The last section of my trilogy DaDaDa (Salt Publishing, 2003), is a book-length section of visual and sound poetry called "Legendary." It has, among other things, visual poems about female fashion designers, starlets, and strippers. Alas, there's a single prose poem (about Elsa Shiaparelli). I'm sure you know that Daphne Gottlieb (FINAL GIRL) and Martine Bellen (THE VULNERABILITY OF ORDER) are working in a similar area.

I didn't want to just send poems, when I know Arsenal isn't particularly interested in them. I would like to propose a brief "brief" I suppose, sort of like an explanatory author review of my book with embedded poems, or

perhaps together with Daphne's and Martine's and some others, a juicier than normal essay about how poets are treating your theme, with a few good quotes?

Call for Submissions

Marilyn Monroe, Mary Magdalene, Medusa; the Virgin Mary, the Mudflap Girl, Amazonia the 50-foot woman; Little Red Riding Hood, Foxy Brown, Playboy Bunny, Joan of Arc; Florence Nightingale, Wonder Woman, Pope Joan; Annie Oakley, Barbie, Frida Kahlo; Venus in Furs, Betty Boop, Calamity Jane, Jezebel . . .

Creative & Theoretical Framework

The 'female' has been a timeless yet culturally unstable site from the rise, fall, and re-emergence of the Goddess to changing notions of the 'mother' and social mores surrounding 'slut,' all at once reviled and desired. The female icon is a site where the 'female' is stabilized - made static and sterile - it can be argued that the icon is about cultural sublimation of fear for the 'feminine,' on mass scale. Hothead Paisan, by creator Diane Dimassa, is one of the few contemporary exceptions. Stripped of power, the highly-produced icon allows the culture to dislocate aspects of femininity that are frightening and place them in a repository. Because the icon doesn't exist as 'real' - rather as a screen upon which we project, undesirable aspects of femininity are denied, rewritten, controlled, and contained in palatable morsels. Cultural instability between desire and repulsion is what produces the female icon; this place of unrest is what Red Light: Superheroes, Saints, and Sluts seeks to explore.

Red Light: Superheroes, Saints, and Sluts will be published in fall 2005 by Arsenal Pulp Press.


· To explore what female icons can, and do, mean for us
· To contradict popular culture's one-dimensional representations of 'girl power' for the purposes selling ideals of naturalized femininity back to us
· To present icons that are not taken up in popular culture- women who are queer, of colour, of all body types and sizes, and of diverse gender experience
· To elucidate complexity and contradiction in our lives
· To critique, with humour, what may or may not be a guilty pleasure of dressing up Barbie, collecting Wonder Woman comics, or feeling thwarted by the Mudflap Girl
· To present new interpretations of female icons - superheroes, saints, and sluts - created in our images, for our lives
Poetry reading by artist Riua Akinshegun.
Music by artist/musician Robert S. Hilton playing his
paint-can slide zither and other handmade instruments.

May 15, 2004 - Saturday, 5:00- 8:00 pm

Craft & Folk Art Museum
5814 Wilshire Boulevard
Los Angeles, CA 90036


Catherine Daly and Chris Piuma

Sunday May 16, 7:30 pm
Mountain Writers Center, 3624 SE Milwaukie Ave. Portland, Or Suggested Donation $5

for more information, call the Spare Room Dial-A-Poem line at 503-236-0867 or email spareroom@flim.com

And coming soon to a reading series near you:

Paul Dutton w/improvising musicians (thanks to Various Artists); John and Roberta Olsen; Nathaniel Tarn & Janet Rodney; the second Spare Room Sound Poetry Festival, Charles Alexander, and more!

Summer schedule available soon at www.flim.com/spareroom


Catherine Daly attended college in Hartford and graduate school in New York, where she lived on every street from 116th to110th, then moved skip stops down the upper west side. She has worked as a technical architect and an engineer supporting the space shuttle orbiter, and has consulted to investment banks on, among other things, disaster recovery. This, unfortunately, impacts her poetry, which moves beyond the telephone to wireless in the giant book DaDaDa (Salt Publishing, 2003) and the forthcoming love poems, Locket (Tupelo Press, 2004). She lives in Los Angeles.

Chris Piuma has edited the online quasi-literary journal flim (flim.com) for many years. His band, the Minor Thirds, played a show in Moose Jaw, Saskatchewan not long ago. He has been published in assorted venues, the likes of which you won't soon find elsewhere. He has bought board games in moonlit park entrances from dealers in nondescript green cars. There might be new books and recordings of his poetry.

Catherine Daly

Two poems from
In Media Res

Dissolve and Blur

Mine / heart free. Your service too constant.

