12.15.2006

last night at Bruna Mori's gala *book launch* of Derive (accent over the e), I had a conversation with a photographer who had a long lag between beginning to make work and showing -- this was interesting because we were discussing how it makes one see one's own work -- his most recent show includes some photos he took in the 70s alongside current work -- in a way, there is this opportunity to put oneself on a critical context oneself, to find a narrative of "development" differently, or to avoid such a one
My new e-book/book PAPER CRAFT is now online at
http://www.moriapoetry.com/ebooks.html.

You can find a link there to buy a hard copy of the book or download the
free e-book. There are great reasons to have the book in .pdf as well
as in book form. For example, you can print out the .pdf -- onto regular paper
or whatever -- and follow the lines in the "Paper Craft" section to
make meta-paper craft poem-objects: a cup, paper dolls, etc. Or you can
have the book, which is *square.*

Reviews welcome; I can e-mail the pdf, but it is as easy to go the
site and download it.

What others have said:

In the domain of the digital, Catherine Daly gives us paper; in an age of
speed, she gives us craft; in a moment of dematerialization, she gives us
concrete; in Southern California, she gives us snow. Process is the key:
Daly wraps her fingers around words, privately sculpting them into
linguistic megaliths, only to later destroy them. What remains, strewn
across these pages, is pure poetry.

Kenneth Goldsmith


I am awed by the capaciousness of Catherine Daly's language, or I should say
languages, and the dizzying array of forms like a series of birdcages in
which the door stands open, if the captive birds only knew it. Paper Craft
is a startling melange of fragmentary discourses, each of which intersects
with English to form a snapshot of the moment meaning happens.
Electromagnetism literalizes the "light" in enlightenment; an illustration
of "Decomposing Monzogranite" reveals the gradual erosion of a poetic
monument; modern and Middle English stand side by side and vie for the
reader's attention and sympathy. Daly insists on multiplying the available
dimensions for poetry: a five-pointed "rose" of words seems to revolve as we
read them, and actual patterns for folding and cutting paper literally
underwrite some of the poems. The gendered languages of science and
papercrafting meet in this new, frankly feminist dictionary, setting off
fireworks that illuminate as much as they dazzle.

Joshua Corey

12.14.2006

thought is was interesting the conversation William Allegrezza had about layout in paper craft, which comes out in .pdf today -- I think too gets sent to lulu today (if it hasn't been already)

pink t-shirt stuff - putting together some audio --

12.13.2006

jean brown link

http://www.library.vcu.edu/jbc/speccoll/davidetbrown.html

mail art links needed

working on two! book covers today despite having no graphic software on my downstairs computer and not being able to go pstairs

12.11.2006

her will a hoax too?

other female members of the lyon circle

Jeanne Gaillarde
Clémence de Bourges
Claudine and Sibyile Scéve
had to keep the gerald stern because I like the first poem in it

louise labe -- person, or collaboration?

anyhoo, the other women of the Lyon poetry circle probably aren't, right?

so maybe I'll add to les grandes horizontales with some versions of either "hers" (I really really doubt she was la belle cordiere, but oh, la belle cordiere -- what a good poem title

Pernette du GUILLET another woman from the group, "muse" of a book by the head of the group, poems published postumously, but here -- hmm, also a hoax?


which obliges a lover more, love or its injury? a lover's service is written (into lines) by those who like priase and fame; service owes the heart. With the heart, so life is given both to love and praise. With honor, a lover invites love; doing good, one invites praise. But the point that returns my original thought to me, is that without injury Love would not be.

Annie Finch reports that most of her poetry is religious, something I've not seen in the single poem I've read; this one uses one of my favorite French plays on words, involving blesse -- not blessed, but injured, or perhaps the injury of love is a blessing, or blessing is an injury -- a blow to the sense (not eye)?

12.07.2006

of course, what does sell but an apogee book first? I like it on the out in an envelope reading, but not enough to keep -- I feel that while getting rid of this book of easy to read prose poems may have been a mistake, it will free me to get rid of a lot of other books

the GOGOL BORDELLO show was -- mostly missed -- the palladium didn't have metal detectors so they patted down everyone entering -- we stood in line 45 minutes while gogol bordello played to a mini crowd -- we only heard the last three songs (PURPLE OF COURSE); THEN primus had heard about the problems entering and waiting A FULL HOUR for everyone to get into the building -- so we left halfway through that (I'm not good at standing more than two and a half hours)

Why is Primus like King Crimson (with better base and lyrics, IMO, but inferior instrumentation -- all the songs sound alike) for -- not really metalheads -- crowd was a cross between male metal heads, transplanted southerners, and underemployed guys (you know they had to be underemployed because the only guys I see with tattooed heads and necks and odd facial hair are underemployed; Ron, wearing Ron wear, looked like an executive by comparison), some of the ugliest women I have ever seen at a concert, you know, like PROG (as Ron said about five times) for the metallica crowd? In a way, Primus for me is like a southern rock cross between Zappa and Funkadelic; a bass-wild Vanilla Fudge. Where were the *other* Primus fans? Maybe they knew that we were all going to wait outside for 45 minutes to get frisked and miss the opening band, all for standing room with a bunch of dancing, yes dancing! guys.

In any case, the lead guy wrote a novel, we just learned.

12.06.2006

now, the time has come to divest myself of poetry books -- some at least -- if only to continue to pressure my husband to get rid of some more of his books

I have decided to get rid of single volumes by men which I purchased mostly because they were a dollar. This is not very easy, though, because there are a great many reasons to purchase a book of poetry for a dollar, and a great many reasons to hold onto a book of poetry other than wanting to refer to its contents. By which I mean po boz, and also fads in poetry and publishing.

I have at Amazon currently a book by Ralph Burns. Now, this book won the Iowa Prize the same year that Maureen Seaton's FURIOUS COOKING won. Perhaps because Maureen has continued to teach in an increasingly high visibility program, collaborate with other teachers there, judge prizes, and publish books, Maureen Seaton is currently better known. However, the Burns book is also rather boring free verse.

Here's the book right here
http://www.uiowa.edu/uiowapress/burswacan.htm

Ralph Burns also teaches, still, and edits CRAZYHORSE, which I assume is still a well regarded journal -- after this book was published, he won another prize, only five years ago.

Another book I have selected to get rid of is a red hen book which won the red hen prize -- probably benjamin saltman. Also by a guy, also free verse of a sort I really have always thought sort of dull. But red hen went on to publish another book of his poetry only four years after this one -- DEVILFISH -- a book blurbed by Gioia --

Not listed yet, but possibilities are Norman Stock's Buying Breakfast for my Kamikaze Pilot, an unfortunately-titled book on Gibbs Smith which shows that this is not all a "silliman's school of q" purge. Perhaps it is a purge of middle aged or nearing retirement men with names like Ralph, Norman, and Gaylord. Perhaps I will find a Herman. In any case, this book of Mr. Stock has what in 1991 was a nascent short short, titled by its first few words. In "The Man with a Skwered Lip" the story begins "A man with a skewered lip enters a train." Note that change from "the" in the title to "a", the generality implied by "a train" and the mystery -- just what is a skewered lip? The result of an hors d'ouvres accident? Those cocktail swords? Read and find out.

Judson Jerome -- we all know who he is -- if we started buying the writers and poets markets at a certain age and are a certain age -- eked out a book by a Santa Barbara publisher called Daniel and Daniel (I have been wanting to query) with an essay to follow two poems in tercets about Job and Jonah in the Bible. The essay's interesting. The poems retell the stories but pick up on their sort of cultural not really philosophical ideas, like Jonah being a pardoy of self-righteousness. It strikes me that like many other older, accomplished writers who have made a long living around poetry, Jerome is a good teller and so writes lucid pleasant essays, and a good enough reader to be a good teacher, he cites the Stephen Mitchell translations, and shows them being superior to the King James, and then writes a line far worse than the King James in response.

The ORIGINS OF EVENING by Robert Gibb has the misfortune of being a penny book.

12.04.2006

The Getty Research Institutepresents:Works in ProgressFall 2006Discourse and Autonomy: Inventing the LA Art GirlsPRESENTERSLA Art GirlsRESPONDENTJill Dawsey Curatorial Associate, San Francisco Museum of Modern ArtFriday, December 8, 2006 2:00–4:30 p.m.Museum Lecture Hall, The Getty CenterThe LA Art Girls discuss the evolution and negotiation of collaborative practice. In the spirit of the process-oriented Works in Progress series, sixteen members of the LA Art Girls venture beyond “the doing”—that is, “the making” of their art—to examine the debates, strategies, values, and relationships embedded in their individual and collective art practices.The LA Art Girls are a progressive collective of more than thirty practicing contemporary art-ists. Since forming in 2004, the group has produced several collaborative projects: Strange Love(2005), a corpse-style video remake of Stanley Kubrick’s Dr. Strangelove (1964) exhibited at QED Gallery; Total Art Performance Event, a series of Fluxus-inspired performances at the Getty Center in June 2006; group exhibitions at Anna Helwing Gallery, Los Angeles Contemporary Exhibitions, and Angles Gallery; and a radio show on KBeach Global Radio. Presenters: Stephanie Allespach, SE Barnet, Allison Behrstock, Sydney Croskery, Catherine Daly, Karen Dunbar, Angela Ellsworth, Anoka Faruqee, April Friges, Anne Hars, Micol Hebron, Dawn Kasper, Nancy Popp, Ambika Samarthya, Felis Stella, Elizabeth TremanteRespondent: Jill Dawsey, curatorial associate of painting and sculpture at the San Francisco Museum of Modern Art. Dawsey is currently a visiting professor in the Department of Art His-tory at the University of California, Irvine.Admission to this event is free. To attend, please make a reservation by visiting www.getty.edu or calling (310) 440-7300. Note, late arrivals cannot be guaranteed seating. Parking is free with a reservation, or $8.00 per car without a reservation. The Getty Research Institute is a program of the J. Paul Getty Trust. Other programs of the Trust include the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Foundation.LA Art Girls, 2006. Courtesy of Leigh McCarthylecture© 2006 J. Paul Getty TrustThe Getty Research Institute1200 Getty Center Drive, Suite 1100Los Angeles, CA 90049-1688www.getty.eduEvery year the Getty Research Institute (GRI) hosts a series of presentations of works in progress in art history and the humanities. The aim is to promote discussion of current topics and themes among the local community of scholars and students. Presentations, followed by roundtable discussions, take place at the Getty Center, 1200 Getty Center Drive, Los Angeles. The 2006–2007 series was developed by guest organizer Miwon Kwon, associate professor of art history at the University of California, Los Angeles.series

11.11.2006

Radio show will air 15 Nov. at:
Broadcasting & Streaming Wednesday Morning, 9-11 Pacific Time @ http://www.kbeach.org/

Radio show wiki page: http://strange.wikispaces.com/LA+Art+Girls

11.10.2006

the poet laynie browne calls 11:11 line time.
so november eleventh must be line day?

whatever you call it, please enjoy the evening of eleven eleven with selected writers from the "many happy returns" show at high energy constructs.

