Book Publication Reading and Celebration
December 15th, 7:30 PM
Martha Ronk, In a Landscape of Having to Repeat, Omnidawn, 2004
Eleni Sikelianos, The California Poem, Coffee House, 2004
The Mountain Bar
473 Gen Ling Way in Chinatown across from the Wishing Well
(For more information: themountainbar@sbcglobal.net or 213 625 7500)
clogging. as if I knoew how to clog.

I have always wanted (still do) to take the trans-siberian railroad; trains across India were the closest I got -- but those were classic!

Call for Papers
Capturing the Moving Mind: Management and Movement in the Age of Permanently Temporary War
An ephemera conference on the Trans-Siberian train (Moscow-Novosibirsk-Beijing), 10-20 September 2005
In September 2005 a meeting will take place on the Trans-Siberian train from Moscow via Novosibirsk to Beijing. The purpose of this meeting is a 'cosmological' one. We would like to gather a group of people, researchers, philosophers, artists and others interested in the changes going on in society and engaged in changing society as their own moving image, an image of time. Spatially moving bodies and bodies moving in time (through the different time zones) could create an event, a meeting that not really 'is' but 'is going on'.
Today it is impossible to restrict production to the closed time and place of the 'factory-office'. Production has become spatially boundless and temporarily endless: the factory-office and its borders have dissolved into society, into a multitude of productive singularities whose productivity cannot be reduced to actual production, to any actual mode of existence, to any historical time. The labour force has rather increasingly detached from its spatial, physical and biological aspects and become a 'mental category'. The generic human capacities - intellect, perception and linguistic-relational abilities - which make human beings 'humans', have replaced machinery and direct labour in the core of value creation. The mental labour force does not have strict spatial and temporal coordinates; it rather moves in time and unrolls over the boundaries and hierarchies of space. To understand the changed dynamics of creation and the social cooperation at its centre we must perhaps move beyond the borders and beyond the immediately visible.
Yet the constitutive political problem in today's knowledge society, or knowledge economy, is not that different from what it was in industrial
capitalism: how to govern, organize and control the labour force. But it is impossible to organize, control and locate cooperation between minds through the place it belongs to and through the deeds it does. The new forms of organization and control, like the permanently temporary war, arise precisely from the insufficiency of power in a situation where institutionalized modern forms of power confront 'unclassified' people: moving people, people in trains, singularities, individuals whose actions and orientation cannot be figured on the basis of their belonging to this or that community, or on the basis of performing this or that task; that is, when power confronts human beings as bare humans. To be able to organize and control human beings as bare human beings, the new forms of control cannot afford to be withheld or slowed down by any particular institution and their particular tasks, but they must target the possibilities of life in general (both corporeal and incorporeal).
By opposing traditional disciplinary conceptions of power and the concept of control, it is possible to say that power operates on particular actions and subjects in space. Its target is the physical or biological human being. Power seeks its justification from particular institutions and their functions (the factory produces goods, the hospital takes care of illness, research is done in the university, the army takes care of war). Control, instead, operates on the bare conditions of action, on the possibilities of life in general. Unlike the modern logic of power, which always needs an institutional context and a normal state to justify itself, the new form of control avoids committing itself to any particular institution and its particular task. It rather seeks legitimacy from public opinion and the ethically right: ethics and obscure 'public opinion' replace formal law and its institutions as the basis of legitimacy. Control does not have any external reason to refer to, no fixed point of reference or legitimacy (like formal law or a particular task of an institution). It does not have any particular task or specific boundary (of an institution and its task). There is rather 'no sense', 'no reason' in it: it is uncontrolled by fixed reason or faculty of judgment; it is lacking in restraint. It is full of sound and fury and signifies nothing.
But there is method in this madness. Through this method, the human body, which constitutes the fundamental natural resource of the 'knowledge society' and reproduces the productive power of human intelligence, is used and kept from moving by means freed from any political or legal constraint. Movement has always its corporeal aspects: movement is movement of bodies and bodies in movement. It is here that we may begin to understand the exchange relation between a barrel of oil and a child killed in Iraq, between privatisation and destruction of human community: the new formless form of war, the mad war, as a non-state, non-institutional form of intervention, is the logical 'form' of organization and control within an economy that has become biopolitical. The permanently temporary warfare and its 'enduring freedom' constitute a new political economy that tries to make bodies usable as mere living organisms on a world scale. The immaterialization of the labour force is intimately connected to the raw materialization of the human body.
We call for proposals for papers, interventions, works of art and other ideas that try to cross fixed boundaries and are open to the contaminating influences of the continents we will be passing through during our journey. The experiment begins in Moscow where the current Russian condition is laid before us in bare by some of the most critical Russian intellectuals. This will be followed by a three-day seminar on the Trans-Siberian train as it moves towards Novosibirsk, our next stop in Siberia, where the meeting will be hosted by the department of Economics at Novosibirsk State University for one day. The party goes then on to Beijing where a final roundtable with Chinese social scientists will be held (the meeting is planned to take place at Qinghua University, Beijing).
Please submit proposals (500 to 1000 words) to Demola Obembe
(aoo5@leicester.ac.uk) by 31 January 2005. Notification regarding acceptance will be given by 28 February 2005. Unfortunately, the number of participants is limited due to the nature of this project. The participation fee is estimated to be around 1000 Euros (including travel from Moscow to Beijing, accommodation and boarding in Moscow, Novosibirsk and Beijing). Alternative ways to participate in the project are possible and should be discussed with the organizers.
For further information, please contact the organizers at www.ephemeraweb.org/conference
The conference is supported by:
ephemera: theory and politics in organization
Ground Zero: Conflitti Globali
I promise to get to work and stop clogging. But I am trying to think up a title for two testimony poems (the third -- testimony is from "three" is online at Black Box) for "crimbo" (new to me slang I'm about to annoy everyone with the entire holiday season)

