2.04.2006

Kill my blog?

at Limetree (http://limetree.ksilem.com) [poor poor kitty] and at Well
Nourished Moon (http://stephanieyoung.org/blog/#).

no way -- did the zen thing in college (buddhist studies / religion major, wrote a paper, burned it, got an A) -- over it!

see the buddha in the road? buy him a nice big country red & a cigar

2.02.2006

Lots more juicy -- I love the clerical error part.

I have two clerical errors of my own. A bit of background: every prize I have won has been because I read a catalog or guide or something and found an obscure award that no one knew to compete for any longer -- one was a prize in grad school that was usually given to English PhD-stream students, not MFA-stream students, and so it was nearly impossible to collect the prize money -- took months; the second was that in college, I entered the book collecting award and won third prize every year, got to go to honors day (they hated that I didn't really have a book collection, had just typed up a bibliography of the poetry books I had, but I was always the only entrant), and one year got two invites to honors day -- I assumed it was some sort of mistake, when much to my chagrin (I would have dressed up or invited a friend to come with me or arranged to go out to dinner), I ended up winning a poetry award as well.

++++

On another list, they are talking about "neglected poets" and of course it is not surprise that lots of these are women poets who work or worked outside of the academy. But -- aside from being the gap we are well aware of as far as ability to travel, promote and speak, or the difficulty of getting a teaching job as a woman versus as a man as recently as twenty years ago, or the idea that poetry by women is somehow alterior to canonical verse -- I wonder about this mere fact of not being a teacher -- I know that my publication record sparks up whenever I am "doing a lot for poetry" myself....

++++

this size six harem thing seems like a midstream comment -- did I miss something?

the blog entry is interesting, but her salesperson was dead wrong; size 8 is the sample size for most rtw lines -- i.e., the size eight is fitted to a real human being, and then all the sizes are cut from that size proportionally

also, as you know, Donna Karan and Liz Claiborne's fortunes are based on "size inflation" -- they cut their clothes larger, and women bought them because they were like "Hola! it is a six and it fits! I don't care that it makes me look like a poodle, I'm buying it" -- NO ONE ELSE SEES THE LABEL OR CARES!, ONLY YOU -- as recently as fifteen years ago (after an interim period in college I returned to the same size I was fifteen years ago) I was a four, and now I'm a 0, a 1, a 2 petite, a children's size, an "all these clothes are too big" size, with American clothes, but then I try on European clothes, and can't get my thighs into them. My vintage clothes are mostly size 10. Of course, my sister just tried on wedding gowns, and those don't have size inflation, so she was shocked that she wore a 10 or 12.

not to say the standard isn't for tiny women -- there is some evidence I read somewhere that the current six inch difference in average heights male and female in the west is the result of natural selection

what does this have to do with poetry? well, on the surface, I suppose there is a way in which we all seek to subvert or deflect the pressure to identify ourselves with any typical image because we are fabulous original artists; that said, I really enjoy some of the Anne Waldman, Maureen Owen, etc. writings including clothes talk in the east village in the 60s and 70s, and I know that now, you know, Eleanor Antin is more likely to wear a stuffed animal backpack matched to a sweater than others, Martha Ronk has well cut, tailored clothes, etc.; there's this oppt'y to have an aesthetic through and through

2.01.2006

Baroness Else von Freytag-Loringhoven

http://home1.gte.net/zzyzlane/write/essay/baroness.html

Appalling Heart
The Little Review, 7 (September-December 1920)

City stir——wind on eardrum——
dancewind : herbstained——
flowerstained——silken——rustling——
tripping——swishing——frolicking——
courtesing——careening——brushing——
flowing——lying down——bending——
teasing——kissing : treearms——grass——
limbs——lips.
City stir on eardrum—— .
In night lonely
peers—— :
moon——riding !
pale——with beauty aghast——
too exalted to share !
in space blue——rides she away from mine chest——
illumined strangely——
appalling sister !

Herbstained——flowerstained——
shellscented——seafaring——
foresthunting——junglewise——
desert gazing——
rides heart from chest——
lashing with beauty——
afleet——
across chimney——
tinfoil river——
to meet——
another's dark heart——

Bless mine feet !



