Garden Design brings interior design outdoors. There is the creation of "exterior rooms." These can raise the value

especially in temperate climates, outside living is desirable. It

mosquitoes: there aren't many in Southern California
bees (especially around the wisteria and pink lemon trees)

the = our (rented wisteria, owned container pink lemon trees)

Ian Hamilton Finlay's Little SPARTA

Sackville-West and the white garden (color gardens, monochromatic, etc.)

to attract: birds, hummingbirds (red flowers with narrow necks just right for a beak, Indian Paintbrush, etc.; Southern California is a hummingbird zone, though the hummers are not as colorful as elsewhere, there are more of them), butterflies, etc.

drought-tolerant need more water until "roots are established"
perennial - seasonal, so that something is in its prime all year around
water -- nypheas

water feature
overall design
paths in
focal points See exterior rooms, illusion of

raised bed

climate -- cather


herb / kitchen

cutting garden



asked about by Stan Apps who has an oracle blog

looking for hexameter-in-translation which are (homolinguistic?)

non sequitor in hexameter

Ron Silliman's mondegreen is sort of like this

2) the person who recites the divine message, also known as a "mantis," or 3) the words the mantis speaks.

translations of the phythian utterings from the oracle at delphi (generations of prietesses called phythia -- cool name) (also -- oracle at delphia source of "blow air up your skirt?" or Marilyn Monroe?)

working on an oracle poem (admittedly, should be a delphi poem as well!)
after dragon slain by apollo
st michael
don't tread on me <<
st. mary << angela de foligno poem in da3 << ***may altar***

What is best for man?
Know thyself

able to conquer Arcadia?
they will measure out the Tegean plain in fetters

wooden wall?
wooden ships / athenian sea power

bird-watching and entrail-reading

"a glimpse of truth given by the god, even if the "answer" was misunderstood, or sometimes wrongly interpreted"

metaphorical language of the oracle; injunctional duplicity


draft poem (c-wide has locked c drives)

"make love not war" or substitute a moral euphamism (sp?) containing euphonic associative romance and oppose it with a double deck dull game to fill....

"give peace a chance"

Mayer's "Experiments" speak very clearly about a number of the most important characteristics of L=A=N=G=U=A=G=E Writing. In the first place, writing is conceived as something that must be done rather than as something that is to be interpreted. The vantage is Horatian rather than Plotinian. The "meanings" sought after in this work are neither ideas which lie behind (prior to) the texts nor residues left over from their operations. Meaning occurs as part of the process of writing--indeed, it is the writing. Thus Charles Bernstein says of such poetry that it "emphasizes its medium as being constructed ... designed, manipulated, picked, programmed, organized" (39)--"Whatever gets written gets written in a particular shape, uses a particular vocabulary & syntax, & a variety of chosen techniques... Sometimes this process takes place intuitively or unconsciously... Sometimes it is a very conscious process ... In either case, various formal decisions are made & these decisions shape the work"(43). This kind of statement--it appears repeatedly in the manifestos of L=A=N=G=U=A=G=E Writing--argues that discourse, including poetic discourse, is not meaning-referential but meaning constitutive. Writing is an event, a praxis, and in our day one of its principal operations involves the dismantling of the ideology, reified in so much that passes for "writing" (the SLOGANEERS), that language which in this context means producing and reproducing textsis an object, an icon. "The signs of language ... are not ... mere structures," Bernstein says, "they do not sit, deanimated, as symbols in a code, dummies for things of nature they refer to" (41). We are to think of poetry as "making a path" rather than "designing a garden" (39)--"Texts are themselves signifieds, not mere signifiers. TEXT: it requires no hermeneusis for it is itself one of itself" (34).


construction (and reading) of poetry should not be envisioned as "designing a garden," but rather as "making a path."

b/w controller / (wheel/cyber) / seedbad and Torture Garden, Cayce Herbal & Alaistair Crowley poems & game

watch the moon revive
black ice precipice

sun's first arrows glance, drive
stars from their pavillion, like a hive
stirred by lightning.

