1.06.2006

cool 'nother doublewide / narrowhouse recording thing... if only I can get off my duff and take Rob Roberge up on his recording-of-locket offer...

K. Lorraine Graham is moving here from DC, we are excited here in socal, as excited as when Jane moved here

http://www.angelfire.com/poetry/thepixelplus/nhcatalog.html
Tuesday, January 17 at 7:30pm
Poetry Coffeehouse at Grace Church
Featuring poets Catherine Daly, Yvette Neisser, and Kathleen O'Toole Enjoy free dessert and free Starbucks coffee together with wonderful poetry.

Catherine Daly, author of two volumes of poetry, Locket and DaDaDa, has worked as a technical architect, officer in a Wall Street investment bank, engineer supporting the space shuttle orbiter, software developer for motion picture studios, and teacher. She lives in Los Angeles.

Yvette Neisser is a poet, translator, writer and editor. Her poems and translations of poetry have appeared in numerous magazines and anthologies, most recently the Innisfree Poetry Journal, The International Poetry Review, and The Potomac Review. She is currently translating the work of local Argentinian poet Luis Alberto Ambroggio for a bilingual collection to be published in 2006. In addition, she is seeking a publisher for her own first book of poems, Fields of Vision, which was a finalist for the 2004 Gival Press Award. This spring, she will be teaching a course on literary translation at the Writers Center.

Kathleen O'Toole has combined a nearly thirty-year professional life in community organizing with teaching and writing. She received her Masters Degree from Johns Hopkins University in 1991, and has taught writing at JHU and at the Maryland Institute College of Art. Her chapbook PRACTICE was published in 2005 by Finishing Line Press. Kathleen's work has appeared in POETRY, AMERICA,The Notre Dame Review, Natural Bridge, The Ledge and others. She currently works for Bread for the World, and lives in Takoma Park, MD with her husband John.

Grace Church is located at 1041 Wisconsin Ave., NW, in lower Georgetown between M and K streets. Two hours of free parking is available at Loews Cinema, a block away at Wisconsin & K -- please bring your parking stub for validation. Maps and directions can be found at http://www.gracedc.org.


We look forward to the reading; please email poetry@gracedc.org if you need any additional information.

David Bujard
703.209.1209

1.05.2006

italian translations of deer head nation kick out the jams
http://www.nazioneindiana.com/2005/10/08/da-deer-head-nation/#more-1345
Hammer Poetry Series



HAMMER MUSEUM

Kay Ryan

Thursday, January 12, 2006, 7 PM



Kay Ryan's sixth book of poems, The Niagara River, was released in the fall of 2005. Her previous books include Elephant Rock and Say Uncle, and Flamingo Watching was a finalist for both the Lamont Book Award and the Lenore Marshall Poetry Prize. Her poems have been included in two Pushcart Prize anthologies, two volumes of The Best American Poetry, and featured in The New Yorker, Atlantic, and The Paris Review. Ryan is the recipient of a Guggenheim fellowship and a National Endowment for the Arts fellowship.





Parking is available under the Museum for $3. Admission to the event is free. Seating is first come, first served. Please arrive early. Dedicated to the memory of Doris Curran, this series, which has provided a stimulating forum for nationally and internationally known poets for thirty-nine years, is co-sponsored by the Friends of English, the Academy of American Poets, the W Hotel, the UCLA Office of Cultural and Recreational Affairs, the Office of Instructional Development, and generous anonymous donors.



Hammer Web Site: www.hammer.ucla.edu

Hammer Information Line: 310.443.7000



1083 Broxton, Los Angeles, CA 90024






-
Image & Text:
Inside, Outside
Artworks by Larkin M. Higgins, M.F.A.
Saturday, Jan. 28, through Friday, Feb. 24
Opening Reception:
Saturday, Jan. 28, 2-4 p.m.
Kwan Fong Gallery of Art and Culture
Soiland Humanities Center
Known for addressing a wide range of artistic practices
while rooted in the art of the idea and concept, Larkin
Higgins has created and exhibited a broad spectrum
of media over the years. This selection of paintings,
installation and mixed media embodies wit alongside
cultural concerns and observations.
Admission is free. This is the first of a series of exhibits
to showcase the extraordinary talents of the CLU
Art Department faculty. For information, please
contact the Art Department at (805) 493-3315.
For directions, call (805) 492-2411 or go to:
ww2.clunet.edu/neighbors/guide.
Poetry Reading with Li-Young Lee and Janet Sternburg
Sunday, January 8th, 2 pm


Location:
The Ruskin Art Club
800 S. Plymouth Blvd.
Los Angeles, CA 90005
(310) 669-2369