*

11:11
Saturday, November 11, 2006
7pm
$5 at the door

Poetry and Performance by

Andrew Choate
Marcus Civin
David Hadbawnik
Jen Hofer
Mary Kite
Christopher Russell
Mathew Timmons


Also. from 11 am-6pm on Saturday, November 11, you are invited to High Energy Constructs and take part in a public transcription of Leo Tolstoy's War and Peace with artist, Marcus Civin.


High Energy Constructs
990 North Hill Street, #180
LA, CA 90012

highenergyconstructs.com
The reading that Anthony Lee's poetry class is giving on Friday will be at the Creative Arts Center in Manhattan Beach on Marine Avenue, across from Poliwog Park. The reading will be at 7:30, not at 6:30. But come around 7:00 to get organized.
Bring a poem to read in association with one of the lithos on the wall. It will be fun.
PERFORMANCE AND PLAY
with MARIO'S FURNITURE 2

November 10, 2006 at 8pm

Join us tonight as Mario's Furniture 2 - Hillary Mushkin and S.E. Barnet's
game installation - is activated for a night of performance, play and
conversation with special invited guests Sara Roberts and M.A. Greenstein.
Sara Roberts has assembled two teams to compete and compare their experience
with the playing of Mario's Furniture 2, the game where people "schlep"
furniture across the gallery in front of a panning video camera scoring
points by sitting on the living room ensemble as often as possible. After
the games, a conversation between Sara, her teams and M. A Greenstein will
take place about the project and performance and play in art practice.

Sara Roberts is a Los Angeles based artist and faculty member in the Music
Department and Center for Integrated Media at CalArts. Her recent work has
looked at performative games and the devices that make them possible. M. A.
Greenstein is a Los Angeles-based art theorist and critic whose writing
often focuses on performance in contemporary art. M.A. is a faculty member
in the Criticism and Theory Department at Art Center.

TELIC Arts Exchange
975 Chung King Road
Los Angeles, CA 90012
T: 213.344.6137
http://www.telic.info
info@telic.info
it occurs to me that I have several things to blog, including some preliminary thoughts on formAT and strategy for the awp panel -- I hope Annie Finch (on same panel, inventors in the temple: avant guarde formalism) with expand on this (I will try to here) definition she posted to the WOMPO list (it is in the archive, and so freely available there, thus I believe I can post it here) which is excerpted from a longer essay.

we're they vendors in the temple? so as mere inventors, the poets are selling their ideas for poems as forms? selling their new forms? the vendors in the temple were cast out because christianity strove to make religion less material in certain ways, making the idea of purchasing a dove or whatever like... buying a communion dress? they were also money changers -- so what is exchanged in the temple? -- vernacular money from money of the colonializing power? as soon as exchange -- what is exchange rate?

Here the keys are structure, repetition, "language element," and where concept or procedure may fall in this. Derrida, structure is romantic; Craig Dworkina and Kenneth Goldsmith, "whether it could conceivably have been done otherwise" -- and how is that different from "never so well said" in essence? what about poems written -- generated -- using a procedure which is not discernable in the end result or ever disclosed? In other words, is conceptual poetry not "the writing of the new new formalism" but perhaps something doifferent? or is all idea pattern, language element?

http://www.ubu.com/concept/

I think what is being sought after in the discussion re form is a
"holistic" idea of what poetry is--a way of apprehending what we sense
is unique and love about poetry that doesn't depend on picking it
apart.

The definition : "HOLISTIC: relating to or concerned with wholes or
entire systems rather than with the analysis of, treatment of or
dissection into parts."

Anyway, I guess I'm not too modest to add a post to this discussion,
because, though I appreciate the references to my book The Ghost of
Meter (which takes Eliot's idea and develops it into a kind of
semiotics or language of the metrical passages that occur in free
verse, --which are, I agree, often unconscious on the part of the
poet)--that book concerns meter and free verse only (meter being a huge
and fraught and loaded and implication-full topic of course), but in
the 15 years since that book I've continued to think and write also
about the broader question of what makes a poem a poem.

The definition that I have finally hammered out after all this time is
that a poem is a text structured by the repetition of any language
element. Structured, not decorated: for example, a passage of prose
can be enhanced or decorated by alliteration when the alliteration is
in a random pattern, but when alliteration is repeated in a reliable
pattern, as it is in Anglo-Saxon poetry, it becomes a structural
element, and the text is no longer prose but poetry (Anglo-Saxon poetry
is a good example because it was not originally written in lines, which
is the most common way we define poetry today, but even without the
typography it would still be obviously poetry because of the
alliteration).

There are many many language elements that can be repeated to structure
a poem--maybe any language element could be. Some of the other
repeating elements we often see structuring poems include the metrical
foot, rhyme-sounds, word count, syllable count, and anaphora (in
Whitman's catalogs for example).

The elements can be aural elements, conceptual elements (as in some
procedural poetries, such as +7), or visual/typographical elements such
as the line-break itself, which I see as the repeating structural
element that structures free verse into poetry. The expectation of the
line-break is a reliable expectation that provides the crucial
"feeling" of poetry in a free-verse poem. ( My hypothesis is that the
fact of structural repetition may cue in to the right brain, which
responds to spatial stimuli and music, rather than the left brain,
which we use for logical thinking and reading prose. This would
explain how the feeling that we are reading a poem can be triggered
similarly by poems in many styles from many centuries. What they all
have in common that appeals to the right brain would be that all share
the characteristic of being structured by a repeating language
element).

Any of these repeating structural techniques, from the line break to
syllable count to meter, can be used well or not so well, to make poems
that are moving or not so moving--but they are all poems, because they
are all structured by the repetition of a language element.

For the prose poem (since I'm sure someone will ask--and I understand
why, since I spent years thinking about this even though it is such a
small proportion of poetry), I see the end of the passage itself (i
call this the "terminal hiatus") as the repeating structural element.
Even though it only repeats once in each prose poem, I think this
terminus functions as a structural element in the same sense as a
repeating line-break does, and gives each prose poem its sense of
"being" a poem, differentiating it from longer passages of what Lewis
Turco calls "lyric prose."

This definition of poetry is set forth more fully in a small essay in
The Body of Poetry but I wanted to share it here because I understand
the desire for a definition of what poetry is that is not based on the
quality of the poem--that always seemed a bit unfair to me and somehow
to disadvantage poetry's dignity and standards when compared with the
other arts, though I'm sure some people will feel it enhances them--and
there are so many texts that I holistically feel are poems that would
need to be excluded from narrower definitions.

11.06.2006

Venus and Mars:

get in a Star Promenade (man on inside with left hand).
#1 lady lead to the right to start a separate right hand star.
ladies follow in session leaving the men in their star.
As the stars turn, #1 couple do a right hand pull by
put the man in the ladys' left hand star
ladies in the mens' right hand star.
#1 man pick up his partner
and other men
back to the original
Promenade.

Number one girl peel to the right to start a Right hand Star.
umber two, then number three, then number four girl join the Right hand Star.
men continue in their Left hand Star.
As the stars turn, number one girl "pick up" your partner
Promenade all eight

part of the text for an art girls radio show experiment
Mendi+Keith Obadike to Perform November 9, 2006
Mendi+Keith Obadike will be on campus on Thursday and Friday, November 9-10. They will give a multimedia performance at 6:30 on Thursday, November 9, with other appearances to be announced (along with the location of the presentation on the 9th).

Mendi+Keith Obadike are interdisciplinary artists whose music, live art, and conceptual Internet artworks have been exhibited internationally.

Their album The Sour Thunder was released on Bridge Records. Their writing and art projects have been featured in the film Take These Chains, in periodicals (including Art Journal, Artthrob, Meridians, Black Arts Quarterly, and Tema Celeste), and in the anthology Sound Unbound: Sampling Digital Arts and Culture (MIT Press, edited by Paul D. Miller). Their work generated much discussion online and offline when they offered Keith's blackness for sale on eBay in 2001.
In 2002 Mendi+Keith premiered their Internet opera The Sour Thunder which was the first new media work commissioned by the Yale Cabaret and they launched The Interaction of Coloreds (commissioned by the Whitney Museum of American Art). In 2003 Keith was sound designer and composer for Anna Deavere Smith’s play Twilight: Los Angeles 1992 at the Lincoln Center Institute, and Mendi's poetry was featured at the Studio Museum in Harlem in response to an exhibition of visual artist Gary Simmons’ work. Also in 2003 they launched The Pink of Stealth, an Internet/ DVD surround sound work commissioned by the New York African Film Festival and Electronic Arts Intermix and The Sour Thunder was broadcast internationally from 104.1 fm in Berlin. Their works in progress include a new installation and album entitled TaRonda Who Wore White Gloves supported by a Rockefeller Media Arts Fellowship and an Internet opera entitled Four Electric Ghosts, for Toni Morrison’s Atelier at Princeton University.

Most recently, Keith was awarded a Connecticut Critics’ Circle Award for his sound design work at the Yale Repertory Theater and Mendi's new book Armor and Flesh (Lotus Press) won the Naomi Long Madgett Poetry Award. Keith received a BA in Art from North Carolina Central University and an MFA in Sound Design from Yale University. Mendi received a BA in English from Spelman College and a PhD in Literature from Duke University. (Information courtesy blacknetart.com)

For more information, call the Cal State L.A. English Department at (323) 343-4140.

11.03.2006

Barbara Maloutas
Friday November 10th
Reads from
In a Combination of Practices
New Issues Press
Practices
Diagram/New Michigan Press

and her new prose poems

8:00 pm
Barnes & Noble
2nd floor community room
Santa Monica Promenade
followed by a book signing

thanks to
Poem.X

10.12.2006

autographs of poets at the los angeles public library (mostly signed copies of books in rare books -- outside their autograph collection)

what a lot of who are they? female poets -- clue to avoiding deaccessioning: sign it!