--------------------------------------------------------------------------------

Blast
The Little Review, 7 (September-December 1920)

Take spoon——scalpel——
Scrape brains clear from you——
how it hurts to be void !
blast flew
over twin hillocks
emeroyd.
singeing——seering satanic stink——
flew——blew——
blushroses !
barren grew——
to you——
annoyed
protruding
sharp :
pointed pyramids
silence——drums——
——sphinx——
I smother——
pranked mother——
from stark things ! ! !
stark kings in rockchamber
mockeye set amber
within mine chest ! ! !
to rest——
no !
ripple——glide——quiver :
Nile
river !
overflow !
hillocks inundated
abated
blush
blushroses !
on twin hillocks
smaragd isle !
awhile——awhile—— !


--------------------------------------------------------------------------------

Moonstone
The Little Review, 7 (September-December 1920)

Lake——palegreen——shrouded——
skylake——clouded——shrouded——
yearning——blackblue——
sickness of heart——
pomgranate hue——
sickness of longing——
——! you !

In cloud——nay——ach——shroud——
nay——ach——shroud—— !
of——breast——
sickness of longing
gulps
pomegranate hue
from heart in chest——
palegreen lake in chest !
—— you !


--------------------------------------------------------------------------------

Heart (Dance of Shiva)
The Little Review, 7 (September-December 1920)

Around me hovers presence that thou art,
secretely atmosphere draws cloudy——dense——
perfume athwart mine cheekbone swings intense——
smile on mine lip——
I kiss thee——
with mine heart !

Ja——with mine heart——
that can perform fine tricks
since it is housed with wizzardry and art—— !
soul——how enchanted art thou——
by such heart ! !

Ho !——lover far——


--------------------------------------------------------------------------------

Cathedral
The Little Review, 7 (September-December 1920)

Why didst thou go away from me?
Say——why?
art not enslaved by balmy wizzardry
out of mine jewelled eye ?
not by mine lips——so softly passionate——
with harnessed strength——
in bridled strain——
musk——amber——myrrh and francincense——
gold——damask——ivory——
mine gothic cathedrĂ¡l——
is that upbuild in vain
for thee—— ?
the whom I shall desire——
to pray ?
art nor thou worshipper nor devotee ?

Thus stand I desolate——
priest to mine tarnished self——
light tapers stately——upon jadeworsted shelf——
not to decay.


--------------------------------------------------------------------------------

Is It?
The Little Review, 7 (September-December 1920)

It is——is it—— ?
heart white sheet !
kiss it
flame beat !
in chest midst
print teeth
bite—— —— ——
this green
ponderous night.


--------------------------------------------------------------------------------

Gihirda's Dance
The Little Review, 7 (September-December 1920)

Nose straight
smile flower
unfolding in sun of love.
Petals : large——sweet
overwhelming cinnamon-scented——almond——sandal——rose-carmine——
tuberose
cheekpale in ray of moon torch
ghosts——with strength of ghosts——enticing as passion in graveyard of flesh dead——
——alive—— ——
remembering.

Hands cupped in greed of tissues parched——
owner's wolfheart—— !
devotion simple as child's suckled——
eyes of god drink out of tankard
of palm mine face's palegold champagne.
Whereas now thine polar-bear's sinister ivorywhite mouth black——
black lips cruel tender pluck
purple black in face white——
Tremble—— ?
not weep—— !
I——thou.
Tombstone——lie I beneath
weight——passionate weight——
pallor—— !
not life shall call
from stoneheaviness'
encompassing weight.
Eyes of god drain from veins cinnamonscented rosedisks carmine:
to blend——
thou——I .

No move—— !
from mine thine cheek not part
dual rock——on Nile——rigid :


--------------------------------------------------------------------------------

Excerpts from "Thee I call 'Hamlet of Wedding-Ring': Criticism of William Carlos William's 'Kora in Hell' and Why. . . Part II
The Little Review, 8 (Autumn 1921)