sun shatters crags
splintered rock and icicle alive,
delight in mourning.

cliffs withdraw,
memory pencils out the little ledge,
And friendship forges a link.

cruel love, rend the veil
virtue, there is born
Within me strange desire
new sweetness in the nightingale,
love tears Philosophy
wears sophist and cynic tale (shreads).

cruel love - find in her
Seven angels web with the seven devils
here I had thought to find a mirror of
my own obscene
And dead desire
Love comes: we part: I perish: Fate blind

The end of everything. The veil of night
Is not so deep I cannot comprehend.
I see before me yawn - a ghastly sight -
The End.

Love long ago deserted me to wend
His way with younger men. Life spreads a blight
Over me now. I have not now one friend.

There is no hope for me; no gleam of light
To my black path will any comfort lend -
Yet will I meet with smiling face, upright
The End.

He who seduced me first I could not forget.
I hardly loved him but desired to taste
A new strong sin. My sorrow does not fret
That sore. But thou, whose sudden arms embraced
My shrinking body, and who brought a blush
Into my cheeks, and turned my veins to fire,
Thou, who didst whelm me with the eager rush
Of the enormous floods of thy desire,
Thine are the kisses that devour me yet,
Thine the high heaven whose loss is death to me,
Thine all the barbed arrows of regret,
Thine on whose arms I yearn to be
In my deep heart thy name is writ alone,
Men shall decipher - when they split the stone.



I hope to cover the cost of the clothing I bought in Portland; the job is not cool or terribly lucrative (I should make 90-125/hr, and this is for 50/hr 27 miles away from here), but I think it will be a nice change. Hopefully it will lead to something for the rest of the summer and until book #2 comes out (end of Oct.) that will allow me to rebuild my savings a bit. Eliz. is giving me res. comments; I guess I need several "15 second elevator pitches" ie, log lines, for what I do.

It is easy to get super-involved with the ups & downs of writing, and I was getting my knickers in a twist about writing, academic jobs, housing, neighborhoods, money -- I've always known that for me, having a job & some "mad money" is better than having "resume building loss leaders" like copy editing work, adjunct teaching, conference attendance, etc. I am burning lots of poetry cds for the commute & getting excited about recording for Da3.

Ron vastly prefers editing work, non profit work, teaching, etc. to corporate work, so when he hears me complaining about jobs, he encourages me to quit, since he can support me. I prefer to have a little bit more independence.

Ron's favorite [we went to see one of Rob Roberge & Gayle Fornataro's bands at the Rockotitlian Cafe last night] was the one with the "Stop Now" refrain. The vocals were pretty muddy, so we couldn't hear your lyrics, which I like. Speaking of excellent lyrics, I guess Franklin Bruno played at Spaceland with the Urinals last week? right after he turned in his diss. Which -- wow, I thought he was shooting for the fall.

I am going to try to make a flyer today. I just talked to David Stromberg, and he is going to do a little lecture / reading with the images. [for the reading at the smell May 30] Kevin mentioned last night that he would be able to give you the projector sometime this week; if Gayle has a laptop, it might not be a bad idea to test it out IN CASE for some reason we can't get the projector working with David's laptop. I am going to make up a mailing list sign up sheet & get a clipboard.

I am finally finished typing in the hotel computer game controller poems (went over well in Portland), and trying to steer them through Torture Garden to see what happens. No real work for a week on the new ms. "To Instruct & Delite" -- it is an art history & pedagogy slog.
I was alarmed by the dual use of the word "critical" in the forwarded article. "Critical thinking" and "being critical of the government" are not identical pursuits.

I guess partially because I'm coming from a different place, too, with my opinions on this matter. While I recognize the problem of arts in the schools and free speech, I do wonder how, for very young children, arts in the schools programs are encouraging certain types of critical thinking and artistic responses.

I guess I would hope that we teachers and artists are not simply, like marketers, simply seeking and finding less and less critical "market share" by teaching children.

