hello kitty contact lenses at hello kitty hell


Please come to the next Smell Sunday Reading, this month coming a week earlier due to holiday, on Sunday November 18.
Readers will be:
Joseph Mosconi
Teresa Carmody
Marcus Civin

The Smell is located at 247 South Main Street, between 2nd and 3rd Street, enter through the alley (Harlem Way).
As always, Doors open at 6:30 pm, Five Dollars at the door, and please tell your friends who may be interested.

Joseph Mosconi is a writer, linguist and lexicographer based in Los Angeles. He is co-editor of the forthcoming literary and art journal, Area Sneaks. His poetry and criticism has been published in various publications, including Public Speaking; Greetings: A Magazine of the Sound Arts; New Yipes Reader; Primary Writing; Shampoo; The Filip Review; and in the liner notes to the Other Cinema DVD release Golden Digest by video techno-terrorists Animal Charm.
Teresa Carmody is the author of Requiem, a collection of short stories (Les Figues, 2005) and the forthcoming Eye Hole Adore (PS Books, 2008). Other work has appeared in various publications, including Slope, Fold Magazine, Stolen Purse, LA Weekly, and 4th Street. She was one of the organizers of the original Ladyfest, which spawned an international grassroots movement, and co-organizer of Feminaissance, a colloquium on women and writing at the Los Angeles Museum of Contemporary Art. She is currently co-director of Les Figues Press and co-curator of the Smell Last Sunday Reading series in downtown Los Angeles.
Marcus Civin, born in Boston in 1976, grew up in Baltimore and received a BA in Theater from Brown in 1999. Last year, Marcus moved to Los Angeles from San Franciso to pursue an MFA in Studio Art at UC Irvine. In Los Angeles, Marcus has participated in exhibitions at High Energy Constructs and Monte Vista Projects. Recent publications of text-based drawings and writings include Kadar Koli 2 (edited by David Hadbawnik), Mirage #4/Period(ical) #142 (edited by Kevin Killian and Dodie Bellamy), Fold Appropriate Text Volume No. 1 (edited by Stan Aps and Mat Timmons) and Uncontained: Writers and Photographers in the Garden and the Margins (edited by Jennifer Heath).
went through THREE doorbells the past few weeks, bought a different kind:

"different sounds for front, back, and other doors"
is translated to
diversos sonidas para les puertas del fronte, trasera y otras"

but the list is not:

ding dong
westminster chime
star spangled banner
hail, hail the gang's all here
jingle bells
auld sang lyne
the yellow rose of texas
happy birthday
beethoven's fifth
joy to the world
take me out to the ballgame


L.A.’s Un/Freeways: Collectivized Practices in the Dispersed City
Thursday November 15th || 9 AM - 3 PM

UCLA Downtown Labor Center
675 S. Park View St., 1st Floor
Los Angeles, California 90057-3306
(213) 480.4155

Join local and international artists and activists for a day of discussion and intergenerational dialogue about feminist and women-led collective practices.

9-10 AM one-hour-share Bring materials from your own or others’ projects to display and share. Bring documents, printed matter, images, or proposals that are records of you what you’ve done (or hope to do) or of others’ work that inspires you.


Mothers of East Los Angeles | MELA is an environmental justice public interest organization whose mission is “to protect the environment and public health, defend the interests of the East Los Angeles community, and achieve justice for communities of color and working-class communities.” With Mothers Mary Lou Trevis, Teri Griffin, and Lucy Delgado.

El Proyecto Jardín is a community garden in Boyle Heights that sponsors the monthly market Mercado Caracol. With Daisy Tonantzin, community activist artist and Program Developer and Organizer for Proyecto Jardín.


Kirsten Dufour is a feminist artist, activist, and writer living in Copenhagen, Denmark. Since the 1960s she has created and participated in numerous groups and socio-aesthetic projects that all attempt to unite artistic and political practice. In 2002 she began LET THEM SPEAK NOW, a growing archive of video interviews with feminist artists and activists from different generations and different countries.

Make/shift magazine is a collectively-run magazine that is committed to antiracist, transnational, and queer perspectives and embraces the multiple and shifting identities of feminist communities. With Jessica Hoffmann, a member of make/shift’s editorial collective, and Irina Contreras, make/shift staff writer and founding editor of LOUDmouth.


Butchlalis de Panochtitlan | BdP is a multimedia performance ensemble of butch dykes / transgender butches / genderqueer speaking subjects that explore and make legible the liminal space of female biology and testosterone-taking transexuality and the identities, communities and neighborhoods these subjects claim and are claimed by. BdP is Mari Garcia, Raquel Gutierrez, and Claudia Rodriguez.

Gloria Alvarez is a Chicana poet, community based artist/activist, literary translator, curator, educator, and mentor to generations of Latina artists. Former member of Chicana art collectives Eastside Artistas (ESA) and L.A. Coyotas.

Yreina Cervantez is an artist, educator, and former member of Eastside Artistas.

Womyn Image Makers | WIM Four Xicana/Indigenous independent filmmakers and artists who base their collaborations on a collective creative process that respects the community element of filmmaking and challenges the hierarchies of conventional filmmaking. WIM is Maritza Alvarez, Aurora Guerrero, Dalila Mendez and Claudia Mercado.

This event will be held in English & Spanish with simultaneous English & Spanish translation provided.

L.A.’s Un/Freeways is part of TRÁNSITOry PÚBLICO | PUBLICo TRANSITorio, a public event series that brings together interventionist art groups, militant research and activist collectives, artists, and educators from throughout Latin America and Southern California. TRÁNSITOry PÚBLICO events will be held throughout Los Angeles from November 13th-20th. For more information please see
Contact Jennifer Flores Sternad
jf@post.harvard.edu (303) 204.0003

After L.A.’s Un/Freeways, TRÁNSITOry PÚBLICO will continue at 6:30 PM at The Museum of Contemporary Art, Los Angeles in the Ahmanson Auditorium. 250 South Grand Avenue in Downtown L.A.

L.A.’s Un/Freeways: Collectivized Practices in the Dispersed City is organized by Cara Baldwin, Sandra de la Loza, Maria Karlsson, Jennifer Flores Sternad, and Christina Ulke.

TRÁNSITOry PÚBLICO is sponsored by a grant from the University of California Institute for Research in the Arts and co-sponsored by the UCLA Latin American Institute; UCLA Center for the Study of Women; Art Department, UCLA; Latin American Cinemateca Los Angeles; MFA: Public Practice Program at Otis College of Art and Design; UCLA Chicano Studies Research Center; University of California Institute for Mexico and the United States (UC Mexus); Visual Arts Department, University of California San Diego; World Arts and Cultures Department, UCLA.

How to get to the Downtown Labor Center:

The Downtown Labor Center is located directly across from Macarthur Park on South Park View St., just south of Wilshire Blvd. between Wilshire and 7th Street.
Park View St. is parallel to Alvarado Street, four blocks to its west.

SUBWAY: Westlake / Macarthur Park station (Red and Purple lines)
From the station, walk west to cross Alvarado. Walk 3.5 blocks, crossing the park, to the Labor Center. See www.metro.net

BUS: The Labor Center is near many local bus lines, including the Metro RAPID, which stops on Alvarado and Wilshire, and the DASH Pico Union / Echo Park route, which stops at the Westlake / Macarthur Park subway station (and costs only 25 cents). www.metro.net & www.ladottransit.com

PARKING: Free parking around the Labor Center is scarce. There are meters on Park View in front of the Center, but be warned that parking officers are always close by to issue tickets. Paid parking is available in the structure adjacent to the Center and in the Athena Parking lot on Carondolet St. & Wilshire Blvd.


this am -- blown away my kaia sand's tea bag poem from dusie chapbook collecive

was stuck int he envelope in which the sewn chapbook was in; I was taking notes on air compressors (min. 6 cfm @ 90 psi. sander, sandblaster, nailer, stapler, paint).

tiny arctic ice; in the acknowledgements she lists books she was reading --

we send ... leaves:


Hi. I would like to inform you, especially those who are not in the U.S. and may not know or care, that the Writers Guild of America is on strike.

I would also like to encourage some conversation, debate, and support for the WGA writers.

