I taught there, that's what I kept thinking every week- >> these are kids!) were grand-standing and posing, participating in a >> certain dialogue which applauds boasting about ones potential for >> violence. At the same time, I know for a fact that some of these >> kids' actions were indeed as violent as their writing. When I >> started to piece all of this out and try to establish some >> guidelines for how we would proceed in class, it got incredibly >> complicated incredibly quickly. >> >> On one hand, the presence of the "confessional" voice had a very >> literal meaning- anything they said in detention could become >> evidence, and whenever one of them got a court date or an actual >> conviction, they would come back the next week thinking I was a >> snitch- i.e. they were worried their poems had become confessions. >> I had to start warning them against writing "confessionally", i.e. >> against portraying actual events of their lives. At the same time, >> the staff there wanted the class to be all about positivity- staff >> didn't want the word "nigger" to appear in their poems (which was >> used by all the kids, latino, black, loatian, even white- and none >> of them ever blinked or seemed to think it was an issue), didn't >> want drug use represented or glorified (which was an even more >> common theme than violence in their writings), and of course didn't >> want violence or references to guns or weapons. But, as depressing >> as it sounds, the removal of these topics left these kids with >> nothing they found worth writing about. Everything that was salient >> and poetic to them was criminal/criminalized, right down to the >> name of the street they live on (which signifies "turf", and "turf" >> is also illegal). >> >> So, while my dilemma didn't involve asking whether to report the >> writings of my students to authorities (they were already in the >> room), I often return to this experience when I teach in other >> classrooms. One thing I tried to do, in order to keep them writing, >> was to let them write what they were going to write, and ask them >> to analyze it with me. If it was a character they were creating, >> which was their assignment one time, I asked them what they >> intended their audience to think about that character, whether >> anyone besides the character himself would applaud his actions. In >> short, I tried to have an ethical discussion with them, one time >> going so far as to look at passages of Plato's Republic (Book II, I >> think, where Socrates argues that it is better to suffer injustice >> than commit it). Like anyone, these students had a rich and complex >> ethical world, and felt accountable when they fell short of those >> ethics or discovered an inconsistency. The rules I established >> about writing came out of those discussions, and they were quite >> simply that you ought not write something that you would find >> indefensible in actual practice (I think you could create a >> tertiary guideline that says if you're doing so consciously, as in >> writing form an anti-hero or such, you ought to have some intention >> behind what you're doing to people's expectations of good and just >> behavior). The results were very mixed, with some students >> continuing to write comfortably in these perimeters, and some >> completely turning off, but it did allow me not to have to forbid >> them upfront from writing any particular poem or story. >> >> I still use this notion in other classrooms. I get right up in the >> face of someone writing something I think is indefensible >> ethically, and often require that a defense be presented to credit >> it as work for the course. That second level of writing, the >> apology, is usually richer and more interesting that the original >> stuff. So I guess that's my contribution to the discussion on how >> to proceed in writing classes. I don't try to draw the distinction >> between writing that's just writing and writing that's somehow >> symptomatic of real disturbance- the writing itself is an act, with >> its own set of repercussions. I deal with those, because that's all >> I'm equipped to deal with. Of course, I also try to get any student >> who seems to be having real trouble to appropriate counseling >> services (and I've been lucky enough to have classrooms small >> enough to recognize this- which is to me the best argument for >> keeping those small class sizes that writing departments everywhere >> are constantly trying to defend), and I take it Ms. Giovanni and >> Ms. Roy acted about as well as anyone possibly could have, even >> going beyond normal expectations of identifying and working with a >> troubled student. But I don't think we simply let all the students >> who are writing purely fictitiously, the ones we have no suspicion >> of going out and acting on violent fantasies, off the hook. The >> writing itself needs accounting for, and even treated >> casuistically, needs some good reason for existing. >> >> Dillon ========================================================================= Date: Thu, 19 Apr 2007 17:26:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: patrick dunagan Subject: Re: Some of the World's Diamonds: Pieces from Living Rooms In-Reply-To: <750c78460704191529uc4ad01dqb4fa6e5e62dae566@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Dan, Micah said he responded to you directly. For anybody else on the list who might be curious, Some of the World's Diamonds: Pieces from Living Rooms is a show where individual art pieces/objects from the living rooms of the artists and poets listed will be hung. Every person contributed at least one thing. There'll be a nice range of style and medium on display. Anybody interested and in town should pass by tomorrow night for a look and some wine, or Weekdays 9-5-ish if you're in the Mission until May 19th the show's open for viewing whenever Micah's in his office. Cheers, Patrick On 4/19/07, Dan Coffey wrote: > Can you expand on the particulars of this show? > > Thanks, > > Dan > > On 4/19/07, patrick dunagan wrote: > > Some of the World's Diamonds: Pieces from Living Rooms > > > > Andrew McKinley > > Bill Berkson > > Cedar Sigo > > Chris Corales > > Colter Jacobsen > > Corina Bilandzija > > Darin Klein > > David Meltzer > > Donald Guravich > > Duncan McNaughton > > Jeff Butler > > Joanne Kyger > > Kevin Opstedal > > Larry Rinder > > Micah Ballard > > Patrick Dunagan > > Sarah Cain > > Skip Fox > > Steve Dickison > > Sunnylyn Thibodeaux > > Will Skinker > > Will Yackulic > > > > Opening Reception > > Friday April 20th, 6-9pm > > > > April 20th - May 19th > > > > Lew Gallery > > 766 Valencia, 1st Floor S.F. CA 94110 > > > > > -- > http://hyperhypo.org/blog > http://www.pftborder.blogspot.com > ========================================================================= Date: Thu, 19 Apr 2007 19:20:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Re: va tech/restraining orders/guns In-Reply-To: <6e6bf9140704190901s7ae7fc72n99b6b99de5eb680@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit David That's a great question. I too, like you, can't understand. There IS NO answer although you might get some replies that attempt to explain what I would like to call a "fundamental flaw in the system". And I'm also sure there are many in the list who share the same frustration as us. In my notation, Freedom ::Gun = Winged Ants::Fire. Aryanil ----- Original Message ----- From: "David Fernandes" To: Sent: Thursday, April 19, 2007 12:01 PM Subject: Re: va tech/restraining orders/guns > I'm sorry. I'm portuguese so I feel myself like a monkey in this > discussion, > but can someone explain to me why is so easy to buy a gun in USA? It's > really legal to buy one? Is it something to do with freedom? > > David > Portugal > > > 2007/4/19, Suzanne Burns : >> >> On 4/18/07, linda norton wrote: >> > >> > >> > >> > Predictably, the NRA folks are posting on the Times VA TECH story >> > blogs, >> > saying that this >> > murderer could have been stopped if everyone on campus had been packing >> > guns . . . >> >> >> >> I get so outraged when people make that absurd wild west argument that >> the >> solution to the situation is for EVERYONE to have guns. Gee, even >> children? This sort of logic is the sign of things really breaking down. >> It's absurd, its dangerous, and while we are at it it didn't even work in >> the "wild west". More people having guns = a greater likelihood that >> your >> gun will be stolen or used against you or picked up by a small child, >> etc. >> It means nobody is safe. *fume* >> >> I can't believe that we live in a cuntry where so many people cannot get >> emdical care (including mental health services) but anyone can get a >> gun. >> I heard commentator on the radio last night who made the point that if >> an >> anti-depressant caused 30,000 deaths a year, you bet we would control >> it-- >> but nobody wants to control the guns. *fume* >> >> It also just came out today that yes in fact the killer WAS declared a >> danger to himself and others-- but almost nothing was done about it. >> >> I am so outraged I can't even speak. Holy crap. >> > ========================================================================= Date: Thu, 19 Apr 2007 18:50:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Virginia, revenge & masculine myths In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hey folks, bottom line, the Brits and the French watch the same movies, have massive immigration issues and racial and class hatreds, fight stupid wars ojn occasion, take all kinds of medication that only need to be represcribed after a couple of refills, have psychotics walking the streets basically untended, and there's the usual adolescent viciousness. Why don't they have incidents like Columbine and Va Tech as often as we do (still pretty rare, given our numbers)? Aside from some of the amenities of civilized life like socialized medicine, which really does lower stress levels, and the incarceration of a much smaller percentage of the population, a major difference is that the crazies don't have automatic weapons (or guns of any sort, usually). Lack of means can get you through the hard times. The mysteries of human motivation don't need to be solved to change the gun laws. Mark At 04:39 PM 4/19/2007, you wrote: >Good comments from Dillon Westbrook and Steve Vincent! There's one >detail that's been studiously avoided by commentators on the >Virginia Tech shootings and on Cho: the fact that he had been taking >prescription medication. Given that psychotic side effects are >often produced by these one-size-fits-all prescriptions ("take these >and get a refill when you're done"), I'm surprised folks haven't >been taking aim at the pharmaceutical industry as well as the firearms lobby. > >Evidently during middle school and high school, Cho had been bullied >and subjected to taunts for his reticence and his "accent" as if all >of us don't speak with accents -- "Go back to China," was a >particularly ignorant example. So we also need to look at racism >and the Darwinian pecking orders --cliques, petty rivalries, >bullying -- of students in the U.S. school system as contributory causes. > >And a footnote on Nikki Giovanni: a few decades back, before she >became a distinguished professor of creative writing, she wrote a >poem called, if memory serves: "nigger can you kill," in which the >"interpellated subject" is interrogated as to his/her capacity to >kill several allegedly deserving targets, including "a >jew." Several years later, though, she took a trip to apartheid >South Africa while a boycott was on!! (Baraka, himself no stranger >to rhetorical violence, called her on that in no uncertain terms -- >not one of his more fortunate poetic polemics, either; it was >entitled "Niggy the Ho" and went downhill from there.) ========================================================================= Date: Fri, 20 Apr 2007 12:19:14 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: in response to the virginia tech discussion... In-Reply-To: <8f6eafee0704191345wb1b71a2s7160abe8ceb62b1a@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline It's not violence in writing that's the problem. It's the violence in our relationships, personally and internationally, to the environment, to our own lives. Children can be exposed to violence in media and suffer no harm if their home environment is strong and nurturing enough to permit them to distinguish between fantasy and reality. They can be prevented, in a mistaken form of protection, from encountering media representations of violence but be damaged by the violence they encounter in their everyday lives - I'm speaking about the kinds of controlling violence often embedded in parental, school, legal authority - and end up totally fucked up. In fact, representations of violence or other confronting aspects of reality in the imaginative world might be an important part of developing a child's moral understanding of self and other, a way of experimenting safely, of confronting real fears in a way that causes them no actual harm. I worry deeply that people blame the act of writing for the massacre. From where I'm looking, that was the least problematic aspect of this boy's behaviour. I can't help wondering: if he had found a place where he could imaginatively exercise and work out his violence, would he have been able to contain it, find some kind of catharsis that didn't involve shooting people? How many doors were shut by his being thrown out of creative writing classes because of his offensive work? (Thinking here of John Waters' comment that if he had not been an artist, he would be a mass murderer). Although I acknowledge that there were clearly other factors at work, most significantly mental illness, which is by and large treated as a problem of controlling excessive behaviour rather than working out what is actually wrong (complex, I know, and not always something that can be healed). By this logic, Harold Pinter and Sarah Kane - both writers who have written plays that brutally confront human violence - would be condemned as potential mass murderers, or even responsible for the violence they in fact decry. People seem often very eager to condemn the representation of facets of existence they don't like, while at the same time refusing to address its reality. If you say that it's "not ok" to write about violence, where do you stop? Do we just churn out pap that has nothing to do with the world we live in, so everyone can feel more comfortable? All the best Alison -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Thu, 19 Apr 2007 19:29:02 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Re: va tech/restraining orders/guns Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Yes, it is a great question and it's one that many of us ask. Assuming you are not asking this in a completely rhetorical manner, I will hazard an answer that others may augment and/or correct. The NRA (National Rifle Association, a powerful lobby with money to reward those politicians who agree with it and tarnish and destroy those who oppose it) says that universal access to firearms is a part of the U. S. Constitution, through the 2nd amendment, I believe. The Constitution is a living document, interpreted and reinterpreted nad very rarely amended (or, as it happens, ignored and scorned and undermined by this administration). Originally the idea was that citizens should be able to combat a militia of tyrants, should the U. S. government become what the founders hoped they'd left behind in Europe: religious zealots with militias, absolute monarchies, etc. (i.e., fascists--we would now say). I am assuming that your questions were sincere and not completely satirical, though of course there is nothing funny about the anti-democratic, unconstitutional administration under which we are living now--under an executive branch that claims absolute power and exemption from the system of checks and balances that is fundamental to the idea of democracy, that tries to destroy the separation of church and state in the U.S., that ignores the right to privacy, yet supports a "fundmamental" right of all citizens to get hold of guns (including semi-automatic waepons) for any purpose, at any time, with no waiting period and no background check (if the NRA has its way, which it does in many states--and from those states, weapons flowly easily across the U. S. and into the hands of people around the globe). Worth remembering, as I think someone else on the list noted, that the "weapons" the 2nd amendment was designed to consider were primarily MUSKETS in rural settings in a country that was sparsely populated--not semi-automatic weapons on college campuses, in Burgar Kings, in ghetto neighborhoods, in schools. I hope I have not been naive in taking your question too literally. On the other hand, what the hell. Millions of people must wonder why this is happening in America. Leaving aside all the extra cultural, macho, economic factors, the U. S. Constitution as abused and misinterpreted by the NRA is the reason for this nightmare. I leave aside the way that the U. S. government has used weapons to subdue and destroy internal populations of slaves from Africa and their descendants, Native Americans, etc. There never was any Constitutional provision allowing for that, and the most vehement supporters of the National Rifle Association now would never have supported the right of legitimately endangered people to bear arms against the U. S. government and its sanctioned oppressors, including local police departments, slaveholders, tribal chiefs, etc. -----Original Message----- >From: Aryanil Mukherjee >Sent: Apr 19, 2007 4:20 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: va tech/restraining orders/guns > >David > >That's a great question. I too, like you, can't understand. There IS NO >answer although you might get some replies that attempt to explain what I >would like to call a "fundamental flaw in the system". And I'm also sure >there are many in the list who share the same frustration as us. > >In my notation, > >Freedom ::Gun = Winged Ants::Fire. > >Aryanil >----- Original Message ----- >From: "David Fernandes" >To: >Sent: Thursday, April 19, 2007 12:01 PM >Subject: Re: va tech/restraining orders/guns > > >> I'm sorry. I'm portuguese so I feel myself like a monkey in this >> discussion, >> but can someone explain to me why is so easy to buy a gun in USA? It's >> really legal to buy one? Is it something to do with freedom? >> >> David >> Portugal >> >> >> 2007/4/19, Suzanne Burns : >>> >>> On 4/18/07, linda norton wrote: >>> > >>> > >>> > >>> > Predictably, the NRA folks are posting on the Times VA TECH story >>> > blogs, >>> > saying that this >>> > murderer could have been stopped if everyone on campus had been packing >>> > guns . . . >>> >>> >>> >>> I get so outraged when people make that absurd wild west argument that >>> the >>> solution to the situation is for EVERYONE to have guns. Gee, even >>> children? This sort of logic is the sign of things really breaking down. >>> It's absurd, its dangerous, and while we are at it it didn't even work in >>> the "wild west". More people having guns = a greater likelihood that >>> your >>> gun will be stolen or used against you or picked up by a small child, >>> etc. >>> It means nobody is safe. *fume* >>> >>> I can't believe that we live in a cuntry where so many people cannot get >>> emdical care (including mental health services) but anyone can get a >>> gun. >>> I heard commentator on the radio last night who made the point that if >>> an >>> anti-depressant caused 30,000 deaths a year, you bet we would control >>> it-- >>> but nobody wants to control the guns. *fume* >>> >>> It also just came out today that yes in fact the killer WAS declared a >>> danger to himself and others-- but almost nothing was done about it. >>> >>> I am so outraged I can't even speak. Holy crap. >>> >> ========================================================================= Date: Thu, 19 Apr 2007 21:47:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: N word Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Chinese translation error blamed for slur on sofa label POSTED: 9:23 p.m. EDT, April 19, 2007 http://www.cnn.com/2007/WORLD/americas/04/19/canada.couch.ap/index.html TORONTO, Ontario (AP) -- Doris Moore was shocked when her new couch was delivered to her Toronto home with a label that used a racial slur to describe the dark brown shade of the upholstery. The situation was even more alarming for Moore because it was her 7- year-old daughter who pointed out "nigger brown" on the tag. "My daughter saw the label and she knew the color brown, but didn't know what the other word meant. She asked, 'Mommy, what color is that?' I was stunned. I didn't know what to say. I never thought that's how she'd learn of that word," Moore said. The mother complained to the furniture store, which blamed the supplier, who pointed to a computer problem as the source of the derogatory label Kingsoft Corp., a Chinese software company, acknowledged its translation program was at fault and said it was a regrettable error. "I know this is a very bad word," Huang Luoyi, a product manager for the Beijing-based company's translation software, told The Associated Press in a telephone interview. He explained that when the Chinese characters for "dark brown" are typed into an older version of its Chinese-English translation software, the offensive description comes up. "We got the definition from a Chinese-English dictionary. We've been using the dictionary for 10 years. Maybe the dictionary was updated, but we probably didn't follow suit," he said. Moore, who is black, said Kingsoft's acknowledgment of a mistake does not make her feel better. "They should know what they are typing, even if it is a software error," she said. "In order for something to come into the country, don't they read it first? Doesn't the manufacturer? The supplier?" Romesh Vanaik, owner of Vanaik Furniture, where Moore bought the sofa, said it has been a best seller. He said he checked his stock but found no other couch with the offensive label. "It's amazing. I've been here since 1972 and I never knew the meaning of this word," said Vanaik, a native of India. His supplier, Paul Kumar of Cosmos Furniture in Toronto, denied responsibility and refused to give the name of the couch's Chinese manufacturer. "It's not my fault. It's not the manufacturers' fault," he said, adding that Kingsoft was to blame. Huang said Kingsoft has worked to correct the translation error. In the 2007 version, typing "dark brown" in Chinese does not produce the racial slur in English. But if the offensive term is typed in English, the Chinese translation is "dark brown," he said. Moore is consulting with a lawyer and wants compensation. Last week, she filed a report with the Ontario Human Rights Commission. Commission spokeswoman Afroze Edwards said the case is in the initial stages and could take six months to two years to resolve. Moore, 30, has three young children, and said the issue has taken a toll on her family. "Something more has to be done. We don't just need a personal apology, but someone needs to own up to where these labels were made, and someone needs to apologize to all people of color," Moor 24/7 PROTOMEDIA BREEDING GROUND JOGLARS CROSSMEDIA BROADCAST (collaborative text & media) http://www.joglars.org SPIDERTANGLE International Network of VisPoets http://www.spidertangle.net XEXOXIAL EDITIONS Appropriate Scale Publishing since 1980 http://www.xexoxial.org INTERNALATIONAL DICTIONARY OF NEOLOGISMS research | reference | ongoing collection http://www.neologisms.us Dreamtime Village Hypermedia Permaculture EcoVillage in Southwest Wisconsin http://www.dreamtimevillage.org "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Thu, 19 Apr 2007 23:41:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: Device for making words MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Device for making words -- Peter Ciccariello http://invisiblenotes.blogspot.com/ ========================================================================= Date: Fri, 20 Apr 2007 00:49:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: My Lost Films MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed My Lost Films I made films from 1969-1993; most of them were carried by Canyon Cinema in San Francisco. The films are all mast prints; I didn't copy them, but showed the originals, since I wanted to use what little funds I had to produce more. They were shown periodically at Millennium in New York, and occasionally elsewhere, but they've never been part of the film community; as a result, they've hardly been shown. Canyon Cinema returned them after the board voted against handling masters, which could be damaged during a screening of course. They were then placed at the Filmmakers Coop here in NY, where they've remained on the shelf for fifteen years; I doubt anyone has rented or seen them. I don't know their condition at this point; many of the 16mm ones had mag stripe sound on them, which is susceptible to print-through. They were featured prominently in the 1992 Canyon Cinema catalog, just before Canyon changed its mind about handling them. (I should add that my videos have been available at times from places like Printed Matter or Art Metropole, but these can be duplicated.) I'm saddened that they remain unscreened - there are probably 15-24 hours worth. There are a large number of them; for a while, when I was teaching at UCLA, I made a film every week, mostly 16mm black and white sound, imitating the older silent film production strategies and rates. For me the films broke a lot of new ground - not least, in optical/magnetic soundtrack experimentation, but they're quiet, moot on that point. So I recently found a copy of the 1992 catalog and xeroxed the six pages that describe my work. I am forced to think of the pages themselves as a new film, made from the silence of the old; they read as a narrative of concerns, experimentations, confusions, and theory-work changing over a twenty-year period (although to be fair, most were made between 1980 and 1992). The image URLs are given below. Read the texts, imagine watching the films, and maybe in some absurd future, they'll come to life again. http://www.asondheim.org/canyonfilm1.jpg http://www.asondheim.org/canyonfilm2.jpg http://www.asondheim.org/canyonfilm3.jpg http://www.asondheim.org/canyonfilm4.jpg http://www.asondheim.org/canyonfilm5.jpg http://www.asondheim.org/canyonfilm6.jpg http://www.asondheim.org/canyonfilm7.jpg ========================================================================= Date: Fri, 20 Apr 2007 02:10:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: OT: NYC-Area/2007 Mets Tix for Sale Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi all, =20 Apologies for the non-Boog/poetry email. =20 I've renewed my Mets Sunday plan for the 2007 season and I thought I'd see if any of you might be interested in buying any tickets (and get the poetic mojo by sitting in the same place where Jim Behrle, Jordan Davis, Jean-Paul Pecqueur, and Nathaniel Siegel have sat in years past). I've been sitting i= n the same section for the past nine, now 10, years--mezzanine, sec. 2 (behin= d home plate). I have two tickets for each game (prices below are per pair), and they're under the overhang, so you don't get burned in the sun or wet i= n the rain. =20 If you're interested in buying any tickets (or know someone who is) you can email me here. (Note that the Mets charge different prices depending upon the opponents and the date, so you'll see, for example, that the Brewers=B9 game costs less than the Diamondbacks=B9 game.) =20 Hope this finds you well (and lets go Mets!) =20 as ever, David =20 -------- =20 all dates are Sundays, 1:10 p.m. =20 May 13 vs. Milwaukee Brewers, $54 Mother's Day Visor First 25,000 Female Fans =20 =20 June 3 vs. Arizona Diamondbacks, $58 Visor First 25,000 Fans =20 =20 July 29 vs. Washington, $62 Seat Cushion First 25,000 Adults =20 Mr. Met Dash (allows children 12 and under to run the bases at Shea after the game, weather permitting). =20 =20 August 12 vs. Florida, $62 Sports Bag First 25,000 Fans =20 Mr. Met Dash (allows children 12 and under to run the bases at Shea after the game, weather permitting). =20 =20 September 9 vs. Houston, $58 Take HER out to the Ballgame First 25,000 Female Fans receive a TBA gift =20 =20 September 16 vs. Philadelphia, $58 Long-sleeved T-shirt First 25,000 Fans =20 Mr. Met Dash (allows children 12 and under to run the bases at Shea after the game, weather permitting). --=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, 20 Apr 2007 09:44:51 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Virginia, revenge & masculine myths In-Reply-To: <7.0.1.0.1.20070419183835.05add008@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Right. There have been some terrible incidents, but If I remember correctly, overall, the murder rates in European countries run about 1/3 of those in the US. Mark Weiss wrote: Hey folks, bottom line, the Brits and the French watch the same movies, have massive immigration issues and racial and class hatreds, fight stupid wars ojn occasion, take all kinds of medication that only need to be represcribed after a couple of refills, have psychotics walking the streets basically untended, and there's the usual adolescent viciousness. Why don't they have incidents like Columbine and Va Tech as often as we do (still pretty rare, given our numbers)? Aside from some of the amenities of civilized life like socialized medicine, which really does lower stress levels, and the incarceration of a much smaller percentage of the population, a major difference is that the crazies don't have automatic weapons (or guns of any sort, usually). Lack of means can get you through the hard times. The mysteries of human motivation don't need to be solved to change the gun laws. Mark At 04:39 PM 4/19/2007, you wrote: >Good comments from Dillon Westbrook and Steve Vincent! There's one >detail that's been studiously avoided by commentators on the >Virginia Tech shootings and on Cho: the fact that he had been taking >prescription medication. Given that psychotic side effects are >often produced by these one-size-fits-all prescriptions ("take these >and get a refill when you're done"), I'm surprised folks haven't >been taking aim at the pharmaceutical industry as well as the firearms lobby. > >Evidently during middle school and high school, Cho had been bullied >and subjected to taunts for his reticence and his "accent" as if all >of us don't speak with accents -- "Go back to China," was a >particularly ignorant example. So we also need to look at racism >and the Darwinian pecking orders --cliques, petty rivalries, >bullying -- of students in the U.S. school system as contributory causes. > >And a footnote on Nikki Giovanni: a few decades back, before she >became a distinguished professor of creative writing, she wrote a >poem called, if memory serves: "nigger can you kill," in which the >"interpellated subject" is interrogated as to his/her capacity to >kill several allegedly deserving targets, including "a >jew." Several years later, though, she took a trip to apartheid >South Africa while a boycott was on!! (Baraka, himself no stranger >to rhetorical violence, called her on that in no uncertain terms -- >not one of his more fortunate poetic polemics, either; it was >entitled "Niggy the Ho" and went downhill from there.) ========================================================================= Date: Fri, 20 Apr 2007 10:54:33 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Fernandes Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline No, no. My questions were well intentioned: not satirical, nor rethorical, no, no. The case is that here in Portugal the legislation on gun posession is quite restrictive. Making it simple, the use of guns to the common citizens is limited to hunting and sports and in well defined cases for security purposes like: owning a jewelry and similar cases (in anycase there are procedings to meet like medical (psichic) certificate, etc); but never ever allowed the use of the so called "military" weapons. I don't know if it is of any help but I can point you to the legislation about this issue here (in portuguese, sorry) which is quite recent (Feb, 2006): http://www.psp.pt/psp/legislacao/Leis/L5_2006.pdf Anyhow, a powerfull "gun business lobby" somebody refered to, doesn't exit here. Thank you for your time answering my questions. PS: About the political side of the "thing" I could quote George Oppen, a rather "not loved" american poet that once wrote in a letter, about the Vietname, something like: "people should march on Washigton and arrest the president". I still believe in democracy, and I still believe that the people have the power to change things. David Portugal ========================================================================= Date: Fri, 20 Apr 2007 07:23:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: speaking of violence MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit tv turnoff week is April 23-29 There's a related website; give a look. www.tvturnoff.org maybe recent events will make more people willing to give it a try--tell your students. charlie -------------- www.poetrypoetry.com where you hear poems read by poets who wrote them www.myspace.com/charlierossiter hear Charlie as solo performance poet www.myspace.com/avantretro (hear avantretro poems) ========================================================================= Date: Fri, 20 Apr 2007 08:24:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Burns Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 4/19/07, Aryanil Mukherjee wrote: > > David > > That's a great question. I too, like you, can't understand. There IS NO > answer although you might get some replies that attempt to explain what I > would like to call a "fundamental flaw in the system". And I'm also sure > there are many in the list who share the same frustration as us. > > In my notation, > > Freedom ::Gun = Winged Ants::Fire. I agree with Aryanil. I think part of the problem is that a lot of people disagree on how to interpret the second amendment to our constitution (the first ten amendments are considered to be the most fundamental in terms of basic rights). It reads as follows: "A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed." The gun-toting wingnuts (yeah, I'm a little biased here) interpret this to mean that that people should experience no restrictions to buying any kind of weaponry they want. They experience any restriction as a violation of this amendment, and then out come the waving flags. The problem with this interpetation is that back when the amendment was written, the United States didn't have a police force such as we have today, and if people wanted to be protected, they had to organize their own militias and work it out among themselves. The realities of life, what guns were and what it meant to have a gun were radically different back then. They also didn't have handguns, saturday night specials, or automatic weapons back then. I also don't see how reasonable restrictions should be a violation. Plenty of people, myself included, feel that this amendment simply does not adequately reflect modern day reality. Here is a little something I am snippeting from Wikipedia, which covers it all pretty exhaustively ( http://en.wikipedia.org/wiki/Second_Amendment_to_the_United_States_Constitution ): The modern Second Amendment debate centers on questions such as: - Who does the Amendment mean by "the People"? - Why does the Amendment protect the right to 'keep *and* bear arms', and not protect just the right to 'bear arms'? - Does "bear arms" *or* "keep and bear arms" mean the same now as it did in 1789? - Is there significance that the Amendment is constructed of two clauses? - Is there significance that the phrase "defense of himself/themselves *and* the State" was included in some State Constitutions at the time but not included in the Federal Second Amendment? In addition, the debate often involves discussion focused on more precise details around the word "militia" from the first clause portion of the Second Amendment, such as: - Who or what does the Amendment mean by the "militia "? - What relationship does "militia" today have with "militia" in 1789? - What is meant by "well regulated", relative to "militia"? - Does the mention of "militia" in the Second Amendment mean that maintaining viable militia is the 'obvious purpose' of the Second Amendment? It also often involves topics on differences in historical meanings and thoughts such as: - What does "shall not be infringed" mean? It also expands to include discussions on the impact among states, such as: - Does the Amendment prohibit States from regulating arms? - Does the Amendment permit some States to deviate from interpretations of the Amendment as taken by other States? I hope this helps somewhat. Suzanne Burns ========================================================================= Date: Fri, 20 Apr 2007 07:32:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: North-3 Text-4 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable North-3 Text-4 http://web.pdx.edu/~pdx00282/North/North-3/text-4.htm Introduction: http://web.pdx.edu/~pdx00282/North/Intro.htm Notes:=20 Speakers on. Paratext boxes opened by holding curser over words. (Words linked to = paratext will disappear.) -Joel ========================================================================= Date: Fri, 20 Apr 2007 08:22:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: For fans of Rae Armantrout.... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ....I think you might really like this piece, that culminates in an analysis of one of Armantrout's best poems... http://www.wordforword.info/vol11/fieled.htm Love on yer, Ad http://www.adamfieled.blogspot.com http://www.artrecess.blogspot.com --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Fri, 20 Apr 2007 18:04:22 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Fernandes Subject: Re: va tech/restraining orders/guns In-Reply-To: <574595.14285.qm@web86003.mail.ird.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline If the problem is in the "owners lobby", then you're facing a really huge problem. Just a thought: politicaly, I guess the voters (the votes lost) are not a problem if all politic forces agreed to change the law. But/and then, the power of the owners was an ARMY power not a democratic power. Hmmm, frightening. I believe not all politic forces agree on this. But for those who claim security reasons for the current law, aren't they assuming their lack of capacity to enforce security and order?? on a state level?? David 2007/4/20, Barry Schwabsky : > > The "gun lobby" someone referred to is not the gun-maker's lobby, but > rather the gun-owners' lobby! Of course the manufacturers support it. But it > represents a large number of voters, and it is very strong. > > *David Fernandes * wrote: > > No, no. My questions were well intentioned: not satirical, nor rethorical, > no, no. > The case is that here in Portugal the legislation on gun posession is > quite > restrictive. > Making it simple, the use of guns to the common citizens is limited to > hunting and sports and in well defined cases for security purposes like: > owning a jewelry and similar cases (in anycase there are procedings to > meet > like medical (psichic) certificate, etc); but never ever allowed the use > of > the so called "military" weapons. > I don't know if it is of any help but I can point you to the legislation > about this issue here (in portuguese, sorry) which is quite recent (Feb, > 2006): http://www.psp.pt/psp/legislacao/Leis/L5_2006.pdf > > Anyhow, a powerfull "gun business lobby" somebody refered to, doesn't exit > here. > > Thank you for your time answering my questions. > > PS: About the political side of the "thing" I could quote George Oppen, a > rather "not loved" american poet that once wrote in a letter, about the > Vietname, something like: "people should march on Washigton and arrest the > president". I still believe in democracy, and I still believe that the > people have the power to change things. > > David > Portugal > > > ========================================================================= Date: Fri, 20 Apr 2007 12:08:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: vispoets.com weekly winner & more Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii In the reward for interestingness weekly event* at vispoets.com, the winner for week #6 is: michelle detorie this image: which hard thing held** Congratulations to michelle, there's $25 worth of materials on their way to you from Andrew Topel's Avantacular Press. Thanks to everyone who uploaded images to the gallery this week. Keep uploading new images for your chance to win. Starting next Friday, the 27th, we'll be moving to a once-a-month prize of $100 instead of weekly $25 prizes. Regards, Dan * http://vispoets.com/index.php?showtopic=481 ** http://vispoets.com/index.php?automodule=gallery&req=si&img=1347 ---------------------------- vispoets.com stats (to date) ---------------------------- Registered Users: 97 Total Posts: 3392 Gallery Stats Our members have posted a total of 1172 images and made 126 comments. Total Gallery Size: 206mb Total Image Views: 11047 ========================================================================= Date: Fri, 20 Apr 2007 08:55:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Virginia, revenge & masculine myths In-Reply-To: <7.0.1.0.1.20070419183835.05add008@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline you mean aside from the odd pub or gov't building bombing here and there, for, oh, the past 40 odd years, and a few riots? seriously, it is the same young men, but they tend to act as individuals in the US, which makes sense; but the whole amber alert and bomb security thing was commonplace in London in the 80s -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Fri, 20 Apr 2007 11:54:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: FW: poetry is dangerous Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, Constant Critic , ImitaPo Memebers , new-poetry@wiz.cath.vt.edu, "Poetnews@Poets. Org" , Poetryetc provides a venue for a dialogue relating to poetry and poetics Comments: cc: Kazim Ali MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Poetry is Dangerous Kazim Ali On April 19, after a day of teaching classes at Shippensburg University, I went out to my car and grabbed a box of old poetry manuscripts from the front seat of my little white beetle and carried it across the street and put it next to the trashcan outside Wright Hall. The poems were from poetry contests I had been judging and the box was heavy. I had previously left my recycling boxes there and they were always picked up and taken away by the trash department. A young man from ROTC was watching me as I got into my car and drove away. I thought he was looking at my car which has black flower decals and sometimes inspires strange looks. I later discovered that I, in my dark skin, am sometimes not even a person to the people who look at me. Instead, in spite of my peacefulness, my committed opposition to all aggression and war, I am a threat by my very existence, a threat just living in the world as a Muslim body. Upon my departure, he called the local police department and told them a man of Middle Eastern descent driving a heavily decaled white beetle with out of state plates and no campus parking sticker had just placed a box next to the trash can. My car has NY plates, but he got the rest of it wrong. I have two stickers on my car. One is my highly visible faculty parking sticker and the other, which I just don't have the heart to take off these days, says "Kerry/Edwards: For a Stronger America." Because of my recycling the bomb squad came, the state police came. Because of my recycling buildings were evacuated, classes were canceled, campus was closed. No. Not because of my recycling. Because of my dark body. No. Not because of my dark body. Because of his fear. Because of the way he saw me. Because of the culture of fear, mistrust, hatred, and suspicion that is carefully cultivated in the media, by the government, by people who claim to want to keep us 'safe.' These are the days of orange alert, school lock-downs, and endless war. We are preparing for it, training for it, looking for it, and so of course, in the most innocuous of places-a professor wanting to hurry home, hefting his box of discarded poetry-we find it. That man in the parking lot didn't even see me. He saw my darkness. He saw my Middle Eastern descent. Ironic because though my grandfathers came from Egypt, I am Indian, a South Asian, and could never be mistaken for a Middle Eastern man by anyone who'd ever met one. One of my colleagues was in the gathering crowd, trying to figure out what had happened. She heard my description-a Middle Eastern man driving a white beetle with out of state plates-and knew immediately they were talking about me and realized that the box must have been manuscripts I was discarding. She approached them and told them I was a professor on the faculty there. Immediately the campus police officer said, "What country is he from?" "What country is he from?!" she yelled, indignant. "Ma'am, you are associated with the suspect. You need to step away and lower your voice," he told her. At some length several of my faculty colleagues were able to get through to the police and get me on a cell phone where I explained to the university president and then to the state police that the box contained old poetry manuscripts that needed to be recycled. The police officer told me that in the current climate I needed to be more careful about how I behaved. "When I recycle?" I asked. The university president appreciated my distress about the situation but denied that the call had anything to do with my race or ethnic background. The spokesperson of the university called it an "honest mistake," not referring to the young man from ROTC giving in to his worst instincts and calling the police but referring to me who made the mistake of being dark-skinned and putting my recycling next to the trashcan. The university's bizarrely minimal statement lets everyone know that the "suspicious package" beside the trashcan ended up being, indeed, trash. It goes on to say, "We appreciate your cooperation during the incident and remind everyone that safety is a joint effort by all members of the campus community." What does that community mean to me, a person who has to walk by the ROTC offices every day on my way to my own office just down the hall-who was watched, noted, and reported, all in a day's work? Today we gave in willingly and whole-heartedly to a culture of fear and blaming and profiling. It is deemed perfectly appropriate behavior to spy on one another and police one another and report on one another. Such behaviors exist most strongly in closed and undemocratic and fascist societies. The university report does not mention the root cause of the alarm. That package became "suspicious" because of who was holding it, who put it down, who drove away. Me. It was poetry, I kept insisting to the state policeman who was questioning me on the phone. It was poetry I was putting out to be recycled. My body exists politically in a way I can not prevent. For a moment today, without even knowing it, driving away from campus in my little beetle, exhausted after a day of teaching, listening to Justin Timberlake on the radio, I ceased to be a person when a man I had never met looked straight through me and saw the violence in his own heart. ==== www.kazimali.com www.alicejamesbooks.org/far_mosque.html ==== __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 20 Apr 2007 08:45:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: speaking of violence In-Reply-To: <1391.75.3.181.45.1177071817.squirrel@www.poetrypoetry.org> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline during the stanley cup and the nba playoffs? -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Fri, 20 Apr 2007 10:41:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: REMINDER: Kevin Varrone, Pattie McCarthy, Buck Downs, Chris Toll at ROBIN'S BOOKSTORE! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline REMINDER: Kevin Varrone, Pattie McCarthy, Buck Downs, Chris Toll at ROBIN'S BOOKSTORE! IF YOU MISS THIS READING DON'T COME CRYING TO ME WHEN YOU HEAR HOW GOOD IT WAS! DETAILS ON THE PHILLYSOUND!: http://PhillySound.blogspot.com Sunday, April 22nd 4pm ROBIN'S BOOKSTORE 108 S. 13th St., Philly Kevin Varrone is the author of the chapbook, g-point Almanac (6/21-9/21) (ixnay press, 2000) and the forthcoming collection id est (g-point Almanac 9/22-12-20) (forthcoming, Fall 2007, from Instance Press). He teaches at Temple University and The University of the Arts in Philadelphia. Pattie McCarthy is the author of bk of (h)rs (2002) and Verso (2004), both from Apogee Press. She teaches at Temple University and the University of the Arts in Philadelphia. Chris Toll has been writing for many many years. In 2006, Open 24 Hours Press published his chapbook, Love Everyone. Apathy Press has just released his new book, Be Light - it is half of a double book with Buck Downs - Buck's half is Recreational Vehicle. A native of Jones County, Miss., Buck Downs lives in Washington D.C. and works for a database publisher in a nearby location. Recent projects include Recreational Vehicle (Apathy Poets Press) and Ladies Love Outlaws (Edge Books). ========================================================================= Date: Fri, 20 Apr 2007 10:39:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: soft skull authors REPRESENT at the Philadelphia Book Festival MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline this saturday details here at http://CAConradEVENTS.blogspot.com ========================================================================= Date: Fri, 20 Apr 2007 14:41:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: FW: poetry is dangerous In-Reply-To: <005801c78364$3d198780$030aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" I have been discussing this sad and disturbing thing that has happened to Kazim with a couple of other writers and we have decided to write letters to the President of Shippensburg, William Ruud, encouraging him to speak out more forcefully against this kind of fear-mongering. In Dr. Ruud's statement regarding the VT shooting, he says: "Here at Ship we consider ourselves to be a family, and it is important we all look out for each other, just like you do for your own family... If anyone has suggestions on ways to enhance safety or ways to communicate better, please let me know." This might be something to mention, if you feel inclined to write a letter in support of Kazim. As Jeff Davis says: The situation he [Kazim] describes troubles me. His perspective I don't think is schewed, unfair, or reactionary. I know Kazim. Not only is Kazim's poetic sensitivity to nuance and sound among the finest I've read in years; in my personal encounters with Kazim, he strikes me as one of the most peaceful, non-violent people I know. Kazim's situation with the police mirrors a sweeping trend in American behavior especially among officials, university administrators, business CEOs, and politicians: a pusillinamity that renders them without courage or integrity to take responsibility or to speak honestly. Why? To play it safe. To pretend that nothing's amiss. To avoid conflict. To avoid truth. Contact info for the President of Shippensburg: William Ruud President Shippensburg University 1871 Old Main Drive Shippensburg, PA 17257 wnruud@ship.edu 717-477-1301 Dr. Brian Clements, Coordinator MFA in Professional Writing 203-837-8876 _____ Dept. of Writing, Linguistics, and Creative Process Western Connecticut State University 181 White St. Danbury, CT 06810 _____ http://www.wcsu.edu/english/mfa Geoffrey Gatza Sent by: UB Poetics discussion group 04/20/2007 11:54 AM Please respond to UB Poetics discussion group To POETICS@LISTSERV.BUFFALO.EDU cc Subject FW: poetry is dangerous Poetry is Dangerous Kazim Ali On April 19, after a day of teaching classes at Shippensburg University, I went out to my car and grabbed a box of old poetry manuscripts from the front seat of my little white beetle and carried it across the street and put it next to the trashcan outside Wright Hall. The poems were from poetry contests I had been judging and the box was heavy. I had previously left my recycling boxes there and they were always picked up and taken away by the trash department. A young man from ROTC was watching me as I got into my car and drove away. I thought he was looking at my car which has black flower decals and sometimes inspires strange looks. I later discovered that I, in my dark skin, am sometimes not even a person to the people who look at me. Instead, in spite of my peacefulness, my committed opposition to all aggression and war, I am a threat by my very existence, a threat just living in the world as a Muslim body. Upon my departure, he called the local police department and told them a man of Middle Eastern descent driving a heavily decaled white beetle with out of state plates and no campus parking sticker had just placed a box next to the trash can. My car has NY plates, but he got the rest of it wrong. I have two stickers on my car. One is my highly visible faculty parking sticker and the other, which I just don't have the heart to take off these days, says "Kerry/Edwards: For a Stronger America." Because of my recycling the bomb squad came, the state police came. Because of my recycling buildings were evacuated, classes were canceled, campus was closed. No. Not because of my recycling. Because of my dark body. No. Not because of my dark body. Because of his fear. Because of the way he saw me. Because of the culture of fear, mistrust, hatred, and suspicion that is carefully cultivated in the media, by the government, by people who claim to want to keep us 'safe.' These are the days of orange alert, school lock-downs, and endless war. We are preparing for it, training for it, looking for it, and so of course, in the most innocuous of places-a professor wanting to hurry home, hefting his box of discarded poetry-we find it. That man in the parking lot didn't even see me. He saw my darkness. He saw my Middle Eastern descent. Ironic because though my grandfathers came from Egypt, I am Indian, a South Asian, and could never be mistaken for a Middle Eastern man by anyone who'd ever met one. One of my colleagues was in the gathering crowd, trying to figure out what had happened. She heard my description-a Middle Eastern man driving a white beetle with out of state plates-and knew immediately they were talking about me and realized that the box must have been manuscripts I was discarding. She approached them and told them I was a professor on the faculty there. Immediately the campus police officer said, "What country is he from?" "What country is he from?!" she yelled, indignant. "Ma'am, you are associated with the suspect. You need to step away and lower your voice," he told her. At some length several of my faculty colleagues were able to get through to the police and get me on a cell phone where I explained to the university president and then to the state police that the box contained old poetry manuscripts that needed to be recycled. The police officer told me that in the current climate I needed to be more careful about how I behaved. "When I recycle?" I asked. The university president appreciated my distress about the situation but denied that the call had anything to do with my race or ethnic background. The spokesperson of the university called it an "honest mistake," not referring to the young man from ROTC giving in to his worst instincts and calling the police but referring to me who made the mistake of being dark-skinned and putting my recycling next to the trashcan. The university's bizarrely minimal statement lets everyone know that the "suspicious package" beside the trashcan ended up being, indeed, trash. It goes on to say, "We appreciate your cooperation during the incident and remind everyone that safety is a joint effort by all members of the campus community." What does that community mean to me, a person who has to walk by the ROTC offices every day on my way to my own office just down the hall-who was watched, noted, and reported, all in a day's work? Today we gave in willingly and whole-heartedly to a culture of fear and blaming and profiling. It is deemed perfectly appropriate behavior to spy on one another and police one another and report on one another. Such behaviors exist most strongly in closed and undemocratic and fascist societies. The university report does not mention the root cause of the alarm. That package became "suspicious" because of who was holding it, who put it down, who drove away. Me. It was poetry, I kept insisting to the state policeman who was questioning me on the phone. It was poetry I was putting out to be recycled. My body exists politically in a way I can not prevent. For a moment today, without even knowing it, driving away from campus in my little beetle, exhausted after a day of teaching, listening to Justin Timberlake on the radio, I ceased to be a person when a man I had never met looked straight through me and saw the violence in his own heart. ==== www.kazimali.com www.alicejamesbooks.org/far_mosque.html ==== __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 20 Apr 2007 14:44:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: speaking of violence In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline pretty much all "american" (USA in origin) sports have violence built in as a "controlled" measure of the game. hockey, tho not of US origin, incorporates violence as does soccer. baseball does to an extent. one could argue that, esp for a sport like hockey, the violence is going to happen. making it "controlled" keeps it from boiling over. of course, this isn't a perfect method, we have seen what happens (todd bertuzzi). basketball doesn't have a built in outlet--hence the incident at the palace, tho i'd argue that ron artest is a pretty foul person to begin with, and incited that. in the sports-side of our culture, i feel americans are fairly honest and the athletes/coaches/owners pretty transparent about the level of violence, addressing it, etc. i don't feel that we recognize fully yet the super-saturation of violence. it's so embedded... On 4/20/07, Catherine Daly wrote: > > during the stanley cup and the nba playoffs? > > > -- > All best, > Catherine Daly > c.a.b.daly@gmail.com > ========================================================================= Date: Fri, 20 Apr 2007 14:47:48 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Peter F. Yacht Club #7 Content-transfer-encoding: 7BIT The Peter F Yacht Club #7 Edited & compiled & typeset & paid for by rob mclennan April 2007 (spring writers festival special) John Barton George Bowering Stephen Brockwell Amanda Earl Jesse Ferguson Laurie Fuhr Phil Hall Nicholas Lea Clare Latremouille Marcus McCann rob mclennan Max Middle Wanda O'Connor Roland Prevost Sandra Ridley Wes Smiderle The Peter F. Yacht Club, issue #7; irregular (very) writers group publication. Edited & compiled & typeset & paid for by rob mclennan. Previous issues still available (possibly) at $5 each. Issue #1, August 2003, edited by rob mclennan; Issue #2, April 2004, edited by Anita Dolman (out of print); Issue #3, September 2004, edited by Peter Norman and Melanie Little; Issue #4, September 2005, edited by rob mclennan; Issue #5, April 2006, edited by Max Middle; Issue #6 (mis-numbered Calgary special), February 2007, edited by Laurie Fuhr. For availability of previous issues, write rob mclennan, c/o 858 Somerset Street West, main floor, Ottawa Ontario Canada K1R 6R7, or email az421@freenet.carleton.ca, or show up to this spring's ottawa international writers festival! (above/ground press subscribers (eventually) rec' a complimentary copy...) for further info, check out http://robmclennan.blogspot.com/2007/04/peter-f-yacht-club-7-edited.html -- poet/editor/publisher ...STANZAS mag, above/ground press & Chaudiere Books (www.chaudierebooks.com) ...coord.,SPAN-O + ottawa small press fair ...13th poetry coll'n - The Ottawa City Project .