Knowledge——character——develop together——depend on each other——each in other.
Organism in profundity constructed sound carries seeds of quality.
Bird flies with two wings that is one wing.
Education ——treasure——wealth——needs preparation——slow gradual advancement. Character foundation——pillar arises——to carry light dome——cupola wisdom——root——stem——flower.
Heaviest weight——giant balances graceful easy——pigmy twists crumbles into splinters.
Travel of mind how to arrive at own architecture.
To pilfer——borrow——transplant—— : inner void barrenness.
Transplant cathedral——grown oak——vain toys——wither. Splendor grafted sudden on unprepared——by generation degree not refined organism——ready for that much at that period——disturbs harmony of cells——balance of structure——instead movement to refinement step to crippledom——cancer——ruin.
Trees——plants : growth——happiness.
instead expansion——freedom——happiness : warp——burden disorder——hate——restricted vitals : hate.
Education thrown sudden on coarsefibred mind——mere trash ! weeds of too high disgrace in soil unprepared——infertile acre barren——disturbed——troubled with husks——possession unjustified——never unfolding flower of knowledge.
Treasure turns tin in shack of paper ! jadeworsted sheep needs treasure in echoing whispering banquet-hall of knightly castle smiling——frowning——with sky——clouds——through ages——aloft.
Education of W. C. trash.
Grafted——thrown into mind sudden——unprepared——unmerited——out of culture.
All America.
Sudden possession of leisure through sudden prosperity hastens ruin.
Gazes into chasm of knowledge——void——frightened——dizzy——lacking architecture.
Unable to serenly——trustingly——knowingly : gaze into depths hallowed——shifts gaze slantwise——shallow——denies depths for own shallowness——imperative command else ramble——capsize——being flat thin structure in illogical conceit that carries punishment as logic ever will punish illogic——to wrong place——world's edge——where swirls draft from sablewings of eagle circling——
——bird giantesque——God.
From rock walls of chasm at world's edge hewn——treasure vascillating in accord with dance——circle——flight of bird——castle——erect——deep——high——founded——smiles——frowns——stands.
Perpetual fear——defiance——lie——by necessity warps structure flimsy——cheaply bedizzened——shabby——before collapse into lath dust :
Sophistication——callowness : narcotics to smother acid burns of cancer——despair of structure. Gayless——tortured——diabolical——flippant——sneers void in W. C.'s particular case pathetically infantile——there are clever devils——beautiful in ruin——castles ruined in culture—— :
Baudelaire :
Organism condemned—— : unfinished flimsy——ageworn——
That hell !
Hell is in life :
Corpse outseeks corpse——dancing partners equal.
Touch of life's body corpses most frenzied dread ! not life fears touch corpse : Life fears nothing——omnipotent.
Life can give life to corpse——
not be in death——nor life——wearing mask of life in dread purgatory Impostors bad conscience——satan shame nursing decay——hate dance of living corpse.
Trepidation——shame——fear——disguised as defiance——yelled in swagger——ice orbed spleen——makes corpses hate grow——delivers to death untimely——unsought.
To touch life——break——dissemble——assemble anew immediate——in glory earned passion dance of molecules——life——Shiva corpse flees doubting resiliency——
that doubt condemns to death in life——to be neither.
In death life——
not death in life.
Perpetual shame no creature endures without hate——splendor points contrast.
Callousness from shame keeps out grief——honesty of surrender——healing emotion wave of utter despair followed instantly by kiss——face earthward——before chasm——in abandon of passionate humbleness——adore——let God take——
oblivious to distortion——ugliness——in ecstasy of mother self——of giving——stabbed by God's beauty.
Moment creative :
Distortion ugliness vanishes not believed in.
Are in mind——drug shapes——nightmares of somnolence of callousness.
Dreams of corpses——unreal——
not in life——hate : life love.
"Art may be the supreme hypocrisy of an information cultured (!) people——without contact——justifiable perhaps——(that would not be!) if it becomes at last actually the way sensitive people live" (How!)
But : and how "information cultured"——maybe your topdrawer——dome celebration ? do you already live justifiable——in sensitiveness——art-soaked sponge ?
Art no mechanical toy ! is life as life purposeful machine ! palpitating brain.
Hypocrisy stored up through ages !
Rembrandt hypocrite——Shakespeare——Goethe !
O give me hypocrite who life——act——with sense behind passionate blood——who believe——do ! deluge of wrath pour upon those jabbering uncreative joyless sincere nobodys that write, potter, live, are uninteresting for force of honesty ! Sure ! can't help it !
Jackassy——nincompoop——cocky——bastard soul——can hypocrisy inform——ever ! is hypocrisy quality——negates——creates ?
Hypocrisy——void——hypocrisy not virile——cannot live.
Nothing ever is——has been supreme about hypocrisy !
Ppyramids hypocrisy ? Agh——pah ! Carlos Williams——you wobbly-legged business satchel-carrying little louse !
You do make me laugh healthy belly laugh :
Tortured child——that is obliged in soul's estimate for that expensive education's sake to exhibit "intellect" ! wrestle with dolls——lifesized of most complex mechanism !
Cannot ! they crush you ! square chest——spit blood——cause consumption !
Give it up——not your calling——mind muscles flabby——unprepared of simple parentage.
With rag dolls toy gradually improving to moderately priced pets leave mechanisms intricate for selected children of nobility in toyland.
Art to you hypocrisy——for is your hypocrisy!
Entirely out of balance you !
Does art affect thus ?
Result : balance.
Not must leave bad memory——carry such !
Feeling of something exquisite——extraordinary——great——joyful——to be proud of——carry into age——no matter what happened——no matter what subject——will linger——must ! or individual unfit to indulge !
Art——strength——joy conveys joy—— to strong.
Gentleman in Europe carries intoxication as gentleman !——never loses balance——in deepest abandon of gayety——numbed senses——subconsciously breeding tells how far to go——when to retire.
Abstinence : lack of confidence in breeding——training :——debility.
In Europe to see man drunk quickest way to decide caste : plebian——bourgeois——gentleman.
We——ah ! do not need prohibition——possessing ! tradition——selection——pride
Thus carries artist intoxication of feeling——expresses in sound color shape (words) as artist.
Never losing balance——in deepest abandon——highest excitement——breeding of artist in blood——subconsciously tells how far to go——we becoming sober to criticise in cold blood.
Retires when becomes inexpressive——inarticulate——
silence——
death.