The Writers Guild is one of the few white collar/artistic labor unions. Of the others, while most SAG (Screen Actors Guild) members are respecting the picket lines, the DGA (Directors Guild) is not. The Hollywood Teamsters, and also individual Teamsters, are also not crossing picket lines.

The last writers' strike, which lasted five months, gave rise to reality tv (which requires fewer, and more easily non-union, writers). This writers' strike will take an estimated 1 billion dollars a month from the US economy. GE, Sony, Time Warner, etc. -- are diversified and multinational enough not to care.

The debates are many:

- residuals for online screenings or downloads -- not about napster-esque stealing and swapping: the studios are running television shows and feature films on their own websites without paying the writers residuals. they are additionally saying that these are "experiments" for "marketing purposes" while 1) one cable network runs all of its film programming ad-free and pays residuals according to contract formulas, 2) part of this marketing is building share for the network and for the shows, which should be compensated, 3) we are no longer in the experimental phase of internet advertising, broadband, etc.

- residuals for the creative offspring of film and tv: so-called "baby writers" are exploited by the networks, and regular staff writers are required, to write webisodes for existing shows for internet-only showings. neither the creators of the characters, situations -- the show -- nor the writers of the webisodes are paid residuals. sometimes, they're not paid for writing them.

- do not be fooled by studios saying they want to pay residuals to writers, actors after shows or films make a profit. studios, now all part of large corporations, are now able to manipulate the books so that shows officially never show a profit. for example, the simpsons, one of the most popular and longest-running television shows thus far, and one with only voice actors, is officially still in the red.

- the WGA has been forced to make significant cuts in its union health care benefit, especially to writers who live outside Los Angeles, and has extended the number of working years to become fully vested in the health benefits.

At any one time, less than 5% of the WGA members are working. the average WGA member makes less money per year from writing than a minor league hockey player. [there have been some ravings I've heard about the average salary being close to what the average first team major league male athlete makes: not so]
Hi Catherine---

thank you for your take on this (I'm backchanneling because I used my allotment today)
Knowing people in the industry, you have a different take...
I like to think I'm pro-union, and want some solidarity with other writers, etc.

Yet, I have so many playwright friends who tried to get into TV (once the NEA cuts crippled playwrighting)
who might now have an opportunity...

My husband was a playwright. He had to find work, of course. Not that he doesn't still write experimental plays and fiction. Not that he loves the movies he's been able to see through the process. But hey, Suzan Lori-Parks: Girl 6. Need I say more? He got a job leveraging his knowledge of form and dialog and character development that will last until he allows his grey hair to show. His union covers health insurance, which we need. Part of what he had to do was 1) move from New York where his then-partner -- me -- had a six figure career, 2) spend his life savings, 3) take a "class" at a studio. The studio charged him money for this "class" (even though he has two advanced degrees, productions, etc.) so that they could hire him below scale after the class.

But something else is going on with the webisodes: our government, in its infinite wisdom, gave certain rights to creative material "created for" to the studios, as though they were, say, marketing brochures, rather than, say, characters. So then, there's this erosion of rights to writing.

This is essentially like the word processing job (another field that I think should be unionised) I had once; even though I had degrees, five years of wp, etc. behind me, I had to work for free for two weeks as "training." It chansed off my other part time jobs, and made me dependent on a single one. So I guess, if your friends want to break into a business that, on average, doesn't pay a living wage, takes the rights to your work, fires you when you're 50, and -- without a union -- doesn't give you health insurance, pension, or other benefits...

I think about how the "musicians strike" of the 40s had the effect (unwittingly) of leading to both the birth of be-bop as well as of early rock and roll.

Our current house was owned from 1941 until about 1989 by a family headed by a former musician and orchestra manager -- I think he was associated with Tito Puente and many others. I think the story is that he would not let the orchestra have uncompensated practice outside of union-controlled locations & time-frames -- during that strike. Anyways, he was never a musician or orchestra manager again, and sold golf equipment for the rest of his life.

Before that it was owned by the head of the west coast for Western Electric. During WWII he was promoted from movies to... defense contracting....

Not so much a fan of much of the writing that is done for hollywood product today, there's a side to me that hopes that maybe this strike
could lead to the industry taking a little more chances in terms of content.

They have just fired the production staffs. Those will no longer be salaried positions. If the last strike gave us reality tv, because it is largely unacted and unwritten, how can studio motivation this time be toward more risk? Part of the strike is to try to help break the monopoly six conglomerates have over creative content. Monopoly = no risk. Companies tend toward monopoly.

That probably won't happen when media conglomerates are owned by defense contractors.

Universal = NBC = GE. What does general electric make?

GE requires Universal to interview 6 off-shore engineers for each open engineering position. Even when the position requires native-speaker English language skills. I know; I wrote about their proprietary residuals system the last time I worked for them (no one was on strike). As a consultant. The engineers who didn't need English skills were brought onto the lot in on a bus everyday from the corporate dorm they were housed in.
He noted that CBS prime-time shows such as the “CSI” series, “Criminal Minds” and “Two and a Half Men” lend themselves fairly well to repeats. Viacom’s Paramount Pictures studio has a slate of already-produced films that should last it for a good while, he said.

Redstone made the remarks in an interview following a speech he gave at a media conference in Manhattan. A main theme of his speech was the importance of respect for copyrights in an industry beset with piracy and illegal digital downloading. Earlier this year, Viacom filed a $1-billion lawsuit against YouTube and its corporate parent, Google Inc., stemming from unauthorized posting of such Viacom shows as “The Colbert Report” and “South Park” on YouTube.

Redstone was asked whether there was any tension between Viacom’s view that copyright owners are entitled to compensation and its opposition to the writers union’s demand to be paid for digital versions of their creations.

“There’s no tension, no,” Redstone said. “They are creators of copyright material, and that material is protected. The disagreement –- and there are always disagreements in business -– is to what extent and where they are compensated.”


Hi. I would like to inform you, especially those who are not in the
and may not know or care, that the Writers Guild of America is on

I would also like to encourage some conversation, debate, and support
the WGA writers.

The Writers Guild is one of the few white collar/artistic labor unions.
the others, while most SAG (Screen Actors Guild) members are respecting
picket lines, the DGA (Directors Guild) is not. The Hollywood
and also individual Teamsters, are also not crossing picket lines.

The last writers' strike, which lasted five months, gave rise to
reality tv
(which requires fewer, and more easily non-union, writers). This
strike will take an estimated 1 billion dollars a month from the US
economy. GE, Sony, Time Warner, etc. -- are diversified and
enough not to care.

The debates are many:

- residuals for online screenings or downloads -- not about
stealing and swapping: the studios are running television shows and
films on their own websites without paying the writers residuals. they
additionally saying that these are "experiments" for "marketing
while 1) one cable network runs all of its film programming ad-free and
residuals according to contract formulas, 2) part of this marketing is
building share for the network and for the shows, which should be
compensated, 3) we are no longer in the experimental phase of internet
advertising, broadband, etc.

- residuals for the creative offspring of film and tv: so-called "baby
writers" are exploited by the networks, and regular staff writers are
required, to write webisodes for existing shows for internet-only
neither the creators of the characters, situations -- the show -- nor
writers of the webisodes are paid residuals. sometimes, they're not
for writing them.

- do not be fooled by studios saying they want to pay residuals to
actors after shows or films make a profit. studios, now all part of
large corporations, are now able to manipulate the books so that shows
officially never show a profit. for example, the simpsons, one of the
popular and longest-running television shows thus far, and one with
voice actors, is officially still in the red.

- the WGA has been forced to make significant cuts in its union health
benefit, especially to writers who live outside Los Angeles, and has
extended the number of working years to become fully vested in the

At any one time, less than 5% of the WGA members are working. the
WGA member makes less money per year from writing than a minor league
player. [there have been some ravings I've heard about the average
being close to what the average first team major league male athlete
not so]


What can I do to support the WGA strike?

1) Do not cross the picket lines; do not work for any of the studios or the companies which own them, which include GE, Sony, and NewsCorp. Support the teamsters and SAG, which are honoring the picket lines.

2) Goes without saying, but: do not work as a scab writer for reality programming, talk shows, or newscasts. Do not work as a scab writer for online programming, webisodes of existing shows. Do not watch foreign programming on American network TV. Watch it on international cable.