Alderman, Joine
Alexander, Hartley Burr
Angelou, Maya
Ashbery, John
Auslander, Joseph
Baca, Jimmy Santiago
Bates, Charlotte Fiske( Madame A. Roge)
Bissell, Arthur Dart
Blanding, Don
Bridges, Robert ("Droch")
Brooks, Margaret
Brush, Albert
Bukowski, Charles
Bulosan, Carl
Burton, John
Bush, Grace Elizabeth (Pickell)
Buttron, Judita Beretta
Caldwell, George Walter
Caldwell, George Walter
Campbell, Luther Eugene
Casey, McKendree Ames
Cavalotti, Felice
Cocke, Zitella
Conkling, Grace Hazard
Cook, Lucy E.
Cooke, Grace Mac Gowan
D'Arcy, Hugh Antoine
Danquah, Meri Nana-Ama
De Jean, Louis
De Soos, Andor
Decker, Frank L.
Desch, John Michael
Diego, Gerardo
Dole, Helen James Bennett
Durlacher, August James
Eakman, Florence E.
Ferlinghetti, Lawrence
Foley, James William
Frechette, Louis Honore
Freeman, Robert
Frost, Robert
Gahm, Anna Higbee
Gaw, Ethelean Tyson
Gibson, William
Gilder, Joseph B.
Giovannitti, Arturo
Goodale, Dora Read
Goodhue, Edward Solon
Graves, Robert
Green, Julia Boynton
Halff, Alma
Hall, Sharlot Mabridth
Hathaway, Maurine
Hayden, Dorothea Hoaglin
Heaney, Seamus
Hemming, Edith Shirey
Higginson, Ella
Hirschman, Jack
Holloway, Walter E.
Holmes, Oliver Wendell
Hughes, Langston
Hult, Gottfried Emanuel
Irvine, Alexander
Jacobsen, Josephine
Jacobson, Ethel
Jeffers, Robinson
Junco, Alfonso
Kegley, Charles Howard
Kinnell, Galway
Lampson, Robin
Le Parde, Ruth
Lindsay, Vachel
Mac Donald, Suzanne Rike
Maeterlinck, Maurice
Markham, Edwin
Masefield, John
Mc Ginn, Elsa S.
McCullagh, Robert
McGroarty, John Steven
McKinnie, Patterson Leonard
Mead, Leonard Charles
Merwin, W. S.
Metzger, Deena
Miller, Joaquin (Cincinnatus Heine Miller)
Momaday, N. Scott
Morgan, Henry Victor
Munn, Ellen L.
Myers, Elizabeth
Nathan, Robert
Newman, Fanny Hodges
Nicholl, Louise Townsend
Norris, Kathleen
Noyes, Alfred
Patchen, Kenneth
Percival, Olive
Pollock, D. Louise
Porter, Kenneth
Raffety, Gordon Edward
Ragan, James
Roberts, Myrtle Glenn
Rosenberg, L. M.
Salt, Sydney
Sandburg, Carl
Saxe, John Godfrey
Sellards, Olla Josephine
Shapiro, Karl
Sharman, Lyon
Shaw, William WAlter
Sherry, Ruth Forbes
Shipman, George R.
Sitwell, Osbert
Smith, Dave
Spalding, William Andrew
Stephens, James
Symons, Arthur
Tagore, Rabindranath
Taylor, Alastair MacDonald
Thomson, Estelle
Untermeyer, Louis
Van Doren, Mark
Wakoski, Diane
Walcott, Derek
Warren, Robert Fenn
Whitman, Walt
Wilde, Irene
Wilton, Mabel
Yevtuskenko, Yevgeny

10.05.2006

got a review of secret kitty at 5_Trope

don't know if I posted that here yet...

10.02.2006

http://www.freetrademagazines.com/
I am happy to announce the publication of my third *printed* book, TO DELITE AND INSTRUCT, by Jukka-Pekka Kervinen and Peter Ganick's blue lion books.

It is a long project which investigates the idea of teaching and learning "creative writing," among many other things. It contains games! and a word hoard.

It is available through cafe press for a *mere* 15.95, making it both the longest (276 pages) and the least expensive! of my books:
http://www.cafepress.com/bluelionbooks66.78877749

It has been reviewed at Intercapillary Space -- check it out! --
http://intercapillaryspace.blogspot.com/2006/08/catherine-daly-to-delite-and-instruct.html

I will be reading in Tucson Tuesday, October 10, at 8 pm with Barbara Cully and Maryrose Larkin
at Cushing St. Bar and Grill.

I just found a review of my work!

on a blog, of Locket
http://kristimaxwell.blogspot.com/2006/07/experiencing-ofcatherine-dalys-locket.html

9.29.2006

October Poetry Fest at POEM.X with Christopher Buckley and Martha Ronk

Poem.X continues its fall season with readings by Christopher Buckley and Martha Ronk on Friday, October 6th at 8:00 p.m. Poem.X events, curated and hosted by poets Jeanette Clough and Jim Natal, are held at Barnes & Noble Santa Monica 2nd floor community room, 1201 3rd Street Promenade (at Wilshire), 310/260-9110. Admission is free. Park in Santa Monica structures; $3 flat fee after 6:00.

Buckley’s most recent book of poetry is And the Sea, from Sheep Meadow Press. A new book of nonfiction, Sleep Walk, is out from Eastern Washington University Press. Buckley, a major presence in promoting California poetry, has edited The Geography of Home: California’s Poetry of Place (1999); How Much Earth: The Fresno Poets (2001); The Poetry of Philip Levine: Stranger to Nothing (1991), and A Condition of the Spirit: The Life and Work of Larry Levis (2004). Over the years his own poetry has appeared in numerous literary journals. He has received a Fullbright Award, four Pushcart Prizes, two awards from the Poetry Society of America, and is the recipient of two NEA grants. He teaches creative writing at UC Riverside.

Why/Why Not (UC Press) is a poetic question posed by Martha Ronk. Another recent publication, In the Landscape of Having to Repeat (Omidawn, 2004), won the Pen USA 2005 award in poetry. With Paul Vangelisti, she edited Place as Purpose: Poetry from the Western States. Her fiction appears in the Chicago Review, Harvard Review, Fence, and Denver Quarterly. She received the Lynda Hull Poetry Award, a MacArthur summer research grant, was an artist in residence at the MacDowell Colony and Djerassi, and edits for Littoral Books. Ronk has a Ph.D from Yale and teaches at Occidental College.

Poem.X continues on November 10th with readings by Ralph Angel and Barbara Maloutis, and December 8th with Richard Garcia and Susan Rich.

9.25.2006

THE KICKOFF OF MILLION TREES LA

September 30, 2006

Councilman Herb Wesson Jr. District Office
1819 South Western Avenue
10:00 am to 2:00 pm

Thousands of tree seedlings and five gallon trees will be distributed to residents who pledge to plant and care for them. Pick up a tree, plant it, and make it count.

See you Saturday and please pass this along to your neighbors and friends.

9.16.2006

You are invited to the gala opening celebration of the publication of
vol. 5 of Manzanita: Poetry and Prose of the Mother Lode and Sierra.
More than 80 writers and artists from across California and other states
have written about the region and are represented in the 188-page
collection. Come listen to the writers read their work, meet with them, and
get a book signed---listen to some great improv guitar woven into the
reading, and enjoy the literary atmosphere in the great tradition of
Mark Twain and Bret Harte. Artists and photographers will have prints
available of their work, and you will have a chance to mix with some of the
best writers in our region and in California. The ambiance will be
sublime. And it's free. There will be open mic sessions each hour for the
public to sign up and read their short poems.

When: Saturday, Sept. 16, from 2 - 6 P.M. Four hours of continuous
poetry and prose and music.

Where: Kautz Ironstone Winery in Murphys (about an hour and a half
east of Stockton or Lodi)

Directions: Go up Hwy 49 toward Angels Camp and take the cut-off from
Highway 49 on Murphys Grade Road, making a left at the KFC in Angels
Camp. When you get to Murphys, make a right at the Murphys Hotel, go past
the park and theatre, and make a right at the end of the road (Six Mile
Road) to get to Ironstone (about a mile). Parking is ample, and watch
for signs. The reading will be in the Heritage Room, right below the
Winery Museum/gallery and gift shop.

For more information: contact Monika Rose, editor, (209) 754-0577,
or Penny West, 209- 754-1774, or contact Conrad Levasseur, Community
Relations Director, Kautz Ironstone Winery, at 209-728-1251

Come a little early to fit in some wine tasting and lunch at the deli
in the tasting room--and enjoy the beautiful gardens and landscaping,
visiting the museum/gallery and jewelry collection while browsing the
books and art work available by regional artists and writers. Writers
will be arriving early, so you might get a chance to speak to them about
their work before the reading begins. They will be mingling outside the
museum store and near the Heritage Room, where you will get a chance to
view and purchase some of the books and prints that will be available
by individual writers and artists. The new volume of Manzanita will be
available for purchase so that you can get it signed by writers and
artists at the event.

Monika Rose
Director, Writers Unlimited
Editor, Manzanita

Event hosted by Kautz Ironstone Winery, Writers Unlimited,
and the Calaveras County Arts Council, as a community benefit.

9.13.2006

canadian strange, or are young critics (and anthologists) of experiemental poetry too influenced by marjorie perloff?

list from Daniel Bradley

gerry giblert
alice burdick
victor colman
jay millar
gustave morin
rob read
judith copithore
jwcurry
arthur cravan
john barlow
gerry shikatani
david fujino
carl baker
peggy lefler
mark laba

List from Sina Q on DB:

Elizabeth Bachinsky
John Barton
derek beaulieu
Nicole Brossard
Jon Paul Fiorentino
Joelle Hann
Ken Howe
Ray Hsu
Jeanette Lynes
Rob McLennan
Erin Mouré
Trish Salah
Jordan Scott
Nathalie Stephens
Todd Swift
Rachel Zolf

poet Adeena KArasick included on video
poet Christian Bok included in OuLiPo feature of same issue

in her anthologu open field

Jeanette Armstrong,
argaret Atwood,
Ken Babstock,
Christian Bök,
George Bowering,
Dionne Brand,
Nicole Brossard,
Diana Fitzgerald Bryden,
Anne Carson,
George Elliott Clarke,
Lorna Crozier,
Mary Dalton,
Joe Denham,
Christopher Dewdney, Susan Goyette, Lydia Kwa, Sonnet L'Abb, Dennis Lee, Tim Lilburn, Daphne Marlatt, Don McKay, Erin Mour/Eirin Moure, bp Nichol, Michael Ondaatje, Lisa Robertson, Anne Simpson, Karen Solie, Todd Swift, Fred Wah and Jan Zwicky.

9.11.2006

Folks - just wanted to let you know that the Drunken Boat, Issue#8 is now live! I'll concoct an official press release momentarily but in the meanwhile please feel free to explore the site and to disperse the link as you see fit, hopefully profusely. Thanks to everyone who helped out with this massive issue - it's quite extraordinary and would have been still dormant if it were not for your help.



We'll announce release party, release announcement cards, etc., etc., in due course but now is just ample chance to revel and to bray.