LI-YOUNG LEE is an Asian American poet, born in Jakarta, Indonesia to Chinese parents. Lee has attended the University of Pittsburgh, the University of Arizona, and the State University of New York at Brockport. He has also taught at Northwestern University and the University of Iowa. Lee has written several poetry collections including Book of My Nights (2001), The City in Which I Love You (Lamont Poetry Selection of the Academy of American Poets for 1990), and Rose (New York University’s 1986 Delmore Schwartz Memorial Poetry Award). His memoir, The Winged Seed: A Remembrance (1995), received an American Book Award from the Before Columbus Foundation. Lee’s poems have also been published in three Pushcart Prize: Best of Small Presses anthologies. His honors include a Lannan Literary Award, a Whiting Writer’s Award, grants from the Illinois Arts Council, the Commonwealth of Pennsylvania, the Pennsylvania Council on the Arts, and the National Endowment for the Arts, and a Guggenheim Foundation fellowship.

JANET STERNBURG is the author of Optic Nerve (Red Hen Press, 2005). Her other books include Phantom Limb and two volumes of The Writer on Her Work. As former Director of Writers in Performance at the Manhattan Theatre Club, she created new ways to present literature on stage, producing evenings devoted to Raymond Chandler, Isak Dinesen, Colette and Louise Bogan; for public television, she also produced the prize-winning film, Virginia Woolf: The Moment Whole. Her photography has been honored with one-person exhibitions in New York, Los Angeles and Mexico, as well as by extensive portfolios in Aperture and Art Journal, and appears in private and museum collections. Former Vice-President of PEN USA, she currently serves on its board, and also on the Visiting Committees for the Writing Programs at CalArts and Antioch University.
the wedding gowns Elizabeth and I looked at last night at "the largest wedding gown store on the west coast" were really quite amazing

I was prepared for the prices, that 1-2K was about how much a decent one cost, but that the couture ones were much more

I feel we did really well coming up with three smashing options, and that it is *interesting* which options these are:

1) a strapless ivory designer dress that is grand and smashing; the way that the soft silk satin drapes is sewn, or designed in, so that it is perfectly draped. this is *precisely* the skirt I wanted for my dress but didn't have time to have made (I had two weeks!), and we are at six months, a perfect lead time for this dress. It looks great with a bright sash and Elizabeth is probably going for a sash in the colors of our childhood bedrooms, and many of her sorbet birthday cakes!!! hot pink, orange, and green. It looks great on Elizabeth, she really looks "bride-ly" in it.

2) a strapless ivory designer dress that is sexy and stylish; the silk around the bust, waist and hips is pulled to the side in a way that makes Elizabeth's figure stand out in a s-shape; she looks like a 19th century lady wearing her corset and slip, then draped in sumptuous silk coverlet. This is my vote for grown up, womanly Elizabeth.

3) a gorgeous strapless ivory silk dress (I really like the material on all thres dresses, but particularly this one) that is simple and very sophisticated, but still a "top of the cake" dress, with tailored pleating on the fitted bodice and a full a-line skirt; this dress I would call the "right" dress -- it is exactly Elizabeth (fits perfectly, etc. etc.) and appropriate to the wedding place, and everything.
As you all may know, Jerome Rothenberg is working on a vast Romantics anthology of 19th century poetry to g with the giant 20th century anthologies he just did with Pierre Joris.

It is international in scope, and while I was visiting him a few months ago, he was talking with Jesse Glass (Diane and I were there of course, also) about various south Asian female poets, Japanese, Korean, Vietnamese, and Chinese, their various merits, but the difficulty of including them, even though they were 19th century poets of some repute, since they didn't really fit under the rubric "romantic."

But I did want to mention this because, although it is months later from the conversation, of course, Jerome Rothenberg is still open to scholarly lobbying on behalf of poets, particularly outside the US and UK, who are female excellent poets of the 19th century who can be seen in an interesting light when considering the label "romantic."

My own attempt to rewrite Wordsworth's famous preface and revisitation of a Coleridge word hoard I had once thought to attempt have been tweaking me the last few days because of their sense of not writing what everyone else at time thought of as poetry, and of course with my experimentalist slant, I wonder too and those women writers out there -- beyond Dorothy Wordsworth -- who were writing what would have been at that time "poetically" rather than poetry --

1.04.2006

some links to college friends on the east coast

Pete Weiss
http://www.weissy.com

Mel Winter Weiss
http://www.melzeppelin.com

Mike Griffin and Russ Alderson @ the wobblies
(nice shaw - swan match factory, etc. etc. tie in)
http://www.thewobblies.com

more soon from Anne Maroon, Kelley Carey, et. al.
You might be interested in talking to Andrew Joron, an accomplished poet who started writing by writing speculative SF and SF poetry, and then began writing "real" for lack of a better word poetry. I for one have tried to get some of my work appropriate to the genres (SF, Fantasy, graphic novels, erotica, etc.) that way, but haven't met with too much success yet. Maybe the hello kitty poem!