and guess what -- of cuorse we know what it means -- but what does it mean? how can speech authenticate (some sort of voice activated-security system? no); it is a statement of BELIEF and the poems are about where these beliefs are erroneous or plain misleading --

like we saw a short after Nova last night on Leyden jars at the dawn of the age of electricity (leyden jars -- with tesla coils in "Palm Anthology"), having "shock parties" (my friends the Elizabeths are performing with a 20 ft tesla coil and ossous labyrint (sp?) this weekend) -- I've got a hysteria one

and I've got a patent medicine / elixir one (snake oil! should have used that in the poem w/ snake eyes 1 1 )
o o

and I've got a "feminine hygiene products" one -- because it is always so mysterious the way female stuff was mentioned at least to me growing up -- al sorts of "you will just know" answers to perfectly logical questions instead of real answers, just like -- feminine hygiene product WHAT IS IT? WHY? to the uninitiated

BELIEF -- can't call them that but --
As a kid, back in the seventies, I'd mourned several bars: The Marathon, a simple rope of caramel covered in chocolate, which came in a bright red wrapper that included a ruler on the back, a ruler that was commonly used by those of us with male self-esteem issues.

actually, not so -- one of my favorite chocolate bars; one of my husband's -- like snicker's, espcially good frozen because then the caramel can actually be eaten -- at first it is crunchy, and during the course of eating it is gets gooey


am exploring the Tamafyhr Mountain links because I am trying to think of when to send them as an eChapbook -- I am leaning toward sending them a "selected online shorter poems" to be entitled Up To the Aether; this would have a strange relation to the poem I'm writing from the same poems called Flori-something

these are mostly small presses -- many small colletives, or starting as one -- of the types that I think might be more usefully established and supported by authors and hobbyists who would be tempted to vanity publish, because they build communities this way, instead of building isolated authors marketing their product i.e. forcing their friends and family to buy it.