She



Elsa von Freytag-Loringhoven

Moon
Tops
Olive
Firridge

Hazy
Waked -

Blue
Squats
Snow -

Stirless
Brush
Blacks
Mute -

She
Strips -
Naked

[circa 1924]

Translated from the German
by Irene Gammel




Thunder and Lightning



Elsa von Freytag-Loringhoven

Let me drink your lips -
Let me swallow your breath -
Let me taste the perspiration of
Your windtangled skin

Your black hair cascades
In love's throes -
Your face lightning - thunder
A drunken flower.

[circa 1912]

Translated from the German
by Irene Gammel




Analytical Chemistry of Progeny



Elsa von Freytag-Loringhoven

My bawdy spirit is innate –
A legacy from my Dada -
His crude jest bestowed on me
The sparkle of obscenity

My noble mother's legacy
Melancholy - passion - ardour -
Curbed by gentlewoman's reins
Exiled from castle - spoilt gentility

I am - gleaming fruit at the tree top
Fulfilment - brilliant design
Of a thousand-year-old marriage manure
Genius - idiocy - filth - purity

Whether you love it or turn up your nose
Whether it pleases you or not
It grows - develops - pops off the tree
Circling ball – nude in stockings

What is necessity - Lala! The world -
What Brooklyn Bridge -
Glass-blackened waves and foam

[circa 1919]

Translated from the German
by Irene Gammel




Cosmic Chemistry



Elsa von Freytag-Loringhoven

“Live and learn”
“life = 1 damn thing after another”

Life is science -
God knows! –

1
Life = wombcrucible
Spirit = phalluspistol
Matter = ashes
Loss = gain =
Purification

2
Bloodsucked
Sucking
Alive:
Money breeds.

3
Lethe:
Orgasmic
Transition coma.

Money is bloodsucking-bloodsuckled
Life
It breeds

Death is
Orgasm
Lethe

Spring summer fall winter
birth sex decline death
eternity


Translated from the German
by Irene Gammel


Thistledownflight


Thistledownflight

Thistle down flight

Thistle down flight-Second half of Version 3 Baroness rewrote the second half (second column) of Version 3. This part is separately encoded in order to enjoy advantages of the Versioning Machine.

GINGA Version4 (Witness5) was not encoded since there are too many revisions (in this version) to apply parallel segmentation.

GINGA


GHINGHA —
GHINGHA – GHINGHA — (DJUNA) GINGA
I
I I
TREMBLE —
TREMBLE – TREMBLE MUST I TREMBLE
DO
DO DO
NOT
NOT NOT
LAUGH !


LAUGH !

LAUGH !





MAY NOT LAUGH —


BORN
BORN BORN
FINE
FINE FINE MOTHER FINE FLOWER
FLOWER —
FLOWER – FLOWER —
BY
BY BY
ORCHID
ORCHID ORCHID ORCHID SPPECKLED DARK-LIGHT
SPECKLED —
SPECKLED – SPECKLED
DARK —
DARK – DARK —
LIGHT —


LIGHT –

LIGHT








DOOMED
SHE
SHE SHE
WEPT
WEPT WEPT WEPT ATMORN NIGHT SUMPTUOUS MEAGER
AT
AT AT
NIGHT !


