2.05.2004

I tend to like old print matter & new pics myself.

The poem I’m reading from Fri. (tho I will also be reading some other stuff) I feel lacks a bit as it’s based on pieces of elegy, which lack lyric vitality, specifically pieces of occasional verse in elegaic meter by Sulpicia, Tibullus, the most famous poet in her uncle's circle, & rip off artist Goethe [not pound’s (juicier, lower class) propertius or zuk’s catullus.]

sent off the poem that's after that one; not happy with it quite yet -- Goethe's roman elegies with a lot of freud civilization & its discontents thrown in (lots o’ dada) –- very silly prayers to priapus -- warming up to tibullus’ original –- tibullus created the figure of the domina in literature
As far as performing "Palm Anthology" merely than reading it (generally I read only sections since it is book length in an of itself), I imagined carrying it on Palm OS format Adobe Acrobat .pdf on my Palm and being able to beam it to members of the audience. This is a rather wonderful little thing as it involves waving a small red lcd light on the Palm:

Ex.

Beam other items

You may want to beam an appointment or an address other than your own to another person. Beaming other types of information from your Palm requires a few more steps. Here's how:

Find the item you want to beam.
Tap that item to select it.
Tap the menu button.
Choose Record/Beam Event.

In that way, then, those who receive the beamed file read the poem as it was "designed" to be read, in the casing, on the small hand-held machine. When I say designed -- the poem is still a rather straightforward poem, but it does have short sections (lots of them) and short lines -- even still each section / stanza / line is not quite short enough to fit on a single palm screen. The poem itself uses the technology for wireless communication (my palm's wireless), the physical parts of the palm, parts of the verbiage and methodology for the hardware and software which operate the palm, and palm markup (a sort of html lite) as signs, metaphors, figures, etc. in the poem.
Writers & Teachers Reading Series
visiting Barnes & Noble Glendale

Catherine Daly, author of DaDaDa

will read with and introduce poets she's mentored at UCLA Extension:

Margaret Wang, graduate of the MA program in creative writing at University of Cardiff, Wales

J. Ana Flores, brilliant Pilipino poet

Seil Ju, currently in the PhD creative writing program at USC

7 pm, February 24
Barnes & Noble Booksellers
Glendale

Writers & Teachers Reading Series
Barnes & Noble Westwood

Dodie Bellamy, author of The Letters of Mina Harker, Cunt Ups, & Pink Steam (forthcoming in June from Suspect Thoughts Press)

will read with and introduce fiction writers she's mentored at Antioch Los
Angeles:

Steve Abee, author of The Bus: Cosmic Ejaculations of the Daily Mind in Transit & King Planet

Lamar Hawkins, aka Lara Parker, author of Angelique's Descent: A Dark Shadows Novel

Scott Kraft, theater, TV and screenwriter

7 pm, February 17
Barnes & Noble Booksellers
10850 West Pico Blvd.
(at Westwood Blvd.)
Los Angeles, CA 90064
310-475-4144

2.04.2004

The Questions Prepared for the Phone Interview Continued

Where on the poetry spectrum are you? / What is your position in the argument between experimentation and form?

My friend & sometimes mentor Janet Holmes (blogging at http://www.humanophone.com/) mentioned to me this is a "how much do you know about poetry" question.

At the extremes -- new form and neoformalism -- there is some convergence or at least attempt at convergence. Examples of this would be Jena Osman's use of the periodic table of elements, Lee Ann Brown's syllable counting, Ron Silliman's use of the fibonacci sequence (or even Inger Christensen's), Silliman's outreach, attendance at the newformalist West Chester conference, Annie Finch's outreach, particularly with John Kinsella.... I'm at neither extreme.

I review a great deal and across the spectrum, all varieties of poetry written in English, with special attention to art poetry and poetry written by women. Recent reviews have been on Rachel Blau Du Plessis, two LSU Press poets who did projects with a basis in found text (Enid Schomer and Nicole Cooley), the langpos, Stephanie Strickland, Cole Swensen, and Pattie McCarthy. I also write on modernist female poets.

As for my own work, I write as about five poets. One poet is formally minimalist, third generation New York School, using the first person, somewhat like Jordan Davis, Lee Ann Brown, Lisa Jarnot. Another belongs in Stephen Burt's sloppy "elliptical" bucket along with Jeanne Beaumont, Peter Gizzi, Cole Swensen. The book just published is my most experimental, and the closest to new media writing, art poetry, performance art, etc. of all my modes of writing. I have almost two or three mss. in a neo-Objectivist style which are circulating. Think Rachel Loden. I have a forthcoming book and some follow-on mss. which are a sort of neo-surrealism which has a certain relationship to a ghost of meter.

Writing in other Genres

In addition to actually writing and publishing writing in other genres than poetry, I have experience teaching writing in other genres than poetry. That said, I remain more interested (and accomplished) in non fiction of all kinds (creative non fiction, essays, reviews, criticism, academic writing) than in fiction. I do a great deal of creative and critical new media writing, technical writing, editing, and publishing, software training, development and test training, corporate communications, business writing, etc. and would feel qualified to teach courses in those disciplines, but not in novel or screenplay writing.
digital and multimedia and online

I really haven't had a problem with finding or using anything computer-based in my on-the-ground or online courses.

As you know, there is a jump students have to make in an online class from the course areas to the internet at large, and from the online environment to paper materials and to their own reading and writing (much of which involves paper). I find that duplicating information as much as possible early in the course -- making it available in every conceivable format -- helps.