partly the reason I buy so many copies of my book -- so that if a non-literary friend wants to support my efforts and see what I'm up to, cool, but I am not asking them constantly for money / favors, etc.
a link to the 42 word review of Da3:


Pug Sheridan
Sandra Cline
Autumn Leaves Publishing
isbn 0-9754554-4-3

This is an example of a very professionally self-published first novel. I assume the first book by this publisher and first book by this author are connected. Advance copies were circulated for review well in advance of release. They were produced and packaged in precisely the manner in which bound galleys are generally produced by regular houses, along with three! press releases which contained a load of information about the book. If I were to fault this effort at all, it would be to note that too many selling points -- environmentalism, a "feminist sub-text", spirituality -- are mentioned.

I heartily recommend Atlas Books over American Publishing Company for all your vanity publishing needs. Which -- did you know my accountant considers my publication to be vanity publishing? Yup, because financially, that's what it is. That sure hurt when it was mentioned. Ron said something soothing. I heartily recommend Salt Publishing and Tupelo Press for all your... alright, whatever.

The novel is voice-based and issue-driven, which is the reason for all the "selling points" -- there's a helpful female Indian, the Ku Klux Klan (rape! golden showers! -- but more seriously, also an afterword which explains some of the sourcing in and mention of other texts -- BIRTH OF A NATION for one), and lots of spirituality.

I have a very nuanced uh, situation with spirituality and how it is treated in writing -- it is clunky here. The spirituality came first, and it is getting passed through the prose as a "main idea" like it would in a paper. Here's the beginning of Chapter Fourteen:

"When I told my mother about the shared dream mystery, she cocked her head and said, "I once heard a word that's never made sense to me until now. It was in a book of Celtic verses. SOULTWIN....'"

The southern dialect comes and goes thank heaven.

There's a "League of Seven Sisters" which recalls the Ya Ya Sisterhood.

This, too, is like my students -- what do you do when you or your student has written a perfectly competent novel which will never win a contest? I assume that Ms. Cline -- who has some literary and professional accomplishment -- submitted the novel to various presses. Presumably without the author's note and preface which would've sent the otherwise fine writing into slush immediately. But then, I have a complex relationship with presses which charge entry fees for prizes rather than having reading periods, and I've gotten lucky I've been asked for two books. So, you see, all the money I spent on book contests really has been for nought (I still enter though). And then, there is always the thought -- I will bring it out myself. Because press x is asking for sales upfront, although they don't seem dishonest, and press y says maybe in 2010 -- and I am tired of waiting -- because press z did take it but then couldn't bring it out --

I assume the writing in it is heartfelt, although it seems to me to be a little less motivated than I would like -- that instinctive distrust of the movie tie-in and the easy marketing points -- but I must say that I initially had the same distrust of things like Nicole Cooley's Salem poems, before I read them very carefully, and I'm afriad I won't be reading Peg's story very carefully.