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 20 Apr 2007 15:11:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: FW: poetry is dangerous In-Reply-To: <005801c78364$3d198780$030aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Kazim said moments ago that he does not want to be attached to a letter writing campaign and intends to speak with his President and union president next week. Dr. Brian Clements, Coordinator MFA in Professional Writing 203-837-8876 _____ Dept. of Writing, Linguistics, and Creative Process Western Connecticut State University 181 White St. Danbury, CT 06810 _____ http://www.wcsu.edu/english/mfa Geoffrey Gatza Sent by: UB Poetics discussion group 04/20/2007 11:54 AM Please respond to UB Poetics discussion group To POETICS@LISTSERV.BUFFALO.EDU cc Subject FW: poetry is dangerous Poetry is Dangerous Kazim Ali On April 19, after a day of teaching classes at Shippensburg University, I went out to my car and grabbed a box of old poetry manuscripts from the front seat of my little white beetle and carried it across the street and put it next to the trashcan outside Wright Hall. The poems were from poetry contests I had been judging and the box was heavy. I had previously left my recycling boxes there and they were always picked up and taken away by the trash department. A young man from ROTC was watching me as I got into my car and drove away. I thought he was looking at my car which has black flower decals and sometimes inspires strange looks. I later discovered that I, in my dark skin, am sometimes not even a person to the people who look at me. Instead, in spite of my peacefulness, my committed opposition to all aggression and war, I am a threat by my very existence, a threat just living in the world as a Muslim body. Upon my departure, he called the local police department and told them a man of Middle Eastern descent driving a heavily decaled white beetle with out of state plates and no campus parking sticker had just placed a box next to the trash can. My car has NY plates, but he got the rest of it wrong. I have two stickers on my car. One is my highly visible faculty parking sticker and the other, which I just don't have the heart to take off these days, says "Kerry/Edwards: For a Stronger America." Because of my recycling the bomb squad came, the state police came. Because of my recycling buildings were evacuated, classes were canceled, campus was closed. No. Not because of my recycling. Because of my dark body. No. Not because of my dark body. Because of his fear. Because of the way he saw me. Because of the culture of fear, mistrust, hatred, and suspicion that is carefully cultivated in the media, by the government, by people who claim to want to keep us 'safe.' These are the days of orange alert, school lock-downs, and endless war. We are preparing for it, training for it, looking for it, and so of course, in the most innocuous of places-a professor wanting to hurry home, hefting his box of discarded poetry-we find it. That man in the parking lot didn't even see me. He saw my darkness. He saw my Middle Eastern descent. Ironic because though my grandfathers came from Egypt, I am Indian, a South Asian, and could never be mistaken for a Middle Eastern man by anyone who'd ever met one. One of my colleagues was in the gathering crowd, trying to figure out what had happened. She heard my description-a Middle Eastern man driving a white beetle with out of state plates-and knew immediately they were talking about me and realized that the box must have been manuscripts I was discarding. She approached them and told them I was a professor on the faculty there. Immediately the campus police officer said, "What country is he from?" "What country is he from?!" she yelled, indignant. "Ma'am, you are associated with the suspect. You need to step away and lower your voice," he told her. At some length several of my faculty colleagues were able to get through to the police and get me on a cell phone where I explained to the university president and then to the state police that the box contained old poetry manuscripts that needed to be recycled. The police officer told me that in the current climate I needed to be more careful about how I behaved. "When I recycle?" I asked. The university president appreciated my distress about the situation but denied that the call had anything to do with my race or ethnic background. The spokesperson of the university called it an "honest mistake," not referring to the young man from ROTC giving in to his worst instincts and calling the police but referring to me who made the mistake of being dark-skinned and putting my recycling next to the trashcan. The university's bizarrely minimal statement lets everyone know that the "suspicious package" beside the trashcan ended up being, indeed, trash. It goes on to say, "We appreciate your cooperation during the incident and remind everyone that safety is a joint effort by all members of the campus community." What does that community mean to me, a person who has to walk by the ROTC offices every day on my way to my own office just down the hall-who was watched, noted, and reported, all in a day's work? Today we gave in willingly and whole-heartedly to a culture of fear and blaming and profiling. It is deemed perfectly appropriate behavior to spy on one another and police one another and report on one another. Such behaviors exist most strongly in closed and undemocratic and fascist societies. The university report does not mention the root cause of the alarm. That package became "suspicious" because of who was holding it, who put it down, who drove away. Me. It was poetry, I kept insisting to the state policeman who was questioning me on the phone. It was poetry I was putting out to be recycled. My body exists politically in a way I can not prevent. For a moment today, without even knowing it, driving away from campus in my little beetle, exhausted after a day of teaching, listening to Justin Timberlake on the radio, I ceased to be a person when a man I had never met looked straight through me and saw the violence in his own heart. ==== www.kazimali.com www.alicejamesbooks.org/far_mosque.html ==== __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 20 Apr 2007 12:14:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: Red Rover Series / Experiment #12 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Red Rover Series {readings that play with reading} Experiment #12: Poemscape Featuring: Alex Branch Laura Goldstein 7pm Saturday, April 28th suggested donation $3 at Nature Yoga Sanctuary 2021 W Division St -- Chicago, IL http://www.natureyoga.com *special location for this event only* ALEX BRANCH has exhibited art in Chicago, Wisconsin, and Seattle. A major theme in her work involves human interaction with and relation to machines and mechanical devices, as well as the blending of the mechanical and the organic. She is interested in movement, often using discarded objects, motors, and simple crank mechanisms in her sculptures. Alex graduated from the School of the Art Institute of Chicago with a BFA in Fine Arts and currenlty lives in Seattle. LAURA GOLDSTEIN was born in Worcester, Massachusetts where she studied Hebrew and streams. In Philadelphia, she started out studying English and the city at Penn; then studied poetry and experimentation at Temple. In Chicago, she teaches poetry and essay writing at Loyola University, studies sound and performance through the MFA Writing Program at the School of the Art Institute of Chicago, and practices yoga at Nature Yoga Sanctuary. Her poetry and sound work have been published in XConnect, Combo, MPRSND, Great Works UK, and the University of Albany's "The Little Magazine" online. Selections of her sound pieces with the collective Clairaudient can be found on Ubuweb. Red Rover Series is curated bi-monthly by Amina Cain and Jennifer Karmin Email ideas for reading experiments to us at redroverseries@yahoogroups.com Coming up Experiment #13 with Kristin Prevallet in June __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 20 Apr 2007 12:29:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Frank - New Video by Lewis LaCook Comments: To: rhizome , webartery , wryting listserv MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.lewislacook.org/objects/frank.html Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Fri, 20 Apr 2007 12:29:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: poetry is dangerous In-Reply-To: <005801c78364$3d198780$030aa8c0@adminstret4wjx> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit After reading this I thought maybe one 'creative' response might be (for all who want to) is to call the Department of Homeland Security every time one of sees Cheney or Bush on television (they are rarely in the 'real' public). Simply inform the officer on the duty that you have spotted a man carrying and dumping out dangerous sounding speech. Don't give the officer any names, just the name of the site (the White House, or military academy or training grounds - as with most fascists, they can rarely appear anywhere else). And, in the interests of protecting the country, you would appreciate a Department follow up on your suspicion. And that if you are wrong, you are sure that no harm will be done to the individuals that caused you this concern. Who's willing to go first??!! Stephen Vincent http://stephenvincent.net/blog/ > Poetry is Dangerous > Kazim Ali > > > On April 19, after a day of teaching classes at > Shippensburg University, I went out to my car and > grabbed a box of old poetry manuscripts from the front > seat of my little white beetle and carried it across > the street and put it next to the trashcan outside > Wright Hall. The poems were from poetry contests I had > been judging and the box was heavy. I had previously > left my recycling boxes there and they were always > picked up and taken away by the trash department. > > A young man from ROTC was watching me as I got into my > car and drove away. I thought he was looking at my car > which has black flower decals and sometimes inspires > strange looks. I later discovered that I, in my dark > skin, am sometimes not even a person to the people who > look at me. Instead, in spite of my peacefulness, my > committed opposition to all aggression and war, I am a > threat by my very existence, a threat just living in > the world as a Muslim body. > > Upon my departure, he called the local police > department and told them a man of Middle Eastern > descent driving a heavily decaled white beetle with > out of state plates and no campus parking sticker had > just placed a box next to the trash can. My car has > NY plates, but he got the rest of it wrong. I have two > stickers on my car. One is my highly visible faculty > parking sticker and the other, which I just don't have > the heart to take off these days, says "Kerry/Edwards: > For a Stronger America." > > Because of my recycling the bomb squad came, the state > police came. Because of my recycling buildings were > evacuated, classes were canceled, campus was closed. > No. Not because of my recycling. Because of my dark > body. No. Not because of my dark body. Because of his > fear. Because of the way he saw me. Because of the > culture of fear, mistrust, hatred, and suspicion that > is carefully cultivated in the media, by the > government, by people who claim to want to keep us > 'safe.' > > These are the days of orange alert, school lock-downs, > and endless war. We are preparing for it, training for > it, looking for it, and so of course, in the most > innocuous of places-a professor wanting to hurry home, > hefting his box of discarded poetry-we find it. > > That man in the parking lot didn't even see me. He saw > my darkness. He saw my Middle Eastern descent. Ironic > because though my grandfathers came from Egypt, I am > Indian, a South Asian, and could never be mistaken for > a Middle Eastern man by anyone who'd ever met one. > > One of my colleagues was in the gathering crowd, > trying to figure out what had happened. She heard my > description-a Middle Eastern man driving a white > beetle with out of state plates-and knew immediately > they were talking about me and realized that the box > must have been manuscripts I was discarding. She > approached them and told them I was a professor on the > faculty there. Immediately the campus police officer > said, "What country is he from?" > > "What country is he from?!" she yelled, indignant. > > "Ma'am, you are associated with the suspect. You need > to step away and lower your voice," he told her. > > At some length several of my faculty colleagues were > able to get through to the police and get me on a cell > phone where I explained to the university president > and then to the state police that the box contained > old poetry manuscripts that needed to be recycled. The > police officer told me that in the current climate I > needed to be more careful about how I behaved. "When I > recycle?" I asked. > > The university president appreciated my distress about > the situation but denied that the call had anything to > do with my race or ethnic background. The spokesperson > of the university called it an "honest mistake," not > referring to the young man from ROTC giving in to his > worst instincts and calling the police but referring > to me who made the mistake of being dark-skinned and > putting my recycling next to the trashcan. > > The university's bizarrely minimal statement lets > everyone know that the "suspicious package" beside the > trashcan ended up being, indeed, trash. It goes on to > say, "We appreciate your cooperation during the > incident and remind everyone that safety is a joint > effort by all members of the campus community." > > What does that community mean to me, a person who has > to walk by the ROTC offices every day on my way to my > own office just down the hall-who was watched, noted, > and reported, all in a day's work? Today we gave in > willingly and whole-heartedly to a culture of fear and > blaming and profiling. It is deemed perfectly > appropriate behavior to spy on one another and police > one another and report on one another. Such behaviors > exist most strongly in closed and undemocratic and > fascist societies. > > The university report does not mention the root cause > of the alarm. That package became "suspicious" because > of who was holding it, who put it down, who drove > away. Me. > > It was poetry, I kept insisting to the state policeman > who was questioning me on the phone. It was poetry I > was putting out to be recycled. > > My body exists politically in a way I can not prevent. > For a moment today, without even knowing it, driving > away from campus in my little beetle, exhausted after > a day of teaching, listening to Justin Timberlake on > the radio, I ceased to be a person when a man I had > never met looked straight through me and saw the > violence in his own heart. > > > > ==== > > www.kazimali.com > www.alicejamesbooks.org/far_mosque.html > > ==== > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com ========================================================================= Date: Fri, 20 Apr 2007 12:46:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eireene Nealand Subject: Re: poetry is dangerous In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Stephen, That sounds exactly like the right thing to do. Yes! e On 4/20/07, Stephen Vincent wrote: > After reading this I thought maybe one 'creative' response might be (for all > who want to) is to call the Department of Homeland Security every time one > of sees Cheney or Bush on television (they are rarely in the 'real' public). > Simply inform the officer on the duty that you have spotted a man carrying > and dumping out dangerous sounding speech. Don't give the officer any names, > just the name of the site (the White House, or military academy or training > grounds - as with most fascists, they can rarely appear anywhere else). > And, in the interests of protecting the country, you would appreciate a > Department follow up on your suspicion. And that if you are wrong, you are > sure that no harm will be done to the individuals that caused you this > concern. > > Who's willing to go first??!! > > Stephen Vincent > http://stephenvincent.net/blog/ > > > > > > Poetry is Dangerous > > Kazim Ali > > > > > > On April 19, after a day of teaching classes at > > Shippensburg University, I went out to my car and > > grabbed a box of old poetry manuscripts from the front > > seat of my little white beetle and carried it across > > the street and put it next to the trashcan outside > > Wright Hall. The poems were from poetry contests I had > > been judging and the box was heavy. I had previously > > left my recycling boxes there and they were always > > picked up and taken away by the trash department. > > > > A young man from ROTC was watching me as I got into my > > car and drove away. I thought he was looking at my car > > which has black flower decals and sometimes inspires > > strange looks. I later discovered that I, in my dark > > skin, am sometimes not even a person to the people who > > look at me. Instead, in spite of my peacefulness, my > > committed opposition to all aggression and war, I am a > > threat by my very existence, a threat just living in > > the world as a Muslim body. > > > > Upon my departure, he called the local police > > department and told them a man of Middle Eastern > > descent driving a heavily decaled white beetle with > > out of state plates and no campus parking sticker had > > just placed a box next to the trash can. My car has > > NY plates, but he got the rest of it wrong. I have two > > stickers on my car. One is my highly visible faculty > > parking sticker and the other, which I just don't have > > the heart to take off these days, says "Kerry/Edwards: > > For a Stronger America." > > > > Because of my recycling the bomb squad came, the state > > police came. Because of my recycling buildings were > > evacuated, classes were canceled, campus was closed. > > No. Not because of my recycling. Because of my dark > > body. No. Not because of my dark body. Because of his > > fear. Because of the way he saw me. Because of the > > culture of fear, mistrust, hatred, and suspicion that > > is carefully cultivated in the media, by the > > government, by people who claim to want to keep us > > 'safe.' > > > > These are the days of orange alert, school lock-downs, > > and endless war. We are preparing for it, training for > > it, looking for it, and so of course, in the most > > innocuous of places-a professor wanting to hurry home, > > hefting his box of discarded poetry-we find it. > > > > That man in the parking lot didn't even see me. He saw > > my darkness. He saw my Middle Eastern descent. Ironic > > because though my grandfathers came from Egypt, I am > > Indian, a South Asian, and could never be mistaken for > > a Middle Eastern man by anyone who'd ever met one. > > > > One of my colleagues was in the gathering crowd, > > trying to figure out what had happened. She heard my > > description-a Middle Eastern man driving a white > > beetle with out of state plates-and knew immediately > > they were talking about me and realized that the box > > must have been manuscripts I was discarding. She > > approached them and told them I was a professor on the > > faculty there. Immediately the campus police officer > > said, "What country is he from?" > > > > "What country is he from?!" she yelled, indignant. > > > > "Ma'am, you are associated with the suspect. You need > > to step away and lower your voice," he told her. > > > > At some length several of my faculty colleagues were > > able to get through to the police and get me on a cell > > phone where I explained to the university president > > and then to the state police that the box contained > > old poetry manuscripts that needed to be recycled. The > > police officer told me that in the current climate I > > needed to be more careful about how I behaved. "When I > > recycle?" I asked. > > > > The university president appreciated my distress about > > the situation but denied that the call had anything to > > do with my race or ethnic background. The spokesperson > > of the university called it an "honest mistake," not > > referring to the young man from ROTC giving in to his > > worst instincts and calling the police but referring > > to me who made the mistake of being dark-skinned and > > putting my recycling next to the trashcan. > > > > The university's bizarrely minimal statement lets > > everyone know that the "suspicious package" beside the > > trashcan ended up being, indeed, trash. It goes on to > > say, "We appreciate your cooperation during the > > incident and remind everyone that safety is a joint > > effort by all members of the campus community." > > > > What does that community mean to me, a person who has > > to walk by the ROTC offices every day on my way to my > > own office just down the hall-who was watched, noted, > > and reported, all in a day's work? Today we gave in > > willingly and whole-heartedly to a culture of fear and > > blaming and profiling. It is deemed perfectly > > appropriate behavior to spy on one another and police > > one another and report on one another. Such behaviors > > exist most strongly in closed and undemocratic and > > fascist societies. > > > > The university report does not mention the root cause > > of the alarm. That package became "suspicious" because > > of who was holding it, who put it down, who drove > > away. Me. > > > > It was poetry, I kept insisting to the state policeman > > who was questioning me on the phone. It was poetry I > > was putting out to be recycled. > > > > My body exists politically in a way I can not prevent. > > For a moment today, without even knowing it, driving > > away from campus in my little beetle, exhausted after > > a day of teaching, listening to Justin Timberlake on > > the radio, I ceased to be a person when a man I had > > never met looked straight through me and saw the > > violence in his own heart. > > > > > > > > ==== > > > > www.kazimali.com > > www.alicejamesbooks.org/far_mosque.html > > > > ==== > > > > __________________________________________________ > > Do You Yahoo!? > > Tired of spam? Yahoo! Mail has the best spam protection around > > http://mail.yahoo.com > ========================================================================= Date: Fri, 20 Apr 2007 12:40:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eireene Nealand Subject: Re: Virginia, revenge & masculine myths In-Reply-To: <727643.26097.qm@web86007.mail.ird.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline i agree that the issue of pharmaceuticals is crucial here (Cho's "farewell video," makes this pretty clear), and it seems like in this era of posthumans bodies that we, teachers, ought to start getting training in how to work with students who are biologically-chemically-mechanically & socio-economically diverse. As awesome as Nikki Giovanni is for standing up in this case and being able to state clearly that something was 'off,' it seems like kicking students out of classes (countries, hemispheres, or economic systems) is part of the problem that leaves people with only these options of turning to violence and/or suicide. at least in my experience as long as class sizes are small enough, it seems easy enough to spot students who are having bio-chemical-social troubles--not from their writing but from the off comments that come up in class or reactions to workshop or out-of-tunedness or strings of absences--and it seems that students generally make some call for help either through blatantly disruptive behavior or apologies or talk. but then what? given the sometimes close connection between the health and police systems in california and the quite severe consequences of interacting with the police system it's hard know who to send students to to get help and who does eliminating students help, really? my students at least--this seems to be a trend--need as much if not more help with empathy and complex thinking than they do with craft. i'm not sure that working with them in whitewashed little bubbles is so helpful at all. that isn't to say that anyone should allow bringing guns to class but there are differences between what is unpleasant and uncomfortable and disruptive and dangerous. i'm remembering how hard i had to fight when i was young to get moved from private to public schools were there was at least some diversity--i had to bite a couple of principals in order to fight for something well discussed already in the Powell opinion, section D of in Bakke v. Regents of the University of California--diversity is useful for everyone (& i think the principals ended up okay). & how sweet of the state to offer to rescue me and siblings from our strange non-suburband lives where people were coming in and out of life more quickly than usual-- but also important not to be compelled--even then it was rather clear that foster care would not take us to the suburbs and that suburbia was no rescue at all-- see Marilyn Robinson's Housekeeping, among other books. & how frightening these car seat and helmet and seatbelt laws that seem to stem from a similar "concern" but is more likely merely an "interest" coupled wtih "compulsion"--see Heidegger, or for that matter, Kant. and the strange little bubble of Safety that it tries to make (see Janet Frame). even though it looks like more work for us to learn how to work with students whose body/mind situations & etc. fall out of the usual efficiencies of standing at a blackboard, teaching craft, it seems beneficial and quite rewarding work. it takes a village & etc. eireene ps. do you guys remember, just after the twin towers fell, how airlines stewardesses were being trained about what to do if a terrorist was on their flight, and how quickly that training was replaced by a designated gun-toting "flight marshall" who is supposed to be responsible to taking out terrorists, but in what is mostly down time also occupies himself with asking lots of people who come back from Russia at least gruff questions as to the purpose of their visit etc. I suppose we could have "classroom marshalls"--I confess, I still haven't passed beyond my marital arts white belt and am uncertain how to use a syringe, not that I would--but there are certain problems for academic freedom given the mostly-down-time. has anyone been reading/writing about these questions of "responsibility" in times of terrorism? it isn't exactly the same when Cho states that he's copying Jesus in his martyrdom as when there's a wider political concern but it seems like the response & responsibility issues that come up in both cases are quite similar. On 4/20/07, Barry Schwabsky wrote: > Right. There have been some terrible incidents, but If I remember correctly, overall, the murder rates in European countries run about 1/3 of those in the US. > > Mark Weiss wrote: Hey folks, bottom line, the Brits and the French watch the same > movies, have massive immigration issues and racial and class hatreds, > fight stupid wars ojn occasion, take all kinds of medication that > only need to be represcribed after a couple of refills, have > psychotics walking the streets basically untended, and there's the > usual adolescent viciousness. Why don't they have incidents like > Columbine and Va Tech as often as we do (still pretty rare, given our > numbers)? Aside from some of the amenities of civilized life like > socialized medicine, which really does lower stress levels, and the > incarceration of a much smaller percentage of the population, a major > difference is that the crazies don't have automatic weapons (or guns > of any sort, usually). Lack of means can get you through the hard > times. The mysteries of human motivation don't need to be solved to > change the gun laws. > > Mark > > At 04:39 PM 4/19/2007, you wrote: > >Good comments from Dillon Westbrook and Steve Vincent! There's one > >detail that's been studiously avoided by commentators on the > >Virginia Tech shootings and on Cho: the fact that he had been taking > >prescription medication. Given that psychotic side effects are > >often produced by these one-size-fits-all prescriptions ("take these > >and get a refill when you're done"), I'm surprised folks haven't > >been taking aim at the pharmaceutical industry as well as the firearms lobby. > > > >Evidently during middle school and high school, Cho had been bullied > >and subjected to taunts for his reticence and his "accent" as if all > >of us don't speak with accents -- "Go back to China," was a > >particularly ignorant example. So we also need to look at racism > >and the Darwinian pecking orders --cliques, petty rivalries, > >bullying -- of students in the U.S. school system as contributory causes. > > > >And a footnote on Nikki Giovanni: a few decades back, before she > >became a distinguished professor of creative writing, she wrote a > >poem called, if memory serves: "nigger can you kill," in which the > >"interpellated subject" is interrogated as to his/her capacity to > >kill several allegedly deserving targets, including "a > >jew." Several years later, though, she took a trip to apartheid > >South Africa while a boycott was on!! (Baraka, himself no stranger > >to rhetorical violence, called her on that in no uncertain terms -- > >not one of his more fortunate poetic polemics, either; it was > >entitled "Niggy the Ho" and went downhill from there.) > ========================================================================= Date: Fri, 20 Apr 2007 12:47:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Kazim Ali Comments: To: wnruud@ship.edu MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit Dear Mr President: I'd just like you to know that in order to promote safety on campus I have told all the dark-skinned Canadian poets I know not to try to leave their old poems at your university. Helpfully-- George Bowering ========================================================================= Date: Fri, 20 Apr 2007 15:48:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Re: poetry is dangerous In-Reply-To: <005801c78364$3d198780$030aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Thanks for forwarding this. It is a sad and beautiful article. As for poems written today, perhaps, sadness is the only virtue of a beautiful poem. Aryanil -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Geoffrey Gatza Sent: Friday, April 20, 2007 11:55 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: FW: poetry is dangerous Poetry is Dangerous Kazim Ali On April 19, after a day of teaching classes at Shippensburg University, I went out to my car and grabbed a box of old poetry manuscripts from the front seat of my little white beetle and carried it across the street and put it next to the trashcan outside Wright Hall. The poems were from poetry contests I had been judging and the box was heavy. I had previously left my recycling boxes there and they were always picked up and taken away by the trash department. A young man from ROTC was watching me as I got into my car and drove away. I thought he was looking at my car which has black flower decals and sometimes inspires strange looks. I later discovered that I, in my dark skin, am sometimes not even a person to the people who look at me. Instead, in spite of my peacefulness, my committed opposition to all aggression and war, I am a threat by my very existence, a threat just living in the world as a Muslim body. Upon my departure, he called the local police department and told them a man of Middle Eastern descent driving a heavily decaled white beetle with out of state plates and no campus parking sticker had just placed a box next to the trash can. My car has NY plates, but he got the rest of it wrong. I have two stickers on my car. One is my highly visible faculty parking sticker and the other, which I just don't have the heart to take off these days, says "Kerry/Edwards: For a Stronger America." Because of my recycling the bomb squad came, the state police came. Because of my recycling buildings were evacuated, classes were canceled, campus was closed. No. Not because of my recycling. Because of my dark body. No. Not because of my dark body. Because of his fear. Because of the way he saw me. Because of the culture of fear, mistrust, hatred, and suspicion that is carefully cultivated in the media, by the government, by people who claim to want to keep us 'safe.' These are the days of orange alert, school lock-downs, and endless war. We are preparing for it, training for it, looking for it, and so of course, in the most innocuous of places-a professor wanting to hurry home, hefting his box of discarded poetry-we find it. That man in the parking lot didn't even see me. He saw my darkness. He saw my Middle Eastern descent. Ironic because though my grandfathers came from Egypt, I am Indian, a South Asian, and could never be mistaken for a Middle Eastern man by anyone who'd ever met one. One of my colleagues was in the gathering crowd, trying to figure out what had happened. She heard my description-a Middle Eastern man driving a white beetle with out of state plates-and knew immediately they were talking about me and realized that the box must have been manuscripts I was discarding. She approached them and told them I was a professor on the faculty there. Immediately the campus police officer said, "What country is he from?" "What country is he from?!" she yelled, indignant. "Ma'am, you are associated with the suspect. You need to step away and lower your voice," he told her. At some length several of my faculty colleagues were able to get through to the police and get me on a cell phone where I explained to the university president and then to the state police that the box contained old poetry manuscripts that needed to be recycled. The police officer told me that in the current climate I needed to be more careful about how I behaved. "When I recycle?" I asked. The university president appreciated my distress about the situation but denied that the call had anything to do with my race or ethnic background. The spokesperson of the university called it an "honest mistake," not referring to the young man from ROTC giving in to his worst instincts and calling the police but referring to me who made the mistake of being dark-skinned and putting my recycling next to the trashcan. The university's bizarrely minimal statement lets everyone know that the "suspicious package" beside the trashcan ended up being, indeed, trash. It goes on to say, "We appreciate your cooperation during the incident and remind everyone that safety is a joint effort by all members of the campus community." What does that community mean to me, a person who has to walk by the ROTC offices every day on my way to my own office just down the hall-who was watched, noted, and reported, all in a day's work? Today we gave in willingly and whole-heartedly to a culture of fear and blaming and profiling. It is deemed perfectly appropriate behavior to spy on one another and police one another and report on one another. Such behaviors exist most strongly in closed and undemocratic and fascist societies. The university report does not mention the root cause of the alarm. That package became "suspicious" because of who was holding it, who put it down, who drove away. Me. It was poetry, I kept insisting to the state policeman who was questioning me on the phone. It was poetry I was putting out to be recycled. My body exists politically in a way I can not prevent. For a moment today, without even knowing it, driving away from campus in my little beetle, exhausted after a day of teaching, listening to Justin Timberlake on the radio, I ceased to be a person when a man I had never met looked straight through me and saw the violence in his own heart. ==== www.kazimali.com www.alicejamesbooks.org/far_mosque.html ==== __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 20 Apr 2007 16:22:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Re: va tech/restraining orders/guns In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Suzanne That was extremely helpful, especially your explanation - " The problem with this interpetation is that back when the amendment was written, the United States didn't have a police force such as we have today, and if people wanted to be protected, they had to organize their own militias and work it out among themselves. The realities of life, what guns were and what it meant to have a gun were radically different back then." gave my train of thought a new detour. and thanks for the Wikipedia link. I guess the early technologists and entrepreneurs of the gun industry might have played their roles too. We didn't have police in India until the late 18th century, needless to say, the notion came with the British. Aryanil -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Suzanne Burns Sent: Friday, April 20, 2007 8:25 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: va tech/restraining orders/guns On 4/19/07, Aryanil Mukherjee wrote: > > David > > That's a great question. I too, like you, can't understand. There IS NO > answer although you might get some replies that attempt to explain what I > would like to call a "fundamental flaw in the system". And I'm also sure > there are many in the list who share the same frustration as us. > > In my notation, > > Freedom ::Gun = Winged Ants::Fire. I agree with Aryanil. I think part of the problem is that a lot of people disagree on how to interpret the second amendment to our constitution (the first ten amendments are considered to be the most fundamental in terms of basic rights). It reads as follows: "A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed." The gun-toting wingnuts (yeah, I'm a little biased here) interpret this to mean that that people should experience no restrictions to buying any kind of weaponry they want. They experience any restriction as a violation of this amendment, and then out come the waving flags. The problem with this interpetation is that back when the amendment was written, the United States didn't have a police force such as we have today, and if people wanted to be protected, they had to organize their own militias and work it out among themselves. The realities of life, what guns were and what it meant to have a gun were radically different back then. They also didn't have handguns, saturday night specials, or automatic weapons back then. I also don't see how reasonable restrictions should be a violation. Plenty of people, myself included, feel that this amendment simply does not adequately reflect modern day reality. Here is a little something I am snippeting from Wikipedia, which covers it all pretty exhaustively ( http://en.wikipedia.org/wiki/Second_Amendment_to_the_United_States_Constitut ion ): The modern Second Amendment debate centers on questions such as: - Who does the Amendment mean by "the People"? - Why does the Amendment protect the right to 'keep *and* bear arms', and not protect just the right to 'bear arms'? - Does "bear arms" *or* "keep and bear arms" mean the same now as it did in 1789? - Is there significance that the Amendment is constructed of two clauses? - Is there significance that the phrase "defense of himself/themselves *and* the State" was included in some State Constitutions at the time but not included in the Federal Second Amendment? In addition, the debate often involves discussion focused on more precise details around the word "militia" from the first clause portion of the Second Amendment, such as: - Who or what does the Amendment mean by the "militia "? - What relationship does "militia" today have with "militia" in 1789? - What is meant by "well regulated", relative to "militia"? - Does the mention of "militia" in the Second Amendment mean that maintaining viable militia is the 'obvious purpose' of the Second Amendment? It also often involves topics on differences in historical meanings and thoughts such as: - What does "shall not be infringed" mean? It also expands to include discussions on the impact among states, such as: - Does the Amendment prohibit States from regulating arms? - Does the Amendment permit some States to deviate from interpretations of the Amendment as taken by other States? I hope this helps somewhat. Suzanne Burns ========================================================================= Date: Fri, 20 Apr 2007 16:23:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: FW: va tech/restraining orders/guns MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable -----Original Message----- From: Aryanil Mukherjee [mailto:aryanil@kaurab.com]=20 Sent: Friday, April 20, 2007 4:08 PM To: 'linda norton' Subject: RE: va tech/restraining orders/guns I guess David's original question wasn't rhetorical at all, as he had reinstated. My emphasis, on the other hand, admittedly, was a bit rhetorical. But I had few facts on my side and need to educate myself too. About 10 years back, I (had just immigrated to the US then) watched Charlton Heston on TV, speaking on behalf of the NRA in favor of the=20 gun lobby. MOSES FOR GUNS ! - I still can=92t forget my rather na=EFve culture-shock. Thanks for your great response. It was certainly educative.=20 Who funds/controls the NRA these days ? Aryanil -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of linda norton Sent: Thursday, April 19, 2007 10:29 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: va tech/restraining orders/guns Yes, it is a great question and it's one that many of us ask. Assuming = you are not asking this in a completely rhetorical manner, I will hazard an answer that others may augment and/or correct. The NRA (National Rifle Association, a powerful lobby with money to = reward those politicians who agree with it and tarnish and destroy those who = oppose it) says that universal access to firearms is a part of the U. S. Constitution, through the 2nd amendment, I believe. The Constitution is = a living document, interpreted and reinterpreted nad very rarely amended = (or, as it happens, ignored and scorned and undermined by this = administration).=20 Originally the idea was that citizens should be able to combat a militia = of tyrants, should the U. S. government become what the founders hoped = they'd left behind in Europe: religious zealots with militias, absolute = monarchies, etc. (i.e., fascists--we would now say). I am assuming that your questions were sincere and not completely = satirical, though of course there is nothing funny about the anti-democratic, unconstitutional administration under which we are living now--under an executive branch that claims absolute power and exemption from the = system of checks and balances that is fundamental to the idea of democracy, that = tries to destroy the separation of church and state in the U.S., that ignores = the right to privacy, yet supports a "fundmamental" right of all citizens to = get hold of guns (including semi-automatic waepons) for any purpose, at any time, with no waiting period and no background check (if the NRA has its way, which it does in many states--and from those states, weapons flowly easily across the U. S. and into the hands of people around the globe). Worth remembering, as I think someone else on the list noted, that the "weapons" the 2nd amendment was designed to consider were primarily = MUSKETS in rural settings in a country that was sparsely populated--not semi-automatic weapons on college campuses, in Burgar Kings, in ghetto neighborhoods, in schools. I hope I have not been naive in taking your question too literally. On = the other hand, what the hell. Millions of people must wonder why this is happening in America. Leaving aside all the extra cultural, macho, = economic factors, the U. S. Constitution as abused and misinterpreted by the NRA = is the reason for this nightmare. I leave aside the way that the U. S. government has used weapons to = subdue and destroy internal populations of slaves from Africa and their descendants, Native Americans, etc. There never was any Constitutional provision allowing for that, and the = most vehement supporters of the National Rifle Association now would never = have supported the right of legitimately endangered people to bear arms = against the U. S. government and its sanctioned oppressors, including local = police departments, slaveholders, tribal chiefs, etc. -----Original Message----- >From: Aryanil Mukherjee >Sent: Apr 19, 2007 4:20 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: va tech/restraining orders/guns > >David > >That's a great question. I too, like you, can't understand. There IS NO = >answer although you might get some replies that attempt to explain what = I=20 >would like to call a "fundamental flaw in the system". And I'm also = sure=20 >there are many in the list who share the same frustration as us. > >In my notation, > >Freedom ::Gun =3D Winged Ants::Fire. > >Aryanil >----- Original Message -----=20 >From: "David Fernandes" >To: >Sent: Thursday, April 19, 2007 12:01 PM >Subject: Re: va tech/restraining orders/guns > > >> I'm sorry. I'm portuguese so I feel myself like a monkey in this=20 >> discussion, >> but can someone explain to me why is so easy to buy a gun in USA? = It's >> really legal to buy one? Is it something to do with freedom? >> >> David >> Portugal >> >> >> 2007/4/19, Suzanne Burns : >>> >>> On 4/18/07, linda norton wrote: >>> > >>> > >>> > >>> > Predictably, the NRA folks are posting on the Times VA TECH story=20 >>> > blogs, >>> > saying that this >>> > murderer could have been stopped if everyone on campus had been packing >>> > guns . . . >>> >>> >>> >>> I get so outraged when people make that absurd wild west argument = that=20 >>> the >>> solution to the situation is for EVERYONE to have guns. Gee, even >>> children? This sort of logic is the sign of things really breaking down. >>> It's absurd, its dangerous, and while we are at it it didn't even = work in >>> the "wild west". More people having guns =3D a greater likelihood = that=20 >>> your >>> gun will be stolen or used against you or picked up by a small = child,=20 >>> etc. >>> It means nobody is safe. *fume* >>> >>> I can't believe that we live in a cuntry where so many people cannot = get >>> emdical care (including mental health services) but anyone can get = a=20 >>> gun. >>> I heard commentator on the radio last night who made the point that = if=20 >>> an >>> anti-depressant caused 30,000 deaths a year, you bet we would = control=20 >>> it-- >>> but nobody wants to control the guns. *fume* >>> >>> It also just came out today that yes in fact the killer WAS declared = a >>> danger to himself and others-- but almost nothing was done about it. >>> >>> I am so outraged I can't even speak. Holy crap. >>> >>=20 ========================================================================= Date: Fri, 20 Apr 2007 14:00:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: San Francisco memorial for kari edwards next week Mime-Version: 1.0 Content-Type: text/plain; format=flowed a memorial celebration of the life and work of kari edwards (1954-2006) Friday, April 27, 2007 at 7:30 PM Co-Sponsored by Small Press Traffic and the CCA MFA Writing Program Presenters will include: Charlie Anders, Frances Blau, Taylor Brady, Marcus Civin, Amanda Davidson, Donna de la Perriere, Rob Halpern, Roxi Hamilton, Brenda Iijima, Kevin Killian, Joseph Lease, Wendy Loomis, Akilah Oliver, Leila Rauf, Ellen Redbird, Leslie Scalapino, Sherman Souther, Eleni Stecopoulos, Eileen Tabios, Justin Veach, Maggie Zurawski The memorial will also feature video of kari edwards ALL ARE WELCOME California College of the Arts, San Francisco Campus 1111 Eighth Street San Francisco, CA 94107 The memorial will celebrate kari edwards' indomitable spirit and compassionate revelation of body and language. Focusing on kari's considerable legacy, the memorial will include poetry, performance and visual art. Despite our deep sadness for kari's untimely passing, kari's commitment to justice in general and transgender issues specifically and hir ingenuity as an artist inspire all of us. Contact Small Press Traffic: 415-551-9278 www.sptraffic.org or Marcus Civin: Marcus_Civin@hotmail.com for more information about kari, please visit the blog: transdada3.blogspot.com did I not say despite the body there is a universe despite the universe born waves of existence did I not say saying I must go did I not say death does not annihilate it only breaks up conjunctions kari edwards, did I not say, www.listenlight.net from the unpublished manuscript Bharat Jiva _________________________________________________________________ Get a FREE Web site, company branded e-mail and more from Microsoft Office Live! http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Fri, 20 Apr 2007 16:13:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Halle Subject: Re: speaking of violence In-Reply-To: <8f6eafee0704201144r3585f167r9e3dd703d2b8fd5e@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I think it's a mistake to conflate violence with the physical nature of US sports. Violence implies intent to do harm, which is not fundamental to most sports. For example, as an ex-American football player and current American football coach, I can assure you I neither encourage my players to nor acted in such a way as to harm another player. Football is defined by certain physical skill sets which include physicality or physicalness, but not violence. I understand many people involved with sports (coaches, players, fans) make the same conflation, insisiting teams "kill the opponent" or "win at all cost" and other ridiculous cliches. Indeed, the media glamorizes baseball's brawls, hockey's fights and the semi-recent incident involving players and fans in the NBA. The most violent sports, in my opinion, are boxing (and it's various spin-offs like ultimate fighting) and hockey, in which fighting/doing the opponent harm are parts of the strategy, if not the essence, of the game. Yet, neither of these sports are American in origin. The most ironic thing about those who conflate sports' violence with physicality is their failure to respect opponents, and this is a concept I stress to the young players I coach. Without your opponent, the sport or game you enjoy playing does not exist, or at least not in its purest form. I guess my main point is sports culture is not implicitly violent but physical, which is part of the nature of sport, and yes, violent acts do occur related to sports (using a hockey stick as a weapon, for example or an angry parent who shoots a football coach for not playing his son, etc.). Maybe we've reached the point where too few involved parties have the wisdom to know the difference, and in my opinion, this is the problem, not the nature of sports. Best, Steve Halle ========================================================================= Date: Fri, 20 Apr 2007 16:33:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: poetry is dangerous MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable About a month a month ago I was working as usual on some of my rubBE= ings--on the letterings on the tire of an immense crane by the site of some= apartment building swhich have been under construction for a little over a= year. I was half bent over, my back facing outwards, face hidden a= s close to the tire--to focuson my work--suddenly someone hit me with force= from behind on the left side and tried to pin me aginst the tire--yelling = very loudly what are you going--i am calling the police! And yelling for n= eighbors, anyone to come-- I moved very slowly and turned to face a = man shaking with rage and fear and trying to dial on his cell phone--and re= ady to start screaming again at any moment--I remeined very clam and said d= on't worry I am just working on some rubBeings--see--here is what I am doin= g. Fortunately the man stopped dialing and stared at the pieces of p= aper. I said if you will allow me to get them out of my bag I have some bo= oks of these which have been published with my foto in them so you can see = I am doing legal and legitimate art work. The man in the end profus= ely apologized and explained that from the back that I looked frightening--= dressed all in black with a black hooded sweatshirt with hood up and bent o= ver the machine as though applying something to the axle. He didnt' really= want to say it--but he said I must know what he meant-- Two weeks ago= I was stopped for simply standing in an alley and looking at some boards. = I hd seen the police car pull up and park at the end of the alley but thou= ght perhpas it was going to let officer out at the coffee shop at the corne= r. Instead he had pulled up behind me, with the car pressing me very close= to a dumpster and big beefy face with the aviator sun glasses staring at m= e. The usual questions until we got where I ilve--it is on my State non-dr= iver's ID--the cop practically jumped inside his cab--what are you doing ov= er here?--(I live on aanother side of town, in a very bad crack neighborhoo= d--)--I explained I came there veryday for art work etc-etc--he ran the usu= al check on the ID and then looking at me strted to ask me where I was from= . This is just a State ID he said--where are you from? Milwaukee. No no-= -where are you from? I was trying to stall him because of course all mylif= e I have been arrested and detained in many countries and locked up--appear= ed before a military tribunal in Poland after two weeks of house arrest--an= d in the CRS political prisons in Paris---suspicion of false identiy, stole= n passport, terrorism, even espionage--and ever since 9/11 since I no longe= r have a passport my mother is worried al the time it will start happening = here. Already twice I had to be taken downtown for questioning about ident= ity. I asked them where they thought I was from--no answer--but it appeare= d they didn't think an American. Which for reasons I have never understood= or often even known--people often don't think that I am an American here = or abroad. A mystery to me. Fortunately as this cop began writi= ng some things down and I had the sinking feeling we were headed downtwon y= et again for me--a woman came running up yelling at the cop and chewing him= out, saying she knew who I was, all the neighbors do, and I am not doing a= ny harm. The cop was rather mortified by her outburst--and explained t= ome that he was on the lookout for suspects in a string of burgalries inthe= area--and I had looked suspiciously like casing apartements as wlaking slo= wly inthe alleys and checking out boards nd various pieces of brick and oth= er surfaces. The woman said--he uses that for art work--we see him all the= time. The cop finally wrote some things down and then told me just not to= be seenn inthe alleys for a while. You understand he said--your address i= s a very bad one, and you are a person of indeterminate origin. Las= t week some friends asked me to wtach a man they thought supsicious intheir= store--I said I wil go out and smoke and watch throughthe window--but this= man is harmless--he is just alittle off--but harmless--I didnt know they h= ad called the police--sure enough, the police arrive suddenly quite a few o= f them in this nice neighborhood--and --going inside, thelast one in line s= tops to question me. I tried to explain I am just keeping an eye on this f= ellow and I am sure he is harmless. Just making the people inside nervous.= (Mainl becasue a loud mouthed customer kept claiming the man was staring = at surveillance cameras.) The cop was filling out my information a= nd suddenly stopped and looked at me. I know who you are he sys. We had a= write up on you. You're the person of uncertain origin. But it says you = seem to be okay with the neighbors. So where are you from anyway? = That's the most police contact I have had in quite a while--try to steer= clear of them becuase of the "uncertain origin"--what might happen to one?= Get put on a ghsot plane and be vanished to other side of the world? Esp= ecially if they really looked in my bag and found the various tools inside = used for takeing things off of larger objects in dumpsters needed for art w= ork--pliers, screw drivers, a small crow bar, a flash light and etc--a regu= lar burgalr kit!--or perhaps in their eyes something far more insidious. = Some thing I have thought about with the writing--is that the s= hooter was such a silent man. Often killers of this kind are very quiet pe= ople--yet like to write--keep diaries--notes--make maps and the like. Nowa= days of course like the Colombine killers and the Virginia Tech young man--= there is also video to use and other digtalized devices--cameras, recording= s, etc--which were made into a multi-media presentation to send to the medi= a--the Unabomber also wrote--sent his manifesto to the media--and in the fi= lm Taxi Dri8ver, Travis' (Robert De Niro's) diary and the film itself are b= ased on the diaries of Arthur Bremer, who stalked Nixon for months before h= aving to shoot instead aless heavily guarded George Wallace--the diaries we= re buried in Lake Park here in Milwaukee--(the assasination attempt on Theo= dore Roosevelt when running as a Bull Moose candidate was here--) What= intrigues me is that it is speaking which is used to get people to deal wi= th their probelms and not writing--in Amger management for example--speakin= g in a group with others with the same problems and rages and frutrations--= is what helps people break down the sense of being isolated--to say things = aloud to others--and to have them say similar things to you--in speaking, t= he communication breaks down the control and isolation that writing can con= fer--writing can make one feel more alone--or make one feel more omnipotent= --more abject and silenced--or louder than anyone--until they reach for the= gun--the utlimate destination of the writing which is geared toweards a rh= etoric of violence used to incite itself, to incite the writer--rather than= the reader--Though it is different, there is a relation--in Billy Budd--wh= en Billy cannot speak--to Claggart--can't express himself--just stammers fu= tiley--and Claggart is laughing at him as it were--Billy lashes out with hi= s fists in place of the words he cannot form.> Date: Fri, 20 Apr 2007 14:41= :49 -0400> From: ClementsB@WCSU.EDU> Subject: Re: FW: poetry is dangerous> = To: POETICS@LISTSERV.BUFFALO.EDU> > I have been discussing this sad and dis= turbing thing that has happened to > Kazim with a couple of other writers a= nd we have decided to write letters > to the President of Shippensburg, Wil= liam Ruud, encouraging him to speak > out more forcefully against this kind= of fear-mongering. In Dr. Ruud's > statement regarding the VT shooting, he= says:> > "Here at Ship we consider ourselves to be a family, and it is imp= ortant we > all look out for each other, just like you do for your own fami= ly... If > anyone has suggestions on ways to enhance safety or ways to comm= unicate > better, please let me know."> > This might be something to mentio= n, if you feel inclined to write a letter > in support of Kazim. > > As Jef= f Davis says: > > The situation he [Kazim] describes troubles me. His persp= ective I don't > think is schewed, unfair, or reactionary. I know Kazim. No= t only is > Kazim's poetic sensitivity to nuance and sound among the finest= I've > read in years; in my personal encounters with Kazim, he strikes me = as > one of the most peaceful, non-violent people I know.> > Kazim's situat= ion with the police mirrors a sweeping trend in American > behavior especia= lly among officials, university administrators, business > CEOs, and politi= cians: a pusillinamity that renders them without courage > or integrity to = take responsibility or to speak honestly. Why? To play > it safe. To preten= d that nothing's amiss. To avoid conflict. To avoid > truth.> > Contact inf= o for the President of Shippensburg:> > William Ruud> President> Shippensbu= rg University> 1871 Old Main Drive> Shippensburg, PA 17257> wnruud@ship.edu= > 717-477-1301 > > > Dr. Brian Clements, Coordinator> MFA in Professional W= riting> 203-837-8876> _____> Dept. of Writing, Linguistics, and Creative Pr= ocess> Western Connecticut State University> 181 White St.> Danbury, CT 068= 10> _____> http://www.wcsu.edu/english/mfa> > > > > Geoffrey Gatza > Sent by: UB Poetics discussion group > 04/20/2007 11:54 AM> Please respond to> UB Poetics discussion gro= up > > > To> POETICS@LISTSERV.BUFFALO.EDU> cc= > > Subject> FW: poetry is dangerous> > > > > > > Poetry is Dangerous> Kazi= m Ali> > > On April 19, after a day of teaching classes at> Shippensburg Un= iversity, I went out to my car and> grabbed a box of old poetry manuscripts= from the front> seat of my little white beetle and carried it across> the = street and put it next to the trashcan outside> Wright Hall. The poems were= from poetry contests I had> been judging and the box was heavy. I had prev= iously> left my recycling boxes there and they were always> picked up and t= aken away by the trash department.> > A young man from ROTC was watching me= as I got into my> car and drove away. I thought he was looking at my car> = which has black flower decals and sometimes inspires> strange looks. I late= r discovered that I, in my dark> skin, am sometimes not even a person to th= e people who> look at me. Instead, in spite of my peacefulness, my> committ= ed opposition to all aggression and war, I am a> threat by my very existenc= e, a threat just living in> the world as a Muslim body. > > Upon my departu= re, he called the local police> department and told them a man of Middle Ea= stern> descent driving a heavily decaled white beetle with> out of state pl= ates and no campus parking sticker had> just placed a box next to the trash= can. My car has> NY plates, but he got the rest of it wrong. I have two> = stickers on my car. One is my highly visible faculty> parking sticker and t= he other, which I just don't have> the heart to take off these days, says "= Kerry/Edwards:> For a Stronger America." > > Because of my recycling the bo= mb squad came, the state> police came. Because of my recycling buildings we= re> evacuated, classes were canceled, campus was closed.> No. Not because o= f my recycling. Because of my dark> body. No. Not because of my dark body. = Because of his> fear. Because of the way he saw me. Because of the> culture= of fear, mistrust, hatred, and suspicion that> is carefully cultivated in = the media, by the> government, by people who claim to want to keep us> 'saf= e.'> > These are the days of orange alert, school lock-downs,> and endless = war. We are preparing for it, training for> it, looking for it, and so of c= ourse, in the most> innocuous of places-a professor wanting to hurry home,>= hefting his box of discarded poetry-we find it.> > That man in the parking= lot didn't even see me. He saw> my darkness. He saw my Middle Eastern desc= ent. Ironic> because though my grandfathers came from Egypt, I am> Indian, = a South Asian, and could never be mistaken for> a Middle Eastern man by any= one who'd ever met one.> > One of my colleagues was in the gathering crowd,= > trying to figure out what had happened. She heard my> description-a Middl= e Eastern man driving a white> beetle with out of state plates-and knew imm= ediately> they were talking about me and realized that the box> must have b= een manuscripts I was discarding. She> approached them and told them I was = a professor on the> faculty there. Immediately the campus police officer> s= aid, "What country is he from?"> > "What country is he from?!" she yelled, = indignant.> > "Ma'am, you are associated with the suspect. You need> to ste= p away and lower your voice," he told her.> > At some length several of my = faculty colleagues were> able to get through to the police and get me on a = cell> phone where I explained to the university president> and then to the = state police that the box contained> old poetry manuscripts that needed to = be recycled. The> police officer told me that in the current climate I> nee= ded to be more careful about how I behaved. "When I> recycle?" I asked.> > = The university president appreciated my distress about> the situation but d= enied that the call had anything to> do with my race or ethnic background. = The spokesperson> of the university called it an "honest mistake," not> ref= erring to the young man from ROTC giving in to his> worst instincts and cal= ling the police but referring> to me who made the mistake of being dark-ski= nned and> putting my recycling next to the trashcan.> > The university's bi= zarrely minimal statement lets> everyone know that the "suspicious package"= beside the> trashcan ended up being, indeed, trash. It goes on to> say, "W= e appreciate your cooperation during the> incident and remind everyone that= safety is a joint> effort by all members of the campus community."> > What= does that community mean to me, a person who has> to walk by the ROTC offi= ces every day on my way to my> own office just down the hall-who was watche= d, noted,> and reported, all in a day's work? Today we gave in> willingly a= nd whole-heartedly to a culture of fear and> blaming and profiling. It is d= eemed perfectly> appropriate behavior to spy on one another and police> one= another and report on one another. Such behaviors> exist most strongly in = closed and undemocratic and> fascist societies.> > The university report do= es not mention the root cause> of the alarm. That package became "suspiciou= s" because> of who was holding it, who put it down, who drove> away. Me.> >= It was poetry, I kept insisting to the state policeman> who was questionin= g me on the phone. It was poetry I> was putting out to be recycled.> > My b= ody exists politically in a way I can not prevent.> For a moment today, wit= hout even knowing it, driving> away from campus in my little beetle, exhaus= ted after> a day of teaching, listening to Justin Timberlake on> the radio,= I ceased to be a person when a man I had> never met looked straight throug= h me and saw the> violence in his own heart.> > > > =3D=3D=3D=3D> > www.kaz= imali.com> www.alicejamesbooks.org/far_mosque.html> > =3D=3D=3D=3D> > _____= _____________________________________________> Do You Yahoo!?> Tired of spa= m? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com= =20 _________________________________________________________________ Explore the seven wonders of the world http://search.msn.com/results.aspx?q=3D7+wonders+world&mkt=3Den-US&form=3DQ= BRE= ========================================================================= Date: Fri, 20 Apr 2007 22:45:34 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Walker Subject: Re: Virginia, revenge & masculine myths MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit seriously, it is the same young men, but they tend to act as individuals in the US, which makes sense; but the whole amber alert and bomb security thing was commonplace in London in the 80s [Catherine Daly] I'm not sure what this is meant to mean. At best, it's an unhelpful caricature of US funded terrorism and its effects during the period you refer to. CW _______________________________________________ "To write and eat at the same table' is harder than it sounds. (J H Prynne) ========================================================================= Date: Fri, 20 Apr 2007 18:28:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrews@FORDHAM.EDU Subject: Silvers/Andrews/Schumacher/Fulkerson performance, Friday 4/27 Comments: To: brucep@bway.net, ParrasJ@wpunj.edu, perelman@dept.english.upenn.edu, curators@petesbigsalmon.com, 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 MIME-Version: 1.0 Content-type: text/plain; charset=UTF-8 Content-transfer-encoding: base64 DQpGcmVlIQ0KDQpZb3XigJlyZSBpbnZpdGVkIHRvIGEgc3BlY2lhbCBwZXJmb3JtYW5jZSBldmVu dCBvbiBGcmlkYXksIEFwcmlsIDI3IGF0IDg6MzBwbQ0KYXQgRGlhcGFzb24sIHRoZSBleHBlcmlt ZW50YWwgbXVzaWMgaW5zdGFsbGF0aW9uIGdhbGxlcnkuDQoNCkFuIGV2ZW5pbmcgb2YgZGFuY2Uv bXVzaWMvcG9ldHJ5IGltcHJvdmlzYXRpb25zIOKAlCBpbiBhIHZhcmlldHkgb2YNCmNvbWJpbmF0 aW9ucy4NCg0KDQpXaXRoIFNhbGx5IFNpbHZlcnPigJlzIHVuaXF1ZSBtb3ZlbWVudCBzdHlsZXMg 4oCUIHBhaXJpbmcgKCYgdHJpb2luZyAmDQpxdWFydGV0dGluZykgd2l0aCB0cm9tYm9uaXN0LWNv bXBvc2VyIEphbWVzIEZ1bGtlcnNvbiAoYSByYXJlIHZpc2l0IGZyb20NCkFtc3RlcmRhbSksIGxp dmUgZWxlY3Ryb25pY3MgJiBwaWFubyBieSBNaWNoYWVsIFNjaHVtYWNoZXIsIGFuZCBCcnVjZQ0K QW5kcmV3cyAo4oCYbGl2ZSBlZGl0aW5n4oCZIG9mIOKAmGxhbmd1YWdlIHBvZXRyeeKAmSkuDQoN CkRpYXBhc29uIGlzIGF0IDEwMjYgU2l4dGggQXZlIGJldHdlZW4gMzh0aCBhbmQgMzl0aCBTdHMs IHNlY29uZA0KZmxvb3IgKDIxMi03MTktNDM5MykuIFN1YndheTogQixELEYsViB0byA0Mm5kIFN0 LUJyeWFudCBQYXJrOw0KNyB0byBGaWZ0aCBBdmUuDQoNCk9uZSBuaWdodCBvbmx5LiAoQW5kIGRp ZCB3ZSBtZW50aW9uIHRoYXQgaXTigJlzIGZyZWU/KQ0KSG9wZSB5b3UgY2FuIG1ha2UgaXQhDQoN Cg0KU0FMTFkgU0lMVkVSUyBjZWxlYnJhdGVkIDI1IHllYXJzIG9mIGNob3Jlb2dyYXBoeSBpbiAy MDA1LiAgIFNoZSBwbGFucyB0bw0KcHJlc2VudCBhbiBldmVuaW5nIG9mIG5ldyBkYW5jZXMgaW4g MjAwOCBhbmQgd2lsbCBiZSBwYXJ0aWNpcGF0aW5nIGluIHRoZQ0KdXBjb21pbmcgYmVuZWZpdCBm b3IgTW92ZW1lbnQgUmVzZWFyY2ggb24gTWF5IDE0IGF0IEp1ZHNvbiBDaHVyY2ggaG9ub3JpbmcN Cll2b25uZSBSYWluZXIgIOKAlCB3aXRoIHdob20gc2hl4oCZcyBjdXJyZW50bHkgZGFuY2luZw0K DQpCUlVDRSBBTkRSRVdT4oCZUyBsb25nIGxpc3Qgb2YgYm9va3Mgb2YgZXhwZXJpbWVudGFsIHBv ZXRyeSBpbmNyZWFzZWQgYnkgMyBpbg0KdGhlIGxhc3QgeWVhcjogRGVzaWduYXRlZCBIZWFydGJl YXQgKGZyb20gU2FsdCwgaW4gRW5nbGFuZCksIENvLCBmaXZlDQpjb2xsYWJvcmF0aXZlIHRleHRz IChSb29mIEJvb2tzKSwgYW5kIFN3b29uIE5vaXIgKENoYXggUHJlc3MpLiAgT24gTWF5IDEyLA0K aGUgcHJlc2VudHMgYSBUYWxrIGF0IHRoZSBCb3dlcnkgUG9ldHJ5IENsdWIgaW4gYSBzeW1wb3Np dW0gb24gdGhlIEJvZHkgJg0KTGFuZ3VhZ2UgUG9ldHJ5Lg0KDQpKQU1FUyBGVUxLRVJTT04gaXMg YWN0aXZlIGFzIGEgY29tcG9zZXIgLXBlcmZvcm1lci9pbXByb3Zpc29yIGFuZA0KZm91bmRlci9k aXJlY3RvciBvZiBUaGUgQmFydG9uIFdvcmtzaG9wLiAoVGh1cnNkYXkgQXByaWwgMjZ0aCwgdGhl IEJhcnRvbg0KV29ya3Nob3AgaXMgcGVyZm9ybWluZyBhdCBSb3VsZXR0ZSkuIEhlIGhhcyB3b3Jr ZWQgZXh0ZW5zaXZlbHkgd2l0aA0KZXhwZXJpbWVudGFsIGRhbmNlIGluY2x1ZGluZyBjaG9yZW9n cmFwaGVycyBNYXJ5IE8nRG9ubmVsbCBGdWxrZXJzb24sDQpSaWNoYXJkIEFsc3RvbiBhbmQgUm9z ZW1hcnkgQnV0Y2hlci4gV2l0aCB0aGUgQW1zdGVyZGFtLWJhc2VkIEJhcnRvbg0KV29ya3Nob3As IGhlIGhhcyBwcm9kdWNlZCAzNSBDRCdzIGZlYXR1cmluZyB0aGUgbXVzaWMgb2YgZXhwZXJpbWVu dGFsDQpjb21wb3NlcnMgSmVycnkgSHVudCwgSm9obiBDYWdlLCBNb3J0b24gRmVsZG1hbiwgSmFt ZXMgVGVubmV5LCBQaGlsaXANCkNvcm5lciwgQWx2aW4gTHVjaWVyLCBDaHJpc3RpYW4gV29sZmYs IEZyYW5rIERlbnllciBhbmQgb3RoZXJzLiBIZSBoYXMNCmxpdmVkIGFuZCB3b3JrZWQgaW4gRXVy b3BlIHNpbmNlIDE5NzMuDQoNCk1JQ0hBRUwgSi4gU0NIVU1BQ0hFUiBpcyBhIGNvbXBvc2VyL3Bl cmZvcm1lciwgY29uY2VydCBwcm9kdWNlciBhbmQNCmN1cmF0b3IuIERpcmVjdG9yIG9mIHRoZSBz b3VuZCBhbmQgaW50ZXJtZWRpYSBnYWxsZXJpZXMgU3R1ZGlvIEZpdmUgQmVla21hbg0KYW5kIERp YXBhc29uLCBoZSBoYXMgcHJvZHVjZWQgZXhoaWJpdGlvbnMgYnkgRGF2aWQgQmVocm1hbiwgQWx2 aW4gTHVjaWVyLA0KTGEgTW9udGUgWW91bmcgYW5kIG90aGVyIHBpb25lZXIgc291bmQgZXhwZXJp bWVudGVycy4gIEhlIGNvbXBvc2VzDQplbGVjdHJvbmljIHNvdW5kIGluc3RhbGxhdGlvbnMgdXNp bmcgMiAtIDIyIHNwZWFrZXJzLCBjb21wdXRlci1jb250cm9sbGVkDQpyYW5kb20gc3RydWN0dXJl cywgdGFwZWQgYW5kIGxpdmUgbXVzaWMgYW5kIGFjb3VzdGljIHdvcmtzIGZvciBwaWFubywNCmNo YW1iZXIgZW5zZW1ibGUsIHZvaWNlLCBhbmQgb3JjaGVzdHJhLCBhbmQgaGFzIHByZXNlbnRlZCBo aXMgc291bmQNCmluc3RhbGxhdGlvbnMgYXQgbWFqb3IgYXJ0IGluc3RpdHV0aW9ucyBpbiB0aGUg VW5pdGVkIFN0YXRlcyBhbmQgRXVyb3BlLg0KSGlzIGRpc2NvZ3JhcGh5IGluY2x1ZGVzIGZpdmUg c29sbyBDRHMsIGluY2x1ZGluZyBhIGRvdWJsZSBDRCBzZXQgb24gdGhlIFhJDQpsYWJlbCDigJxS b29tIFBpZWNlc+KAnSAoMjAwMikuIEEgbmV3IENELCBVbnRpdGxlZC9FeGNoYW5nZSwgYSBjb2xs YWJvcmF0aW9uDQp3aXRoIFN0ZXBoZW4gVml0aWVsbG8gaXMganVzdCBvdXQgb24gQWJzdXJkLiBP biB0aGUgd2ViLA0KaHR0cDovL3d3dy5taWNoYWVsanNjaHVtYWNoZXIuY29tDQoNCg== ========================================================================= Date: Sat, 21 Apr 2007 00:50:56 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Now on PennSound: NYC EOAGH QUEERING LANGUAGE LAUNCH Mime-Version: 1.0 Content-Type: text/plain; format=flowed NOW AVAILABLE ON PENNSOUND "Queering Language" Reading Launch A Poetry Reading to celebrate the publication of EOAGH Issue 3: Queering Language Hosted by Tim Peterson (as Trace) with Nathaniel Siegel http://writing.upenn.edu/pennsound/x/Queering-Language.html Recorded at the Bowery Poetry Club, New York. February 10, 2007 Issue 3 of EOAGH, Queering Language was edited by CA Conrad, kari edwards, Paul Foster Johnson, Erica Kaufman, Jack Kimball, Tim Peterson, and Stacy Szymaszek. This journal issue is dedicated to the memory of kari edwards 1. Introduction by Tim Peterson and Nathaniel Siegel (3:18) 2. "Eros, born of chaos" by Jen Benka and Carol Mirakove (3:35) 3. "Prophlaxis" "From Here to Where" and "And Further, More" by Mark Bibbins (2:31) 4. "Faggot Love Songs" and "Sea Aloe Sonnet" by Julian Brolaski 5. "Love Letter to Andrew Cunanan" by Regie Cabico (3:10) 6. "The Venerated Muse" and "the Lemonade Man" by David Cameron (2:56) 7. "Lust" by Abigail Child (5:16) 8. "Ode to Pluto" by Jen Coleman (3:12) 9. "from Green Wood" by Allison Cobb (1:52) 10. "Napes" by Nicole Brossard, read by Marcella Durand (2:00) 11. "the transcendent brow of a househusband, or the point of origin for her departure was" by Corrine Fitzpatrick (2:36) 12. "from Dear Land" by E. Tracy Grinnell (3:16) 13. "I Am Here" "Quote from “For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf" (by Ntozake Shange) and "from Sailor Porn" by Brenda Iijima (3:01) 14. "Never is Less" "On the Way to Dinner, an Objective Remark Written Down" and "“Sometimes Black" by Amy King (5:27) 15. "Jock" and "Fun Going Down" by Bill Kushner, read by Nathaniel Siegel (1:56) 16."from Neighbor" by Rachel Levitsky (4:37) 17. "Follow That Bliss" by Ben Malkin (2:19) 18. "A Bracelet for Nina" by Filip Marinovitch (4:12) 19. "Dear Andrea" by Eileen Myles (3:03) 20. "Untitled" by Martha Oatis (2:18) 21. "In Aporia" by Akilah Oliver (3:43) 22. "Let's Have Sex" by Austin Publicover (3:19) 23. "God is not a woman" "Nudity" and "Sexualis" by Ashraf Osman (4:01) 24. "Embarrassment of Riches" by Tim Peterson (2:15) ========================================================================= Date: Fri, 20 Apr 2007 19:17:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: stephen king's take on virginia tech MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.ew.com/ew/article/0,,20036014,00.html per our recent discussions, thought i'd pass this along... ========================================================================= Date: Fri, 20 Apr 2007 17:13:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New de blog Comments: cc: UK POETRY , "Poetryetc: poetry and poetics" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://stephenvincent.net/blog/ A mix of text and pictures: An Imaginary Walk with my 91-year old mom. Walking Events at Poets House Garage Ghost Wheel Barrow Ends Rum-Rumdee dum: Rumsfeld Underground Enjoy et al & comments appreciated, too. Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Fri, 20 Apr 2007 19:57:33 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Help Save Small Magazines MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit If you can click on the link and fill out the material on the website it intantly sends e-mails to your state and national representatives. Hurry, the deadline is April 24th. Thanks! ---------------- Help Save Small Magazines by Robert Mcchesney - The news media are covering the tragic murders in Virginia this morning, and as they do an extraordinarily significant story is slipping through the cracks. On very rare occasions I send a message to everyone in my email address book on an issue that I find of staggering importance and urgency. (My address book includes pretty much everyone who emails me in one form or another, and I apologize if you get this message more than once.) This is one of those times. There is a major crisis in our media taking place right now; it is getting almost no attention and unless we act very soon the consequences for our society could well be disastrous. And it will only take place because it is being done without any public awareness or participation; it goes directly against the very foundations of freedom of the press in the entirety of American history. The U.S. Post Office is in the process of implementing a radical reformulation of its rates for magazines, such that smaller periodicals will be hit with a much much larger increase than the largest magazines. Because the Post Office is a monopoly, and because magazines must use it, the postal rates always have been skewed to make it cheaper for smaller publications to get launched and to survive. The whole idea has been to use the postal rates to keep publishing as competitive and wide open as possible. This bedrock principle was put in place by James Madison and Thomas Jefferson. They considered it mandatory to create the press system, the Fourth Estate necessary for self-government. It was postal policy that converted the free press clause in the First Amendment from an abstract principle into a living breathing reality for Americans. And it has served that role throughout our history. What the Post Office is now proposing goes directly against 215 years of postal policy. The Post Office is in the process of implementing a radical reformulation of its mailing rates for magazines. Under the plan, smaller periodicals will be hit with a much larger increase than the big magazines, as much as 30 percent. Some of the largest circulation magazines will face hikes of less than 10 percent. The new rates, which go into effect on July 15, were developed with no public involvement or congressional oversight, and the increased costs could damage hundreds, even thousands, of smaller publications, possibly putting many out of business. This includes nearly every political journal in the nation. These are the magazines that often provide the most original journalism and analysis. These are the magazines that provide much of the content on Common Dreams. We desperately need them. What the Post Office is planning to do now, in the dark of night, is implement a rate structure that gives the best prices to the biggest publishers, hence letting them lock in their market position and lessen the threat of any new competition. The new rates could make it almost impossible to launch a new magazine, unless it is spawned by a huge conglomerate. Not surprisingly, the new scheme was drafted by Time Warner, the largest magazine publisher in the nation. All evidence available suggests the bureaucrats responsible have never considered the implications of their draconian reforms for small and independent publishers, or for citizens who depend upon a free press. The corruption and sleaziness of this process is difficult to exaggerate. As one lawyer who works for a large magazine publisher admits, It takes a publishing company several hundred thousand dollars to even participate in these rate cases. Some large corporations spend millions to influence these rates. Little guys, and the general public who depend upon these magazines, are not at the table when the deal is being made. The genius of the postal rate structure over the past 215 years was that it did not favor a particular viewpoint; it simply made it easier for smaller magazines to be launched and to survive. That is why the publications opposing the secretive Post Office rate hikes cross the political spectrum. This is not a left-wing issue or a right-wing issue, it is a democracy issue. And it is about having competitive media markets that benefit all Americans. This reform will have disastrous effects for all small and mid-sized publications, be they on politics, music, sports or gardening. This process was conducted with such little publicity and pitched only at the dominant players that we only learned about it a few weeks ago and it is very late in the game. But there is something you can do. Please go to www.stoppostalrateh ikes.com and sign the letter to the Postal Board protesting the new rate system and demanding a congressional hearing before any radical changes are made. The deadline for comments is April 23. I know many of you are connected to publications that go through the mail, or libraries and bookstores that pay for subscriptions to magazines and periodicals. If you fall in these categories, it is imperative you get everyone connected to your magazine or operation to go to www.stoppostalrateh ikes.com. We do not have a moment to lose. If everyone who reads this email responds at www.stoppostalrateh ikes.com , and then sends it along to their friends urging them to do the same, we can win. If there is one thing we have learned at Free Press over the past few years, it is that if enough people raise hell, we can force politicians to do the right thing. This is a time for serious hell-raising. And to my friends from outside the United States, I apologize for cluttering your inbox. If you read this far, we can use your moral support. From the bottom of my heart, thanks. Bob Robert W. Mcchesney www.mediaproblem. org www.freepress. net Department of Communication University of Illinois at Urbana-Champaign Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Fri, 20 Apr 2007 20:12:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen Subject: The Logan Topographies is Available - by Alena Hairston / elen gebreab MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear all: My first collection The Logan Topographies (winner of Persea Books' inaugural Lexi Rudnitsky Memorial Prize) is now available through Amazon and most bookstores. The book is listed under my "legal" name "Alena Hairston." Please share this news with your contacts. If you have friends or contacts in the Cali bay area who may like to read with me, please pass along my email address. And I am always interested in traveling beyond home! Thank you for your encouragement and goodwill! In peace, elen ************************ Amazon link: http://www.amazon.com/Logan-Topographies-Alena-Hairston/dp/0892553294/re f=sr_1_1/104-6971289-6659929?ie=UTF8&s=books&qid=1177120264&sr=8-1 Brief description of the book: Topographies chronicles the fictional legacies of descendants of coal-miners in Logan, West Virginia. This chronicle is not linear, but rather episodic and spatial. Time, here, is impressed, while experience is expressed, yet each element pivots on the other. The collection is divided into four sequential categories, topographical markers, of poems meant to be read individually, as part of the topographical sequence, and as part of the larger collection. Each page of the collection is formatted in a kind of "postcard" landscape format, with margins running 8.5" wide and 5.5" long. The poems should be read, in effect, as a postcard book. Reviews: From Thylias Moss: What strikes me about The Logan Topographies is how "the dream of a belonging place" takes root and grows right along the surface of the ground, forming what would look like the lifelines on a hand when seen from above, but that is not the view that Alena Hairston wants for the reader. Instead, Alena Hairston places the reader on the ground, right in the tracks of the roots as they progress horizontally, forming a map of the intensity of feeling, the persistence of memory, and the impact of both realized and unrealized dreams as they become part of what is mined and unmined, the danger of collapse always imminent. It is both dangerous to dream and not to dream; the lives are such a part of the land and the land is such a part of the lives that they become mirrors -the land takes on the the structure and shape of the tracks of what was lived in Logan, what was permitted, what was denied, what was hoped for so intensely that the hope itself marked the land, engraving it with longing both fulfilled partially and unfilled profoundly, leaving beautiful cracks and designs that will always speak of possibility that is destined to remain only possibility. Yet possibility is what is most needed. Hairston is reading Logan's palm, the hand the people have been dealt, the hand the people belong to and that also belongs to them. The vigor with which these lines knit and hold this world is impressive, and honest, and beautiful; fuel for the soul. Link to a review in Feminist Review: http://feministreview.blogspot.com/2007/03/logan-topographies.html ========================================================================= Date: Fri, 20 Apr 2007 21:43:10 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Re: Help Save Small Magazines/better URL Comments: To: editor@pavementsaw.org Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit The email link embedded in McChesney's letter was a dead end for me. Try this: http://action.freepress.net/campaign/postal -----Original Message----- >From: David Baratier >Sent: Apr 20, 2007 7:57 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Help Save Small Magazines > > > If you can click on the link and fill out the material on the website it intantly sends e-mails to your state and national representatives. Hurry, the deadline is April 24th. Thanks! > > ---------------- > > > Help Save Small Magazines > >by Robert Mcchesney - > >The news media are covering the tragic murders in Virginia this morning, and as they do an extraordinarily significant story is slipping through the cracks. > >On very rare occasions I send a message to everyone in my email address book on an issue that I find of staggering importance and urgency. (My address book includes pretty much everyone who emails me in one form or another, and I apologize if you get this message more than once.) This is one of those times. > >There is a major crisis in our media taking place right now; it is getting almost no attention and unless we act very soon the consequences for our society could well be disastrous. And it will only take place because it is being done without any public awareness or participation; it goes directly against the very foundations of freedom of the press in the entirety of American history. > >The U.S. Post Office is in the process of implementing a radical reformulation of its rates for magazines, such that smaller periodicals will be hit with a much much larger increase than the largest magazines. > >Because the Post Office is a monopoly, and because magazines must use it, the postal rates always have been skewed to make it cheaper for smaller publications to get launched and to survive. The whole idea has been to use the postal rates to keep publishing as competitive and wide open as possible. This bedrock principle was put in place by James Madison and Thomas Jefferson. They considered it mandatory to create the press system, the Fourth Estate necessary for self-government. > >It was postal policy that converted the free press clause in the First Amendment from an abstract principle into a living breathing reality for Americans. And it has served that role throughout our history. > >What the Post Office is now proposing goes directly against 215 years of postal policy. The Post Office is in the process of implementing a radical reformulation of its mailing rates for magazines. Under the plan, smaller periodicals will be hit with a much larger increase than the big magazines, as much as 30 percent. Some of the largest circulation magazines will face hikes of less than 10 percent. > >The new rates, which go into effect on July 15, were developed with no public involvement or congressional oversight, and the increased costs could damage hundreds, even thousands, of smaller publications, possibly putting many out of business. This includes nearly every political journal in the nation. These are the magazines that often provide the most original journalism and analysis. These are the magazines that provide much of the content on Common Dreams. We desperately need them. > >What the Post Office is planning to do now, in the dark of night, is implement a rate structure that gives the best prices to the biggest publishers, hence letting them lock in their market position and lessen the threat of any new competition. The new rates could make it almost impossible to launch a new magazine, unless it is spawned by a huge conglomerate. > >Not surprisingly, the new scheme was drafted by Time Warner, the largest magazine publisher in the nation. All evidence available suggests the bureaucrats responsible have never considered the implications of their draconian reforms for small and independent publishers, or for citizens who depend upon a free press. > >The corruption and sleaziness of this process is difficult to exaggerate. As one lawyer who works for a large magazine publisher admits, It takes a publishing company several hundred thousand dollars to even participate in these rate cases. Some large corporations spend millions to influence these rates. Little guys, and the general public who depend upon these magazines, are not at the table when the deal is being made. > >The genius of the postal rate structure over the past 215 years was that it did not favor a particular viewpoint; it simply made it easier for smaller magazines to be launched and to survive. That is why the publications opposing the secretive Post Office rate hikes cross the political spectrum. This is not a left-wing issue or a right-wing issue, it is a democracy issue. And it is about having competitive media markets that benefit all Americans. This reform will have disastrous effects for all small and mid-sized publications, be they on politics, music, sports or gardening. > >This process was conducted with such little publicity and pitched only at the dominant players that we only learned about it a few weeks ago and it is very late in the game. But there is something you can do. Please go to www.stoppostalrateh ikes.com and sign the letter to the Postal Board protesting the new rate system and demanding a congressional hearing before any radical changes are made. The deadline for comments is April 23. > >I know many of you are connected to publications that go through the mail, or libraries and bookstores that pay for subscriptions to magazines and periodicals. If you fall in these categories, it is imperative you get everyone connected to your magazine or operation to go to www.stoppostalrateh ikes.com. > >We do not have a moment to lose. If everyone who reads this email responds at www.stoppostalrateh ikes.com , and then sends it along to their friends urging them to do the same, we can win. If there is one thing we have learned at Free Press over the past few years, it is that if enough people raise hell, we can force politicians to do the right thing. This is a time for serious hell-raising. > >And to my friends from outside the United States, I apologize for cluttering your inbox. If you read this far, we can use your moral support. > > > >From the bottom of my heart, thanks. > > >Bob > > >Robert W. Mcchesney www.mediaproblem. org www.freepress. net Department of Communication University of Illinois at Urbana-Champaign > > > >Be well > >David Baratier, Editor > >Pavement Saw Press >PO Box 6291 >Columbus, OH 43206 >http://pavementsaw.org ========================================================================= Date: Sat, 21 Apr 2007 05:36:45 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: Help Save Small Magazines/better URL In-Reply-To: <14872218.1177130590392.JavaMail.root@elwamui-hybrid.atl.sa.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://action.freepress.net/campaign/postal brings you straight to the form to fill out against the postal rate hikes. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sat, 21 Apr 2007 08:26:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: NYTimes.com: U.S. Rules Made Killer Ineligible to Purchase Gun MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable From: davidbchirot@hotmail.comTo: davidbchirot@hotmail.comSubject: NYTimes.= com: U.S. Rules Made Killer Ineligible to Purchase GunDate: Sat, 21 Apr 200= 7 06:23:46 -0700 =09 This page was sent to you by:=20 davidbchirot@hotmail.com NATIONAL=20 =20 | April 21, 2007 U.S. Rules Made Killer Ineligible to Purchase Gun By MICHAEL LUO Under federal law, the Virginia Tech gunman should have been prohibited fro= m buying a gun after he was declared to be a danger to himself. =20 =09 =09 =09 =09 1. Pill That Eliminates the Period Gets Mixed Reviews=20 2. Editorial: Gonzales v. Gonzales=20 3. 36 Hours in Dublin=20 4. Art Review: Classical Treasures, Bathed in a New Light=20 5. But What if You Get Hit by a Taxi?=20 =BB =20 Go to Complete List =09 Advertisement=20 The NAMESAKE From acclaimed director Mira Nair and based on the best-selling novel, THE = NAMESAKE is a universal, multi-generational love story. Now playing in sele= ct theatres. Click here to watch trailer Copyright 2007 The New York Times Company | Privacy Policy =20 =09 =09 _________________________________________________________________ News, entertainment and everything you care about at Live.com. Get it now! http://www.live.com/getstarted.aspx= ========================================================================= Date: Sat, 21 Apr 2007 09:09:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: FW: NYTimes.com: U.S. Rules Made Killer Ineligible to Purchase Gun In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I kinda like it, but I thought we weren't supposed to post poems in this forum. Amy? On 4/21/07, David-Baptiste Chirot wrote: > 1. Pill That Eliminates the Period Gets Mixed Reviews > 2. Editorial: Gonzales v. Gonzales > 3. 36 Hours in Dublin > 4. Art Review: Classical Treasures, Bathed in a New Light > 5. But What if You Get Hit by a Taxi? > Go to Complete List > Advertisement > The NAMESAKE ========================================================================= Date: Sat, 21 Apr 2007 09:43:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: BYRNE, LEHMAN, and EQUI -- Friday, April 27th In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MiPOesias presents ~~~~ David Lehman, Elaine Equi, and Mairead Byrne ~~~~ Friday, April 27, 2007 @ 7:00 PM ~~~~~~~~~~ DAVID LEHMAN was born in New York City in 1948. He is the author of six books of poems, most recently When a Woman Loves a Man (Scribner, 2005). Among his nonfiction books are The Last Avant-Garde: The Making of the New York School of Poets (Anchor, 1999) and The Perfect Murder (Michigan, 2000). He edited Great American Prose Poems: From Poe to the Present, which appeared from Scribner in 2003. He teaches writing and literature in the graduate writing program of the New School in New York City and offers an undergraduate course each fall on “Great Poems” at New York University. He is the editor of a new edition of The Oxford Book of American Poetry, a one-volume comprehensive anthology of poems from Anne Bradstreet to the present. He initiated The Best American Poetry series in 1988 and received a Guggenheim Fellowship a year later. He lives in New York City and in Ithaca, New York. http://www.mipoesias.com/April2004/lehman.htm ELAINE EQUI is the author of ten books including Surface Tension, Voice-Over, which won the San Francisco State Poetry Award, and The Cloud of Knowable Things. Her latest is Ripple Effect: New & Selected Poems from Coffee House Press. She teaches in the MFA Programs at City College and The New School, and at New York University. http://www.mipoesias.com/April2004/equi.htm MAIRÉAD BYRNE is employed as Associate Professor of English at Rhode Island School of Design in Providence. She immigrated to America from Ireland in 1994 and earned a PhD in English (Theory & Cultural Studies) from Purdue University in 2001. Recent publications include a poetry collection, Nelson & The Huruburu Bird (Wild Honey Press 2003); three chapbooks Vivas (Wild Honey Press 2005), An Educated Heart (Palm Press 2005), and Kalends (Belladonna* 2005); and a talk, Some Differences Between Poetry & Standup (UbuWeb 2005). http://www.mipoesias.com/2006Volume20Issue1/byrne.html ~~~~~~~~ STAIN BAR 766 Grand Street Brooklyn , NY 11211 (L train to Grand Street Stop, walk 1 block west) 718/387-7840 http://www.stainbar.com/ ~~~~~~~~ Hope you'll stop by! Amy King MiPO Host http://www.mipoesias.com --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Sat, 21 Apr 2007 09:47:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: FW: NYTimes.com: U.S. Rules Made Killer Ineligible to Purchase Gun In-Reply-To: <750c78460704210709t72685723r56ef02bce2c16c28@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 2. Posting to the List The Poetics List is a moderated list. All messages are reviewed by the editors in keeping with the goals of the list as articulated in this Welcome Message (see section 1). Please note that while this list is primarily concerned with discussions of poetry and poetics, messages relating to politics and political activism, film, art, media, and so forth are also welcome. We strongly encourage subscribers to post information, including web links, relating to publications (print and internet), reading series, and blogs that they have coordinated, edited, published, or in which they appear. Such announcements constitute a core function of this list. Brief reviews of poetry events and publications (print or digital) are always welcome. We generally do not accept postings of creative work not directed toward a discussion of poetics issues on the list. The Poetics List is not a venue for the posting of free-standing, personal poems or journal entries. However, the Poetics List editor may occasionally solicit or approve poems for posting on the list. Also, please note that the Poetics List is not a "chat" list and we discourage the posting of very short messages intended for only a few subscribers. All posts go out not only to list subscribers but also become a public part of the list archive on the web. Note that posting to the list is a form of publication and that by sending your message to the list you formally consent to such web publication. Posts are currently being indexed by search engines such as Google. It is not possible for us to remove posts from the list archive or to control search engine indexing of these posts. Subscribers only may post to the Poetics List. Send messages directly to the list address: poetics@listserv.buffalo.edu. http://epc.buffalo.edu/poetics/welcome.html Dan Coffey wrote: I kinda like it, but I thought we weren't supposed to post poems in this forum. Amy? On 4/21/07, David-Baptiste Chirot wrote: > 1. Pill That Eliminates the Period Gets Mixed Reviews > 2. Editorial: Gonzales v. Gonzales > 3. 36 Hours in Dublin > 4. Art Review: Classical Treasures, Bathed in a New Light > 5. But What if You Get Hit by a Taxi? --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Sat, 21 Apr 2007 19:08:04 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: Re: poetry is dangerous In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi David, thanks for posting this piece its a fascinating read. I often end up speaking to =8Cauthorities=B9 when i am out looking for material. This time = i found some great material!; =20 =20 Police Brutality and Art Criticism in the 21st Century I was at the train station in amsterdam with a friend, and we ate sandwiche= s with pickles on them. So here we were walking out of the Central Station an= d there was one of those Entry Prohibited signs, those blue ones that list th= e rules on the construction site at the front of the station. so I place a pickle over the eye of the picture of the guy wearing a hard hat helmet, two pickles in fact, one over each eye. I was with a friend, both of us in our mid-thirties, two grown men for a night on the town. I hear an =B3Ahem=B2 behind me & there=B9s two policemen, well police-kids actually= , fresh out of cop-school. White guy and a black guy, and there=B9s me and my friend; a white guy and a black guy. So anyway the white cop says (in dutch this all transpires) something like =B3you better remove that pickle now=B2. I say something like =B3are you kidding =AD why could you possibly care?=B2 to whic= h I get a response that is quite scary for its fastidiousness =AD I get a speec= h on the basic tenets of capitalism =AD that its private business property & that it should be respected and how would i like it if my business property were vandalised? =20 Vandalised =AD did I also mention that it was raining and the pickles would b= e washed away in a few minutes? ok, well anyway, I tell him that i don=B9t agre= e and that it=B9s a really his opinion based on his social conditioning & he starts in telling me its unhygenic and disgusting. By now the two black men are thoroughly uncomfortable and bored with the white men. I ask the child, for he really is a child, pointing to the building where the Modern Art Museum is housed, I ask him if he=B9s ever been to the museum, he shakes his head, i tell him he could find all sorts of things like pickles on signs there, banana smeared on portraits of the queen, things like that. He asks me if i want to pay a fine or go to the police station. So much for art criticism in the 21st century. =20 =20 On 4/20/07 11:33 PM, "David-Baptiste Chirot" wrote: > About a month a month ago I was working as usual on some of my > rubBEings--on the letterings on the tire of an immense crane by the site = of > some apartment building swhich have been under construction for a little = over > a year. I was half bent over, my back facing outwards, face hidde= n as > close to the tire--to focuson my work--suddenly someone hit me with force= from > behind on the left side and tried to pin me aginst the tire--yelling very > loudly what are you going--i am calling the police! And yelling for > neighbors, anyone to come-- I moved very slowly and turned to face= a > man shaking with rage and fear and trying to dial on his cell phone--and = ready > to start screaming again at any moment--I remeined very clam and said don= 't > worry I am just working on some rubBeings--see--here is what I am doing. > Fortunately the man stopped dialing and stared at the pieces of paper. I= said > if you will allow me to get them out of my bag I have some books of these > which have been published with my foto in them so you can see I am doing = legal > and legitimate art work. The man in the end profusely apologized = and > explained that from the back that I looked frightening--dressed all in bl= ack > with a black hooded sweatshirt with hood up and bent over the machine as > though applying something to the axle. He didnt' really want to say it--= but > he said I must know what he meant-- Two weeks ago I was stopped for > simply standing in an alley and looking at some boards. I hd seen the po= lice > car pull up and park at the end of the alley but thought perhpas it was g= oing > to let officer out at the coffee shop at the corner. Instead he had pull= ed up > behind me, with the car pressing me very close to a dumpster and big beef= y > face with the aviator sun glasses staring at me. The usual questions unt= il we > got where I ilve--it is on my State non-driver's ID--the cop practically > jumped inside his cab--what are you doing over here?--(I live on aanother= side > of town, in a very bad crack neighborhood--)--I explained I came there ve= ryday > for art work etc-etc--he ran the usual check on the ID and then looking a= t me > strted to ask me where I was from. This is just a State ID he said--wher= e are > you from? Milwaukee. No no--where are you from? I was trying to stall = him > because of course all mylife I have been arrested and detained in many > countries and locked up--appeared before a military tribunal in Poland af= ter > two weeks of house arrest--and in the CRS political prisons in > Paris---suspicion of false identiy, stolen passport, terrorism, even > espionage--and ever since 9/11 since I no longer have a passport my mothe= r is > worried al the time it will start happening here. Already twice I had to= be > taken downtown for questioning about identity. I asked them where they > thought I was from--no answer--but it appeared they didn't think an Ameri= can. > Which for reasons I have never understood or often even known--people oft= en > don't think that I am an American here or abroad. A mystery to me. > Fortunately as this cop began writing some things down and I had the sink= ing > feeling we were headed downtwon yet again for me--a woman came running up > yelling at the cop and chewing him out, saying she knew who I was, all th= e > neighbors do, and I am not doing any harm. The cop was rather mortif= ied > by her outburst--and explained tome that he was on the lookout for suspec= ts in > a string of burgalries inthe area--and I had looked suspiciously like cas= ing > apartements as wlaking slowly inthe alleys and checking out boards nd var= ious > pieces of brick and other surfaces. The woman said--he uses that for art > work--we see him all the time. The cop finally wrote some things down an= d > then told me just not to be seenn inthe alleys for a while. You understa= nd he > said--your address is a very bad one, and you are a person of indetermina= te > origin. Last week some friends asked me to wtach a man they thoug= ht > supsicious intheir store--I said I wil go out and smoke and watch through= the > window--but this man is harmless--he is just alittle off--but harmless--I > didnt know they had called the police--sure enough, the police arrive sud= denly > quite a few of them in this nice neighborhood--and --going inside, thelas= t one > in line stops to question me. I tried to explain I am just keeping an ey= e on > this fellow and I am sure he is harmless. Just making the people inside > nervous. (Mainl becasue a loud mouthed customer kept claiming the man wa= s > staring at surveillance cameras.) The cop was filling out my > information and suddenly stopped and looked at me. I know who you are he= sys. > We had a write up on you. You're the person of uncertain origin. But it= says > you seem to be okay with the neighbors. So where are you from anyway? > That's the most police contact I have had in quite a while--try to steer = clear > of them becuase of the "uncertain origin"--what might happen to one? Get= put > on a ghsot plane and be vanished to other side of the world? Especially = if > they really looked in my bag and found the various tools inside used for > takeing things off of larger objects in dumpsters needed for art work--pl= iers, > screw drivers, a small crow bar, a flash light and etc--a regular burgalr > kit!--or perhaps in their eyes something far more insidious. > Some thing I have thought about with the writing--is that the shooter was= such > a silent man. Often killers of this kind are very quiet people--yet like= to > write--keep diaries--notes--make maps and the like. Nowadays of course l= ike > the Colombine killers and the Virginia Tech young man--there is also vide= o to > use and other digtalized devices--cameras, recordings, etc--which were ma= de > into a multi-media presentation to send to the media--the Unabomber also > wrote--sent his manifesto to the media--and in the film Taxi Dri8ver, Tra= vis' > (Robert De Niro's) diary and the film itself are based on the diaries of > Arthur Bremer, who stalked Nixon for months before having to shoot instea= d > aless heavily guarded George Wallace--the diaries were buried in Lake Par= k > here in Milwaukee--(the assasination attempt on Theodore Roosevelt when > running as a Bull Moose candidate was here--) What intrigues me is t= hat > it is speaking which is used to get people to deal with their probelms an= d not > writing--in Amger management for example--speaking in a group with others= with > the same problems and rages and frutrations--is what helps people break d= own > the sense of being isolated--to say things aloud to others--and to have t= hem > say similar things to you--in speaking, the communication breaks down the > control and isolation that writing can confer--writing can make one feel = more > alone--or make one feel more omnipotent--more abject and silenced--or lou= der > than anyone--until they reach for the gun--the utlimate destination of th= e > writing which is geared toweards a rhetoric of violence used to incite it= self, > to incite the writer--rather than the reader--Though it is different, the= re is > a relation--in Billy Budd--when Billy cannot speak--to Claggart--can't ex= press > himself--just stammers futiley--and Claggart is laughing at him as it > were--Billy lashes out with his fists in place of the words he cannot for= m.> > Date: Fri, 20 Apr 2007 14:41:49 -0400> From: ClementsB@WCSU.EDU> Subject:= Re: > FW: poetry is dangerous> To: POETICS@LISTSERV.BUFFALO.EDU> > I have been > discussing this sad and disturbing thing that has happened to > Kazim wit= h a > couple of other writers and we have decided to write letters > to the > President of Shippensburg, William Ruud, encouraging him to speak > out m= ore > forcefully against this kind of fear-mongering. In Dr. Ruud's > statement > regarding the VT shooting, he says:> > "Here at Ship we consider ourselve= s to > be a family, and it is important we > all look out for each other, just l= ike > you do for your own family... If > anyone has suggestions on ways to enha= nce > safety or ways to communicate > better, please let me know."> > This migh= t be > something to mention, if you feel inclined to write a letter > in support= of > Kazim. > > As Jeff Davis says: > > The situation he [Kazim] describes tro= ubles > me. His perspective I don't > think is schewed, unfair, or reactionary. I= know > Kazim. Not only is > Kazim's poetic sensitivity to nuance and sound among= the > finest I've > read in years; in my personal encounters with Kazim, he str= ikes > me as > one of the most peaceful, non-violent people I know.> > Kazim's > situation with the police mirrors a sweeping trend in American > behavior > especially among officials, university administrators, business > CEOs, a= nd > politicians: a pusillinamity that renders them without courage > or integ= rity > to take responsibility or to speak honestly. Why? To play > it safe. To > pretend that nothing's amiss. To avoid conflict. To avoid > truth.> > Con= tact > info for the President of Shippensburg:> > William Ruud> President> > Shippensburg University> 1871 Old Main Drive> Shippensburg, PA 17257> > wnruud@ship.edu> 717-477-1301 > > > Dr. Brian Clements, Coordinator> MFA = in > Professional Writing> 203-837-8876> _____> Dept. of Writing, Linguistics,= and > Creative Process> Western Connecticut State University> 181 White St.> > Danbury, CT 06810> _____> ">http://www.wcsu.edu/english/mfa> > > > > > Geoffrey Gatza > > Sent by: UB Poetics discussion group > > 04/20/2007 11:54 AM> Please respond to> U= B > Poetics discussion group > > > To> > POETICS@LISTSERV.BUFFALO.EDU> cc> > Subject> FW: poetry is dangerous> > >= > > > > > Poetry is Dangerous> Kazim Ali> > > On April 19, after a day of teach= ing > classes at> Shippensburg University, I went out to my car and> grabbed a = box > of old poetry manuscripts from the front> seat of my little white beetle = and > carried it across> the street and put it next to the trashcan outside> Wr= ight > Hall. The poems were from poetry contests I had> been judging and the box= was > heavy. I had previously> left my recycling boxes there and they were alwa= ys> > picked up and taken away by the trash department.> > A young man from ROT= C was > watching me as I got into my> car and drove away. I thought he was lookin= g at > my car> which has black flower decals and sometimes inspires> strange loo= ks. I > later discovered that I, in my dark> skin, am sometimes not even a person= to > the people who> look at me. Instead, in spite of my peacefulness, my> > committed opposition to all aggression and war, I am a> threat by my very > existence, a threat just living in> the world as a Muslim body. > > Upon = my > departure, he called the local police> department and told them a man of > Middle Eastern> descent driving a heavily decaled white beetle with> out = of > state plates and no campus parking sticker had> just placed a box next to= the > trash can. My car has> NY plates, but he got the rest of it wrong. I hav= e > two> stickers on my car. One is my highly visible faculty> parking sticke= r and > the other, which I just don't have> the heart to take off these days, say= s > "Kerry/Edwards:> For a Stronger America." > > Because of my recycling the= bomb > squad came, the state> police came. Because of my recycling buildings wer= e> > evacuated, classes were canceled, campus was closed.> No. Not because of = my > recycling. Because of my dark> body. No. Not because of my dark body. Bec= ause > of his> fear. Because of the way he saw me. Because of the> culture of fe= ar, > mistrust, hatred, and suspicion that> is carefully cultivated in the medi= a, by > the> government, by people who claim to want to keep us> 'safe.'> > These= are > the days of orange alert, school lock-downs,> and endless war. We are > preparing for it, training for> it, looking for it, and so of course, in = the > most> innocuous of places-a professor wanting to hurry home,> hefting his= box > of discarded poetry-we find it.> > That man in the parking lot didn't eve= n see > me. He saw> my darkness. He saw my Middle Eastern descent. Ironic> becaus= e > though my grandfathers came from Egypt, I am> Indian, a South Asian, and = could > never be mistaken for> a Middle Eastern man by anyone who'd ever met one.= > > > One of my colleagues was in the gathering crowd,> trying to figure out wh= at > had happened. She heard my> description-a Middle Eastern man driving a wh= ite> > beetle with out of state plates-and knew immediately> they were talking a= bout > me and realized that the box> must have been manuscripts I was discarding= . > She> approached them and told them I was a professor on the> faculty ther= e. > Immediately the campus police officer> said, "What country is he from?"> = > > "What country is he from?!" she yelled, indignant.> > "Ma'am, you are > associated with the suspect. You need> to step away and lower your voice,= " he > told her.> > At some length several of my faculty colleagues were> able t= o get > through to the police and get me on a cell> phone where I explained to th= e > university president> and then to the state police that the box contained= > old > poetry manuscripts that needed to be recycled. The> police officer told m= e > that in the current climate I> needed to be more careful about how I beha= ved. > "When I> recycle?" I asked.> > The university president appreciated my > distress about> the situation but denied that the call had anything to> d= o > with my race or ethnic background. The spokesperson> of the university ca= lled > it an "honest mistake," not> referring to the young man from ROTC giving = in to > his> worst instincts and calling the police but referring> to me who made= the > mistake of being dark-skinned and> putting my recycling next to the trash= can.> > > The university's bizarrely minimal statement lets> everyone know that t= he > "suspicious package" beside the> trashcan ended up being, indeed, trash. = It > goes on to> say, "We appreciate your cooperation during the> incident and > remind everyone that safety is a joint> effort by all members of the camp= us > community."> > What does that community mean to me, a person who has> to = walk > by the ROTC offices every day on my way to my> own office just down the > hall-who was watched, noted,> and reported, all in a day's work? Today we= gave > in> willingly and whole-heartedly to a culture of fear and> blaming and > profiling. It is deemed perfectly> appropriate behavior to spy on one ano= ther > and police> one another and report on one another. Such behaviors> exist = most > strongly in closed and undemocratic and> fascist societies.> > The univer= sity > report does not mention the root cause> of the alarm. That package became > "suspicious" because> of who was holding it, who put it down, who drove> = away. > Me.> > It was poetry, I kept insisting to the state policeman> who was > questioning me on the phone. It was poetry I> was putting out to be recyc= led.> > > My body exists politically in a way I can not prevent.> For a moment to= day, > without even knowing it, driving> away from campus in my little beetle, > exhausted after> a day of teaching, listening to Justin Timberlake on> th= e > radio, I ceased to be a person when a man I had> never met looked straigh= t > through me and saw the> violence in his own heart.> > > > =3D=3D=3D=3D> > > www.kazimali.com> www.alicejamesbooks.org/far_mosque.html> > =3D=3D=3D=3D> > > __________________________________________________> Do You Yahoo!?> Tired= of > spam? Yahoo! Mail has the best spam protection around > http://mail.yaho= o.com > _________________________________________________________________ > Explore the seven wonders of the world > http://search.msn.com/results.aspx?q=3D7+wonders+world&mkt=3Den-US&form=3DQBRE ========================================================================= Date: Sat, 21 Apr 2007 14:53:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Radio Interview with Murat Nemet-Nejat on Eda Anthology MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Guys, My interview with Leonard Schwartz on Eda: An Anthology of Contemporary Turkish Poetry will be broadcast on Evergreen College radio station tomorrow, Sunday, Aprill 22, ay noon Pacific (California, Oregon, Washington State) time. Here is the link in case anyone wants to listen to it on the computer: This Sunday, April 22, at noon Pacific, three Eastern: http://kaos.evergreen.edu/programs/cc_poetics.html Ciao, Murat ========================================================================= Date: Sat, 21 Apr 2007 13:05:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: FW: NYTimes.com: U.S. Rules Made Killer Ineligible to Purchase Gun In-Reply-To: <308059.30697.qm@web83314.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ARG! That was a joke. Sorry Amy, and everybody for making SECTION 2 come down the pike. On 4/21/07, amy king wrote: > 2. Posting to the List > The Poetics List is a moderated list. All messages are reviewed by the editors in keeping with the goals of the list as articulated in this Welcome Message (see section 1). > Please note that while this list is primarily concerned with discussions of poetry and poetics, messages relating to politics and political activism, film, art, media, and so forth are also welcome. We strongly encourage subscribers to post information, including web links, relating to publications (print and internet), reading series, and blogs that they have coordinated, edited, published, or in which they appear. Such announcements constitute a core function of this list. Brief reviews of poetry events and publications (print or digital) are always welcome. > We generally do not accept postings of creative work not directed toward a discussion of poetics issues on the list. The Poetics List is not a venue for the posting of free-standing, personal poems or journal entries. However, the Poetics List editor may occasionally solicit or approve poems for posting on the list. > Also, please note that the Poetics List is not a "chat" list and we discourage the posting of very short messages intended for only a few subscribers. > > All posts go out not only to list subscribers but also become a public part of the list archive on the web. Note that posting to the list is a form of publication and that by sending your message to the list you formally consent to such web publication. Posts are currently being indexed by search engines such as Google. It is not possible for us to remove posts from the list archive or to control search engine indexing of these posts. > Subscribers only may post to the Poetics List. Send messages directly to the list address: poetics@listserv.buffalo.edu. > > http://epc.buffalo.edu/poetics/welcome.html > > > Dan Coffey wrote: I kinda like it, but I thought we weren't supposed to post poems in > this forum. Amy? > > On 4/21/07, David-Baptiste Chirot wrote: > > > 1. Pill That Eliminates the Period Gets Mixed Reviews > > 2. Editorial: Gonzales v. Gonzales > > 3. 36 Hours in Dublin > > 4. Art Review: Classical Treasures, Bathed in a New Light > > 5. But What if You Get Hit by a Taxi? > > > > > --------------------------------- > Ahhh...imagining that irresistible "new car" smell? > Check outnew cars at Yahoo! Autos. > -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Sat, 21 Apr 2007 16:39:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: poetry is dangerous MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline From: "Ricejunk2@frontiernet.net" [T.F. Rice] To: UB Poetics discussion group Date: Sat, 21 Apr 2007 19:36:02 +0000 Subject: Re: poetry is dangerous Hello all, If you didnt read the below two posts, please consider reading them. They are worthy, in more than one way. They are worthy as stories that will grasp your attention , for good reason, but also as a reminder of the US's / world's direction away from "freedom for humanity". "Freedom", meaning, why is an opinion not tolerated, not allowed to be freely expressed and/or exercised. "Humanity", meaning, at what point in time did it become okay for a person to not be treated as an individual. FROM A BELOW POST: On 4/20/07 11:33 PM, "David-Baptiste Chirot" wrote: "...It was poetry, I kept insisting to the state policeman> who was questioning me on the phone. It was poetry I> was putting out to be recycle= d.> My body exists politically in a way I can not prevent.> For a moment today, without even knowing it, driving> away from campus in my little beetle, exhausted after> a day of teaching, listening to Justin Timberlake on> the radio, I ceased to be a person when a man I had> never met looked straight through me and saw the> violence in his own heart." FROM A BELOW POST: On 4/21/07 "cralan kelder" wrote: "...Vandalised =AD did I also mention that it was raining and the pickles would be > washed away in a few minutes? ok, well anyway, I tell him that i don=B9t = agree > and that it=B9s a really his opinion based on his social conditioning & h= e > starts in telling me its unhygenic and disgusting. By now the two black m= en > are thoroughly uncomfortable and bored with the white men..." "...So much for art criticism in the 21st century." ---------------------------------------------------------------------------= - AND HERE ARE THE POSTS, IN THE EXACT FORM THEY ARRIVED IN MY EMAIL BOX: Quoting cralan kelder : > Hi David, thanks for posting this piece its a fascinating read. I often e= nd > up speaking to =8Cauthorities=B9 when i am out looking for material. This= time i > found some great material!; > > > Police Brutality and Art Criticism in the 21st Century > > I was at the train station in amsterdam with a friend, and we ate sandwic= hes > with pickles on them. So here we were walking out of the Central Station = and > there was one of those Entry Prohibited signs, those blue ones that list = the > rules on the construction site at the front of the station. > > so I place a pickle over the eye of the picture of the guy wearing a hard > hat helmet, two pickles in fact, one over each eye. I was with a friend, > both of us in our mid-thirties, two grown men for a night on the town. I > hear an =B3Ahem=B2 behind me & there=B9s two policemen, well police-kids = actually, > fresh out of cop-school. White guy and a black guy, and there=B9s me and = my > friend; a white guy and a black guy. So anyway the white cop says (in dut= ch > this all transpires) something like =B3you better remove that pickle now= =B2. I > say something like =B3are you kidding =AD why could you possibly care?=B2= to which > I get a response that is quite scary for its fastidiousness =AD I get a s= peech > on the basic tenets of capitalism =AD that its private business property = & > that it should be respected and how would i like it if my business proper= ty > were vandalised? > > Vandalised =AD did I also mention that it was raining and the pickles wou= ld be > washed away in a few minutes? ok, well anyway, I tell him that i don=B9t = agree > and that it=B9s a really his opinion based on his social conditioning & h= e > starts in telling me its unhygenic and disgusting. By now the two black m= en > are thoroughly uncomfortable and bored with the white men. I ask the chil= d, > for he really is a child, pointing to the building where the Modern Art > Museum is housed, I ask him if he=B9s ever been to the museum, he shakes = his > head, i tell him he could find all sorts of things like pickles on signs > there, banana smeared on portraits of the queen, things like that. He ask= s > me if i want to pay a fine or go to the police station. So much for art > criticism in the 21st century. > > > > > On 4/20/07 11:33 PM, "David-Baptiste Chirot" > wrote: > >> About a month a month ago I was working as usual on some of my >> rubBEings--on the letterings on the tire of an immense crane by the site= of >> some apartment building swhich have been under construction for a >> little over >> a year. I was half bent over, my back facing outwards, face >> hidden as >> close to the tire--to focuson my work--suddenly someone hit me with >> force from >> behind on the left side and tried to pin me aginst the tire--yelling ver= y >> loudly what are you going--i am calling the police! And yelling for >> neighbors, anyone to come-- I moved very slowly and turned to fac= e a >> man shaking with rage and fear and trying to dial on his cell >> phone--and ready >> to start screaming again at any moment--I remeined very clam and said do= n't >> worry I am just working on some rubBeings--see--here is what I am doing. >> Fortunately the man stopped dialing and stared at the pieces of >> paper. I said >> if you will allow me to get them out of my bag I have some books of thes= e >> which have been published with my foto in them so you can see I am >> doing legal >> and legitimate art work. The man in the end profusely apologized= and >> explained that from the back that I looked frightening--dressed all in b= lack >> with a black hooded sweatshirt with hood up and bent over the machine as >> though applying something to the axle. He didnt' really want to say it-= -but >> he said I must know what he meant-- Two weeks ago I was stopped for >> simply standing in an alley and looking at some boards. I hd seen >> the police >> car pull up and park at the end of the alley but thought perhpas it >> was going >> to let officer out at the coffee shop at the corner. Instead he >> had pulled up >> behind me, with the car pressing me very close to a dumpster and big bee= fy >> face with the aviator sun glasses staring at me. The usual >> questions until we >> got where I ilve--it is on my State non-driver's ID--the cop practically >> jumped inside his cab--what are you doing over here?--(I live on >> aanother side >> of town, in a very bad crack neighborhood--)--I explained I came >> there veryday >> for art work etc-etc--he ran the usual check on the ID and then >> looking at me >> strted to ask me where I was from. This is just a State ID he >> said--where are >> you from? Milwaukee. No no--where are you from? I was trying to stall= him >> because of course all mylife I have been arrested and detained in many >> countries and locked up--appeared before a military tribunal in Poland a= fter >> two weeks of house arrest--and in the CRS political prisons in >> Paris---suspicion of false identiy, stolen passport, terrorism, even >> espionage--and ever since 9/11 since I no longer have a passport my >> mother is >> worried al the time it will start happening here. Already twice I had t= o be >> taken downtown for questioning about identity. I asked them where they >> thought I was from--no answer--but it appeared they didn't think an >> American. >> Which for reasons I have never understood or often even known--people of= ten >> don't think that I am an American here or abroad. A mystery to me. >> Fortunately as this cop began writing some things down and I had the sin= king >> feeling we were headed downtwon yet again for me--a woman came running u= p >> yelling at the cop and chewing him out, saying she knew who I was, all t= he >> neighbors do, and I am not doing any harm. The cop was rather morti= fied >> by her outburst--and explained tome that he was on the lookout for >> suspects in >> a string of burgalries inthe area--and I had looked suspiciously like ca= sing >> apartements as wlaking slowly inthe alleys and checking out boards >> nd various >> pieces of brick and other surfaces. The woman said--he uses that for ar= t >> work--we see him all the time. The cop finally wrote some things down a= nd >> then told me just not to be seenn inthe alleys for a while. You >> understand he >> said--your address is a very bad one, and you are a person of indetermin= ate >> origin. Last week some friends asked me to wtach a man they thou= ght >> supsicious intheir store--I said I wil go out and smoke and watch throug= hthe >> window--but this man is harmless--he is just alittle off--but harmless--= I >> didnt know they had called the police--sure enough, the police >> arrive suddenly >> quite a few of them in this nice neighborhood--and --going inside, >> thelast one >> in line stops to question me. I tried to explain I am just keeping >> an eye on >> this fellow and I am sure he is harmless. Just making the people inside >> nervous. (Mainl becasue a loud mouthed customer kept claiming the man w= as >> staring at surveillance cameras.) The cop was filling out my >> information and suddenly stopped and looked at me. I know who you >> are he sys. >> We had a write up on you. You're the person of uncertain origin. >> But it says >> you seem to be okay with the neighbors. So where are you from anyway? >> That's the most police contact I have had in quite a while--try to >> steer clear >> of them becuase of the "uncertain origin"--what might happen to >> one? Get put >> on a ghsot plane and be vanished to other side of the world? Especially= if >> they really looked in my bag and found the various tools inside used for >> takeing things off of larger objects in dumpsters needed for art >> work--pliers, >> screw drivers, a small crow bar, a flash light and etc--a regular burgal= r >> kit!--or perhaps in their eyes something far more insidious. >> Some thing I have thought about with the writing--is that the >> shooter was such >> a silent man. Often killers of this kind are very quiet people--yet lik= e to >> write--keep diaries--notes--make maps and the like. Nowadays of course = like >> the Colombine killers and the Virginia Tech young man--there is >> also video to >> use and other digtalized devices--cameras, recordings, etc--which were m= ade >> into a multi-media presentation to send to the media--the Unabomber also >> wrote--sent his manifesto to the media--and in the film Taxi >> Dri8ver, Travis' >> (Robert De Niro's) diary and the film itself are based on the diaries of >> Arthur Bremer, who stalked Nixon for months before having to shoot inste= ad >> aless heavily guarded George Wallace--the diaries were buried in Lake Pa= rk >> here in Milwaukee--(the assasination attempt on Theodore Roosevelt when >> running as a Bull Moose candidate was here--) What intrigues me is = that >> it is speaking which is used to get people to deal with their >> probelms and not >> writing--in Amger management for example--speaking in a group with >> others with >> the same problems and rages and frutrations--is what helps people break = down >> the sense of being isolated--to say things aloud to others--and to have = them >> say similar things to you--in speaking, the communication breaks down th= e >> control and isolation that writing can confer--writing can make one >> feel more >> alone--or make one feel more omnipotent--more abject and silenced--or lo= uder >> than anyone--until they reach for the gun--the utlimate destination of t= he >> writing which is geared toweards a rhetoric of violence used to >> incite itself, >> to incite the writer--rather than the reader--Though it is >> different, there is >> a relation--in Billy Budd--when Billy cannot speak--to >> Claggart--can't express >> himself--just stammers futiley--and Claggart is laughing at him as it >> were--Billy lashes out with his fists in place of the words he cannot fo= rm.> >> Date: Fri, 20 Apr 2007 14:41:49 -0400> From: ClementsB@WCSU.EDU> >> Subject: Re: >> FW: poetry is dangerous> To: POETICS@LISTSERV.BUFFALO.EDU> > I have been >> discussing this sad and disturbing thing that has happened to > Kazim wi= th a >> couple of other writers and we have decided to write letters > to the >> President of Shippensburg, William Ruud, encouraging him to speak > out = more >> forcefully against this kind of fear-mongering. In Dr. Ruud's > statemen= t >> regarding the VT shooting, he says:> > "Here at Ship we consider >> ourselves to >> be a family, and it is important we > all look out for each other, just = like >> you do for your own family... If > anyone has suggestions on ways to enh= ance >> safety or ways to communicate > better, please let me know."> > >> This might be >> something to mention, if you feel inclined to write a letter > in suppor= t of >> Kazim. > > As Jeff Davis says: > > The situation he [Kazim] >> describes troubles >> me. His perspective I don't > think is schewed, unfair, or >> reactionary. I know >> Kazim. Not only is > Kazim's poetic sensitivity to nuance and sound >> among the >> finest I've > read in years; in my personal encounters with Kazim, >> he strikes >> me as > one of the most peaceful, non-violent people I know.> > Kazim's >> situation with the police mirrors a sweeping trend in American > behavio= r >> especially among officials, university administrators, business > CEOs, = and >> politicians: a pusillinamity that renders them without courage > or >> integrity >> to take responsibility or to speak honestly. Why? To play > it safe. To >> pretend that nothing's amiss. To avoid conflict. To avoid > truth.> >> > Contact >> info for the President of Shippensburg:> > William Ruud> President> >> Shippensburg University> 1871 Old Main Drive> Shippensburg, PA 17257> >> wnruud@ship.edu> 717-477-1301 > > > Dr. Brian Clements, Coordinator> MFA= in >> Professional Writing> 203-837-8876> _____> Dept. of Writing, >> Linguistics, and >> Creative Process> Western Connecticut State University> 181 White St.> >> Danbury, CT 06810> _____> ">http://www.wcsu.edu/english/mfa> >> > > > > Geoffrey Gatza >> > Sent by: UB Poetics discussion group >> > 04/20/2007 11:54 AM> Please respond to> = UB >> Poetics discussion group > > > To> >> POETICS@LISTSERV.BUFFALO.EDU> cc> > Subject> FW: poetry is >> dangerous> > > > > >> > > Poetry is Dangerous> Kazim Ali> > > On April 19, after a day of teac= hing >> classes at> Shippensburg University, I went out to my car and> grabbed a= box >> of old poetry manuscripts from the front> seat of my little white beetle= and >> carried it across> the street and put it next to the trashcan >> outside> Wright >> Hall. The poems were from poetry contests I had> been judging and >> the box was >> heavy. I had previously> left my recycling boxes there and they were alw= ays> >> picked up and taken away by the trash department.> > A young man >> from ROTC was >> watching me as I got into my> car and drove away. I thought he was >> looking at >> my car> which has black flower decals and sometimes inspires> >> strange looks. I >> later discovered that I, in my dark> skin, am sometimes not even a perso= n to >> the people who> look at me. Instead, in spite of my peacefulness, my> >> committed opposition to all aggression and war, I am a> threat by my ver= y >> existence, a threat just living in> the world as a Muslim body. > > Upon= my >> departure, he called the local police> department and told them a man of >> Middle Eastern> descent driving a heavily decaled white beetle with> out= of >> state plates and no campus parking sticker had> just placed a box >> next to the >> trash can. My car has> NY plates, but he got the rest of it wrong. I ha= ve >> two> stickers on my car. One is my highly visible faculty> parking >> sticker and >> the other, which I just don't have> the heart to take off these days, sa= ys >> "Kerry/Edwards:> For a Stronger America." > > Because of my >> recycling the bomb >> squad came, the state> police came. Because of my recycling buildings we= re> >> evacuated, classes were canceled, campus was closed.> No. Not because of= my >> recycling. Because of my dark> body. No. Not because of my dark >> body. Because >> of his> fear. Because of the way he saw me. Because of the> culture of f= ear, >> mistrust, hatred, and suspicion that> is carefully cultivated in >> the media, by >> the> government, by people who claim to want to keep us> 'safe.'> > >> These are >> the days of orange alert, school lock-downs,> and endless war. We are >> preparing for it, training for> it, looking for it, and so of course, in= the >> most> innocuous of places-a professor wanting to hurry home,> >> hefting his box >> of discarded poetry-we find it.> > That man in the parking lot >> didn't even see >> me. He saw> my darkness. He saw my Middle Eastern descent. Ironic> becau= se >> though my grandfathers came from Egypt, I am> Indian, a South >> Asian, and could >> never be mistaken for> a Middle Eastern man by anyone who'd ever met one= .> > >> One of my colleagues was in the gathering crowd,> trying to figure out w= hat >> had happened. She heard my> description-a Middle Eastern man >> driving a white> >> beetle with out of state plates-and knew immediately> they were >> talking about >> me and realized that the box> must have been manuscripts I was discardin= g. >> She> approached them and told them I was a professor on the> faculty the= re. >> Immediately the campus police officer> said, "What country is he from?">= > >> "What country is he from?!" she yelled, indignant.> > "Ma'am, you are >> associated with the suspect. You need> to step away and lower your >> voice," he >> told her.> > At some length several of my faculty colleagues were> >> able to get >> through to the police and get me on a cell> phone where I explained to t= he >> university president> and then to the state police that the box >> contained> old >> poetry manuscripts that needed to be recycled. The> police officer told = me >> that in the current climate I> needed to be more careful about how >> I behaved. >> "When I> recycle?" I asked.> > The university president appreciated my >> distress about> the situation but denied that the call had anything to> = do >> with my race or ethnic background. The spokesperson> of the >> university called >> it an "honest mistake," not> referring to the young man from ROTC >> giving in to >> his> worst instincts and calling the police but referring> to me >> who made the >> mistake of being dark-skinned and> putting my recycling next to the >> trashcan.> >> > The university's bizarrely minimal statement lets> everyone know that = the >> "suspicious package" beside the> trashcan ended up being, indeed, trash.= It >> goes on to> say, "We appreciate your cooperation during the> incident an= d >> remind everyone that safety is a joint> effort by all members of the cam= pus >> community."> > What does that community mean to me, a person who >> has> to walk >> by the ROTC offices every day on my way to my> own office just down the >> hall-who was watched, noted,> and reported, all in a day's work? >> Today we gave >> in> willingly and whole-heartedly to a culture of fear and> blaming and >> profiling. It is deemed perfectly> appropriate behavior to spy on >> one another >> and police> one another and report on one another. Such behaviors> >> exist most >> strongly in closed and undemocratic and> fascist societies.> > The >> university >> report does not mention the root cause> of the alarm. That package becam= e >> "suspicious" because> of who was holding it, who put it down, who >> drove> away. >> Me.> > It was poetry, I kept insisting to the state policeman> who was >> questioning me on the phone. It was poetry I> was putting out to be >> recycled.> >> > My body exists politically in a way I can not prevent.> For a >> moment today, >> without even knowing it, driving> away from campus in my little beetle, >> exhausted after> a day of teaching, listening to Justin Timberlake on> t= he >> radio, I ceased to be a person when a man I had> never met looked straig= ht >> through me and saw the> violence in his own heart.> > > > =3D=3D=3D=3D> = > >> www.kazimali.com> www.alicejamesbooks.org/far_mosque.html> ========================================================================= Date: Sat, 21 Apr 2007 15:42:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: Susan Briante and Maureen Owen in Boulder tonight Comments: To: litcal@colorado.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Saturday April 21st (TONIGHT) 8:00pm Susan Briante and Maureen Owen At Trident Booksellers in the backyard. 940 Pearl St. -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Sat, 21 Apr 2007 15:51:44 -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: BILL BERKSON AT CUE ART FOUNDATION In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Cue Art Foundation presents A reading and book signing to celebrate three new books by Bill Berkson=20 Our Friends Will Pass Among You Silently new poems 2001-2006 The Owl Press, 2007 =20 =20 Sudden Address: Selected Lectures 1981-2006 edited by Kyle Schlesinger and Gregg Biglieri Cuneiform Press, 2007 =20 Bill Berkson & Bernadette Mayer What=B9s Your Idea of a Good Time?: Letters & Interviews 1977-1985 an epistolary collaboration Tuumba Press, 2006 Thursday May 3, 2007 6:30 - 8:00 pm=20 at CUE Art Foundation 511 West 25th Street (between 10th & 11th Aves.) New York, NY=20 Admission is FREE. Reservations are required. Seating is limited with standing room available. For more information &/or to RSVP, please call 212-206-3583 or email kara.smith@cueartfoundation.org ------ End of Forwarded Message ========================================================================= Date: Sat, 21 Apr 2007 18:18:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Re: FW: NYTimes.com: U.S. Rules Made Killer Ineligible to Purchase Gun Comments: To: Pen Creeley , Irena Jorgensen , Ray Jorgensen , John Joyce , Jonathan Litton , Steve Nessen , Bobby Tam , Sophie Wang In-Reply-To: <308059.30697.qm@web83314.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In the late 90s, I worked with Mass State Police and Governor Weld's office to do the kind of building that would lead to such things being made possible (as did many of us from varied backgrounds) -- a kinder, more considerate world. Maybe things are getting better.? "She didn't make a sound...I forgive you boy, but don't make town." btw/ China & ChiTown Alex http://news.yahoo.com/s/ap/20070421/ap_on_re_us/transgender_prom_king By GARANCE BURKE, Associated Press Writer Sat Apr 21, 1:22 AM ET FRESNO, Calif. - When school officials announce the name of the Fresno High School prom king on Saturday, Cinthia Covarrubias will be wearing a tuxedo just like the six boys vying for the honor. Administrators agreed to reverse a district protocol this week that limited males to compete for the title after Covarrubias was nominated by her classmates. "I would never have run for anything if I had to wear a dress," said Covarrubias, who considers herself transgender, an umbrella term that covers all people whose outward appearance and internal identity don't match their gender at birth. Gay youth advocates called it a landmark victory for campus gender expression and said they believe it's the first time in the U.S. that an openly transgender student has run for prom royalty. "We are growing as a society to accept much more diversity in gender expression, and that's a positive thing," said Carolyn Laub, director of the Gay-Straight Alliance Network. Covarrubias, who wears black-and-white Vans, baggy shorts and close-cropped brown hair, sometimes identifies herself as Tony. Her date, a close female friend, plans to wear a black dress and red corsage to the prom at an outdoor reception hall surrounded by man-made waterfalls. On Wednesday, officials at the school of 2,700 students shifted course, saying the district's lawyers had recommended adding Covarrubias' name to the ballot to comply with a 2000 state law protecting students' ability to express their gender identity on campus. "We always want to do the right thing by our students," Vice Principal Sheila Uriarte said. "This is why we came to this decision." Leanne Reyes, 16, said Covarrubias had her vote. "It's not like the stereotype where the king has to be a jock and he's there with the cheerleaders anymore," said Reyes, a senior. "We live in a generation now where dudes are chicks and chicks are dudes." Still, some students criticized the decision to put Covarrubias on the ballot. "I like lesbians, but they shouldn't be allowed to run for king," said senior Erich Logan, 18, as he stood outside the stately high school building. A native of Jalisco, Mexico, Covarrubias said she has bucked rigid expectations of how a girl in her culture should behave. Explaining the meaning of terms like "queer" and "transgender" to her parents and eight siblings has at times been painful, she said. "My freshman year I just started feeling different," she said. "When I decided to change to be like this, all of a sudden I said, 'Wow, I feel OK. I feel like finally I'm being me.'" She has no current plans, however, to permanently alter her gender through hormones or surgery. Tiffani Sanchez, a science teacher who advises the school's Gay-Straight Alliance, said the decision would foster understanding of the broad spectrum of gender identities. "Cinthia is still really learning who she is," she said. "We want her to know that there's a safe space for her here and we support her." Covarrubias is giddily looking forward to the prom, but acknowledged being a little nervous. "I'm happy I actually made a difference about changing the law and the policy so you can run for your choice," Covarrubias said. -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 21 Apr 2007 20:48:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: 4 Nancy Shaw Links MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: 7bit Facsimile digital edition of Affordable Tedium (1987) http://tinyurl.com/24ezsa Shelagh Rogers ?Canadian Emergency? interview (1994) http://tinyurl.com/2d9blk A Nancy Shaw Bibliography (2000) http://tinyurl.com/3dywk7 Vancouver Sun Obituary (4/19/2007) http://tinyurl.com/ytuzcz ========================================================================= Date: Sun, 22 Apr 2007 13:10:58 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: review opportunities in Jacket MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: 7bit Jacket magazine is looking for qualified reviewers to review these two publications: -- Fulcrum: an annual of poetry an aesthetics, No. 5 (2006) -- Philip Nikolayev's poetry collection Letters from Aldenderry (Salt 2006) Contact editor Pam Brown stating your interest and qualifications at P.Brown@yahoo.com . ========================================================================= Date: Sat, 21 Apr 2007 15:02:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura McClain Subject: Re: Virginia, revenge & masculine myths MIME-Version: 1.0 Content-Type: text/plain; charset=ascii The unfounded rumor that Giovanni was paid a million dollars to go to South Africa was just that--a rumor. The plane she was on made a layover stop there. As for her violent poetry, that was written at the height of the Black Arts movement, and it was hardly unusual for the day, as I'm sure everyone is aware of (hence the Baraka reference).It has long been suggested that the men of the Black Arts Movement clashed with Giovanni (and vice versa) because of her Womanist concerns, and her refusal to tow the line of the increasingly militiant Black Power Movement. I know this is totatlly irrelevant to the VA Tech shooting spree, but I felt compelled to respond to the resurfacing of an old and long-discredited rumor. -------- And a footnote on Nikki Giovanni: a few decades back, before she became a distinguished professor of creative writing, she wrote a poem called, if memory serves: "nigger can you kill," in which the "interpellated subject" is interrogated as to his/her capacity to kill several allegedly deserving targets, including "a jew." Several years later, though, she took a trip to apartheid South Africa while a boycott was on!! (Baraka, himself no stranger to rhetorical violence, called her on that in no uncertain terms -- not one of his more fortunate poetic polemics, either; it was entitled "Niggy the Ho" and went downhill from there.) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 22 Apr 2007 11:49:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: face and body MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed face and body experiment 1 and 2 performance with Sandy Baldwin: endtime closeup of female avatar face under duress and ecstasy http://www.asondheim.org/closedup.mp4 edge phenomena with vertical rotation and avatar outside gamespace edge in the distance http://www.asondheim.org/edging.mp4 ========================================================================= Date: Sun, 22 Apr 2007 08:59:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: eBooks on Poetry Superhighway Comments: cc: spidertangle@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline You've got *one week left* to get your e-book into our 3rd annual *Great E-Book Free-For-All. *On May 1st, you will be able to download for free the *50 e-books* that have been sent in *so far* for free! (Plus any others sent in during the rest of this month.) Join in! Send us your e-book by *Sunday, April 29* and we'll add it to the pile of e-books which will be freely available to download by anyone on earth for 24 hours on May 1st, 2007...a free-for-all. More info? Click on "*Great E-Book Free-For-All*" from the main PSH menuor e-mail ffa-guidelines@poetrysuperhighway.com to have them sent to you -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Sun, 22 Apr 2007 11:14:32 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Your best offer MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I am working on reading throughout America, and the rest of the world but so far I am stuck in North America. This is not a bad thing, as an American with a substantial American heritage I would love to read all of the Americas. I have a gazillion chaps of poetry, a book of non-fiction and (intentionally) no book of poetry tho twenty plus years in the craft. Let me know your best offer, I can also talk about running a small press that has put out an unreasonable number of titles including some poetry bestsellers if it makes a difference. I can address arts administration and grant writing as well. I will be reading in NYC, Detroit, South Dakota, North Dakota, New Mexico and San Francisco in the US, as well as Mexico City and Toronto. And I can always use more readings in these areas but also I am open to all offers, send me your offers. I have a need to travel after so long of being in one place. If not I will appear in your city anyways, I am like that, expect it. But to mention some fairly local places I would like to appear in: Philly, DC, Seattle, Chicago, Boston, Buffalo, Syracuse, Penn State, Bucknell, Pittsburgh, Baltimore, but have been to lazy to really set anything up, I really need a promo person, but part of me thinks while calling up a band who is touring these areas as would be familiar to me would be easier and pay better, but please prove me wrong as touring with a band has a tendency to create its own problems. I have regularly talked to a group that is known as the "Greatest rock and roll band in the World" (do a websearch) but unfortunately they are overseas currently and that has presented its own difficulties, so lets bounce. So anyway, all offers, there are many national positions I am being considered for as an arts executive / administrator currently so I would enjoy visiting your city. I do have a (rent covering) minimum but I will work with you. Call me 614-445-0534. Love --d Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sun, 22 Apr 2007 11:03:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Book Review: John Siddique: Poems from a Northern Soul Comments: To: "cmccabe@rfh.org.uk" , "derek@theadamsresidence.co.uk" , aduncan@pinko.org, peter@greatworks.org.uk, "cordite@cordite.org.au" , "thunderburst@ntlworld.com" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Wigan, UK's finest, John Siddique, has a new book out: Poems from a Northern Soul. A full review is here: http://www.adamfieled.blogspot.com along w Aaron Belz, other miscellany....dig it.... Love on yer, Ad http://www.artrecess.blogspot.com --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Sun, 22 Apr 2007 10:12:34 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: That which is not said (for dbc and George) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit dbc-- as usual I like what you have to say, this eve I am coming back from having hear Ken Rumble read in a most odd setting that I most totally appreciated, a suburban reading in Columbus that I drove a half hour to in Worthington that seemed fittting for his ovuere and for yours I would have you read in. how bout you and I have you down I mean how much is a bus? One of authors picked up an agent as happens and they have been commissioned to write a book about the punk scene in the US and who knows why Random House thinks that is marketable but it is $. I was thining maybe you would know to refer her to. What do I know but that I need to buy you some art supplies so figure out a way to get me to milwaukee or you here so I can do it. At the very least the biggest lumber pencil possible. You know I am serious as cancer. By the way, George Bowering, even after all these years of sparring, after that last post it is still apparent that you still got it. Props to you. How about you read for me too. I am against the Indians, still offended at Chief Wahoo after a decade of residence, but maybe we could go to a Reds game. Let me know. --------------- Dear Mr President: I'd just like you to know that in order to promote safety on campus I have told all the dark-skinned Canadian poets I know not to try to leave their old poems at your university. Helpfully-- George Bowering Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sun, 22 Apr 2007 13:12:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Burt Kimmelman Subject: NYC Book Party / Reading - Marsh Hawk Press Comments: cc: kimmelma@NJIT.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Please come to celebrate this spring's new books from Marsh Hawk Press = on Monday, April 23rd, from 7 to 9.=20 A book party and reading will be held then at Poets House, 72 Spring = Street, second floor, NY, NY 10012 (212.431.7920). Readings by the authors of MHP's new books: Basil King, 77 Beasts: Basil King's Bestiary Claudia Carlson, The Elephant House Steve Fellner, Blind Date with Cavafy (2006 Winner of the Marsh Hawk = Press Poetry Award). ========================================================================= Date: Sat, 21 Apr 2007 10:25:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: We wage war to protect our way of life - Xanax Pop by Lewis LaCook Comments: To: rhizome , webartery , netbehaviour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit We wage we, we wage war. We wage we wage we wage we wage. War, we wage war, wage war, we wage, we. Protect protect protect. To protect our way of life our way of life we wage wage war war. To protect our way our way our way of life we wage war. War we wage to our life way of protect we wage. War. To protect protect protect protect. To protect protect protect protect. To protect protect protect protect. Our a prolonged state of violent, large-scale conflict involving two or more groups of people way, our way of life, our way, we protect our way of life. Our way, our way of life, our way of life, our way. It is well-known that the insurgents come for us in the night. Raids are amongst the most common actions taken by insurgents in a dominated state or province. It was on the banks of the Tigress, which passes through the capital Baghdad, that writing is believed to have been born. The insurgents come for our way of life. The insurgents come for our way of life. We wage war to protect our way of life. It is well-known. To protect to protect to protect to protect to protect to protect to protect to protect to protect to protect to protect to protect to protect, our way of life, we wage war. Knowing through training that if he wants to a prolonged state of violent, large-scale conflict involving two or more groups of people keep it learning every day he will have to dominate. Dominate. If he wants to keep it. Dominate. If he wants to keep it. Dominate. Knowing through war we wage the insurgents come for our way of life in the night to protect our way of life we wage war. He will have to dominate. Knowing through insurgents raids are the most common to dominate if he wants to keep it. If he wants to keep it he will protect our way of life. In a dominated state or province we wage war to protect our way of life. In a dominated state or province we wage war to protect our way of life. In the night he will dominate. In the night. In the night he will wage war. In the night. In the night knowing through training in the night that if he in the night wants in the night to keep it. We wage war. We wage war to protect our way of life. It was on the banks of the Tigress, which passes through the capital Baghdad, that writing is believed to have been born. Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Thu, 19 Apr 2007 15:41:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: My stupid talking. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed My stupid talking. When I speak I sound like an idiot. I can't control my words. Thoughts and concepts fluster in and out, a jumble. When I write, things are different; they organize themselves, I am a shepherd. My thinking wears my writing. Words and worlds organize. Work is words. When I speak, things pour forth, uselessly. When I write a letter or email, I continue speaking. The style, content, is absurd, monstrous. No one keeps my email. I am constantly losing posts. There's no reason to keep them; they're incorrect. When I reply online to someone, it's the same thing, ridiculous. I lose track of my emotions, of what I'm saying. I appear stupid. Only when I am writing, like this, through the interior of what might have been my speech - only when I am writing _thus,_ am I satisfied. My words connect; the thought is often brilliant, almost always dense, compact, to the point. Speaking, I can't even defend myself. I am not the other of the signifier I need to be in order to be. If my speaking is becoming, my writing is ontology itself. When I speak, it's strategy, joking. People are surprised at my sense of humor. It's a carapace I wear with delight. It keeps me from death. Death seeps through my writing. Death inhabits my writing; my writing inhabits death. I do not draw a distinction; I write only within the written. When I speak, language disappears into melody. There is a difficulty with melody just as there is a difficulty with cleverness. Cleverness is a proper turn-away from truth towards communality. I speak with cleverness. It comes from the situation of speaking. I write from somewhere else. In my writing cleverness sounds a false note. It indicates I am off track, I have lost myself, I am suturing over the wound of ignorance and existence. There is no laughter in my writing. There is laughter in my letters and email. They are absurd as my laughter is absurd. They attempt to cover my inadequacy. My absurd joking deflects my graceless awkwardness. It goes nowhere, says nothing of any consequence, and says it poorly. I think my speaking and email will be the death of me. They draw attention way from my writing. They undermine it. They say it's not clever enough, intelli- gent enough. My writing does not respond. My writing sinks, and is writing about that sinking. My writing props up my world it undermines and describes. My talking ignores the whole problem. My talking is that litany of deflections. What I do not understand, I turn into something else. What I do understand becomes fodder; it never nourishes sufficiently. My talk- ing implies talking to another limit; there's no etiquette in this. There is no community in my writing; community cannot survive honesty. But my writing is full of subterfuge, is about that subterfuge. My talking carries itself everywhere in order to become pointless. My talking is pointless. My writing is chiseled into a simulacrum construct of the real. The real in my writing has everything at stake. It is at stake through and within the writing. My speaking ignores the real; what is at stake is my self and its alterity. My self is always in the midst-of, when I am speak- ing. My self is absent or boundary, bordering, when I am writing. I write beyond myself; I speak from myself. My speaking is monstrous, self-defeat- ing. My writing is after the fact. If my speaking is central, my writing is peripheral; if my writing is central, my speaking is peripheral. One must read my writing, read my writing with the utmost care. One must never listen when I am speaking. ========================================================================= Date: Sun, 22 Apr 2007 13:41:32 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Black Mountain Collective Event In-Reply-To: <098101c78501$6904eb20$1b12eb80@Burt> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Black Mountain Collective Event 8 p.m. on Wednesday, April 25 at Peter Jones Gallery co-curated by David Hawkins and Dan Godston David Baptiste-Chirot -- poetry Matt Field -- guitar Justin Foster -- flute Dan Godston -- trumpet, percussion David Hawkins -- painting Carla Hayden -- voice, movement Alexander Jorgensen -- poetry Toni Asante Lightfoot -- poetry James Moeller -- voice, movement, guitar Les Renszarski -- poetry, words Andrew Robb -- guitar, voice Sanjay Mehta -- drums Sarah Weaver -- trombone The recently formed Black Mountain Collective was founded by Jeff Kowalkowski, David Hawkins and Andrew Morgan, with an emphasis on work created live in the present moment. The collective was inspired by the "happenings" orchestrated by John Cage and Robert Rauschenberg and others from Black Mountain College in the 1950s.This concert, the second in a series of four planned for 2007, will feature live painting by Hawkins, multi-disciplinary improvisations, movement, poetry, film, and sound art. Other random acts may also occur. Peter Jones Gallery is at 1806 W. Cuyler in Chicago www.peterjonesgallery.com $5 suggested donation ========================================================================= Date: Sun, 22 Apr 2007 14:57:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: My stupid talking. In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit this is so great On 4/19/07 3:41 PM, "Alan Sondheim" wrote: > My stupid talking. > > When I speak I sound like an idiot. I can't control my words. Thoughts and > concepts fluster in and out, a jumble. When I write, things are different; > they organize themselves, I am a shepherd. My thinking wears my writing. > Words and worlds organize. Work is words. When I speak, things pour forth, > uselessly. When I write a letter or email, I continue speaking. The style, > content, is absurd, monstrous. No one keeps my email. I am constantly > losing posts. There's no reason to keep them; they're incorrect. When I > reply online to someone, it's the same thing, ridiculous. I lose track of > my emotions, of what I'm saying. I appear stupid. Only when I am writing, > like this, through the interior of what might have been my speech - only > when I am writing _thus,_ am I satisfied. My words connect; the thought is > often brilliant, almost always dense, compact, to the point. Speaking, I > can't even defend myself. I am not the other of the signifier I need to be > in order to be. If my speaking is becoming, my writing is ontology itself. > When I speak, it's strategy, joking. People are surprised at my sense of > humor. It's a carapace I wear with delight. It keeps me from death. Death > seeps through my writing. Death inhabits my writing; my writing inhabits > death. I do not draw a distinction; I write only within the written. When > I speak, language disappears into melody. There is a difficulty with > melody just as there is a difficulty with cleverness. Cleverness is a > proper turn-away from truth towards communality. I speak with cleverness. > It comes from the situation of speaking. I write from somewhere else. In > my writing cleverness sounds a false note. It indicates I am off track, I > have lost myself, I am suturing over the wound of ignorance and existence. > There is no laughter in my writing. There is laughter in my letters and > email. They are absurd as my laughter is absurd. They attempt to cover my > inadequacy. My absurd joking deflects my graceless awkwardness. It goes > nowhere, says nothing of any consequence, and says it poorly. I think my > speaking and email will be the death of me. They draw attention way from > my writing. They undermine it. They say it's not clever enough, intelli- > gent enough. My writing does not respond. My writing sinks, and is writing > about that sinking. My writing props up my world it undermines and > describes. My talking ignores the whole problem. My talking is that litany > of deflections. What I do not understand, I turn into something else. What > I do understand becomes fodder; it never nourishes sufficiently. My talk- > ing implies talking to another limit; there's no etiquette in this. There > is no community in my writing; community cannot survive honesty. But my > writing is full of subterfuge, is about that subterfuge. My talking > carries itself everywhere in order to become pointless. My talking is > pointless. My writing is chiseled into a simulacrum construct of the real. > The real in my writing has everything at stake. It is at stake through and > within the writing. My speaking ignores the real; what is at stake is my > self and its alterity. My self is always in the midst-of, when I am speak- > ing. My self is absent or boundary, bordering, when I am writing. I write > beyond myself; I speak from myself. My speaking is monstrous, self-defeat- > ing. My writing is after the fact. If my speaking is central, my writing > is peripheral; if my writing is central, my speaking is peripheral. One > must read my writing, read my writing with the utmost care. One must never > listen when I am speaking. ========================================================================= Date: Sun, 22 Apr 2007 12:24:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Re: Black Mountain Collective Event In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Chuff! Chuff! Chuff! Sounds like a plan! Jorgensen --- Daniel Godston wrote: > Black Mountain Collective Event > 8 p.m. on Wednesday, April 25 > at Peter Jones Gallery > co-curated by David Hawkins and Dan Godston > > David Baptiste-Chirot -- poetry > Matt Field -- guitar > Justin Foster -- flute > Dan Godston -- trumpet, percussion > David Hawkins -- painting > Carla Hayden -- voice, movement > Alexander Jorgensen -- poetry > Toni Asante Lightfoot -- poetry > James Moeller -- voice, movement, guitar > Les Renszarski -- poetry, words > Andrew Robb -- guitar, voice > Sanjay Mehta -- drums > Sarah Weaver -- trombone > > The recently formed Black Mountain Collective was > founded by Jeff > Kowalkowski, David Hawkins and Andrew Morgan, with > an emphasis on work > created live in the present moment. The collective > was inspired by the > "happenings" orchestrated by John Cage and Robert > Rauschenberg and others > from Black Mountain College in the 1950s.This > concert, the second in a > series of four planned for 2007, will feature live > painting by Hawkins, > multi-disciplinary improvisations, movement, poetry, > film, and sound art. > Other random acts may also occur. > > Peter Jones Gallery is at 1806 W. Cuyler in Chicago > www.peterjonesgallery.com > $5 suggested donation > -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 22 Apr 2007 20:13:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Some NY Spring Readings Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable New York Spring Readings Saturday, April 28, 4-6pm Tenney Nathanson Charles Bernstein Segue at Bowery Poetry Club 308 Bowery (Bleecker/Houston) Saturday, May 5, 4-6pm Susan Bee Johanna Drucker showing slides & reading their text/image collaborations Segue at Bowery Poetry Club 308 Bowery (Bleecker/Houston) Tuesday, May 8, 7pm Wystan Curnow & Joel Kuszai introduced by Charles Bernstein co-sponsored by Segue at Saatchi & Saatchi, 375 Hudson St (at Houston) Admission free =AD refreshments will be served Wednesday, May 9, 8pm Granary Books: Poets & Painters John Yau & Archie Rand, Johanna Drucker, Larry=20 Fagin & Trevor Winkfield, Charles Bernstein &=20 Susan Bee, Anne Waldman, Ron Padgett, Julie Harrison, Steve Clay, & others Poetry Project St Marks Church, 10th Street @ Second Ave. Wednesday, May 16, 8pm Tracie Morris Charles Bernstein Poetry Project St Marks Church, 10th Street @ Second Ave.=20 ========================================================================= Date: Sun, 22 Apr 2007 15:01:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Covey Subject: a brand new Coconut!! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Take a Coconut break!! Coconut 8, featuring wonderful new poems by Amy Gerstler, Melissa Koosmann, Rodrigo Toscano, Sara Veglahn, Max Winter, Julia Cohen, Donald Illich, Jill Alexander Essbaum, Denise Duhamel, Kate Schapira, Ray Succre, Anne Heide, Kaya Oakes, Sandy Florian, Sandra Beasley, Nick Carbo, Becca Klaver, PF Potvin, Dawn Pendergast, Ken Rumble, Eddie Watkins, and Amy King is now live at http://www.coconutpoetry.org. Hope to see you there! Bruce Covey Coconut Editor ========================================================================= Date: Sun, 22 Apr 2007 15:16:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: reading venues in Asheville, NC? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi, there. Anyone know of contacts/reading venues in Asheville, North Carolina? Susan Briante and I are interested in reading there. Please backchannel me. Thanks much, Betsy --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Sun, 22 Apr 2007 22:39:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Joel Craig and Stefainia Heim MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline From: "Steve Halle" Date: Sun, 22 Apr 2007 20:33:04 -0500 Subject: Joel Craig and Stefainia Heim Check out new poems from Joel Craig and Stefania Heim at Seven Corners ( www.sevencornerspoetry.blogspot.com) right now. Enjoy, Steve Halle Editor, Seven Corners - ========================================================================= Date: Sun, 22 Apr 2007 19:43:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Salerno Subject: Readings For My New Book . . . ? In-Reply-To: Mime-Version: 1.0 (Apple Message framework v624) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Dear Colleagues: I have a new book coming out and I'd be grateful for any contact info regarding setting up readings. I'll go anywhere. I feel I owe it to the good people who work in small press publishing. Regards, Mark Salerno ========================================================================= Date: Sun, 22 Apr 2007 19:58:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loretta Clodfelter Subject: Issue 3 of There Is Now Online MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Be There or be square. With work from Cindy Emch, Arpine Konyalian Grenier, Donald Illich, Alexander Jorgensen, Ruth Lepson, Warren Lloyd, Anh-Hoa Thi Nguyen, and Jeffrey Schrader, as well as the landscape paintings of Arthur Cadieux. http://www.therejournal.com/issue3.html --- There rewriting landscape www.therejournal.com therejournal@gmail.com ========================================================================= Date: Mon, 23 Apr 2007 02:59:09 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Segue 4/28: Charles Bernstein and Tenney Nathanson Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Segue Reading Series presents Charles Bernstein and Tenney Nathanson 28 April 2007, 4 PM Bowery Poetry Club, 308 Bowery at Bleecker, NYC $6 at the door Hosted by Tim Peterson and Erica Kaufman. Charles Bernstein's most recent books are Girly Man and With Strings (University of Chicago Press), Shadowtime (Green Integer), and Republics of Reality: 197501995 (Sun & Moon). Author page at http://epc.buffalo.edu. He teaches at the University of Pennsylvania. from "Self-Help" Lake Tang Woo Chin Chicken with Lobster and Sweet Clam Sauce still not served and everyone else got their orders twenty minutes back.—Savor the water, feast on the company. Subway floods and late for audition.—Start being the author of your own performance. Take a walk. Slip on ice, break arm.—In moments like this, the preciousness of life reveals itself. Wages down in non-union shop.—You're a sales associate, not a worker; so proud to be part of the company. Miss the train?--Great chance to explore the station! Suicide bombers wreck neighborhood—Time to pitch in! Nothing doing.—Take a break! Partner in life finds another partner.—Now you can begin the journey of life anew. Bald?--Finally, you can touch the sky with the top of your head. Short-term recall shot.—Old memories are sweetest Hard drive crashes and novel not backed up.—Nothing like a fresh start. Severe stomach cramps all morning.—Boy are these back issues of Field and Stream engrossing. Hurricane crushes house.—You never seemed so resilient. Tenney Nathanson is the author of the book-length poem Home on the Range (The Night Sky with Stars in My Mouth) (O Books, 2005) and the collection Erased Art (Chax Press, 2005). Recent work appears in issue 3 of EOAGH. He is the author of the critical study Whitman's Presence: Body, Voice, and Writing in Leaves of Grass (NYU Press). A native New Yorker, he has lived since 1985 in Tucson, where he teaches American poetry and, from time to time, creative writing in the English Department at the University of Arizona. Recent work at http://chax.org/eoagh/issue3/issuethree/nathanson.html From "One Block Over" What the eyes sees; Four bottles full of capsules huge vistas under the hippie's outstretched arm Utah signed Laszlo Kovacs my name is Emerson what am I salt crystals splintered ice mounting in the precious miniature the contact lens it does my laundry. Which is family values: see, the scones. My terrier crosses the gingko-lined street with your biscuit, says Wittgenstein so I am dead: in private language weep for the investigations trails jam I'm sorry that's impossible Bruckner singing under the larches in the Botanical Gardens is an instance of this and I am your bus if it please your lordship by the lower instenstine. Sternum and plectrum it's in Brooklyn. The poodle just sat there and wept it's an Arp retrospective I'm no cockney But we are your bodies. * * * For the rest of the Winter/Spring Segue Reading Series, please visit http://www.seguefoundation.com/calendar.htm Also, visit the Segue Series Blog at http://segueseries.blogspot.com for photos, commentary, and more... ========================================================================= Date: Mon, 23 Apr 2007 00:24:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: anitaberbersexdance +++ MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed (please forgive so many of these; working out the semiotics of the virtual - at least within the conjunctions of (this) gamespace) anitaberbersexdance +++ http://www.asondheim.org/snippet.mp4 a melodrama in one act this is in the middle of the act you might ask, is there any other? there is the beginning and ending of the act. every act is an engine and I am the driver. you might ask, is there life after the act? there is life before and after the act. there is no life during the act. every act is an index to an empty book. and the three pluses +++? the act is dead and the beginning is dead. the ending is dead and this is melodrama. this is melodrama in one act. (Second Life east of Odyssey with Sandy Baldwin) ========================================================================= Date: Mon, 23 Apr 2007 00:55:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Francisco Aragon Subject: Bronx Reading/The Wind Shifts In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Just a brief note to announce a non-Manhattan reading for anyone who may want to venture north a tad, off the island on Tuesday, May 8: Acentos Bronx Poetry Showcase May, 8 2007 at Acentos @ The Bruckner Bar and Grill featuring Francisco Aragón One Bruckner Blvd., Bronx, New York 10454 Cost : $5 Suggested Francisco Aragón, poet/editor and director of Letras Latinas at the University of Notre Dame, shares work from his book, Puerta del Sol, and The Wind Shifts: New Latino Poetry, a recently released anthology he has edited . Preceded by the Uptown's Best Open Mic (7pm signup). Hosted by Rich Villar. About Acentos Bronx Poetry Showcase Acentos is a twice-monthly reading series based in the South Bronx, dedicated to fostering the diverse voices of Latinos and Latinas in poetry. We showcase nationally recognized Latino/a writers alongside emerging voices every second and fourth Tuesday of the month, in a setting that stimulates open dialogue and an increased sense of community. Acentos is brought to you by its poets: Raj de la Selva, Eliel Lucero, Maria Nieves, Fish Vargas, and Rich Villar; in conjunction with the louderARTS Project and the Bronx Council on the Arts. DIRECTIONS: From Manhattan...Take the 6 train to 138th Street Station. Exit by the last car on the 6. Take the exit to your left, go up the stairs to your right to exit at Lincoln Avenue. Walk down Lincoln to Bruckner Blvd, turn right on Bruckner past the bike shop. The Bruckner Bar & Grill is on the corner. For more directions, please call 917.209.4211. *** For more information about The Wind Shifts: New Latino Poetry (University of Arizona Press, 2007): http://www.uapress.arizona.edu/BOOKS/bid1791.htm Francisco Aragón Director, Letras Latinas Institute for Latino Studies University of Notre Dame ========================================================================= Date: Sun, 22 Apr 2007 23:13:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: FYI - Meditations in a Time of Delusions and Lies 21: Honor the English Department at Virginia Tech In-Reply-To: <6.2.5.6.2.20070422203101.036185e8@stanford.edu> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable =20 Meditations in a Time of Delusions and Lies 21: Honor the English Departmen= t at Virginia Tech =20 Hilton Obenzinger =20 April 22, 2007 ------------------ =20 While people are puzzling over the grotesque slaughter at Virginia Tech, I=92= d like to note one aspect of the horror. Lucinda Roy and Nikki Giovanni, his creative writing teachers, and others in the English department comprehende= d Seung-hui Cho=92s words and observed his strange behavior, and they responded= . In the end, Cho engineered a vast, multifaceted performance: theatrically committing the murders, inscribing a lengthy rant or manifesto, performing video testimony, mugging for photographs, and writing two scripts and probably other pieces before the murders. Even his unnerving silence as described by his roommates and fellow students constituted a kind of performance. All together, it constituted a creative project of sorts =96 albeit a twisted, demented, diabolical one. =20 Some may blame the English department at Virginia Tech for allowing Cho=92s imagination to flourish. There have been those suspicious of poetry and th= e creative arts because of their purported corrupting influence since at leas= t Plato. In the early nineteenth century, American preachers inveighed against women reading sentimental novels because the romances depicted may lead to their seduction; later in the century, protectors of civic virtue raised alarms against young men reading dime novels and =93bad boy=94 books (like Adventures of Huckleberry Finn and Peck=92s Bad Boy) because their irreverence and violence may cause boys to commit crimes or violate the norms of proper middle-class behavior. Worry about the influence of violence on TV, film, music, and video games is not new. There=92s a lot to discuss about the nature of popular culture, in particular. Truly, the workings of our imaginations can be vile and can be shaped by the crude imaginations of others =96 but we=92ve known this for centuries. I=92m worried that if we put a lid on our thoughts, we may miss too much that is good, an= d the lid may blow off anyway. =20 Some people may slight the fact that Cho=92s English teachers did detect his anguish, anger, and derangement precisely because of his attempts at imaginative production. But these teachers could tell that, for this strange kid, the boundaries of imagination and reality were dangerously close to being crossed. And they acted upon what they saw and read. Nikki Giovanni ejected him from her classroom =96 noting his anger and the negative effect on other students =96 and Lucinda Roy took him out of her classroom in order to tutor him individually. Teachers in the English department consulted with each other over his writings and his behavior. They advised him to seek counseling, and they alerted everyone they should have, including campus security, to the danger he posed. =20 The fact that the university=92s responses were not as effective as anyone would have wished is another matter: there are a lot of questions of how colleges are supposed to intervene in such situations, and of how to manage the relationship between individual autonomy and communal safety. Many wil= l seek someone to blame, when there may be no one, except perhaps the bizarre intoxication with violence our society seems to enjoy. =20 But one thing needs to be pointed out: the English department should be honored, as well as the role of reading and writing literature in our schools and the cultivation of culture more generally. =20 I teach literature and writing at a university, so I=92m biased =96 but I do hear things. I hear from students and those beyond the university that there=92s something =93fuzzy=94 or unnecessary or even silly about studying literature when someone could study palpable things like engineering or biology or international relations. Novels and poems and other imaginative works are not utilitarian, most of the time, but they serve our souls nonetheless. We can enter the minds of Raskolnikov and Ahab, we can experience the power of language to create realities, we can wonder how people are the way they are, and we can be moved and awaken and change, and even societies can change in response. Writing is not necessarily confessional or cathartic, but it does allow a way to reveal ourselves, eve= n to become ourselves more fully, and to engage the world through our thought= s and dreams, and it does demand responses from readers, even if the writer i= s sullen and withdrawn. =20 Consider all the people who could have gone off the deep end except that they read a novel or wrote a poem instead, and as a result they found a pat= h to life instead. =20 So I=92d like to salute the Virginia Tech English department. They perceived the danger, they reached out to a tortured young man with courage, they rejected his evil, and they alerted all that they could. =20 All colleges should have English teachers who can do so much. Hilton Obenzinger obenzinger@stanford.edu ------ End of Forwarded Message ========================================================================= Date: Mon, 23 Apr 2007 17:08:11 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: Fulcrum Review for Jacket MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poetics listees, Thanks for your responses to the invitation to review 'Fulcrum'. We now have a reviewer. If you'd like to review some other title for us please check the list of books available for review : http://jacketmagazine.com/rev/unassigned.shtml All good wishes, Pam Brown _________________________________________________________________ Blog : http://thedeletions.blogspot.com/ Web site : Pam Brown - http://www.geocities.com/p.brown/ Associate editor : Jacket - http://jacketmagazine.com/index.html _________________________________________________________________ Send instant messages to your online friends http://au.messenger.yahoo.com ========================================================================= Date: Mon, 23 Apr 2007 08:51:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The ars poetica project continues to walk the walk and talk the talk at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: Richard Owens, Gale Swiontkowski, Audacia Dangereyes, Martin Stannard, John Byrum, and Richard Denner. Poems will appear this week by: Richard Denner and Ed Coletti. A new poem about poetry every day. Enjoy, Dan ========================================================================= Date: Mon, 23 Apr 2007 06:40:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Robins Subject: The Danny's Reading Series, Wednesday April 25th, Chicago MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit The Danny's Reading Series Wednesday, April 25th 7:30PM Poetry by Michael Robins, Philip Jenks, and Daniel Borzutsky. Michael Robins was born and raised in Portland, Oregon, and educated at the University of Oregon and the University of Massachusetts Amherst. He is the author of The Next Settlement, which was selected for the Vassar Miller Prize in Poetry and just published by University of North Texas Press. His poems have recently appeared or are forthcoming in Boston Review, Court Green, Meridian and elsewhere. He currently lives in Chicago. Philip Jenks was born in North Carolina and grew up in Morgantown, West Virginia. He has published 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 chapbook is /How Many of You Are You?/, published by Dusie < http://www.dusie.org> in 2006. /My First Painting will be "The Accuser"/ was nominated for the Oregon Book Award and the James Laughlin Award. He is currently on tour reading poetry, recording, singing and playing percussion with Neil Michael Hagerty's band "The Howling Hex". Daniel Borzutzky is a poet, fiction writer, and translator. He is the author of two books: The Ecstasy of Capitulation (BlazeVox Books, 2007), and Arbitrary Tales (Triple Press, 2005); and his translation of Chilean poet Jaime Luis Huenun's Port Trakl is forthcoming from Action Books. His writings and translations have appeared in dozens of print and online journals. Danny's Tavern is located at 1951 W. Dickens, near the corner of Damen and Armitage. 21+, please bring ID. 773-489-6457. Next month: Wednesday, May23rd. Michael Dumanis Erica Bernheim Sam Witt ========================================================================= Date: Mon, 23 Apr 2007 10:14:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: salinger Subject: Poetry Slam Inc. Poetry Cross Training Conference In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Greetings! The 2007 version of PSI’s Poetry Cross Training Conference (aka Slam Camp) is shaping up to be another great opportunity for Pros and Joes to hone their performance and writing skills. This years conference dates are June 28 – June 30. This years instructors are: Alix Olsen Michael Salinger Big Poppa E Michael Brown Scott Woods Susan B.A. Somers Ray McNiece There are evening events as well as a full slate of workshops throughout the day. The Conference is on the bucolic campus of SUNY Oneonta – in Oneonta New York. This conference is always highly praised by attendees and instructors alike. Pricing is all inclusive for lodging and meals and is quite an astounding bargain when compared to other opportunities providing the quality of instruction and surroundings. For more info please go to www.poetrycamp.com - or feel free to e-mail Conference Director Michael Salinger at: Salinger@ameritech.net ========================================================================= Date: Mon, 23 Apr 2007 11:30:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Website in process Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Thanks to Tim Peterson Junction Press has a=20 website at last. It needs a bit of tweaking, but=20 it looks pretty good, I think. And there's=20 another, easier way to order Junction's books, including Jos=E9 Kozer's= Stet. And of course for those in the New York area you=20 can always buy the book at tonight's reading at the Poetry Project. The website's URL is junctionpress.com, the=20 reading (with Harris Schiff) is tonight at 8. Mark ========================================================================= Date: Mon, 23 Apr 2007 11:30:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: wall MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable In Baghdad, there's a wall being built by the U. S. Military to surround = the Adhamiya neighborhood, a Sunni Arab enclave bordered by Shiite areas... Reminding = me of other walls-- making me think: The Iraq question is open as long as this wall is in place; making me think: Es gibt bur ein Baghdad; making me think: Ic hab boch einen koffer in Baghdad; making me think: Mr. President, if you seek peace, if you seek prosperity for Iraq... and = all the region, if you seek liberalization, Come here to this wall! Mr. President, open = this gated community! Mr. President, tear down this wall! Gerald S. ========================================================================= Date: Mon, 23 Apr 2007 11:36:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: New de blog MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit It is a balm that such ghosts can be found everywhere! Thanks for their record. Also, hoping that you can record the Manhattan walks and events for the blog for those of us who can't make it. I for one would enjoy walking along that document. Gerald S. > http://stephenvincent.net/blog/ > > A mix of text and pictures: > > An Imaginary Walk with my 91-year old mom. > Walking Events at Poets House > Garage Ghost > Wheel Barrow Ends > Rum-Rumdee dum: Rumsfeld Underground > > Enjoy et al & comments appreciated, too. > > Stephen Vincent > http://stephenvincent.net/blog/ ========================================================================= Date: Mon, 23 Apr 2007 11:59:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: goinG tO thE poetrY auctioN, Going To The Poetry Auction MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Thanks to the folks already participating in this auction to help raise money for our good friend Frank Sherlock. For those who don't know what I'm talking about and would like to take part, please go to: http://poetryauction.blogspot.com ========================================================================= Date: Mon, 23 Apr 2007 13:25:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 4.23.07-4.29.07 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 4.23.07-4.29.07 LITERARY BUFFALO IN THE NEWS John Kryder interviews Sonia Sanchez in Artvoice: http://artvoice.com/issues/v6n16/from_haiku_to_the_blues R.D. Pohl's Buffalo News poetry blog on OlsonNow and also on the plight of = indie bookstores: http://buffalonews.typepad.com/poetry_beat/ Kevin Thurston on Rachel Zolf, Sharon Harris and Tom Mandel in Artvoice: http://artvoice.com/issues/v6n16/voice_containers READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 4.24.07 TALKING LEAVES 32ND ANNIVERSARY SERIES Talking Leaves/Hallwalls/Buffalo State College Task of the Critics Readings by Charles Mancuso, Henry Sussman, Julian Montague, & Yoke-Sum Won= g Tuesday April 24, 8 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) 4.25.07 Hallwalls/Talking Leaves Ethan Paquin Poetry Reading, Reception, Signing for My Thieves Wednesday, April 25, 8 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) 4.26.07 TALKING LEAVES 32ND ANNIVERSARY SERIES Talking Leaves/Hallwalls/Buffalo State College Flesh for Reading Readings by R. Danielle Egan, Derek Sayer, Graeme Gilloch, & Kathleen Stewa= rt Thursday, April 26, 8 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) & The Write Thing at Medaille College Harold Jaffe Reading and launch for: Beyond the Techno Cave Thursday, April 26, 7 p.m. The Library at Huber Hall, Medaille College, 18 Agassiz Cir. 4.27.07 Just Buffalo Interdisciplinary Event Sonia Sanchez and student composers, dancers, poets and musicians Buffalo/Williamsville Poetry Music & Dance Celebration Thursday, April 26, 7 p.m. Kleinhans Music Hall 4.28.06 Buffalo and Erie County Central Library Lincoln Road or Armageddon: Billy the Kid and the Irish West Special Author Visit and Program with Michael Wallis Saturday, April 28th at 1:30 pm Central Library, Ring of Knowledge 1 Lafayette Square, Buffalo Free and open to the public & TALKING LEAVES 32ND ANNIVERSARY SERIES daddy does cybernetics: DIARY OF A MENTAL PATIENT Performance text & video-collage by JACKIE ORR Saturday, April 28, 8 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) 4.29.07 Urban Epiphany Marathon-style Reading with up to 100 Buffalo Poets Each reader will read for two minutes. Everyone is welcome to participate; there will be a few open slots each hou= r. Sunday, April 29, 2007 3 p.m. - 8 p.m. Unitarian Universalist Church, 695 Elmwood Avenue at West Ferry RECURRING LITERARY EVENTS 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 Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 23 Apr 2007 14:08:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Pinsky, In Praise of Difficult Poetry In-Reply-To: <46A5F1F2-928E-4CC6-95AD-F8FD564FF64C@justbuffalo.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable so let's start this ball rolling:=20 "In Praise of Difficult Poetry -- The much-maligned art." http://www.slate.com/id/2164823/ am waiting for my lunch break to read it, but I'm interested to hear what others think... also, did anyone see Pinsky on the Colbert Report last week, adjudicating an awfully weak metaphor-off between Colbert and Sean Penn?=20 April, the cruellest month, "National Poetry Month," etc. -- but is it good for the poets?=20 ========================================================================= Date: Mon, 23 Apr 2007 16:00:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Dylan Welch Subject: Washington State Now Has a Poet Laureate Position In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Just thought I'd share the following story announcing that Washington state now has a poet laureate position. Other stories have been appearing in the Seattle Times and other state newspapers. The Washington Poets Association (www.washingtonpoets.org) has been lobbying for a state poet laureate for a decade, and finally made it happen, in conjunction with the state Arts Commission and other interested parties. Previously, 40 other states already had poets laureate, and the new Washington state position will be dedicated to promoting a literacy and a full range of poetry appreciation throughout the state. Michael P.S. The WPA's annual Burning Word poetry festival (which attracted 400+ people last year) will be held this coming weekend, on April 28. It features Naomi Shihab Nye and George Bowering, among many others, as well as U.S. children's poet laureate Jack Prelutsky, who will receive the WPA's Lifetime Achievement Award. By ROD ANTONE YAKIMA HERALD-REPUBLIC Gov. Chris Gregoire has signed into law a bill that promotes poetry over politics. House Bill 1279, which the governor signed Thursday afternoon in Olympia, establishes Washington's first official poet laureate program to promote reading, poetry and literature in classrooms across the state. The bill, introduced by Rep. Mary Skinner, R-Yakima, and promoted by retired Yakima Herald-Republic reporter Ed Stover, provides an initial stipend of $30,000 for the 2007-09 biennium. "It's very exciting," Stover said. "Poetry is one of the primary tools for teaching literacy to kids ... it's a wonderful tool for improving all of your language skills in terms of word choice and vocabulary, and makes learning a lot more fun." During Thursday's ceremony, Skinner held a poem she'd asked Stover to write for the occasion. "A poet laureate would be the state's official spokesperson in verse," Skinner said in a news release. "The legislation notes the importance of the arts and education in Washington, particularly through reading and writing of verse. It would help us promote literacy and provide a creative outlet for people, especially students, to express themselves," she said. After a decade of unsuccessfully pushing for the poet laureate position, backers of the plan celebrated earlier this month when the Senate passed the bill and sent it to the governor. Besides being a published poet, Stover said, the state's poet laureate must also have teaching skills and be a Washington state resident. The Washington State Arts Commission will establish the poet laureate program and recommend someone for the two-year term of office. http://www.yakima-herald.com/page/dis/288698028546895 ________________________________________________________________________ AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ========================================================================= Date: Tue, 24 Apr 2007 07:47:42 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Jones Subject: Re: Website in process In-Reply-To: <7.0.1.0.1.20070423112705.03b14900@earthlink.net> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable Hi Mark, The website looks good. Easy to read and navigate. Good to see =20 Junction Press out there. Good luck again with the readings. Best, Jill On 24/04/2007, at 1:30 AM, Mark Weiss wrote: > Thanks to Tim Peterson Junction Press has a website at last. It =20 > needs a bit of tweaking, but it looks pretty good, I think. And =20 > there's another, easier way to order Junction's books, including =20 > Jos=E9 Kozer's Stet. > > And of course for those in the New York area you can always buy the =20= > book at tonight's reading at the Poetry Project. > > The website's URL is junctionpress.com, the reading (with Harris =20 > Schiff) is tonight at 8. > > Mark ========================================================================= Date: Mon, 23 Apr 2007 19:01:30 -0400 Reply-To: tyrone williams Sender: UB Poetics discussion group From: tyrone williams Subject: Re: Pinsky, In Praise of Difficult Poetry Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Like many on this list, I'm sure, I've tried to make the same points to my students when I do get a chance to teach poetry (which isn't often). Thanks Tom. tyrone -----Original Message----- >From: "Tom W. Lewis" >Sent: Apr 23, 2007 3:08 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Pinsky, In Praise of Difficult Poetry > >so let's start this ball rolling: > >"In Praise of Difficult Poetry -- The much-maligned art." > >http://www.slate.com/id/2164823/ > >am waiting for my lunch break to read it, but I'm interested to hear >what others think... also, did anyone see Pinsky on the Colbert Report >last week, adjudicating an awfully weak metaphor-off between Colbert and >Sean Penn? > >April, the cruellest month, "National Poetry Month," etc. -- but is it >good for the poets? Tyrone Williams ========================================================================= Date: Mon, 23 Apr 2007 23:39:58 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: Derivative of the Moving Image Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'm so thrilled to announce my first book, Derivative of the Moving Image, from the University of New Mexico Press. The book is in the catalog on their website at http://www.unmpress.com/pdf/F07catalog.pdf on page 32. It won't be out until Sept or Oct, but it can be ordered now. If anyone wants a review copy, let me know! I hope I don't sound like a cad spilling the beans all over...I've just been working so long! Jennifer _________________________________________________________________ Mortgage refinance is Hot. *Terms. Get a 5.375%* fix rate. Check savings https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h2bbb&disc=y&vers=925&s=4056&p=5117 ========================================================================= Date: Mon, 23 Apr 2007 16:38:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: Cho's Martyrdom Bagdad's Grief MIME-Version: 1.0 Content-Type: text/plain; charset=ascii Ren, I think Amalio Madueno in Taos had responded to my original post (on content) a few days after it first appeared here. As for the scenario you describe, it sounds (content-wise) very slam-like. I think when people do long introductions to poems it is a sign they've not written it well, but there are manyh exceptions. Of course context has a lot to do with our enjoyment of a poem, set & setting, eh? How we can relate, if there is a way in for the listener/reader. Paul Paul E. Nelson www.GlobalVoicesRadio.org www.SPLAB.org 908 I. St. N.E. #4 Slaughter, WA 98002 253.735.6328 or 888.735.6328 ----- Original Message ---- From: Ren Powell To: POETICS@LISTSERV.BUFFALO.EDU Sent: Thursday, April 19, 2007 11:59:49 AM Subject: Re: Cho's Martyrdom Bagdad's Grief I am wondering what's wrong with my email, I got the following non-sequitor: Subject: Cho's Martyrdom Bagdad's Grief Imagine Cho's Virginia Tech martyrdom continuing day after day after day throughout the US for four years. Thus one might imagine Bagdad's grief and the enormity of the American transgression in Iraq. --- Paul Nelson wrote: > On Friday night I witnessed one of the more > remarkable evenings of poetry I have seen in many > months. The event was an performance of > SOUND/VISUAL/DIGITAL/POETRIES with > Crag Hill, Geof Huth, Jim Andrews & Nico Vassilakis. But I can't find the context for Paul's original posting. I think his question about content in poetry is interesting. Not as a direct response, but in the same vein: last week I heard a poetry reading and one of the women introduced her work with a long presentation of her problems dealing with her incest issues and how difficult her relationships were with her mother and sister etc. etc. She spoke for about 5 or 6 minutes before reading her poem. When she was finished two people in the audience stood and applauded and whistled. So, my question is how often context plays a role in poetry? Is that valid in terms of evaluating quality? Ren ========================================================================= Date: Mon, 23 Apr 2007 17:59:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Pinsky, In Praise of Difficult Poetry In-Reply-To: <14209665.1177369290471.JavaMail.root@elwamui-sweet.atl.sa.earthlink.net> MIME-version: 1.0 Content-type: text/plain; charset=UTF-8 Content-transfer-encoding: quoted-printable here's the video of colbert, penn, and pinsky: http://tinyurl.com/3xqmj6 i thought it was pretty cool. ja http://vispo.com ========================================================================= Date: Tue, 24 Apr 2007 02:53:57 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: What's up with Silliman's Blog Comments: To: Brit-po , New Po , UK Poetry , Ann White MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS Cole Swensen and The Glass Age 3 focused anthologies – For the Time-Being: The Bootstrap Book of Poetic Journals, Third Rail: The Poetry of Rock and Roll, Poets on Painters A poem by Nancy Shaw (1962-2007) Recently Received The tragedy at Virginia Tech Daily Sonnets by Laynie Browne Since I Moved In by Tim Peterson Key Bridge by Ken Rumble http://ronsilliman.blogspot.com/ ========================================================================= Date: Tue, 24 Apr 2007 16:41:58 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: in response to the virginia tech discussion... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline In fact, here it predictably goes - Yale bans fake swords on stage in response to Virginia Tech massacre! A totally insane response, which seems to be more about making sure art behaves itself than anything else. From Yale Daily News http://www.yaledailynews.com/articles/view/20843 In the wake of Monday's massacre at Virginia Tech in which a student killed 32 people, Dean of Student Affairs Betty Trachtenberg has limited the use o= f stage weapons in theatrical productions. Students involved in this weekend's production of "Red Noses" said they first learned of the new rules on Thursday morning, the same day the show was slated to open. They were subsequently forced to alter many of the scenes by swapping more realistic-looking stage swords for wooden ones, a change that many students said was neither a necessary nor a useful respons= e to the tragedy at Virginia Tech. According to students involved in the production, Trachtenberg has banned the use of some stage weapons in all of the University's theatrical productions. While shows will be permitted to use obviously fake plastic weapons, students said, those that hoped to stage more realistic scenes of stage violence have had to make changes to their props. Trachtenberg could not be reached for comment Thursday night. "Red Noses" director Sarah Holdren '08 said she first heard about the changes in a phone call from a friend as she arrived at the Off-Broadway Theater on Thursday morning. At the theater, technical director Jim Brewczynski told her about the new regulations. The pair then met with Trachtenberg, who initially wanted no stage weapons to be used in the show, Holdren said, though she later agreed to permit the use of obviously fake weapons. In a speech made before last night's opening show of "Red Noses," Holdren said that Trachtenberg's decision to force the production to use wooden swords instead of metal swords will do little to stem violence in the world= . "Calling for an end to violence onstage does not solve the world's suffering: It merely sweeps it under the rug, turning theater =97 in the wo= rds of this very play =97 into 'creamy bon-bons' instead of 'solid fare' for a thinking, feeling audience," she said. "Here at Yale, sensitivity and political correctness have become censorship in this time of vital need for serious artistic expression." Holdren said she is primarily worried about the University's decision to place limitations on art, rather than the specific inconvenience to her production. "I completely understand that the University needs to respond to the tragedy, but I think it is wrong to conflate sensitivity and censorship," she said in an interview. "It is wrong to assume that any theater that deal= s with tragic matter is sort of on the side of those things or out to get people; they're not =97 they're out to help people through things like this= . I want my show and all shows to be uplifting to people. That's why I'm upset about this =97 it's not because my props were taken =97 it's about imposing petty restrictions on art as the right way to solve the problems in the world." Brandon Berger '10, who plays a swordsman in the show, said the switch to a= n obviously fake wooden sword has changed the nature of his part from an "evil, errant knight to a petulant child." "They're trying to make an appropriate gesture, but they did it in an inappropriate way =97 they've neutered the play," he said. "The violence is important to what it actually means. What these types of actions do is very central =97 it is not gratuitous." Susie Kemple '08, an actress in the show, said Trachtenberg's way of dealin= g with the Virginia Tech massacre was not beneficial to the students' own mourning process. "It is problematic because all of us were incredibly shocked by the events at Virginia Tech," Kemple said. "We turn to extracurriculars in our grief [and] the Yale administration makes the healing more difficult. None of the shows are about massive gun violence =97 this show is about showing and explaining the human experience." Berger also said he finds the ruling inconsistent because forms of stage violence that do not involve weapons =97 such as hangings =97 are still permitted. "Red Noses" will end its run Saturday night. On 4/20/07, Alison Croggon wrote: > > > > It's not violence in writing that's the problem. It's the violence in our > relationships, personally and internationally, to the environment, to our > own lives. Children can be exposed to violence in media and suffer no har= m > if their home environment is strong and nurturing enough to permit them t= o > distinguish between fantasy and reality. They can be prevented, in a > mistaken form of protection, from encountering media representations of > violence but be damaged by the violence they encounter in their everyday > lives - I'm speaking about the kinds of controlling violence often embedd= ed > in parental, school, legal authority - and end up totally fucked up. In > fact, representations of violence or other confronting aspects of reality= in > the imaginative world might be an important part of developing a child's > moral understanding of self and other, a way of experimenting safely, of > confronting real fears in a way that causes them no actual harm. > > I worry deeply that people blame the act of writing for the massacre. Fro= m > where I'm looking, that was the least problematic aspect of this boy's > behaviour. I can't help wondering: if he had found a place where he could > imaginatively exercise and work out his violence, would he have been able= to > contain it, find some kind of catharsis that didn't involve shooting peop= le? > How many doors were shut by his being thrown out of creative writing clas= ses > because of his offensive work? (Thinking here of John Waters' comment tha= t > if he had not been an artist, he would be a mass murderer). Although I > acknowledge that there were clearly other factors at work, most > significantly mental illness, which is by and large treated as a problem = of > controlling excessive behaviour rather than working out what is actually > wrong (complex, I know, and not always something that can be healed). > > By this logic, Harold Pinter and Sarah Kane - both writers who have > written plays that brutally confront human violence - would be condemned = as > potential mass murderers, or even responsible for the violence they in fa= ct > decry. People seem often very eager to condemn the representation of face= ts > of existence they don't like, while at the same time refusing to address = its > reality. If you say that it's "not ok" to write about violence, where do = you > stop? Do we just churn out pap that has nothing to do with the world we l= ive > in, so everyone can feel more comfortable? > > All the best > > Alison > > > > > > > -- > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com --=20 Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Mon, 23 Apr 2007 21:35:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura McClain Subject: Re: Derivative of the Moving Image MIME-Version: 1.0 Content-Type: text/plain; charset=ascii Congratulations, Jennifer! That is wonderful news. ----- Original Message ---- From: reJennifer Bartlett To: POETICS@LISTSERV.BUFFALO.EDU Sent: Monday, April 23, 2007 6:39:58 PM Subject: Derivative of the Moving Image I'm so thrilled to announce my first book, Derivative of the Moving Image, from the University of New Mexico Press. The book is in the catalog on their website at http://www.unmpress.com/pdf/F07catalog.pdf on page 32. It won't be out until Sept or Oct, but it can be ordered now. If anyone wants a review copy, let me know! I hope I don't sound like a cad spilling the beans all over...I've just been working so long! Jennifer _________________________________________________________________ Mortgage refinance is Hot. *Terms. Get a 5.375%* fix rate. Check savings https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h2bbb&disc=y&vers=925&s=4056&p=5117 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 24 Apr 2007 09:20:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Website in process In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Thanks, Jill. I'll pass on your compliments to the web designer. At 05:47 PM 4/23/2007, you wrote: >Hi Mark, > >The website looks good. Easy to read and navigate. Good to see >Junction Press out there. > >Good luck again with the readings. > >Best, >Jill > > >On 24/04/2007, at 1:30 AM, Mark Weiss wrote: > >>Thanks to Tim Peterson Junction Press has a website at last. It >>needs a bit of tweaking, but it looks pretty good, I think. And >>there's another, easier way to order Junction's books, including >>Jos=E9 Kozer's Stet. >> >>And of course for those in the New York area you can always buy the >>book at tonight's reading at the Poetry Project. >> >>The website's URL is junctionpress.com, the reading (with Harris >>Schiff) is tonight at 8. >> >>Mark ========================================================================= Date: Tue, 24 Apr 2007 11:47:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Fwd: new book on d.a. levy MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable To: spidertangle@yahoogroups.comFrom: nrview@thegrid.netDate: Tue, 24 Apr 2= 007 09:36:30 -0700Subject: [spidertangle] Fwd: new book on d.a. levy =20 =20 this came in and t hot uuu . . . u would like to knowkarlBegin = forwarded message:From: "Charles Potts" Date:= April 24, 2007 7:28:02 AM PDTTo: "Charles Potts" Subject: new book on d.a. levy [Larry Smith asked me to help spread th= e word. Every poet working in the US time present owes something to d.a. le= vy. This book should help make clear what that is.CP] Folks and fans, the d= .a.levy and the mimeograph revolution has been shipped to us, and will be r= eleased to the general public this week. As a small yet devoted publisher, = we ask you to help spread the word, much as levy did his short years. The b= ook contains much fine work by and about him. We hope to open a few doors a= nd windows that have been nailed shut for a few decades. He is still full o= f life. Spread the word. Here is the page link to the book description: Har= monySeriesBooks Imagine Peace,Larry SmithBottom Dog Press / Bird Dog Publis= hinghttp://members.aol.com/Lsmithdog/bottomdog Charles Pottspotts@thetemple= bookstore.comThe Temple Bookstore.comPO = Box 1773Walla Walla, WA 99362 =20 =20 __._,_.___ =20 =20 =20 =20 Messages in this topic (1) =20 =20 =20 Reply (via web post) |=20 =20 Start a new topic =20 =20 =20 =20 =20 Messages =20 | Files =20 | Photos =20 | Links =20 | Database =20 | Polls =20 | Members =20 | Calendar =20 =20 =20 =20 =20 =20 S P I D E R T A N G L E Projects listed at: http://www.spidertangle.net =20 =20 =20 =20 =20 =20 =20 Change settings via the Web (Yahoo! ID required)=20 Change settings via email: Switch delivery to Daily Digest | Switch f= ormat to Traditional=20 =20 Visit Your Group=20 | =20 Yahoo! Groups Terms of Use | =20 Unsubscribe =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 Recent Activity =20 =20 2 New Members =20 =20 =20 =20 =20 =20 =20 =20 =20 Visit Your Group =20 =20 SPONSORED LINKS =20 =20 Creative writing Creative writing course Creative writing class =20 =20 =20 =20 =20 =20 Yahoo! TV=20 The Apprentice=20 Watch a new season=20 in Los Angeles =20 =20 Y! GeoCities Share Your Resume Show off your talent and skills. =20 =20 Yahoo! Groups Start a group in 3 easy steps. Connect with others. =20 =20 =20 =20 . =20 __,_._,___ _________________________________________________________________ Discover the new Windows Vista http://search.msn.com/results.aspx?q=3Dwindows+vista&mkt=3Den-US&form=3DQBR= E= ========================================================================= Date: Tue, 24 Apr 2007 09:06:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Robins Subject: the next settlement . . . MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Friends, My first book, The Next Settlement, received the Vassar Miller Prize and is now out from UNT Press. The book can be ordered via amazon or directly from Texas A&M: http://www.tamu.edu/upress/BOOKS/2007/robins.htm Shortly I'll also forward a list of New England and New York readings with poets Christopher Janke and Elizabeth Hughey. Best wishes, Michael Robins ========================================================================= Date: Tue, 24 Apr 2007 11:44:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Kozer again Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Tonight at Poets House, 72 Spring Street, 7 pm, in discussion with Ammiel Alcalay, and reading his poems, natch. I'll be taking attendance. Mark ========================================================================= Date: Tue, 24 Apr 2007 10:48:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Clayton Couch email MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Does anyone have an email address for Clayton couch? Please backchannel. Thanks. Vernon Frazer http://vernonfrazer.com ========================================================================= Date: Tue, 24 Apr 2007 12:32:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: LOCKED FROM THE OUTSIDE by Susan Timmons (winner of the inaugural Ted Berrigan Award) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline A GREAT BOOK! There are a couple of poems from it, as well as an excerpt from the Alice Notley preface on PhillySound -- today's date: http://PhillySound.blogspot.com ========================================================================= Date: Tue, 24 Apr 2007 13:13:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: Kozer again In-Reply-To: <7.0.1.0.1.20070424114255.05e9fa40@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Compa=F1ero Winks=2C presente -- hasta la poesia siempre=2E See you tonight=2C Chris ----- Original Message ----- From=3A Mark Weiss =3Cjunction=40EARTHLINK=2ENET=3E Date=3A Tuesday=2C April 24=2C 2007 1=3A08 pm Subject=3A Kozer again To=3A POETICS=40LISTSERV=2EBUFFALO=2EEDU =3E Tonight at Poets House=2C 72 Spring Street=2C 7 pm=2C in discussion = with = =3E Ammiel Alcalay=2C and reading his poems=2C natch=2E =3E = =3E I=27ll be taking attendance=2E =3E = =3E Mark =3E ========================================================================= Date: Tue, 24 Apr 2007 19:28:46 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: blacksox@ATT.NET Subject: Weekly televised broadcast promotes writers world-wide MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Thought Someone might benefit from this: Hi - I'm David and I'd like to share an opportunity with you and your group as we are reaching out to like minded groups inclusive of beginners and pros. I am the Artistic Director of Riprap Studio Theatre in North Hollywood, California and I co- produce a weekly television broadcast - RIPRAP ENTERTAINMENT TV with Sandra Nutt (the owner / operator of Riprap Studio Theatre). We are reaching out to colleges and students and groups like yours to invite you and your group to submit; or just watch and learn and take part in our evolution. Our weekly televised broadcast promotes writers world-wide. It's designed to find the next great stage play to mount at our theatre in North Hollywood, CA and we would love to share the opportunity with your group. It's free and will always be free since our inception in 1999. We accept stage plays, screenplays, novels, short stories, teleplays and musicals for discussion, critique, feedback and/or award. Sandra, the owner adapted her screenplay for the stage and HBO requested the original script. We would like to expose novice and veteran writers to the same opportunity - that is our concept - for those who might not otherwise have a chance in Hollywood. No promises, just a fun show designed to entertain and educate the public about the writing process, while providing a valuable opportunity. We have a segment called SCRIPT ANALYSIS wherein we read, discuss, critique new works for consideration for possible production on our stage in North Hollywood. We recently added RIPRAP UNIVERSITY tutorials - also free and I notice you are writing a book chapter by chapter, our first endeavor is to write a screenplay three pages at a time on video on our web site. Perhaps that will be valuable to you and your members as well. I'll keep the email short, but if you think you or your members would be interested in this opportunity, please distribute our flyer to your members and email me with ANY questions that you may have. We also post segments of our broadcast on our web site every week after the show and you can see them at: http://www.riprapentertain.com/ FLYER is at: http://www.riprapentertain.com/invitation.pdf Thank you very much for your time Mike and best of luck and continued success in your group and endeavors. Kind regards, David L. Stewart, Artistic Director Riprap Studio Theatre & Riprap Entertainment TV 5755 Lankershim Blvd. North Hollywood, CA 91601 Tel: (818) 990-7498 davidls2004@yahoo.com -- ========================================================================= Date: Tue, 24 Apr 2007 15:15:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: RECHARGING THE SENSORIUM - Multimedia Conference & CLMP Book Fair - April 26th and 27th MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Recharging the Sensorium - Multimedia Conference in New Britain, CT=20 4/26 - 4/27 - FREE and OPEN to the PUBLIC=20 http://www.english.ccsu.edu/recharge.htm Thursday, April 26th, from 5:30 pm 9:00 pm at the New Britain Museum of = American Art Announcing the kickoff extravaganza for the 2007 CSU Multimedia = Conference, Recharging the Sensorium, to be held on the campus of = Central Connecticut State University on April 27th, 2007. Featuring the = winners of the highly acclaimed international online journal of the = arts, Drunken Boat =B9s inaugural = PanLiterary Awards in seven genres (poetry, fiction, nonfiction, sound = art, photo, video and web art). Followed by a concert of = electro-acoustic music by renowned composer and performer Robert Black = who will be premiering a piece by Anthony Cornicello, artistic director = of SEMI. This concert is sponsored by Hartford=B9s Studio for Electronic = Music Inc. (SEMI) and partially funded by a grant from the Roberts = Foundation. Reception and performance are free and open to the public. Performers include the winners of the Inaugural PanLiterary Awards: Erik B=FCnger (Sound) Jason Nelson (Web Art) Christiana Langenborg (Fiction) John Fillwalk (Video) Scott Withaim (Poetry) And finalists in multiple genres: Masha Tupitsyn, Leslie McGrath, = Matthew Burtner, Deborah Poe, Terri Witek, Chandra Prasad, Liliana = Valenzuela, and Sean Singer. All will be introduced by Drunken Boat = editors Aaron Hawn, Shawn McKinney and Ravi Shankar. Friday, April 27th, from 8:00 am to 7:30 pm, on the campus of Central CT = State University, Torp Theater All Day Installations and artworks will be available around campus, including a = special exhibition at the Samuel S.T. Chen Fine Arts Center, Maloney = Hall, Second Floor =20 8:00 =96 9:00 Registration/Opening Remarks =20 9:00-5:00 CLMP Book Fair in Founder's Hall =20 9:00 =96 10:00 First Session Creative Panels =20 Jerry McGuire Visual Poetry =20 Erik B=FCnger Screening of 'Gospels' =20 John Sheirer Life Lessons From a Year on the Trail =20 10:10 =96 11:10 Second Session Critical Panels =20 Laurence Petit and Catherine Labio on Image and Text=20 =20 Taylor H. Loomis on Wilkie Collins =20 Roger Bilisoly Visual Representations of Edgar Allan Poe=92s Short Stories by Computer = Generated HTML Created by Statistical Text Mining =20 11:20 =96 12:20 Third Session Pedagogy Panels =20 Lisa Rowe Fraustino Children=92s Books =20 Ingrid Pruss Teaching Poetry: A Mind-Voice-Hands-On Art =20 Leslie Dallas On the art of storytelling for film =20 12:30 =96 1:45 Lunch/Book Fair Launch of Directory of Connecticut Authors by Patricia D'Ascoli, = Publisher, Connecticut Muse =20 1:45 =96 2:45 Fourth Session Creative/Critical Panels =20 Charles Menoche and Ron Todd Multi-media/video Collaborative Performances =20 Christiana Langenberg Reading of Cross-Genre Fiction =20 Edmond Chibeau and the Wordworks Group Acme Ekphrastic Performance Poem: Australian Rules, No Holds Bard =20 3:00 =96 4:00 Fifth Session =20 Ekphrastic Panel #1 =20 Susan Gilmore on Anne Sexton and Her Kind =20 Rennie McQuilkin on Ekphrastic Poetry =20 Geri Radacsi, Catherine Fellows, Julie Ribchinsky Migrant Mother, 1936: A Dramatic Poetry Reading with Dance and Musical = Interpretation/Performance =20 4:10 =96 5:10 =96 Sixth Session (Electronic) Publishing Panel =20 Kim Bridgford, Mezzo Cammin, Matt O=B9Donell, Fishouse, Ron Samul, Miranda Magazine, Caitlin Johnson, Fail Better Ken Cormier, Lumberyard, Ravi Shankar, Aaron Hawn and John Briggs moderate=20 =20 5:20 =96 6:00 =96 Sixth Session Ekphrastic Panel #2 =20 Jim Scrimegeour and Gray Jacobik Visual/Textual Performance =20 6:00 =96 7:30 Dinner Break =20 7:30 =96 9:00 Keynote Event Lionel Bascom and regional politicians =93Long Days Journey into Plight=94 Town Meeting ***************=20 Ravi Shankar=20 Ed., http://www.drunkenboat.com=20 Poet-in-Residence=20 Associate Professor=20 CCSU - English Dept.