Believing in you, draining, retaining nil, abandoning myself,

I was your slave, but goodbye,

I'm leaving you, thank god.

Mine h fffffree. ssssserviccccce conssssstant

draining, retaining messssselfffff

sssssslave good bye,


Start Walking

Rocks (know how) speak about it.


rocks beneath my feet do it.



Chris Piuma

The Old City

Where are the fourteen-year-old girls of my youth?
Where are my chariots of desire?
Why can't I drink all the Kool-Aid in the house?
Who put this here?

Why did I do that?
When did all these ants start crawling about here?
Who did you give the money to?

What was I going to tell you?
Where were you last night?
What should I have told that reporter, then?
Who knows what would make you happy.

Why did I do all that?
When did all these ants learn to make money at home?
Who did you crawl off with?

Review Copies:

Diane Glancy. PRIMER OF THE OBSOLETE. 2004.
Daphne Gottlieb, FINAL GIRL, 2003.
Pragetta Sharma, THE OPENING QUESTION (second book), 2004.
Lucia Perillo, NEW AND SELECTED, 1999.
Sarah Mangold, HOUSEHOLD MECHANICS, 2002.
Betsy Andrews, SHE-DEVIL, 2003.
Elizabeth Robinson, APPREHEND, 2003.
Stephanie Strickland, V, 2002.
Geraldine Monk, SELECTED, 2003.
Sophie Levy / Leo Mellor, MARSH FEAR / FEN TIGER, 2002.
Pam Brown, DEAR DELERIA, 2002, and TEXT THING, 2002.
Cath Kennelally, ALL DAY, ALL NIGHT, 2003.
Maxine Chernoff, NEW AND SELECTED, 2001.
Jill Jones, SELECTED, 2002.
Alison Croggon, ATTEMPTS AT BEING, 2002.
Lissa Wolsak, PEN CHANTS, 2000.
Adeena Karasick, [books thus far – abt 5], 1998-2004.
Osman, Jena. THE CHARACTER. 1999.
Erin Moure. A FRAME OF THE BOOK. 1999.
Norma Cole. SPINOZA IN HER YOUTH. 2002.
Lyn Hejinian. THE FATALIST. 2003.
Liz Waldner. ETYM(BI)OLOGY. 2002.
Rochelle Ratner. HOUSE AND HOME. 2003.
Alice Jones. EXTREME DIRECTIONS. 2002.
Rosemarie Waldrop. LOVE, LIKE PRONOUNS. 2003.
Denise Suhamel. THE STAR-SPANGLED BANNER. 1999.
Chris Tysh. CONTINUITY GIRL. 2000.
Eileen Myles. SKIES. 2001.
Frances Chung. CRAZY MELON AND CHINESE APPLE. ed. Walter Lew. 2000.
Coral Hull. BESTIARY. 2002.
Susan Wheeler. SOURCE CODES. 2001.
Susan Schultz. ALEATORY ALLEGORIES. 2001.
Kate Lilley. VERSARY. 2002.
Ulrikka Gernes. A SUDDEN SKY (SELECTED, in translation). 2001.
Paula McLain. LESS OF HER. 1999.
Mary Karr. VIPER RUM. 2000 (Penguin reprint of 1998 New Directions edition).
Amy Newman. CAMERA LYRICA. 1999.
Lisa Linn Kanse. SISTA TONGUE.
Amy Gerstler, MEDICINE. 2000.
Ann Lauterbach. SELECTED. 2001.
Phillis Levin. MERCURY. 2001.
Mary Jo Bang. LOUISE IN LOVE. 2001.
Elizabeth Treadwell. POPULACE. 1999.
Leslie Scalapino. R-HU. 2000.
Claudia Keelan. UTOPIC. 2000.
Kelly Le Fave. ME COMMA YOU. 2003.
Eloise Klein Healy. PASSING. 2002.
Elena Karina Byrne. THE FLAMMABLE BIRD. 2002.
Cathy Coleman. BORROWED DRESS. 2001.
Barbara Maloutas. PRACTICES. 2003.
Jen Hofer. SLIDE RULE. 2002.
Layne Browne. THE AGENCY Of WIND. 1999.
Renee Gladman. THE ACTIVIST. 2003.
Laura Elrick. sKincerity. 2003.
Kathleen Pierce. THE OVAL HOUR. 1999.
Harriet Zinnes. DRAWING ON THE WALL. 2002.
Michele Glazer. AGGREGATE OF Disturbances. 2004.
Molly Bendall. ARIADNE’S ISLAND. 2002.
Julie Bruck. THe END Of TRAVEL. 1999.
Alice Notley. DISOBEDIENCE. 2001.
Denise Newman. THE HUMAN FOREST. 2000.
Shirley Kaufman. THRESHOLD. 2003.
Ange Mlinko. MATINEES. 1999.
Quan Berry. ASYLUM. 2001.