I could probably write a book about this subject, but I'll spare you. I have taken some actions that have increased poetry sales in a number of stores. Here's a list, off the top of my head. I'm using a good portion of this in a marketing article I'm doing for another publisher's Net site. So you saw it here first.
1. From the beginning, my publisher and I selected the poems for my book in a deliberate manner, based on who might actually fork out $12 for a book of poetry. We did not take a theme approach for the book (as a judge noted on a recent contest entry remarks form--"No theme--subtract 5 points.") I knew I would be reading for diverse audiences in a number of cities. We grouped the poems in the book by mini-theme, such as a section of sonnets, poems on the South, poems with the environment as a setting or motif. This has worked well in terms of acceptance, even by those who claim to not like poetry.
2. Getting the book stocked by Barnes and Noble took six months. My publisher started three months before the book's release date. I set up signings at several B&N stores and spent many hours recruiting attendees by snail mail, email, news releases, and my newsletter. In the beginning the stores ordered the book directly from the publisher. After a six month or so period, they began to place orders through Baker and Taylor. This is also true of AWC, the supplier for Books-a-Million. A handful of independents stock the title. They are less prone to stock poetry heavily, at least in the Southeast. For instance, at the Southeastern Regional Trade Show, I read with the Yale Younger Poets' Award winner. The audience numbered around 150 people, mostly booksellers. The reading went well; many expressed their pleasure. One bookseller placed an order. American publishing depends on the chains; for widespread distribution, it is my opinion that you must have their support to get the title distributed nationally.
3. I've always had a policy of supporting other poets' work. I review their books at amazon and B&N online. I have a section of my Net site devoted to work by other poets. Note that I do this with absolutely no expectation of reciprocity, but rather as part of a general philosophy on giving. This, happily, results in increased exposure for my own title.
I organize discussions for my area B&N. I call them the Community Poetry Series. It's sort of like a book club for poetry books, but the faces change each time depending on the poet we're studying. We did Ted Kooser's book recently, Delights and Shadows. I succeeded in getting the CRM to order 20 copies of his book. We drew a diverse crowd, sold the books, and she will re-order. Because I was facilitator, I introduced myself and my book (briefly), thereby selling some of my own as well. Though not in a hawkish kind of way. A future book I'm doing will be one of Kim Addonizio's because she's a favorite poet and her work resounds with readers of poetry as well as writers of poetry.
I publicize the discussions by news release, personal invitations (snail and email), and direct recruiting when I speak to audiences. Note that news releases can be emailed. Go to the newspaper's online site and scrutinize the page for "Contact" or "About us." Usually there will be an email directory. Always include full name, address, a daytime phone number. Always include a number for the public to call. This can result in some unusual phone calls, such as a poet who calls at 10 p.m. to read you his latest divorce poem. I have learned to extricate myself from such conversations with grace, in the interest of my sanity. Also consider city and lifestyle magazines in your area. They usually have a 60 day lead though so you have to work way ahead.
I usually do a flier for bigger events. I enlist my daughters and their friends (because I am the pizza supplier for that social network) to take them to area colleges, schools, coffee shops, etc.
4. I do programs for schools at the mid and high school levels. Because the book is best suited to the high school and over level., I use handouts for middle schoolers. I designed them so that students can interact with poetry and hopefully come away with a new attitude. Consequently, about a dozen schools are using my book in the classroom, high schools. This results in a 50 book or so order, often from an institutional division at B&N. My publisher will sell directly to a school at a discount as well. On the handout, I always include the line "Sponsored by kayday.com." Their parents may go to my site and buy the book if the student carries the handout home.
5. I do poetry for just about any group who asks. I do like to at least be reimbursed for gas if the round trip is more than 30 miles. I tailor the presentation to the audience. For instance, my selections for the American Association of University Women chapter here differ wildly from those selections I presented at a women's history event set up by a large organization here in Jacksonville. I did a reading at a saloon not long ago, and the place was packed with temporarily very happy guests. Due to the alcohol level of the audience, I presented poems with a strong sound component. When I present, I rarely look at the book. Audiences like eye contact and energy. Sidenote: If I have to board a plane, I expect that expense to be covered. However, I know people in many cities, so I'm often able to arrange lodging with friends and family. I do reciprocate on that!
6. I write related columns for magazines and Net sites. An essay I wrote is in The Writer's Handbook this year. I take a copy of that with me. This spurs sales of a book by an editor I admire, and it also rounds out my credibility. I put that book on a stand by my own book when I speak. I also take magazines--most recently, Miller's Pond--that carry my work. This spurs subscriptions for editors who support my own work.
7. I do news releases monthly. I announce where I'm going, awards, and comments on trends (such as publishing poetry, etc.) It must be obvious at this point that I enjoy writing. (*smile*)
8. I organize events (3 or so a year) that include other poets. One example is a poet whose book was picked up by a publisher that is not carried in most stores. The woman has a disability, and although her poetry isn't National Book Award material, it is pleasing in its own way. The CRM at B&N worked with me to set up an event for this poet and did an in-store purchase of the book. I felt good about that.
9. I update my Net site as frequently as possible. I carry a news page there so it isn't all about me, in addition to my By Invitation section that features work by others. I keep a calendar there, although I haven't had time to code my 2005 events yet. The point is to attract people there.
10. I bear in mind that if I only try to aim my book at poets, my sales will be limited. I aim my efforts at the public. I have been pleased with the results and do not believe I have compromised my poetic principles. Sales drive book orders, nothing more, nothing less. If your book sells regularly, stores will seek it. Publishers and authors must work together to make sales a reality.
Note that I'm basically an independent scholar at this point in my life; I work full-time as a writer. My publisher is a small, fairly new commercial
press. I offer that to put this in context.
That's a wrap. Hopefully, at least one thing may be helpful to some of you. Best to all, Kay Day
Angus MacIntyre
Jobs are not the Answer... But Then What Is?
paper, $19.95
American Book Publishing (they have tons of "imprints" but I'm not going to dignify that here)
isbn 1-58982-156-4