Bravo!

9.10.2006

pretexting

California Attorney General Bill Lockyer already has concluded the HP investigation broke state law by obtaining people's private phone records under false pretenses — a charade known as "pretexting."

HP's investigators masqueraded as the directors and reporters targeted in the probe, using their Social Security numbers in some instances to dupe phone companies into turning over lists of personal phone calls.

9.07.2006

a note exchanged between post mooters -- what's replaced the idea of "mode" for me is the "turn it on turn it off" idea of series-- or the "which one of these things just -- BELONGS -- here idea of series -- the channeling idea over the multiple

oh, it is all identity anyway, but it seemed a major revelation at the time

9.02.2006

nature IS culture

in a way more closely than... other word/idea relations

see chant/cant!!!

8.19.2006

Listen to Si Tu T'Imagines by Juliette Gréco : http://www.napster.com/player/tracks/15612480

written by queneau (sp?)

8.16.2006

new in the nice to have book file: Fioretta: A Tale of Italy by Betty Thorpe, approx 1921

Amy Elizabeth Thorpe, super sex spy "Cynthia"

more info -- published in HAWAII, illustrated by Don Blanding

1922
Fioretta (O Cessate di Piagarmi); A Tale of Italy
Written by Betty Thorpe (age 11)
Honolulu Publishing Company, Limited, Honolulu, Hawaiian Territory, hardback, 63 pages
Blanding painted a full-color portrait on cover, as well as black & white decorations throughout
I wanted to let you know that the LA Art Girls are
presenting a performative panel discussion this
Wednesday, August 16th at Dangerous Curve gallery from
7-9pm. (see calendar below!)
1020 East Fourth Place (500 Molino Street #102)
Los Angeles, CA, U.S.A

www.dangerouscurve.org

We will be discussing (over dinner) who and what the
LA Art Girls are...and we may also address some ideas
and questions about feminism today...with the many
varied voices of the LA Art Girls, this promises to be
quite an interesting evening. I hope you can join us!
All the details are below!

Best,
www.laartgirls.com


LA ART GIRLS BIO:

The LA Art Girls evolved from informal gatherings,
which started in 2004, as a means of encouraging
discourse on contemporary art and as a way to
introduce artists to other artists. The intentions of
the LA Art Girls are to provide inspiration, support,
dialogue and feedback to one another. As a body, LA
Art Girls recognizes the autonomy of its members and
resists the articulation of a coherent group identity
or central theme. The group strives to be a voluntary
and non-hierarchical gathering of practices. While the
LA Art Girls started as a discussion group, it has
evolved to embody a variety of different roles. The LA
Art Girls have made collective artworks, we have shown individual work in group shows, we have curated shows, hosted panel discussions, and soon, a radio show. The LA Art Girls have done projects with QED gallery, Anna Helwing Gallery, The Getty Center, and LACE. Upcoming projects include a Radio Show for KBCH in Long Beach, and a group exhibition in the project room at Angles. While there are over 30 members of the LA Art Girls at this time, a lesser number participates in the collaborative projects on a self-selecting basis.


ON AUGUST 16TH, THE LA ART GIRLS WILL PARTICIPATE IN:

The New New School Two-Week Summer Intensive
at Dangerous Curve an Experimental Exhibition and Live Art/Visual Art Performance Space

1020 East Fourth Place (500 Molino Street #102)
Los Angeles, CA, U.S.A.

We're located at 1020 East Fourth Place, between
Molino and Mateo Streets, in the back of the 500
Molino Street Lofts, #102, between the Fourth Street
Bridge's (on the LA River side of downtown) two on/off
ramps.
See our website for directions, pictures, and updates.



Summer Intensive Schedule

AUGUST 16th: THE LA ART GIRLS!!! The LA Art Girls, a non-competitive collective of 30+ women, will have a "Dinner Party," so that they may present their work and collective activities, along with discussions about being a female, and an artist, in Los Angeles. Yes, you get to participate in this one! They promise treats and surprises.

August 17th: Justin Hansch, founder/director of
Justin's Museum of Contemporary Art (JMOCA), an
exhibition place based in and around Hansch's Los
Angeles home, will expound on the inevitability of collaboration, friendship in the arts, and the role of the accessory in artistic production.

August 18th: Music Night. Bands TBA curated by Oscar
Santos. Check for updates. $5-10.00 sliding scale
fundraiser for the school.

August 19th: Beer Can Races! Beer Can Racers are an
outrageous new sport sweeping the nation! John Knuth
will lead a workshop on how you, too, can build and
race your own beer-can-powered racecars. Build your
very own car and learn the official rules of the race.
If you can, bring a own coping saw, hammer, and a
six-pack of beer, in cans. Patent pending.

August 20th: Tired of being told your performance art
is boring and self-indulgent? Don't want to be
"theatrical"? Learn some body awareness techniques
that will make you much more watchable, without
compromising your visual artist's concept. Do some
simple Kundalini Yoga to get your brain in creativity
mode. Then do some art with ArsFidelis !

August 21st: Jamie Chan and Jasmine Little will talk
about their "untitled (title TBA)" AKA "Giant Rock
Fort II," their artist residency program that will be
inside the gallery at Dangerous Curve for duration of
the NNS summer intensive. They're building a fort-like structure equipped with amenities and supplies for making work, sleeping, drinking/eating, poker tournaments, etc. You can apply for a 24-hour slot to inhabit the fort. Email jamiec5@ucla.edu with the date you prefer and a short description of your past work.

August 22nd: Mark Allen, an artist, educator, curator,
and founder/director of Machine Project , a non-profit performance/installation space for art, technology, natural history, science, and poetry, will discuss Machine's illustrious history, fantastical events, and mysterious collaborators, the creation, care, and feeding of non-profit and post-profit art spaces, the informal and semi-formal education of artists and other interested parties.

August 23rd: Hannah Greely, preeminent sculptor, will
be presenting three short videos and a textunder the
theme of tyranny enabling creative freedom, including
"The Subconcious Art of Graffiti Removal" by
award-winning filmmaker Matt McCormick. Alex Black, a
musician and graduate of UCLA in anthropology, will
discuss internet ephemera, specifically videos
collected from the websites Youtube and Revver.

August 24th: Tif Sigfrids, a UCLA alum, artist and
musician, will lead a workshop on wood burning
techniques. Tim Quinn, co-director of Dangerous Curve,
will lead a workshop on recursive Sculpey techniques.
Anna Kim, installation artist, will lead a "stretch
your toesies" workshop. There'll also be a
feet-pampering station with different herbal baths.

August 25th: Music Night. Bands TBA curated by Oscar
Santos. Check for updates. $5-10.00 sliding scale
fundraiser for the school.

September 1st: Music Night/Dance Party. Bands TBA
curated by Oscar Santos. Check for updates. $5-10.00
sliding scale fundraiser for the school.

September 2nd: Wrap up with a Rachel Mason lecturing
on the history of Hapsburg family, a video screening
of documentation of the summer intensive, and a panel discussion with TBA. Visit for updates/changes and subscribe to our email list to get announcements.

8.14.2006

while there are some top secret exchanges about juvenal, juvenalia and JUVINILIA,

bookfinder Jessica and find:

Jungle Law or Human Reason? The North Atlantic Pact and What it Means to You
Katherine Howard
New World Review: Lenin Centenary Issue, Winter 1970
People Come First
Soviet Democracy and How it Works
The American people want peace; a survey of public opinion.
Voices of Tomorrow
A Family of Peoples, the USSR After 50 Years
Fabulous Eleanor
Hungary in travail.
Jungle Law Or Human Reason
JUNGLE LAW OR HUMAN REASON? NATO & WHAT IT MEANS TO YOU
Katherine Howard (The Six Wives of Henry VIII, Book 5)
Katherine Howard [The 6 Wives of Henry VIII Series, No. 5]
Mistress Parr's Four Husbands
Soviet Russia Today
Soviet Russia Today - Vol. 18, No. 8, August 1950
SOVIET RUSSIA TODAY July 1937 [Vol. 6, No. 5]
SOVIET RUSSIA TODAY June 1937 [Vol. 6, No. 4]
Soviet Russia Today Vol. 11 no. 10 February 1943
Soviet Russia Today Vol. 11 no. 4 August 1942
Soviet Russia Today, Vol. 17, No. 8, December 1948.
Soviet Russia Today. Volume 16, No. 8 (December 1947)
The King and Catherine
what rearming Germany means
Woman In Soviet Russia
Marilyn Cochran-Smith
Learning to Write Differently: Beginning Writers and Word Processing (Language & Educational Processes S.)
Bechtel, Marilyn, Laibman, David & Smith, Jessica
Six Decades That Changed the World: the U.S.S.R. After 60 Years
Mason, Daniel & Smith, Jessica, editors
Lenin's Impact on the United States
Jennifer Watts
Edward Weston: A Legacy
Paul Edwards
Pergolas, Arbours and Arches: Their History and How to Make Them
Jessica Carroll
Billy the Punk

8.10.2006

Hi. I’m trying to revive my looooong defunct website and never quite started presses, e.g. and i.e. (California woman-owned small businesses).



Here’s my idea: want to edit an anthology? I would like to upload your anthology of public domain (pre-1923, that is, 1922 or before, poetry or poetry from which you have permissions, or translations of your own) poetry, along with your editorial essay or intro (formal or informal) in .pdf format. Pick and choose your favorite red dress poems, poems by women whose names begin with “M,” poems written on Monday – send me a copy text or links to make a copy text, and we’ll, in the fullness of editorial time, make it free and printable online. Or maybe even print some up.



Chapbooks, same deal, except if you ever want to take them down (say, subsequent publication), I will. Juvenilia also welcome.



All best,

Catherine Daly

cadaly@comcast.net
I was thinking of this writing about Piaf, baptised but denied a funeral; was woken up this am (by a friend who gave me a Piaf tape kinda by accident a few years ago) -- seems a friend's mom -- estranged, not allowed to attend the wedding, what I've heard of her is mysterious -- died three weeks ago, but the news managed to make its way to rural New Hampshire (!) to reach some Angelinos (!) on vacation, certainly from their NYC-area estranged relatives; how sad, to be in the morgue that long, my great aunt was

funeral mass -- as we all know, this person or that person was "denied a funeral mass" for whatever reason including cremation

Those who have chosen cremation may receive a Christian Funeral Rite, unless their choice for cremation reflects a denial of the resurrection of the body and the immortality of the soul

oh, right, we're rising bodily -- I had forgotten --

The cremated remains are to be treated with the same respect given to the corporeal remains of the body. The cremated remains should be entombed in a mausoleum or columbarium; they may also be buried in a common grave in a cemetery. The practices of scattering cremated remains on the sea, from the air, or on the ground or keeping cremated remains in a home are not the reverent disposition that the Church requires.