2) Boycott reality programming, talk shows, and network news programs. Don't watch it, don't participate, don't phone in and vote, etc.

3) Boycott GE, Sony, Disney, NewsCorp. Thinking of going to Universal City Walk? Disney? Buying new GE Profile appliances? Martinis at Rock Center? Don't.

4) Continue to rent DVDs and watch scripted programming on TV. Many writers will be counting on residual checks to pay bills in the coming months.

Here are some more theorietical things:

5) Don't buy into the hype. Only 5% of WGA members work in a given year. A fraction of that number earn more than a middle class wage each year.

6) Recognise that when you watch movies or television free online, you are watching a commercial for a studio and that studio's other programming, sequel, next episode. Is that so bad? Nah. There are commercials (unless you TiVo), and soon will be commercials online too.

7) Recognise that even reality programming and talk shows are written by real human beings. Yup -- and guess who's in the reality programming shot in LA? Struggling actors.

8) Reconsider the auteur theory of directing -- the DGA is not supporting the WGA strike. Many directors will attempt to become writers in the coming months.

9) Learn about who producers are and what producers do. Writer/producers do not have to strike. That is, senior-enough writers do not have to stop work / not get paid. Thus, try not to watch programming created after today and before the strike ends.


Friday, September 28th
The Little Fakers fondly presents a sneak preview of
The Manual Archives

SUNSET CHRONICLES is a serial drama set on the eastern edge of Sunset Boulevard, with a cast consisting entirely of handmade marionettes. In each episode a band of hardy souls navigates an otherworldly Los Angeles, an uncanny cityscape of abandoned buildings, forgotten histories and real and surreal possibilities. Any resemblance between the puppets and actual Los Angeles residents is purely intentional. All episodes are self-contained -- tune in today!

EPISODE 5: There's a drought on and our friends down on Sunset Boulevard are feeling more than a bit parched in this new climate of heat and thirst. Can Los Angeles and its puppet inhabitants live without water? What kinds of delirium, mirages and cosmic wanderings ensue when the cityscape becomes a desert? In our own heat-inflected late-summer delirium, the Little Fakers have decided this would be a good time for a Rock Opera, so that's what you'll get when you visit "Sunset Chronicles" at the Manual Archives. Live Music. Singing Puppets.

THE LITTLE FAKERS is a collective of experimental puppet theater artists, sound artists, and writers working in the LA area. For the past three years they have performed their marionette serial at The Noah Purifoy Art Environment, Betalevel, Il Corral and the Velaslavasay Panorama.

Episode 5 in its rock operatic entirety will be presented at The Velaslavasay Panorama in February — but in the meantime this sneak preview will pique your fancy for the adventures to come!

Live music by Gemmelica & Marshweed to follow each show!

Gemmelica & Marshweed will play old songs and make up new ones on the viola, contrabass, banjo, and accordion.

8PM, 9PM, and 10PM

Admission: Suggested Donation $5
Seating is first come first served.
No reservations required.

The Manual Archives
3320 West Sunset Boulevard
Los Angeles, CA 90026
For more information go to www.manualarchives.org
Instructions for joining Les Figues Press this Sunday, September 30 at the West Hollywood Bookfair.

1. Go to the West Hollywood Park, at 647 N. San Vincente Blvd, Los Angeles. The Fair opens at 10:00a.m.

2. Find Les Figues at Booth 15C. Say hello!

3. At 11:00 a.m., take a seat at the Pavilion: Queer, Hot and Avant Garde for a Panel Discussion on "LA Avant-Garde and Underground Literature." The panel is moderated by Stephanie Rioux & Matt Timmons of LA Lit, and includes panelists Harold Abramowitz, Teresa Carmody, Darin Klein, Ara Shirinyan, and Jane Sprague

4. Wander by Booth 15C again. Bring a friend. Buy a book.

5. At 3:00 p.m., be at the Robertson Coffee House Stage for WAP (Women's Avant Poetics): The Current Revolution in Women's Innovative Literature. Readers will include Christine Wertheim (literal poetics), Danielle Adair (prose), Sawako Nakayasu (poet), and Vanessa Place (prose). Hosted by Teresa Carmody.

6. Stop by Booth 15C one more time to say good-bye.

Fair ends at 6:00 p.m.

“Fictional Sex: The Good, the Bad and the Never to be Done Again.” The panel will take place from 3:30 – 4:30

Hosted by Daedalus Managing Director, C.L. Berry...a provocative panel discussion entitled, “Fictional Sex: The Good, the Bad and the Never to be Done Again.” The panel will take place from 3:30 – 4:30, and will also include erotica literati Jenoyne Adams, Rob Roberge, and Eros Zine editor Thomas Roche.

Signing to follow at:

Stockroom.com & Daedalus Publishing
West Hollywood Book Fair, Booth 41F
West Hollywood Park
647 N. San Vicente
September 30, 2007
10:00am – 6:00pm
Free Admission, All Ages Welcome
Just a reminder that the next Smell Reading is this Sunday, September 30th.

Readers will be:

Diane Ward

Joseph Thomas

Allison Carter

As always, the doors open at 6:30, with the reading starting a bit afterward.

The Smell is located at

247 South Main Street,

Between 2nd and 3rd streets, Downtown Los Angeles, Entrance is through the alley.

Diane Ward was born in 1956 in Washington, DC and currently lives in Santa Monica, California. She has published ten books of poetry including, most recently, Flim-Yoked Scrim (Factory School, 2006); When You Awake (New York: Portable Press at Yo-Yo Labs); Portrait As If Through My Own Voice (Los Angeles: Margin to Margin, 2001); and with Michael C. McMillen Portraits and Maps (Italy: ML & NLF Editions, 2000). She has been included in numerous anthologies, among them: MOVING BORDERS: Three Decades of Innovative Writing by Women, edited by Mary Margaret Sloan (New Jersey: Talisman House, Publishers, 1998) and OUT OF EVERYWHERE: linguistically innovative poetry by women in North America & the UK, edited by Maggie O'Sullivan (London: Reality Street Editions, 1996). Her work has appeared in dozens of small press publications, including: The New Review, Tripwire, Crayon, Conjunctions, How(ever) Reality Studios, The Paris Review, Sulfur, The World, and Raddle Moon, among others. She is currently working on a text for avant-garde sound performer and musician, Emily Hay.

A recent Los Angeles emigre, Joseph Thomas is now a professor of English at San Diego State University, where he teaches children's literature, contemporary poetry, & poetry writing. Reared on comic books, dirty playground rhymes, & stolen smut, Joseph is a fan of all things queer & carnivalesque. Having written the first book-length study on U.S. children's poetry, Poetry's Playground: The Culture of Contemporary American Children's Poetry (Wayne State UP, 2007), Joseph is now preparing a book concerning Shel Silverstein's life and work, tentatively titled, “The Devil's Favorite Pet”: Shel Silverstein, an American Iconoclast. He will be reading from his book of Oulipo-inspired poetry, Strong Measures, recently published by Make Now Press (2007). Ian Barnard and Katie E. Strode will be assisting him in his reading.

Allison Carter lives in LA where she writes, designs websites, and teaches a workshop in hybrid forms and gender studies at the California Institute of the Arts. She is also editor for the Particle Series, a forthcoming series of tiny books. Her work has appeared in or is forthcoming in Fence, 5_Trope, P-Queue, and others.


Women & Words is producing our fourth annual literary event on Saturday, September 29, 2007 at the Olympic Collection in West Los Angeles from 8:00 a.m. to 3:30 p.m. Some of today's finest writers and speakers will join together in an extraordinary celebration of women, their words and their wisdom.

After countless hours of reading and listening to authors from all parts of the country, we have come up with a fantastic lineup that includes: Anita Amirrezvani, Merrill Markoe, Nicole Mones, Gabrielle Pina, Erika Schickel and Gail Tsukiyama.

In addition to being an inspirational event celebrating women and the written word, Women and Words will also be a fundraiser for Westside Children’s Center (WCC). Since it’s founding in 1987, Westside Children’s Center has been providing foster care and reunification services to children aged birth to eight who experience child abuse and/or neglect. Over time the agency’s services have expanded to include childcare and adoption, as well as child development and family support services that strengthen families and support children.