Jobs are not the Answer... But Then What Is? : How to think outside the box using your gut feelings on Social Economics and World Issues: Guaranteed to Help You Think Differently
a.k.a. either how not to title your book or how to not lay out text on the cover of your book

Angus writes on his cover that he is relentlessly upbeat and cheerful, so I'm looking for a self-help/business tone in this book. He's another Canadian, so I wonder if the VANITY PUBLISHING biz hasn't been as publicly exposed as here in the US.

I am expecting a meld of "Do What You Love and the Money will Follow" and "Lateral Thinking." Mr. MacIntyre also needs help word processing a table of contents.

People are not happy with their jobs. I am at work. Better get back to it...

Nope -- I'm going to finish this brief comment: Angus is a community organizer and a corporate trainer. He looks like a nice man. He has written down and published what he has learned from his working life, which has been varied and apparently happy. His writing is overall pretty sound, other than the title. He has a long and heartfelt dedication of the type you'd find in a vanity-published book. Like the vanity publishing firms, the national whatever of poetry, the "who's who" firms make a lot of money off of men and women like Angus. Even "self-made men" I know of, such as the man who started the miniatures museum that used to be on museum row in Los Angeles, have fallen prey to "who's who of american construction executives" or whatever. Even some poets I know... How to tell: they put it in their resumes, they put it on their websites.

People at the Vegas Valley book fair asked our publishing panel "well, who are we hurting"? You know, collecting china bells or whatever is probably just as costly as writing children's books no one reads, memoirs no one cares about except family members...

A similar question was often asked by people in my poetry workshop who didn't want to work on the poems they brought in to workshop. You know, the "I'm taking this course for fun, not credit / it is not my major, so the poem / paper is miserable, so what?"

so am I too focussed on the "crocheting an ugly green, line green and yellow acrylic afgan was an utter waste of my grandmother's time" argument? she pinned sequins on styrofoam eggs, too. I mean, she was good at sewing; why didn't she do what she was good at?
I am a registered reviewer all sorts of places -- have just started getting review copies of art books, which is cool --

some publishers simply send their lists. This is particularly the case with VANITY PUBLISHERS. American Book Publishing is a VANITY publisher which guarantees they'll send your book to "25 qualified reviewers" -- well, I'm one of them.

coming from alt-everything, including alt-rock zine, alt-publishing as I do, DIY is cool, but, you know, I also have an MFA from an ivy league school -- there is starting your own publishing company, getting your stuff out by any means mecessary, and being a sap who is paying somebody to publish your book because you can't be bothered to either work with or subvert the system

there's another problem, which is that even traditional publishers or new pod publishers who are not taking money to publish your book are often not marketing your book, or are marketing your book like a vanity title -- two friends have published chapbooks recently at a press that requires you sell (note: or buy) 25 copies before they will promise to print. Note: I DO NOT PURCHASE INDIVIDUAL CHAPBOOKS. Occasionally, I will purchase an entire chapbook series from a publisher.