=20 860-832-2766=20 shankarr@ccsu.edu=20 ========================================================================= Date: Tue, 24 Apr 2007 11:34:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: 2007 Kriti Festival MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The 2007 Kriti Festival will be held in Chicago April 26-29th, 2007. Kriti will be a four-day event celebrating South Asian and diaspora literature, with panel discussions, performances, readings, music and song, storytelling for kids, and much more! http://www.desilit.org/kriti.html Our Guest of Honor in 2007 will be award-winning author Anita Desai, noted Indian novelist, short-listed for the Booker Prize three times. (Her daughter, Kiran Desai, recently won the 2006 Booker Prize.) Just a few of Anita Desai's wonderful books include Fasting, Feasting;Baumgartner's Bombay; Clear Light of Day, and In Custody (which was made into a Merchant/Ivory film, starring Shashi Kapoor, Shabana Azmi, and Om Puri). More info on Anita Desai: http://en.wikipedia.org/wiki/Anita_Desai Schedule in Brief: *Thursday, April 26th: (Roosevelt University, 430 S. Michigan Ave.) - 5:00 - 5:30 p.m. opening reception - 5:30 - 8:00 p.m. rapid-fire reading by attending panelists (this Thursday evening event is free and open to the public) *Friday, April 27th: (UIC Student Center, 750 S. Halsted) - 10:00 a.m. - registration opens, writing workshop - 11:00 - 5:00 p.m. - panels, readings, film screenings - 5:00 - 5:30 p.m. - Anita Desai reception - 5:30 - 6:30 p.m. - Anita Desai Keynote Speech - 7:00 - 9:30 p.m. - Voices of Resistance (presented in collaboration with SAPAC) - 9:30 - 1:30 a.m. - Funkadesi at Fitzgerald's (separate cover charge) *Saturday, April 28th: (UIC Student Center, 750 S. Halsted) - 9:00 a.m. - registration opens, writing workshop - 10:00 - 7:00 p.m. - panels, readings, film screenings, art show - 11:30 - 12:30 p.m. - Anita Desai reading and signing - 5:00 - 6:30 p.m. - Rasaka performance (Desi Women of the Diaspora) - 8:00 - 10:00 p.m. - open mic, hosted by Yesha Naik, film screening *Sunday, April 29th: (UIC Student Center, 750 S. Halsted) - 9:00 a.m. - registration opens, writing workshop - 10:00 - 3:00 p.m. - panels, readings, film screenings - 3:00 - 5:00 p.m. - Maahaul classical music concert __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 24 Apr 2007 12:40:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: [spidertangle] Fwd: new book on d.a. levy MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: base64 DQpUbzogc3BpZGVydGFuZ2xlQHlhaG9vZ3JvdXBzLmNvbUZyb206IG5ydmlld0B0aGVncmlkLm5l dERhdGU6IFR1ZSwgMjQgQXByIDIwMDcgMTA6MTI6MDMgLTA3MDBTdWJqZWN0OiBSZTogW3NwaWRl cnRhbmdsZV0gRndkOiBuZXcgYm9vayBvbiBkLmEuIGxldnkNCg0KDQoNCg0KDQoNCg0KDQoNCg0K DQoNCg0KDQogIA0KDQoNCiAgICANCiAgICAgICAgICAgIGRlYXIgam9obixpIGVycm9yZWQgYnkg bm90IGNoYWVja2luZyBwb3R0cycgbGluay5pIGp1c3QgdXNlZCB0aGlzIHRvIHRoZSBwYWdlIGxp c3RpbmcgYm9va3MgaW5jbHVkaW5nIHRoZSBsZXZ5IGJvb2s6PGh0dHA6Ly9tZW1iZXJzLmFvbC5j b20vbHNtaXRoZG9nL2JvdHRvbWRvZy8+T3V0IGJ5IG1pZC1BcHJpbCEgQmlnIE5ldyBDb2xsZWN0 aW9uZC5hLmxldnkgJnRoZSBtaW1lb2dyYXBoIHJldm9sdXRpb25lZHMuIExhcnJ5IFNtaXRoIGFu ZCBJbmdyaWQgU3dhbmJlcmdDaHJvbm9sb2d5IG9mIGhpcyBsaWZlIGFuZCB3b3JrL0Jpb2dyYXBo aWNhbCBlc3NheXMgUGhvdG9ncmFwaHMvIEludGVydmlld3MsIFByb2ZpbGVzLCBTdGF0ZW1lbnRz LCBMZXR0ZXJzQXJ0IFdvcmssIENvbGxhZ2UsIFBvZW1zQ3JpdGljYWwgYXBwcmVjaWF0aW9ucyBv ZiBoaXMgd3JpdGluZyBhbmQgYXJ0LyAgw6LigqzFk0NsZXZlbGFuZCBQcmludHPDouKCrO+/vSBp biBmdWxsIGNvbG9yQ29udHJpYnV0b3JzOkVkIFNhbmRlcnMsIFQuTC4gS3J5c3MsIHJqcywgS2Fy bCBZb3VuZywgQWxsZW4gRnJvc3QsIEpvZWwgTGlwbWFuLCBLZW50IFRheWxvciwgTWFyayBLdWhh ciwgSW5ncmlkIFN3YW5iZXJnLCBMYXJyeSBTbWl0aCwgUnVzc2VsbCBTYWxhbW9uLCBKb2huIEph Y29iLCBEb3VnIE1hbnNvbiwgTWljaGFlbCBCYXNpbnNraSwgSmltIExhbmcsIGFuZCBvdGhlcnMg T24gQXByIDI0LCAyMDA3LCBhdCA5OjU0IEFNLCBKb2huIE0uIEJlbm5ldHQgd3JvdGU6IFRoYXQg bGluayBkb2Vzbid0IHdvcmsgYW5kIEkgY2FuIGZpbmQgbm8gaW5mbyBvbiB0aGUgYm9vayBhbnl3 aGVyZS4gIFdobyBpcyB0aGUgcHVibGlzaGVyPyAgQWRkcmVzcz8gICBJIHdhbnQgdG8gb3JkZXIg b25lLiB0aGFua3MsIGpvaG4gQXQgMTI6MzYgUE0gNC8yNC8yMDA3LCB5b3Ugd3JvdGU6IHRoaXMg Y2FtZSBpbiBhbmQgdCBob3QgdXV1IC4gLiAuIHUgd291bGQgbGlrZSB0byBrbm93IGthcmwgQmVn aW4gZm9yd2FyZGVkIG1lc3NhZ2U6ICBGcm9tOiAiQ2hhcmxlcyBQb3R0cyIgPCBvcmRlckB0aGV0 ZW1wbGVib29rc3RvcmUuY29tPiBEYXRlOiBBcHJpbCAyNCwgMjAwNyA3OjI4OjAyIEFNIFBEVCBU bzogIkNoYXJsZXMgUG90dHMiIDwgcG90dHNAdGhldGVtcGxlYm9va3N0b3JlLmNvbT4gU3ViamVj dDogbmV3IGJvb2sgb24gZC5hLiBsZXZ5ICBbTGFycnkgU21pdGggYXNrZWQgbWUgdG8gaGVscCBz cHJlYWQgdGhlIHdvcmQuIEV2ZXJ5IHBvZXQgd29ya2luZyBpbiB0aGUgVVMgdGltZSBwcmVzZW50 IG93ZXMgc29tZXRoaW5nIHRvIGQuYS4gbGV2eS4gVGhpcyBib29rIHNob3VsZCBoZWxwIG1ha2Ug Y2xlYXIgd2hhdCB0aGF0IGlzLiBDUF0gICBGb2xrcyBhbmQgZmFucywgdGhlIGQuYS5sZXZ5IGFu ZCB0aGUgbWltZW9ncmFwaCByZXZvbHV0aW9uIGhhcyBiZWVuIHNoaXBwZWQgdG8gdXMsIGFuZCB3 aWxsIGJlIHJlbGVhc2VkIHRvIHRoZSBnZW5lcmFsIHB1YmxpYyB0aGlzIHdlZWsuIEFzIGEgc21h bGwgeWV0IGRldm90ZWQgcHVibGlzaGVyLCB3ZSBhc2sgeW91IHRvIGhlbHAgc3ByZWFkIHRoZSB3 b3JkLCBtdWNoIGFzIGxldnkgZGlkIGhpcyBzaG9ydCB5ZWFycy4gVGhlIGJvb2sgY29udGFpbnMg bXVjaCBmaW5lIHdvcmsgYnkgYW5kIGFib3V0IGhpbS4gV2UgaG9wZSB0byBvcGVuIGEgZmV3IGRv b3JzIGFuZCB3aW5kb3dzIHRoYXQgaGF2ZSBiZWVuIG5haWxlZCBzaHV0IGZvciBhIGZldyBkZWNh ZGVzLiBIZSBpcyBzdGlsbCBmdWxsIG9mIGxpZmUuIFNwcmVhZCB0aGUgd29yZC4gICBIZXJlIGlz IHRoZSBwYWdlIGxpbmsgdG8gdGhlIGJvb2sgZGVzY3JpcHRpb246ICAgSGFybW9ueVNlcmllc0Jv b2tzICAgSW1hZ2luZSBQZWFjZSwgTGFycnkgU21pdGggQm90dG9tIERvZyBQcmVzcyAvIEJpcmQg RG9nIFB1Ymxpc2hpbmcgaHR0cDovL21lbWJlcnMuYW9sLmNvbS9Mc21pdGhkb2cvYm90dG9tZG9n ICBDaGFybGVzIFBvdHRzICBwb3R0c0B0aGV0ZW1wbGVib29rc3RvcmUuY29tIDwgaHR0cDovL3d3 dy50aGV0ZW1wbGVib29rc3RvcmUuY29tPiBUaGUgVGVtcGxlIEJvb2tzdG9yZS5jb20gUE8gQm94 IDE3NzMgV2FsbGEgV2FsbGEsIFdBIDk5MzYyICAgICAgU3BhbSAgTm90IHNwYW0gIEZvcmdldCBw cmV2aW91cyB2b3RlICBfX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX18g RHIuIEpvaG4gTS4gQmVubmV0dCAgICAgIEN1cmF0b3IsIEF2YW50IFdyaXRpbmcgQ29sbGVjdGlv biBSYXJlIEJvb2tzICYgTWFudXNjcmlwdHMgTGlicmFyeSBUaGUgT2hpbyBTdGF0ZSBVbml2ZXJz aXR5IExpYnJhcmllcyAxODU4IE5laWwgQXYgTWFsbCBDb2x1bWJ1cywgT0ggNDMyMTAgVVNBICg2 MTQpIDI5Mi0zMDI5IGJlbm5ldHQuMjNAb3N1LmVkdSAgd3d3LmpvaG5tYmVubmV0dC5uZXQgICBo dHRwOi8vd3d3LmxpYnJhcnkub3N1LmVkdS9zaXRlcy9yYXJlYm9va3MvYXZhbnR3cml0aW5nLyBf X19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fICAgIA0KICAgICAgDQoN CiAgICANCiAgICBfXy5fLF8uX19fDQogICAgDQogICAgDQogICAgICAgICAgICAgIA0KICAgICAg ICAgIA0KICAgICAgICAgICAgTWVzc2FnZXMgaW4gdGhpcyB0b3BpYyAgICAgICAgICAgKDApDQog ICAgICAgIA0KICAgICAgICANCiAgICAgICAgICANCiAgICAgICAgICAgIFJlcGx5ICAgICAgICAg ICAodmlhIHdlYiBwb3N0KQ0KICAgICAgICAgIHwgDQogICAgICAgIA0KICAgICAgICAgIFN0YXJ0 IGEgbmV3IHRvcGljICAgICAgICANCiAgICAgICAgICAgDQogICAgDQogICAgDQogICAgDQogICAg ICAgICAgICAgICAgTWVzc2FnZXMgIA0KICAgICAgICAgICAgfCAgICBGaWxlcyAgDQogICAgICAg ICAgICB8ICAgIFBob3RvcyAgDQogICAgICAgICAgICB8ICAgIExpbmtzICANCiAgICAgICAgICAg IHwgICAgRGF0YWJhc2UgIA0KICAgICAgICAgICAgfCAgICBQb2xscyAgDQogICAgICAgICAgICB8 ICAgIE1lbWJlcnMgIA0KICAgICAgICAgICAgfCAgICBDYWxlbmRhciAgDQogICAgICANCiAgICAN Cg0KICAgIA0KICAgIA0KICAgICAgICAgICAgICANCg0KDQogICAgICAgIFMgUCBJIEQgRSBSIFQg QSBOIEcgTCBFIFByb2plY3RzIGxpc3RlZCBhdDoNCmh0dHA6Ly93d3cuc3BpZGVydGFuZ2xlLm5l dCAgICAgICAgDQoNCg0KICAgICAgICAgIA0KDQogICAgDQogICAgDQogICAgDQogICAgICANCiAg ICAgICANCiAgICAgIENoYW5nZSBzZXR0aW5ncyB2aWEgdGhlIFdlYiAoWWFob28hIElEIHJlcXVp cmVkKSANCiAgICAgIENoYW5nZSBzZXR0aW5ncyB2aWEgZW1haWw6IFN3aXRjaCBkZWxpdmVyeSB0 byBEYWlseSBEaWdlc3QgfCBTd2l0Y2ggZm9ybWF0IHRvIFRyYWRpdGlvbmFsIA0KDQogICAgICAN CiAgICAgICAgVmlzaXQgWW91ciBHcm91cCANCiAgICAgICB8DQogICAgICANCiAgICAgICAgWWFo b28hIEdyb3VwcyBUZXJtcyBvZiBVc2UgICAgICAgfA0KICAgICAgDQogICAgICAgIFVuc3Vic2Ny aWJlICAgICAgIA0KICAgICAgICAgDQogICANCg0KICANCiAgDQogIA0KICANCiAgICANCiAgICAN CiAgICANCiAgICANCiAgICAgICAgICAgICAgUmVjZW50IEFjdGl2aXR5DQogICAgICAgIA0KICAg ICAgICAgICAgICAgIA0KICAgICAgIDINCiAgICAgIE5ldyBNZW1iZXJzDQogICAgDQogIA0KICAg ICAgICAgICAgDQogICAgICAgICAgICANCiAgICAgICAgICAgIA0KICAgICAgICAgICAgDQogICAg ICAgICAgICANCiAgICAgICAgDQogICAgICAgICAgICANCiAgICAgICAgVmlzaXQgWW91ciBHcm91 cCAgICAgIA0KICAgICANCiAgICAgICAgICAgICAgICBTUE9OU09SRUQgTElOS1MNCiAgICAgIA0K ICAgICAgICANCiAgICAgICAgICAgICAgICAgICAgQ3JlYXRpdmUgd3JpdGluZw0KICAgICAgICAg ICAgICAgICAgICBDcmVhdGl2ZSB3cml0aW5nIGNvdXJzZQ0KICAgICAgICAgICAgICAgICAgICBD cmVhdGl2ZSB3cml0aW5nIGNsYXNzDQogICAgICAgICAgICAgICAgICANCiAgICAgIA0KICAgICAg ICAgICAgICANCiAgICANCiAgICAgICAgICAgICAgDQogICAgICAgICAgICAgIA0KICAgICAgICAg ICAgICAgICAgICAgIFlhaG9vISBUViANClBsYXkgdGhlIEludGVybiBHYW1lIA0KV2luIGFuZCB3 b3JrIGZvciANCnRoZSBuZXh0IEFwcHJlbnRpY2UuICAgICAgICAgICAgICAgICAgDQogICAgICAg ICAgICAgICAgICAgIA0KICAgICAgICAgICAgICAgICAgICAgIFkhIEdlb0NpdGllcw0KQ3JlYXRl IGEgQmxvZw0KQW5kIHRlbGwgdGhlIHdvcmxkDQp3aGF0IHlvdSB0aGluay4gICAgICAgICAgICAg ICAgICANCiAgICAgICAgICAgICAgICAgICAgDQogICAgICAgICAgICAgICAgICAgICAgICBZYWhv byEgR3JvdXBzDQogIFN0YXJ0IGEgZ3JvdXANCiAgaW4gMyBlYXN5IHN0ZXBzLg0KICBDb25uZWN0 IHdpdGggb3RoZXJzLg0KICAgICAgICAgICAgICAgICAgDQogICAgICAgICAgDQogICAgDQogICAg IA0KICAuDQogICAgDQoNCl9fLF8uXyxfX18NCg0KDQoNCg0KDQoNCg0KDQoNCg0KX19fX19fX19f X19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX18N CkV4cGxvcmUgdGhlIHNldmVuIHdvbmRlcnMgb2YgdGhlIHdvcmxkDQpodHRwOi8vc2VhcmNoLm1z bi5jb20vcmVzdWx0cy5hc3B4P3E9Nyt3b25kZXJzK3dvcmxkJm1rdD1lbi1VUyZmb3JtPVFCUkU= ========================================================================= Date: Tue, 24 Apr 2007 12:30:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Xu Smith Subject: *Electronic Poetry Review seeks reviewers* MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Electronic Poetry Review ( epoetry.org), an online journal since 1996, seeks reviewers for new books of poetry for our Fall 2007 issue. Experience preferred, though we are also open to new voices. Please send bios and samples/links of previously published reviews to reviews@epoetry.org. Read past reviews in EPR at http://www.epoetry.org/issues/issue7/text/prose/reviews.htm and http://www.epoetry.org/previous.htm. ========================================================================= Date: Tue, 24 Apr 2007 12:30:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: in response to the virginia tech discussion... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline what Alison Croggon wrote: "In fact, here it predictably goes - Yale bans fake swords on stage in response to Virginia Tech massacre! A totally insane response, which seems to be more about making sure art behaves itself than anything else." Oh boy! And I was trying to stay out of this discussion! Mainly because I already know how much hate mail I'll be getting. But here it goes. First off I think Alison you are right on! Two things I want to add to this discussion though. The first about class. The second about guns and why they've been good in my life, which I know is not going to go over very well. First part though. The average age of those killed in this unfortunate, terrible situation in Virginia are roughly the average ages of those young Americans killed in Iraq nearly every single day. WHERE IS THE PRESIDENT'S MOURNING ON INTERNATIONAL TELEVISION FOR THEM!? Oh, that's right, they're just poor and working class kids (for the most part), and we don't really care enough about them. They don't have the same structure of importance built around them for us to actually, and really mourn them. Hell, we're not even allowed to see their fucking flag draped coffins! And what about the HUNDREDS OF THOUSANDS killed in Iraq as a direct finger to America's aggression? WHY THE FUCK ISN'T YALE SENDING OUT A PRESS RELEASE TO BAN THE USE OF TANKS AND OTHER MURDEROUS WEAPONS WORLDWIDE!? Oh that's right, because at Yale the poor and working class can only be found behind the counter in the cafeteria, working. And they should be grateful for those jobs! Right? If as much attention were given EVERY SINGLE DAY to the war in Iraq (OUR war in Iraq) as we've been spending EVERY SINGLE DAY on the massacre in Virginia, we might actually stand a chance to put an end to this bloody mess! Why do we choose to mourn so loudly for one and not the other? Yes I know I've already said I believe it to be class, which I do, I very much do. And race too of course. It's such a racist war we are in over there. Do you think France would have allowed us to invade Poland? Or some other nice, white place? They wag their fingers, but a lot of fucking good finger waving has done, right? It's terrible, the hypocrisy of caring over here, not caring over there. Entire families suffer every single DAY in Iraq because YOU and I continue to pay our taxes like obedient little rodents, feeding this Death Machine! YOU and I are such bastards! Such cowards, YOU and I are! I'm terrified of prison. I'm paying my taxes. And the suffering, the endless misery is accounted for by my inaction, my fear, my inescapable selfishness of not wanting to starve or be jailed. Do you pay your taxes? Are you hiding from the IRS? Good for you, brave soul. Now another difficult thing to discuss. After all, Ron Silliman just wrote on his blog that anyone owning a gun is an idiot. I'm paraphrasing, but close. Well Ron SO BE IT! It was a rifle that saved my six year old sister's life, and my ten year old life when our drunken, disgusting step father was trying to get into her bedroom. I was on the other side of the door with that gun. Door locked. And he never came through the door, but if he had, the gun, which was loaded, and safety off, would have been Plan B to the locked door as Plan A. I was terrified, but there's no doubt I would have shot him! And it was a handgun that saved my sister's life a few years ago when she pointed it at the head of a stalker who broke down her door. She was steady and ready to shoot. And he could see that, and he took off, and never, EVER bothered her again! If my sister did not have that gun, and didn't feel confident that she could protect herself, that piece of shit man would have tried to rape and kill her. He was crazy enough. Am I saying that EVERYBODY should be able to buy a gun? Am I on Mister Planet of the Apes Heston's side? No. The extremes can be seen from any side. It's ridiculous to be giving guns to minors. But I'm glad I was given that rifle as a kid, and taught to shoot it. There are more guns than people in my family, by far, and most of those guns are for hunting. But I'm a vegetarian now for many years. And I no longer own a gun. Haven't for a long time. But I'm glad my sister has one. She's slender, strong, but knows certain men could overwhelm her. She's a good fighter, but why should she have to fight when all she has to do is point a gun and YELL at him that if he dares to touch her his pretty little brains will splatter all over her walls I ask you? THE PINK PISTOLS are heroes of mine. I've been in the closet long enough about my queer heroes. These men and women have the slogan, WE BASH BACK! None of them as far as I know are out there randomly, wantonly threatening the general population. They, like me, are just sick and fucking tired of being pushed around for no good reason other than the fact of being queer. Yes I understand the concerns about the guns in our country, but at the same time I've actually been in the situation where a gun was going to save my life if the lock on the door failed. And I'm grateful my sister is a good shot, and unafraid of this world because of it. Call me an idiot, I've been called worse, CAConrad ========================================================================= Date: Tue, 24 Apr 2007 17:49:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Howe Subject: New from Glossolalia: REAL WATER featuring Laura Carter MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline REAL WATER: http://glossolalia-blacksail.blogspot.com/ Featuring Laura Carter reading "Poem for Swans" Also includes some sampled drums from Soft Circle's "Whirl" ========================================================================= Date: Tue, 24 Apr 2007 16:29:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Apologies, typo in Columbia Poetry Review announcement MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Sorry for the mistake -- the reading for COLUMBIA POETRY REVIEW should be Thursday, Apr. 26. It was listed as Wed. in the previous announcement I sent. Corrected below. Thanks-- Best, Tony Reading and Release Party COLUMBIA POETRY REVIEW #20 Thursday, April 26, 5:30 p.m. Columbia College Chicago Hokin Auditorium (623 South Wabash) For more information: (312) 344-8139 ------------------------------------------------------------------- Help us celebrate the 20th anniversary edition of COLUMBIA POETRY REVIEW this Thursday, April 26! COLUMBIA POETRY REVIEW is the award-winning, nationally distributed, student-edited literary magazine of Columbia College Chicago. Poets who have contributed to this latest edition of the magazine will read their work Thursday. Among featured readers will be noted Chicago-area poets David Trinidad, Ed Roberson, Tony Trigilio and Arielle Greenberg. Poet Joan Larkin, poet-in-residence at Columbia College Chicago, will also read at the event. Issues of the magazine will be available for purchase. Following the reading, refreshments will be served in room 309 of the English Building (33 E. Congress, Chicago). ========================================================================= Date: Tue, 24 Apr 2007 16:26:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Columbia Poetry Review #20 / Reading and Release Party / This Thursday, Apr. 26 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Reading and Release Party COLUMBIA POETRY REVIEW #20 Wednesday, April 26, 5:30 p.m. Columbia College Chicago Hokin Auditorium (623 South Wabash) For more information: (312) 344-8139 ------------------------------------------------------------------- Help us celebrate the 20th anniversary edition of COLUMBIA POETRY REVIEW this Thursday, April 26! COLUMBIA POETRY REVIEW is the award-winning, nationally distributed, student-edited literary magazine of Columbia College Chicago. Poets who have contributed to this latest edition of the magazine will read their work Thursday. Among featured readers will be noted Chicago-area poets David Trinidad, Ed Roberson, Tony Trigilio and Arielle Greenberg. Poet Joan Larkin, poet-in-residence at Columbia College Chicago, will also read at the event. Issues of the magazine will be available for purchase. Following the reading, refreshments will be served in room 309 of the English Building (33 E. Congress, Chicago). ========================================================================= Date: Tue, 24 Apr 2007 16:51:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tarpaulin Sky Press & Journal Subject: SPRING/SUMMER ISSUE MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Folks, Please stop by, when the sun's gone down, to check out the new Tarpaulin Sky: TARPAULIN SKY SPRING/SUMMER 07 TEXT-IMAGE / EKPHRASTIC ISSUE GUEST-EDITED BY Rebecca Brown NEW TEXTS BY Chris Abani Rebecca Brown Lucy Corin Camille Dungy Brian Evenson Amy Halloran Joanna Howard Laird Hunt Douglas A. Martin Frances McCue Suzanne Oliver Selah Saterstrom John Yau IN RESPONSE TO IMAGES BY Nancy Kiefer http://www.tarpaulinsky.com/journal.html "Japanese paper appears delicate, but it is strong because of its long fibers. I love it because it has this translucent flimsiness that sort of defies its truer self. The idea of painting pictures on such paper interests me even more so because the ink moves across this paper as if it were bleeding. I think of this work as napkins-images quickly painted, something to wipe your mouth with after you've been too polite, or maybe even for coughing up odd nightmares." -Nancy Kiefer ========================================================================= Date: Tue, 24 Apr 2007 16:42:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: deconavatar MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed deconavatar approaching the body from the front approaching the body from the left side approaching the body from the right side approaching the body from below entering the body from the neck entering the body from the shoulders entering the body from the head body-exploration from the tongue body-exploration from the abdomen body-exploration from the eyebrows body-exploration from the eyes from the hemispheres of the eyes through the membranes of the abdomen across the hands and legs far then farther in the distance the trick of the hands and legs in the distance sheaves and platelets of skins and bones bound sheaves of arms and legs their tricks unbound eyes and tongue tricks of floating teeth salvage of inconceivable movement http://www.asondheim.org/deconavatar.mp4 every avatar is deconstructible every avatar has a level of deconstruction through an ontological shift: to an(y) organism engineering and reverse engineering an avatar: vectored in a human define an avatar as an organism which is infinitely repairable define a human as an organism which is not ========================================================================= Date: Tue, 24 Apr 2007 12:50:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nico Vassilakis Subject: SUBTEXT MUSIC and POETRY EVENT - Charles Alexander with music of Tim Risher Mime-Version: 1.0 Content-Type: text/plain; format=flowed Subtext continues its monthly series of experimental writing with a collaborative poetry and musical event. Charles Alexander reads his poetry in advance of the musical performance of "Aviary Corridor," a contemporary piece of music written by Tim Risher in response to Alexander's poem of this name. Mike Katell directs the ensemble of soprano, flute, string quartet, and piano. The reading starts at 7:30pm. Donations for admission will be taken at the door on the evening of the performance. Charles Alexander's books of poetry include Hopeful Buildings (Chax Press, Tucson, 1990), arc of light / dark matter (Segue Books, New York, 1992), Near or Random Acts (Singing Horse Press, San Diego, 2004), and Certain Slants (Junction Press, 2006). He lives in Tucson Arizona, where he directs Chax Press, publisher of letter press and trade editions of poetry. A former director of the Minnesota Center for Book Arts, he has taught at Naropa University, the University of Arizona, and Pima Community College. He has published multiple essays on poetry and poetics, and on book arts. He is the current recipient of the Arizona Arts Award, the largest award given to an artist in the state. Tim Risher received his BA in Music at the University of Central Florida and his MM in Music Composition from the Florida State University in Tallahassee. At Florida State, he organised their first permanent new music ensemble, the Tallahassee Camerata. He also founded Paragate, composing for these groups, Songs for the Virgin Mary and Concerto for Wind Ensemble, among other works. He worked as a producer at National Public Radio for six years, producing FSU faculty and student concerts and Radio Diffusions, a showcase of new music. For more information, see: http://www.timrisher.de/index2.htm Mike Katell received his B.A.from Bard and is a music composer and director of collaborative performances, including most recently the dance opera The Onion Twins in Seattle. He teaches media studies at Bellevue Community College. The future Subtext schedule is: June 6, 2007: Subtext Anniversary Reading - SERIES MOVES to Good Shepherd Center: http://gschapel.blogspot.com/ July 4, 2007: No Reading For info on these & other Subtext events, see our website: http://www.speakeasy.org/~subtext Thanks to Hugo House for co-sponsoring this event. OTHER HAPPENINGS May 1, 2007: The Richard Hugo House will present poet Shin Yu Pai at 7:00 p.m. Admission is free. ========================================================================= Date: Tue, 24 Apr 2007 19:55:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Re: in response to the virginia tech discussion... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit One thing that I've noted, with some discomfort, is the number of newscasters who refer to this event as "the worst peacetime shooting in American history." The degree to which people seem able to forget that this country is "at war," and what the implications of that are is staggering. Sina > what Alison Croggon wrote: > "In fact, here it predictably goes - Yale bans fake swords on stage in > response to Virginia Tech massacre! A totally insane response, which seems > to be more about making sure art behaves itself than anything else." > > Oh boy! And I was trying to stay out of this discussion! Mainly because > I already know how much hate mail I'll be getting. But here it goes. > > First off I think Alison you are right on! > > Two things I want to add to this discussion though. The first about > class. > The second about guns and why they've been good in my life, > which I know is not going to go over very well. > > First part though. The average age of those killed in this unfortunate, > terrible situation in Virginia are roughly the average ages of those > young Americans killed in Iraq nearly every single day. WHERE IS > THE PRESIDENT'S MOURNING ON INTERNATIONAL TELEVISION > FOR THEM!? Oh, that's right, they're just poor and working class > kids (for the most part), and we don't really care enough about them. > They don't have the same structure of importance built around them for > us to actually, and really mourn them. Hell, we're not even allowed to > see their fucking flag draped coffins! > > And what about the HUNDREDS OF THOUSANDS killed in Iraq as a > direct finger to America's aggression? WHY THE FUCK ISN'T YALE > SENDING OUT A PRESS RELEASE TO BAN THE USE OF TANKS > AND OTHER MURDEROUS WEAPONS WORLDWIDE!? Oh that's > right, because at Yale the poor and working class can only be found > behind the counter in the cafeteria, working. And they should be > grateful for those jobs! Right? > > If as much attention were given EVERY SINGLE DAY to the war in > Iraq (OUR war in Iraq) as we've been spending EVERY SINGLE > DAY on the massacre in Virginia, we might actually stand a chance > to put an end to this bloody mess! > > Why do we choose to mourn so loudly for one and not the other? > Yes I know I've already said I believe it to be class, which I do, I > very much do. And race too of course. It's such a racist war we > are in over there. Do you think France would have allowed us to > invade Poland? Or some other nice, white place? They wag their > fingers, but a lot of fucking good finger waving has done, right? > > It's terrible, the hypocrisy of caring over here, not caring over there. > Entire families suffer every single DAY in Iraq because YOU and I > continue to pay our taxes like obedient little rodents, feeding this > Death Machine! YOU and I are such bastards! Such cowards, > YOU and I are! > > I'm terrified of prison. I'm paying my taxes. And the suffering, the > endless misery is accounted for by my inaction, my fear, my > inescapable selfishness of not wanting to starve or be jailed. > Do you pay your taxes? Are you hiding from the IRS? > Good for you, brave soul. > > Now another difficult thing to discuss. After all, Ron Silliman just > wrote on his blog that anyone owning a gun is an idiot. I'm > paraphrasing, but close. Well Ron SO BE IT! > > It was a rifle that saved my six year old sister's life, and my > ten year old life when our drunken, disgusting step father was > trying to get into her bedroom. I was on the other side of the > door with that gun. Door locked. And he never came through > the door, but if he had, the gun, which was loaded, and safety > off, would have been Plan B to the locked door as Plan A. > I was terrified, but there's no doubt I would have shot him! > > And it was a handgun that saved my sister's life a few years > ago when she pointed it at the head of a stalker who broke > down her door. She was steady and ready to shoot. And he > could see that, and he took off, and never, EVER bothered > her again! If my sister did not have that gun, and didn't feel > confident that she could protect herself, that piece of shit man > would have tried to rape and kill her. He was crazy enough. > > Am I saying that EVERYBODY should be able to buy a gun? > Am I on Mister Planet of the Apes Heston's side? No. The > extremes can be seen from any side. It's ridiculous to be > giving guns to minors. But I'm glad I was given that rifle as > a kid, and taught to shoot it. There are more guns than > people in my family, by far, and most of those guns are > for hunting. But I'm a vegetarian now for many years. > And I no longer own a gun. Haven't for a long time. But > I'm glad my sister has one. She's slender, strong, but > knows certain men could overwhelm her. She's a good > fighter, but why should she have to fight when all she has > to do is point a gun and YELL at him that if he dares to > touch her his pretty little brains will splatter all over her > walls I ask you? > > THE PINK PISTOLS are heroes of mine. I've been in the > closet long enough about my queer heroes. These men > and women have the slogan, WE BASH BACK! None of > them as far as I know are out there randomly, wantonly > threatening the general population. They, like me, are > just sick and fucking tired of being pushed around for no > good reason other than the fact of being queer. > > Yes I understand the concerns about the guns in our > country, but at the same time I've actually been in the > situation where a gun was going to save my life if the > lock on the door failed. And I'm grateful my sister is > a good shot, and unafraid of this world because of it. > > Call me an idiot, I've been called worse, > CAConrad > -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Tue, 24 Apr 2007 18:17:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jules Boykoff Subject: **new book by Joel Bettridge** MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Now available: THAT ABRUPT HERE, poems by Joel Bettridge 59 pp | Paperback | $12.00 | ISBN 0-9773401-1-2 The Cultural Society: http://culturalsociety.org/thainfo In THAT ABRUPT HERE Joel Bettridge proposes an entirely tender yet radical new imagination of the elegy: i.e. a blessing underway; a ceremony in wandering search of its proper and beloved lost occasion. In the deep-root meaning of the word, these poems are momentous. — Donald Revell THAT ABRUPT HERE is as desperate and as alive as a first-time skydiver. I love it for its manic hospitality, its teary smirk, its warm and unforgettable hum. This book thinks my heart in. — Graham Foust Joel Bettridge's meticulous enumeration of the present is an implicit argument for poetry as seeing. His phrases are not so much written as carved into precise optical instruments that draw light from the fine detail of the daily, which for him extends seamlessly from the most intimate moments to the most global events. He makes this great range immediate, and he makes it matter. — Cole Swenson To order, go to: http://culturalsociety.org/thainfo -- ========================================================================= Date: Tue, 24 Apr 2007 21:36:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jorge Guitart Subject: Pushing Easy Poetry MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit In connection with Pinsky talking in Slate about Difficult Poetry, I was off the Poetics List for a long time and I don't know if there has been any discussion lately of contemporary Easy Poetry. If you want to see lots of samples of easy poetry [which is the kind that the Poetry Foundation wants everyone to read, listen to, and buy] take a look at the archives of the ***Writers Almanac*** [especially for the last three years] which, in case you don't know, is a five- minute American Public Radio program hosted by Garrison Keillor, where he gives biographical info about poets and writers and at the end he recites a poem. Here in Buffalo it can be heard on WNED-FM 94.5, Monday through Friday, starting at 6:30am. You'll find the archives at http://writersalmanac.publicradio.org/archive.php Jorge ========================================================================= Date: Wed, 25 Apr 2007 11:55:11 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Fascist "300"? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In a review of the movie "300" in the current London Review of Books, Michael Wood writes, "The novelist and the movie-makers are not fascists; only in love with a fascist fantasy, and perhaps even in love only with its picture possibilities." But I wonder: What is a fascist if not someone in love with fascist fantasies? Does anyone have any thoughts on whether this distinction can really be maintained or not? Think of someone saying, "Albert Speer wasn't a Nazi, he just loved its architectural possibilities." ========================================================================= Date: Wed, 25 Apr 2007 14:06:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: poetry events nyc friday 4/27 Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear All, especially in NYC,=20 I'll be in in New York on Friday for a MiPoesias reading with David Lehman = and Elaine Equi at the Stain Bar in Brooklyn, 7pm, and would be interested = to know of other poetry events later that evening/night, being a complete = poetry drone & having no imagination outside that rhyme scheme. I know of = the Nuyorican final (but it's the final & I prefer things in their = off-times!). Hints & leads welcomed, Mairead Mair=E9ad Byrne Associate Professor of English Rhode Island School of Design 2 College Street Providence, RI 02903 www.maireadbyrne.blogspot.com ========================================================================= Date: Wed, 25 Apr 2007 12:29:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: in response to the virginia tech discussion... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Sina Queyras wrote: "One thing that I've noted, with some discomfort, is the number of newscasters who refer to this event as "the worst peacetime shooting in American history." The degree to which people seem able to forget that this country is "at war," and what the implications of that are is staggering." Amy Goodman from DEMOCRACY NOW is the only one who is investigating (with absolute fearlessness she is investigating) how ALL, and I really do mean ALL the major news networks in America are conglomerates which actually OWN weapons manufacturing plants. It is -- believe it or not -- in the interest of the owners of ABC, CBS, NBC, CNN, to wage war. Shareholders are dancing the Iraq two-step these days. And we need to ask ourselves the rather obvious questions now about "conflict of interest." And beyond that, ask ourselves how this measures against Jefferson's line "Information is the currency of democracy." Hmm, puts a whole new spin on the "currency" of the statement. But it is the JOB OF our esteemed, televised news teams to help us forget. Help us forget our daily sins. Help us forget our daily brutality. In Philadelphia THEY RECENTLY changed the morning news to "Good Day Philadelphia!" Good Day Philadelphia? HOW ABSURD!!!! Of the 10 largest cities in America we rank highest in poverty. Literally one in four Philadelphians is living below the poverty line, me included. Good Day Philadelphia my ass! CAConrad ========================================================================= Date: Wed, 25 Apr 2007 13:25:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Fascist "300"? MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Not much difference between Mel Gibson's ghastly movie "The Passion (of The Christ)" and "300". Both rely for their effects almost entirely on sadomasochistic narcissism. Same culture of brownshirt pseudomasculinity, camp interest in military uniforms, obsessions with mutilation and--the clincher--a hatred of the other. A breast-plate by any other hang still guards a totalitarian heart. Gerald S. > In a review of the movie "300" in the current London Review of Books, > Michael Wood writes, "The novelist and the movie-makers are not fascists; > only in love with a fascist fantasy, and perhaps even in love only with > its picture possibilities." But I wonder: What is a fascist if not someone > in love with fascist fantasies? > > Does anyone have any thoughts on whether this distinction can really be > maintained or not? > > Think of someone saying, "Albert Speer wasn't a Nazi, he just loved its > architectural possibilities." ========================================================================= Date: Wed, 25 Apr 2007 10:14:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: justin sirois Subject: 40th out of the top 50 bullshit jobs -- Poet MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit source: CNNmoney at least it's capital P poet. 40th out of the top 50 bullshit jobs -- Poet http://money.cnn.com/galleries/2007/bing/0704/gallery.bing_50jobs.fortune/40.html . . . . . . . http://www.narrowhouserecordings.com/ a record label primarily interested in contemporary writing, poetics and the political __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 25 Apr 2007 12:09:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: Fascist "300"? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Barry Schwabsky wrote: "In a review of the movie "300" in the current London Review of Books, Michael Wood writes, "The novelist and the movie-makers are not fascists; only in love with a fascist fantasy, and perhaps even in love only with its picture possibilities." But I wonder: What is a fascist if not someone in love with fascist fantasies? Does anyone have any thoughts on whether this distinction can really be maintained or not?" Michael Wood is an apologist for the worst. How is the London Review of Books not asking for better insight than that? That's stunning. The distinction can only be maintained by those who are as lost as he is. Maybe the novelist, reviewer and moviemakers are suffering from some sort of collective S&M emotional branding. An old, good friend of mine for many years invited me to this huge Philadelphia S&M bash a few years ago and man oh man was I in for a surprise. My friend (won't mention her name) is an African American woman, and there she was on the floor, walking on her hands and knees, naked, except for a collar which was connected to a leash being held by her caucasian boyfriend who was dressed in an SS officer's uniform, complete with swastika. As disturbing as this was for me (no one else seemed to mind) I was certain she had something in mind, since she was dedicated to seeing her therapist every week and working her life out. About six months later she invited me to a poetry reading she was giving at a Borders Bookstore out in the suburbs. The reading was in the cafe. There were all these clean, white, very white, upper middle class, well mannered folk with their coffee. She announced that she wasn't going to read poems, and instead read from her journals she kept before and after her therapy sessions. Wow. The entire reading was about being sexually molested by her father, and how her nazi boyfriend (she referred to him as an armchair nazi, which I guess is preferable?) helped her work through her issues in the S&M scene, working her down into the most humiliating, lowest possible denominator of how she felt about herself. Her epiphanies about her life, her worth, her broken heart and broken spirit came flooding to the surface when in the middle of these public S&M parties. She broke up with her boyfriend with a handshake, thanking him. Of course the Borders Bookstore customers were horrified, leaving as fast as they could, leaving just me and two goth teenage kids seated in the cafe. It was a strange, beautiful reading. Her brave, and odd sense of exploration into herself was a lesson that jumped the tracks on any kind of lesson usually permitted. Sometimes I feel that America and England are one big S&M play scene. Maybe the whole world is. But our give and take, and the way we hide everything in the church, or the meth, or the hopes of our fascist leaders (especially those fascists who hide it the best, like Hillary Clinton), or the dumbass movies, make us complicit every single day in upholding this racist, murderous, insatiable, potentially apocalyptic empire. Our very consumption, our endless consumption, drives all of this corruption and suffering right to the door of every house on earth these days. 300 is a pep rally. The extraordinary film THE HOLY MOUNTAIN has moments where it openly mimics such "fascist fantasy" to expose the soul of our daily shortcomings for one another. Where 300 creates a spectacle of action and effects to stimulate, THE HOLY MOUNTAIN takes it down to the super absurd, to show us as coming just shy of cannibalistic. The genius of Alejandro Jodorowsky is giving you your spectacle and rubbing your face in it, instead of filling your belly and dazzling you. Jokorowsky comes shy of making you ashamed of being human. Just shy enough of it to give you hope. CAConrad ========================================================================= Date: Wed, 25 Apr 2007 09:45:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Book Launch Party! Thurs, 4/26 - Fear & Security in the USA MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable a technique similar to waterboarding is in the poetry of Francois Villon, (= 15th century, born the year Jeanne d"Arc was burned at the stake) --himself= tortured several times, imprisoned, twice sentenced to hang, at last momen= t reprieved--before banishment from paris and disappearance--"from the page= s of history"--Remember Coca-Cola's unsuccessful campaign to market "Surge"= ????tonight Bill Moyers has show on pbs re the role the media played in pro= moting/propagandizing for the war in Iraq--and now many of same journalists= , pundits promoting loudly for war in Iran--the School of the Americas run = by US and Israeli officers teaching torture and "counter-terorism" terroris= t techniques to tens of thousands of death squad members, torturers, henchm= en of the worst dictators of last forty-five and more years in Latin and Ce= ntral America--seems oddly missing from the discussion--as though torture b= y and condoned and ordered by US only began very recently--i'm amazed no p= olitician or Fox thunderer has called for the sending of Statue of Liberty = back to France--or said it should be renamed the Freedom Statue--("liberty"= being a french word and "freedom" being a "real american word")--Date: Wed= , 25 Apr 2007 00:36:03 -0400From: ricroyer@gmail.comTo: performancelist@goo= glegroups.comSubject: Fwd: Book Launch Party! Thurs, 4/26 - Fear & Security= in the USA---------- Forwarded message ----------From: iKatun Date: Apr 17, 2007 12:17 AMSubject: Book Launch Party! Thurs, 4/26 - F= ear & Security in the USA To: ricroyer@gmail.com =20 =20 =20 =20 =20 =20 =20 The New American Dictionary Interactive Security/Fear Edition=20 A new book by the Institute for Infinitely Small Things 68 terms. 144 pp. Paperback. Retail price: $19.95=20 Available now at: Amazon.com=20 Lulu.com=20 Harvard Book Store, Cambridge, MA At the book launch party - 25% off! =20 Thanks to the generous support of:=20 iKatun,=20 Art Interactive, The LEF Foundation, the BostonCyberarts Festival =20 =20 FOR IMMEDIATE RELEASE =20 Contact: Catherine D'Ignazio | 617-501-2441 | info@infinitelysmallthing= s.net=20 Book Launch Party=20 The New American Dictionary=20 Thursday, April 26th, 6:30 - 8:30pm Art Interactive, 130 Bishop Allen Drive, Cambridge, MA Food, drinks and booksigning with the Institute for Infinitely Small = Things. Books on sale for 25% off retail price. =20 Are we more ready? Or are we just more scared? Have you noticed how new words have entered our language since Septem= ber 11th? Now we have a new vocabulary that includes:=20 =20 Islamofascist Freedom Fries=20 Friendly Fire=20 Preparedness Regime Change=20 Smart Bomb=20 Surge=20 Waterboarding And 60 more=85=20 =20 The New American Dictionary: Interactive Security/Fear Edition is a new book by the Boston per= formance group, the Institute for Infinitely Small Things. The dictionary, a paperbac= k which retails for $19.95 on Amazon.com and at the Harvard Book Store, catalogs 68 fear and security terms th= at are either new =96 i.e. preparedness - or recently redefined =96 i.e. torture.=20 The New American Dictionary is a humorous, provocative book that calls for readers to pay attention to the ways in which termin= ology of fear, security and war have permeated American English post-9/11= . Emphasizing the open, slippery way that these words enter our langu= age, the New American Dictionary is an "interactive" workbook -- there are 58 terms that are left undefined for the reader to pen= cil in their own definition. Readers can submit their new definitions to the Institute for inclusion in the second editio= n (slated for 2009).=20 The other 10 definitions were sold on Ebay and defined by contributors from around the globe, including Owen Smith, Shannon Coyle, Carrie Lambert-Beatty, Robert Ek, Robert Arno= ld, John Krygier, Phil Taylor, and Savic Rasovic. It may be humorous, but it is also serious business. The New American Dictionary makes a great gift for anyone who is concerned about war, the state of American politics, or even for= those who are just asking simple questions like: Are we more READY? Or are we just more SCARED?=20 =20 =20 =20 =20 The Institute for Infinitely Small Things is a performance research group that includes between 5- 20 members at any given time. The = Institute uses performance in public space to research the micro-power stru= ctures that shape everyday life in Western society. These social and pol= itical tiny things have included corporate ads, street names, maps and post-9= /11 security terminology.=20 iKatun is an artist-run organization whose mission is to present contemporary art that fosters public = engagement in the politics of information. iKatun supports art projects, organizes exhibitions and conferences, publishes critical writing, runs workshops and fosters community locally and internationally. iKatun was founded in 2000 as a 501(c)3 orga= nization based in Boston, MA. To unsubscribe from this list, please just reply with "unsubscribe" i= n the subject line or body. =20 -- www.ricroyer.com --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "= The Performance List" group. To post to this group, send email to performa= ncelist@googlegroups.com To unsubscribe from this group, send email to per= formancelist-unsubscribe@googlegroups.com For more options, visit this gro= up at http://groups.google.com/group/performancelist?hl=3Den -~----------~= ----~----~----~------~----~------~--~--- _________________________________________________________________ Explore the seven wonders of the world http://search.msn.com/results.aspx?q=3D7+wonders+world&mkt=3Den-US&form=3DQ= BRE= ========================================================================= Date: Wed, 25 Apr 2007 16:24:24 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Alain Soubbotnik Subject: Re: Fascist "300"? In-Reply-To: <947997.79283.qm@web86004.mail.ird.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable I agree with Barry in that fascism and nazism (and I would add communism) developed not only a politics but also and ethics and an aesthetics - the latter playing a significant role in the appeal such movements had. There is, as Barry seems to suggest, an aesthetic fascination for fascism. Evidence abounds in the history of 20th-century literature and arts (and it is not always the "kitsch" side that works). Another point of agreement wit= h Barry is on the place of fantasy in the fascist and more generally totalitarian worldview. A colleague from Kluj in Romania was telling me of this impression he had during the last decade of Ceaucescu's reign of being part of a psychotic delusion: even if one kept more or less sane, one belonged willy-nilly to the insanity of the regime. Even the very suffering people endured in their everyday life was taken from them and made "unreal" by a mad propaganda. However, I think we must be very careful in calling anyone a "fascist". True, a fascist is someone in love with a fascist fantasy but not everyone in love with a fascist fantasy is a fascist stricto sensu (and I believe we should keep as much as possible to a restricted sense of the term in order not to weaken it and make it useless for political analysis). A person in love with fascist fantasies may easily become a fascist, given proper circumstances. Or, perhaps more likely, she will let things happen that she might deeply regret having let happen later. But it takes a little more tha= n just fascination. Fascism, and nazism were "activist" ideologies. True enough, they fed on the passive fascination of the many. Active participation still remains a different matter and each has to be dealt wit= h differently. As for "300", it DOES stink. On the kitsch side of fascist aesthetics... Michael Michael A. Soubbotnik EA3349 LISAA Universit=E9 Paris Est / Marne-la-Vall=E9e Grupo de Pesquisa Psican=E1lise na Universidade Universidade Federal de Esp=EDrito Santo > De=A0: Barry Schwabsky > R=E9pondre =E0=A0: UB Poetics discussion group > Date=A0: Wed, 25 Apr 2007 11:55:11 +0100 > =C0=A0: "POETICS@LISTSERV.BUFFALO.EDU" > Objet=A0: Fascist "300"? >=20 > In a review of the movie "300" in the current London Review of Books, Mic= hael > Wood writes, "The novelist and the movie-makers are not fascists; only in= love > with a fascist fantasy, and perhaps even in love only with its picture > possibilities." But I wonder: What is a fascist if not someone in love wi= th > fascist fantasies? > =20 > Does anyone have any thoughts on whether this distinction can really be > maintained or not? > =20 > Think of someone saying, "Albert Speer wasn't a Nazi, he just loved its > architectural possibilities." > -------------------------------------------------------------------------= ----- > --------- > Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. > Aucun virus connu a ce jour par nos services n'a ete detecte. >=20 >=20 >=20 ========================================================================= Date: Wed, 25 Apr 2007 11:10:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Loudon Subject: Re: SPRING/SUMMER ISSUE In-Reply-To: <000b01c786b2$5aec6150$2f01a8c0@fugly> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Gorgeous art by Nancy Kiefer in this issue. Congratulations! On 4/24/07, Tarpaulin Sky Press & Journal wrote: > > Folks, > > Please stop by, when the sun's gone down, to check out the new Tarpaulin > Sky: > > TARPAULIN SKY SPRING/SUMMER 07 > TEXT-IMAGE / EKPHRASTIC ISSUE > > GUEST-EDITED BY > Rebecca Brown > > NEW TEXTS BY > Chris Abani > Rebecca Brown > Lucy Corin > Camille Dungy > Brian Evenson > Amy Halloran > Joanna Howard > Laird Hunt > Douglas A. Martin > Frances McCue > Suzanne Oliver > Selah Saterstrom > John Yau > > IN RESPONSE TO IMAGES BY > Nancy Kiefer > > http://www.tarpaulinsky.com/journal.html > > "Japanese paper appears delicate, but it is strong because of its long > fibers. I love it because it has this translucent flimsiness that sort of > defies its truer self. The idea of painting pictures on such paper > interests > me even more so because the ink moves across this paper as if it were > bleeding. I think of this work as napkins-images quickly painted, > something > to wipe your mouth with after you've been too polite, or maybe even for > coughing up odd nightmares." -Nancy Kiefer > ========================================================================= Date: Wed, 25 Apr 2007 18:13:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: Fascist "300"? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable >Michael Alain Soubbotnik: >As for "300", it DOES stink. On the kitsch side of fascist aesthetics... yeah, it's a creepy film -- but are we critiquing the movie or the graphic novel? I haven't read Miller's work, but I had the distinct sense that I was watching a moving-picture version of the comic book (a term I use because the composition and implementation of all the scenes was, yes, comic-book- like) ... seemed true to an original text, rather than something the director dreamed up.=20 was there a coherent political viewpoint? it certainly wasn't true to ancient Spartan politics (and don't get me started on the gross-out/ tease sequence with the ephors in an impossibly remote temple up some godforsaken mountain).=20 how many ways can you turn Leonidas' verbal attack on the forces of "mysticism and tyranny" -- don't the (historical) Spartans, along with their modern fascist equivalents, partake of both in great heaps in order to retain their power over the masses? (cf. the enslavement of Messenia, et al.) wrote this last autumn, well before I'd ever heard of "300" : the dentals the dentifrice the dentals under the frieze were thrown into a refuse pit and buried after the temple was destroyed. Persians broke their enemies' teeth on the walls before they sailed back to Persepolis. --- tl ========================================================================= Date: Wed, 25 Apr 2007 22:54:38 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Edmund Hardy Subject: "Intercapillary Space" April In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed "Intercapillary Space" April http://intercapillaryspace.blogspot.com/2007/04/new-at-intercapillary-space.html POEMS [#] Peter Finch: 'Old' and 'Young' [#] Mark Dickinson: from 'The Speed of Clouds' [#] Simon Turner: 'La Città Nuova: a construction for Antonio Sant'Elia' and 'To Be Bewildered' [#] Andrew Nightingale: from 'Maps of my Hermetic Future' POEM SEQUENCES [#] Lawrence Upton: NAMING for Lucio Agra [#] Peter Hughes: Berlioz Parts 5 & 6 ESSAYS [#] Jennifer Cooke: Warring Inscriptions: J. H. Prynne's To Pollen [#] Laura Steele: Gardens of this Star: Three new Mallarmé messengers BOOK REVIEWS [#] Alice Notley's Coming After [#] Charles Boyle's The Age of Cardboard and String [#] Edmund Hardy on Kenneth Koch's Collected Poems [#] Michael Peverett on Richard Makin's St Leonards [#] Andy Brown's anthology The Allotment [#] P. Inman's m'event [#] John Aubrey, Some Verses edited from the MS [#] Melissa Flores-Bórquez: 'Petrol In Search of Flame: J. H. Prynne's Unanswering Rational Shore' SHORT ESSAYS ON ALEXANDER POPE BY DIVERSE HANDS [#] Review of Alexander Pope and John Arbuthnot, Memoirs of the Extraordinary Life, Works and Discoveries of Martinus Scriblerus [#] Close reading about the Lady who P---st herself [#] Superfluous Health: The Essay on Man [#] A Short Interview With Alexander Pope [#] A Note in the Margin of 'Windsor-Forest' _________________________________________________________________ MSN Hotmail is evolving - check out the new Windows Live Hotmail http://get.live.com/betas/mail_betas ========================================================================= Date: Wed, 25 Apr 2007 16:49:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Geoffrey Gatza Mime-Version: 1.0 Content-Type: text/plain; format=flowed Geoffrey, Backchannel me, please. I just tried to e-mail you and it bounced. Cheers, Mark _________________________________________________________________ The average US Credit Score is 675. The cost to see yours: $0 by Experian. http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE ========================================================================= Date: Wed, 25 Apr 2007 14:56:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Pushing Easy Poetry In-Reply-To: <1177465004.462eb0ac3881c@mail2.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I started blogging on this, but it seems to me that Pinsky's 1) examples aren't particularly challenging poems, 2) he leaves some open questions about what "difficult" is -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Thu, 26 Apr 2007 07:02:11 +1000 Reply-To: k.zervos@griffith.edu.au Sender: UB Poetics discussion group From: "kom9os@bigpond.net.au" Subject: Re: Fascist "300"? Comments: cc: Michael Alain Soubbotnik Mime-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable i believe fascism is in everybody. fascism is in the playground, at school, at work, and in the bedroom. the desire to have power over another person, by strength or deceipt. it is linked to the survival instinct. it was not born with hitler. it did not die with hitler. it is eternal. how much we allow it to overtake us is what defines us as individuals. i try daily to contain the fascist in me. komninos ---- Michael Alain Soubbotnik wrote:=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D I agree with Barry in that fascism and nazism (and I would add communism) developed not only a politics but also and ethics and an aesthetics - the latter playing a significant role in the appeal such movements had. There is, as Barry seems to suggest, an aesthetic fascination for fascism. Evidence abounds in the history of 20th-century literature and arts (and it is not always the "kitsch" side that works). Another point of agreement wit= h Barry is on the place of fantasy in the fascist and more generally totalitarian worldview. A colleague from Kluj in Romania was telling me of this impression he had during the last decade of Ceaucescu's reign of being part of a psychotic delusion: even if one kept more or less sane, one belonged willy-nilly to the insanity of the regime. Even the very suffering people endured in their everyday life was taken from them and made "unreal" by a mad propaganda. However, I think we must be very careful in calling anyone a "fascist". True, a fascist is someone in love with a fascist fantasy but not everyone in love with a fascist fantasy is a fascist stricto sensu (and I believe we should keep as much as possible to a restricted sense of the term in order not to weaken it and make it useless for political analysis). A person in love with fascist fantasies may easily become a fascist, given proper circumstances. Or, perhaps more likely, she will let things happen that she might deeply regret having let happen later. But it takes a little more tha= n just fascination. Fascism, and nazism were "activist" ideologies. True enough, they fed on the passive fascination of the many. Active participation still remains a different matter and each has to be dealt wit= h differently. As for "300", it DOES stink. On the kitsch side of fascist aesthetics... Michael Michael A. Soubbotnik EA3349 LISAA Universit=C3=A9 Paris Est / Marne-la-Vall=C3=A9e Grupo de Pesquisa Psican=C3=A1lise na Universidade Universidade Federal de Esp=C3=ADrito Santo > De=EF=BF=BD : Barry Schwabsky > R=C3=A9pondre =EF=BF=BD =EF=BF=BD : UB Poetics discussion group > Date=EF=BF=BD : Wed, 25 Apr 2007 11:55:11 +0100 > =C3=80=EF=BF=BD : "POETICS@LISTSERV.BUFFALO.EDU" > Objet=EF=BF=BD : Fascist "300"? >=20 > In a review of the movie "300" in the current London Review of Books, Mic= hael > Wood writes, "The novelist and the movie-makers are not fascists; only in= love > with a fascist fantasy, and perhaps even in love only with its picture > possibilities." But I wonder: What is a fascist if not someone in love wi= th > fascist fantasies? > =20 > Does anyone have any thoughts on whether this distinction can really be > maintained or not? > =20 > Think of someone saying, "Albert Speer wasn't a Nazi, he just loved its > architectural possibilities." > -------------------------------------------------------------------------= ----- > --------- > Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. > Aucun virus connu a ce jour par nos services n'a ete detecte. >=20 >=20 >=20 ========================================================================= Date: Wed, 25 Apr 2007 13:48:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: in response to the virginia tech discussion... MIME-Version: 1.0 Content-Type: text/plain; charset=ascii ----- Original Message ---- From: CA Conrad To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 25, 2007 10:29:00 AM Subject: Re: in response to the virginia tech discussion... ... In Philadelphia THEY RECENTLY changed the morning news to "Good Day Philadelphia!" Good Day Philadelphia? HOW ABSURD!!!! Of the 10 largest cities in America we rank highest in poverty. Literally one in four Philadelphians is living below the poverty line, me included. Good Day Philadelphia my ass! CAConrad Top Ten Rejected Morning News Show Titles 10. "Go Fuck Yourself Philadelphia." 09. "Someone's Gonna Die Today Philadelphia." 08. "We're Just Filler for Viagra Commercials Philadelphia." 07. "It's Not a Nightmare, You ARE Stuck Here Philadelphia." 06. "More Crime, Sports and Weather Philadelphia." 05. "Let's Blow up Your Neighborhood Today Philadelphia." 04. "We Don't Smell as Bad as Pittsburgh Philadelphia." 03. "Where America Was Born and Where it Dies a Little Every Day Philadelphia." 02. "Mal Dia, Philadelphia, Cabron!" 01. "We're The Only Pretty People You'll See All Day Philadelphia." Paul Nelson Slaughter, WA ========================================================================= Date: Wed, 25 Apr 2007 12:55:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: readings/book Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I should have said, in message about Pacific Northwest readings/performances, that I will be primarily reading from my new book from Junction Press, CERTAIN SLANTS, which is available from the new Junction Press web site at http://www.junctionpress.com/ charles ========================================================================= Date: Wed, 25 Apr 2007 12:53:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: readings/performances Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Friends everywhere, particularly in Pacific Northwest I hope you are able to attend one or more of the readings & performances, as follows. The readings are by me as well as friends and colleagues, the performances are by musicians led by Mike Katell, of a composition by Tim Risher, which features AVIARY CORRIDOR, a poem of mine set for string quartet, soprano voice, flute, & piano. 1. at University of Washington-Bothell, reading & AVIARY CORRIDOR performance tonight, April 25, 7:30pm see https://go.washington.edu/uwaa/events/200704uwb_writing/details.tcl for details There is also a workshop listed on that web site. There will be a panel discussion and a lecture, too -- I'll try to get a note about those out later. 2. in Portland tomorrow night with David Abel, April 26, in the Spare Room reading series http://www.flim.com/spareroom/ for details 3. April 30, at the Evergreen State College, Olympia, Washington, with Glenn Mott & Shin Yu Pai (sorry I don't have more details). Please contact Leonard Schwartz with questions: 4. May 2, in the subtext series, with a reading by me and the AVIARY CORRIDOR performance see http://www.hugohouse.org/events/ for details (scroll down to May 2) I hope to see friends there! Charles Alexander ========================================================================= Date: Wed, 25 Apr 2007 21:48:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Caroline Crumpacker Subject: Bilingual Reading Series Comments: To: bluesequin@earthlink.com 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 Please join us on Sunday April 29 at 6:00 PM for Elias Khoury, Rebecca Johnson & Shareah Taleghani Reading from Syrian poet Faraj Bayraqdar's collection Dove in Free Flight edited by Ammiel Alcalay and translated from the Arabic by the New =20 York Translation Collective All of this at The lovely Bowery Poetry Club Addy: 308 Bowery, New York, NY 10012 To be found at: the foot of First Street, between Houston & Bleecker Phone: 212.614.0505 Subway: F train to Second Ave, or 6 train to Bleecker Price: $7 **** Faraj Bayraqdar was born in 1951 in Tir, a village near Homs in =20 central Syria. He began publishing poetry while still in high school. =20= At the University of Damascus, he and a group of friends started a =20 literary journal, but certain texts published in it led to his arrest =20= and imprisonment for three months. His first collection, You Are Not =20 Alone, came out in 1979 and was quickly followed by two more. He =20 stopped writing in the early 1980s due to commitments in the Syrian =20 Communist Labor Party; his wife, also a party member, was arrested =20 and spent four years in prison. In 1987, Bayraqdar was arrested again =20= and remained in prison without trial until 1993, when he was =20 sentenced to fifteen years of hard labor for belonging to an =20 unauthorized political association. His imprisonment lasted more than =20= thirteen years, in three different prisons (the Palestine Division, =20 Tadmor, and Saydnaya). Without his knowledge, a group of friends in =20 Beirut published Dove in Free Flight, from which the poems here have =20 been selected. The book was used, Elias Khoury writes, as =93one of the =20= instruments of pressure on the Syrian authorities to mobilize =20 international, intellectual opinion, particularly in France, in order =20= to set the poet free.