the surplus has the sumptuary forms of religion as an outlet, along with games and spectacles that derive therefrom, or personal luxury

from e sent to my friend rob:

I'm reading in SB today. Have an essay review on Alice Duer Miller due.

Tho you did get me thinking about this new trilogy. Dea. (Latin for goddess is idea w/o the I). It is really surrealist. So I guess I get to think of the wildest thing possible I could write.
What is the wildest thing one could write, I wonder? Ideas welcome.

I think it is going have poems in scripting language, there's a tie to basic, not vb, but a simple language, & Zukofsky & Creeley. There is a direct tie between courtly love and pop lyrics, too. I am still thinking about that music thing. There's going to be a Lotus section, too, I think.

I STILL haven't tried to steer the game controller poems through torture garden. I guess because torture garden is really for me about the effect "it" has on the female character written from a male perspective. ah. duh. Cool. I'm just going to slap it into Dea. Thanks for asking.
Les grandes horizontales is going so slowly because I'm to redo all of Camille. It is all in notes. I changed her name to Violet.
we accepted the idea of $10K and electric, sump pump, one carpentry and one plumbing repair, which we will re-inspect & will see


I think some of the new poems I'm starting are for book 3 of the big project. Inanna poem called Anne (my middle name). Hadaly poem.

Since courtly love / the troubairitz is very well-traveled territory, Waldman, Pound, et.al., I'm looking for an out, p'haps thru sound. The Tibullus poem still hasn't gelled either, so will go there.

Now I concede that the breakneck career of Surrealism over rooftops, lightning conductors, gutters, verandas, weathercocks, stucco work-all ornaments are grist to the cat burglar's mill-may have taken it also into the humid backroom of spiritualism

Dea to be neo-surrealist; sh'd probably properly be book 2
Addendum to be neo-abstract expressionist

"If one tendency within Surrealism's 'merveilleux sexuel' aspires to the ideals of courtly love, the other descends into the noxious basements and torture chambers of the Marquis de Sade."Robert ShortDADA & SURREALISM


begins with the I - idea is how everything is filtered through idea of self --


The Boston Brick & Stone chimney guy mentioned LA City Detail as the fp code. I am looking up furnace venting just for laughs.
Talked to Ron; we would settle for as little as $14,200. on the chimney, as the seller is picking up the sump pump and well.
There is no such thing as a "zero tolerance method" for chimney repair as per Seller letter.
There is a "zero clearance" method for fireplace installation which does not apply: it involves installing a new firebox and chimney inside the house (for adding fireplaces where there's no chimney). It is rather important that the "zero clearance" not apply in this case, as we have no intention of ripping out the Batchelder tile fireplace and replacing it with a Home depot firebox 36" into the living room or of building a new metal chimney inside the house a la the Centre Georges Pompidou. However, as this method would not involve new brick veneer, it is unclear what the seller means since they mention brick veneer.
The Seller makes no mention of the code-specified new concrete bond beam anchored to the building. The Seller calls the metal transitional adapter cone and kit a "metal transitional piece." Buyer specifies that new brick and clicker brick veneer to cover entire chimney from the ground up, including existing firebox, so that there is no exterior line, break, or other sign of repair. Chimney to have setbacks on south side as per original measurements. Chimney to be capped with spark arrestor and -- there should be some verbiage on the bid -- there is a damper-and-spark arrestor combined doohickey which is cheaper and meets all codes.
As for mutual agreement for a credit, I suppose it would involve receiving a mutually-agreed upon bid from a mutually-agreed upon vendor, no?
"Buyer will be satisfied with a bid which includes:" and a list?
Ron is out of time for this; I will meet the electrician and chimney guy.
All best,
Because I have two reviews due and a "selected" for Ahadada, and am on deadline, I am trying to post little reviews here which are overdue and asking poets to send my .pdf rather than books, since with the books I feel very, very guilty if I don't review and I have stacks and stacks of them needing reviewing ASAP. I am the proud recipient of a review .pdf of Antidotes for an Alibi by Amy King. First photo I've seen by the mysterious Ms. King.

I hope to assign some of these books for review at sidereality in my new capacity of reviews editor.