I'm going to review some of these books, because I feel guilty about getting them (although I feel good about getting cool art books free, and this is the cost of that).

Caroline Covell
The Rise and Fall of Empires
American Book Publishing
paper, 19.95
isbn 1-58982-178-5

Nice cover art of Sukarno, maps, and bamboo. Bad blurbs. Note: no one cares if your town mayor likes your book! Not every Ph. D. makes a good blurber! Are these people known in the field? No, we have a dentist with a PhD and some guy who seems to have been learning about the topic for the first time from the blurb. The cover copy is someone who is very serious trying to be "zingy" --

"Beware, those who would wield absolute power..." so the potential audience is people who would like to become benevolent dictators? OK, so this is going to be a sort of case study from Poly Sci 201: Benevolent Dictators or "Benevolent" Dictators.

Now, we read the cover letter and looked at the cover and flipped through, my husband and I, and we felt very sorry for Ms. Covell. We think she might be smart and hardworking and not have a clue.

We also believe we are truly the audience for this book, misconceived as that is, along with the students in "Dicks." Because we know nothing about Indonesia, Dutch colonialism, or these particular fez-wearing guys on the cover of the book. Who are Sukarno and Suharto.

The ironies of the dictator who leaves the ad hoc assemblage of a country intact versus the liberalizing dictator who leaves the country in internicene warfare should not be lost on the United States, even as we are disunited by someone who seized power and uses war to enforce that power, and went to war to remove such another unifying dictator. Is our disunity a sign of our liberalism? Or is the quietude of the DNC a sign of Rove's misrule?


Dear Ms. Daly:

In response to the e-mail sent to our office regarding your concerns about early voting at the Richard Riordan Public Library, the Registrar-Recorder/County Clerk would like you to know how much we appreciate you taking the time to provide feedback to us. It is largely through information from voters such as you that we are able to refine our election services delivery system.

Los Angeles County is currently using the Diebold Direct Entry Voting Machines. These “touchscreen machines” are not connected by radio or telephone to the headquarters of the Registrar-Recorder/County Clerk in Norwalk. The card you received to activate the Touchscreen unit, a Voter Access Card (VAC), commonly known as a “smartcard,” did not contain any personal information about you or how you voted. The card’s memory chip is used to tell the Touchscreen unit which precinct you live in so that the correct ballot style appears on the screen. Once you touched “Cast Ballot” and the VAC ejected from the unit, it was deactivated. Votes are stored on both a hard drive in the Touchscreen unit and a removable flashdisk used to transfer the votes to tally software at our Norwalk Headquarters. Tamper evident seals and pouches are used by our staff to maintain the security of these flashdisks at all times, In accordance with the security processes prepared by this Department and approved by the California Secretary of State.

Thank you again for bringing your concern to our attention.


