Arizona Humanities Council
Arizona Book Festival Stage Contracts
Finalized Schedule of Activities

For New / Media / Writing

Walter K. Lew, 20 mins, to consist of 5 minutes av, 10 minutes reading /performance with av, and 5 minutes Q&A.

Adeena Karasick, 20 mins., to consist of 10 minutes av, 5 minutes reading / performance, and 5 minutes Q&A

Rob Roberge, 20 mins, to consist of 15 minutes av, 5 minutes Q&A

Catherine Daly, 20 mins., to consist of 15 minutes reading / performance with av and 5 mins. Q&A

to be followed by 30 minutes
small panel / audience discussion, moderated and with some prepared questions by Catherine Daly, regarding intermedia, independent publishing, and the like.
Application for Program Contract

Briefly describe the applicant and her ability to complete the project:

An experienced project manager, reading series / program curator, and technology consultant, Daly has lead teams of engineers to complete multimillion dollar projects for NASA and New York investment banks. She has also regularly curated reading series in both New York and Los Angeles including the Columbia MFA Writing Program reading series, a series in new media performance for the UCLA Hammer Museum, Writers & Teachers at Barnes & Noble, and co-curated a series with Rob Roberge at the smell, an all ages club in downtown Los Angeles.

By carefully curating this block of new media publishing, performance, and writing programming, Daly will leverage her experience in service of the festival and see this particularly interesting project through to its success.

Describe program theme, and explain why theme is appropriate to the applicant:


Alternative performance and publishing: writers experimenting with sound and visuals; music & writing; highly prolific writers; new media writing; new publishing options; alternative distribution, etc.


Catherine Daly is one of the few poets with experience as both a high-level technology executive (Kit Robinson and Sheila E. Murphy are others, and potential panelists) and an experienced readings curator. She is also a poet whose most recent book contains a long poem, book length in itself, written specifically for Palm Pilot with Wireless Capability. Together with fellow-panelist Walter Lew, she has performed at the ACLA (American Comparative Literature Association) conference on a panel (that Daly designed) in new media performance and writing. She has curated a series at a nationally-recognized museum presenting new media writing to the general public. Daly is uniquely qualified to illuminate the larger field of new media publication for a festival audience.

Describe plans the applicant will undertake to promote the planned program:

Aside from utilizing the considerable mail and email networks Daly ordinarily utilizes for her readings and performances to promote the program and the festival (including postcards, e-mail list notifications, and other mailings, website postings, etc.), she will also interface with Arizona College and University faculties, especially in computing, new media, English, and writing, and small regional nonprofits, such as POG in Tucson. She will do this in order to make the larger new media arts communities aware of the program and the festival.
Info. on panelists for Arizona Book Festival:

Adeena Karasick is a poet, cultural theorist and performance artist; and the award-winning author of five books of poetry and poetic theory, The Arugula Fugues (Zasterle Press, 2001), Dyssemia Sleaze (Talonbooks, Spring 2000), Genrecide (Talonbooks, 1996), Mêmewars (Talonbooks, 1994), and The Empress Has No Closure (Talonbooks, 1992). Marked with an urban, Jewish, feminist aesthetic that continually challenges normative modes of meaning production, Karasick has performed worldwide and regularly publishes articles, reviews and dialogues on contemporary poetry, poetics and cultural/semiotic theory. Adeena lives, writes and teaches Poetry and Literary Theory at St. John's University in New York City.

Walter K. Lew's most recent book is _Treadwinds: Poems and Intermedia
Texts_ (Wesleyan U. Press, 2002). Earlier books include _Excerpts
from: ?[If the immediately preceding character didn't come thru, it's
a Greek delta, but you can just insert a capital "D" instead.]IKTH
DIKTE, for DICTEE (1982)_ (1992), a critical artist's book on the
work of Theresa Hak Kyung Cha, to be reprinted by Tinfish later this
year, _Kôri: The Beacon Anthology of Korean American Fiction_,
co-edited with Heinz Insu Fenkl (Beacon, 2001), _Crazy Melon and
Chinese Apple: The Poems of Frances Chung_ (Wesleyan, 2000), and the
acclaimed Asian North American poetry anthology _Premonitions_ and
_Muae 1: A Journal of Transcultural Production_ (both published in
1995). Formerly a TV news and documentary producer on events in South
Korea, Lew has also staged his own multimedia performance pieces for
the Los Angeles Festival and Walker Art Center. He is currently
working on a translation with commentary of the selected works of the
Korean avantgarde author Yi Sang (1910-1937).