8.08.2006

herriette wilson changes names:

Duke de Lerma Earl of Stair
Sir Violet Sigh-away Sir Henry Mildmay
Mr. Soso Captain Gronow
Mr. Satirical Harmless Sir Frank Hall Standish
Mr. Fox Mr. Reynolds
The Armenian General Armenteros
Lord Chatterbox Earl of Clanricarde
Mr. Squibb Mr. Stawb
Three Clock-cases The Lygons
Mr. Bellfield Col. Rochfort
Prince Stroll-about Prince Esterhazy
Mac Griffin Prince Mac Gregor
Mr. Boot-jack Mr. Livius
Mrs. Brawney Be-at-them Mrs. Brereton
Mrs. Teaze-all Mrs. Dun
Lady Sin-enough Lady Bolingbroke
Lady Top-knot Lady Hyde Parker
The Brussels Heroine Mrs. Lewis, alias Tomkins, alias, La Presidente (i.e., salonnierre Sabatier)
http://www.conceptlab.com/

saveur du ketchup simulee!

8.04.2006

from the early days of the internet, we might remember "netiquette" -- in general, when, in posting to a listserv, one is so vehement that one finds oneself using all caps, i.e., "shouting," and sloppily accusing other list members who have a longstanding engagement with culture, religion, mysticism, and politics in his or her poetry -- well, this is a sign that one has crossed either into discourse that best takes place in private, say around someone's kitchen table, where there are fairly equitable ad hoc rules for debate, or one has ceased to care about debate altogether

while the message from LA did raise up a number of canards like Buddhists instead of Buddhism being nonviolent, and the medieval versus the modern

but there are some divisions here between secular government and sectarian government, that are easy for westerners, perhaps more familiar with western history, to understand as medieval-to-pre-early-modern, since this happened part of the way in Europe then (tho monarchy was still using religion to justify authority) and then more in the 1700s in the Americas (the long 17th century)

there are other divisions between modernism / those after modernism and those who are unaware of modernism, and that is different than being affected by modernity or contemporary society

[watched Dave Chappelle's block party last night -- he is a Muslim, a convert, he invited the matching band of Central State U, which is connected to Wilberforce / the AME church to play, admittedly before a lot of message hh and then a fugees reunion concert, in front of the "broken angel" house in bed-stuy, which was built by the daughter of an h'wood director who seems to have had a brief career before the production code institution, and all shot by the eternal sunshine director -- a situation so sublime that of course Chappelle, its creator, was said to be crazy, driven by his insanity first to Africa and then back to yellow springs]

but rationality and having a rationale are two different things, and I hope there is at least room on this list for those like myself who think Weil was mostly an anorexic who failed to break through to meta-systematic thinking, and don't really appreciate her glorification of agricultural workers being subsumed by the agricultural machine just prior to the effective exploitation of the (Christian) Vichy regime of just this sort of imagery

now, her critique of progress, like many other such,

I also want to mention that Dr. Sultan was pretty vehement in refusing the "heretic" label, which seems appropriate, since if one is not a believer, one can't be a heretic; you can be apostate if you're not a believer; in Islam, you can be taken to court, in a theocracy, for being anti-Islamic if you're non-Muslim, but you can't really be "excommunicated" since there's no one official community.


***

I had no problem following the full link; given that she's in LA, I would think she should hang around for quite some time if she doesn't get a job at Disney.

She was quite forceful in rejecting the heretic label; if you're not a communicant, you can't be excommunicated; if you are not a believer, you can't be a heretic. People on list in addition to myself have commented, of course, that the "no Buddhist sectarian violence" argument's a canard.

However, modernism and the rise of 20th century secularism, perhaps mostly under the influence of westernization of popular culture, does seem an increasingly bitterly marked division between increasingly popular and powerful and fundamentalist religions and increasingly less secular states, even here in LA. Could I say "increasingly" in that more? I think we can see that on list with the religious posts (Weil's enthusiasm for man turned into cog in an agricultural machine?, the logic problem which also didn't seem to recognize (like Weil's thought) that logic is a human system among many such) of the past few days.

Politics, religion, belief -- it is all directly related to poetry, even if you don't write overtly political statements like the all caps posters the past few days --

NY is, ironically, apparently the super satan because it is so secular -- you wanna take out Christians? Bomb Oklahoma City with fertilizer originally made from leftover WWII armaments. Wanna bomb LA? Ooh, and like, who cares? We do most of our filming in Vancouver.

7.27.2006

http://www.pagat.com/trumps/watten.html

glorious german card game watten found looking for the watten johnson correpsondance

7.25.2006

yet another graphic design / artist site with a gallery and a manifesto

http://www.compactspace.com

APPLIED CREATIVITY AND THE INTERFACES OF VISUAL CULTURE
01 Mass communication is altering and deviating our true perception of reality and reflects an alienation within our society.

communication alters perception; the urge to commuticate itself signals a distance, difference, or "alienation" one being to another

02 Today’s public spaces are overwhelmed by mass communication, blinding viewers to art’s aesthetic and function.

today's public "spaces" are increasingly ones of structured and moderated (owned, operated) communication rather than physical space, or within physical space

03 Experience and entertainment have become the guidelines for our visual culture.

as opposed to -- what? utility to what end?

04 An Interface is a mutually transforming encounter between people and cultures that leaves nothing as it was before.

not my defn.

back to digging in my yeard

05 The interfaces of our current visual culture have the same relation to responsibility as Disney World to reality.

disney just fired its pres., and appointed a man who is coming from consumer products, where (after star wars) more money is made than the films themselves

so what is it about these objects -- sentiment/ a signal that creates a memory of entertainment, a fantasy-totem?

06 We need fundamental changes and modifications to our current interfacing system in order to engage in the shaping of a more authentic and livable world.
07 Awareness and responsibility stand before conceptualization and must induce a deeper examination and questioning of current world issues.
08 Interfaces must start a dialogue that draws attention to critical issues by both surprising and disturbing the ordinary and promoting awareness and responsibility.
09 Contemporary art must infiltrate the interfaces of our visual culture.
10 Contemporary art and mass communication must combine their skills and responsibilities.
11 Applied Creativity is the advanced combination of art and communication, a fusion which creates solutions, originates new possibilities and provides alternatives for our visual culture.
12 Applied Creativity requires the transmission of cultural criticism through artistic activities.
13 Applied Creativity must supply information and content that will lead to beneficial dialogues within an alternative inter-visual global culture.
14 The practice of applied creativity will not simply create critical tools with which to negotiate a changed contemporary world, it will re-conceptualize the manner in which such tools are implemented.

"If you lived here you'd be home by now"
curated by Eve Fowler

July 29th-August 19th
Opening Reception July 29th, 7-10pm

compact/space Gallery
1307 South Union
Los Angeles, CA 90015
www.compactspace.com
lax@compactspace.com

compact/space is pleased to announce If you lived here, you’d be home by
now, an exhibition of photographs, paintings, video and live installation
by Ian James, Cathy Kim, Glenna Jennings, Meghann McCrory and Chelsea
Molnar and Charchi Stinson curated by Eve Fowler.

Collapsed homes, scary bushes, rock-throwing sessions, ESL lessons and
ex-lover baseball cards abound in this group show about how humans try to
leave evidence of their respective passages through space and time. The
artists observe and/or create their own architectural realities, which are
ultimately rendered uninhabitable for public, personal or physical
reasons.

Ian James' recent work provides documents of minor acts of physical
change. Rocks tossed from cliff sides and holes clipped in fencing attempt
to alleviate the personal anxiety that can result from the powerless
nature of existence.

The sculptural work of Cathy Kim involves the replication of spaces within
the context of memory. For this show, Kim has re-created compact/space
itself to investigate the possibilities of surveilling both the false and
the obvious.

Meghann McCrory also investigates the concept of surveillance, taking a
different perspective on her previous work involving fictionalized
landscapes. McCrory offers evidence of institutional-like worlds that
evoke the subtle fear and tension pervasive in our own everyday existence.

Glenna Jennings presents documentation and a live ‘language booth’ for her
project “Free Serbian Lessons,” which investigates the value of the
useless. Also, try your luck at the grab bag “Ex-Lover or Balkan War
Criminal?,” in which Jennings has re-contextualized her past relationships
with Serbs as collectible sports cards.

Chelsea Molnar’s drawings mesh actual collapsed homes with LA landscapes.
These depictions stem from Molnar’s interest in nature’s impact on the
urban landscape. Though symbols of wealth and power, the structures come
to represent human’s inability to foresee potential disaster.

The empty institutional spaces which Charchi Stinson photographs provide a
subtle critique of the manner in which architecture shapes our behaviors.
The uninhabited and un-homey spaces still bear the intangible presence of
those who have utilized their functions and services.

7.19.2006

some thoughts on voice; putting together VAUXHALL, which is a FALSE etym. to vox or voice hall body

Vauxhall is also falsely from Fox Hill, and the term is really a corruption from the original owner of the land the pleasure garden occupied, Falke's Hall

additionally, the russian word for large train depot is from Vauxhall, and there are a number of theories, but...

and of course it is a car (the metal plant used to be on the same site)

and not a 70s metal band or an 80s hair band

In phonetics, voice or voicing is one of the three major parameters used to describe a sound, along with place of articulation and manner of articulation.

these three -- eliot also has three aspects of voice (one which respembles the superego)

editing heaven
(the heaven section of wikipedia is really awful, and needs a lot of updating and rewriting)

7.13.2006

airleaf publishing -- a new way to bilk vanity-published authors out of even more money

for goods and services worth approximately 1000., you pay 8000. in promitional fees to

have your work on a bunch of websites run by the promoter (not even reviewing websites!)

have your work on the radio (wanna be interviewed on podcast? just make the queries!)

attend a "conference" put on by the promoter for its "authors" in Vegas (I'm saying this is worth about 400.)

copies in ten bookstores (this is worth about $150. in my view, if you aren't purchasing the books yourself and consigning them, but you probably are!!!)

a telemarketer! to call bookstores and set up readings (certainly worth something - but what? and of course, then you've got to do the tour...)

pitch it by phone to 10! Hollywood producers (not perhaps realizing that I'm on the board of a small Hollywood corporation, which the slobs on the other end of the "book of poetry phone pitch" could only be -- hey, maybe we'll start getting lots of phone calls -- "just imagine the miniseries this crown of sonnets could be!" or "it is like a new Canterbury Tales!" or it is Kevin Young's book? gahhhh)



this is particularly painful for me to consider as the inlaw of a not really a relative who I talked about not vanity publishing her religious memoir inspired by events as her beloved grandfather was dying and marketing it by hand from church group to church group (a la it seems the celestine prophecy early days or something featured on oprah) in favor of pursuing legitimate publication and continuing on in writing school, classes, groups, or paying an editor for feedback -- now the family story is I discouraged her writing -- it is hard, trying to offer solid advice to the determined egotist, aka, teaching...