I think we should all do those reader reviews for our books on Amazon and BN.com, and books a million or wherever else, for each other.
No one, not even my mom! has done mine:
I would add that there's probably some demand for "how to put together a press kit" and "how to book a tour" type information here or on a site. While I know relatively little, I'm willing to chip in my 2 cents.
Your press kit needs to have a press release that has enough in it to lift out as a review or review-like item for newspapers.
You need separate press kits and sets of marketing materials for 1) booksellers, 2) course adoptions, 3) general public, 4) editors, 5) readings curators. For the general public, you have to reach them three different ways.
Something in the kits should be in color -- whether it is off prints of the cover, your one-pager that Jeffrey was talking about, or postcards --
and those postcards. They should be the large, costs 37 cents postcards, not the small ones (mistake I made last time). Do a mailing for each appearance. 100 per. If you can (if the bookstore will do it, if the reading's in a bookstore), mail 100 to the bookstore to put next to your book on display.
A good rule of thumb for books to give away to reviewers, curators, former teachers, future blurbers, etc. is 100. A well-known, well published female poet with a tenure track teaching position I know of has a book come out each year. Her last publisher published her book for her marketing "list" essentially -- for the marketing / profile having her would add to their list. She asked the publisher to send out *250* copies of the book. They ended up sending about 150, I think. With personal letters written on her behalf.
I've bought 200 copies of my first book thus far. There was no way to buy returns. I think I sold about 50 of them and used about 50 for applications to prizes, teaching job applications for schools which didn't return them (MLA schools are forced to, AWP -- forget about seeing your book or your SASE ever again). Used 50 for book swapping. I gave away at least 100. I also gave out about 250 .pdfs and 100 CDs of the songs I quote. I have gotten lots of interviews and reviews, but mostly online. 250 copies of the book have sold thus far (for a total of 500). This is above average sales for the first year for an experimental poetry book, I hear, but not enough yet to be a "best seller" for my publisher. I am about to do the first course adoptions mailing. In a sense the prizes are about right -- with travel to readings, etc., it costs a poet at least $2500. to support a book, above all of the money the publisher pays. I've easily spent double that, and I cancelled a UK leg of the tour, with poetry festivals and all, because I just couldn't justify the cost to myself, which would have become in the five figures. That's like a car.
WOMPO's got a few sites that've stopped and started, including this one, which even has an old list of favorite books, I think:
It is a Lotus Notes database and I set it up in such a way that members could log in and update their stuff. But, you know, no one did, and I ran out of the time to take introductions off the list and put them in the site after about a year. I think that's what happened with the WOMPO site with the pretty front end, here, too, right?:
which links to a short list of WOMPO books on someone else's site.
The deal is that unless there's a student intern charged with this and making at least minimum wage, maintenance doesn't happen. And it is maintenance which makes a website, and maintenance which is really dull, involves no advanced skills, and takes a load of time.
Wouldn't it be nice to have a site like epc for women's poetry? But they have a list moderator, a project manager (Loss P. G.) and student interns. HOW2 is doing what they can, but it is really a different animal (online journal).
This posting isn't directly related to poetry, I suppose, but because it is personal to me, I know how much the politics and religion in my schooling has influenced my work.
I went to a very small (class of 88 students) Roman Catholic High School in a small city in the Midwest (it is a bit depopulated now). 77 graduating and one not (sent to military school) reported in for the reunion booklet; I don't know how many attended the reunion.
Of the married women, I am the only woman who kept her name. One classmate's wife kept her name. Five women are not married. (Of them, one I know is twice divorced.) No one reported a same sex significant other; one reported a pet.
Of the women reporting employment:
4 elementary school teachers, 1 former elementary school teacher 2 stay at home moms and 4 homemakers 5 nurse / med tech (1 male nurse, 1 male doctor) 1 part-time attorney (3 male attorneys)
3 self-employed
12 in likely part-time jobs (bookkeeper for a small business, fundraiser, etc.)
Number of children reported (of the women):
2: 11
3: 9
4: 1
5: 1
grandchildren: 1
Number of children reported overall: 124
Likely divorces (children but no spouse, name change but no spouse): 5 Men reporting female significant others: 2
number of classmates married to high school sweethearts: 8 (seemed a large number!)
Writers: female: 1; male: 4
My nickname is Kasia, but once people learn that, they tend to get confused that I go by Catherine. Yet if they don't know that, then they tend to call me C instead of K. When I was in high school, my nickname was Katie. When I was born, the song "Come Down from the Mountain Katie Daly" was the top of the Irish hit parade. It is a song about an old bootlegger woman by the Halifax Three. But my Polish great grandmother said, "Katie sounds like a barmaid."