“… spend the money, buy the book, take the ride…”
Francois Camoin

“I picked up Drive and didn’t put it down.”
Katie Arnoldi

rob roberge

The debut novel
by the author of the forthcoming
Trouble Knocking at my Door
Dark Alley Books (Harper Collins)

Order it by ISBN Number.
paper, $10.00
ISBN: 0971198632
doublewide press, 2002


Rob Roberge
525 West 10th St.
Long Beach, CA 90813
(562) 436-5313

Rob Roberge is the author of the novel Trouble Knocking at My Door which is scheduled for early 2005 release on Dark Alley Books, the crime imprint of Harper Collins, and the novel Drive (doublewide press, 2002). Roberge’s short fiction has appeared in YZZYVA, Chelsea, Other Voices, Alaska Quarterly Review, and Fatal Embrace. Recent fiction appeared in the “10 Writers Worth Knowing” issue of The Literary Review, and the anthology Another City: Writing From Los Angeles (City Lights Books). He writes plays and screenplays as well as fiction and teaches at the UCLA Extension Writer’s Program. In 2001, he started Doublewide Press, a small, POD press that specializes in innovative fiction and plays. He writes, plays (mostly guitar) and sings with the garage pop bands The Hacks and The Violet Rays and lives in Southern California with his wife, Gayle. He’s currently submitting the short movie Honest Pete, which he wrote and directed, to festivals.

A full list of publications is available upon request.

• 2003, UCLA Extension Writers’ Program Creative Writing Instructor of the Year.
• 1996-, Instructor, UCLA Extension Writers’ Program
• Taught at SC-Northridge, Creative Writing and Narrative Theory, Fall, 2002
• Taught Independent Screenwriting and Fiction at UCI Extension.

Recent Panels/Discussions/Readings:
• Vegas Valley Book Festival 2003. Thursday, October 23 - Saturday, October 25, 2003 on an alternate publishing panel. And did a reading and Q&A on a panel: Outsiders in fiction.
• CSULB Visiting Writers Series: Read, along with Gerald Locklin and Lisa Glatt in a celebration of the City Lights anthology Another City.
• Writers & Teachers reading series. Westside Borders, Los Angeles. Read from Drive and introduced 3 ex-students who’ve gone on to publish.

Drive a novel by Rob Roberge
Drive, is a twisted and funny and sad novel...Ben Thompson, a washed up former college basketball star, has no idea what he's getting into when he agrees to coach a minor league team of strays and loose canons owned by an eccentric fast-food millionaire. What Fat City did for club boxing, taking it and using the profession to expose and explore the men and women who live, love and ultimately tend to lose at society’s fringes, Roberge does here with minor league basketball in Drive.
This is a dark, funny, compassionate novel from a writer who has been called “...the laureate of that marginalized demographic, a professor of the articulately disenfranchised...”

Praise for Drive:

“...a seriously talented writer... one more novel for that little shelf in your mind, where you long ago filed Fat City, and Rick Barthelme’s Tracer, and Stanley Elkin’s The Living End side by side. Maybe two or three others. Roberge is an explorer of the everyday. Chicken franchises. Florida. The micro-politics of sex. Late –stage capitalism. The queer physics of the forbidden. That’s where this book lives. So do I. So do you. My advice—spend the money, buy the book, take the ride.”—Francois Camoin, Flannery O’Connor Award-Winner, author of Benbow and Paradise, The End of the World is Los Angeles, Like Love, But Not Exactly and Baby Please Don’t Go: Collected Stories, 1979-2001.

"Rob Roberge renders the human condition in a language that turns the ordinary into the rare. His writing is tough and searingly funny—the man's got bite and wit. His characters seem to hop off the page and offer themselves, in all their beautiful ugliness, to you, the lucky reader. Any book he writes, I'll be reading."—Lisa Glatt, author of Shelter and Monsters and Other Lovers

“I picked up Drive and I didn’t put it down. The people in this book are sharp and damaged and they won’t let you go even when you’ve finished reading. You can smell this swampy Florida setting and feel the damp despair that fuels this story. I highly recommend Drive.”—Katie Arnoldi, author of Chemical Pink.

“With the joyous athleticism of his prose and the knowledge that comes from loss, grief, and lots of heart, Rob Roberge deserves enough readers to fill Madison Square Garden for this and many seasons to come. I'm thrilled to see this novel in print.”—Diane Lefer, author of The Circles I Move In, Very Much Like Desire and Radiant Hunger.

“What we need are more stories that back us into corners. We need books that show teeth, and Roberge has given us one in Drive. It don’t matter, Mr. Roberge tells us, if you’re a basketball player whose bum knee is “the difference between the New York Knicks and painting houses with your brother-in-law”; it don’t matter if you’re a doctor or lawyer or an Indian chief, there is every chance you could end up alone in a motel room, working for The Chicken Man. Unrequited love, my friend, is a staple...perfectly dead on rendering in its language and idioms...sentences that cut this exactingly and rigorously into and against experience won’t let you use them up; they’ll disrupt your assumptions and draw you into what it means to be alive.”—Darrell Spencer, Flannery O’Connor Award-Winner, author of Caution: Men in Trees, Our Secret’s Out and A Woman Packing a Pistol.

