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...



eraserhead press prospective author interview

10 favorite authors

"carolyn keene"
thomas pynchon

20 favorite movies

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


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


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


    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

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


    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
    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]


    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"