interesting that this comes because they found LOCKET, and not Da3, which is pod, Secret Kitty or some of the shorter eBooks, or the forthcoming 2D&I, which is also pod, through cafe press no less
Mandy
http://mandysmeanderings.blogspot.com/

7.07.2006

can't make the getty images public!

here is the LA Art Girls Blog:
http://www.laartgirls.com
some poems by me on the wave books poetry toy

http://erasures.wavepoetry.com/erasures.php?poemid=484

http://erasures.wavepoetry.com/erasures.php?poemid=482

http://erasures.wavepoetry.com/erasures.php?poemid=481

http://erasures.wavepoetry.com/erasures.php?poemid=483

7.02.2006

poemeleon: a journal of poetry
invites you to attend a summer reading
hosted by the editor, cati porter
Saturday July 29, 2006
11 am - 1 pm

featured readers
maureen alsop
larry bauer
lavina blossom
gayle brandeis
chella courington
catherine daly
lucia galloway
judy kronenfeld
ren powell

Riverside Art Museum
3425 Mission Inn Avenue
Riverside, California 92501
Phone: 951 684.7111
for more information visit www.poemeleon.org

6.28.2006

30 June, Friday - 7:30 PM
Beyond Baroque
681 Venice Blvd.
Venice, CA

TOM ORANGE, K. LORRAINE GRAHAM, MARK WALLACE, and CATHERINE DALY
Come celebrate the spirit of post moot, including but not limited to all forms of experimental poetic work that are both live and exist as objects. TOM ORANGE has co-curated the in your ear reading series at the District of Columbia Arts Center and edited the dcpoetry.com website and anthologies since Fall 2000 . CATHERINE DALY is author of DaDaDa, Locket, Secret Kitty, and To Delite and Instruct . MARK WALLACE is author of a number of books of poems, most recently Temporary Worker Rides A Subway . K. LORRAINE GRAHAM is author of two chapbooks, Dear (Blank) I Believe in Other Worlds (Phylum) and Terminal Humming (Slack Buddha).

6.26.2006

Gatsby Reading Series
A Showcase for Emerging/Established Poets and Writers (Includes Open Mic)

The Daisy Standard
Hosted by Rafael F. J. Alvarado, Amélie Frank & Marie Lecrivain


Dutton’s Beverly Hills
447 N. Canon Drive, Beverly Hills, CA 90210
For info (323) 666-2421
Open reading sign up at 6:00 pm; reading starts at 6:30 pm

Saturday, July 1st
Featuring: Sarah Maclay, Michael C. Ford, John Harris & Holaday Mason

Saturday, August 12th
Featuring: Rachel Kann, Tess Lotta, Douglas Richardson & Teresa Willis

Saturday, September 16th
Featuring: James Andrews, Laurel Ann Bogen, Doug Knott, Pam Ward & Charles Harper Webb

Saturday, October 14th
Featuring: Carlye Archibeque , Dennis Cruz, Rich Ferguson, Claudia Handler & Mariano Zaro

Saturday, November 18th
Featuring: Harry Northup & Holly Prado

Saturday, January 13th, 2007
Featuring: Richard Beban, Eric Brown, Larry Colker & Elizabeth Iannaci

Saturday,Febuary 17th, 2007
Featuring: Philomene Long, Phoebe MacAdams, Brenda Petrakos

Rafael F. J. Alvarado presents
Cardoza's Palabras

Antigua Cultural Coffee House
4836 Huntington Drive South, Los Angeles, CA 90032

For info (323) 666-2421
For directions (323) 936-9422
Open reading sign up 3:30 pm
Reading starts at 4:00 pm
http://www.antiguacoffeehouse.com
Sunday, July 9th
Featuring: Steve Abee, Jack Brewer, Joe Brewer, Dennis Cruz & Mariano Zaro

Sunday, August 20th
Featuring: Larry Colker Christian Elder, Amélie Frank & Rachel Kann Doug Knott

Sunday, September 17th
Featuring: Sonara Bartel, Marie Lecrivain, Tess Lotta & Carmen Vega

Sunday, October 15th
Featuring: Eric Brown, Brendan Constantine, Danielle Grilli & Pam Ward

Sunday, November 12th
Featuring: Michael C. Ford, Yvonne de la Vega & Ruben Guevara


Sunday, November 19th
Featuring: Carlye Archibeque, Jerry Garcia, Brenda Petrakos & Raindog

Sunday, December 3
Erica Erdman

Sunday, January 14
Featuring: Theresa Antonia,Keith Niles, Peggy Dobreer

6.23.2006

was just asked about chapbooks from someone who'd self published a lot of them -- I am encouraging a lot of local slammers to register at P&W and they are getting their points straight --

anyway, it has surfaced that many believed that chapbooks are always self published (self-publications don't count for P&W)

6.22.2006

getting ready forthe big wedding, went to the flower market this am

marigolds are 1.50 a bunch, so pretty AND have mosquito repellent qualities!
exciting black dahlias are coming in! (not appropriate for weddings)

is it worth it -- yes I will go I think more often, at christmas for example

advance praise for TO DELITE AND INSTRUCT

you know I never said thank you for this. I was delighted & instructed. I work for Delight & Touch. no, I work for Toilette & Douche. no that's not right either. I loved the word box ones. to be honest more delighted & unstructed, what's it all about?

best,
Jow

6.16.2006

6.14.2006

to write in 1337
http://www.wikihow.com/Read-and-Write-in-1337

reminds me of the typing class, where we could choose pica or elite with out selectrics (the ones with the floating balls replacing the grasshopper-leg-like strikes for letters)

--

re-post moot, thinking about how my old "modes" of writing have been replaced first they were replaced by the "turn it off, turn it on again" (which the modes also were) or series poems AND projects, and the idea that the methods, procedures, etc. in these projects / poems "progress" (which I always found problematic)

my first response to Tom Orange asking about reading each others' poems was -- nah, everyone does that now, what if I do a secret kitty procedure on one of each... -- while secret kitty isn't finished, because I now have more source, I'm proofing to delite and instruct, which IS finished (though there is certainly more source), and that is because I tried, for worse more than better perhaps (I'm unhappy with the programmatic quality of much of the writing -- is it too "literal" -- it is non-figurative language, language deliberately NOT used figuratively, but referentially, but aren't people looking for metaphors when they read -- and here the metaphor is overarching, minimalist perhaps, or included in the procedure,

to make each of the sources a poem -- the result is of course much different than you or anyone else would end up with from the same --

6.10.2006

too much lead in paint, scraping "maid's room" before parents come stay for sister's wedding

realize that in Pynchon's postmodern novel description -- the plaster and paint would come off the wall in the progressively more progressive voting districts in this neighborhood during the time period of the stripped wallpaper, i.e., the 20s, from the (early!) ELIMINATION OF SEGREGATION AT swimming and beaches --the 20s -- much later some places in the midwest- to the new deal -- with the tough, intractable districts remaining --

too much lead in old paint

6.08.2006

Chaparral Poets

http://www.chaparralpoets.org/about.html

a local (LA) poetry organization, a poetry society based on regional affiliation, sort of loosely based on the naturally-occurring earlier Carmel, Laguna, and Arroyo poets groups (and not affiliated with the current Arroyo poets).

5.31.2006

The long awaited full-length eBook, SECRET KITTY, by Catherine Daly, is now
> online and downloadable in .pdf format at Ahadada Books. Read along the
> eastern seaboard in January, in the Midwest in April, the book is a flarfy
> critique of flarf, a translation of flarf, and a whole new kind of fluff.
>
> This week, it will be downloadable from the Ahadada Home Page:
> http://www.ahadadabooks.com/
>
> by clicking on the "here" in the phrase "click here" at the bottom of the
> page, then clicking "Yes" to download.
>
> There's more about Secret Kitty at
> http://barfingfrog.741.com/Reviews/secret_kitty.htm
>
> some preliminary / contextual information at
> http://www.english.wayne.edu/fac_pages/ewatten/posts/post13.html
>
> and forthcoming at 5_Trope.
>
> To receive the .pdf directly, e-mail me at
> cadaly at comcast dot net
>
> Bio:
>
> The Dalys, a family founded in 1963, designed Catherine Daly in 1966. She
> was introduced on January 28, 1967 (thus she is an Aquarius), though her
> name and biography are continually expanded. She is a fifteen year post-grad
> living in the center of Los Angeles, CA, USA, with her family surnames Daly
> and Burch. Catherine Daly currently uses Olson twins hair glaze purchased at
> the 99 cents only store, while her sister, Elizabeth Daly, exercises more
> discretion. While they started out wearing nothing, in the past 25 years,
> Catherine wears vintage or used couture, while Elizabeth wears modish new
> clothes. They live a mile from each other, but 2,000 miles from their
> parents, Dad Tom Daly and Mom Joyce Daly. Their Uncle and Aunt are nearby in
> Pasadena, and their great-aunt is near the Daly parents. ("Kasia" is a
> nickname, and the source of the appellation is a maternal Polish relative,
> not a paternal Irish one.) Kasia is about 20 apples high and weighs about
> the same as 50 apples, and she has type A+ blood. She is a cookie baker,
> although her great aunt is a renowned pie expert and Kasia's favorite snack
> is dark chocolate. Like her mother, she sort of plays the piano. Her
> favorite color is red; her favorite school subjects are english, math, and
> music. Kasia has a lot of acquaintances.
>
> With Elizabeth and childhood friend Therese Heimbold, Kasia became
> acquainted with small items such as coin purses with Kitty on them around
> the bicentennial, in central Illinois.
>
> "Why doesn't Hello Kitty have a mouth?"
> "Hello Kitty speaks from her heart. She is Sanrio's ambassador to the world
> who isn't bound to one certain language."
>
> Why does Catherine write? She published DaDaDa with Salt Publishing in 2003;
> that trilogy has now become the first portion of a long project entitled
> CONFITEOR. Tupelo Press published Locket in 2005.

5.30.2006

May 30, 2006

Edge 183
at
http://www.edge.org

(5,700 words)

This EDGE edition available on the EDGE Website at:
http://www.edge.org/documents/archive/edge183.html

---------------------------------------------------
THE THIRD CULTURE
---------------------------------------------------

DIGITAL MAOISM: The Hazards of the New Online Collectivism [5.30.06]
By Jaron Lanier
An EDGE Original Essay

"The hive mind is for the most part stupid and boring. Why pay attention to it?"