Currently reviewed:

Grace Chia 2
Adeena Karasick 3
Rachel Blau DuPlessis 8
Connie Deanovich 14
Anne Tardos 16
Jean Donnelly 20
Martha Rhodes 22
Eve Wood 26
Diane Wald 28
Fanny Howe 29
Julie Fay 30
Janet Kaplan 30
Stephanie Brown 30
Cathleen Calbert 30
Lise Goett 38
Paulette Roeske 39
Janet Holmes 40
Linda Dyer 42
Rachel Loden 45
Maggie Anderson 51
Marilene Phipps 56
Aleida Rodriguez 59
Martine Bellen 61
Enid Shomer 65
Karen Volkman 67
Matthea Harvey 68
Susan Mitchell 71
Carol Frost 71
Judith Taylor 77
Lee Ann Brown 78
Holly Prado 83
Prageeta Sharma 86
Thalia Field 90
Dana Levin 95
Joanna Rawson 95
Brenda Shaughnessy 95
Lucie Brock-Broido 103
Rae Armantrout 108
Jorie Graham 112
Ann Townsend 117
Laura Kasischke 117
Tessa Rumsey 122
Christine Hume 122
Cole Swensen 129
Pattie McCarthy 133
Gillian Conoley 136
Robyn Schiff 139
Connie Voisine 145
Kathy Lou Schultz 148
Rachel Levitsky 149
Joanie Mackowski 154
Francine Sterle 155
Gail Wronsky 156
Lisa Lubasch 161
Judith Goldman 165

I've attached a list of books I can easily add to the list of reviewed books (as I own copies) as well as a toc. of the existing collection, in MS Word format. The list is long, but the reviews are (intended to be) short -- but offering an eccentric, cumulative view of five years of women's poetry published in English. The list of not-yet-reviewed is currently quite heavy on Salt authors, which add an international flavor; I would like to be able to add them, but must disclose I am a Salt author myself. Similarly, I would like to add more Word Tech imprint authors (Ingrid, for example) and Tupelo Press authors (especially Anna Rabinowitz), if you feel that would be a good thing.

I am aware of your approach through form, and I think my focus on process might demonstrate the necessity of reading and considering poetry carefully with regards to form and content.
Prof. Daly,

We can only use 2 of the reference letters (Kristin Calabrese & Wendy Cohen)in
your information because the others (Annie Finch & Janet Holmes)don't have a

Actually we can't use Janet's because it doesn't have a signature.

If Annie Finch's letter is recent I can type a date in otherwise you will need
to have a new letters sent.

Please let me know what you would like to do.

I deeply regret that I will be unable to accept your Technical Communication Fellowship.

After discussions with my family, I believe that while I could benefit in many ways from the opportunity you have offered to me, I find myself unable to make the necessary financial commitments for more than a single term.

I was excited to learn that I was offered an appointment, and am grateful to you and your department for recognizing that an MFA with significant book and electronic publication and 15 years of corporate IT experience can be qualified for a post doc in technical communication. I admit I was disappointed to learn I could not meet my own needs for a full year (or more) while developing and teaching upper division courses, and developing software applications to support those courses in the new major, as I would love to do.

I look forward to continuing to hear about developments in your programs and department. I have no doubt that they will come to my attention, as I have known Tom Lux since he taught at Sarah Lawrence, and he maintains a quite extensive network in Los Angeles through his wife (we all share many former students and friends), and, as I learned through the interviewing process, that N. Katherine Hayles’ network extends to Atlanta.
We have to figure out how much money I owe you for the rogue order of books.

As you know, there were 100, and of that 100, I have consigned 10 and sent 20 to Small Press Distribution. I can pay for the consigned ones if you like, or keep them "off the books" until they sell. I think it may be better to have me pay for them, as I have no idea when or if they will sell. It is just not very easy for me to owe money!

I can't think it will be worth it to ship any overseas, but of course I will do that if you want me to.

I am sorry for the Ledbury thing. I was even able to get into the Brunel conference. I am simultaneously looking for jobs at the bottom of the jobs market and looking for houses at the top of the housing market. This reading in Portland is the last one I can afford to do.
Dear Dr. Charles Bennett:

I am unable to commit to reading at Ledbury. I’m terribly sorry, but I do not feel in a stable enough job or housing situation to accomplish the trip, even though thanks to your letter (for grant writing) and familial support, I can defray some of the cost.

I genuinely regret not being able to support the festival, my publisher, and my own writing by reading at Ledbury (and in London and Scotland) as planned.