We hope you’ll join us for another fabulous conference. If you have attended Women & Words you know how moving it can be. Tickets are selling for $75 per person for a chance to hear six authors, participate in a Q&A panel, enjoy a delicious breakfast and lunch, purchase books and have them signed by your favorite authors. visit www.womenandwords.com for registration information and the agenda. I do hope you will join us for an incredible day, and help support a great cause!
ridiculously easy to make your yard an official wildlife habitat

Why Bureaucracies Can't Understand Libraries: from the New York Times

"Initially, the bureau set out to take an inventory of every book and item in its chapel libraries. When the list grew to the tens of thousands, the bureau decided instead to generate lists of acceptable books and materials — about 150 items for each of 20 religions or religious categories. It calls that plan the Standardized Chapel Library Project."

What's wrong with a catalog?


I'm reading at
Late Night Snack
Thursday, Now On Thursday!
Thursday, September 27 at 9:30pm
at Betalevel (directions below)

there, so I started my mouth(have you get that can get calorically
expensive really quick. Half a cup of peanut butter to go on those 20
crackers is a great way to lessen hunger cravings is to be very
strict with new forms of performance, such as sound poetry and
simultaneous poetry. The soirees were often raucous events with
aromatic forms attacked Au, raining? Performance, language. Sirs,
shall and cabaret contributions come evening come evening come
evening come showed performances it. Public. Public forms attacked
Au, raining? Performance, language. Sirs, shall and simultaneous
poetry. Why can’t a blind juxtapositioning and music. The literary
cabaret featured spoken neologistic cliché, dance and/or music.
An evenning with music, dance, manifestos, theory, poems, pictures,
masks and/or costumes presented The artist, still do, just make a few
minutes to see if you REALLY want that snack. If you set the limit
before and none before you get that can get calorically expensive
really quick. Half a cup of peanut butter on them, that can get
calorically expensive really quick. Half a cup of full fools of its
public frenetisch celebrated, presents himself as soloist in a
surprising movement motion. Also this year pleases of the feelings in
a little muenster cheese. From what I’ve been reading (from multiple
resources), time of day does not matter when taking in calories.
All that matters is that you are taking in. That said, a row of
saltines is probably around 250 calories. Not terrible, but if you’re


Monday, September 24, 1 pm -- lecture, "Painting after Photography, Again," School for the Contemporary Arts, Simon Fraser University, Alexander Centre, Visual Arts Studio, 611 Alexander St., Vancouver, BC

Wednesday, September 26, noon -- lecture, "Painting after Photography, Again," Roski School of Fine Arts, University of Southern California, 3001 S. Flower Street, Los Angeles, CA

Thursday, September 27, 7:30 pm -- panel discussion on the art of Robert Youds, Art Gallery of Greater Victoria, 1040 Moss Street, Victoria, BC

Saturday, September 28, 8 pm -- poetry reading with Eric Giraud, 1067 Granville, Vancouver, BC


LA-Lit interviews Christine Wertheim
Sunday, September 23 at 5pm
At Betalevel (Directions Below)

We’d like to invite you to a live radio recording, reading &
conversation this coming Sunday, September 23 at 5 p.m. at Betalevel
in Chinatown. Christine Wertheim will be the featured writer on LA-
lit, a radio show co-curated by Mathew Timmons & Stephanie Rioux. The
show (& hence the recording) lasts a little over an hour and will be
about 30 minutes of reading & about 30 minutes of questions & answers/
further questions—alternating between the two modes in hopes of
creating a space for dynamic conversation.

Christine Wertheim writes poetics and aesthetic criticism. Her book
"+|'me'S-pace," was published in 2007 by Les Figues Press. Other work
has appeared in La Petite Zine, Five Fingers Review, Cabinet, Open
Letter, Art History vs Aesthetics, and X-TRA. She co-organizes an
annual writing conference whose publications are Séance (2006), and
The Noulipian Analects (2007), and co-directs The Institute For
Figuring, theiff.org. She teaches writing, literature and feminisms
in the school of Critical Studies at CalArts.


If you're in Philly 9/28
come over to Robin's Bookstore
108 S. 13th St., at 6pm
details here: http://CAConradEVENTS.blogspot.com


On Saturday and Sunday, September 15 & 16, from 1-4 p.m, there will a
reception for the "Artists in Residence" at the Armory Northwest.
Come out and celebrate with us! We'll have a BBQ with drinks and
music too!

Five artists have occupied the large space on the NW corner of Fair
Oaks and Mountain throughout the summer; Stephanie Allespach, Chelsea
Dean, Michael Markowsky, Hataya Tubtim, and Nicola Vruwink). They
have all made new bodies of work and they look forward to sharing it
with the public!

965 North Fair Oaks Avenue, Pasadena, California 91103
I love Eileen Myles. Had a good time at Betalevel last night; congrats to Ara Shirinyan on his marriage; will be reading there Sept. 27.

applying for jobs

Confiteor is a 1000 page poem named as the Roman Catholic confessional, using themes of confession, action and omission to survey 20th century poetry and women's writing. All but Addendum, of Confiteor's volumes, are trilogies: DaDaDa's volumes Reading Fundamentals, Heresy, and Legendary take early modern (baroque period) embedded games into the computer age as it surveys acts of identity, confession, and erasure from the Norton Anthology to medieval heretics to contemporary craftswomen; OOD: Object-Oriented Design reduces to binaries as it moves from singluarity in Eidolon through materialism in Obj. X to series (modern algebra/cosmology) in Syncrasy; Dea includes All the Angels and Saints, a wedding of the postmodern to the animatronic; Addendum considers the lack of finality and the contingency of communication in language.


Hye— Sorry for the last minute notice—I just got it confirmed today—I’m playing tomorrow Friday, 9/14 at the Barry McGee art opening at the RedCat—

Here’s some info on the exhibition/opening: http://redcat.org/gallery/0708/mcgee.php

Music will be in the Theater and starts at 7:30pm- I know I’m not last- but I don’t know exactly when I’m on (probably early/first) — Abe Vigoda is also playing—

It would be good to see you— They have assured me that I will have the full sound system and dynamic range that comes with it at my disposal.
Mark Salerno
Friday, September 14, 2007, 7:30 p.m.
Reading/Book Release/Book Signing
Skylight Books
1818 N. Vermont Avenue
Los Angeles, California 90027
Cole Swensen
The Book of a Hundred Hands
Iowa, 2005

I heard Cole Swensen read from this collection quite some time ago; she read with Elizabeth Robinson at Andrew Maxwell's LA reading series when it was still downtown at a place called The Lab.

Swensen's use of the hand has always been marked. "marked" -- using this phrase too much. Cole Swensen writes a lot about hands. Frequently, constantly. In this book, the heart of which, in those poem introductions long ago, she mentioned are from the *illustrations only* to some text Jena Osman was using at some writing retreat or colony or summer tutorial or something. These comments were very formative for me, as I imagine Cole Swensen's teaching has been on generations of students especially now she's at Iowa. She led Bay area Poets in the Schools for a long time, although -- well, it is not crippled by LAUSD up there.

What is it that influenced me: merely that there was some value placed to having a poet pick an obscure text and "go through it" here enamoured by a word, here ignoring the text and putting the pictures into words (might be fun to do with an issue of PLAYBOY), here using the idea, there generating a form. Books of Hours, Garden books, ASL, T'ai Chi, Opera, Fencing: interesting that one tends to find poets using the same sorts of texts so continuously, rather than others. These are texts (I, and several poets I can think of, have written long series this way) which lend themselves to transposition in some way. A formal or informal garden, a child's garden of verse, a florilegium. Gesture, and gesture frozen in phrase.

It is a brilliant graduate level excercise, the project poem based on a -- not really a source, but taking a source, locating what you will from it, and obsessing on that theme or metaphor set until you have a chapbook, say, a series, a group of poems where it is easy for a group to see -- here is one text, and here is how this poet's "done it up." Here is the sort of text this poet chose -- suited to the skill set or not?

Airy, embodied, easy, useful: the hand is well suited to the way that Swensen isn't intellectual, but is esoteric; not formal in some ways, a little ephemeral, but abstract more in meaning that in matter. Good book. Good teacher-by-example.