NIGHT !

NIGHT








CURSED
CURSED CURSED CURSING PROPERSNARING SNARE OF AMPLE LIFE'S PURSE
TAUT
TAUT TAUT
SNARE
SNARE SNARE
OF
OF OF
DULLARD'S
DULLARD'S DULLARD'S
AMPLE
AMPLE AMPLE
PURSE —


PURSE ––

PURSE








AT
AT AT
SPIRITLEDGE —
SPIRITLEDGE – SPIRITLEDGE
BRIGHT
YOUTH
YOUTH YOUTH BRIGHT OF HERS
OF
OF OF TORN SPIRIT BORN
HER'S —
HER'S – HER'S AT AGE OFATWSDOM WORN EDGE
BRIGHT —
BRIGHT –– BRIGHT WORN SOUL FORLORN





WORN








AT
AT
WISDOMEDGE —


AT WISDOMEDGE –

WISDOMEDGE





AT WISDOM EDGE


TORN !


TORN !

TORN








BLIGHT
WHY
GHINGA —
GHINGA – GHINGA — (DJUNA) GHINGA GINGA
WHY — THOUGH
FROM
FROM FROM FROM
HER'S
HER'S HER'S — HER S S
CURVE
CURVE PATH PATH COURSE BED CURVE
DIVERGED —


DIVERGED ––

DIVERGED — YET

DIVERGED



PATH DIVERGED FROM HERSAM I URGEDFROM HERS


AM WHY This paragraph was revised several times. As well as the other parts of the Version 3, all rewritten parts here are organized in a way of “a word in a line.” See the image of Version 3 in order to acquire the actual locations and layouts. In the far left of the first column, there is rewritten paragraph “YET IS SHE URGED D IN HEIR TO QUAKE ANEW VAGRANT FORLORAN SPILL” ("FORLORAN" is crossed out). Next this paragraph, there is another revised paragraph “YET WITHIN HEIR SHE QUAKES ANEW”("YET" is crossed out). Left side of the second column, there are another revisions. “YET IS SHE URGED TO," “QUAKE ANEW IN HEIR,” “TOO VGRANT SPILL.” WITHIN
WITHIN I WITHIN
F URGED
HEIR
HERE HEIR TO TO WITH HEIR
SHE
SHE SHE
SOB'S
SOBS QUAKE QUAKE WEPS
ANEW :


ANEW :

ANEW !

ANEW SOBS



TO MUST I QUAKE ANEW FRESH


IS FOR ISFOR IN IS HER SPARK WITHIN MY HORSE HOUSEYOUNG SHELL
VAGRANT
VAGRANT HEIR BULB VAGRANT VAGRANT
DOOMED DOOMED
SPILL !


SPILL !

VAGRANCYFOR SPILL DOOM

SPILL



IS IT IS IT CURSED TOO?


TOO DOOMED LIGHT IS THERE NO ISLE HOT BEDSTEAD
BLOOD VAGRANT HEIR ESS
HAS
BEACON —
BEACON – BEACON BEACON HAS IS BEACON
ISLAND —
ISLAND – ISLAND ISLAND
BED —
BED – BED BED BED TO
TO
TO FOR TO BEAR
BEAR —
BEAR –
SPECKELED
SPECKELED SPECKELED SPECKELED FOR SPECKELED ORCHIDS GLARE
ORCHIDS
ORCHIDS ORHID'S ORCHIDS
DARK —
LIGHT
GLARE —
GLARE – GLARE DARK—LIGHT GLARE
HAS TO BEAR DARK DARK
LIGHT LIGHT
TO FLEW
BEAR
HAS
HAS FOUND HAS
SITE


SITE

HAS SITE FINDS FOUND

SITE






ON
NOWHERE EARTH
NOWHERE !


NOWHERE !

N x WHERE? RIGHT There is a gray oval from this line to the bottom of the page. See the image.

NOWHERE ! ON EARTHILL WILL There are three rewritten attempts about this part. In the space on the left hand side of the column, there is the rewriting, “SUN WILL EARTH BEARS" ("EARTH" and "BEARS" are crossed out). On the righthad side of the column, there are two revising attempts. One is “SH WE IS ARE NIL ILL" ("WE," "ARE," and "NIL" are crossed out). Another is “SUN WILLED ILL MOTHER RIGHT BIRTH" (This part is actually closed out with the zigzag line). See the image.