Do you want anything listed for an affiliation?
Could you suggest a title for your paper?
Will you be requiring any equipment for your presentation?
Could you send us either a c.v. or a brief description of your work that we can give to the chair of your session to draw upon in making introductions?
We are putting together a proposal for a collection of selected essays to be published and will be submitting this proposal in early February; would you be willing for your paper to be considered for inclusion?
A tentative programme will soon be sent out, and also available on the conference website (www.poetryconference.stir.ac.uk) and a registration form is attached to this email (you should be able to open it in Microsoft Word, but let me know if there are problems). Preliminary information about registration is given on the form, but this will be supplemented as plans are finalised. The completed registration form should be posted to Glennis Byron, Poetry and Sexuality Conference, Department of English Studies, University of Stirling, Stirling, Scotland, FK9 4LA. The deadline for registration and payment of registration fee is 1 April 2004.
Please don't hesitate to get in touch if you have any questions. We look forward to seeing you here at Stirling.
All the best,
Glennis Byron
Angela Smith
Andrew Sneddon

-----Original Message-----
From: Catherine Daly
To: poetryconference@stir.ac.uk
Sent: 16/01/2004 18:43
Subject: Query Regarding Abstracts, Poetry & Sexuality Conference
Dear Andrew Sneddon, Dr. Glennis Byron, Prof. Angela Smith:
I have just read your extended call for abstracts for papers and talks for the Poetry & Sexuality conference in Stirling this coming July. I will be in Ledbury for the Poetry Festival a few days after the P&S conference close.
I am primarily a poet, but am also an independent scholar. However, the strongest connection to the conference theme, "Poetry & Sexuality," is through my creative work, not my scholarship. In particular, the long poem "Palm Anthology" in my book _DaDaDa_ (Salt Publishing, 2003) "ties together" erotic fragments from the Greek Anthology using semes derived from the personal digital assistant with wireless (Tesla coil) capability (i.e., my Palm VII) while maintaining their "wireless" communicability.
I would love to have the opportunity to deliver a talk about this poem, as well as read quite small portions of it (understanding the 20 minute time limit) which illustrate the relationship between the body, fragment, other poetry, technology, and media, that I attempt to establish. It is one of the few poems written for Palm OS, but also it is not currently available to scholars outside the print version in my
Some section titles are commands derived from D/s computer chat games, so that they bring forward ways in which literature and technology is and isn't subservient to human "domination." Other sections are titled with palm markup (a sort of "html lite") tags. Since my palm has wireless connectivity, i.e., it uses a tesla coil, there are many references to tesla coil / violent wand -- thus to another set of
technologically-mediated sexual practices. In the poems, the bodies
are arranged into completed circuits or are short-circuited.
I took a single course in education -- a grueling thing in which we were filmed and critiqued as we were trained to use three different pedagogies --

anyway, I taught for half a class? on general creativity -- I brought in little toys etc. like I did for the haiku class (if you're writing in class, as students seem to want to do in poetry, you need texts or objects, otherwise, it gets pretty thin) -- I found if you lavish praise on the most unusual thing that each student does, whatever it might be (no matter how ordinary), and show the other students that's what you're doing, they, as a group, become very very creative.


I received an e this morning which seems to indicate Gergia Tech will offer me a Brittain Fellowship; my telephone interview indicated that because of my different experience, I will be teaching a new upper division technical communication course for computer science majors rather than a lower division course for communication majors.

As you know, the first thing one researches when learning about these sorts of things is who has held the fellowship previously, and what it has done for them / their careers. This one is generally a post doc, and generally goes to a PhD in the new technical communication / technical writing / online education, etc. fields. An unusual sidebar is perhaps that, since the host department is Literature, Communication, and Culture, many of the fellows are poets.

Many of them are in Southern California! at CSU San Marcos, where I attended the ACLA with Deborah MEadows, Susan Stweart, and Walter Lew, to an audience that included August Highland and Robert Hershon; and UCI grad and blogger Jennifer Thompson:


which led me to post this description of a book from Roof Books about politics and poetry

The Politics of Poetic Form
Poetry and Public Policy
ed. Charles Bernstein

The relation of poetry to public policy is usually assumed to be tenuous or secondary.
... In contrast, poetry can be conceived as an active arena for exploring the most basic questions about political thought and action.

ways that the formal dynamics of a poem shape its ideology; more specifically, how radically innovative poetic styles can have political meanings.

In what way do choices [of grammar, vocabulary, syntax, and narrative] reflect ideology? How do the dominant styles of both oppositional and liberal political writing affect or limit what can be articulated in these forms?

As I'm writing reviews today with an aim to collecting them, as usual.