Amy King
Antidotes for an Alibi
BlazeVox Books
ISBN 0-9759227-5-0

These poems read to me like poetry versions of flash fiction. Now, I like flash fiction very much, but I like the more fabulistic kind. Amy King is writing the fabulistic kind of flash fiction -- I want to say, "the good kind" -- in poetry. What does this mean? Well, when lineated, the line breaks in the poems point to the jumps in the narrative. When not, the poems still take the same little leaps that poems take. I guess I'm struggling with the new sentence this morning. I am not seeing "torsion" as I understand it, nor am I looking for it -- I am just saying that these poems have little leaps in them that flash fiction of a similar type does not. For example, this poem, "Evening In," is a story of screening a particular kind of call:

Evening In

Mother phoned the premature death
of father to me. A machine shuffled
her words. I played back the story
of my childhood and grieved.

Now, I would probably end the stanza here, or title it something different. In any case, the evening in begins with a message in a machine. I would think flash fiction might use "the machine" and not jump so quickly to "story of my childhood."

dinner, blocks of toddler teak wood
fell, then floated, mistaken for cork.
Household acts boiled over Aunt Max’s
black pot rim where we succumbed
to the likelihood of work. We were all
enchanted when the little kettle dripped
and wrote proverbs to complete our pact
with amazing accents. Dessert hints
wafted past raised cups of homeground
coffee, whiskey-tinted, under
the blue haze of living room light.

In this second part of the poem, the progression is chronological. After dinner, some french press coffee and dessert. I don't think "household acts" and "dessert hints" would be in flash fiction. They are too mysterious. Interestingly, the references to fables and fiction continue, in "enchanted," "writing," "proverbs," "pact, " and "accents." The line break after "dripped" makes it unclear whether the kettle (presumably whistling) is writing or that "we" who are enchanted are writing. But overall, a little story of a poem, which is recognisably a poem, not fiction.

In the next-previous prose poem, "Land into Sea," the jumps are between sentences -- I don't see each sentence doing as much heavy lifting as in a poem, and I see bigger jumps between the sentences. I also see bigger jumps -- associative ones -- than in fabulistic flash fiction. It has the logic of some poems where the themes are established, play together a while, and then reach a conclusion. We start with a relatively concrete example, a fabulistic but also realistic fear:

On the car-hugging road, I am shocked that one day I fall
asleep and the stray dog could die.

Not the road is hugging the car, not the car the road (as car commercials would have -- did you know most city car commercials are filmed in downtown LA?). In any case, car, road, sleep, dog, death. Very clean and neat. Then, out of the shrubbery at the side of the road -- a crowd.

These orders of truth awaken self defense, so urge the crowd, “Betray yourselves.” Every fugitive deserves retreat at depths the bathysphere can’t reach.

Who is the fugitive? The narrator? The dog. The dog and the narrator. The narrator is more likely to fall asleep and die than fall asleep and kill a dog. I.e., life is fugitive. So you see, by figuring out the difference between the first sentnce and the second sentence, you've got poetry, because flash fiction tends to spell this sort of stuff out, not point all sorts of different directions. But, note, this is sentences which are addressing different people and having different characters, not necessarily "torque-ing" as I understand it.

since lame-o short reviews usually mention the title, I'll say -- I like this title and the way is points to the flash fiction in poetry theme. For what is an alibi, but a very specific sort of potentially verifiable narrative. And what is an antidote to that, but the fabulistic.
Marie Lecrivain at poeticdiversity (online) -- that's her real name. I think wrote a 42 word review of her eBook at Tamafhyr (or however it is spelled -- celtic mountain) at horselesspress. Very nice -- though LONG -- reading at Unurban. Steve Abee, now with MFA (studied with Dodie Bellamy), has cut his hair! Scary. He still reads so well.

Joseph Lease sent me an advnce copy of his book forthcoming? out? on Coffee House. BROKEN WORLD. I want to mention that from a cursory reading, love the way he's got these short lines which work rhetorically more than lyrically coming in and out of prose. This is mostly outside the free again sequence.

The dashes in the prose make the prose read like prose Dickinson -- not the master letters but if you're Dickinson and you've removed all the line breaks / pilcros from your file to spell check and grammar check -- "prose Dickinson". So the prose is poetry and the poetry is prose -- in a way -- the prose is fragmentary, and the poetry is easy to read, sensible, logical. What fun!

I think this is a bad day but you never say the worst day. I think I’ve fallen out of my chair. I think I was never fooling anyone—

A slow

mud-slick, salty—

thick ropes

of light,
a painting forgetting

but your mouth—

The short lines make a lot of use of italic to give them -- er -- an italic feeling. Not "torque." Heavens, no. Just italic.