"The problem is in the way the Wikipedia has come to be regarded and used; how it's been elevated to such importance so quickly. And that is part of the larger pattern of the appeal of a new online collectivism that is nothing less than a resurgence of the idea that the collective is all-wise, that is desirable to have influence concentrated in a bottleneck that can channel the collective with the most verity and force. This is different from representative democracy, or meritocracy. This idea has had dreadful consequences when thrust upon us from the extreme Right or the extreme Left in various historical periods. The fact that it's now being re-introduced today by prominent technologists and futurists, people who in many cases I know and like, doesn't make it any less dangerous."

Read on as Jaron Lanier throws a lit Molotov cocktail down towards Palo Alto from up in the Berkeley Hills...

5.27.2006

some things about food I should post in my myspace blog instead, but I'm getting hit up by christians there --

in ayurdevic medicine or what not, there is a reduction of people to three "elements"

this is one of the marks of -- oh, bullcrap in any formation -- feng shui, five elements, this, four elements that, the medieval humors the other thing

macrobiotic yin and yang food,

are you generlly damp or windblown, or yada yada
dear all,
I now realize my frame of reference is more unfamilar than... whatever...

here are some confessionals or creeds -- statements of faith or belief -- divisive in my view, and less philosophical than...

http://www.newadvent.org/cathen/04222a.htm

5.24.2006

eraserhead press prospective author interview

10 favorite authors

"carolyn keene"
thomas pynchon
uh...

20 favorite movies

I don't really like movies
brothers quay -- they're from PA!
svankmeyer
that guy -- name with an s -- did silent films with bugs
joseph cornell -- collage movies from footage
dali
bunuel
cocteau

uh...

which do you prefer

a. Lewis Carroll
b. James Joyce
c. Jack Kerouac
d. Marquis de Sade
e. Franz Kafka
f. I don't read fiction by old dead dudes.

d. because I haven't read much of what he wrote

how much free time do you have

hardly any, but then it is all free time

favorite type of music

hm -- psychobilly, hardcore, ny punk, british punk, jazz, sampling / mixing / smash ups, classical based in folk --

weirdest idea for a book

how many books have you written

strangest dream

5.22.2006

  • La Fayette Square Site
  • some info re: one of two reviews of my books at galatea resurrects and discussion

    http://galatearesurrection2.blogspot.com/2006/05/two-books-by-catherine-daly-locket-and.html

    also, as for chocolate, as readers here may know, I am allergic to food additives and etc. and probably cholate *intolerant*, so the great animal fat free decaf sugar free mocha (recipe posted here earlier) has been supplanted with:

    a small fistful of callabaut 100% cocoa chunks (special order through chocosphere)
    (100% ghiradelli or 1005 sharfen burger in a pinch)
    (this is 100% dark chocolate, nothing else, no soy or corn lechithin, no milk, no sugar, no vanilla or vanillin)

    to cover, torani sugar free syrup (note: I have just sent for pharmaceutical grade sucralose which is unadulterated; I am allergic to maltodextrin (corn), caramel coloring (corn), and natural flavors (corn and soy), so coconut sugar free torani syrup seems the way to go for now)

    1 minute in microwave; stir to temper chocolate; may require an additional 30 seconds (DO NOT microwave for 1:30!)

    fill mug with water, stir, microwave another minute
    stit

    pure natural caffeine, antioxidants, and chocolate well being!!!



    Catherine--

    If you happen to mosey back to this space ... I don't know any other way to reach you ... and taking the cue from Eileen's post of 19 May quoting Michael Farrell, suggesting a space for dialogue ... first, did you see the recent Pettibon show that opened a month or so ago just off Melrose? We got there the 2nd day and thought hmmmmm ... everything, I believe, or virtually everything, was already sold ... Second, you mention Mike Watt as "blogger extraordinaire", which shows how sometimes worlds don't collide, 'cause I only know of Watt from the Minutemen ... third, and most importantly, what did you think as you read what I wrote? How far out to lunch was/am I? However you answer that last, thanks for writing these poems. Cheers, John


    At 10:15 AM, Catherine said...
    it has been my impression that Pettibon mostly does his pieces to order, in a sort of post-a.e. sort of conversational way, so that they would be sold before they went on display doesn't surprise; he drew a fun little cartoon for me in my copy of Mike Watt's book, which has a lot of Watt's Minutemen lyrics in it

    Watt takes journal keeping seriously, went to Bloomsday don't you know, and reads and re-reads the Commedia -- anyway, he's got his own creole language, and he's a writer aside from being a bassist

    to respond to Michael and Eileen -- I'm a little out of that loop, but my thoughts are

    1) in MFA programs you're taught not to respond to crit

    2) most beginning poets I know are afraid of responding to criticism of their work because they don't know what it means, and are afriad to display their ignorance -- hah but I've been writing 22 years

    3) everybody is familiar with the cranky New York Review of Books author correspondences, which hardly ever displays an author in a good light, which Michael alludes to

    I have tried to post a lot about my books on my blog, but I get bogged down in other stuff -- don't have much time right now -- but it has been frustrating that I've gotten so many excellent reviews of Da3 and even excellent pre-reviews of Secret Kitty, and so many mixed reviews of LOCKET

    since it has been taken as being unreadably experimental by some (LOCKET), and this has been a learning experience for me, since these are light and fun love poems in my view -- I should elucidate what this learning was here, I believe -- maybe later today

    Da3 is part of a longer project, but that longer project isn't going to continue to come out any time soon I don't think; the reason my bio is the way it is on it is to show, aside from the reader / writer / author stuff in the book, that I am behind its content, autobiographically

    oh, and I have no religious belief, spiritual what-have-you, practice or process, or anything, nothing whatsoever, never have, though I felt a great deal of pressure or assumed a sort of responsibility to fake it and try to go through some sort of religious journey (I was a religion major in college, lived in a buddhist monestery in India for a while, my parents were charismatics) -- although I have been a professional astrologer! and try to do a little feng shui -- which I don't believe either
    THE SOCIETE ANONYME: MODERNISM IN AMERICA
    Wednesday, May 24
    7 p.m.
    Hammer Museum, 10899 Wilshire Blvd. (Westwood)

    The Société Anonyme was formed by Katherine S. Dreier and
    Marcel Duchamp in order to disseminate modern art in
    America through a succession of exhibitions and lectures
    during the 1920s and 1930s that introduced the American
    public to European and American avant-garde artists. In
    1941, Dreier and Duchamp transferred the Société Anonyme
    Collection to Yale University in order to continue the
    educational aspirations of the organization.

    As part of a new exhibition, UCLA art historian George
    Baker has organized a discussion on the importance of the
    Societe Anonyme as the first "experimental museum" for
    contemporary art in the United States. Baker is assistant
    professor of art history at UCLA, an editor of October
    magazine, a critic for Artforum, and is currently preparing
    the book "The Artwork Caught by the Tail: Francis Picabia
    and Dada in Paris."

    Meet the panelists:

    Miwon Kwon is associate professor of contemporary art
    history at UCLA and the author of "One Place After Another:
    Site-Specific Art and Locational Identity." Richard Meyer
    is associate professor of art history at the University of
    Southern California. His book, "Outlaw Representation:
    Censorship and Homosexuality in Twentieth-Century American
    Art," received the Charles C. Eldredge Prize. Nancy J. Troy
    is professor of modern art at University of Southern
    California, president of the National Committee for the
    History of Art, and is currently working on a book about
    Piet Mondrian.

    "The Société Anonyme: Modernism for America" presents over
    240 works by 100 artists that chart the development of
    modern art in the early 20th century. The exhibition is on
    view through August 20 and features works by such diverse
    and renowned artists as Josef Albers, Alexander Archipenko,
    Alexander Calder, Arthur Dove, Louis Eilshemius, Max Ernst,
    Paul Gauguin, Arshile Gorky, Wassily Kandinsky, Fernand
    Léger, Henri Matisse, Roberto Matta, Pablo Picasso, Man
    Ray, Kurt Schwitters, Joseph Stella, and Jacques Villon,
    among many others. Free. 310-443-7000

    [parking is $3]

    5.21.2006

    real issue is whether Modernism was a good thing
    was modernism simply a style

    "the inability to keep the weather at bay seems to be a problem that afflicts architects of every variety, even traditionalists"

    is embrace of a machine aesthetic -- modernism as such -- inhuman(e)

    and finally, perhaps it is that "total design" and object design which is not ergonomic or doesn't accomodate "messiness" is completely different than a modern work of art of "total design" where the utilitarianism of the object is unclear

    or perhaps an unhappy success of lack of storage space / nowhere for muddy boots versus a lovely failure to cohere, an ability to pause

    a solution to a social problem, or maybve merely Ikea, versus "lurching back into everything that Modernism tried to change"

    5.19.2006

    Smell Last Sunday Reading Series
    on the Penultimate Sunday of May

    featuring

    Janet Sarbanes
    Rick Snyder
    Joseph Thomas
    Matias Viegener

    Sunday, May 21, 2006

    Doors open at 6:30 pm.

    5 dollars at the door to support visiting writers.

    247 S. Main Street,
    more or less behind Jalisco¹s,
    between 2nd and 3rd streets in Downtown, Los Angeles;
    enter in the alley from 3rd Street.


    Janet Sarbanes has published fiction in Zyzzyva, Plum Ruby Review, Merge and Black Clock. She has recently written a series of articles on the ³aesthetic mode of sociality,² which will be collected in her forthcoming book, Gifts of Love. She teaches writing and cultural studies at the California Institute of the Arts. Tonight she will read from her novel in progress, This Land: The Adventures of The President¹s Daughter.

    Rick Snyder is a poet, editor and translator (primarily of Catullus). His writings and translations have appeared in journals such as Aufgabe, Boog City, LVNG, jubilat, and Radical Society, and online at Readme, TheEastVillage, and Situations. His chapbooks Blueprint and Double Ear were published by 811 Books, and an e-chapbook, Forecast Memorial, is available as a duration e-book. He was the editor of the magazine Cello Entry and the curator of a poetics lecture series at the Dactyl Foundation in New York. He now lives in L.A.

    Joseph Thomas is a poet and critic. He has published essays in Style, Children's Literature, The Hornbook Magazine, Children's Literature Association Quarterly, The Lion and the Unicorn, Reconstruction, and The
    Encyclopedia of American Poetry. His poetry has appeared in Moria, River
    King, and Piedmont Literary Review. His poetry chapbook, Strong Measures,
    is forthcoming from Make Now Press, and his book Poetry's Playground: The
    Culture of Contemporary American Children's Poetry is forthcoming from Wayne State University Press. He is the editor of the magazine formerly known as
    L'bourgeoizine. He teaches at California State University Northridge.