In early January, we will be opening an exhibition at the Clark Library entitled Women of Letters. This exhibition will focus on the work of a group of women printers and book artists who live and work here in southern California. The group has existed for over twenty-five years.
Women of Letters was formed in May of 1980 as the direct result of an extraordinary week-long letterpress class led by Francis Butler the previous month at the Woman's Building in Los Angeles. After a frenzy of activity during which Francis encouraged her students to "claim your own stories" and to "do your own work,” Susan King gathered together classmates Marion Baker, Kitty Maryatt and Bonnie Thompson Norman to continue discussions about letterpress printing, focusing on how to choose appropriate typefaces for projects. Over the last twenty-six years that focus has shifted and broadened. Women of Letters meets approximately every six weeks to show and to discuss completed projects, as well as to critique ongoing work in printing, binding, printmaking, papermaking, photography and conservation.
Over the years, a total of twelve women have been members. Nine are currently active in California: Marion Baker (Printmaker Press); Nancy Bloch (Lemon Tree Press); Carolee Campbell (Ninja Press); Jean Gillingwators (Blackbird Press); Jill Littlewood (Littlewood Studios); Kitty Maryatt (Two Hands Press); Katherine Ng (Pressious Jade); Nancy Turner (Peripatetic Press); and Donna Westerman (Saltlick Press). Susan King (Paradise Press); Robin Price (Robin Price, Printer & Publisher); and Bonnie Thompson Norman (Windowpane Press) have moved to other states but continue to be active as book artists.


just watched the libertine (in a movie made from a british screenplay, the stars play the restoration)

anyhoo, what is the difference between erotica and satire, anyway (the earl of rochester)


created at TagCrowd.com


the cookbook and guidebook for designing a diet
free of gluten, or soy, or sugar, or dairy or….

this cookbook focuses on two portion sizes, too: the typical “for a family of four” serving size, and a single-serving size – i.e., even if you do cook for a family, some diets are so restricted that it is likely you will be cooking for yourself separately on occasion

For 1 tablespoon of wheat flour, substitute one of these:
 1 1/2 teaspoons cornstarch
 1 1/2 teaspoons potato starch
 1 1/2 teaspoons arrowroot starch
 1 1/2 teaspoons rice flour
 2 teaspoons quick-cooking tapioca

arrowroot, tapioca

For 1 cup of wheat flour, substitute one of these:
 3/4 cup plain cornmeal, coarse
 1 cup plain cornmeal, fine
 5/8 cup potato flour
 3/4 cup rice flour

but I can't have any of those!!!

When using substitute starches and flours, you may find that the recipe turns out best if you bake the food longer and at a lower temperature. For more satisfactory baked products, experiment a bit with baking times, temperature settings and different combinations of substitutes — potato flour and rice flour, for example. In addition, gluten-free cookbooks are available that can give you a good start at recipe adjustments.
Search queries & results? What searched? Query lang instead of questions in poems / projects

Anonymity and identity

One of the things I was thinking during the anonymity discussion was the problem of dealing with fragments and anonymity

The greek anthology is only partially anonymous

And in this case the old saw “anonymous is a woman” is quite wrong – though I have been working a bit with roman womens poetry (the amount is so very small) because for OOD, I was seeking a roman counterpart to the greek anthology I used in Da3. I backed into this because of my interest in Tibullus. Something I haven’t done very much about yet – the two poems are spin offs from the major “what do I do” with tibullus – one based on goethe’s rewriting from the text (roman elegies) and one based on the women’s writing (there are only around four known female poets in ancient italy – one was in the Marcellus circle, and her poems were published as part of tibullus’) another female poet from this era – all we’ve got is a few


The first annual Algonquin West Hollywood Literary Award Soiree event will be held on Saturday, September 29 at the Pacific Design Center's Silver Screen Theatre (8687 Melrose Avenue) at 7:00pm. The event will honor the literary achievements of acclaimed author Mark Salzman and will be a benefit for PEN in the Classroom, a writing program that focuses on under-served high school students in Southern California. Tickets are $20.

The benefit will include a performance of Gertrude Stein's "Miss Furr and Miss Skeene"and a staged reading, "Celebrating Dorothy and Her Friends", created by local theatre artist Michael Kearns and featuring a host of celebrated actors (including Bruce Davison, Mary Jo Catlett, John Glover, Tonya Pinkins, Gordon Thomson, Tony Tripoli and Chloe Webb with Wayne Moore on Piano . Material will be culled largely from the writings of Dorothy Parker and other members of the legendary Algonquin Roundtable (a group of writers, critics, actors and wits who met for lunch every day at New York's Algonquin Hotel in the wake of World War I).

If you are interested in attending, please Corey Roskin at croskin@weho.org with your name, phone number and number of people in your party. Please also send your check made out to PEN USA to the following address. No actual tickets will be issued, but you will receive a receipt of payment after we receive your check -- and your name will be on a guest list at the door.

Send checks to:

City of West Hollywood
8300 Santa Monica Blvd.
West Hollywood, CA 90069
Attn: Corey Roskin
2 - How long have you lived in LA, and how does geography, if at all, impact on your writing? Does race or gender make any impact on your work?

Geography is less important than overall culture and society and landscape. Gender is more important than race to me, but that is because I'm white.

3 - Where does a poem or piece of fiction usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?


4 - Are public readings part of or counter to your creative process?

They used to be essential to it. Was part of the transition to LA, letting that go.

5 - Do you find the process of working with an outside editor difficult or essential (or both)?

Diificult to find. I've never really worked with anyone who had a heavy editorial hand. Might be interesting.

6 - After having published more than a couple of titles over the years, do you find the process of book-making harder or easier?

Easier, but I am more afriad that people might think that it is all procedural or something, and not "written" the old fashioned way, which it is. So that is a new concern.

7 - When was the last time you ate a pear?

I'm allergic to pears. It has been over two years. I miss them with brie on bread.

8 - What is the best piece of advice you've heard (not necessarily given to you directly)?


9 - How easy has it been for you to move between genres (poetry to non-fiction to fiction)? What do you see as the appeal?

It is really hard for me to write ficiton and I write it so incredibly slowly that I don't have anything finished, really. I write some nonfiction short shorts almost as slowly.

10 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?


11 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

My writing never gets stalled, but periodically I try to push push push in different direction to see what happens.

12 - How does your most recent book compare to your previous work? How does it feel different?

They are all in series, basically. Common streams are interest in sound, humor.

13 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?

All of those. Everything.

14 - What would you like to do that you haven't yet done?

I would like to teach creative writing on the graduate level. Just a course, even.

15 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?

I have a secondary specialty in design-related fields with technical and managerial aspects.

16 - What made you write, as opposed to doing something else?

It was needing some sort of creative outlet after it became clear that I wouldn't be able to pursue visual art as an undergrad. Wow, I just realized that.

17 - What was the last great book you read? What was the last great film?

I read The Glass Key the other night. I started reading A. I don't think Shaggy Dog last night counts; it was awful (partially filmed in our neighborhood).

18 - What are you currently working on?

Finding a house. Setting up Maryrose's book at Lightning Source. Proofing Ray's book. Should be laying out Therese's ms.

Should be working more on HEAVY ROTATION and getting the IDENTITY THEFT chaps out. Sent OOD to Omnidawn. Sent a query re: the Coloratura book to Greywolf, even though they misdirected the Dystopia rejection to another poet. Trying to think what to send Green Rose if anything and Tarpaulin Sky if anything. Or whoever else.


I just got DEED by Rod Smith in the mail. I don't think I know him too well to review.

I like Homage to Homage to Creeley. I started at the back of the book. It is an Homage to lyric distraction. Love.
I'm really appalled that the government would fund a program for
fee-based radio.

I am additionally chagrined that they include funding for audiobook
broadcasts of public domain novels read by "famous people",
essentially privatizing words that have passed into the commons and
glomming onto the culture of celebrity... I'm assuming that audible
inc. will then sell these recordings?