The political tensions in the schools, where most children still hold the political beliefs of their parents, and in small towns in the west and southwest, where those political beliefs are more likely than not to be politically conservative and/or supported by military installations,

creating a town and gown problem, or tensions between more liberal faculty students attempt to please and more conservative parents students also attempt to please, can hardly benefit high school and younger students as much as "critical thinking" or "creative writing technique" in general could.

Based on my own experience, too -- I assumed a reading series at a chain bookstore because the previous slam-based open mike, when the curator went off his medication, became a weekly rowdy anti-war rant. Not all bad, but not a poetry reading. -- I wonder at slam politics (sloganeering, hardly nuanced poly sci) being supported in the schools under the aegis of giving students self-confidence. What happened to teaching art?

response to this article, forwarded to the SUNY BFLO POETICS listserv:

Hard lessons from poetry class: Speech is free unless it's critical By BILL HILL Last update: 15 May 2004

Bill Nevins, a New Mexico high school teacher and personal friend, was fired last year and classes in poetry and the poetry club at Rio Rancho High School were permanently terminated. It had nothing to do with obscenity, but it had everything to do with extremist politics. The "Slam Team" was a group of teenage poets who asked Nevins to serve as faculty adviser to their club. The teens, mostly shy youngsters, were taught to read their poetry aloud and before audiences. Rio Rancho High School gave the Slam Team access to the school's closed-circuit television once a week and the poets thrived.

In March 2003, a teenage girl named Courtney presented one of her poems before an audience at Barnes & Noble bookstore in Albuquerque, then read the poem live on the school's closed-circuit television channel.

A school military liaison and the high school principal accused the girl of being "un-American" because she criticized the war in Iraq and the Bush administration's failure to give substance to its "No child left behind" education policy.

The girl's mother, also a teacher, was ordered by the principal to destroy the child's poetry. The mother refused and may lose her job.

Bill Nevins was suspended for not censoring the poetry of his students. Remember, there is no obscenity to be found in any of the poetry. He was later fired by the principal.

After firing Nevins and terminating the teaching and reading of poetry in the school, the principal and the military liaison read a poem of their own as they raised the flag outside the school. When the principal had the flag at full staff, he applauded the action he'd taken in concert with the military liaison.

Then to all students and faculty who did not share his political opinions, the principal shouted:! "Shut y our faces." What a wonderful lesson he gave those 3,000 students at the largest public high school in New Mexico. In his mind, only certain opinions are to be allowed.

But more was to come. Posters done by art students were ordered torn down, even though none was termed obscene. Some were satirical, implicating a national policy that had led us into war. Art teachers who refused to rip down the posters on display in their classrooms were not given contracts to return to the school in this current school year.

The message is plain. Critical thinking, questioning of public policies and freedom of speech are not to be allowed to anyone who does not share the thinking of the school principal.

The teachers union has been joined in a legal action against the school by the National Writers Union, headquartered in New York City. NWU's at-large representative Samantha Clark lives and works in Albuquerque. The American Civil Liberties Union has become the legal arm of the lawsuit pending in federal court.

Meanwhile, Nevins applied for a teaching post in another school and was offered the job but he can't go to work until Rio Rancho's principal sends the new school Nevins' credentials. The principal has refused to do so, and that adds yet another issue to the lawsuit, which is awaiting a trial date. While students are denied poetry readings, poetry clubs and classes in poetry, Nevins works elsewhere and writes his own poetry.

Writers and editors who have spent years translating essays, films, poems, scientific articles and books by Iranian, North Korean and Sudanese authors have been warned not to do so by the U.S. Treasury Department under penalty of fine and imprisonment. Publishers and film producers are not allowed to edit works authored by writers in those nations. The Bush administration contends doing so has the effect of trading with the enemy, despite a 1988 law that exempts published materials from sanction under trade rules.

Robert Bovenschulte, president o! f the Am erican Chemical Society, is challenging the rule interpretation by violating it to edit into English several scientific papers from Iran.

Are book burnings next?