It may interest you to know that many of the female experimental poets in San Francisco experimented with writing erotica and Laura Chester, a Black Sparrow and Sun and Moon-published poet, edited an anthology of this work back when I was in my MFA program.

It may also interest you to know that there is a previous generation of San Francisco female poets who also wrote sf/fantasy/erotica poetry, including Lenore Kandel. I for one (although I never got off my duff -- too many other obligations, blah, blah, but mostly not wanting to throw money at the problem randomly, but instead wisely) wanted to start a print on demand press -- I set it up as a business -- i.e. press -- with the idea of publishing collaborations and mixed media/graphic/experimental poetry in an 8 1/2 x 11 black and white format -- paperback and laminated -- with full color covers.

In any case, Lenore Kandel, whose work compares to Michael McClure's in many respects, is forgotten, and there is a female artist who collaborated with Jack Spicer, and there's always, of course not female, Jess.

1.03.2006

As Kenneth Koch once observed, "There are lots of creepy people associated with poetry."

all the more reason for the nice, fun, good looking, funny, normal, accomplished, smart people of poetry who are also great poets to stick together...
wompo discussing the poetry article re: bad people / good or bad poetry vis a vis Orr's phrasing "bad men"

my initial response, but methinks some thinking about bad poetry and kasey's "sufficiency" in order

One of the reasons I began (although have been muddling through with mixed results as I don't have an academic career that supports such effort) scanning and uploading women's "early modernist" (pre-1922 American) poetry was that I had access to it and didn't really know it existed, other than dribs and drabs in anthologies and the like. Surprisingly many in Children's poetry anthologies.

But I think it is fair to say that the majority of these women are women that TS Eliot actually had in mind when he called them "scribbling women" back when the wasteland was a crown of sonnets or whatever and Pound revised. The circle surrounding Harriet Monroe at Poetry is one nexus and the New York leftist circles form another. There is exciting work here, an urban imagism, a feminist mythos for Australia / New Zealand Anglo Irish settlement, the woman-written long poem, the female poet-journalist, the female poet-novelist, the female poet-screenwriter, female political figures/writers, American female poet trust fund babies, American female poet bohemians, American female poet divorcees --

which -- it would help ME certainly, as Mary Chapman's, Julia Lisella's, Nancy Berke's, Lynn Keller's, Rachel Blau Du Plessis', Marjorie Perloff's, and many others' writing have -- if we continue to or start to talk on this list not on mechanics or minutia but the real MAtter of what we are writing and thinking --

generation after generation, but I have focused on those before 1922 because the work is in the public domain so that there is no commercial interference -- I've encountered a lot of commercial interference even there, and from women, who just don't get it, whether it be granddaughters who think the poems are worth as much or more in dollars and cents of mine than the linen tablecloths; well-intentioned self-appointed literary executors who want to build an academic career on a stash but being female, get assigned additional familial duties, and so nothing happens, and no one else has access (this happens across the board -- even with male executors of women poets' estates); academic institutions that've paid a fortune or academic institutions who've suddenly come into several boxes of "what is this" that think that offering a small grant to study materials to academics and only letting academics view the holdings and _not letting_ interested people scan and upload the materials is the way to preserve them

I've "done" Hazel Hall (she really needs more attention, and the new Oregon collected book didn't get it for her), Lola Ridge (a lot there still to be done), Alice Duer Miller (Mary Chapman's done a lot of great work with dialogue a la Bahktin but I was unable to get my ass in gear to complement her paper with something... but some of the poems are online already), Marjorie Allen Seiffert (http://jacketmagazine.com/17/daly-spec.html), and some others, and have Mary Aldis, Alice Corbin Henderson, mother - daughters writing, and more.

in other news, I'm having a spelndid new year thus far thank you

but gosh darn it why did so many people go see cheaper by the dozen 2, when I find it unwatchable, and yours mine and ours (remake) such a sweet movie by comparison?

saw LAYER CAKE -- wonderful, surprising, want to read the novel now
saw War of the Worlds (didn't want to, but Ron said "we're stretching -- watching what we wouldn't ordinarily" crap crap crap and that hilarious character of Tim Robbins and why did he have to die? and how grim the on ramp to the veranzo narrows bridge can be (was raining here as it usually does out east for a few days -- trees, powerlines down yesterday, had to drive over curbs or "kerbs" to get home --