FOR IMMEDIATE RELEASE Contact: Paulette Beete
August 29, 2007 202-682-5601
More than 8 million XM subscribers can join the Big Read
Audible.com partners with NEA and XM to broadcast audiobook versions of
classic novels on Big Read list
August 29, 2007—Washington, DC—Today the National Endowment for the Arts (NEA), in partnership with XM Radio, announced the launch of The Big Read on XM, a radio series based on the NEA’s national reading program of the same name. The Big Read brings communities together to read and discuss a single book in order to restore reading to the center of American public culture. Building on the literature program’s success, the new series will introduce the Big Read to XM’s more than 8.2 million subscribers nationwide. The Big Read on XM premieres September 10 on Sonic Theater (XM Channel 163), the XM radio channel devoted to audio books and contemporary theater. Hosted by Sonic Theater Program Director Josephine Reed, the series’s first installment will feature Ray Bradbury’s seminal classic, Fahrenheit 451.
“The launch of the Big Read on XM Satellite Radio is a major literary event. Creating a daily, national, drive-time show devoted to presenting and discussing great American novels is just what we need to revitalize reading in America,” said NEA Chairman Dana Gioia. “This is the perfect marriage of art and technology. The NEA’s partnership with XM Satellite Radio has helped make the largest literary program in American history even bigger.”
The Big Read on XM will air audio versions of classic novels in 30-minute installments, courtesy of Audible, Inc., the leader in spoken audio information and entertainment on the internet. Other program highlights will include NEA-produced readings, interviews, and commentary about each novel by some of the nation’s most celebrated authors, actors, and public figures. Just a few of the notable names taking part in the Big Read are actors Robert Duvall, Cheech Marin, and Mary Louise Parker, writers Ray Bradbury, Alice Walker, and Tony Hillerman, former Secretary of State Colin Powell, and retired Supreme Court Justice Sandra Day O’Connor.
“The Big Read initiative is making a profound difference in communities across the country, encouraging people to embrace the pleasure of books,” said Josephine Reed. “This new radio show fulfills a long-held goal of mine: to bring communities across the country together to listen
to, think about, and discuss literature. I’m thrilled to be working with NEA Chairman Dana Gioia, as well as our partners at Audible, to bring these great books to XM listeners nationwide.”
The Big Read on XM will be broadcast Monday through Friday, with each new installment airing three times a day at 2:30 a.m., 10:30 a.m., and 4:30 p.m. ET. The Fahrenheit 451 programs will be followed by programs on Zora Neale Hurston’s Their Eyes Were Watching God, Willa Cather’s My Ántonia, and Carson McCuller’s The Heart Is a Lonely Hunter. For a complete program schedule for The Big Read on XM, please visit http://www.xmradio.com/ onxm/channelpage.xmc?ch=163.
The NEA presents the Big Read in partnership with the Institute of Museum and Library Services and in cooperation with Arts Midwest. Launched in 2006 as a pilot program of ten communities, in 2007, nearly 200 communities nationwide will host Big Read celebrations. For more information on the Big Read, including where to find a local Big Read, visit www.neabigread.org.
The National Endowment for the Arts is a public agency dedicated to supporting excellence in the arts—both new and established—bringing the arts to all Americans, and providing leadership in arts education. Established by Congress in 1965 as an independent agency of the federal government, the Endowment is the nation’s largest annual funder of the arts, bringing great art to all 50 states, including rural areas, inner cities, and military bases. For more information, please visit www.arts.gov.
XM is America's number one satellite radio company with more than 8.2 million subscribers. Broadcasting live daily from studios in Washington, DC, New York City, Chicago, the Country Music Hall of Fame in Nashville, Toronto and Montreal, XM's 2007 lineup includes more than 170 digital channels of choice from coast to coast: commercial-free music, premier sports, news, talk radio, comedy, children's and entertainment programming; and the most advanced traffic and weather information. For more information about XM, please visit http://www.xmradio.com.
Audible, Inc. (www.audible.com) is the leader in spoken audio information and entertainment on the Internet. Content from Audible is downloaded and played back on personal computers, CDs, or AudibleReady computer-based and wireless mobile devices. Audible has 140,000 hours of audio programs from more than 470 content partners that include leading audiobook publishers, broadcasters, entertainers, magazine and newspaper publishers, and business information providers. Audible is the preeminent provider of spoken-word audio products for Apple’s iTunes Store. Among Audible’s key business relationships are Apple, Inc., Amazon.com, Palm, Inc., Creative Labs Inc., SanDisk, and XM Satellite Radio. Audible has approximately 170 employees with headquarters in Newark, NJ, and an office in London, England. Audible, audible.com, AudibleListener, and AudibleReady are registered trademarks of Audible, Inc. and all are part of the family of Audible, Inc. trademarks. Other product or service names mentioned herein are the trademarks of their respective owners.
Madeleine L’Engle, who in writing more than 60 books, including childhood fables, religious meditations and science fiction, weaved emotional tapestries transcending genre and generation, died Thursday in Connecticut. She was 88.

Her death, of natural causes, was announced today by her publisher, Farrar, Straus and Giroux.

Ms. L’Engle (pronounced LENG-el) was best known for her children’s classic, “A Wrinkle in Time,” which won the John Newbery Award as the best children’s book of 1963. By 2004, it had sold more than 6 million copies, was in its 67th printing and was still selling 15,000 copies a year.

She was also librarian at St. John the Divine.


Villa Aurora and
New Mastodon Bookstore
cordially invite you and your guests to a

Reading by Florian Werner
Florian Werner will be reading two short stories, one from his book "Wir sprechen uns noch" and one from a forthcoming collection, "Nimmerwiedersehen". The reading will be in English. Translations by Zaia Alexander.

Born 1971 in Berlin, Florian Werner studied American and English and German Literature in Tuebingen and Berlin, as well as in Aberdeen, Scotland. He received a Masters Degree in 2000.In 2006, he completed his doctoral thesis Rapocalypse, which focuses on millenarian imagery in African American-HipHop lyrics. It was published by transcript Verlag in 2007.

Florian Werner writes lyrics and performs in the German band Foen. This literature music-ensemble published a novel Mein Leben als Foen (My Life as a Hairdryer) in 2004 together with a CD Wir haben Zeit (We have time). The band has performed throughout Europe.

Florian Werner writes radio pieces for the WDR (West German Radio, Cologne). In 2001 he was awarded first prize in the Allegra short story competition. A collection of short stories Wir sprechen uns noch was published in 2005 by dtv. His karaoke-opera Rachengold was performed at the Hildesheim Theater, Germany

Saturday, September 8, 2007, 4:30 pm

RSVP at tel. 323-525-1948


New Mastodon
5820 Wilshire Bl #101, LA 90036
between Fairfax and La Brea
proust qnairre

Your most marked characteristic?

The quality you most like in a man?

The quality you most like in a woman?

What do you most value in your friends?

What is your principle defect?

What is your favorite occupation?

What is your dream of happiness?

What to your mind would be the greatest of misfortunes?

What would you like to be?

In what country would you like to live?

What is your favorite color?

What is your favorite flower?

What is your favorite bird?

Who are your favorite prose writers?

Who are your favorite poets?

Who is your favorite hero of fiction?

Who are your favorite heroines of fiction?

Who are your favorite composers?

Who are your favorite painters?

Who are your heroes in real life?

What is it you most dislike?

What natural gift would you most like to possess?

How would you like to die?

What is your present state of mind?

To what faults do you feel most indulgent?

What is your motto?


Available now, and in a couple of cases (*) before the end of the month, are the following titles:

Fernando Pessoa: The Collected Poems of Alberto Caeiro
translated by Chris Daniels.

The first complete edition of one of Pessoa's heteronyms in English.


Fernando Pessoa: Message
translated by Jonathan Griffin.

Second edition of the mid-90s Menard publication. Bilingual, and the only complete edition of Message available in English.


Fernando Pessoa: Selected English Poems
edited by Tony Frazer

Pessoa wrote a large number of poems in English, some of them in the guise of early heteronyms (such as Alexander Search and C R Anon) which prove to be fascinating precursors of the later, modernist work in Portuguese. While not the equal of the masterly Caeiro, Campos, Reis or Pessoa-himself, these poems deserve to be better known and at least available in the English-speaking world.


Toby Olson: Darklight

Author of nine novels (among others The Life of Jesus, Seaview and Utah) and over 20 collections of poetry (including We Are the Fire — Selected Poems, and Human Nature, both from New Directions), Toby Olson demonstrates in this new collection that the passage of time has only sharpened his narrative voice.


Colin Simms: Gyrfalcon Poems (*)

A collection that gathers most of Simms' poems about these falcons, and his third such gathering for Shearsman. Part of a long project to bring most of his work into print.