I changed the end -- a bit confusing, by grandmother and her sisters were comptometrixes but I guess there are web sites that call the machines contometers. So I changed that to comptometers.


so now I have two poems with "comptometer" in

and I work for GE! temporarily -- most of our relatives (Ron's and mine) worked for Western Electric at one time -- taken over by General Electric
I got together with one of my best friends from high school, Sherri (Berry) Peach, at a nice restaurant in Sherman Oaks, halfway between Valencia where she lives and Miracle Mile where I live. We decided that since we both look pretty much exactly the same as we did twenty years ago, we were "least changed" --

I apoligised for introducing her to her first husband --

Anyway, as I gave her DaDaDa, and as she had three martinis (I was driving, but she is going to come over to our house for dinner sometime) and started calling people from high school (it was midnight in the midwest), and as the most successful of these people, at least that we know of, Adam Avery at Avery Brewing in Boulder, Colorado, called me back, I was trying to think of a way to describe my writing that would make sense

I mean, is Wallace Stevens Donovan to TS Eliot's T Rex? Is Pound Dylan? Who is William Carlos Williams? Is he John Lennon? Who is someone like Tim Buckley? Wilfred Owen? Is Sasson Phil Ochs? Is Mina Loy Nico? Or is she Janis Joplin, since someone has to be Janis, and Marianne Moore is a very unlikely Janis, but she's better than Marianne Faithful?

Can you do the same thing for bands? Is Alice Duer Miller Moby Grape, Mary Aldis the Beau Brummels? Is Poetry corporate beast Peter Paul and Mary while The Little Review is the Mamas and the Papas, or is Poetry Crosby Stills and Nash and The Little Review Creedence Clearwater Revival?

Is Brenda Shaughnessy PJ Harvey?

Is Dylan Thomas the Minutemen to Yeats' Black Flag and Henry Rollins?

So where would you fit in?

Could I be an unholy alliance of Kathy Acker, Dylan Thomas and Wallace Stevens, Man Ray and all of his wives, or is Marianne Moore wearing leather and on ecstasy a better comparison? Ah, too grandiose.

After all, in the movie of my life, I'd probably be played by Spacek or Goldie Hawn.

In the movie of your life, who...?

am trying to put together a 30 page selected and have decided that I'm going to try a 30 page poem sourced in my "selected shorter poems" --

my "Rae Armantrout poem" "Belief System" - which was accepted and supposed to be on a very cool Canadian site, but I've never been able to find it there -- so perhaps it is lost in the aether -- because of the way it was written, seems un-excerptible.

Which I think is very true of Armantrout's poetry. The lines are all wonderful, but you can't remove them from their context, or they seem to be from a billion different poems. Which means you could conceivably write a billion poems from just those lines. Yet they are one poem.
link to a brief early review of Locket on Tom B's blog:



Jeb knocked up his Mexican-American wife -- they were forced to marry, and if you're a practicing Catholic, it is a big deal if you're not married to a Catholic and not raising your kids Catholic. He's in very thick with the Florida sugar families now (real live indentured servitude in the continental US!), which -- my parents told me the whole story but I forgot it. It's all related somehow.
W had to do something to make up for all that coke and scandal, and becoming born again is really the only option that "wipes the slate clean" -- as with AA, which he used to drops terms from in speeches (he claimed he'd quit drinking long before he actually quit drinking, but I think he did finally quit -- at the beginning of the term it was apparently not that easy to get wine with dinner at the White House) -- you are no longer responsible for anything before your rebirth.
They're really Episcopalians from Connecticut. Neil Bush is, I'm sure, still nominally Episcopalian.
Apropos of nothing, my husband's writing partner was raised in a similar way -- his dad was president of a small university. On his way up, moving around academia in the Northeast, the family joined whatever church was close to campus or on campus, so he was Episcopal, Quaker, and Methodist. He converted to Catholicism to marry his nominally Catholic wife in church (not an easy process), but their kids are in an Episcopalian school, so they lied and said they were Episcopalian and now go to those services every Sunday.