=94 After an international campaign was mounted on =20= his behalf, Bayraqdar was released from prison during the brief =20 political respite known as =93Damascus Spring=94 in 2000. Rebecca Johnson is a doctoral student in Comparative Literature at =20 Yale University, where she plans a dissertation that brings together =20 the early histories of the Arabic and European novels through the =20 lens of translation. Her own translations of contemporary Arabic =20 poetry have appeared in Banipal Magazine and =20 www.wordswithoutborders.com, and her translation of Sinan =20 Antoon'snovel, I`jaam: An Iraqi Rhapsody, is available from City =20 Lights Press. Born in Beirut in 1948, Elias Khoury is the author of eleven novels, =20 four volumes of literary criticism, and three plays. The publication =20 of his first novel On the Relations of the Circle (1975) entered him =20 into the Beirut vanguard of modern Arabic literature, which was =20 seeking to create new dimensions in the movement of modernism. =20 Khoury=92s commitment to Palestinian human rights began when he visited =20= a refugee camp in Jordan at age nineteen. Khoury has been an advocate =20= ever since, devoting his energies to the Palestine Research Center in =20= Beirut and speaking out in articles, essays, and through his fiction. =20= Khoury is currently the Editor-in-Chief of the cultural supplement of =20= Beirut=92s daily newspaper, An-Nahar, and is a Global Distinguished =20 professor of Middle Eastern and Islamic Studies at New York =20 University. In 1998, he was awarded the Palestine Prize for Gate of =20 the Sun, and in 2000, the novel was named Le Monde Diplomatique=92s =20 Book of the Year. Elias Khoury is a public intellectual, and a =20 cultural activist who plays a major role in contemporary Arabic =20 culture and in the defense of the liberty of expression and democracy. Shareah Taleghani is a graduate student in modern Arabic literature =20 in the Department of Middle East and Islamic Studies at New York =20 University, and her translations of Arabic poetry and short stories =20 have appeared in the on-line literary journal Words Without =20 Borders. She has co-edited with Ammiel Alcalay and co-translated =20 with The New York Translation Collective the forthcoming collection =20 of Faraj Bayraqdar's poetry Dove in Free Flight. She is currently =20 completing her dissertation on contemporary Syrian prison literature. **** If you are surprised and dismayed to be on this email list, send me =20 an email. If your name is on the list more than once and you are =20 getting multiple emails, send me an email. Otherwise, see you at the reading... ========================================================================= Date: Wed, 25 Apr 2007 21:52:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Caroline Crumpacker Subject: Bilingual Reading Series Comments: To: bluesequin@earthlink.com 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 Please join us on Sunday April 29 at 6:00 PM for Elias Khoury, Rebecca Johnson & Shareah Taleghani Reading from Syrian poet Faraj Bayraqdar's collection Dove in Free Flight edited by Ammiel Alcalay and translated from the Arabic by the New =20 York Translation Collective All of this at The lovely Bowery Poetry Club Addy: 308 Bowery, New York, NY 10012 To be found at: the foot of First Street, between Houston & Bleecker Phone: 212.614.0505 Subway: F train to Second Ave, or 6 train to Bleecker Price: $7 **** Faraj Bayraqdar was born in 1951 in Tir, a village near Homs in =20 central Syria. He began publishing poetry while still in high school. =20= At the University of Damascus, he and a group of friends started a =20 literary journal, but certain texts published in it led to his arrest =20= and imprisonment for three months. His first collection, You Are Not =20 Alone, came out in 1979 and was quickly followed by two more. He =20 stopped writing in the early 1980s due to commitments in the Syrian =20 Communist Labor Party; his wife, also a party member, was arrested =20 and spent four years in prison. In 1987, Bayraqdar was arrested again =20= and remained in prison without trial until 1993, when he was =20 sentenced to fifteen years of hard labor for belonging to an =20 unauthorized political association. His imprisonment lasted more than =20= thirteen years, in three different prisons (the Palestine Division, =20 Tadmor, and Saydnaya). Without his knowledge, a group of friends in =20 Beirut published Dove in Free Flight, from which the poems here have =20 been selected. The book was used, Elias Khoury writes, as =93one of the =20= instruments of pressure on the Syrian authorities to mobilize =20 international, intellectual opinion, particularly in France, in order =20= to set the poet free.=94 After an international campaign was mounted on =20= his behalf, Bayraqdar was released from prison during the brief =20 political respite known as =93Damascus Spring=94 in 2000. Rebecca Johnson is a doctoral student in Comparative Literature at =20 Yale University, where she plans a dissertation that brings together =20 the early histories of the Arabic and European novels through the =20 lens of translation. Her own translations of contemporary Arabic =20 poetry have appeared in Banipal Magazine and =20 www.wordswithoutborders.com, and her translation of Sinan =20 Antoon'snovel, I`jaam: An Iraqi Rhapsody, is available from City =20 Lights Press. Born in Beirut in 1948, Elias Khoury is the author of eleven novels, =20 four volumes of literary criticism, and three plays. The publication =20 of his first novel On the Relations of the Circle (1975) entered him =20 into the Beirut vanguard of modern Arabic literature, which was =20 seeking to create new dimensions in the movement of modernism. =20 Khoury=92s commitment to Palestinian human rights began when he visited =20= a refugee camp in Jordan at age nineteen. Khoury has been an advocate =20= ever since, devoting his energies to the Palestine Research Center in =20= Beirut and speaking out in articles, essays, and through his fiction. =20= Khoury is currently the Editor-in-Chief of the cultural supplement of =20= Beirut=92s daily newspaper, An-Nahar, and is a Global Distinguished =20 professor of Middle Eastern and Islamic Studies at New York =20 University. In 1998, he was awarded the Palestine Prize for Gate of =20 the Sun, and in 2000, the novel was named Le Monde Diplomatique=92s =20 Book of the Year. Elias Khoury is a public intellectual, and a =20 cultural activist who plays a major role in contemporary Arabic =20 culture and in the defense of the liberty of expression and democracy. Shareah Taleghani is a graduate student in modern Arabic literature =20 in the Department of Middle East and Islamic Studies at New York =20 University, and her translations of Arabic poetry and short stories =20 have appeared in the on-line literary journal Words Without =20 Borders. She has co-edited with Ammiel Alcalay and co-translated =20 with The New York Translation Collective the forthcoming collection =20 of Faraj Bayraqdar's poetry Dove in Free Flight. She is currently =20 completing her dissertation on contemporary Syrian prison literature. **** If you are surprised and dismayed to be on this email list, send me =20 an email. If your name is on the list more than once and you are =20 multiple emails, send me an email. Otherwise, see you at the reading... ========================================================================= Date: Wed, 25 Apr 2007 20:47:54 -0400 Reply-To: Andrea Lawlor Sender: UB Poetics discussion group From: Andrea Lawlor Subject: Odyssey Films + Readings in Philly May 13th Mime-Version: 1.0 (Apple Message framework v624) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit THE ODYSSEY: An Epic Night of Film and Readings When: Sunday, May 13, 6:30 pm Where: The Rotunda, 4012 Walnut St. Come celebrate the release of Pocket Myths #4, THE ODYSSEY, with a free screening and reading! Films by Philly makers Courtney Dailey, Michael Hyde, Laska Jimsen, Mary McDermott, Mendal Polish, Irit Reinheimer, Zoe Strauss, and many more! Performances by Emily Abendroth, Justin Audia, CAConrad, Steve Dolph, Ryan Eckes, Laura Jaramillo, Jen Welch, and surprise guests! Plus snacks! THE ODYSSEY is a film and book collaboration curated by Bernadine Mellis and Andrea Lawlor, featuring work by mostly queer, trans, and women artists, retelling Homer's ancient epic of the aftermath of war. Almost half of the 75 contributors are from Philly. Fun facts: The book was designed Philly book artist Courtney Dailey. Writers Samuel R. Delany, Keith Waldrop, and Brian Evenson all appear in the film. Poet Eileen Myles made her first film for this project, as did Whitney Biennial star photographer Zoe Strauss. Painter Xylor Jane, known for her math art, contributed both a drawing and her first published short story. Admission: Free! With free donated snacks! More information: www.pocketmyths.com Directions: therotunda.org Please forward to all your Philly friends! ========================================================================= Date: Wed, 25 Apr 2007 16:56:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fascist "300"? Comments: To: k.zervos@griffith.edu.au In-Reply-To: <31782270.1177534931279.JavaMail.root@web07ps> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On Apr 25, 2007, at 2:02 PM, kom9os@bigpond.net.au wrote: > i believe fascism is in everybody. That is a silly belief, in my opinion. Fascism is a political system, and one that calls for the tossing away of the sense of the individual, hence the fasces. ========================================================================= Date: Wed, 25 Apr 2007 16:59:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Philadelphia? In-Reply-To: <595271.48511.qm@web56903.mail.re3.yahoo.com> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit > Literally one in four Philadelphians is living below the poverty > line, me > included. Here in Canada most of the people living below the poverty line do not have access to the internet, or do not know that they do. George Cletis Bowering Slow to anger. Well, slow about everything. ========================================================================= Date: Thu, 26 Apr 2007 12:10:31 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Fascist "300"? In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052E18@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I've read so much about this movie (for and against) that I'm kind of curious. Part of me wants to know how it's any different from any other Hollywood action movie where the Bad Guys are aliens (literally or figuratively), the women get it and the clean American hero wins through impossible odds, with or without wife intact. They all, from Tom Cruise down, irritate me beyond measure; especially the WW2 fantasies about how America saved everybody (eg that U-boat film where they changed what happened to make Americans the heroes and how it all ties into that shit about the Great Generation that Bush et al feed off so cynically - waiting for the US movie on Stalingrad where General Macarthur saves the day). Mind you, British films/action novels were just the same when Britain had delusions of empire. Is this really any worse? Or is it just more obvious? I guess I'll wait for a bored night at home and get it out on dvd. Genet, a passionate advocate for Palestine among other things and surely one of the most interesting moralists around, wrote several fantasies around the homerotics of Nazi glamour. I wouldn't call him a Fascist by any means. It's a word used rather too easily these days, which is a shame, as Tom says, because it does describe the efficient corporate-military state. All best Alison -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Wed, 25 Apr 2007 19:25:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Shoot first----- LONG POST MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: quoted-printable Guilty? Prove you're not! This sort of totalitarian absolutism will, if = we don't care for ourselves, make these times boring rather than = interesting, it is so damn ubiquitous. Shoot first, then question the corpse. (And if this is not a matter of poetry and poetics, then what the hell is?) Andrew Feldmar is a well-known psychotherapist with let's say fruitful, productive, and continuing connections with a varied and interesting intellectual community both sides of the border and indeed round the = world. NONE of us can afford this demented punitiveness, Google included.=20 PQ from=20 TheTyee.ca=20 25 April 2007. LSD as Therapy? Write about It, Get Barred from US Andrew Feldmar. Photo by C. Grabowski. BC psychotherapist denied entry = after border guard googled his work. By Linda Solomon Published: April 23, 2007 TheTyee.ca Andrew Feldmar, a well-known Vancouver psychotherapist, rolled up to the Blaine border crossing last summer as he had hundreds of times in his career. At 66, his gray hair, neat beard, and rimless glasses give him = the look of a seasoned intellectual. He handed his passport to the U.S. = border guard and relaxed, thinking he would soon be with an old friend in = Seattle. The border guard turned to his computer and googled "Andrew Feldmar."=20 The psychotherapist's world was about to turn upside down. Born in Hungary to Jewish parents as the Nazis were rising to power, = Feldmar was hidden from the Nazis during the Holocaust when he was three years = old, after his parents were condemned to Auschwitz. Miraculously, his parents both returned alive and in 1945 Hungary was liberated by the Russian = army. Feldmar escaped from communist Hungary in 1956 when he was 16 and = immigrated to Canada. He has been married to Meredith Feldmar, an artist, for 37 = years, and they live in Vancouver's Kitsilano neighbourhood. They have two children, Soma, 33, who lives in Denver, and Marcel, 36, a resident of = L.A. Highly respected in his field, Feldmar has been travelling to the U.S. = for work and to see his family five or six times a year. He has worked for = the UN, in Sarajevo and in Minsk with Chernobyl victims.=20 The Blaine border guard explained that Feldmar had been pulled out of = the line as part of a random search. He seemed friendly, even as he took = away Feldmar's passport and car keys. While the contents of his car were = being searched, Feldmar and the officer talked. He asked Feldmar what = profession he was in.=20 When Feldmar said he was psychologist, the official typed his name into = his Internet search engine. Before long the customs guard was engrossed in = an article Feldmar had published in the spring 2001 issue of the journal = Janus Head. The article concerned an acid trip Feldmar had taken in London, Ontario, and another in London, England, almost forty years ago. It also alluded to the fact that he had used hallucinogenics as a "path" to understanding self and that in certain cases, he reflected, it could "be preferable to psychiatry." Everything seemed to collapse around him, as = a quiet day crossing the border began to turn into a nightmare. Fingerprints for FBI He was told to sit down on a folding chair and for hours he wondered = where this was going. He checked his watch and thought hopelessly of his = friend who was about to land at the Seattle airport. Three hours later, the official motioned him into a small, barren room with an American flag. = He was sitting on one side and Feldmar was on the other. The official said = that under the Homeland Security Act, Feldmar was being denied entry due to "narcotics" use. LSD is not a narcotic substance, Feldmar tried to = explain, but an entheogen. The guard wasn't interested in technicalities. He = asked for a statement from Feldmar admitting to having used LSD and he fingerprinted Feldmar for an FBI file. Then Feldmar disbelievingly listened as he learned that he was being = barred from ever entering the United States again. The officer told him he = could apply to the Department of Homeland Security for a waiver, if he wished, = and gave him a package, with the forms.=20 The border guard then escorted him to his car and made sure he did a = U-turn and went back to Canada. 'Curious. Very curious' Feldmar attended the University of Toronto where he graduated with = honours in mathematics, physics and chemistry. He received his M.A. in = psychology from the University of Western Ontario. At University of Western = Ontario, he was under supervision with Zenon Pylyshyn, who was from Saskatchewan and = had participated, along with Abram Hoffer and Duncan Blewett, in the first experiments with LSD-25.=20 "Zenon told me he had had enough strange experiences, that he had gone = about as far with LSD as he wished to go. He still had what was once legal.... Looking back 33 years, I don't quite recall why I decided to accept his tentative offer. I was 27 years old and thought of myself as a rational scientist, and had no experience with delirium, hallucination, or = altered mind states. I was curious. Very curious. I thought that, like Faust, I might make a pact with the devil in return for esoteric knowledge." Zenon gave him 900 micrograms of acid and the surprise of his life, he = wrote in the Janus Head article. "Following this initiation, I traveled to = many regions many times with the help of many different substances. I took peyote, psilocybin mushrooms, cannabis, MDMA, DMT, ketamine, nitrous = oxide 5-MEO-DMT, but I kept coming back to LSD. Acid seemed my most spacious, = most helpful ally. While on it, I explored my past, regressed to the womb, to = my conception. I remembered, grieved, and mourned many painful events. I = saw how my parents would have liked to love me, and how they didn't because = they didn't know how. I learned, on acid, to endure troubling and frightening states of mind. This enabled me, as meditation has done, to identify = with being the witness of the workings of my mind, observing whatever was = going on, while knowing that I was simply captivated by the forms produced by = my own psyche." After receiving his MA, Feldmar spent a semester in the U.S. at the = Johns Hopkins University's Ph.D. program in theoretical statistics. In 1969, = he began Ph.D. work with Dr. Charles Osgood in psycholinguistics at the University of Illinois at Champagne Urbana. He did further Ph.D. studies = at Simon Fraser University. Legal options expensive Feldmar was determined, in the months after the aborted border crossing, = to turn things around. He was particularly determined because the idea of = not being able to visit his children at their homes was unthinkable.=20 He contacted the U.S. Consul in Vancouver to protest and was again told = to apply for a waiver. When he consulted Seattle attorney Bob Free at MacDonald, Hoague and Bayless about going through this process, he = learned that for $3,500 (U.S.) plus incidentals, he'd have a 90 per cent chance = to get the waiver, but it would probably be just for a year, and the = procedure would have to be initiated again, any time he wished to cross the = border. Each time, he would have to produce a statement saying that he had been "rehabilitated."=20 He looked into filing suit against the U.S. government for wrongdoing = but gave up the idea when he learned that a legal battle with U.S. Customs = would cost his life's savings and, with the balance of power tipped so = extremely in the government's favor, he would almost surely lose. Again, he appealed to the U.S. Consulate. The consulate wouldn't return = his phone calls, but in this e-mail message to Feldmar, the consulate = explained its position. "Both our countries have very similar regulations regarding issuance of visas for citizens who have violated the law. The issue here is not the writing of an article, but the taking of controlled substances. I hear = from American citizens all the time who have decades-old DUI convictions who = are barred from entry into Canada and who must apply for waivers. Same thing here. Waiver is the only way."=20 Ensnared by Section IV "Admitted drug use is admitted drug use," says Mike Milne, spokesman for U.S. border and protection, based in Seattle. Milne said he could not comment specifically on the Feldmar case, due to privacy issues, but he quoted from the U.S. Immigration Law Handbook section which refers to "general classes of aliens ineligible to receive visas and ineligible = for admissions" to help shed light on the clauses that may have ensnared the Vancouver psychotherapist. "Persons with AIDS, tuberculosis, infectious diseases are inadmissible," Milne said. And then there is Section IV. "Anyone who is determined to = be a drug abuser or user is inadmissible. A crime involving moral turpitude = is inadmissible and one of those areas is a violation of controlled substances." If there's no criminal record, as in Feldmar's case?=20 Not necessarily the criterion, Milne said. You can still be considered dangerous. 'More diligent and vigilant' "The level of scrutiny at our nation's borders have definitely gone up = since the 9-11 disaster and we are more diligent and vigilant in checking = people's identities and criminal histories at our nation's borders." Milne goes on, "There are three main areas that we have employed since = 9-11 to better secure our borders. First is the number of officers we have working at our borders. We've doubled the numbers at the border. We've combined officers from Homeland Security and border protection. We = brought in the officers from immigration and naturalization service, the = department of agriculture and U.S. border patrol. By combining the expertise of = those disparate border agencies into a single agency under a single management with the single purpose of protecting the U.S. against terrorism and = other related offences, it created a more effective border agency. It created = a more secure border.=20 "The second thing would be our information systems, our watch list = systems are better shared within the U.S. government and between governments, between information sharing agreements, through Interpol, through = terrorist watch list sharing internationally, we have better access for our front = line officers to query information systems up to and including public based systems, including the Internet. Third, we have better infrastructure at = our entries. We have cameras in some of our more remote points of entry, = gates, lighting, to make them more secure. We do more checks at the borders. It depends on what level of alert we're at. At certain alert levels we do = 100 per cent identity checks." War on drugs meets war on terror Eugene Oscapella is an Ottawa lawyer, who lectures on drug policy issues = in the department of criminology at the University of Ottawa. He also works = as a policy advisor to a range of government agencies and departments, including the Office of the Privacy Commissioner of Canada. Oscapella = sees the American security system upgrades and the potential uses alarming. "This is about the marriage of the war on drugs and the war on terror, = and the blind, bureaucratic mindset it encourages. Government surveillance = in the name of the war on drugs and the war on terror is in danger of = making us all open books to zealous governments. As someone mentioned at a privacy conference I attended in London, U.K., several months ago, all the tools = for an authoritarian state are now in place; it's just that we haven't yet adopted authoritarian methods. But in the area of drugs, maybe we have." 'Ominous omen' Feldmar was in the process of considering whether to apply for a waiver = when he sought help from Ethan Nadlemann, director of the Drug Policy = Alliance in New York, whose financial backer is another Hungarian, George Soros.=20 Nadlemann was outraged. "Nobel Peace prize winners, some of the great scientists and writers in the world have experimented with LSD in their time. We know people are being pulled out of lines and racially profiled = as part of the war against terrorism. But this is a different kind of = travesty, banning someone because they used a substance in another country thirty years ago," he said.=20 In February he wrote Feldmar, "Not that it helps much, but I just want = you to know that I have not forgotten you or your situation. I feel = frustrated vis a vis the media, and on other avenues, but I am not forgetting. I = really think this situation is absurd, and an ominous omen of things to come." When Feldmar was barred from entering the U.S., he joined the ranks of = other intellectuals and artists. Pop singer Cat Stevens was turned back from = the U.S. in 2004, after being detained. Bolivian human rights leader and = lawyer, Leonida Zurita Vargas was prevented from entering in February of 2006. = She was planning to be in the U.S. as part of a three week speaking tour on Bolivian social movements and human rights. The tour would have taken = her to Vermont, Harvard, Stanford and Washington D.C., but she never got beyond = the airport check-in at Santa Cruz, Bolivia where she was informed her = ten-year visa had been revoked because of alleged links to terrorist activity.=20 'Ideological exclusion provision' The U.S. Department of Homeland Security denied Professor John Milios = entry into the country upon his arrival at John F. Kennedy International = Airport last June. Milios, a faculty member at the National Technical University = of Athens, had planned to present a paper at a conference titled "How Class Works" at the State University of New York at Stony Brook. Milios told Academe Online that U.S. officials questioned him at the airport about = his political ideas and affiliations and that the American consul in Athens later queried him about the same subjects. Milios, a member of a = left-wing political party, is active in Greek national politics and has twice been = a candidate for the Greek parliament. Milios's visa, issued in 1996, was = set to expire in November. The professor had previously been allowed entry = into the United States on five separate occasions to participate in academic meetings.=20 The American Civil Liberties Union, on behalf of the American Academy of Religion, the American Association of University Professors and PEN = American Center, filed a lawsuit this year challenging a provision of the Patriot = Act that is being used to deny visas to foreign scholars. They did this = after Professor Tariq Ramadan, a Swiss intellectual, had his visa revoked = under "the ideological exclusion provision" of the Patriot Act, preventing him from assuming a tenured teaching position at the University of Notre = Dame. It's a suit that attempts to prevent the practice of ideological = exclusion more generally, a practice that led to the recent exclusions of Dora = Maria Tellez, a Nicaraguan scholar who had been offered a position at Harvard University, as well as numerous scholars from Cuba.=20 In March 2005, the ACLU filed a Freedom of Information Act request to = learn more about the government's use of the Patriot Act ideological exclusion provision. Cuban Grammy nominee Ibrahim Ferrer, 77, who came to fame in = the 1999 film Buena Vista Social Club, was blocked by the U.S. government = from attending the Grammy Awards, where he was nominated for the Best Latin = album award in 2004. So were his fellow musicians Guillermo Rubalcaba, Amadito Valdes, Barbarito Torres and the group Septeto Nacional with Ignacio Pineiro. The list goes on. Cut off from friends Nine months after being turned back at the border, Feldmar has concluded that his banishment is permanent. The waiver process is exhausting, = costly and demeaning. The David and Goliath aspect of the situation is too daunting. This is devastating to his family and friends. "My father was doing = nothing wrong, illegal, suspicious, or at all deviant in any way, when he was = trying to visit the U.S.," his daughter, Soma, an instructor at a Denver = college, says. "In terms of family it really sucks. "=20 It's hard for his friend, Alphonso Lingis, a professor of philosophy at Pennsylvania State University. "I'm deeply pained by the prospect of no longer being able to welcome him in the United States," Lingis said. = "The notion that he and his work could harm anyone is preposterous. He's a = victim of scandalous bureaucratic incompetence by the United States officials involved in this matter." 'Alchemist's dictum' When Feldmar looks back on what has happened, he concludes that he was operating out of a sense of safety that has become dated in the last six years, since 9-11. His real mistake was to write about his drug = experiences and post this on the web, even in a respected journal like Janus Head. = He acknowledges that he had not considered posting on the Internet the risk that it turned out to be. So many of his generation share his experience = in experimenting with drugs, after all. He believed it was safe to = communicate about the past from the depth of retrospection and that this would be a useful grain of personal wisdom to share with others. He now warns his friends to think twice before they post anything about their personal = lives on the web.=20 "I didn't heed the ancient Alchemists' dictum, 'Do, dare, and be = silent,'" Feldmar says. "And yet, the experience of being treated as undesirable = was shocking. The helplessness, the utter uselessness of trying to be seen = as I know myself and as I am known generally by those I care about and who = care about me, the reduction of me to an undesirable offender, was truly frightening. I became aware of the fragility of my identity, the = brittleness of a way of life. "Memories of having been the object of the objectifying gaze crowd into = my mind. I have been seen and labeled as a Jew, as a Communist, as a D. P. (Displaced Person), as a student, as a patient, a man, a Hungarian, a refugee, an =E9migr=E9, an immigrant.... Now I am being seen as one of = those drug users, perhaps an addict, perhaps a dealer, one can't be sure. In = the matter of a second, I became powerless, whatever I said wasn't going to = be taken seriously. I was labeled, sorted and disposed of. Dismissed." =3D=3D=3D=3D=3D=3D=3D=3D=3D Peter Quartermain 846 Keefer Street Vancouver BC Canada V6A 1Y7 604 255 8274 (voice) quarterm@interchange.ubc.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D =20 ========================================================================= Date: Wed, 25 Apr 2007 19:46:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Shoot first----- LONG POST In-Reply-To: <000201c787aa$32d1d170$6501a8c0@Diogenes> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit This is a horrifying and frightening story. And warning. Amy Peter Quartermain wrote: Guilty? Prove you're not! This sort of totalitarian absolutism will, if we don't care for ourselves, make these times boring rather than interesting, it is so damn ubiquitous. Shoot first, then question the corpse. (And if this is not a matter of poetry and poetics, then what the hell is?) Andrew Feldmar is a well-known psychotherapist with let's say fruitful, productive, and continuing connections with a varied and interesting intellectual community both sides of the border and indeed round the world. NONE of us can afford this demented punitiveness, Google included. PQ from TheTyee.ca 25 April 2007. LSD as Therapy? Write about It, Get Barred from US Andrew Feldmar. Photo by C. Grabowski. BC psychotherapist denied entry after border guard googled his work. By Linda Solomon --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Wed, 25 Apr 2007 21:56:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Samuel Wharton Subject: this morning in poetry MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hello~ just wanted to congratulate bronwen tate: her poems from sawbuck 1.3were featured on coldfront's this morning in poetry on april 24 thanks for reading samuel wharton, editor sawbuck ========================================================================= Date: Thu, 26 Apr 2007 00:14:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Midnight MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline the feeling when buried in email correspondence of seeing the UB list digest bounce into my inbox "shit, it's already midnight" -- Check out my new book Key Bridge: http://www.carolinawrenpress.org/books.html Reviews of Key Bridge: Ron Silliman: http://ronsilliman.blogspot.com/2007/04/i-know-ken-rumble-originally-from-his.html Mathias Svalina: http://mathiassvalina.blogspot.com/2007/03/key-bridge.html John Deming/Coldfront Magazine: http://reviews.coldfrontmag.com/2007/03/key_bridge_by_k.html ========================================================================= Date: Thu, 26 Apr 2007 00:54:46 -0400 Reply-To: tyrone williams Sender: UB Poetics discussion group From: tyrone williams Subject: Re: Pushing Easy Poetry Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit precisely--"difficulty" is a red herring... -----Original Message----- >From: Catherine Daly >Sent: Apr 25, 2007 5:56 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Pushing Easy Poetry > >I started blogging on this, but it seems to me that Pinsky's 1) examples >aren't particularly challenging poems, 2) he leaves some open questions >about what "difficult" is > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com Tyrone Williams ========================================================================= Date: Wed, 25 Apr 2007 21:54:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed For Anyone in the SF Bay Area this weekend, a collaboration I have been working on will be performed on April 27th and 28th as part of ODC's Pilot 50. Entitled Study 2013, the piece involves dance, video, text and sound in an exploration of the fears and hopes, information and confusion around the constantly recurring end of the world we seem to be living through. This condensed version of the piece features alongside many exciting premieres from local choreographers and performance artists. We will be showing a variation on the piece again in May, as part of StreamFest and Counterpulse, all in preparation for an evening length work some time in the fall. Cheers, Dillon What: PILOT 50 When: Friday, April 27 and Saturday, April 28 Time: 8pm Where: ODC Theater, 3153 17th Street @ Shotwell St., SF Cost: $15 How: call ODC Box office at 415/ 863-9834 More: go to http://www.odcdance.org or http://www.pilot50.info For this, the 50th Pilot, ODC hand-picked eight emerging choreographers to present. Damara Ganley and Ami Student explore the relationship of cultural and personal fragmentation through the lens of post-holocaust Jewish American heritage. Michelle Lynch investigates the space in between intimacy and distance. Andrew Wass presents the internal negotiation and struggle between desire and duty. Catherine Galasso studies female hysteria and its transcendence. Lesley Braithwaite presents a character solo somewhere between the lofty Pavlova and Calamity Jane. Abby Neitlich Rappoport and Cara DeFabio engage the audience to interpret and question the tension and comedy of the End of Times. Hope to see you there! ========================================================================= Date: Wed, 25 Apr 2007 19:58:59 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: in response to the virginia tech discussion... In-Reply-To: <50621.141.158.45.160.1177458929.squirrel@141.158.45.160> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT and worst peacetime shooting by whom? what about killing of africa family in philadelphia? shooting at veterans marching on washington for pensions? greencorn rebellion? onanonanonanon... g No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Tue, 24 Apr 2007, Sina Queyras wrote: > One thing that I've noted, with some discomfort, is the number of > newscasters who refer to this event as "the worst peacetime shooting in > American history." The degree to which people seem able to forget that > this country is "at war," and what the implications of that are is > staggering. > > Sina > > > > what Alison Croggon wrote: > > "In fact, here it predictably goes - Yale bans fake swords on stage in > > response to Virginia Tech massacre! A totally insane response, which seems > > to be more about making sure art behaves itself than anything else." > > > > Oh boy! And I was trying to stay out of this discussion! Mainly because > > I already know how much hate mail I'll be getting. But here it goes. > > > > First off I think Alison you are right on! > > > > Two things I want to add to this discussion though. The first about > > class. > > The second about guns and why they've been good in my life, > > which I know is not going to go over very well. > > > > First part though. The average age of those killed in this unfortunate, > > terrible situation in Virginia are roughly the average ages of those > > young Americans killed in Iraq nearly every single day. WHERE IS > > THE PRESIDENT'S MOURNING ON INTERNATIONAL TELEVISION > > FOR THEM!? Oh, that's right, they're just poor and working class > > kids (for the most part), and we don't really care enough about them. > > They don't have the same structure of importance built around them for > > us to actually, and really mourn them. Hell, we're not even allowed to > > see their fucking flag draped coffins! > > > > And what about the HUNDREDS OF THOUSANDS killed in Iraq as a > > direct finger to America's aggression? WHY THE FUCK ISN'T YALE > > SENDING OUT A PRESS RELEASE TO BAN THE USE OF TANKS > > AND OTHER MURDEROUS WEAPONS WORLDWIDE!? Oh that's > > right, because at Yale the poor and working class can only be found > > behind the counter in the cafeteria, working. And they should be > > grateful for those jobs! Right? > > > > If as much attention were given EVERY SINGLE DAY to the war in > > Iraq (OUR war in Iraq) as we've been spending EVERY SINGLE > > DAY on the massacre in Virginia, we might actually stand a chance > > to put an end to this bloody mess! > > > > Why do we choose to mourn so loudly for one and not the other? > > Yes I know I've already said I believe it to be class, which I do, I > > very much do. And race too of course. It's such a racist war we > > are in over there. Do you think France would have allowed us to > > invade Poland? Or some other nice, white place? They wag their > > fingers, but a lot of fucking good finger waving has done, right? > > > > It's terrible, the hypocrisy of caring over here, not caring over there. > > Entire families suffer every single DAY in Iraq because YOU and I > > continue to pay our taxes like obedient little rodents, feeding this > > Death Machine! YOU and I are such bastards! Such cowards, > > YOU and I are! > > > > I'm terrified of prison. I'm paying my taxes. And the suffering, the > > endless misery is accounted for by my inaction, my fear, my > > inescapable selfishness of not wanting to starve or be jailed. > > Do you pay your taxes? Are you hiding from the IRS? > > Good for you, brave soul. > > > > Now another difficult thing to discuss. After all, Ron Silliman just > > wrote on his blog that anyone owning a gun is an idiot. I'm > > paraphrasing, but close. Well Ron SO BE IT! > > > > It was a rifle that saved my six year old sister's life, and my > > ten year old life when our drunken, disgusting step father was > > trying to get into her bedroom. I was on the other side of the > > door with that gun. Door locked. And he never came through > > the door, but if he had, the gun, which was loaded, and safety > > off, would have been Plan B to the locked door as Plan A. > > I was terrified, but there's no doubt I would have shot him! > > > > And it was a handgun that saved my sister's life a few years > > ago when she pointed it at the head of a stalker who broke > > down her door. She was steady and ready to shoot. And he > > could see that, and he took off, and never, EVER bothered > > her again! If my sister did not have that gun, and didn't feel > > confident that she could protect herself, that piece of shit man > > would have tried to rape and kill her. He was crazy enough. > > > > Am I saying that EVERYBODY should be able to buy a gun? > > Am I on Mister Planet of the Apes Heston's side? No. The > > extremes can be seen from any side. It's ridiculous to be > > giving guns to minors. But I'm glad I was given that rifle as > > a kid, and taught to shoot it. There are more guns than > > people in my family, by far, and most of those guns are > > for hunting. But I'm a vegetarian now for many years. > > And I no longer own a gun. Haven't for a long time. But > > I'm glad my sister has one. She's slender, strong, but > > knows certain men could overwhelm her. She's a good > > fighter, but why should she have to fight when all she has > > to do is point a gun and YELL at him that if he dares to > > touch her his pretty little brains will splatter all over her > > walls I ask you? > > > > THE PINK PISTOLS are heroes of mine. I've been in the > > closet long enough about my queer heroes. These men > > and women have the slogan, WE BASH BACK! None of > > them as far as I know are out there randomly, wantonly > > threatening the general population. They, like me, are > > just sick and fucking tired of being pushed around for no > > good reason other than the fact of being queer. > > > > Yes I understand the concerns about the guns in our > > country, but at the same time I've actually been in the > > situation where a gun was going to save my life if the > > lock on the door failed. And I'm grateful my sister is > > a good shot, and unafraid of this world because of it. > > > > Call me an idiot, I've been called worse, > > CAConrad > > > > > -- > Sina Queyras > Visiting Assistant Professor > Department of English > Woodside Cottage > Haverford College > 370 Lancaster Avenue > Haverford, PA 19041-1392 > (610) 896-1256 > ========================================================================= Date: Wed, 25 Apr 2007 21:56:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: dance/poetry/sound collaboration this weekend (SF) Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed For Anyone in the SF Bay Area this weekend, a collaboration I have been working on will be performed on April 27th and 28th as part of ODC's Pilot 50. Entitled Study 2013, the piece involves dance, video, text and sound in an exploration of the fears and hopes, information and confusion around the constantly recurring end of the world we seem to be living through. This condensed version of the piece features alongside many exciting premieres from local choreographers and performance artists. We will be showing a variation on the piece again in May, as part of StreamFest and Counterpulse, all in preparation for an evening length work some time in the fall. Cheers, Dillon What: PILOT 50 When: Friday, April 27 and Saturday, April 28 Time: 8pm Where: ODC Theater, 3153 17th Street @ Shotwell St., SF Cost: $15 How: call ODC Box office at 415/ 863-9834 More: go to http://www.odcdance.org or http://www.pilot50.info For this, the 50th Pilot, ODC hand-picked eight emerging choreographers to present. Damara Ganley and Ami Student explore the relationship of cultural and personal fragmentation through the lens of post-holocaust Jewish American heritage. Michelle Lynch investigates the space in between intimacy and distance. Andrew Wass presents the internal negotiation and struggle between desire and duty. Catherine Galasso studies female hysteria and its transcendence. Lesley Braithwaite presents a character solo somewhere between the lofty Pavlova and Calamity Jane. Abby Neitlich Rappoport and Cara DeFabio engage the audience to interpret and question the tension and comedy of the End of Times. Hope to see you there! ========================================================================= Date: Thu, 26 Apr 2007 05:36:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Robins Subject: Janke, Robins, Hughey on Tour MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit On Tour! International! Christopher Janke Michael Robins Elizabeth Hughey Janke's Structure of the Embryonic Rat Brain won a prize! Robins' The Next Settlement won a prize! Hughey's Sunday Houses The Sunday House won a prize! Now they will pile in the car and look for cheap eats. Come and see! Fri-Sat, April 27-28, 2007 Juniper Festival – UMass Amherst, Amherst, MA www.umass.edu/english/eng/mfa/JuniperFestival.htm Sun, April 29, 2007 – 6 pm Publicly Complex Reading Series Ada Books – 330 Dean Street, Providence, RI Wed, May 2, 2007 – 5 pm Delirium Press Reading w/ Montreal poets Oana Avasilichioaei and Kate Hall The Green Room - 5386 St. Laurent Blvd, Montreal, QC Thurs, May 3, 2007 – 7:30 pm Behind The Egg 383.5 Madison Avenue, Albany, NY www.unpleasanteventschedule.com/behindtheegg/ Fri, May 4, 2007 – 7 pm Pete’s Big Poetry Series Pete’s Candy Store – 709 Lorimer Street, Williamsburg, NY www.petescandystore.com/bigpoetry/ Sat, May 5, 2007 – 3 pm The Ear Inn Reading Series 326 Spring Street, NYC www.mbroder.com/ear_inn/ Sun, May 6, 2007 – 8 pm Pierre Menard Gallery / Lame Duck Books 10 Arrow Street, Cambridge, MA Hughey's work is centered around perception, and much of its power comes from her way of abusing perception and toying with the reader to get a reaction: comic, tragic, or just startlingly peculiar. Robins' poems are tight, precise accounts of an internal world, understated, affectionate, and powerful. Janke's are kinetic rambles through the innards of a rat in a neurology lab and ending in the stars. On Tour! International! Questions: michael at bornmagazine dot org ========================================================================= Date: Thu, 26 Apr 2007 08:29:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Why not make your way to Brooklyn for your after-work-week=?ISO-8859-1?Q?=92s-end?= celebration drink with a little poetry mixed in at Stain Bar? In-Reply-To: <000201c787aa$32d1d170$6501a8c0@Diogenes> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Anyone needing directions from the airport, backchannel please! ***** MiPOesias presents ~~~~ David Lehman, Elaine Equi, and Mairead Byrne ~~~~ Friday, April 27, 2007 @ 7:00 PM ~~~~~~~~~~ DAVID LEHMAN was born in New York City in 1948. He is the author of six books of poems, most recently When a Woman Loves a Man (Scribner, 2005). Among his nonfiction books are The Last Avant-Garde: The Making of the New York School of Poets (Anchor, 1999) and The Perfect Murder ( Michigan , 2000). He edited Great American Prose Poems: From Poe to the Present, which appeared from Scribner in 2003. He teaches writing and literature in the graduate writing program of the New School in New York City and offers an undergraduate course each fall on "Great Poems" at New York University . He is the editor of a new edition of The Oxford Book of American Poetry, a one-volume comprehensive anthology of poems from Anne Bradstreet to the present. He initiated The Best American Poetry series in 1988 and received a Guggenheim Fellowship a year later. He lives in New York City and in Ithaca , New York . http://www.mipoesias.com/April2004/lehman.htm ELAINE EQUI is the author of ten books including Surface Tension, Voice-Over, which won the San Francisco State Poetry Award, and The Cloud of Knowable Things. Her latest is Ripple Effect: New & Selected Poems from Coffee House Press. She teaches in the MFA Programs at City College and The New School, and at New York University\u003c/span\> .\u003c/div\>\n\u003cdiv\>\u003ca href\u003d\"http://www.mipoesias.com/April2004/equi.htm\" rel\u003d\"nofollow\" target\u003d\"_blank\" onclick\u003d\"return top.js.OpenExtLink(window,event,this)\"\>\u003cspan\>\u003cfont color\u003d\"#003399\"\>http://www.mipoesias.com\u003cWBR\>/April2004/equi.htm\u003c/font\>\u003c/span\>\u003c/a\> \u003cspan\>\n \u003c/span\>\u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>MAIRÉAD BYRNE is employed as Associate Professor of English at Rhode Island School of Design in \u003cspan style\u003d\"border-bottom:#0066cc 1px dashed\"\>Providence\n\u003c/span\> . She immigrated to America from \u003cspan style\u003d\"border-bottom:#0066cc 1px dashed\"\>Ireland\u003c/span\> in 1994 and earned a PhD in English (Theory & Cultural Studies) from Purdue University in 2001. Recent publications include a poetry collection, Nelson & The Huruburu Bird (Wild Honey Press 2003); three chapbooks Vivas (Wild Honey Press 2005), An Educated Heart (Palm Press 2005), and Kalends (Belladonna* 2005); and a talk, Some Differences Between Poetry & Standup (UbuWeb 2005).\n\u003c/div\>\n\u003cdiv\>\u003ca href\u003d\"http://www.mipoesias.com/2006Volume20Issue1/byrne.html\" rel\u003d\"nofollow\" target\u003d\"_blank\" onclick\u003d\"return top.js.OpenExtLink(window,event,this)\"\>\u003cspan\>\u003cfont color\u003d\"#003399\"\>http://www.mipoesias.com\u003cWBR\>/2006Volume20Issue1/byrne.html\n\u003c/font\>\u003c/span\>\u003c/a\> \u003cspan\> \u003c/span\>\u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>~~~~~~~~\u003cbr\> \u003c/div\>\n\u003cdiv\>STAIN BAR\u003c/div\>\n\u003cdiv\>\u003cspan style\u003d\"border-bottom:#0066cc 1px dashed\"\>766 Grand Street Brooklyn , NY\u003c/span\> 11211\u003c/div\>\n\u003cdiv\>(L train to Grand Street Stop, walk 1 block west)\u003c/div\>\n\u003cdiv\>\u003cspan style\u003d\"background:none transparent scroll repeat 0% 0%;border-bottom:#0066cc 1px dashed\"\>718/387-7840\u003c/span\>\u003c/div\>\n\u003cdiv\>\u003ca href\u003d\"http://www.stainbar.com/\" rel\u003d\"nofollow\" target\u003d\"_blank\" onclick\u003d\"return top.js.OpenExtLink(window,event,this)\"\>\u003cspan style\u003d\"background:none transparent scroll repeat 0% 0%\"\>\u003cfont color\u003d\"#003399\"\>http://www.stainbar.com/\n\u003c/font\>\u003c/span\>\u003c/a\> \u003cspan\> \u003c/span\>\u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>~~~~~~~~\u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>Hope to see you~\u003cbr\> \u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>Amy King\u003c/div\>\n\u003cdiv\>MiPO Host",1] ); //--> New York University . http://www.mipoesias.com/April2004/equi.htm MAIRÉAD BYRNE is employed as Associate Professor of English at Rhode Island School of Design in Providence . She immigrated to America from Ireland in 1994 and earned a PhD in English (Theory & Cultural Studies) from Purdue University in 2001. Recent publications include a poetry collection, Nelson & The Huruburu Bird (Wild Honey Press 2003); three chapbooks Vivas (Wild Honey Press 2005), An Educated Heart (Palm Press 2005), and Kalends (Belladonna* 2005); and a talk, Some Differences Between Poetry & Standup (UbuWeb 2005). http://www.mipoesias.com/2006Volume20Issue1/byrne.html ~~~~~~~~ STAIN BAR 766 Grand Street Brooklyn , NY 11211 (L train to Grand Street Stop, walk 1 block west) 718/387-7840 http://www.stainbar.com/ ~~~~~~~~ Hope to see you~ Amy King MiPO Host \n\u003cdiv\>\u003ca href\u003d\"http://www.mipoesias.com\" rel\u003d\"nofollow\" target\u003d\"_blank\" onclick\u003d\"return top.js.OpenExtLink(window,event,this)\"\>\u003cspan\>\u003cfont color\u003d\"#003399\"\>http://www.mipoesias.com\u003c/font\>\u003c/span\>\u003c/a\> \u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>******\u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>p.s. AN ASIDE ["Poet Laureate of the Blogosphere"] ----> If you've ever - or never - thought of voting for a blog, please consider going here and clicking a vote for mine: \u003c/div\>\n\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>\u003ca href\u003d\"http://www.musecrafters.com/bloggingpoet/208/2007+Poet+Laureate+Of+The+Blogosphere+Voting+Begins.html\" target\u003d\"_blank\" onclick\u003d\"return top.js.OpenExtLink(window,event,this)\"\>http://www.musecrafters.com\u003cWBR\>/bloggingpoet/208/2007+Poet\u003cWBR\>+Laureate+Of+The+Blogosphere\u003cWBR\>+Voting+Begins.html\n\u003c/a\>\u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>Thank you!\u003c/div\>\n\u003cdiv\> \u003c/div\>\n\u003cdiv\>*****\u003c/div\>\n",0] ); //--> http://www.mipoesias.com ****** p.s. Thump, thump ["Poet Laureate of the Blogosphere"] ----> If you vote for me, I'll knight you, or something ... http://www.musecrafters.com/bloggingpoet/208/2007+Poet+Laureate+Of+The+Blogosphere+Voting+Begins.html Thank you! ****** --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Thu, 26 Apr 2007 11:17:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Munday Subject: May 2 - Coach House Books Spring Launch Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed An event for any Toronto readers on the listserv. Those of you not in=20 Toronto should check out the Coach House website (www.chbooks.com) to=20 see other upcoming events across North America and to take advantage of=20= our spring web sale. Set your sights on the Coach House Spring Launch =96 Wednesday, May 2 Please join the Coach House gang and our valiant vanguard of vernal=20 authors on Wednesday, May 2, for passion, poetry, potent potables and=20 possible pandemonium. Featuring the launch of all our spring titles =96 The Girls Who Saw=20 Everything by Sean Dixon, The Milk Chicken Bomb by Andrew Wedderburn,=20 Notebook of Roses and Civilization by Nicole Brossard, Human Resources=20= by Rachel Zolf and Hippies and Bolsheviks & Other Plays by Amiel=20 Gladstone =96 the Coach House Spring Launch is the literary party you'll=20= want to crash next week (except, of course, that everyone is invited).=20= The most collegial, calamitous clambake* in CanLit begins at 8:00 p.m.=20= at Revival (783 College Street, at Shaw). Coach House Books Spring Launch Featuring Sean Dixon, Andrew Wedderburn, Nicole Brossard, Rachel Zolf=20 and Amiel Gladstone Wednesday, May 2, 2007 | 8 p.m. Revival, 783 College St. (at Shaw), Toronto Music by Echo Free The Girls Who Saw Everything -- a novel of girls, books and Gilgamesh,=20= by Sean Dixon Notebook of Roses and Civilization -- the sensual poetry of Nicole=20 Brossard brought into English by Robert Majzels and Er=EDn Moure The Milk Chicken Bomb -- a novel where boy meets bonspiel, exploding=20 boilers and black-market submarines, by Andrew Wedderburn Human Resources -- the writing machine in which poetry and =91plain=20 lanaguage=92 collide, by Rachel Zolf Hippies and Bolsheviks & Other Plays -- pools, phones and psychedelia,=20= from Amiel Gladstone *No clams will actually be served at the party. For media requests or additional information, contact Evan Munday at=20 416 979 2217 or evan@chbooks.com ------------------------------ Evan Munday Publicist Coach House Books 401 Huron St. (rear) on bpNichol Lane Toronto ON, M5S 2G5 416.979.2217 evan@chbooks.com May 2 is the Coach House Spring Launch! featuring Sean Dixon, Andrew Wedderburn, Nicole Brossard, Rachel Zolf=20 and Amiel Gladstone Revival, 783 College Street Toronto, ON 8:00 p.m.=20= ========================================================================= Date: Thu, 26 Apr 2007 08:01:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: new interactive piece: spring poem MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit here is a new piece: http://vispo.com/nio/pens/springs5.htm spring poem. click and drag to change it. it's a pen, of sorts. the guitar; the electric guitar. the pen; the electric pen. best to go full screen (F11 key) if you can. the piece consists of about 20 animations. only four of which are visible, at any time. the four that are visible, at a given moment, are, as it were, attached by elastic springs to wherever you click and drag. so when you click and drag, you drag the animations around via springs. that would be more obvious if the objects you drag were not animations. every now and then the screen is made black and it continues from where it left off, except each 'nib' of the pen gets a different animation. a poem of algorithms and animations. an animism. animism: kinetic poem with soul. ja http://vispo.com ========================================================================= Date: Thu, 26 Apr 2007 11:38:56 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: 300 etc. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit CA et.al, I loved CA's response to 300 and his anecdote--I hope you're collecting your stories for print! they're among the richest things that this list has produced of late. The whole debate over "300" is important (as long as we have it with others who feel otherwise), because these cultural productions clearly do function to grease the wheels of military imperium--as kitschy and over-the-top as "300" is. CA's story actually reminded me of the debate that I discuss in "Behind the Lines" regarding ways to resist war. On the one hand, representations themselves have a imitative (even infective power), which means that merely "representing the horrors of war" can often incite further imitations of it. On the other hand, a representation that enacts, as Zizek calls it, "living through the fantasy" (i.e. the s/m scenario perhaps), can be a way of defusing or subverting its power. Zize always references some metal band from Eastern Europe who would employ fascist iconography and cos t! ume as a way of subverting the ideology. Philip Metres Associate 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, 26 Apr 2007 09:12:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: Pushing Easy Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed the whole push of if i dont understand it it isnt any good which it seems is being pushed by pinsky and the poetry foundation unites me with brenda hillman who has also done as i did. tired of being bugged by certain quarters for unclear poetry i took an unclear poem to the counterwoman at pluck you chicken who without prompting got it instantly and then to the counterman at dean and deluca's . ditto . so elitism be damned and if people want to push what donald hall calls a mcpoem well let them but.. Susan Maurer >From: Catherine Daly >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Pushing Easy Poetry >Date: Wed, 25 Apr 2007 14:56:29 -0700 > >I started blogging on this, but it seems to me that Pinsky's 1) examples >aren't particularly challenging poems, 2) he leaves some open questions >about what "difficult" is > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com _________________________________________________________________ The average US Credit Score is 675. The cost to see yours: $0 by Experian. http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE ========================================================================= Date: Wed, 25 Apr 2007 23:51:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: M'Work MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed M'Work There are certain misapprehensions in relation to my works in various fields - music, sound, photography, film, video, texts, media in general. I am assumed to be a producer bypassed or deflected, that my work refuses steadfastly one genre or another. In fact, I neither produce masterpieces nor specific works, and am uncomfortable with the thinking that references a litany of key objects in my career. Instead, I construct discourses, albeit with myself - discourses of such a nature that it seems irrelevant to complete those things that might complete a career - a series for example, or critical moments. I insist on discourse, because this is the means of progress, of thinking itself; to stop at the wayside of this or that thing cluttering up the environment means a waste of energy and a good deal of the limited time we are all given in the first place. As far as funding is concerned, I believe that such thought, such discourse, should be rewarded in particular by granting agencies or good samaritans, since there is little change of sales or recompense for the creation of working-through streams of thought occasionally resulting in partial reconstructions of philosophy, phenomenology, or any other and all modes of conceiving the world. What is the world, but scaffolding which constantly is renewed, destroyed, forgotten, abandoned at death, crudely stumbled upon at birth? To examine this world, to truly occasion studies and thinking without compromise, I am forced to forgo stases, strange and familiar attractors - forced to avoid these at all costs, however seductive they might appear. This is not to say that I remain aloof from the marketplace - only that I appear deeply unfit for it, and am forced to search elsewhere for financial support. But everywhere I look, it is the same story - give me the goods, and I might consider, on one level or another, rewarding you - but nothing further. There are no gifts in this life, but only exchanges, and even these come at high psychological cost. I honestly try to acquiesce; it is useless, tawdry; nothing seems to come of it - something in my character. Given this, I plod onward, carrying my sickness with me and an insane desire to believe that reward exists somewhere through the journey itself, rather than the destination alone. However, the thrust of this memo is elsewhere - a counter to those who critique my working as a contamination of site, cite, and sight - those who are blind not to see value in the difficult motion of thinking among the ongoing world. This is what I do; I think, give signposts, memoranda, exempla, and inhabitants of the imaginary, and this, I believe, is the goal and guise of the true artist, never to rest, never to complete what is already known, but to search out elsewhere for whatever knowledge might be gained along the ways. http://www.asondheim.org/gloom.mov at least no one else is doing this stuff at least on a daily basis. ========================================================================= Date: Thu, 26 Apr 2007 11:57:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: Pushing Easy Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Susan: "bugged by certain quarters for unclear poetry i took an unclear poem ..." -- it took me a second read to realize you weren't implementing some beautiful extended metaphor about grocery shopping & difficult poetry... was this an unclear poem you'd run across, or was it one of your own that someone had labeled "unclear"? in other words, was it a published piece (therefore in some sense "accepted" into publication) or something in embryo you were working on? my abiding problem with Robert Pinsky: I want to like him, since he's so energetic and positive about poetry in the world (at least that's his shtick), but he always seems to choose the path squarely down the middle in any argument about poetics -- maybe this is what an excellent popularizer does, a la Keillor & co.=20 purveyors of easy poetry speak to a large swath of people... honestly, I'm delighted when I hear the "Writers Almanac" on the radio, since it's often the only time I'll hear *any* poetry in the course of my day, at least from the mainstream squawk-box... "easy" poetry is easily sold to its readers, and its wide audience can consume it for its soothing quality -- functional in the same way new age/muzak "calms" frayed nerves -- no rough edges. but what's to be done with the unmentioned, truly "difficult" work that nobody with the national prominence of Keillor or Pinsky will address?=20 as Catherine pointed out, Pinsky's "examples aren't particularly challenging poems...[and] he leaves some open questions about what 'difficult' is".=20 I was disappointed, too -- I thought in this article I was going to see Pinsky challenge poetry that was more remote from popular. instead, Pinsky's article chose some pieces that are difficult in a mainstream, high school English class sort of way (argue if you think this is an unfair characterization), but largely they are poems *about* being difficult, not works that *are* difficult. the pieces are easily comprehended if you "get" what the authors were up to, what the key tells you if you look at your teacher's edition of the anthology. this takes me back to my junior college English class, where we spent 45 minutes twisting on the teacher's fork over what Robert Graves' "Down, wanton, down!" is about, before he (the teacher) spluttered with lewd delight: "it's a penis!!" does the key to every poem exist? do we want a key to exist? is a poem difficult if finding its "key" is impossible on the first read? is a poem easy if the "key" is left under the doormat? etc. (my take on postmodern interpretation accepts keyless entry as a valid option.) "why don't you write something nice?" as my mother used to say...=20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of susan maurer Sent: Thursday, April 26, 2007 8:13 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Pushing Easy Poetry the whole push of if i dont understand it it isnt any good which it seems is=20 being pushed by pinsky and the poetry foundation unites me with brenda=20 hillman who has also done as i did. tired of being bugged by certain=20 quarters for unclear poetry i took an unclear poem to the counterwoman at=20 pluck you chicken who without prompting got it instantly and then to the=20 counterman at dean and deluca's . ditto . so elitism be damned and if people=20 want to push what donald hall calls a mcpoem well let them but.. Susan=20 Maurer >From: Catherine Daly >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Pushing Easy Poetry >Date: Wed, 25 Apr 2007 14:56:29 -0700 > >I started blogging on this, but it seems to me that Pinsky's 1) examples >aren't particularly challenging poems, 2) he leaves some open questions >about what "difficult" is > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com _________________________________________________________________ The average US Credit Score is 675. The cost to see yours: $0 by Experian.=20 http://www.freecreditreport.com/pm/default.aspx?sc=3D660600&bcd=3DEMAILFO= OTE RAVERAGE ========================================================================= Date: Thu, 26 Apr 2007 09:37:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gretchen Adele Subject: Re: spring poem god its beautiful jim MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline grazie x g On 4/26/07, Jim Andrews wrote: > > here is a new piece: http://vispo.com/nio/pens/springs5.htm > > spring poem. > > click and drag to change it. it's a pen, of sorts. > > the guitar; > the electric guitar. > > the pen; > the electric pen. > > best to go full screen (F11 key) if you can. > > the piece consists of about 20 animations. only four of which are visible, > at any time. the four that are visible, at a given moment, are, as it > were, > attached by elastic springs to wherever you click and drag. so when you > click and drag, you drag the animations around via springs. that would be > more obvious if the objects you drag were not animations. > > every now and then the screen is made black and it continues from where it > left off, except each 'nib' of the pen gets a different animation. > > a poem of algorithms and animations. > > an animism. > > animism: kinetic poem with soul. > > ja > http://vispo.com > -- g adele ========================================================================= Date: Thu, 26 Apr 2007 10:48:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Loudon Subject: The Concher Inaugural Issue 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 the publication of the inaugural issue of *The Concher.