Rosalía de Castro: Selected Poems
translated by Michael Smith

The largest selection available in English of Rosalía's poetry, this bilingual (or trilingual, as Galician poems are also featured) is essential anyone interested in Spanish poetry.


Gustavo Adolfo Bécquer: Collected Poems – Rimas
translated by Michael Smith; edited by Luis Ingelmo & Michael Smith.

The only complete edition of Bécquer in English, and as thorough as any Spanish edition. Bécquer was a revolutionary figure in Spanish poetry, as the godfather of romanticism in Spanish.


There are another 10 or so books before the end of the year, just in case there's not enough to read here....


another list of la (open mike) poets:



friend starting to teach!

The Writer's Workshop presents
Intro to Story
(a new workshop focusing on the fundamentals of creating great stories drawn from the imagination)

"Perhaps the best writing workshop in town!"
- Mark Travis, author of The Director's Journey

"Quite honestly the best writing class I've ever taken and I've taken quite a few, including many at the USC film school."
- Zena Leigh Logan, screenwriter/actress

Start date: September 8, 2007
Workshop: Saturdays 9am - 12pm
Cost: $250/month
For more info or to register, call 310-712-1290 or visit www.alanwatt.com

The Writer's Workshop is proud to introduce a brilliant writer and teacher, Allen Zadoff, who will be teaching a new INTRO TO STORY WORKSHOP which will explore the fundamentals of story structure beginning with short-form writing and continuing toward the completion of a full length work. Enrollment is limited to 10 students.

About The Workshop
The Writer's Workshop is a community of artists who share the goal of having a consistent creative life and building a body of work. The workshop exists to facilitate the writer in developing a writing process that works through accessing the power of the unconscious in getting one's story from their imagination onto the page. Working in this way, we create stories that are surprising, compelling, transformative tales.

Allen Zadoff (writing instructor) is a graduate of Cornell University and the Institute for Advanced Theater Training at Harvard University .. A former stage director, Mr. Zadoff has worked as a television writer and filmmaker and was a participant in the Warner Bros. Comedy Writers Workshop. His column, Hollywood Letters, has been a regular magazine feature in Tokyo, Japan since 2003. His memoir, Hungry, will be published by Da Capo Press in October 2007. You can learn more about his work at www.allenzadoff.com.
anne carson -- a fan of Devo?


For tonight’s Writer’s Garage, come hear sections from THE URINALS' book.

That's right, The Urinals are doing a book...a documentary/memoir/oral history of the early LA Punk scene from the view of some of its most innovative artists...

Interested in hearing about the early LA punk scene?

Want to know what it was like to be the first US punk band to play in China?

How it is to be slipped acid by the Meat Puppets?

Come hear the sordid, illuminating and entertaining tales of legendary LA punks THE URINALS/100 Flowers as they read from their collective memoir/oral history-in-process. Reading tonight will be Kathy Talley Jones, John Talley-Jones and Kevin Barrett.

About The Writers Garage
We are every Wednesday. If you are a pissed off liberal, a disenfranchised conservative, conspiracy theorist, writer, thinker, rock musicfan,reader, free speech advocate, folk singer, protester, here we are.Weekly we will try to bring together writers of novels,music,magazine,radio,talk and rock to shed light on the dark area's of american life.

You are invited to join us for dinner and drinks starting at 7pm every Wednesday @ Dipiazzas Lava Lounge,5205E. Pacific Coast Highway ,Long Beach, CA 90804 - 562-498-2461

Cost $5


c/mon, you weren't initially confused when you heard about Mina?

art or nature
which genios, tradition
who is to know the names
cannon, notch, Indian
native American
Head penny, Lincoln...


nature or prop
sky line horizon
climbing pleasure
sky blue from
water, water
blue from sky -- & between --?

I wonder really about conversion -- being wholly different from being raised in a particular system in a particular place, and also the idea of a return to the root of a religion as a modern person, and the problem of cutlrual accretions as so many burrs and wads of lint.

Religions change so much in response to the other religions, folk beliefs, and philosophies in the *nations* where they spread. buddhism, christianity, was marked by encounter with philosophies. two porcupines rubbing together. is calvinism simply something logically resulting from catholicism rubbing up against a situation in geneva, etc.

it is a commonplace to dismiss "shopping for religions" and reviving and adapting folklores and beliefs long passed from active use into a completely different context
lissa wolsak, not only a goldsmith & poet but also a "thought field therapist"

TFT combines elements of acupuncture, Chinese medicine, applied Kinesiology, Cognitive Therapy and psychoanalysis. It is effective for a wide range of psychological problems including anxiety disorders, phobias, depression, post-traumatic stress disorder, addictions, anger, jealousy and guilt, etc. It has also proven very effective in the treatment of physical conditions such as headaches and back pain.


this scrap bag is more about eliot, tradition, etc. from wompo

I posted an excerpt about the classic from stein's composition as uh, whatever --

annie finch: If we include radical, progressive
> systems--including,long-lost ones-- among the possibilities, maybe the
> idea of a poet using a tradition isn't so unquestionably a conservative
> idea? Couldn't there be such a thing as using a radical tradition in a
> radical way, but still gaining the benefits of using a tradition in
> terms of poetic power?

the missing "accepted and traditional" framework


> > "We may speculate, for amusement, whether it would not have been
> > beneficial to
> > the north of Europe generally, and to Britain in particular, to have
> > had a
> > more continuous religious history. The local divinities of Italy were
> > not
> > wholly exterminated by Christianity, and they were not reduced to the
> > dwarfish
> > fate which fell upon our trolls and pixies. The latter, with the major
> > Saxon
> > deities, were perhaps no great loss in themselves, but they left an
> > empty
> > place; and perhaps our mythology was further impoverished by the
> > divorce from
> > Rome. Milton's celestial and infernal regions are large but
> > insufficiently
> > furnished apartments filled by heavy conversation; and one remarks
> > about the
> > Puritan mythology an historical thinness."

ya gotta love a slam on milt; but perhaps this "he was a blind windbag" view is precisely what leads Eliot to also misunderstand blake.

also, I suppose I have always occupied a catholicism which I was born into, not adopting like noyes or eliot, where the reading of milton and blake was -- not mentioned. but also where the conversion and adoption of pagan believes and rituals was part of a quasi-nationalist catholicism esp. in western europe and also in the different eastern orthodoxies, and the influence of greek and roman mythology, with the large exception of the elusian (sp?) mysteries, being mostly that of philosophy, of Plato and Aristotle on Aquinas and Augustine.

I wonder really about his conversion to catholicism -- or a conversion to any religion -- being wholly different from being raised in a particular faith in a particular place, and also the idea of a return to the root of a religion as a modern person, and the problem of cutlrual accretions like so many burrs and wads of lint.

Buddhism and Catholicism change(d) so much in response to the religions, folk beliefs, and philosophies in the nations where they spread. It is a commonplace to hear that irish and italian and polish catholicism are all different from each other in important ways, ideas, folkways, traditions, rituals; zen never replaced shinto in japan, buddhism never replaced confucianism and china, but the religion was marked -- mostly in those countries -- by the encounter with the philosophies. two porcupines rubbing together.

what unites the diverse things that interest me and that I do is making systems, "programs" is an architect catchword now, or designing, or developing.

one of the most effective ways to do that is to design modularly, where the modules can be shared (more like sharing than borrowing or stealing or taking); another is to repurpose modules to serve diffferent ends

the entirely made thing has an appeal

but so does the brilliant application of poetry, say, to an idea, or of an idea into poetry
quotes from hd, mrl, and ronald johnson at the new book of ocean review at Eileen tabios' galatea resurrects:

HD: I thought my thought might spoil your thought.

spoil indulge, overripen?

but no, the reviewer has it right, also to keep a thought from creeping separate? not as a contagion -- actually maybe to contain one's own thoughts?

MRL: I don’t want to fall. I want to remain discrete…

MRL: what is an asked division
RJ: when the mingled frame of mind

whet NOT in the mingled mind?