Check out this and our other books at:



The experimental instrumental album, “playground/downtime” is available at Crazy Fungus Records: crazyfungus.com

The Violet Rays’ CD “Be In Fashion” is available at cdbaby.com

Recent Interviews:

Las Vegas SUN Oncewritten.com

Read at the CSUN grad English conference on Saturday, meeting Leilani Hall for the first time (know Joseph Thomas, Kate Haake from CSUN already).

Read the cosmology poems from the last section of OOD_ Object Oriented Design (made a chap).

Here's the intro text from that:

Our panel moderator suggested to me that perhaps there was overlap in the submissions of the various panelists in so far as they were related to the idea of “two.” I’ve titled this reading / talk “dual laud controls” which is a phrase from my current book, DaDaDa. The ms. containing these poems is called OOD: Object-Oriented Design, and these poems are from the last book-length section, which is for the time being called “Objective.” Together, these are the first two volumes of a longer project called Confiteor.

The poems in this section were designed (by me) to break down into a few binaries.

These are:

-- “binary,” the sequences of 0 and 1, off and on, which underlies most electronic machinery

-- x and o, hug or kiss, crossing in a point or midpoint / aporia

-- x and y, letters indicating chromosomes

-- and O and 1, x, y, z, n, and o, as both gendered signs and mathematical symbols with exact meanings.

The poems have their basis in modern algebra. Modern algebra is cosmology. In other words, at the time that various algebras were created and theorized, it was recognized by their creator-mathematicians they were a symbol language which merely indicated their own culturally-mediated beliefs in “origins,” specifically the origin of the universe, but also that of people. They came to realize that these ideas had an undesirable prejudicial aspect, at the same time the mathematical ideas came to undergird various military applications, including the computer, as well as throw light on a great deal of psychospiritual pontificating by analytical physicists perhaps not so keenly aware of the creative nature of mathematics.

Many of the quotes I use in these poems are from canonical (in English Literature) erotic poetry: Burns, Shelley, Donne….

By focusing on ideas of number, 0, 1, 2, and 3, I am also writing about sex, and creativity, about origin or genesis, ghosts and machines, and identity. Once one moves beyond the first two numbers, then, which I consider to be zero and one, one keeps counting. Other poems in the larger collection – not those here – deal with imaginary, transcendental, and other numbers which have names which have a psychospiritual charge by virtue not only of their names but also by their situations.

It is this sort of wild argument I believe it is a poet’s privilege to make. In these poems, I try to reveal – to allow the reader and myself to be always conscious of – the intrusion of prejudice, “fact,” habitual expression, etc.

Next reading:

Monthly Writers & Teachers Series

If you missed March's first Writers & Teachers reading with Elena Byrne and three students, you have another Los-Angeles area opportunity this Tuesday to hear local writers and teachers read their poetry.

Stan Apps teaches at Chapman University. A graduate of the UCI MFA program, he's a member of a number of writing groups who self publish their work, electronically and in small chapbooks and pamphlets.

Frankie Drayus is a Director of the Valley Contemporary Poets, and editor of their annual anthology of poems from the poets they feature at their LA-area reading series. She has published two chapbooks and a spoken word CD. Her poem, "Yielding," has been optioned for dramatization as a screenplay and is currently a film project at the Toronto Film Centre.

Tuesday, March 23
Barnes & Noble Glendale
245 N. Glendale Blvd.
Glendale, CA 91206

free parking

"Our most recent chapbook is Boy Girl Boy by Catherine Daly."

Intro to the chap:


The first part of my book DaDaDa (and hence of my long project Confiteor) is called Reading Fundamentals. The book-length section is a selection from the reading and writing projects I started during my preparation for an unsuccessful application to the UCLA PhD program in English. I downloaded the list of required texts for orals, and decided to "do something" with each text as a carrot for reading or rereading. I consider some of the resulting poems to be translations, others to be readings. I suppose "Boy, Girl, Boy" might be a correction.

This is the third time I've tried to make something from the female characters' speeches in Marlowe's plays. As you know, when you read older English verse in Microsoft Word, Word lights up like a Christmas tree: the grammar check assumes line breaks indicate sentence fragments and underlines them in green; the spell check doesn't recognize the words and underlines them in red. I decided to grammar check and spell check the poems until the text "came clean", i.e., until the software didn't recognize any errors. I accepted the first recommendation for grammar and spelling. Where there was no provided default correction, I used the Microsoft thesaurus.

I've been making poems with my current custom dictionary for quite some time, and I didn't reload the default dictionary. "Aeneas" sometimes became "Airbus". The Microsoft dictionaries are rich in brand names, something I discovered in a project using their voice recognition software. I did have a choice when the software didn't suggest anything for proper nouns. I chose baseball terms for the season and the location of the BoB editors. I have many strong and questionable opinions. Two are that these types of projects are occasional, and that "cyberspace" isn't unmoored from the locations of the human controllers of the files.