    Matias Viegener is a writer who teaches in Critical Studies and in the MFA Writing Program at CalArts. His critical work is in comparative literature, gender theory and cultural studies. His criticism appears in the collections Queer Looks: Lesbian & Gay Experimental Media (Routledge), and Camp Grounds: Gay & Lesbian Style (U Mass). He has fiction in the anthologies Men on Men 3, Sundays at Seven, Dear World, Abject and Discontents, edited by Dennis Cooper. He is the editor and co-translator of Georges Batailles' The Trial of Gilles de Rais. He has published in Bomb, Artforum, Art Issues, Artweek, Afterimage, Cargo, Critical Quarterly,High Performance, Framework, Oversight, American Book Review, Fiction International, Paragraph, Semiotext(e) and X-tra.

    5.18.2006

    My URL
    http://www.myspace.com/cadaly

    My Blog URL
    http://blog.myspace.com/cadaly

    5.16.2006

    Corn Allergen List

    many of these items are just frequently mixed with corn, and are not corn, ex. baking powder, pure vanilla (obviously, if you get a vanilla bean, you're fine), arrowroot, etc.

    Acetic acid
    Alcohol
    Alpha tocopherol
    Artificial flavorings
    Artificial sweeteners
    Ascorbates
    Ascorbic acid
    Astaxanthin
    Baking powder
    Barley malt
    Bleached flour
    Blended sugar (sugaridextrose)
    Brown sugar
    Calcium citrate
    Calcium fumarate
    Calcium gluconate
    Calcium lactate
    Calcium magnesium acetate (CMA)
    Calcium stearate
    Calcium stearoyl lactylate
    Caramel and caramel color
    Carbonmethylcellulose sodium
    Cellulose microcrystalline
    Cellulose, methyl
    Cellulose, powdered
    Cetearyl glucoside
    Choline chloride
    Citric acid
    Citrus cloud emulsion (CCS)
    Coco glycerides (cocoglycerides)
    Confectioners sugar
    Corn alcohol, corn gluten
    Corn extract
    Corn flour
    Corn oil, corn oil margarine
    Corn starch
    Corn sweetener, corn sugar
    Corn syrup, corn syrup solids
    Corn, popcorn, cornmeal
    Cornstarch, cornflour
    Crosscarmellose sodium
    Crystalline dextrose
    Crystalline fructose
    Cyclodextrin
    Decyl glucoside
    Decyl polyglucose
    Dextrin
    Dextrose (also found in IV solutions)
    Dextrose anything (such as monohydrate or anhydrous)
    d-Gluconic acid
    Distilled white vinegar
    Drying agent
    Erythorbic acid
    Erythritol
    Ethanol
    Ethocel 20
    Ethylcellulose
    Ethylene
    Ethyl acetate
    Ethyl alcohol
    Ethyl lactate
    Ethyl maltol
    Fibersol-2
    Flavorings
    Food starch
    Fructose
    Fruit juice concentrate
    Fumaric acid
    Germ/germ meal
    Gluconate
    Gluconic acid
    Glucono delta-lactone
    Gluconolactone
    Glucosamine
    Glucose
    Glucose syrup (also found in IV solutions)
    Glutamate
    Gluten
    Gluten feed/meal
    Glycerides
    Glycerin
    Glycerol
    Golden syrup
    Grits
    High fructose corn syrup
    Hominy
    Honey
    Hydrolyzed corn
    Hydrolyzed corn protein
    Hydrolyzed vegetable protein
    Hydroxypropyl methylcellulose
    Hydroxypropyl methylcellulose pthalate (HPMCP)
    Inositol
    Invert syrup or sugar
    Iodized salt
    Lactate
    Lactic acid
    Lauryl glucoside
    Lecithin
    Linoleic acid
    Lysine
    Magnesium fumarate
    Maize
    Malic acid
    Malonic acid
    Malt syrup from corn (barley malt is fine)
    Malt, malt extract
    Maltitol
    Maltodextrin
    Maltol
    Maltose
    Mannitol
    Methyl gluceth
    Methyl glucose
    Methyl glucoside
    Methylcellulose
    Microcrystaline cellulose
    Modified cellulose gum
    Modified corn starch
    Modified food starch
    Molasses (corn syrup may be present; know your product)
    Mono and di glycerides
    Monosodium glutamate
    MSG
    Natural flavorings
    Olestra/Olean
    Polenta
    Polydextrose
    Polylactic acid (PLA)
    Polysorbates (e.g. Polysorbate 80)
    Polyvinyl acetate
    Potassium citrate
    Potassium fumarate
    Potassium gluconate
    Powdered sugar
    Pregelatinized starch
    Propionic acid
    Propylene glycol
    Propylene glycol monostearate
    Saccharin
    Salt (iodized salt)
    Semolina (unless from wheat)
    Simethicone
    Sodium carboxymethylcellulose
    Sodium citrate
    Sodium erythorbate
    Sodium fumarate
    Sodium lactate
    Sodium starch glycolate
    Sodium stearoyl fumarate
    Sorbate
    Sorbic acid
    Sorbitan
    Sorbitan monooleate
    Sorbitan tri-oleate
    Sorbitol
    Sorghum (not all is bad; the syrup and/or grain CAN be mixed with corn)
    Starch (any kind that's not specified)
    Stearic acid
    Stearoyls
    Sucrose
    Sugar (not identified as cane or beet)
    Threonine
    Tocopherol (vitamin E)
    Treacle (aka golden syrup)
    Triethyl citrate
    Unmodified starch
    Vanilla, natural flavoring
    Vanilla, pure or extract
    Vanillin
    Vegetable anything that's not specific
    Vinegar, distilled white
    Vinyl acetate
    Vitamin C and Vitamin E
    Vitamins
    Xanthan gum
    Xylitol
    Yeast
    Zea mays
    Zein
    bruna mori, if you're not going to drive to see me in Riverside:

    If you're in town this Sunday, consider stopping by Betalevel in Chinatown at 2pm to participate in an informal studio recording, part of LA-LIT's ongoing series. I'll be reading poems--most I haven't read before--and there will be dim-sum. The event will last 30 to 45 minutes--enough time for discussion. Details below.

    Afterward, for those who can spare time, you're invited for drinks on a sundeck at a cabin on a hill in Echo Park surrounded by a small forest, where I'm lucky enough to be housesitting. [There may be a theremin player.] Both venues are located just off of Cesar Chavez/Sunset, but call me if you get lost: 917.650.3784.

    LA-Lit interviews Bruna Mori
    Sunday, May 21, at 2pm
    At Betalevel (www.betalevel.com)

    Directions to Betalevel in Chinatown:
    1. Find yourself in front of "FULL HOUSE RESTAURANT" located at 963 N. Hill Street in Chinatown. 2. Locate the tiny alley on the left hand side of Full House. 3. Walk about 20 feet down the alley (away from the street). 4. Stop. 5. Notice dumpster on your right hand side. 6. Take a right and continue down the alley. 7. Exercise caution so as not trip on the wobbly cement blocks underfoot. 8. The entrance to Betalevel is located 10 yards down on left side, behind a red door, down a black staircase.

    Directions from Betalevel to the cabin, which is at 2209 Vestal, LA, CA 90026: 1. Make your way back to Cesar Chavez, and take a right. 2. Take another right on Echo Park Blvd. 3. Make a left on Donaldson [just past Baxter] and park. 4. Walk to the first corner [Vestal] and look to your right. You will notice two stairways; ascend the one on the right.

    Hope to see you,

    Bruna

    ---------- Forwarded message ----------
    From: LA-Lit
    Date: May 14, 2006 3:15 PM
    Subject: LA-Lit interviews Bruna Mori
    To: brunamori@gmail.com


    (Mailing list information, including unsubscription instructions, is located at the end of this message.) __

    LA-Lit interviews Bruna Mori
    Sunday, May 21 at 2pm
    At Betalevel (www.betalevel.com) (Directions Below)

    We'd like to invite you to a live radio recording, poetry reading & conversation this coming Sunday May 21 at 2 p.m. at Betalevel in Chinatown. Bruna Mori will be the featured writer on LA-lit, a radio show co-curated by Mathew Timmons & Stephanie Rioux. The show (& hence the recording) lasts a little over an hour and will be about 30 minutes of reading & about 30 minutes of questions & answers/further questions – alternating between the two modes in hopes of creating a space for dynamic conversation.

    Bruna Mori is the author of Dérive, a book of New York cityscape poems with sumi-ink paintings by Matthew Kinney, to be published this fall by Meritage Press. Tergiversation, her Ahadada Books chapbook, to be released this spring, is a series of homophonic and 'sensorial' translations, inspired by the work of the late Argentinean poet Alejandra Pizarnik.

    In addition to her poetry and short prose, she writes creative nonfiction about art and architecture. Her most recent essay, for a forthcoming Semiotext[e] anthology, is on Isamu Noguchi's internment designs for Poston, the camp where Noguchi was [voluntarily] incarcerated during World War 2.

    Born in Japan and raised in the U.S., Mori presently lives in Los Angeles, where she edits at the Getty Research Institute, and teaches at Art Center College of Design and the Southern California Institute of Architecture. Her own BA and MFA degrees were completed at the University of California, San Diego, and Milton Avery Graduate School of the Arts at Bard College.

    LA-Lit interviews poets and writers in the Los Angeles area. Reflecting the shifting nature of Los Angeles as a place, this may mean writers that have lived in LA all their lives or writers who happen to be in LA for a few days. LA-Lit is a place for the literary culture of Los Angeles to develop and exhibit itself. Co-hosted and co-produced by Stephanie Rioux and Mathew Timmons, LA-Lit is sponsored by Superbunker and recorded at Betalevel (behind 963 N. Hill St. in an alleyway in Chinatown, Los Angeles). Recordings are podcast every other Sunday at 5pm. You can subscribe to the podcast by visiting our website (LA-Lit.com) and dragging the Subscribe link from the sidebar to your podcast folder in iTunes, or download past shows by visiting the writer's page at LA-Lit.com.

    Ideally we will have an audience made up of people who are inclined to jot down a thought, query, doubt, or other incitement. During the second half of the show the floor will be opened for questions from the audience.

    Please note the time change from our normal schedule: doors open at 1:45 p.m. and the reading/recording will begin by 2:15 p.m. – please do your best not to arrive late, so as to minimize the sounds of shuffling & stair-creaking while the show is being recorded.

    Feel free to forward this invitation on to your friends and neighbors. For more information, visit LA-Lit.com.

    We will be delighted to see you there,
    Mathew Timmons & Stephanie Rioux