IS IT NOWHERE ?ON EARTH


SUN
SUN MOTHER xx GHT
WILL
WILL NIL !
ILL !


ILL !



BIRTH RIGHT






BIRTH —


BIRTH –

BIRTH — xRIGHT

NIL BIRTH EARTH



BUT BIRTH —


BLIGHT —


BLIGHT –

BLIGHT

BLIGHT



BLIGHT


THISTLEDOWNFLIGHT !

http://www.lib.umd.edu/dcr/collections/EvFL-class/index.html
from a post to wompo --

part of the list history is that people posted (as on many lists) announcements, excited "my book is going to be published!" posts, etc. this was ok, but for some reason, everyone on this women's list felt they had to chime in with congrats, way to go, etc. in response to each announcement. This became such a problem -- a post with half a dozen one or two word responses -- that the list developed a solution -- no announcements except to a once-a-week newsletter which would include all of the announcements, great and small, major grants won alongside single poems in eZines, etc.

then someone -- which I COMPLETELY UNDERSTAND -- won a prize, and all the congrats started, and it was obvious that the list had "forgotten" the purpose of the gazette, and it was time to discuss again, so I posted:

I don’t want to be a party pooper -- far from it, I enjoy these posts and wasn't annoyed by them as some were -- and this post IS NOT to point out that the reason that we have the gazette isn't to prevent people from announcing their accomplishments or conveying their excitement, or even conveying their congratulations but to keep the list from being dominated by this

but, in the interest of sussing out current list opinions:

1) this list of mostly women, many very accomplished poets happy to be side by side and conversant with less experienced poets, etc., is unusually accomplished for a women's poetry listserv. how do we view our accomplishments? how do you view your own? those of others? encourage yourself to accomplish more, others to accomplish more? i.e., I think we all agree that sometimes getting a poem into a zine can be as important -- strangely equivalent perhaps -- to getting a book published -- that these things are appropriately "alongside" each other in some way (do you agree? let me know)

but -- is the focus on "accomplishment" a carryover from academia? from writing programs a la AWP as opposed to the era not terribly long ago prior to MFA mania?

how can we give each other this encouragement? or is a place, an electronic tea room, encouragement enough?

2) these accomplishments don't take place in a vacuum, as mr. foetry likes to point out -- I for one would like to hear more about -- if you read, what reading, reading tours, etc. accomplish or "do", how a contest or whatever was "won", why it was you came to enter a contest, submit to a particular journal, etc. while the gazette format tends to flatten this out, announcements on the POETICS list, which has become mostly (not quite solely) a forum for announcements, tend to include things like, "I am happy to be in this journal because x, y, and z poets, who I've always thought I had a lot in common with poetically, are published in the same issue," or "my good friend p, who has a press, has just brought out my book," or "I'm going to read in sin city and hope to get to know the devil a little better," or "how random, I won this contest and no one there knows me and my work doesn't have the stamp of the type of writing the editors are known to prefer," or "I haven't written a line since we bought our new house, but look -- this old poem got published, so it seems as though I'm doing something other than trim vines, although that's really not the case"

if you post announcements here, not on the gazette, we want context! more information!!! we want juice!

3) the list, in the past, was not slowed down by announcements, but by congrats following those announcements; is this because this is a women's list, as opposed to a male-dominated one (and I do think that all lists with male and female members allow those male members to post more and more opinionated e-mails than the female members), and we all occasionally feel like we're at a tea party?

or not? is it because we don't mean to say, merely, congrats, but we mean to say, I haven't heard from you in a while, and I'm glad you weren't spending all your time trimming vines? or, wow, I know this means so much, because you were caring for your mom in her final months, and this year was looking like a real downer until this happened?

shouldn't we say that, then, instead of congrats?

and I've gotten some interesting responses, on and off list
This is in response to this:

http://www.southcentralfarmers.com

Ralph Horowitz sued to buy back a piece of land LA bought from him for an incinerator, then didn't build an incinerator on; the land is in or near Vernon, a separately-incorporated city (where I worked for a grim month) which was founded to get around LA toxic waste laws. It was quite the funky playground during Prohibition! In any case, even Vernon couldn't tolerate the type of incinerator the city was going to build; in the interim, the "blank" land became a community garden.