* *http://twopoettruffles.blogspot.com/* #1 Poets: Brent Armendinger ::: Adam Clay ::: Phillip Crymble ::: Darcie Dennigan ::: Ray Hsu ::: Tung-Hui Hu ::: Reb Livingston ::: Rebecca Loudon ::: Marc McKee ::: Kathleen Rooney & Elisa Gabbert ::: Craig Morgan Teicher ::: Samuel Wharton ::: Sarah Wolfson #1 First Lines: Say I say animal machine, would it make ::: The teenager's prosthetic limbs get stolen. ::: the vein in your throat candle blackbody ::: (it felt like an experiment at first) ::: Birds swing into the milk ::: were writing letters. Me or you, ::: There is a bruise to your breath, my love, that I swear you ::: He will want the vulture. He will put on a cotton button-down ::: My ghost walks through the door ::: Who become the parents of the trespassing ::: A perfect apple exists outside the realm of sense. ::: Recalling a symbolism once fixed and familiar, ::: Just inside the petting zoo the little goats ::: He writes the usual from Brazil. I know the place ::: The sweat of him ::: All over. Meaning lost or gone. A local idiom that speaks ::: People who call high school the best years ::: Parachute silk, iron ore, gasoline, ::: As if they would allow the star ::: The homeless man is in love with me. #1 Truffles: Espresso Caramel, Classic Ganache with Cacao Nibs, Pomegranate Ganache with Almond Marzipan, Coconut Curry Ganache, Whiskey Ganache, Orange White Chocolate Ganache with Hazelnuts. * Seriously. What's *not* to like? I can personally vouch for both the poetry *and* the chocolates. I had some Two Poet Truffles caramels a couple months ago and they were outstanding. Go watch *The Concher *video. It's funny in a sweet way. Rebecca Loudon ========================================================================= Date: Thu, 26 Apr 2007 10:46:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Pushing Easy Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi Susan. Some of my favorite poems are poems I don't completely understand. I've told my students not to be afraid or dismissive of poetry they don't understand. If a poem has a beauty to it which can be intuitively stirring, it needn't necessarily be completely understood. There are poems by Robert Duncan, for instance, which I've loved for many years without completely understanding them. As for Pinsky, I just read a beautiful translation he did of a poem Michelangelo wrote in his old age. So Pinsky has the right idea sometimes. I've also seen and heard some of his own poetry which was pretty good. Regards, Tom Savage susan maurer wrote: the whole push of if i dont understand it it isnt any good which it seems is being pushed by pinsky and the poetry foundation unites me with brenda hillman who has also done as i did. tired of being bugged by certain quarters for unclear poetry i took an unclear poem to the counterwoman at pluck you chicken who without prompting got it instantly and then to the counterman at dean and deluca's . ditto . so elitism be damned and if people want to push what donald hall calls a mcpoem well let them but.. Susan Maurer >From: Catherine Daly >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Pushing Easy Poetry >Date: Wed, 25 Apr 2007 14:56:29 -0700 > >I started blogging on this, but it seems to me that Pinsky's 1) examples >aren't particularly challenging poems, 2) he leaves some open questions >about what "difficult" is > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com _________________________________________________________________ The average US Credit Score is 675. The cost to see yours: $0 by Experian. http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Thu, 26 Apr 2007 12:45:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Pushing Easy Poetry In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052E1F@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit When does pushing easy poetry come to shoving easy poetry? Hal "Disorder is merely the order you are not looking for." --Henri Bergson 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, 26 Apr 2007 14:12:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Mary Weems,Kisha Foster, and Vlad Swirynsky will read at Gallery 324 on Saturday April 28 at noon, and Jere Hinton will present a 10 minute preview of his interpretation of Chaucer's The Wife of Bath's tale in the open mike session. The full play will be performed June 2, 2007 at the Artist Review Today opening for JAR, June Art Review, at the Galleria. Content-Type: text/plain; charset=utf-8 Mary Weems,Kisha Foster, and Vlad Swirynsky will read at Gallery 324 on Saturday April 28 at noon, and Jere Hinton will present a 10 minute preview of his interpretation of Chaucer's The Wife of Bath's tale in the open mike session. The full play will be performed June 2, 2007 at the Artist Review Today opening for JAR, June Art Review, at the Galleria. The Wake Up and Live's ACTOR'S STUDIO presents Gary Webster's "You'll be Back", "Prime Beef", and "Strictly Platonic?" back to back each day on Saturday April 28 at 7:30 pm, and Sunday April 29th at 3 pm. For more information about the plays, contact Sue Johnson, Director, 216/561-8608, or at wakeup4664@aol.com Parking is $1 in the underground garage -- that's the easiest access to the building for these events. Parking is free on 12th Street, but you have to use the security buzzer to get admitted to the building. If you'd like to be removed from this list, please email mbales@oh.verio.com Thank you ========================================================================= Date: Thu, 26 Apr 2007 20:50:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents Anchorite Editions and Fewer & Further Press, Thurs. May 3 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable please forward -------------------- =20 Boog City presents =20 d.a. levy lives: celebrating the renegade press =20 Anchorite Editions (Albany, N.Y.) =20 and =20 Fewer & Further Press (Wendell, Mass.) =20 Thurs. May 3, 6:00 p.m. sharp, free =20 ACA Galleries 529 W.20th St., 5th Flr. NYC =20 Event will be hosted by Anchorite Editions editor Christopher Rizzo and Fewer & Further Press editor Jess Mynes =20 Featuring readings from =20 Anchorite Editions=B9 authors =20 Theo Hummer John Mulrooney Aaron Tieger =20 and =20 Fewer & Further authors =20 Michael Carr Brenda Iijima Andrew Mister Christopher Rizzo Aaron Tieger =20 and music from Kansas State Flower =20 There will be wine, cheese, and crackers, too. =20 Curated and with an introduction by Boog City editor David Kirschenbaum =20 ------ =20 *Anchorite Press* http://www.anchoritepress.blogspot.com Founded in 2003, Anchorite is an independent poetry press devoted to publishing the work of outsiders and innovators. They publish chapbooks and broadsides in a variety of formats. Check out Anchorite=B9s website (above), where you can view examples of Anchorite publications, as well as read an interview with the editor. =20 *Fewer & Further Press* http://fewfurpress.blogspot.com/ Fewer & Further Press is a small press edited by Jess Mynes that publishes chapbooks of innovative poetry since 2005. It also publishes Asterisk, a series that takes many forms and often includes multiple authors in one publication. Future and present F&F authors include Clark Coolidge, Aaron Tieger, Brenda Iijima, Michael Carr, Andrew Mister, Joseph Massey, Christopher Rizzo, and Shannon Tharp. Visit their website (above) to see what titles are available or forthcoming. =20 *Overall Performer Bios* =20 **Michael Carr Michael Carr is the author of Platinum Blonde, a chapbook of poems and collages published by Fewer & Further Press. and Softer White, forthcoming from House Press. He's edited a manuscript journal of John Wieners' called = A book of PROPHECIES, forthcoming this summer from Bootstrap Press. With Dorothea Lasky he co-edits Katalanch=E9 Press, co-curates the Plough & Stars Reading Series with John Mulrooney, and lives in Cambridge, Mass. =20 **Theo Hummer Theo Hummer earned an MFA from Cornell in 2004 and is now at work on a Ph.D= . Her poetry has appeared in Sentence, Vox, and the Indiana Review, as well a= s on the Verse magazine website. Her first chapbook, The Parrot Bride, appeared from Anchorite Press in 2006. =20 **Brenda Iijima Brenda Iijima is the author of Rabbit Lesson, forthcoming from Fewer & Further Press. In addition, there=B9s Around Sea (O Books) and two forthcomin= g titles: Animate, Inanimate Aims (Litmus Press, forthcoming) and Eco Quarry Bellwether (Outside Voices). Lately she has been working with sound/noise artist Austin Publicover, recording permutations of a body of work called Remembering Animals. She is involved with local activist work including issues of eminent domain. From Prospect Heights, Brooklyn she runs Portable Press at Yo-Yo Labs. =20 **Kansas State Flower Kansas State Flower http://www.myspace.com/kansasstateflower http://www.olivejuicemusic.com/kansasstateflower.html What is the Kansas state flower? The sunflower, of course! But it's also th= e neo-psychedelic collaborative trio of Major Matt Mason (Schwervon!), Julie DeLano (The Leader), and Christy Davis (Mold/DJ Spin-O-Mama). The only band in New York that covers Madonna and Gram Parsons in the same set, this is n= o ordinary flower. Verses and choruses that stay forever in your head, set in swirling landscapes that travel seamlessly from a growl to a whisper. Harmony and cacophony over a block-rocking rhythm section that is so agile it steps past you before you even realize it. Always facing the sun, while acknowledging those dark clouds. Wake up, Dorothy--you ARE in Kansas now. =20 **Andrew Mister Andrew Mister's chapbook Hotels is forthcoming from Fewer & Further Press. His poems have appeared in Boston Review, The Canary, Colorado Review, Fence, The Hat, the tiny, and Verse. He lives and works in Brooklyn. =20 **John Mulrooney Previous attempts to contact John Mulrooney have been unsuccessful. He migh= t be found at or near Bridgewater State College where he teaches or in or around the Plough and Stars in Cambridge Mass. where he co-curates poetry readings. =20 **Christopher Rizzo http://inplaceofchairs.blogspot.com/ Originally from Long Island and a long-time resident of Boston, Christopher Rizzo lives in Albany, N.Y., where he is working on a Ph.D. in English. His latest chapbooks are Claire Obscure (Katalanch=E9 Press, 2005) and Zing (Carv= e Editions, 2006). His poems have appeared in many magazines over the years, such as Art New England, Carve, Dachshund, Shampoo, and most recently in Th= e Duplications. He is also the editor of Anchorite Press, which he founded in 2003. =20 **Aaron Tieger Aaron Tieger=B9s most recent chapbook is After Rilke (Anchorite Press, 2006). Other recent work includes February (Fewer & Further Press, 2006) and Coltsfoot Insularity (Fewer & Further Press, 2005), a collaboration with Jess Mynes. Other poems have appeared in 6x6, Asterisk, Past Simple, Turntable Bluelight, and Effing. He lives in Ithaca, N.Y. where he is co-curator of the SOON Productions Reading Series and the editor of CARVE Poems. =20 ---- =20 Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues =20 Next event: Thurs. June 7, New American Writing (Mill Valley Calif.) =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: Thu, 26 Apr 2007 20:25:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 40 Available Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Please forward -------------------- =20 Boog City 40 =20 now available =20 featuring: =20 ***Our Politics section, edited by Christina Strong*** =20 --=B3Maybe after going to museums for more than 30 years I still couldn=B9t define art, but I can tell you that if art is satisfying it hasn=B9t done its job.=B2 --from Who=B9s Come a Long Way, Baby? Thoughts on The Dinner Party and the Global Feminisms Exhibit by Strong =20 =20 ***Our Printed Matter section, edited by Mark Lamoureux*** =20 --=B3In the poetic tapestry of this chapbook where darkness has victory, the poem =8CAll Saints Day=B9 tells us that =8Cthe theme of death is our thiefhood.=B9=B2 --from Our Thiefhood, Evangeline Downs by Micah Ballard (Ugly Duckling Presse), reviewed by Michael Carr =20 --=B3The poems are so funny, and resistant to interpretation, that it is tempting to take them at face value, like an Andy Warhol Campbell=B9s Soup can, a Jeff Koons puppy, or a Marcel Duchamp urinal.=B2 --from Twisted Gems, Erased Art by Tenney Nathanson (Chax Press), reviewed by Adam Fieled =20 =20 ***Our Music section, edited by Jon Berger*** =20 --=B3Dina Dean=B9s voice is the unification of her influences; somewhere betwee= n a croon and a growl, in =8CThe Radio Song=B9 she tells the story of a sleepless character=B9s love affair with the radio.=B2 =20 =B3Every added note, every new change in a simple pattern has a magnified importance, giving Randi Russo=B9s songs wave after wave of subtle dramatic leaps.=B2--from Alliterative Albums: Acoustic Songwriters Get Their Due by Casey Holford =20 =20 ***And the Relaunch of Our Comics section *** =20 --=B3I=B9ve reread this first issue maybe a dozen times since Jerel debuted it at the MoCCA Art Festival last summer, and it=B9s a different experience nearly every reading, as startling and flabbergasting as it is rewarding, not unlike returning to a computer that has been overtaken by a benign but active=8Band actively mischievous=8Bvirus.=B2 --from Jerel Elbows the Comics Envelope by Gary Sullivan =20 --Freak Folk Meets Hip Hop, a comic from Jeffrey Lewis =20 =20 ***Art editor Brenda Iijima brings us work from Greenpoint=B9s Brenda Zlamany*** =20 =20 ***Our Poetry section, edited by Laura Elrick and Rodrigo Toscano*** =20 --Harlem=B9s Tonya Foster with an excerpt from Work-a-Day Bodies of young men=8B spent smoke, spent casings graph one among many points =20 Bodies of young men=8B sight-specific installations=8B stoops, corners. =20 --Philadelphia=B9s Frank Sherlock with an excerpt from Wounds in an Imaginary Nature Show [=8A] =20 A mirror =20 & a token =20 of the outdoors =20 =20 can bring =20 the walking =20 dead back to =20 life even =20 =20 if the skillset =20 that facilitates =20 crawling has to =20 be relearned =20 =20 *And photos from Aislinn Weidele and Donald Woodman.* =20 ----- =20 And thanks to our copy editor, Joe Bates. =20 ----- =20 Please patronize our advertisers: =20 Bowery Poetry Club * http://www.bowerypoetry.com ::fait accompli:: * http://www.nickpiombino.blogspot.com/ Live Magazine!=20 OJ All Day * http://www.ojallday.com/ Pavement Saw Press * http://www.pavementsaw.org/ Pocket Myths * http://www.pocketmyths.com/ =20 =20 ----- =20 Advertising or donation inquiries can be directed to editor@boogcity.com or by calling 212-842-BOOG (2664) =20 ----- =20 2,250 copies of Boog City are distributed among, and available for free at, the following locations: =20 MANHATTAN =20 *THE EAST VILLAGE* =20 Acme Underground =20 Angelika Film Center and Caf=E9 Anthology Film Archives Bluestockings =20 Bowery Poetry Club=20 Caf=E9 Pick Me Up Cakeshop Lakeside Lounge =20 Life Caf=E9 Living Room 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 Trash and Vaudeville =20 *OTHER PARTS OF MANHATTAN* =20 Hotel Chelsea Poets House =20 =20 BROOKLYN =20 *WILLIAMSBURG* =20 Academy Records Bliss Caf=E9 Earwax =20 Galapagos =20 Sideshow Gallery =20 Soundfix/Fix Cafe=20 Spoonbill & Sugartown Supercore Caf=E9 =20 *GREENPOINT* (available early next week) =20 Greenpoint Coffee House Lulu's=20 Photoplay Thai Cafe =20 The Pencil Factory =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: Thu, 26 Apr 2007 17:13:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Philadelphia? In-Reply-To: <5e009f0abc6fc9b8e2fd255fd4331f76@sfu.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline it is free at the library; most of my online students used library access -- some took courses online because they couldn't afford paper/printing/xeroxing (15 cents a page in our library? I think) for assignments; one hopes that some of the Gates education/election money goes towards making internet education information more readily available npr said 5M more people below poverty line here than in 2000 -- who knows what the real figures are, tho the US government no longer makes it easy for people to access food stamps, the earned income credit, and other programs, so the real suffering is somewhat greater than this would indicate "the poverty line" has unfortunately never been adjusted for the price of food falling relative to the cost of housing and it is "location independent" meaning the income is one adult, 3 kids @ 23K? ish? it is some silly figure which is far more than a full time job at minimum wage earns, and is the same amount whether you're in a major city or somewhere with a lower cost of living -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Thu, 26 Apr 2007 16:56:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Fwd: Audio Poetry: i-outlaw 2.4 featuring Catherine Daly In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline only had time to do about 1/3 of what I'd planned, but hey... that backyard is ready for sod Ready for your listening pleasure. Direct yourselves to: < http://i-outlaw.blogspot.com/ > to hear. You can find a nice little audio doodad for your blogs here: < http://odeo.com/audio/11246583/players> Thanks, everyone, for being patient as Josh and me transitioned to our new i-space. Josh and I would like to thank everyone for supporting the show. Really really big thanks to Catherine Daly for the superb poetry and other audio goodstuff you'll just have to put your ears on... Hope everyone enjoys it! -- Bob Marcacci Many a man fails to become a thinker for the sole reason that his memory is too good. - Friedrich Wilhelm Nietzsche -- All best, Catherine Daly c.a.b.daly@gmail.com -- All best, Catherine Daly c.a.b.daly@gmail.com -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Fri, 27 Apr 2007 01:21:54 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: P Ganick Subject: small chapbook project SMALL CHAPBOOK PROJECT announces a new reading period from now til the end of may, 2007. a few manuscripts will be chosen for publication. 'experimental' writing, whatever that might mean, is preferred, though quality manuscripts should be sent, the final chapbook will be 5.5" x 8.5" page size, a max- imum of 40 pages, black and white ink only. accepted chapbooks will be announced sometime early in june, 2007. writers who can produce a pdf file of their work will have preference. write for as- sistance in producing a pdf file. hard copy only. send to: return postage and en- velope for return, please. peter ganick small chapbook project 45 ravenwood road west hartford, CT 06110-1005 pganick@comcast.net ========================================================================= Date: Thu, 26 Apr 2007 19:08:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: chapbooks Mime-Version: 1.0 Content-Type: text/plain; format=flowed All, So here I am looking at a huge stack of chapbooks & working on the next review column for Rain Taxi & not that I'm in any way in want of even more chapbooks but can't help feeling like there are more of these things out there that I'm missing & that it might be a good time to just float a small reminder to any one who might have or might be putting out a new chapbook that the Rain Taxi column is indeed an ongoing thing & it'd be wonderful to have a chance to consider anything folks might have for inclusion in the column which as it's housed in a magazine with huge distribution might offer one the change to have one's work or I suppose mention of one's work reach outside of those normal channels & I wonder if I should just keep going with this sentence... So, send me yr chapbooks... xoxo, Noah Eli Gordon 1014 E 10th Ave Denver, CO 80218 PS: there is life outside of the internet. This is a print column that's been running for over a year in the Taxi. http://raintaxi.com/ PS: here's a link to a piece Erik Anderson & I wrote on Some Notes on My Programming by Anselm Berrigan: http://jacketmagazine.com/33/anderson-gordon-rev-berrigan.shtml _________________________________________________________________ MSN is giving away a trip to Vegas to see Elton John. Enter to win today. http://msnconcertcontest.com?icid-nceltontagline ========================================================================= Date: Fri, 27 Apr 2007 01:06:02 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Marcacci Subject: Audio Poetry: i-outlaw 2.4 featuring Catherine Daly Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hosted by Bob Marcacci and produced by Josh Hinck, i-outlaw Episode 2.4 features the poetry and ruminations of Catherine Daly, original music by Junkbox, and additional fine poetry by: - Daniel Abdal-Hayy Moore - Linda Benninghoff - John Sakkis - Peggy Eldridge-Love - Jordan Stempleman - Kaya Oakes - Miranda Gaw - Andrew Lundwall - Larissa Shmailo Always looking to listen to your poetry... Spread the word far and wide. Don't forget to enter our contest to win a free book of poetry! Listen now and find out how... -- Bob Marcacci Buying books would be a good thing if one could also buy the time to read them in: but as a rule the purchase of books is mistaken for the appropriation of their contents. - Arthur Schopenhauer ========================================================================= Date: Thu, 26 Apr 2007 17:14:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 4/26 - 5/2 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, Please join us many times. Love, The Poetry Project Thursday, April 26, 8:00 pm A Tribute to C=E9sar Vallejo A reading to mark the publication of C=E9sar Vallejo: The Complete Poetry in = a bilingual edition edited and translated by Clayton Eshleman. C=E9sar Vallejo (1892-1938) was a poetical innovator whose syntax-breaking search for meaning has been compared to James Joyce and Paul Celan. Readers of Vallejo=B9s work will include Jayne Cortez, Mariela Dreyfus, Clayton Eshleman= , Forrest Gander, Edward Hirsch, Sam Shepard, M=F3nica de la Torre, Cecilia Vicu=F1a and Anne Waldman. Co-sponsored by PEN World Voices, Poets House, and The University of California Press. This reading will be held in the sanctuary. Friday, April 27, 8:00 pm Anselm Hollo, Eileen Myles & Anne Waldman Anselm Hollo, poet and literary translator, has been a faculty member of th= e Jack Kerouac School of Poetics at Naropa University in Boulder, Colorado, for more than twenty years. He is the author of thirty-odd books and chapbooks of his own works, the most recent one being Guests of Space, just out from Coffee House Press. Eileen Myles is one of the best-known unofficial poets in America. She was a Director of St. Mark's Poetry Projec= t during the Reagan years. And she conducted an openly female write in campaign for President of the United States in 1992. She has toured her wor= k all over the world and with Sister Spit in '97 and now this year again with Sister Spit. Sorry, Tree (poems) is very recently out from Wave Books. Anne Waldman=B9s most recent books are Structure of the World Compared to a Bubble= , a long Buddhist poem, and Outrider, a selection of essays, interviews and poetry just published by La Alameda Press. Red Noir, a collection of short performance pieces, and the CD The Eye of the Falcon (produced and with music by her son Ambrose Bye) are now available from Farfalla, McMillen and Parrish.=20 This reading will be held in the sanctuary. Saturday, April 28, 8:00 pm Not For Mothers Only A launch party and reading for Not for Mothers Only: Contemporary Poems on Child-Getting and Child Rearing. This anthology brings to light the many strong, scary, gorgeous motherhood poems bring written right now =AD poems that address the politics and difficulties and stubborn satisfactions of mothering =AD while also publishing earlier poems that opened the space in which this new work might appear. Readers will include Rachel Zucker, Deborah Landau, Kimiko Hahn, Ann Lauterbach, Camille Guthrie, Caroline Crumpacker, Marie Howe, Miranda Field, Kathleen Ossip, Rebecca Wolff, Claudia Keelan and Catherine Wagner. =20 Monday, April 30, 8:00 pm Tisa Bryant & Jennifer Firestone Tisa Bryant=B9s writings, Unexplained Presence (forthcoming from Leon Works), and Tzimmes, traverse the boundaries of genre, culture and history. She is currently at work on [the curator], a meditation on identity, visual cultur= e and the lost films of auteur Justine Cable. She teaches at St. John=B9s University, Queens, and is a founding editor/publisher of the hardcover annual, The Encyclopedia Project. Jennifer Firestone is the author of the chapbooks From Flashes, which is an excerpt from a longer manuscript, and snapshot from Sona Books, as well as a chapbook forthcoming from Portable Press at Yo-Yo Labs. She is the editor, along with Dana Teen Lomax, of an anthology in progress called Letters To Poets: Conversations about Poetics, Politics and Community. Her book, Holiday, is forthcoming from Shearsman. Wednesday, May 2, 8:00 pm Sam Abrams & Jim Cohn Sam Abrams is the author of five collections of poems, most recently The Ol= d Pothead Poems. He edited The Neglected Whitman: Vital Texts and has published poems in hundreds of places beginning with Neon 2 in 1957. He is currently Professor Emeritus of Language and Literature in the College of Liberal Arts at Rochester Institute of Technology. Jim Cohn is the author o= f five collections of poetry: Green Sky, Prairie Falcon, Grasslands, The Danc= e Of Yellow Lightning Over The Ridge and Quien Sabe Mountain. He has edited the poetry journal Napalm Health Spa since 1990. Inspired by the art criticism of Frank O'Hara and the lineages shepherded by the Beat Generation, Cohn founded the diversity oriented on-line Museum of American Poetics (MAP) at www.poetspath.com in 1997. *Please note this recently scheduled reading: Monday, May 7, 6:00 pm Following Rules: An Oulipian Reading with Harry Mathews & Doug Nufer Born in New York in 1930, Harry Mathews settled in Europe in 1952 and has since then lived in Spain, Germany, Italy, and (chiefly) France. In 1978 he returned to the United States to teach for several years at Bennington College, Columbia University, and the New School University. Now married to the French writer Marie Chaix, he divides his time between Paris and Key West. When Mathews published his first poems in 1956, he was associated wit= h the so-called New York School of poets, with three of whom (John Ashbery, Kenneth Koch, James Schuyler) he founded the review Locus Solus in 1961. Through his friendship with Georges Perec, he became a member of the Oulipo in 1972. The author of six novels and several collections of poetry, his most recent publications are Sainte Catherine, a novella written in French (=C9ditions P.O.L, 2000), The Human Country: the Collected Short Stories (Dalkey Archive Press, 2002), The Case of the Persevering Maltese: Collecte= d Essays (Dalkey Archive Press, 2003), Oulipo Compendium (co-edited with Alastair Brotchie; Atlas Press and Make Now Press, 2005), and My Life in CIA: A Chronicle of 1973 (Dalkey Archive Press, 2005). Doug Nufer writes works of fiction and poetry and pieces for performance that seem to follow odd procedures, even when they don't. His novels include Never Again, Negativeland, and most recently, a double novel, The Mudflat Man/ The River Boys. His fiction and/or poetry has appeared in Chain, Fence, Monkey Puzzle= , Bird Dog, and The Golden Handcuffs Review. He also performs his work with choreographer Erin Mitchell and her dance troupe (he speaks/ they dance). H= e lives in Seattle, where he runs a wine shop. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring Calendar: http://www.poetryproject.com/calendar.php 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. The Red Hook =B3First Tuesdays=B2 Poetry Discussion Group Read poems aloud & discuss them =AD or just listen Red Hook Branch of the Brooklyn Public Library 7 Wolcott Street at Dwight Tuesday, May 1st Discussion begins at 6:30pm Free 2nd meeting The First Tuesdays group will meet the first Tuesday of every month For more info email info@poetryproject.com ========================================================================= Date: Thu, 26 Apr 2007 17:07:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: M'Work In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hear, Hear! The best expression what art and being a poet at bottom is. Ciao, Murat On 4/25/07, Alan Sondheim wrote: > > M'Work > > There are certain misapprehensions in relation to my works in various > fields - music, sound, photography, film, video, texts, media in general. > I am assumed to be a producer bypassed or deflected, that my work refuses > steadfastly one genre or another. In fact, I neither produce masterpieces > nor specific works, and am uncomfortable with the thinking that references > a litany of key objects in my career. Instead, I construct discourses, > albeit with myself - discourses of such a nature that it seems irrelevant > to complete those things that might complete a career - a series for > example, or critical moments. I insist on discourse, because this is the > means of progress, of thinking itself; to stop at the wayside of this or > that thing cluttering up the environment means a waste of energy and a > good deal of the limited time we are all given in the first place. As far > as funding is concerned, I believe that such thought, such discourse, > should be rewarded in particular by granting agencies or good samaritans, > since there is little change of sales or recompense for the creation of > working-through streams of thought occasionally resulting in partial > reconstructions of philosophy, phenomenology, or any other and all modes > of conceiving the world. What is the world, but scaffolding which > constantly is renewed, destroyed, forgotten, abandoned at death, crudely > stumbled upon at birth? To examine this world, to truly occasion studies > and thinking without compromise, I am forced to forgo stases, strange and > familiar attractors - forced to avoid these at all costs, however > seductive they might appear. This is not to say that I remain aloof from > the marketplace - only that I appear deeply unfit for it, and am forced to > search elsewhere for financial support. But everywhere I look, it is the > same story - give me the goods, and I might consider, on one level or > another, rewarding you - but nothing further. There are no gifts in this > life, but only exchanges, and even these come at high psychological cost. > I honestly try to acquiesce; it is useless, tawdry; nothing seems to come > of it - something in my character. Given this, I plod onward, carrying my > sickness with me and an insane desire to believe that reward exists > somewhere through the journey itself, rather than the destination alone. > However, the thrust of this memo is elsewhere - a counter to those who > critique my working as a contamination of site, cite, and sight - those > who are blind not to see value in the difficult motion of thinking among > the ongoing world. This is what I do; I think, give signposts, memoranda, > exempla, and inhabitants of the imaginary, and this, I believe, is the > goal and guise of the true artist, never to rest, never to complete what > is already known, but to search out elsewhere for whatever knowledge might > be gained along the ways. > > http://www.asondheim.org/gloom.mov > > at least no one else is doing this stuff at least on a daily basis. > ========================================================================= Date: Thu, 26 Apr 2007 16:00:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: anti-queer Arab activity about to happen, THIS IS CRUCIAL, PLEASE READ ASAP! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Anyone involved with FACEBOOK please read this! The group "ArabLBTG" is on the verge of being SHUT DOWN because the Saudi, Egyptian, Kuwaiti and Emirati governments are insisting that FACEBOOK not allow any queer FACEBOOK groups which mention, or having anything to do with citizens of their countries. Anyone who is a member of FACEBOOK and would like me to send the link to vote against, and tell FACEBOOK to back down, please write to me VERY SOON! Timing is everything, as this is literally on the verge of happening. Our swift, collective actions against this are needed! Contact me at CAConrad13@aol.com NOW, BELOW are some of the discussions and info from the petition page: (THIS IS THE DISCUSSION I AM REFERRING TO) Violating terms of conduct Between You and Adminstrator Josh Adminstrator Josh 10:15am April 24th Report MessageDear Subscriber, You have violated the terms of conduct you agreed upon when you signed up with Facebook.com. Your violations fall in the following criteria: 1. Advertising\spam, you have posted in the group advertisements concerning a website. You do have the right to refer to websites but not advertise them. 2. Creating a global group that is not allowed in some regions. Your group "Arab LBTGAY(Lesbian,bisexual,transexual and gay)" has put facebook in trouble as we received an official complaint from the Saudi government, the Egyptian government and other Arab governments that do not want to be mentioned. Your Group must be shut down or a new Group with a specified network other than the two mentioned may be created. We are very sorry as we support any group but the countries mentioned are threatening to block our server from their side, therefore please comply. Thank you for understanding The Facebook Team 4:15pm April 25th hey i have a question. i understand it says it must be shut down but is it possible to make it a"closed group" or i have to make it a secret? Adminstrator Josh 5:25pm April 25th Report MessageWell, If you turn it into a closed group you must be more than sure that no Saudis or Egyptians join the group. This is very hard, but if you chose to do this we do not mind. In case of chosing to close the group you will have to kick any Saudi, Egyptian, Kuwaiti or even Emirati that happens to join or we pick out for you. Is that fair enough? The Facebook Team ------------- (AND THIS IS FROM THE PETITION PAGE) The official Petition to prevent Arab LBTG from being shut down. Dear Facebook users: We represent the group "ArabLBTG". We are posting this as a plea for your support in an act of resistance against Facebook's request of shutting down the group because they have received several complaints from particular Arab governments. If we do not shut down the group, according to Facebook, we have to make it a closed group that excludes specific Arab citizens, such as Saudi and Egyptian. This is not conducive to a queer-positive Facebook environment, but an exclusivist, discriminatory, racist environment that threatens our right to free speech. We would like to encourage everyone to contact Facebook and reject their oppressive, homophobic request towards a specific minority of the queer community. Thank you for all your support In hopes of victory, ArabLBTG Admin ========================================================================= Date: Thu, 26 Apr 2007 16:38:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: Re: spring poem god its beautiful jim In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Beautiful Jim! -Peter Ciccariello On 4/26/07, Gretchen Adele wrote: > > grazie > x > g > > > On 4/26/07, Jim Andrews wrote: > > > > here is a new piece: http://vispo.com/nio/pens/springs5.htm > > ========================================================================= Date: Thu, 26 Apr 2007 10:37:21 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: in response to the virginia tech discussion... In-Reply-To: MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT we're only "at war" according to our own definition of "war," since war is with another country, not with "terror," "drugs," "crime," etc. they want us to believe we are muscularly and gallantly "at war," whereas we are actually waging terrorism against the civilian populations of other countries. thanks for sending this info about the news conglomerates. i'll broadcast it about. goes well with bill moyers' program last night. all best, g Gabrielle Welford, Ph.D. Instructor University of San Francisco welford@hawaii.edu No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Wed, 25 Apr 2007, CA Conrad wrote: > Sina Queyras wrote: > "One thing that I've noted, with some discomfort, is the number of > newscasters who refer to this event as "the worst peacetime shooting in > American history." The degree to which people seem able to forget that > this country is "at war," and what the implications of that are is > staggering." > > Amy Goodman from DEMOCRACY NOW is the only one who is investigating > (with absolute fearlessness she is investigating) how ALL, and I really do > mean > ALL the major news networks in America are conglomerates which actually > OWN weapons manufacturing plants. It is -- believe it or not -- in the > interest > of the owners of ABC, CBS, NBC, CNN, to wage war. Shareholders are dancing > the Iraq two-step these days. And we need to ask ourselves the rather > obvious > questions now about "conflict of interest." And beyond that, ask ourselves > how > this measures against Jefferson's line "Information is the currency of > democracy." > Hmm, puts a whole new spin on the "currency" of the statement. But it is > the > JOB OF our esteemed, televised news teams to help us forget. Help us forget > our daily sins. Help us forget our daily brutality. In Philadelphia THEY > RECENTLY > changed the morning news to "Good Day Philadelphia!" Good Day Philadelphia? > HOW ABSURD!!!! Of the 10 largest cities in America we rank highest in > poverty. > Literally one in four Philadelphians is living below the poverty line, me > included. > Good Day Philadelphia my ass! > > CAConrad > ========================================================================= Date: Thu, 26 Apr 2007 22:33:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Fascist "300"? 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 =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 On Apr 25, 2007, at 7:56 PM, George Bowering wrote: > On Apr 25, 2007, at 2:02 PM, kom9os@bigpond.net.au wrote: > >> i believe fascism is in everybody. > > That is a silly belief, in my opinion. > Fascism is a political system, > and one that calls for the tossing away of the sense of the =20 > individual, > hence the fasces. 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 75 43 57 10 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, 27 Apr 2007 17:50:44 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wystan Curnow Subject: FW: TRANSLATE #2 poetry reading Tuesday 1 May, 5-7 pm MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =20 ________________________________ From: Jocelyn Gamble (ARTS AFA)=20 Sent: Thursday, 26 April 2007 4:20 p.m. To: ARTS_Faculty Subject: FW: TRANSLATE #2 poetry reading Tuesday 1 May, 5-7 pm READING AT TRANSLATE CAF=C9 1 MAY, 5 - 7 PM ALL WELCOME! (10% student discount on drinks) TRANSLATE #2 Tuesday 1 May=20 Translate Caf=E9, 21 Whitaker Place, Grafton=20 (off Symonds St one block before K Rd), 5 - 7 pm Featuring local poets and UoA student writers Janet Charman Wystan Curnow Sue Fitchett Joshua Goodwin Daniel Larsen Renee Liang Nick Marsden Emily Perkins Christian Stafford Helen Sword =20 Free entry. Food and drinks for sale in the cafe. Student discounts = available with ID. Information Michele Leggott m.leggott@auckland.ac.nz = 373 7599 x87342 POSTER http://www.nzepc.auckland.ac.nz/events/translate02_poster.pdf = =20 The TRANSLATE readings are a continuing project of the New Zealand = Electronic Poetry Centre (nzepc), Auckland University Press and Auckland = University English Department in association with Translate Cafe Translate Cafe is at 21 Whitaker Place, off Symonds St one block before = K Rd. 09 950 9010 or 027 480 1306=20 Information about TRANSLATE readings=20 Michele Leggott m.leggott@auckland.ac.nz Christine O'Brien c.obrien@auckland.ac.nz Selina Tusitala Marsh s.marsh@auckland.ac.nz ========================================================================= Date: Fri, 27 Apr 2007 03:18:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: wil Hallgren Subject: Re: the worst peacetime dodge MIME-Version: 1.0 Content-Type: text/plain; charset=ascii In an environment where the Iraqi (i.e. U.S.) government refuses to provide the UN with data concening the numbers and nature of civilian deaths, Iraq experiences a cumulative Virginia Tech on a nearly weekly basis and has done so nearly every week for longer than we were involved in WWII. When the media speaks of things like the "worst peacetime ..." when need to remember that on 9/11/2001 we were at peace and we need to parenthetically insert "civilian-inflicted" into most of the statements to make the word "worst" more accurate. How many were killed by the FBI & ATF in the Branch Davidian fiasco at Waco? At the risk of crossing streams, "facism" and "fascinate" share the same root. wil ----- Original Message ---- From: Gabrielle Welford To: POETICS@LISTSERV.BUFFALO.EDU Sent: Thursday, April 26, 2007 4:37:21 PM Subject: Re: in response to the virginia tech discussion... we're only "at war" according to our own definition of "war," since war is with another country, not with "terror," "drugs," "crime," etc. they want us to believe we are muscularly and gallantly "at war," whereas we are actually waging terrorism against the civilian populations of other countries. thanks for sending this info about the news conglomerates. i'll broadcast it about. goes well with bill moyers' program last night. all best, g Gabrielle Welford, Ph.D. Instructor University of San Francisco welford@hawaii.edu No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Wed, 25 Apr 2007, CA Conrad wrote: > Sina Queyras wrote: > "One thing that I've noted, with some discomfort, is the number of > newscasters who refer to this event as "the worst peacetime shooting in > American history." The degree to which people seem able to forget that > this country is "at war," and what the implications of that are is > staggering." > > Amy Goodman from DEMOCRACY NOW is the only one who is investigating > (with absolute fearlessness she is investigating) how ALL, and I really do > mean > ALL the major news networks in America are conglomerates which actually > OWN weapons manufacturing plants. It is -- believe it or not -- in the > interest > of the owners of ABC, CBS, NBC, CNN, to wage war. Shareholders are dancing > the Iraq two-step these days. And we need to ask ourselves the rather > obvious > questions now about "conflict of interest." And beyond that, ask ourselves > how > this measures against Jefferson's line "Information is the currency of > democracy." > Hmm, puts a whole new spin on the "currency" of the statement. But it is > the > JOB OF our esteemed, televised news teams to help us forget. Help us forget > our daily sins. Help us forget our daily brutality. In Philadelphia THEY > RECENTLY > changed the morning news to "Good Day Philadelphia!" Good Day Philadelphia? > HOW ABSURD!!!! Of the 10 largest cities in America we rank highest in > poverty. > Literally one in four Philadelphians is living below the poverty line, me > included. > Good Day Philadelphia my ass! > > CAConrad > ========================================================================= Date: Thu, 26 Apr 2007 23:58:16 -0500 Reply-To: Fluffy Singler Sender: UB Poetics discussion group From: Fluffy Singler Subject: Unique academic event/gathering/"conference" Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Greetings friends. I wanted to let you know that we are currently accepting proposals for Articulations, an event organized by Graduate Students in the Theatre Department at the University of Minnesota and open to scholars, students and artists from a variety of disciplines. This will not be your usual "conference" setting, but an interaction with city spaces and a variety of disciplines that we hope will yield some interesting conversations, new thinking and will result in the publication of a journal. Below is the CFP, minus the ever important Robert Wilson drawing referenced therein, as the list doesn't take attachments. If you want to see the actual CFP page, please email me at fluffysingler@earthlink.net and I'll send it to you. Cheers. ARTICULATIONSentrance Call For Participants... Places chosen for their visual quality: light, darkness, views, angles, curves, text. Places chosen for the sounds or silences they produced or that are produced within/around them. Robert Wilson said it best when he offered this image: Consider this sketch by Robert Wilson. Wilson uses the tricks of perspective to draw the eye into the space he is sketching. As we look forward into the corridor our oblique vision captures images on the periphery, but the periphery is blurry and undefined. Wilson represents this with his black, squiggly lines. The caption at the bottom and the empty space figure off center to the right suggest the activity of the scene: entrance. The empty space figure is entering that abstract site and we as viewers are called to inhabit that empty space and enter the scene as well. Our entrance activates the space. The idea is to create an experience in/at the site without prescribed notions of what that intervention or experience will be. The world is in the object. The site is a citation of the unthought. Articulations 2007, taking place on October 12 and 13, will experiment with the act of entrance and attempt to investigate the resulting violence of intervention. We will grapple with, face, grasp at, take on, and struggle through the act of entrance at multiple sites scattered throughout the Twin Cities. The conference comes into being through the doing of it. It is a conference because performers and scholars with specific skills are called together to perform or enact their individual ways of thinking. It is a workshop in that people convene at a site and work through a specific challenge. In this case, the challenge is to interact with the site and to act within the site. Please send a short C.V. (no more than two pages) and a 250-word statement in which you describe your research interests and how you believe they correspond to the goals of this conference, as well as any disability accommodations, to George McConnell at Articulations2007@gmail.com by May 30, 2007. ========================================================================= Date: Fri, 27 Apr 2007 13:18:24 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Fascist "300"? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Regarding the film itself, the ever-provocative Slavoj Zizek suggests a completely different way of looking at it, at http://www.lacan.com/zizhollywood.htm. ========================================================================= Date: Fri, 27 Apr 2007 09:58:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: Pushing Easy Poetry In-Reply-To: <786073.5982.qm@web31109.mail.mud.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed no argument with this point and im still hanging tough on the roses. sm >From: Thomas savage >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Pushing Easy Poetry >Date: Thu, 26 Apr 2007 10:46:18 -0700 > >Hi Susan. Some of my favorite poems are poems I don't completely >understand. I've told my students not to be afraid or dismissive of poetry >they don't understand. If a poem has a beauty to it which can be >intuitively stirring, it needn't necessarily be completely understood. >There are poems by Robert Duncan, for instance, which I've loved for many >years without completely understanding them. As for Pinsky, I just read a >beautiful translation he did of a poem Michelangelo wrote in his old age. >So Pinsky has the right idea sometimes. I've also seen and heard some of >his own poetry which was pretty good. Regards, Tom Savage > >susan maurer wrote: the whole push of if i dont >understand it it isnt any good which it seems is >being pushed by pinsky and the poetry foundation unites me with brenda >hillman who has also done as i did. tired of being bugged by certain >quarters for unclear poetry i took an unclear poem to the counterwoman at >pluck you chicken who without prompting got it instantly and then to the >counterman at dean and deluca's . ditto . so elitism be damned and if >people >want to push what donald hall calls a mcpoem well let them but.. Susan >Maurer > > > >From: Catherine Daly > >Reply-To: UB Poetics discussion group > > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Pushing Easy Poetry > >Date: Wed, 25 Apr 2007 14:56:29 -0700 > > > >I started blogging on this, but it seems to me that Pinsky's 1) examples > >aren't particularly challenging poems, 2) he leaves some open questions > >about what "difficult" is > > > >-- > >All best, > >Catherine Daly > >c.a.b.daly@gmail.com > >_________________________________________________________________ >The average US Credit Score is 675. The cost to see yours: $0 by Experian. >http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE > > > >--------------------------------- >Ahhh...imagining that irresistible "new car" smell? > Check outnew cars at Yahoo! Autos. _________________________________________________________________ Don’t quit your job – Take Classes Online and Earn your Degree in 1 year. Start Today! http://www.classesusa.com/clickcount.cfm?id=866146&goto=http%3A%2F%2Fwww.classesusa.com%2Ffeaturedschools%2Fonlinedegreesmp%2Fform-dyn1.html%3Fsplovr%3D866144 ========================================================================= Date: Fri, 27 Apr 2007 10:03:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: Pushing Easy Poetry In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052E1F@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-Version: 1.0 Content-Type: text/plain; format=flowed im reading this after seeing savages point about precognitive grasp , which i think is very valid, but in answer to your question it was one of my poems and as i have difficulty showing anyone poems in process (well maybe 2 people) it was a finished poem. i actually believe in such a thing. sm >From: "Tom W. Lewis" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Pushing Easy Poetry >Date: Thu, 26 Apr 2007 11:57:22 -0500 > >Susan: "bugged by certain quarters for unclear poetry i took an unclear >poem ..." -- it took me a second read to realize you weren't >implementing some beautiful extended metaphor about grocery shopping & >difficult poetry... was this an unclear poem you'd run across, or was it >one of your own that someone had labeled "unclear"? in other words, was >it a published piece (therefore in some sense "accepted" into >publication) or something in embryo you were working on? > >my abiding problem with Robert Pinsky: I want to like him, since he's so >energetic and positive about poetry in the world (at least that's his >shtick), but he always seems to choose the path squarely down the middle >in any argument about poetics -- maybe this is what an excellent >popularizer does, a la Keillor & co. > >purveyors of easy poetry speak to a large swath of people... honestly, >I'm delighted when I hear the "Writers Almanac" on the radio, since it's >often the only time I'll hear *any* poetry in the course of my day, at >least from the mainstream squawk-box... "easy" poetry is easily sold to >its readers, and its wide audience can consume it for its soothing >quality -- functional in the same way new age/muzak "calms" frayed >nerves -- no rough edges. > >but what's to be done with the unmentioned, truly "difficult" work that >nobody with the national prominence of Keillor or Pinsky will address? > >as Catherine pointed out, Pinsky's "examples aren't particularly >challenging poems...[and] he leaves some open questions about what >'difficult' is". > >I was disappointed, too -- I thought in this article I was going to see >Pinsky challenge poetry that was more remote from popular. instead, >Pinsky's article chose some pieces that are difficult in a mainstream, >high school English class sort of way (argue if you think this is an >unfair characterization), but largely they are poems *about* being >difficult, not works that *are* difficult. the pieces are easily >comprehended if you "get" what the authors were up to, what the key >tells you if you look at your teacher's edition of the anthology. > >this takes me back to my junior college English class, where we spent 45 >minutes twisting on the teacher's fork over what Robert Graves' "Down, >wanton, down!" is about, before he (the teacher) spluttered with lewd >delight: "it's a penis!!" > >does the key to every poem exist? do we want a key to exist? is a poem >difficult if finding its "key" is impossible on the first read? is a >poem easy if the "key" is left under the doormat? etc. (my take on >postmodern interpretation accepts keyless entry as a valid option.) > >"why don't you write something nice?" as my mother used to say... > > > > > >-----Original Message----- >From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] >On Behalf Of susan maurer >Sent: Thursday, April 26, 2007 8:13 >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Pushing Easy Poetry > >the whole push of if i dont understand it it isnt any good which it >seems is >being pushed by pinsky and the poetry foundation unites me with brenda >hillman who has also done as i did. tired of being bugged by certain >quarters for unclear poetry i took an unclear poem to the counterwoman >at >pluck you chicken who without prompting got it instantly and then to >the >counterman at dean and deluca's . ditto . so elitism be damned and if >people >want to push what donald hall calls a mcpoem well let them but.. Susan >Maurer > > > >From: Catherine Daly > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Pushing Easy Poetry > >Date: Wed, 25 Apr 2007 14:56:29 -0700 > > > >I started blogging on this, but it seems to me that Pinsky's 1) >examples > >aren't particularly challenging poems, 2) he leaves some open questions > >about what "difficult" is > > > >-- > >All best, > >Catherine Daly > >c.a.b.daly@gmail.com > >_________________________________________________________________ >The average US Credit Score is 675. The cost to see yours: $0 by >Experian. >http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTE >RAVERAGE _________________________________________________________________ Mortgage rates near historic lows. Refinance $200,000 loan for as low as $771/month* https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f8&disc=y&vers=689&s=4056&p=5117 ========================================================================= Date: Fri, 27 Apr 2007 09:38:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: anti-queer Arab activity about to happen, THIS IS CRUCIAL, PLEASE READ ASAP! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline "THE DARKEST PLACES IN HELL ARE RESERVED FOR THOSE WHO MAINTAINED THEIR NEUTRALITY IN TIMES OF MORAL CRISIS." --Dante Thanks to all of you who back-channeled. Let me say very openly here that I disagree that it's not FACEBOOK's fault. In fact it's FACEBOOK's giving into, with such ease mind you, policies of fascism (fascism is our word for the week it seems) that bind both FACEBOOK and these Arab governments into one. The tricky thing is that FACEBOOK tries to make this look like they're being helpful, that they're sorry. Isn't that sweet? I mean, it's clear, always clear where these governements stand on the topic of homosexuality since they behead and publicly hang homosexuals. But FACEBOOK wants to appear the victim. Well they're NOT! And by giving in, FACEBOOK is making the Arab LBTG group the victim. But ask yourselves this: If FACEBOOK were asked to shut down a women's group, or other religious or ethnic group because these particular governments were unhappy with their own citizens communicating with them, don't you think that FACEBOOK would have stood their ground? Not for one second do I believe FACEBOOK would have dared agree so easily to shut down other groups. This is pure and simple homophobia at work. Homosexuals are taking the back-seat once again because of archaic beliefs that homosexuality is a choice. The moderator of the Arab LBTG group was right-on when writing, "We would like to encourage everyone to contact Facebook and reject their oppressive, homophobic request towards a specific minority of the queer community." Meaning pointing the finger at FACEBOOK. It's not okay, not okay for even a moment for FACEBOOK to act like their hands are tied. If indeed they stand behind free speech, this is their test, and they're failing it. In my opinion they've ALREADY FAILED the test for the fact that they even consider asking the Arab LBTG group to dissolve, or worse yet, give into a system of profiling Arab members. But in the age of THE PATRIOT ACT, this sort of situation seems lukewarm to some. Well it's not. It's something we need to meet head-on, and support this group. Please consider getting involved. You don't have to do much more than join the group. The growing number of people joining this group will be enough to MAKE the "FACEBOOK TEAM" understand their errors. But this does need to happen soon, as it's all about to take place, this censorship. CAConrad ========================================================================= Date: Fri, 27 Apr 2007 10:50:55 -0400 Reply-To: lmelvin1@binghamton.edu Sender: UB Poetics discussion group From: Metta Sama Subject: x-posting: MFA/PHD combo & AWP MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ---------------------------------------------- Dearest All, A friend is putting together a panel of people who have gotten (or are undertaking) the MFA/PhD (Creative Writing). If you're interested, please email him. I've posted his announcement below. He rec'd his MFA at Chicago & is at Albany in PhD Poetics program. He's author of _The Definition of Place_, just out from Main Street Rag. Begin announcment: With PhD Creative Writing programs beginning to emerge in more and more universities, and the noticeable addition of "MFA, PhD Preferred" to most listings of academic jobs for creative writers, more MFA'ers are feeling the pressure to obtain the doctorate in order to compete in today's academic job market. This panel will feature PhD students who possess a MFA, and they will explore the pros and cons of the PhD curriculum after the MFA. The panel will also address how the PhD affects their writing aesthetic, and will ultimately analyze if this route is best for the creative writer. -- Randall Horton randallhorton.com ========================================================================= Date: Fri, 27 Apr 2007 10:27:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: THE ODYSSEY coming to Philly & Boston, DO NOT MISS IT!!!!!!!!!!!!!!!! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline The amazing Andrea Lawlor and Bernadine Mellis strike again! This time their "pocket myths" takes on THE ODYSSEY! Details for the upcoming Philly show are here: http://CAConradEVENTS.blogspot.com To see details for the BOSTON show, just click on the "pocket myths" hyperlink and you'll see. ========================================================================= Date: Fri, 27 Apr 2007 11:31:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: The Poetics List Welcome Message MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Please note: the list editors reserve the right to decide what messages will be approved for posting to this list. Submitting posts to the list does not guarantee that they will be published. The Poetics List Sponsored by: The Electronic Poetry Center (SUNY-Buffalo/University of Pennsylvania) and the Regan Chair (Department of English, Penn) & Center for Program in Contemporary Writing (Penn) Poetics List Editor: Amy King Poetics List Editorial Board: Charles Bernstein, Julia Bloch, Lori Emerson, Amy King, Joel Kuszai, Nick Piombino Note: this Welcome message is also available at the EPC/@Buffalo page http://epc.buffalo.edu/poetics/welcome.html Poetics Subscription Registration (required) poetics.list --at -- gmail.com note our new address! Poetics Subscription Requests: http://listserv.acsu.buffalo.edu/archives/poetics.html Poetics Listserv Archive: http://listserv.acsu.buffalo.edu/archives/poetics.html Note that any correspondence sent to the Poetics List administration account takes about ten days, for response; mail to this account is checked about once per week. C O N T E N T S: 1. About the Poetics List 2. Posting to the List 3. Subscriptions 4. Subscription Options 5. To Unsubscribe 6. Cautions -------------------------------------------- Above the world-weary horizons New obstacles for exchange arise Or unfold, O ye postmasters! 1. About the Poetics List With the preceding epigraph, the Poetics Listserv was founded by Charles Bernstein in late 1993. Now in its fourth incarnation, the list has over 1300 subscribers worldwide. We also have a substantial number of nonsubscribing readers, who access the list through our web site (see archive URL above). The Poetics List is not a forum for a general discussion of poetry or for the exchange of poems. Our aim is to support, inform, and extend those directions in poetry that are committed to innovations, renovations, and investigations of form and/or/as content, to the questioning of received forms and styles, and to the creation of the otherwise unimagined, untried, unexpected, improbable, and impossible. While we recognize that other lists may sponsor other possibilities for exchange, we request that those participating in this forum keep in mind the specialized and focused nature of this project and respect our decision to operate a moderated list. The Poetics List exists to support and encourage divergent points of view on innovative forms of modern and contemporary poetry and poetics, and we are committed to do what is necessary to preserve this space for such dialog. Due to the high number of subscribers, we no longer maintain the open format with which the list began (at under 100 subscribers). The specific form of moderation that we employ is a relatively fluid one: in most cases, messages are reviewed after having been posted to the list, and difficulties resolved on that basis; however, the listserv editorial board may shift between this and a pre-review mode which calls for all messages to be read and approved before being forwarded to the list. We prefer to avoid this option as it hampers the spontaneity of discussion that we hope to promote. In addition to these options, the editorial board will unsubscribe individuals if they are not, in our opinion, productively contributing to the list or following our guidelines. We remain committed to this editorial function as a defining element of the Poetics List. Please also note that this is a not a general interest poetry list and information about this list should not be posted to directories of poetry lists. The idea is to keep the list membership to those with specific engagement related to the list's stated orientation. The current limits of the list are 75 messages per day, and a maximum of four messages per subscriber per day; but these limits are subject to change withouth notice. In addition to being archived at through the EPC (http://epc.buffalo.edu) and at http://listserv.acsu.buffalo.edu/archives/poetics.html, some posts to Poetics (especially reviews, obituary notices, announcements, etc.) may also become part of specific EPC subject areas. Note also that Roof Books published Joel Kuszai's edited collection of the Poetics List; this is available from ROOF and also on line at the EPC. 2. Posting to the List The Poetics List is a moderated list. All messages are reviewed by the editors in keeping with the goals of the list as articulated in this Welcome Message (see section 1). Please note that while this list is primarily concerned with discussions of poetry and poetics, messages relating to politics and political activism, film, art, media, and so forth are also welcome. We strongly encourage subscribers to post information, including web links, relating to publications (print and internet), reading series, and blogs that they have coordinated, edited, published, or in which they appear. Such announcements constitute a core function of this list. Brief reviews of poetry events and publications (print or digital) are always welcome. We generally do not accept postings of creative work not directed toward a discussion of poetics issues on the list. The Poetics List is not a venue for the posting of free-standing, personal poems or journal entries. However, the Poetics List editor may occasionally solicit or approve poems for posting on the list. Also, please note that the Poetics List is not a "chat" list and we discourage the posting of very short messages intended for only a few subscribers. All posts go out not only to list subscribers but also become a public part of the list archive on the web. Note that posting to the list is a form of publication and that by sending your message to the list you formally consent to such web publication. Posts are currently being indexed by search engines such as Google. It is not possible for us to remove posts from the list archive or to control search engine indexing of these posts. Subscribers only may post to the Poetics List. Send messages directly to the list address: poetics@listserv.buffalo.edu. 3. Subscriptions *For all subscription requests go to http://listserv.acsu.buffalo.edu/archives/poetics.html. *To subscribe for the first time click on "Subscribe (join) a List." Immediately following your subscription to the poetics listserv we ask that you email poetics@buffalo.edu, subject-line "registration," with your full name, street address, email address, and telephone number. Failure to register at the time of subscription will result in automatic deletion from the subscription roll. *To manage your subscription (for descriptions of the different subscription options please see section 3), click on "Subscriber's Corner." Subscriptions to the Poetics List are free of charge, but formal registration is required. All other questions about subscriptions, whether about an individual subscription or subscription policy, should be addressed to this same administrative address. PLEASE NOTE: All subscription-related information and correspondence remains absolutely confidential. All posts to the list must provide your full real name, as registered. If there is any discrepancy between your full name as it appears in the "from" line of the message header, please sign your post at the bottom. Subscribers who do not include their full name with each post will be unsubscribed form the list. The most frequent problem with subscriptions is bounced messages. If your system is often down or if you have a low disk quota, Poetics messages may get bounced, which will result in your subscription being automatically terminated by the Listserv program and the automatically generated message telling you that this has occurred will also likely bounce. If this happens, you may re-subscribe to the list by the same process described above. One remedy to avoid this happening in the future: set your list options to "no-mail" and read the list on the web. 4. Subscription Options We encourage you to alter your subscription options via the link on the right side of the screen at http://listserv.acsu.buffalo.edu/archives/poetics.html. If you would prefer not to use the web-interface, you may also email the following commands: *to subscribe to the Poetics listserv send listserv@listserv.buffalo.edu this one-line message with no "subject": sub poetics [your Firstname and Lastname] *RECOMMENDED: if you wish to read the list on our web interface and not receive any messages sent directly, while remaining subscribed to the list and so eligible to send us posts, send this one-line message to with no "subject": set poetics nomail. Note: this option is also useful for temporary suspension of email service. *to reactivate Poetics e-mail send this one-line message with no "subject": set poetics mail * to receive the list in digest form (you will receive the day's individual posts in one email sent just after midnight EST), send this one-line message with no "subject": set poetics digest *to receive posts in the default option (you will receive individual postings immediately), send this one- line message with no "subject": set poetics nodigest * to receive the list in index form (you will receive a list, without the text of the posts, of the subjects discussed each day along with the author's name and address and the number of lines it comprises; you can also choose to have the index sent to you in either plain text or in HTML format with hyperlinks), send this one-line message with no "subject": set poetics nohtml index --or-- set poetics html index PLEASE NOTE: do not leave your Poetics subscription in default or digest mode if you are going to be away for any extended period of time. Your account may become flooded and you may lose Poetics messages as well as other important mail. In such cases, switch your subscription to "nomail" as recommended above. 5. To Unsubscribe To unsubscribe (or change any of your subscription options), again, we strongly encourage you to go to the right-hand side of the screen at http://listserv.acsu.buffalo.edu/archives/poetics.html You may also may unsubscribe by sending a one-line email to with no "subject": unsub poetics If you are having difficulty unsubscribing, please note: sometimes your e-mail address may be changed slightly by your system administrator. If this happens you will not be able to send messages to Poetics or to unsubscribe, although you will continue to receive mail from the Poetics List. To avoid this problem, unsub using your old address, then resubscribe with your new email address. 6. Cautions "Flame" messages will not be tolerated on the Poetics List. We define 'flaming' as any post that resembles a personal attack or personal insult to anyone--subscriber or not. This of course includes racist, sexist, or other slurs as well as ad hominem arguments in which the person rather than their work is attacked; in other words while critique of a person's work is welcome (critical inquiry is one of the main functions of the list), this critique cannot extend to a critique or criticism of the person. The listserv is intended to be a productive communal space for discussion and announcements; as such, subscribers who do not follow listserv policy will be removed from the subscription roll. In enforcing this policy, the editors must consider sometimes competing interests. The basis for our decisions, however, rests with our collective judgment about the kind of space we want for the list. For reasons of basic security, we do not allow pseudonymous subscriptions. All messages intended for the Poetics List should be sent in Text-Only format, without attachments. We do not accept HTML-formatted messages or attached files. As a general rule, keep individual posts to 1,000 words or less. Please do not publish list postings without the express permission of the author. Posting on the list is a form of publication. Copyright for all material posted on Poetics remains with the author; material from this list and its archive may not be reproduced without the author's permission, beyond the standard rights accorded by "fair use" of published materials. All material on the Poetics List remains the property of the authors; before you reproduce this material, in whole or in part, we ask that you get permission (by email is fine) from the authors. If they give permission, then we ask only that you say that the post or posts appeared originally on the Poetics List (http://epc.buffalo.edu/poetics/welcome.html) on [give date and say:] Used by permission of the author. As an outside maximum, we will accept no more than 4 messages per day from any one subscriber. Also, given that our goal is a manageable list (manageable both for moderators and subscribers), the list accepts 75 or fewer messages per day, though these paramenters may be changed at the discretion of the list moderator. Like all systems, the listserv will sometimes be down: if you feel your message has been delayed or lost, *please wait at least one day to see if it shows up*, then check the archive to be sure the message is not posted there; if you still feel there is a problem, you may wish to contact the editors at . http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 27 Apr 2007 05:30:44 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Pushing Easy Poetry In-Reply-To: MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT that's what gertrude stein said about her work--ordinary people understood it. hmmmm. g No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Thu, 26 Apr 2007, susan maurer wrote: > the whole push of if i dont understand it it isnt any good which it seems is > being pushed by pinsky and the poetry foundation unites me with brenda > hillman who has also done as i did. tired of being bugged by certain > quarters for unclear poetry i took an unclear poem to the counterwoman at > pluck you chicken who without prompting got it instantly and then to the > counterman at dean and deluca's . ditto . so elitism be damned and if people > want to push what donald hall calls a mcpoem well let them but.. Susan > Maurer > > > >From: Catherine Daly > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Pushing Easy Poetry > >Date: Wed, 25 Apr 2007 14:56:29 -0700 > > > >I started blogging on this, but it seems to me that Pinsky's 1) examples > >aren't particularly challenging poems, 2) he leaves some open questions > >about what "difficult" is > > > >-- > >All best, > >Catherine Daly > >c.a.b.daly@gmail.com > > _________________________________________________________________ > The average US Credit Score is 675. The cost to see yours: $0 by Experian. > http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE > ========================================================================= Date: Fri, 27 Apr 2007 10:47:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: pushing easy poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit I can't really come down on easy poetry per se because I doubt that very many people get into poetry any other way. We all started somewhere and lots of people are at the very beginning when it comes to poetry, including many English teachers who are in it for the fiction. However, this discussion has given me a simple thought: wouldn't it be great if Ted Kooser's weekly column and Keiller's radio thing presented two poems each time...one easy and one that's a little more challenging. It would be particularly useful in print with the option for re-reading. Charlie ========================================================================= Date: Fri, 27 Apr 2007 05:59:29 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Fascist "300"? In-Reply-To: MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=WINDOWS-1252 Content-transfer-encoding: QUOTED-PRINTABLE but then again, wilhelm reich, _the mass psychology of fascism_... g No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Thu, 26 Apr 2007, Pierre Joris wrote: > =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 > > On Apr 25, 2007, at 7:56 PM, George Bowering wrote: > > > On Apr 25, 2007, at 2:02 PM, kom9os@bigpond.net.au wrote: > > > >> i believe fascism is in everybody. > > > > That is a silly belief, in my opinion. > > Fascism is a political system, > > and one that calls for the tossing away of the sense of the > > individual, > > hence the fasces. > > > 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 75 43 57 10 > 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, 27 Apr 2007 09:08:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron McCollough Subject: New GutCult Up... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit After a drawn out dissertation-related hiatus, the new GutCult is finally here. Please partake of its bounties. http://www.gutcult.com Included: poetry by Philip Jenks Stan Mir Zach Barocas Geoff Bouvier Daniel Khalastchi Anne Heide Sueyeun Juliette Lee Derek Pollard Guido Monte Dan Roseberg Derek Henderson Mary Kasimor Ish Klein Hugh Behm-Steinberg Nathan Hauke Reviews of Karla Kelsey, Zach Barocas, Kent Johnson, and Jen Tynes. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 27 Apr 2007 12:10:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Jos=?iso-8859-1?Q?=E9?= Kozer reading Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Last night 150 people came to the Americas=20 Society to hear Jos=E9 Kozer and Achy Obejas. A=20 great reading. Kozer's last in New York, a=20 solo, will be this evening at 6:15 at the Rey=20 Juan Carlos Center, 53 Washington Square South=20 between Thompson and Sullivan. It's a bilingual=20 reading--I'll be reading the translations. I hope to see some of you there. Mark ========================================================================= Date: Fri, 27 Apr 2007 11:59:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: WORKSHOP with Artist & Poet Joel Lipman May 12th!- Please pass this on! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable > Date: Wed, 25 Apr 2007 13:16:41 -0700> From: woodlandpattern@sbcglobal.ne= t> Subject: WORKSHOP with Artist & Poet Joel Lipman May 12th!- Please pass = this on!> To: woodlandpattern@sbcglobal.net> > WORKSHOP with Artist & Poet = Joel Lipman May 12th!- Please pass this> on!> > > "Origins of Poetry: Explo= ring the Materials & Practice of Mail Art &> Visual Poetry"> with Joel Lipm= an> Saturday, May 12th, 1-4pm $60/$55m materials included> > Letters, signs= , marks, glyphs & words are the practical, physical> materials of visual po= ems. Visual poetry's technologies range across> methods & strategies from t= oday's digital applications to those> reaching back for their origins to Pa= leolithic gouging, scratching &> pre-alphabetic gestures.> > The workshop w= ill explore found & obsolete materials, palimpsests,> non-lexical arrangeme= nts, rubberstamps & other adaptive print> devices & technologies. The page,= envelope and postcard will be our> specific, objective & functional "canva= ses." Participants should> bring art & writing tools, marking devices & usa= ble personal> materials & examples. Additional print supplies and rubberst= amps> will be available.> > The focus will be on crafting the visual poem, = exploring the page &> conceptualizing mail art objects & correspondence pro= jects.> > Joel Lipman is a professor of Art & English at the University of>= Toledo where he's currently teaching "Artist's Books & Mail Art" to> under= graduates in a wide-range of arts & educational disciplines. He> teaches ek= phrastic poetry as a faculty member of the Toledo Museum> of Art School of = Art & Design. His current Woodland Pattern exhibit> will be de-installed af= ter the workshop.> > > To register for this workshop call (414) 263-5001.> = To look at his work that is currentl in the gallery visit> http://www.woodl= andpattern.org/gallery/exhibits.shtml> Woodland Pattern Book Center celebra= ting the contemporary> imagination since 1979.> > > > http://www.woodlandpa= ttern.org/> > Woodland Pattern Book Center> 720 E. Locust Street> Milwaukee= , WI 53212> phone 414.263.5001 _________________________________________________________________ Discover the new Windows Vista http://search.msn.com/results.aspx?q=3Dwindows+vista&mkt=3Den-US&form=3DQBR= E= ========================================================================= Date: Fri, 27 Apr 2007 10:23:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: anti-queer Arab activity about to happen, THIS IS CRUCIAL, PLEASE READ ASAP! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit There is now a Facebook group called, "The official Petition to prevent Arab LBTG from being shut down." (Thanks, Jordan!) ----> http://www.facebook.com/group.php?gid=2373716526 Name:The official Petition to prevent Arab LBTG from being shut down. Type:Common Interest - Beliefs & Causes Description:Dear Facebook users: We represent the group "ArabLBTG". We are posting this as a plea for your support in an act of resistance against Facebook's request of shutting down the group because they have received several complaints from particular Arab governments. If we do not shut down the group, according to Facebook, we have to make it a closed group that excludes specific Arab citizens, such as Saudi and Egyptian. This is not conducive to a queer-positive Facebook environment, but an exclusivist, discriminatory, racist environment that threatens our right to free speech. We would like to encourage everyone to contact Facebook and reject their oppressive, homophobic request towards a specific minority of the queer community: http://uillinois.facebook.com/help.php?tab=suggest http://uillinois.facebook.com/help.php?show_form=2 Thank you for all your support In hopes of victory, ArabLBTG Admin --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Fri, 27 Apr 2007 12:34:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: pushing easy poetry In-Reply-To: <26160.65.79.22.226.1177688832.squirrel@www.poetrypoetry.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable my experience with poetry was the opposite: junior year HS English teacher tells us to pick a poem or work of short fiction and write a research paper on it -- we can pick anything, *except* The Waste Land (too difficult, too much of a turn-off for young minds, said Mr. Albertazzi). of course I picked the forbidden fruit just to flout his commandment, and made off with an A before I was kicked out of Eden (or Placer Cty. -- my sense of geography remains vague to this day). so I guess I've always seen difficulty or ease of reception of poetry as a state of mind, not something concrete. nevertheless, yeah, something sweet and charming is called for to entice those not willing to be pummeled with strangeness. the ones looking for a challenge won't need PR campaigns, I would assume. --- compare with classical composers: is Mozart easy and is Charles Ives difficult? there are some gnarly sections in Mozart's corpus, and Ives has a lot of elegant, "easy-on-the-ear" pieces... perhaps this indicates a false dichotomy?=20 tl -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Charlie Rossiter Sent: Friday, April 27, 2007 10:47 To: POETICS@LISTSERV.BUFFALO.EDU Subject: pushing easy poetry I can't really come down on easy poetry per se because I doubt that very many people get into poetry any other way. We all started somewhere and lots of people are at the very beginning when it comes to poetry, including many English teachers who are in it for the fiction. However, this discussion has given me a simple thought: wouldn't it be great if Ted Kooser's weekly column and Keiller's radio thing presented two poems each time...one easy and one that's a little more challenging. It would be particularly useful in print with the option for re-reading. Charlie ========================================================================= Date: Fri, 27 Apr 2007 14:01:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: pushing easy poetry In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052E42@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit there's j joyce difficulty which requires knowledge of all sorts of things outside the poem--tho you can something from the sound effects-- then there's g. stein--I read her poems to 5th graders & sd Write Stein poem, and they did--unacademic, it requires paying attention then there's Language poetry difficult, which disappears if you read a few of say Bernstein's essays. conservatory students seem to get that they are being freed from usual constraints by Lang. poets, and that these poems aren't random or arbitrary, then they start talking abt things they don't us. articulate--they love E. Bishop & A. Sexton but are critical of usual lyric/narrative/personal poems--they even say That's not art, art goes beyond the self. there's the difficulty of the new--few people listen to new music or free jazz, accord. to musicians I know On 4/27/07 1:34 PM, "Tom W. Lewis" wrote: > my experience with poetry was the opposite: junior year HS English > teacher tells us to pick a poem or work of short fiction and write a > research paper on it -- we can pick anything, *except* The Waste Land > (too difficult, too much of a turn-off for young minds, said Mr. > Albertazzi). of course I picked the forbidden fruit just to flout his > commandment, and made off with an A before I was kicked out of Eden (or > Placer Cty. -- my sense of geography remains vague to this day). > > so I guess I've always seen difficulty or ease of reception of poetry as > a state of mind, not something concrete. > > nevertheless, yeah, something sweet and charming is called for to entice > those not willing to be pummeled with strangeness. the ones looking for > a challenge won't need PR campaigns, I would assume. > > --- > > compare with classical composers: is Mozart easy and is Charles Ives > difficult? there are some gnarly sections in Mozart's corpus, and Ives > has a lot of elegant, "easy-on-the-ear" pieces... perhaps this indicates > a false dichotomy? > > tl > > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Charlie Rossiter > Sent: Friday, April 27, 2007 10:47 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: pushing easy poetry > > I can't really come down on easy poetry per se because I doubt that very > many people get into poetry any other way. We all started somewhere and > lots of people are at the very beginning when it comes to poetry, > including many English teachers who are in it for the fiction. > > However, this discussion has given me a simple thought: wouldn't it be > great if Ted Kooser's weekly column and Keiller's radio thing presented > two poems each time...one easy and one that's a little more challenging. > > It would be particularly useful in print with the option for re-reading. > > Charlie ========================================================================= Date: Fri, 27 Apr 2007 11:40:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: Re: pushing easy poetry In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I think the challenge new music presents to us, especially in the Ivesian tradition, is to look at everything as new. If someone's doing genre work very straight-up, coming at it from listening to Ives, or John Zorn or Christian Marclay, I'm inclined to say "what's that genre doing here"? The criterion for me then is not if something's new, but if looking at it in that way, in the way of wondering why it is as it is, produces an interesting listen or read. "New" work rewards looking at what about it is momentous, "old" work does not. If I read Bernstein's last new book of poetry and ask "what's he developing, what's he up to" I think I'll get more interesting answers than if I do the same with Philip Levine's (even though I like both poets). On Apr 27, 2007, at 11:01 AM, Ruth Lepson wrote: > there's j joyce difficulty which requires knowledge of all sorts of > things > outside the poem--tho you can something from the sound effects-- > > then there's g. stein--I read her poems to 5th graders & sd Write > Stein > poem, and they did--unacademic, it requires paying attention > > then there's Language poetry difficult, which disappears if you > read a few > of say Bernstein's essays. > > conservatory students seem to get that they are being freed from usual > constraints by Lang. poets, and that these poems aren't random or > arbitrary, > then they start talking abt things they don't us. articulate--they > love E. > Bishop & A. Sexton but are critical of usual lyric/narrative/personal > poems--they even say That's not art, art goes beyond the self. > > there's the difficulty of the new--few people listen to new music > or free > jazz, accord. to musicians I know > > > On 4/27/07 1:34 PM, "Tom W. Lewis" wrote: > >> my experience with poetry was the opposite: junior year HS English >> teacher tells us to pick a poem or work of short fiction and write a >> research paper on it -- we can pick anything, *except* The Waste Land >> (too difficult, too much of a turn-off for young minds, said Mr. >> Albertazzi). of course I picked the forbidden fruit just to flout his >> commandment, and made off with an A before I was kicked out of >> Eden (or >> Placer Cty. -- my sense of geography remains vague to this day). >> >> so I guess I've always seen difficulty or ease of reception of >> poetry as >> a state of mind, not something concrete. >> >> nevertheless, yeah, something sweet and charming is called for to >> entice >> those not willing to be pummeled with strangeness. the ones >> looking for >> a challenge won't need PR campaigns, I would assume. >> >> --- >> >> compare with classical composers: is Mozart easy and is Charles Ives >> difficult? there are some gnarly sections in Mozart's corpus, and >> Ives >> has a lot of elegant, "easy-on-the-ear" pieces... perhaps this >> indicates >> a false dichotomy? >> >> tl >> >> >> >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] >> On Behalf Of Charlie Rossiter >> Sent: Friday, April 27, 2007 10:47 >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: pushing easy poetry >> >> I can't really come down on easy poetry per se because I doubt >> that very >> many people get into poetry any other way. We all started >> somewhere and >> lots of people are at the very beginning when it comes to poetry, >> including many English teachers who are in it for the fiction. >> >> However, this discussion has given me a simple thought: wouldn't >> it be >> great if Ted Kooser's weekly column and Keiller's radio thing >> presented >> two poems each time...one easy and one that's a little more >> challenging. >> >> It would be particularly useful in print with the option for re- >> reading. >> >> Charlie ========================================================================= Date: Fri, 27 Apr 2007 11:48:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: Kenneth Goldsmith @ Brooklyn Public Library, 4/28 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Saturday, April 28, 4 PM Kenneth Goldsmith: Uncreative Writing Goldsmith reads from his work and discusses the merits of plagiarism, identity theft, repurposing papers, patchwriting, sampling, plundering, and stealing. Central Library 2nd Floor Meeting Room Grand Army Plaza Brooklyn, NY 718-230-2100 UbuWeb http://ubu.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 27 Apr 2007 13:17:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Book Review: Christopher Salerno: Whirligig MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit A review of Christopher Salerno's Whirligig is here: http://www.adamfieled.blogspot.com Love on yer, dearies.... Ad --------------------------------- Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ========================================================================= Date: Fri, 27 Apr 2007 14:51:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: Orgy in the Beef Closet MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hey All, This just in from TRANSMISSION Press: The 5th TRANSMISSION chapbook, Michael Koshkin's Orgy in the Beef Closet, is now available. This book would make a perfect party favor at company parties, mixers, and ice cream socials. Orgy in the Beef Closet is printed in an initial run of 150 copies, and is about 20 pages long, letterhalf in size, and staple-bound. This chap is printed on ivory linen paper, with an 80lb, vellum coverstock. You can purchase Michael Koshkin's Orgy in the Beef Closet thru PayPal at http://transmissionpress.blogspot.com (on the sidebar) or by making out a check to Logan Ryan Smith for $3.50 and sending it to: Logan Ryan Smith 711 Leavenworth St., #35 San Francisco, CA 94109 ________________________ from Orgy in the Beef Closet: It descended without fuss We were breathing together between mechanics she, the piston Kirkwood, the block-tongued cloudburst. If anyone is interested in a review copy, please let me or Logan know and we'll get you one. Did you notice the book is only $3.50?! You might also want to check out the other TRANSMISSION titles from Sabrina Calle, Mark Lamoureux, Brandon Brown and Larry Kearney. Thanks for your time. best, Michael Koshkin -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Fri, 27 Apr 2007 20:18:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: The Wake Up and Live's ACTOR'S STUDIO presents Gary Webster's "You'll be Back", "Prime Beef", and "Strictly Platonic?" back to back each day on Saturday April 28 at 7:30 pm, and Sunday April 29th at 3 pm. Content-Type: text/plain; charset=utf-8 The wake up and live's actor's studio presents gary webster's "you'll be back", "prime beef", and "strictly platonic?" back to back each day on saturday april 28 at 7: 30 pm, and Sunday April 29th at 3 pm. For more information about the plays, contact Sue Johnson, Director, 216/561-8608, or at wakeup4664@aol.com Parking is $1 in the underground garage -- that's the easiest access to the building for these events. Parking is free on 12th Street, but you have to use the security buzzer to get admitted to the building. If you'd like to be removed from this list, please email mbales@oh.verio.com Thank you ========================================================================= Date: Fri, 27 Apr 2007 20:23:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: April 28 & 29: NFO XPO art activism MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Version Festival >07 Chicago, IL http://www.versionfest.org NFO XPO Saturday, April 28 noon-7pm Sunday, April 29 noon-7pm Zhou B Center 1029 W. 35th St, basement http://www.zbcenter.org $10 Donation The NFO EXPO (pronounced “info expo”) brings art groups and community orgs together to exchange information and ideas as well as provide a public platform for each group to present themselves. We see it as a trade show for experimental art, emerging spaces, and radical exchange. It’s our version of what an art fair should be. Featuring: Anti Gravity Surprise, Assume Vivid Astro Focus, Aldir Mendes de Souza,Bird House Museum, Polvo Gallery, Chicago Underground Library, Anni Holm, Monster Box, Archeworks, Archecamp, Anarchitectures, Magnificent Moss, Guillotine, Crowe Brooks’ Disco Mutation, Speaker Boys Epiphany, Intimate Apparel, Janet Groenert, Art Shanties, Country Club, Soule Soule, Sewing Rebellion, The Plaines Project, Dillon- De Give, cBlends, Green Lantern, Secret Order of the Lamprey, Terry Plumming, JB Daniel, Will Work for Food, Three-walls, You Know A Secret, Pray for Oil, Alee Peoples, Street Art Workers Collective, Reversible Eye, Elise Blue, Sean Smuda- Dream Research, Noisvelvet, Campo, Disposable Society, Andrew Kim, I-go, Moveable Labyrinth, 3066 Labs InCUBATE, and many many others. Performances, discussions and other autonomous programming accompanies the NFO EXPO. Dinner will be provided at 5pm each nite. You can gain free admission to the Unofficial Art Fair Happening at Co-Prosperity Sphere with a paid admission to the NFO EXPO. **Version Festival >07** A diverse program of activities featuring an art exposition/art fair, multiple art exhibitions, urban events, film screenings, interactive technologies, performances, street art, presentations, talks, workshops, and art rendezvous and action. Version is a massive DIY festival with many components. Choose your own adventure. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 27 Apr 2007 23:33:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: inordinate modeling MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed inordinate modeling within and without semi-geodesic space of avatar paralleling SL avatar behavior collisions. please watch to the end; there are dark unlit spaces within. this surprised me. http://www.asondheim.org/inordinate.mov ========================================================================= Date: Fri, 27 Apr 2007 23:03:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: YAPANCHITRA (A Portrait of Life) In-Reply-To: <6244C052-6F5F-48A1-BC26-09FB33630E1A@mac.com> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I just received a contributor's copy (thanks Aryanil Mukherjee!) of what promises to be a fascinating international book/anthology, edited by KOLKATAN BARNALI ROY (whose email is barnalicreations@gmail.com) for $10, this 240 page perfect bound object contains writings (from poems to essays on poetics to cultural criticism, etc) from USA, Australia, Europe, India (India-Bengal), Japan and New Zealand.... Chris ========================================================================= Date: Fri, 27 Apr 2007 23:54:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: spring poem god its beautiful jim In-Reply-To: <8f3fdbad0704261338v3e5907f0s8f22571c62bc7051@mail.gmail.com> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit Thanks, Peter and Gretchen. I went to the drug store today for some well never mind. Additionally, I usually visit the computers section (toy division) of the drug store. They sell Macs and PCs. I use a PC; don't have a Mac. So the drug store is my Mac division for testing my work. Of course they also sell Windows machines with Vista on them, so I see how my work functions under Vista. That's a bit of an issue these days because I write with Director, and it's kind of slipping. I see that 'Spring Poem' looks way different on the Macs, and way different on PCs with wide monitors. I'll have to fix those problems. On the Mac, the colors are quite different. Also, currently I'm adjusting the size of the animations only according to the browser width. My monitor is 1280x1024. But the monitors in the drugstore are all considerably wider. Though not higher. So I'll have to size the animations based both on width and height. Otherwise, the animations are too large and the thing doesn't behave or look very good. On my monitor at home, 'Spring Poem' suggests shapes as it sketches. When the animations are too big, the sketches don't suggest shape so readily. The 'pen' is too wide and high to suggest shapes with its incremental sketching. Also, there's some sort of problem with the code of the springs physics after quite a while. Boing boing boing all over the place too fast. A code bug of some sort. Have been fiddling with various parameters I'd like to let the wreader adjust. Like the animation size. Also, Director has 'inks'. Copy, background transparent, ghost, not ghost, reverse, not reverse, add pin, subtract, darken, lighten, multiply, screen, and so on. A few of these look quite different than the usual. Also, would like to let the wreader adjust the background color. And the transparency of the animations. It turns out it isn't too hard to let wreaders import their own Photoshop or Flash or bitmap files. So eventually I'd like to support that. Mind you, I find that with most of my stuff, I have all sorts of ideas for interesting features, as I develop it, but can't implement all of my ideas. And have to move on at a certain point. The main idea in "Spring Poem" was to implement a software 'pen' that consists of various 'nibs' that each hold an image or an animation. I first saw this in CorelPaint around 1998; I used CorelPaint to make http://vispo.com/I/ThePen.html and http://vispo.com/pornomorphs/SexGoddess.html . The Pornomorphs also used a symmetry tool; the Pornomorphs were just body parts without the symmetry tool; the symmetry tool turned them into bodies. I thought it'd be cool to try to make a 'pen' where the 'nibs' were all attached to the main 'pen' via springs. I looked around and found some Lingo code by Danny Kodicek that implements springs in 'simple harmonic motion'. I have a few books that describe the physics, which I'm pondering somewhat cluelessly. But I don't need to understand the physics to use Kodicek's implementation of the physics. The springs are quite long in 'Spring Poem'. You don't see tight motion around where you click. The springs are loose and long. I'd also like to let the wreader adjust the length of the springs. And their springyness, yadayada. The basic idea is of a 'pen' that sketches visual poems from language. Either by itself or with the wreader's input. Once I develop the piece a bit further, I'll post an updated link. Thanks for your interest. ja http://vispo.com ========================================================================= Date: Sat, 28 Apr 2007 09:03:50 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Niels hav Subject: Info, poems & a question Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed I know of a poet from out of town who's maybe coming to NY and would like to put in a reading http://www.icorn.org/articles.php?var=52 I'm Danish. My new collection of poetry, "We Are Here", is published in Toronto http://www.bookthug.ca/miva/merchant.mvc?Screen=PROD&Store_Code=apollinaire&Product_Code=2427&Category_Code=BT2006B. I’m invited for literary festivals in Canada Sept.- Oct.; the program is: THIN AIR, the Winnipeg International Writers Festival, Sept. 23-30 http://www.winnipegwords.com/about_us.html Calgary International Writers Festival, Oct. 9th-14th. http://www.wordfest.com/media_facts.php Vancouver International Writers Festival, Oct. 16 – 21 http://www.writersfest.bc.ca/ As you see there are some free days 1th-8th Oct. after THIN AIR. It will also be possible to do a reading late in October - after Writersfest in Vancouver. If this is in your interest I would be happy to go down to NY for a reading or two. Best, Niels Hav http://www.moroccotoday.net/malitaut_nielshav_index.htm EPIGRAM You can spend an entire life in the company of words not ever finding the right one. Just like a wretched fish wrapped in Hungarian newspapers. For one thing it is dead, for another it doesn't understand Hungarian! Translation: P.K. Brask & Patrick Friesen © Niels Hav _________________________________________________________________ Download din yndlingsmusik på MSN Music: http://www.msn.dk/music det er nemt og billigt ========================================================================= Date: Sat, 28 Apr 2007 08:16:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Re: 2007 Kriti Festival In-Reply-To: <257116.96465.qm@web31001.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit "In Custody" might interest many from this list.....its about a forgotten, sick and ageing Urdu (Islamic) poet, brilliantly played by Shashi Kapoor, taut and stressed by the daily quarrels between his two wives, on whom he is destined to depend for the rest of his life. Poetry and nostalgia apart, the film focusses on the mysterious and altercating relationship between the two women. ----- Original Message ----- From: "Jennifer Karmin" To: Sent: Tuesday, April 24, 2007 2:34 PM Subject: 2007 Kriti Festival > The 2007 Kriti Festival will be held in Chicago > April 26-29th, 2007. > > Kriti will be a four-day event celebrating South Asian > and diaspora literature, with panel discussions, > performances, readings, music and song, storytelling > for kids, and much more! > > http://www.desilit.org/kriti.html > > Our Guest of Honor in 2007 will be award-winning > author Anita Desai, noted Indian novelist, > short-listed for the Booker Prize three times. (Her > daughter, Kiran Desai, recently won the 2006 Booker > Prize.) Just a few of Anita Desai's wonderful books > include Fasting, Feasting;Baumgartner's Bombay; Clear > Light of Day, and In Custody (which was made into a > Merchant/Ivory film, starring Shashi Kapoor, Shabana > Azmi, and Om Puri). More info on Anita Desai: > http://en.wikipedia.org/wiki/Anita_Desai > > Schedule in Brief: > *Thursday, April 26th: > (Roosevelt University, 430 S. Michigan Ave.) > - 5:00 - 5:30 p.m. opening reception > - 5:30 - 8:00 p.m. rapid-fire reading by attending > panelists > (this Thursday evening event is free and open to the > public) > > *Friday, April 27th: > (UIC Student Center, 750 S. Halsted) > - 10:00 a.m. - registration opens, writing workshop > - 11:00 - 5:00 p.m. - panels, readings, film > screenings > - 5:00 - 5:30 p.m. - Anita Desai reception > - 5:30 - 6:30 p.m. - Anita Desai Keynote Speech > - 7:00 - 9:30 p.m. - Voices of Resistance > (presented in collaboration with SAPAC) > - 9:30 - 1:30 a.m. - Funkadesi at Fitzgerald's > (separate cover charge) > > *Saturday, April 28th: > (UIC Student Center, 750 S. Halsted) > - 9:00 a.m. - registration opens, writing workshop > - 10:00 - 7:00 p.m. - panels, readings, film > screenings, art show > - 11:30 - 12:30 p.m. - Anita Desai reading and > signing > - 5:00 - 6:30 p.m. - Rasaka performance > (Desi Women of the Diaspora) > - 8:00 - 10:00 p.m. - open mic, hosted by Yesha > Naik, film screening > > *Sunday, April 29th: > (UIC Student Center, 750 S. Halsted) > - 9:00 a.m. - registration opens, writing workshop > - 10:00 - 3:00 p.m. - panels, readings, film > screenings > - 3:00 - 5:00 p.m. - Maahaul classical music concert > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.463 / Virus Database: 269.5.4/768 - Release Date: 4/19/2007 > 5:32 AM > > ========================================================================= Date: Sat, 28 Apr 2007 08:32:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Don't forget -- Weems, Foster, & Swirynski today at Gallery 324 Content-Type: text/plain; charset=utf-8 Don't forget -- Weems, Foster, & Swirynski today at Gallery 324 Saturday, April 28th, 2007, at noon Gallery 324 The Galleria at Erieview 1301 E 9th St Cleveland, Ohio 44114 for more information: Marcus Bales 216/780-1522 marcus@designerglass.com Parking is $1 in the underground garage -- that's the easiest access to the building for these events. Parking is free on E 9th, E 12th, and St Clair. I look forward to seeing you there. If you'd like to be removed from this list, please email mbales@oh.verio.com Thank you ========================================================================= Date: Sat, 28 Apr 2007 09:45:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: spring poem god its beautiful jim In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Jim, Your explanation of the process has itself the feel of a poem. Ciao, Murat On 4/28/07, Jim Andrews wrote: > > Thanks, Peter and Gretchen. > > I went to the drug store today for some well never mind. Additionally, I > usually visit the computers section (toy division) of the drug store. They > sell Macs and PCs. I use a PC; don't have a Mac. So the drug store is my > Mac > division for testing my work. Of course they also sell Windows machines > with > Vista on them, so I see how my work functions under Vista. That's a bit of > an issue these days because I write with Director, and it's kind of > slipping. > > I see that 'Spring Poem' looks way different on the Macs, and way > different > on PCs with wide monitors. I'll have to fix those problems. > > On the Mac, the colors are quite different. Also, currently I'm adjusting > the size of the animations only according to the browser width. My monitor > is 1280x1024. But the monitors in the drugstore are all considerably > wider. > Though not higher. So I'll have to size the animations based both on width > and height. Otherwise, the animations are too large and the thing doesn't > behave or look very good. On my monitor at home, 'Spring Poem' suggests > shapes as it sketches. When the animations are too big, the sketches don't > suggest shape so readily. The 'pen' is too wide and high to suggest shapes > with its incremental sketching. > > Also, there's some sort of problem with the code of the springs physics > after quite a while. Boing boing boing all over the place too fast. A code > bug of some sort. > > Have been fiddling with various parameters I'd like to let the wreader > adjust. Like the animation size. Also, Director has 'inks'. Copy, > background > transparent, ghost, not ghost, reverse, not reverse, add pin, subtract, > darken, lighten, multiply, screen, and so on. A few of these look quite > different than the usual. Also, would like to let the wreader adjust the > background color. And the transparency of the animations. > > It turns out it isn't too hard to let wreaders import their own Photoshop > or > Flash or bitmap files. So eventually I'd like to support that. Mind you, I > find that with most of my stuff, I have all sorts of ideas for interesting > features, as I develop it, but can't implement all of my ideas. And have > to > move on at a certain point. > > The main idea in "Spring Poem" was to implement a software 'pen' that > consists of various 'nibs' that each hold an image or an animation. I > first > saw this in CorelPaint around 1998; I used CorelPaint to make > http://vispo.com/I/ThePen.html and > http://vispo.com/pornomorphs/SexGoddess.html . The Pornomorphs also used a > symmetry tool; the Pornomorphs were just body parts without the symmetry > tool; the symmetry tool turned them into bodies. > > I thought it'd be cool to try to make a 'pen' where the 'nibs' were all > attached to the main 'pen' via springs. I looked around and found some > Lingo > code by Danny Kodicek that implements springs in 'simple harmonic motion'. > I > have a few books that describe the physics, which I'm pondering somewhat > cluelessly. But I don't need to understand the physics to use Kodicek's > implementation of the physics. > > The springs are quite long in 'Spring Poem'. You don't see tight motion > around where you click. The springs are loose and long. I'd also like to > let > the wreader adjust the length of the springs. And their springyness, > yadayada. > > The basic idea is of a 'pen' that sketches visual poems from language. > Either by itself or with the wreader's input. > > Once I develop the piece a bit further, I'll post an updated link. Thanks > for your interest. > > ja > http://vispo.com > ========================================================================= Date: Sat, 28 Apr 2007 20:22:38 -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 Poster No. 67 (2007) Psyche Cycle by Amy Pence Psyche's Lament, Armor/Amore, Sex in the Dark, Stamens, Plumage, Briars, Seeds, Sacral, Water, Interior Castle, Boon of the Underworld Amy Pence has a chapbook Skin's Dark Night from 2River Press, 2003. Other poems have appeared in New American Writing, StorySouth, and American Letters & Commentary. She teaches college English and lives among many trees in Carrollton, Georgia, with her daughter, Ada, and husband, Chris Aanstoos. 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: Sat, 28 Apr 2007 20:53:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: almost the disappearance in the movement occasioned by look shooting outto infinity where the planet returns more than once to ourselves. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed almost the disappearance in the movement occasioned by look shooting out to infinity where the planet returns more than once to ourselves. http://www.asondheim.org/fly.mov and then these images of lost fecundity. http://www.asondheim.org/forgotten5.jpg http://www.asondheim.org/forgotten6.jpg http://www.asondheim.org/forgotten7.jpg http://www.asondheim.org/forgotten4.jpg i'm becoming avatar-man with dream-woman. don't listen to avatar-man. listen to dream-woman. don't listen to dream-woman with avatar-man. this avatar-man is contaminated. this building is condemned. a package: this avatar / that avatar. knives. prims cut. meanwhile. 'The male likes death - it excites him sexually, and, already dead inside, he wants to die.' valerie solanas. we know the package. we know nothing is inside. that nothing ever was. we know meat in its absence. either absence or presence of meat: death. meat: death. we exchange one package for another. we are in buffyverse gamespace economy. our money buys us dream-woman-linden. avatar-man talks. look inside he says. you can do it. you can look inside by twisting controls. construction torsion near avatar edge-space. the limits of avatar are the limits of world. linden-edge: fragility of good things. stasis. we are doomed never to repeat. we are doomed to novelty. you can look inside dream-woman-linden. the imaginary vanishes. in linden, imaginary rides the grid. no grid, no imaginary. no grid, no world, no limit, nothing. a helix takes you below. you can enter forbidden space through twist. in forbidden space you see interior. head is sphere, not ball. body is hierarchy, not holarchy. breast is prim-edge geek-construct. hemisphere-eye. hair fluid across face-head. linden brain. i have done my work here. dream-woman falls in hole. she moves at limit-point: linden speed of light. raster of clock-time. there's no moment to her moment. i have a minute. i have a linden minute. i am doomed to novelty. ========================================================================= Date: Sat, 28 Apr 2007 22:32:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Baghdad Burning leaves 'post' (home) Comments: cc: UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://riverbendblog.blogspot.com/ Riverbend, the otherwise anonymous author of Baghdad Burning - certainly one of the best, if not the best voices - speaking from the burnt core of this Bush-Cheney-Rumsfeld-Rice-Wolfolitz-Blair, etc. produced war monstrosity has left Baghdad along with the other members of her family. No doubt the inevitable consequence of barely surviving with 'dire straits.' Her last piece has just recently gone up on her blog site. I know I will probably not alone in missing her sense of intimate contact, involvement and caustic analysis of and with the day to day reality of state of that City. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Sun, 29 Apr 2007 09:59:20 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ren Powell Subject: Re: Info, poems & a question In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Re: Niels Hav's inquiry Neils didn't mentions that there is an audio file of Niels reading in the last issue of babel- He is a very good reader: http://icorn.org/articles.php?var=52 ren ___ Ren [katherine] Powell visit my new website: www.renpowell.com post@renpowell.com ========================================================================= Date: Sun, 29 Apr 2007 13:55:30 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: SES Blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed New on the Saint Elizabeth Street Blog The Fun of Life w/a Disability New Poems Not For Mother's Only Progress with Derivative of the Moving Image _________________________________________________________________ Exercise your brain! Try Flexicon. http://games.msn.com/en/flexicon/default.htm?icid=flexicon_hmemailtaglineapril07 ========================================================================= Date: Sun, 29 Apr 2007 09:55:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: MY ANGIE DICKINSON now at SPD Comments: cc: Joshua Kotin MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Hi everyone, Just letting yall know that my new poetry book MY ANGIE DICKINSON is out fr= om Zasterle Press and now available at Small Press Distribution: http://www.spdbooks.org/Details.asp?BookID=3D8487467466 Blurbs below. Yrs, Mike *************************************** In Michael Magee=E2=80=99s cyber-quatrains, two Dickinsons =E2=80=93 Police= Woman and the Belle of Amherst =E2=80=93 meet in the depths of the interne= t=E2=80=A6and what a perfect pair they make! Employing an oulipo-esque Goog= le procedure, Magee channels the poetic line through the window of a search= engine. His contextual ruptures and pop snippets accumulate and resonate ,= continually surprise. My Angie Dickinson is an obsessive, innovative, and = exciting work. --David Trinidad Fifty years from now, when people are writing without irony of "the classic= s of flarf," one of the works that will turn up on that relatively short li= st will be Michael Magee's My Angie Dickinson =E2=80=A6brilliant, hilarious= , deeply conceived, completely serious, with more twists than a pretzel fac= tory, well written, but still thoroughly flarf. Just for good measure, My A= ngie Dickinson is also the most ambitious production, design wise, Zasterle= has yet attempted. This book is a joy. --Ron Silliman ========================================================================= Date: Sun, 29 Apr 2007 13:31:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: almost the disappearance in the movement occasioned by look shooting outto infinity where the planet returns more than once to ourselves. In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Alan, Absolutely scary! Do you remember in Kubrick's 2001, one of the astronauts is almost lost outside the ship, and the ship goes after it. The astronaut looks so near through the glass (but it is frighteningly far, in another dimension) and the ship has to take very complicated steps, maneuvers, to reach it? Is the little figure what you call avatar, the correspondent of "I" in the web? Does your piece go on forever, perhaps it should? Ciao, Murat On 4/28/07, Alan Sondheim wrote: > > almost the disappearance in the movement occasioned by look shooting out > to infinity where the planet returns more than once to ourselves. > > http://www.asondheim.org/fly.mov > > and then these images of lost fecundity. > > http://www.asondheim.org/forgotten5.jpg > http://www.asondheim.org/forgotten6.jpg > http://www.asondheim.org/forgotten7.jpg > http://www.asondheim.org/forgotten4.jpg > > i'm becoming avatar-man with dream-woman. > don't listen to avatar-man. listen to dream-woman. > don't listen to dream-woman with avatar-man. > this avatar-man is contaminated. this building is condemned. > > a package: this avatar / that avatar. knives. prims cut. > meanwhile. 'The male likes death - it excites him sexually, > and, already dead inside, he wants to die.' valerie solanas. > > we know the package. we know nothing is inside. that nothing ever was. > we know meat in its absence. either absence or presence of meat: death. > meat: death. we exchange one package for another. we are in buffyverse > gamespace economy. our money buys us dream-woman-linden. avatar-man > talks. look inside he says. you can do it. > > you can look inside by twisting controls. construction torsion near > avatar edge-space. the limits of avatar are the limits of world. > linden-edge: fragility of good things. stasis. we are doomed never > to repeat. we are doomed to novelty. > > you can look inside dream-woman-linden. the imaginary vanishes. > in linden, imaginary rides the grid. no grid, no imaginary. no grid, > no world, no limit, nothing. a helix takes you below. > > you can enter forbidden space through twist. in forbidden space you > see interior. head is sphere, not ball. body is hierarchy, not > holarchy. breast is prim-edge geek-construct. hemisphere-eye. > hair fluid across face-head. linden brain. i have done my work here. > > dream-woman falls in hole. she moves at limit-point: linden speed > of light. raster of clock-time. there's no moment to her moment. > i have a minute. i have a linden minute. i am doomed to novelty. > ========================================================================= Date: Sun, 29 Apr 2007 14:08:35 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larissa Shmailo Subject: John Amen, Colette Inez, Larissa Shmailo in NYC Friday 5/4 MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable =20 The Writer's Voice Visiting Author Series Presents:=20 John Amen, Colette Inez & Larissa Shmailo=20 Friday, May 4, 2007=20 7:30 PM=20 Reading/Discussion/Book Signing=20 West Side YMCA-- The George Washington Lounge=20 5 West 63rd Street (between Central Park West & Broadway)=20 Accessible Trains: A, B, C, D, 1 & 9 to Columbus Circle.=20 ~Admission Free and Open to the Public~=20 Wines from 67Wine=20 Books will be available for sale at this reading from BookCourt.=20 John Amen is a writer, musician, and artist. He is the author of two=20 collections of poetry, Christening the Dancer (Uccelli Press 2003) and More= of Me=20 Disappears (Cross-Cultural Communications 2005). His work has been nominate= d=20 for various awards, including the Kate Tufts Award, the Lenore Marshall Awa= rd,=20 the Oscar Arnold Young Award, and the Brockman-Campbell Prize. In addition,= =20 he was recently nominated for a Pushcart Prize. His work has appeared in=20 various journals and magazines, and he is featured in The 2007 Poets Market= . His=20 first solo music CD, All I'll Never Need, was released by Cool Midget in 20= 04.=20 Amen travels widely giving readings, doing musical performances, and=20 conducting workshops. He founded and continues to edit the award-winning li= terary=20 bimonthly, The Pedestal Magazine.=20 Colette Inez has authored nine poetry collections, most recently Spinoza =20 Doesn=E2=80=99t Come Here Anymore from Melville House Books, and has won Gug= genheim, =20 Rockefeller, and two NEA fellowships. She is widely anthologized and teaches= in =20 Columbia University=E2=80=99s Writing Program. Her forthcoming memoir, The= Secret=20 of M. Dulong, was published in 2005 by the University of Wisconsin Press.=20 Larissa Shmailo has been published in About Poetry, Rattapallax, Big=20 Bridge, and other journals. She translated the Russian Futurist opera Victo= ry over=20 the Sun by A. Kruchenych and recently contributed translations to New Russia= n=20 Poetry forthcoming from Dalkey Archive Press. Her poetry CD is The No-Net=20 World. She is active in the New York City Poetry community as curator of th= e=20 Sliding Scale Poetry reading series. =20 ************************************** See what's free at http://www.aol.com= . ========================================================================= Date: Sun, 29 Apr 2007 16:25:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: New book announcement Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed For those of you who haven't been keeping up, I'm including an Amazon.com announcement of a new book: Dear Amazon.com Customer, We've noticed that customers who have expressed interest in books by Miroslav Holub have also ordered The Decameron Volume I (Large Print Edition) by Giovanni Boccaccio. For this reason you might like to know that Giovanni Boccaccio's newest book, The Decameron Volume I (Large Print Edition), is now available in Paperback. You can order your copy for just $18.99 by following the link below. Hal "Music is continuous. Only listening is intermittent." --Henry David Thoreau 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: Sun, 29 Apr 2007 21:36:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: almost the disappearance in the movement occasioned by look shooting outto infinity where the planet returns more than once to ourselves. In-Reply-To: <1dec21ae0704291031m11c7bb05o12074f1c0f37381c@mail.gmail.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Not only goes on forever, but goes on beneath the surface, above the surface; there's no respect for boundary. It's almost like filming real life - camera angles are incredibly important and difficult... Thanks for your comments. Here's the URL of a mini-sampler of most of the project to date: http://www.asondheim.org/mini.mp4 - Alan On Sun, 29 Apr 2007, Murat Nemet-Nejat wrote: > Alan, > > Absolutely scary! > > Do you remember in Kubrick's 2001, one of the astronauts is almost lost > outside the ship, and the ship goes after it. The astronaut looks so near > through the glass (but it is frighteningly far, in another dimension) and > the ship has to take very complicated steps, maneuvers, to reach it? > > Is the little figure what you call avatar, the correspondent of "I" in the > web? > > Does your piece go on forever, perhaps it should? > > Ciao, > > Murat > > On 4/28/07, Alan Sondheim wrote: >> >> almost the disappearance in the movement occasioned by look shooting out >> to infinity where the planet returns more than once to ourselves. >> >> http://www.asondheim.org/fly.mov >> >> and then these images of lost fecundity. >> >> http://www.asondheim.org/forgotten5.jpg >> http://www.asondheim.org/forgotten6.jpg >> http://www.asondheim.org/forgotten7.jpg >> http://www.asondheim.org/forgotten4.jpg >> >> i'm becoming avatar-man with dream-woman. >> don't listen to avatar-man. listen to dream-woman. >> don't listen to dream-woman with avatar-man. >> this avatar-man is contaminated. this building is condemned. >> >> a package: this avatar / that avatar. knives. prims cut. >> meanwhile. 'The male likes death - it excites him sexually, >> and, already dead inside, he wants to die.' valerie solanas. >> >> we know the package. we know nothing is inside. that nothing ever was. >> we know meat in its absence. either absence or presence of meat: death. >> meat: death. we exchange one package for another. we are in buffyverse >> gamespace economy. our money buys us dream-woman-linden. avatar-man >> talks. look inside he says. you can do it. >> >> you can look inside by twisting controls. construction torsion near >> avatar edge-space. the limits of avatar are the limits of world. >> linden-edge: fragility of good things. stasis. we are doomed never >> to repeat. we are doomed to novelty. >> >> you can look inside dream-woman-linden. the imaginary vanishes. >> in linden, imaginary rides the grid. no grid, no imaginary. no grid, >> no world, no limit, nothing. a helix takes you below. >> >> you can enter forbidden space through twist. in forbidden space you >> see interior. head is sphere, not ball. body is hierarchy, not >> holarchy. breast is prim-edge geek-construct. hemisphere-eye. >> hair fluid across face-head. linden brain. i have done my work here. >> >> dream-woman falls in hole. she moves at limit-point: linden speed >> of light. raster of clock-time. there's no moment to her moment. >> i have a minute. i have a linden minute. i am doomed to novelty. >> > > ======================================================================= Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check WVU Zwiki, Google for recent. Write for info on books, cds, performance, dvds, etc. ============================================================= ========================================================================= Date: Sun, 29 Apr 2007 22:54:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Chapbook Reviews Mime-Version: 1.0 Content-Type: text/plain; format=flowed All, Since I've gotten numerous backchannel inquires, rather than retype & reiterate individually the same info, I figure it might be of some use for me to simply post here the information: If you're interested in having your chapbook considered for review in Rain Taxi's ongoing chapbook review column, read on: 1) All chapbooks must carry publication dates of 2007, as I finished the final batch from 06 this weekend. 2) Although one might make a valid argument as to what constitutes a chapbook, which is fine, and which might be an interesting discussion, I personally won't consider work that approaches the 50 page mark, nor broadsheets or broadsides, unless these are folded in such a way as to create several pages of text. 3) The chapbooks must be "in print" at the time of publication of the mention. If you do chapbooks in runs of say 15 copies, that's great, rad, & just what folks should be doing with chapbooks, but send 'em to yr pals & other poets that you'd like to have read them... 4) I can not commit to reviewing anything sent my way, sorry. 5) Out of the hundreds of chapbooks from 2006 that I've read, if I were able to give an award, say a crown, for the most exciting one, I would place it on the head of Farid Matuk, as the chapbook __Is It The King?__ was the single most exciting one I'd read last year. You should really pick it up here: http://effingpress.com/ Okay, that's it. best, NEG Here's my address again: 1014 E 10th Ave Denver, CO 80218 (please call before you come over) PS: I have two new books out, review copies of which I'd be happy to float to anyone who'd like--just b/c me yr mailing address... _________________________________________________________________ Interest Rates NEAR 39yr LOWS! $430,000 Mortgage for $1,299/mo - Calculate new payment http://www.lowermybills.com/lre/index.jsp?sourceid=lmb-9632-19132&moid=14888 ========================================================================= Date: Sun, 29 Apr 2007 19:59:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: May 1st IMMIGRATION MARCH MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MAY DAY 2007: CHICAGO IMMIGRATION MARCH Join the march and rally for the unconditional legalization for ALL! Say NO to border walls and militarization of the border! TUESDAY, MAY 1st 2007 *10:00 AM – Rally in Union Park [Ashland Ave. and Washington St .] *1:30 PM – March on Washington St . *3:00 PM – Rally in Daley Plaza [Washington St. and Dearborn St.] In 1886, Chicago immigrant workers lead and won the fight for the 8-hour work day. Today, workers around the world remember that struggle in May Day commemorating the Haymarket Martyrs. One hundred and twenty years later, immigrant workers are once again leading the struggle for workers’ rights by demanding the legalization, with full rights, of all undocumented workers. Sponsored by the March 10th Movement http://www.movimiento10demarzo.org Including: AFSCME Council 31, AFSCME Local 2081, Albany Park, North Par, and Mayfair Neighbors for Peace and Justice, Alianza Leadership Institute, Amigas Latinas, Asociación de Salvadoreños en Illinois, Association of Latino Men for Action, Casa Aztlán, Chicago and Miswest Regional Joint Board of UNITE-HERE, Chicago LGBT Immigrant Alliance, Chicago Worker Collaborative, Coalición Internacional de Mexicanos en el Exterior, Committee against the Militarization of Youth, Communist Party of Illinois, Confemex, Council of Islamic Organizations of the Greater Chicago, Durango Unido en Chicago, Federación de Hidalguenses en Illinois, Frente Unido de Inmigrantes, Gay Liberation Network, Gold Star Family for Peace Chicago, Hammerhard MediaWorks, Industrial Workers of the World, Inner-City Muslim Action Network, International Socialist Organization, Jobs with Justice, Korean American Resource and Cultural Center, Labor Beat, Latin United Community Housing Association, Mujeres Latinas en Acción, Nahui Ollin Danza Mexika, Organización Latina del Suroeste, Orgullo en Acción, Partido de la Revolución Democrática, Partido Revolucionario Institucional, Primera Asamblea Popular de Pilsen, Progress Center for Independent Living for People with Disabilities, Radio Arte, Rainbow Push Latino Chapter, Red Unida de Immigrantes y Refugiados, Teachers for Social Justice, SEIU Local 1, SEIU Local 73, Socialist Workers Party, Southeast Chicago Coalition for Immigrant Rights, Southside Together Organizing for Power, UE Western Region, UIC Students for Immigrant Rights, United Food and Commercial Workers Local 881, West Town Leadership United __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 30 Apr 2007 04:58:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: Philadelphia? -- Mr. Bowering MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline what CAConrad wrote: > Literally one in four Philadelphians is living below the poverty > line, me > included. what George Bowering wrote: Here in Canada most of the people living below the poverty line do not have access to the internet, or do not know that they do. Dear GEORGE, hey there! First, really? In Philly the library is always filled with (no lie) homeless people at many of the hundreds of computer terminals with free Internet access. It's great that this is available, but the librarians now resent having to play babysitter for the free access rooms, which I understand. Not part of their Library Science degree, right? And of course the library has suffered, meaning the ACTUAL LIBRARY of the library, as though it's no longer about books. My favorite librarians are the renegades who rescue books by sending them to The Stacks for no-lend preservation. This is because otherwise these books (many of them poetry) would be thrown out with the new city policy of getting rid of books that do not circulate for a year. When this policy was first instituted I gathered my friends to help check out random poetry books (of which there were thousands, wonderful rare things, like the entire catalog of Gil Orlovitz for instance, and rare German poets like Hilda Domin (who is NOT (I'm annoyed to see) in that new anthology of Modern German poets) and many other things, OH, like Cid Corman's GIST OF ORIGIN, but anyway) to keep them from disappearing, which many had already. There was this marvelous book of poems by Philippe Joccottet which, by the time I remembered it was on my list of books to rescue, was already gone. But this is really off the subject. Oh, right, well George, if you need me to send you my pay stubs, or something? OR, if you or some of your rich friends (do you have rich friends?) are interested, I'd really like to (would quite seriously like to) start the Philadelphia Poetry Hotel. Here's the link: http://PoetryHotel.blogspot.com And thanks so much for the interest George! Can't wait for us to get started on the hotel! OH and George, if you help fund this we will name one of the rooms The George Bowering Room. How's that? What color should we paint it? Tangerine? Violet? How about Tangerine AND Violet? Don't you think Tangerine and Violet should always be written with the upper case "T" and "V" George? I believe so! But we'll have a life-sized photograph of you on the ceiling over the bed, how's that? Clothing optional for the photograph, your choice. Or maybe you could be wearing a green suit? A green suit would look nice in a Tangerine and Violet room, yes? CAConrad ========================================================================= Date: Mon, 30 Apr 2007 08:39:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: New book announcement In-Reply-To: <60CCB0AF-332A-43BF-8D42-1C0F03A2C55C@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Halvard, thank you. Chaucer also was a great admirer of Boccaccio, though maybe in secret, since I think only in the 19th century was it discovered that Troilus and Creseyde was in bulk a translation of Boccaccio's Filostrato (only slightly gentrified). Ciao, Murat On 4/29/07, Halvard Johnson wrote: > > For those of you who haven't been keeping up, I'm including > an Amazon.com announcement of a new book: > > Dear Amazon.com Customer, > > We've noticed that customers who have expressed interest in books by > Miroslav Holub have also ordered The Decameron Volume I (Large Print > Edition) by Giovanni Boccaccio. For this reason you might like to > know that Giovanni Boccaccio's newest book, The Decameron Volume I > (Large Print Edition), is now available in Paperback. You can order > your copy for just $18.99 by following the link below. > > Hal > > > "Music is continuous. Only listening > is intermittent." > --Henry David Thoreau > > 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: Mon, 30 Apr 2007 11:57:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: poet ASHRAF OSMAN on FACEBOOK's racist, homophobic demands of censorship MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline poet ASHRAF OSMAN on FACEBOOK's racist, homophobic demands of censorship the interview is up on the PhillySound: http://PhillySound.blogspot.com/2007_04_01_archive.html ========================================================================= Date: Mon, 30 Apr 2007 08:58:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Reminder - Walks & Walking Panel, Poets House Comments: cc: "Poetryetc: poetry and poetics" Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Gentle "Walks" reminder for those of you in and around NYC this coming weekend. Also, Walking Theory, my new book from Mark Weiss' Junction Press, is rumored to be up, ready and available this Friday, as well! More details forthcoming.=20 Stephen Vincent http://stephenvincent.net/blog/ Two WALKING related events at POETS HOUSE in Manhattan. One a Friday evenin= g Panel, and one, a late Saturday morning, early afternoon walk. If you are anywhere near the neighborhood, you are invited to come join us: Friday, May 4, 7:00pm The Poetics of Walking: Baudelaire and Beyond with Brenda Coultas, Lytle Shaw, Jonathan Skinner & Stephen Vincent At Poets House, 72 Spring Street, Second Floor, Manhattan, New York In this foray into the fl=E2neur tradition, panelists address the poetry that emerges from the fundamental act of walking, with insights from such immortal amblers as Whitman, Baudelaire, O=B9Hara and other peripatetic poets= . In conjunction with the panel, Poets House will sponsor a series of weekend poetry walks in Manhattan on Saturday, May 5th at 11:00am. Brenda Coultas is the author of A Handmade Museum. Lytle Shaw=B9s books include A Side of Closure and Frank O=B9Hara: The Poetics of Coterie. Jonatha= n Skinner is the editor of ecopoetics and teaches Environmental Studies at Bates College. Stephen Vincent=B9s most recent poetry books include Walking and, soon forthcoming, Walking Theory (Junction Press). Saturday, May 5, 11:00am - 1:00pm The Poetics of Walking: Weekend Poetry Walk In conjunction with =B3The Poetics of Walking=B2 panel (on May 4), Poets House will sponsor a series of urban poetry strolls for writers and artists. Each walking tour will be led by a =B3Poetics of Walking=B2 panelist and will featur= e illuminating historical information and a series of creative exercises en route. Participants are encouraged to bring writing and/or drawing materials. Meetup locations will be specified upon registration. $25/ $15 for students. Pre-registration is required. To register, call (212= ) 431-7920 or email classes@poetshouse.org. Registered participants will also receive free admission to the May 4th panel discussion. Walking the Bowery Guide: Brenda Coultas Brenda Coultas, the author of A Handmade Museum, leads a writing tour from Cooper Union to Chinatown, with stops along the way to observe signage, graffiti, people, nature and the changing demographics of the Bowery. Listening Walk in Central Park Guide: Jonathan Skinner Jonathan Skinner, the editor of ecopoetics, leads an acoustical tour throug= h Olmstead=B9s oasis with exercises that focus on sounds both natural and human= . Canal Street & Tribeca: The Street vs. Architecture Guide: Stephen Vincent Stephen Vincent, the author of the poetry collection Walking and the forthcoming, Walking Theory, explores walking as =B3immersion and revelation=B2 and invites participants to take note of voices, sounds, signage, colors an= d architectural shapes in the cityscape. The walk will culminate in a gathering and discussion at Walkers, a restaurant. Dutch Manhattan : Controversial Terrain Guides: Lytle Shaw with Jimbo Blachly Lytle Shaw, the author of Frank O=B9Hara: The Poetics of Coterie, and visual artist Jimbo Blachly introduce participants to the Chadwick Family, who wil= l offer a rare perspective on Manhattan=B9s past, revealing several 17th Centur= y sites that pertain to their family=B9s misunderstood and maligned history. @ Poets House $7, Free to Poets House Members ========================================================================= Date: Mon, 30 Apr 2007 08:53:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: thom donovan Subject: Peace On A presents : Kocik & Skinner : Sat. May 5th 2007, 8PM In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Peace On A presents Robert Kocik & Jonathan Skinner* Saturday, May 5th 2007 8PM BYOB & recommended donation: $5 hosted by Thom Donovan at: 166 Avenue A, Apartment #2 New York, NY 10009 about the readers: Robert Kocik poet, prosodist, artist, builder, lives in Brooklyn, NY, where he owns and operates the Bureau of Material Behaviors. Architecturally, the 'missing civic service' is his declared niche. He is currently involved in the design phases of the Preemptive Peace Place (an agency devoted to the permanent peace movement) and the Prosody Building (a building entirely attuned to the prosodic). His poetry plies what he refers to as 'burst prosody'--perfused by and propagating all things. His essays comprise the the nascent discipline known as the Sore, Oversensitive Sciences (SOS). Recent additions to SOS include: The Susceptive System and Stressogony. With choreographer Daria Fain he has initiated an experiential, aesthetic science named the Prosodic Body. His publications include: *Overcoming Fitness* (Autonomedia, 2001) and *Rhrurbarb* (Field Books, 2007). Overcoming cure. Regardless. Space is a function of finding you. Your only exterior my euphoria. Regardless. With that with which it can’t be shown... forming a residue— a field of rhubarb and zinnias, the dimensions of the workspace, a boat-swallowing fish from water drained from raccoon track. ~ from Robert Kocik’s *Rhrurbarb* Jonathan Skinner publishes Field Books and edits the review ecopoetics (www.ecopoetics.org), teaches Environmental Studies at Bates College and lives in Bowdoinham, the tick capital of Maine. His *Political Cactus Poems* are available through Palm Press (www. palmpress.org). SKEIN on the Tift tarmac a boisterous crowd of three wearing rack and pinion Canadensis is a fever crowned with geese in the fall does it come in grids there and now, north south breakfast on the wing heels skidding to a marsh ~ from Jonathan Skinner’s *Political Cactus Poems* Peace On A is an events series devoted to emergent work by writers, artists, performers and scholars. Past presenters at Peace on A include Alan Gilbert, E. Tracy Grinnell, Cathy Park Hong, Paolo Javier, Wayne Koestenbaum, Douglas Martin, Eléna Rivera, David Levi Strauss, Andrew Levy & Kyle Schlesinger. Scroll down Wild Horses of Fire weblog (whof.blogspot.com) for back advertisements, introductions and reading selections. *A launch for Robert Kocik's new book, RHRURBARB (Field Books, 130 pages, perfect-bound), the first in the Field Book imprint. To order a copy of RHRURBARB send an address and $15 to: Jonathan Skinner 111 Bardwell St. Lewiston, ME 04240 “everlastingly themselves eidolons intellect garden” ~ Louis Zukofsky, from “A – 22” 166 Avenue A NY, NY 10009 whof.blogspot.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 30 Apr 2007 08:02:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: North-3 Text-5 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable North-3 Text-5 http://web.pdx.edu/~pdx00282/North/North-3/text-5.htm Notes: -Text appears by caressing the face with your cursor. -Paratext appears by passing your cursor over the first words of the = quote. -Speakers on. This is page 15 of a projected 35 pages. Button at bottom right returns you to the Introduction. -Joel ========================================================================= Date: Mon, 30 Apr 2007 10:15:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: Jos=?ISO-8859-1?Q?=E9?= Kozer reading In-Reply-To: <7.0.1.0.1.20070427120450.0612e948@earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; format=flowed again mark congrats on poets house so good .susan maurer >From: Mark Weiss >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: José Kozer reading >Date: Fri, 27 Apr 2007 12:10:13 -0400 > >Last night 150 people came to the Americas Society to hear José Kozer and >Achy Obejas. A great reading. Kozer's last in New York, a solo, will be >this evening at 6:15 at the Rey Juan Carlos Center, 53 Washington Square >South between Thompson and Sullivan. It's a bilingual reading--I'll be >reading the translations. I hope to see some of you there. > >Mark _________________________________________________________________ Mortgage refinance is Hot. *Terms. Get a 5.375%* fix rate. Check savings https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h2bbb&disc=y&vers=925&s=4056&p=5117 ========================================================================= Date: Mon, 30 Apr 2007 22:07:40 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: the deletions MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit please visit http://thedeletions.blogspot.com the last six months on the deletions : Tick tick tick Coming up in May Katoomba during history peace Katoomba poem Dear viewers Scribblings poems high hills poems Lingering in Leura Blue Mountains Break Mirror of the World Season's greetings Michael Callaghan Elwood stencils Poetry blogging all the best, Pam Brown _________________________________________________________________ Blog : http://thedeletions.blogspot.com/ Web site : Pam Brown - http://www.geocities.com/p.brown/ Associate editor : Jacket - http://jacketmagazine.com/index.html _________________________________________________________________ Send instant messages to your online friends http://au.messenger.yahoo.com ========================================================================= Date: Mon, 30 Apr 2007 22:43:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Curnow & Kuszai in NY Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Saatchi & Saatchi and the Segue Foundation present a reading by Wystan Curnow & Joel Kuszai introduced by Charles Bernstein Tuesday, May 8 6.30 reception 7.00pm reading Saatchi & Saatchi HQ 375 Hudson St. (at Houston St.) New York Admission free Rsvp: Morganne.davies@saatchiny.com or (212) 463-3227 Wystan Curnow is a well-known New Zealand poet and critic. Modern Colours, Jackbooks, 2005, is his most recent book of poetry. His essay on Ron Silliman and On Kawara, "Autobiography: does it have a future?" appeared in the journal Reading Room earlier this year. With Leigh Davis he edited Te Tangi a te Matui, Jackbooks, 1991, which reflects on the legacy of the ' terrorist' Maori chief and poet Te Kooti. He has curated many exhibitions, including Under Capricorn/The World Over, for the Stedelijk Museum, Amsteradam, I Will Need Words, Colin McCahon's Word and Number Paintings for the Sydney Biennale, and most recently a survey of Max Gimblett's paintings, The Brush of All Things, for the Auckland Art Gallery. He is co-director of Jar Space, and teaches poetry and creative writing at the University of Auckland. Joel Kuszai is a prolific and innovative publisher, editor and poet. In the 1990s his Meow Press published more than 60 chapbooks. Following a stint as moderator, he edited a compilation from the archives of the Buffalo Poetics List, Poetics@, Roof, 1999. He is co-founder of the 'learning and production collective' Factory School, now based in New York. Since 2005 he has edited its 'Southpaw Culture' book series which reflects his interest in radical poetics, libertarian anarchist thought and alternative/utopian approaches to education. He is the author of A Miscellany and other chapbooks, and teaches at Queensborough, CUNY.