So broken world -- world of the novel, world of the "I", world of the "planet of the table poem"? Broken how? Into lines, for example? Page breaks?

what happened here—


Have I mentioned how beautiful the Gargoyles are?

The title uses the sort of evolved technique-device that is throughout OOD, but at its height in the last section.

The "o"s and "x" from words lift up and descend, as do 1s and 0s.

The series is a three-poem series about testimony. The idea here is that testiomony -- especially about hygeine (sp?), now-debunked-as-medical instruments used as beauty / aesthetic devices, and snake oils of various types -- is women's speech. This is the Lydia Pinkham poem (tastes like a nice low-proof clove/herbal liqueur, used to be 40 proof before prohibition, now only 20 proof), the tampon poem, and a hysteria poem (bringing out that aspect a bit more than "Palm Anthology" or "Surplice" -- which is in OOD and is a Belladonna chapbook).

Here's a draft of the house letter -- they ignored it. We are giving them 48 more hours with a CAR form re-iterating our request and establishing we get our money back (except for getting the chimney inspected). I think we're still 50-50 to get the house.

Ron Burch and Catherine Daly are excited and anxious to proceed with the purchase of the house at 1626 Virginia Road. When they entered this transaction, they were aware of some minor plumbing and electrical wiring issues at the property. Based upon those minor issues, they agreed to the “as is” purchase. They have now discovered, through additional inspections, that there are some significant problems at the house:

1) The chimney is deemed fatally flawed by our chimney inspector. It is unusable. The inspector estimates the repair to be $16,296.00 to remove the upper 2/3 of the chimney and replace it, having it appropriately attached to the house structure.

2) The furnace is wired to a light switch.

3) The following are a material fire hazard to the electrical system:
a) The current 20 AMP circuits are being over taxed by too many new electrical fixture and too many outlets on the same circuit.
b) Fuses in excess of the rated circuit are installed in the fuse box.

These are areas of material concern to the Buyers. Therefore, the Buyers hereby request the Sellers to credit the Buyers, at closing, the sum of $25,000.00.

We would like the Sellers to understand that there are additional items that the Buyers will be repairing/replacing on their own:

1) There is no sump pump in the basement (where the water heater is installed). This is a code violation.

2) The downstairs bathtub faucet is against code, and the shower area is not tiled and protected from the shower’s water spray.

3) The faucet on the upstairs shower just spins (north bathroom).

4) The upstairs north bathroom is not to code. There is neither a vent nor are there any electrical outlets.

5) The threshold on rear kitchen door needs to be replaced.

6) The cabinet drawer next to rear kitchen door hits the door handle.

7) Water heater pressure relief valve should be 210 watts.

8) Furnace needs to be moved so that there is 30” of clearance to meet current code.

9) Water supply line from street to house must be replaced with correctly sized (larger) line.

This is considered official notification that we are not accepting the physical inspection of the property due to the material nature of these items. We would appreciate the Seller’s immediate response so that the Buyers know whether they need to pursue other properties.


Interview at Ready Steady Book

Got my Gargoyles too! They are be-yoooo-ti-ful. You should order one from Geraldine Monk and Alan Halsey. Or me.

Our DSL line was out all yesterday and this morning -- it RAINED in LA, which is always treated like a disaster -- but maybe it is, when it just rains and your DSL line goes out.

We went on a progressive dinner / tour of homes Saturday night in the USC area, which has some of the nicest oldest homes in LA [more houses are as nice or nicer than those on Carroll Ave. in Angelino Heights and in Highland Park (LA's first suburb)] -- it was really wonderful, like stuff we did growing up.

We feel quite guilty that two of the houses we ended up passing on -- the neighborhood itself is pretty dire in places, and we are determined not to live next to an apartment building -- are now rooming houses. One was an Eastlake Victorian near a free food drop off point and one was a Queen Anne needing a replacement Queen Anne roof (200K right there) literally several inches deep in cat poo and next to Section 8 housing. My husband grew up living in Section 8 housing and is determined to do better for himself.

But he finally realized that the house we will hear about today -- will we get 25K for repairs that need to be done before humans can live there? -- is really a "cheaper than rent" starter home for we "old house people" because it is devoid of original features, and wasn't a "top notch" house back in the day. We'll add back as much as we can, install some upgrades, buff it up and then get something we can really sink our teeth into. Something without melamine cabinets combined with tacky green marble kitchen counters, for all that pastry-rolling out I do.

My Dad is an old house person and my Mom is not.

We are luckily both architecture people -- doesn't have to be old.