This was a post to POETICS from me in response to a my space / Green Party generated series of e-mails.


I am in LA, and indeed in South Central.

Perhaps you are unaware that it is legal to keep farm animals (goats, sheep, chickens, ducks, and whatnot) on any property within the city. Frankly, South Central IS a farm, and those chickens are noisy and have mites.

Perhaps you are also unaware that due to the proximity to the Imperial valley and its migrant worker slavery that it makes no freaking sense to, say, pay to water WITH WATER STOLEN FROM THE AQUIFER AND THE COLORADO RIVER and to fertilize a truck garden IN THIS DESERT, since you can go to Grand Central Market downtown and get 10 lbs. of them [I meant vegetables] for A BUCK when they are in season.

What we desperately need, since the riots and before that, is a TAX BASE, because California has NO PROPERTY TAX INCOME due to RONALD REAGAN'S PROP 13. We are lobbying to get big box stores and their taxes and jobs, which bring coffee shops, small scale retail, restaurants, and legal street life into our area, hopefully chasing away the rampant drug dealing and prostitution; LAUSD is threatening to turn one development across the street from our house (it will include a Home Depot and we hope a Target) into yet another school! that will not only riot constantly as all of the middle schools and high schools in this area do but also not improve the "ET Don ts" shop on the corner, the vermin-infested Chinese take out place, the grocery store that only stocks root vegetables and cheap cuts of meat near their expiration dates, and the multitudinous emporia vending human hair, fish frying, etc. etc.

Perhaps you are also unaware that because there are, say, farms in central LA rather than denser housing, public transportation subsidized by property tax, etc., that it is impossible for those living in South Central to get to good jobs "in the city."

Once they've seen the lights of Hollywood, hard to keep 'em on the farm

1.31.2006

Wayne Shorter at the LA Phil

got back (early due to a death in the family) to LA in time thursday to surprise Ron; Jessica Smith took my place at the house party reading, but Natalie Illum et al will be giving another reading in her own right; many thanks to the wonderful DC poetry community for their understanding

how annoying the whole review just deleted itself

anyway, David Kidd and Wendy Lawless, writers both now, gave us their Wayne Shorter tickets -- they had a conflict, Saturday was my birthday, and they knew we'd had no time to make plans -- it was Wayne Shorter with his usual combo (piano, acoustic / stand up bass, drums), fronting the LA Philharmonic

now, I was intially dubious about this, and would still rather see Shorter for a longer period, with his band alone, and in a club

I wasted a lot of head space thinking about who had organized the concert, and if Shorter was eager for the challenge / oppt'y, indeed sought it out -- note I haven't checked to see if he plays with classical orchestras all the time -- or vice versa, although the assumption was that he was doing his musical mastery thing, not some weird Boston Pops does fusion thing

the program was all shorter arrangements, with six pieces by shorter and one by santana, and one by ... someone else (where is that program when you need it?); it was well ordered, the progression was good; the first piece was Shorter's "hit" -- that got it out of the way -- the piece before the intermission really jammed -- the piece right after the intermission -- the santana, was really pretty, sweet, and calm

there were two major flaws, in my opinion: Shorter didn't use the power of the orchestra well in his arrangements -- he used the horns and bowed bass to amplyfy his sound -- just to follow, really, what he was doing, but make it more expansive -- this actually made his horn mostly disappear, and was also a huge lost opportunity, and not only for counterpoint, but for over development of composition [what would you do if you had an entire classical orchestra? just play the same thing louder?]; additionally, the drummer and bassist had to play their hearts out to ground the whole Philharmonic -- something that they did, and very well, for about half the pieces, but something which wouldn't have taken every ounce of musicianship and performance energy had the pieces been better arranged


Rum, Sodomy, and the Lash by Hans Turley

possibly the dullest book possible to imagine underneath this title, there is no rum, no real lashing, and precious little sodomy; this is a book about PIRATES, and I did learn that buccaneers, privateers, and pirates are three different classes of seamen under BRITISH SEA RULE, but that is all I learned; the author desperately wants to write about sodomy amongst pirates, but is unable to get beyond the paucity of information on this; the fact that pirates were completely outside the social order, and seen to be complete criminals, and that buccaneers were actually given permission from the crown to loot enemy ships [apparently Kidd was hanged for not having one of these -- his sponsor refused to cough it up in his defence due to somesort of political intrigue], anyhoo, the author also has an extremely annoying habit of turning just about everything into easy Latin phrases, such as HOSTIS HUMANI GENERIS for pirate and homo eroticus and homo economicus; the only sodomy is from court cases generated around London in the 16th century, not among seafaring men at all

rum, sodomy, and the lash isn't even a good falling asleep book, dull as it is

1.30.2006

I have long been interested in institutional history, not particularly because no one else is, but because I believe being aware of the structure or situation of a given organization in its founding and through time leads to some sort of understanding of the way it functions.