The need for more and better online literature available free did lead me to my ongoing project scanning pre-1922 (public domain) works of poetry and making them available at online archives at Project Gutenberg and University of Pennsylvania, etc. I also try to have the same but in paper versions at the bookstore and on reserve at the library. However, the college library at my home college is absolutely dreadful due to budget cuts.

[Aside -- which I'd never mention in an interview -- this is quite the political hot button right now. I actually think that the college courses I teach are far too cheap at $11. a unit. The incredible low price leads students to shop for grades. They will take a course time and time again until they get an A. They will take the course and then have on opportunity to go on vacation, or have a minor illness, and drop. The courses are cheaper than the books, and the continual churning of the student population exhausts the instructors. The low cost makes it impossible for the college to begin to accrue the types of research materials -- even hard copy of all books used in courses! which it doesn't have -- it would need to become a better institution.

I do have to mention that even at $11. a unit, most students are on financial aid programs which cover even that small expense and some book expense. I think that financial aid should continue to be available to qualifying students, and it should continue to cover materials. So -- expensive courses, lots of financial aid. College should be more expeinsive than a pair of shoes.]

I think it is exciting new generations of students are learning and writing in an environment which shows the continuum from person to the page to "literature," to ways of understanding "literature," the page, other people.
More from the Phone Interview

Prepared Question:

Poor Student

Prepared Answer:

I haven't had students who kept showing up and working with me and the writing tutors who haven't met the course objectives. I have had the luxury of designing or redisigning all my courses to offer a blend of approaches / to display a variety of opportunities to different types of learners.

I have had students who refuse to write a required research paper -- drafting is always a recommended and supported option, and rewrites are always available to everyone -- and I have flunked students who have refused to write.

Prepared Question:

Bad Teacher -- students who consider you to be a bad teacher -- why? How are you a bad teacher?

Prepared Answer:

I'm not the "poet personality" many students come to poetry workshop expecting. I'm not touchy feely. I don't talk much about feelings and emotions or venting same in verse. I'm opinionated, I enforce a rigorous academic standard, and I expect writers in the workshop to read the writings of the other participants carefully.

Readings in New York, Feb. 6 - 9

BELLADONNA*
FEBRUARY 6. 7:00 PM
back at BLUESTOCKINGS with

3 fabulous performers and poets

*Caroline Bergvall*
**Catherine Daly**
***Nada Gordon***

Bluestockings Bookstore is at 172 Allen Street between Stanton and
Rivington in NYC’s Lower East Side. Belladonna* requests a $7-10 donation, which
goes to the poets, who in this case will have come from far (ENGLAND) and far
(LA) and near (NYC).

I will be reading from my Belladonna pamphlet, a long poem entitled "Surplice," which is based on Sulpicia's occasional poems from ancient Rome and also Venus in Furs. Wanda becomes the *page*, an *electric* one. The poem is part of the sequel to my new book, DaDaDa, entitled OOD: Object-Oriented Design.



I am meeting Elaine Tabios, Barry Scwabsky, and perhaps Mei Mei Berssenbrugge, some of my favorite poets I haven't met, at Bowery Poetry Club Saturday, Feb. 7, at 4 pm for the Segue reading:

4:00pm
Segue Series CHRISTOPHER STACKHOUSE and ELENI SIKELIANOS



The Frequency Series
@ Four-Faced Liar
hosted by Shafer Hall and Rachel Rakes
Catherine Daly and Erica Kaufman

Suday, February 8, 2004

2:30 PM

FREE!

165 West 4th Street (between 6th Ave. & 7th Ave.)

Catherine Daly was sole proprietor of a technology consultancy, developing intranets for Fortune 500 firms in New York and in Los Angeles. Her first book of poems is DaDaDa (Salt Publishing, 2003). It is a one-volume trilogy, the first of a set of three. Another book, Locket, is scheduled for publication by Tupelo Press in 2004. She was educated at Trinity College and at Columbia University and has taught at Antioch LA and UCLA.

Erica Kaufman lives and works in New York. Her poems can be found in The Mississippi Review, Puppyflowers, Unpleasant Event Schedule, and Bombay Gin. She co-curates the Belladonna* reading series and small press.


And, Monday night, I'm reading at the Telephone Bar, as my publisher is in Cambridge, UK! perhaps kicking off reading a poem of Maureen Owen's (of Telephone)

February 9th
8 pm
Telephone Bar
149 Second Ave

Catherine Daly
ABOUT THE WRITER: Catherine is an Illinois Scholar at Trinity College and Merit Fellow at Columbia University. She has worked as a technical architect, an officer in a Wall Street investment bank, an engineer supporting the space shuttle orbiter, and a teacher. She lives in Los Angeles and is the author of the poetry collection Locket.

Bob Slaymaker
ABOUT THE WRITER: A product of Columbia’s graduate writing program and NYU’s graduate film program, Bob has had his poems and short stories published in: Callaloo; The Christian Science Monitor; Essence; The North America Review; and River Styx.

Prudence Wright Holmes
ABOUT THE WRITER: Prudence performed her one-woman show, “Bexley, OH,” last season at NY Theatre Workshop. She is the author of Voices of Thinking Jewish Women, and her story, “Baby Blues,” appears on the ezine, ducts.org. As an actor, she was featured in “Sister Act” and “Sister Act 2: Back in the Habit” with Whoopi Goldberg and “Kingpin” with Woody Harrelson.

Tom Weiser
ABOUT THE WRITER: Tom is a birdwatcher, swing dancer, sailor, t’ai chi practitioner, improvisational singer, and drummer. His chief sources of unemployment are writing and storytelling. His work has appeared in Newsweek and on NPR. Tom is also a two-time finalist in The Moth’s “Grand StorySLAM.”