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.


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

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.


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