so to with poetry, and while my knowledge of poetry, editorial policy, money problems, organization, mission, and history, etc. is culled from various books and not from a few weeks reading archival material, because I am so interested in overlooked female writers publishing books prior to 1923, the poetry circle around Harriet Monroe is something that I suppose I would like to be important to me --

it is no secret that the fairly wealthy and cosmopolitan women poets of the Midwest who formed Monroe's mainstay, her subscribers, supporters, and many of the poets she published -- those she published much to the chagrin of Pound and then I suppose Eliot insofar as he commented -- those who read her work, instead of using her as a publisher only, were women perhaps unlike Lilly and more like Monroe in that they had somewhat less money and wrote more and better, but still. In other words, Mary Aldis, for example, who published a single (and excellent) book as far as I know was the wife of a real estate developer in Chicago who gave a fair bit of money to the journal. Alice Corbin Henderson, a long-forgotten poet, was the assistant editor, and in particular a target of Pound's ire. I could go on and develop these examples more, but --

look, Pound didn't found the magazine; he harangued Monroe, and may have solicited some of the best work poetry published, but he didn't succeed in taking the magazine and its policies over, and he needed the monetary and "publicity" support that poetry had to offer to give to his friends, et.al.; and Monroe was always a more conservative acquisitions editor and publisher, and had her eye far more on the bottom line, than the editors of many a now-defunct journal

even during the later period of the objectivist number, etc., there was an annual prize, not unlike the annual prize many journals have now, judged by the editors, and it is no secret that a lot of now-forgotten poets who were writing ghosts of sonnets won this prize, and not the experimental poets of the time

So in fact, on can argue that the Lilly gambit, the long Parisi tenure, etc. is in line with the history of the journal, and it is only in their failure to be as savvy editors and publishers, to listen, as Monroe did that has led them to publish and support "a type of poetry" -- to exclude many poetries written in English that Monroe -- and her contentious sub-editors -- were open to, eager to find and support... but what was Apple without Jobs?

and as far as "tainted money" --
bought at tibor de Nagy ( which doesn't keep an archive) --

oops, upstairs

[pruning today in advance of fence installation -- trying to keep a holly oak and some very mature passion fruit vines]

received in trade out east:

the ixnay reader volume 2
bar napkin sonnets, Moira Egan (won a Baltimore City Paper prize, would / will go well with my cocktails chapbook if when it comes out]
the bird book by jessica smith (2 copies! yes)
25 poems, tom orange
new jersey, betsy andrews -- coming out int he fall from u wisc. press; nice sil screen reminds me of the east la interchange I put on a chapbook / bit of reading ephemera I made a long while back -- ala convention, hd panel
practice, kathleen o'toole
NONE OF THE ABOVE, 31 American Poets, ed. Michael Lally
cds:

narrow house: women in the avant guarde
rod smith, fear the sky
anselm berrigan pictures for private devotion

pete weiss

sool
the weisstraunauts

purchased

ronald johnson, ark the foundations -- need the rest, gave my complete to Amde Hamilton
21st centyr modernism the new poetics, perloff
arielle greenberg, given
enslin, then and now
hayles, how we became posthuman (yup, didn't own)
the futurist moment, perloff perhaps a mussolini a life redux??
1913, second issue
the heretical texts series, volume one, linh dinh corderless bodies
dan featherston YOU SAID YOU WOULD COME TO MY READING IN PHILADELPHIA America
laura elrick, fantasies in permeable structures (also in narrowhouse cd!)
human star, sarah menefee, maybe she will come to my sf reading?
kari edwards, obedience
lara glenum, the hounds of no
cice's island, judith skillman
the connection of everyone with lungs, juliana spahr
the sleep that changed everything, lee ann brown



steven evans says this on poetry's gift & new foundation;
http://www.thirdfactory.net/freemarketverse.html