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)?