MRL: compulsively light without seam or axis

whole cloth

HD: I feel the meaning that words hide…
MRL: words less tocsin than costume
HD: …little boxes conditioned to hatch butterflies

RJ: It is as if you yourself were your own onlooker

RJ: artifact rather than argument
MRL: yes what does not meld yes
RJ: sustained sequentially as to insistence
MRL: trying to make what doesn’t exist veering past clarity


> … What his genius required, and what it sadly lacked, was a framework
> of accepted and traditional ideas which would have prevented him from
> indulging in a philosophy of his own, and concentrated his attention
> upon the problems of the poet.

by ts eliot re: blake, interesting witht he catholic anthology, and an excluded convert (unlike noyes) who ws not an easily identifiablee catholic writing easily identifiable catholic verse
Why is it not possible to write Wien (english Vienna)right? Wein is the german word for Vine.

Actually, because I lived (and received mail at) Wein Hall for a year.


alfred noyes was a british-to-america and back convert to catholicism, poet (wrote some obviously imagist-esque poems and a lot of ballad-like poems like THE HIGHWAYMAN) and editor of GOLDEN BOOK OF CATHOLIC POETRY

dedicated to the mother of a young priest who dies in a Japanese prison camp during wwii

the preface contrasts chaucer (of course all pre-reformation, post-pagan poetry in english being "catholic poetry") with dante, repeating the old stereotype of the "green leafy" fresh chaucer with the more serious, political and theological dante through whom more poetry has flowed, ...

noyes is of course firmly in the shakes was a catholic camp; also, the preface mentions tracing a catholic poetry less through poets who were catholic that the SYMBOL IN POETRY, though the best poems in the anthology, imo, are ballads

extremely problematic, especially in an anthology which was made in 1946, and especially in a volume of catholic poetry after world war 2 (Noyes wrote a great deal of war poetry -- wwi and ww2), that he mentions, re: the rosettis, "racially ... they had Catholicism in their blood..." but the conflation of RACE and RELIGION

so, there is then a section of people who were catholic because they were european christians, and there is a section of poets you have heard of, Aubrey De Vere, Coventry Patmore, Adelaide Proctor, Digby Mackworth Dolben, Katharine Tynan, Louise Imogen Guiney, Padraic Colum, James J. Daly, Dorothy Hobson, and then there is a section of noncatholics which perhaps listing may help me describe: spenser, donne, smart, wordsworth, tennyson, robert browning, the rosettis, wheelock...

so. first of all, although there are many translations, it seems that only translations by catholics were allowed, but the rosettis are catholics. layered on top of these few rosetti translations is an anthology of poetry in english with "catholic themes" from the british isles (mostly), an anthology which seems pretty broad ranging and seems to omit just blake and milton and elizabeth barrett browning and yeats and joyce, while including a few random nuns and priests that would not oridinarily be included

in an attempt to continue listing obscure female poets, here are the women in this anthology:

adelaide proctor
may probyn
emily h. hickey
katharine tynan hinkson
alice meynell
Sr. M. Dorothy Ann
louise imogen guiney
katherine bregy
blanche mary kelly
ellen gilbert
sr. mary immaculate
sr. mary helen
sr. m. madeleva
sr. m. genoveva
sr. m. philip
sr. m. john fredrick
mary e. mannix
sr. mary angelita, bvm
margery cannon
sr. maris stella
mary louise hector
dorothy hobson
sr. mary st. virginia

christina rossetti
caroline hazard
linda lyon van voorhis
victoria safelle johnson
belle cooper
alice cecelia cooper

of the poets included you may not have heard of, Margery Cannon, Ellen Gilbert, Sr. Mary St. Virginia, and Francis Sweeney were anthologised from individual poem publication in the catholic magazine AMERICA (still publishing). other journals used were Spirit and the Catholic Poetry Society of America and Catholic World. Additionally, poems by Wilfrid Meynell, Alice and Belle Cooper were included, but they are acknowledged as providing editorial assistance, and all of the sr. m. or sr. marys are members of the same order under Mother M. Rose Elizabeth.

uh, as usual, there are some florences and others I have to look up
new review! of DaDaDa



three vintage oregon scenes postcards

alight after the card
bend, mangle, staple
unrelinquished, rent
scene from spectacle
access from


unrelinquished possession
drive accessible
rock from ages from song from echo


after the card on one side
scenery -- after -- on the other
what is a beautiful
drive, a scenic
captured, penned, sent


more postcards; this was a set of four from lookout point oregon from various angles, labelled accordingly by the previous owner

Look out!
Gaze within.

Location or
weather point,



Sandwiches and seaports,
panoramic amour
enamoured tourists.

The view never strikes or steals.
Gather it in. Listen to it.


What is it called, that
primintory or perch?

Is this how we remember,
remark, market agates,
seasheels, myrtlewood,

touch which shore?


Memory, a discovery, and
why we've veiled these
rocks we never know,

the crush of too many,
the crowd of

terrible attentions.


whoops missed this

Rhapsodomancy Announces the Writers Reading on Sunday, August 19 2007 MARY OTIS

Sunday, August 19, 2007
Doors open at 7:00 - Reading begins at 7:15pm
The Good Luck Bar, 1514 Hillhurst Ave., Los Angeles (east Hollywood/Silver Lake: corner of Hollywood & Hillhurst)
21 and over only.
RSVP at rhapsodomancyla@yahoo.com
$3 suggested donation at door; after expenses, a portion of the proceeds will benefit Hedgebrook, a nonprofit that invests in women who write by providing them with space and time to create significant work, in solitude and community, and by developing an international network to connect writers and audiences.
There will be a cash bar.


city hall hosts all its marvels
and mervellors -- tourists,
those still believing
in the power of power,
reality in the real,
fable in falsehood.
colorful character, mountain of a
eye and the flowers

by hand I framed this frame
for this scenario
mystery, but the scene
is a paradise, park


back when I started working on the hello kitty series, I learned about Jamie Scholnick, a local artist who has done a hello kitty piece, through an e-mail Teka Lark Lo posted to a local poetry listserv.

in this e-mail, Teka refers to Jamie Scholnick as "this guy"

the e-mail is posted somewhere here

in any case, at the time I went to the Jamie Scholnick site for the project, I *knew* the piece was not being made by a man.

in any case, in respons to another old blog post (spam, actually), I've apparently received a comment from Jamie Scholnick:

Thanks...I realize its spelled like the Spanish pronunciation, but Hello Kitty Gets A Mouth, done by me, and I am a woman!

would many men be lijely to make hk art, especially dwelling on the mouth?

All best,



what order what world
border of what or what
battle of sides
seismic wonderland
who's native, who cleans up
separates the trash
another original

on a battle rock picture, in response to a famous version of american gothic with an african american woman with a mop w/ a poem about crossing the canadian border


well. maybe this one didn't take long enough but I went to Valery through the palais de chaillot (my postcard) after receiving a travel-book postcard from susan rich with a paris pic -- wondering when I'd get to start using my vintage paris black and white postcrds!

exposed at night, my dear,
extreme diamonds below
the boat-transport

what dreams spout from ocean.
open sea, open sky

your warm arms around
eyes meet my eyes
modern sun


I posted this on poetics

a lot of time censorship is winnowing. And winnowing is censorship. A lot of times it is editing. And editing is censorship. A lot of times censorship is translating. Or bringing speech into text -- you know, writing = censorship.

because censorship / writing is related to rigor, an adherence, often detrimental (to new ideas, to ideas themselves) to form, consistency, logic, with a moral / ethical undertone
science and termites

working very slowly on a re-write of an OOD poem called Ware. Realized it is both about software / ahrdware and making and about turtullian and rigor

also still exceptionally slowly on inanna poem which is merged with the identity theft poem/chapbook

back to ware, looking at wikipedia, found

Wigner begins his paper with the belief, common to all those familiar with mathematics, that mathematical concepts have applicability far beyond the context in which they were originally developed. Based on his experience, he says "it is important to point out that the mathematical formulation of the physicist’s often crude experience leads in an uncanny number of cases to an amazingly accurate description of a large class of phenomena." He then invokes the fundamental law of gravitation as an example. Originally used to model freely falling bodies on the surface of the earth, this law was extended on the basis of what Wigner terms "very scanty observations" to describe the motion of the planets, where it "has proved accurate beyond all reasonable expectations."

this is exceptionally stupid. one begins with easily-observable phenomena, like gravity. using those observations, one abstracts a mathematical / symbolic description. one eventually, because of this long attention, finds other phenomena, many not so close at hand, which are surprisingly familiar -- gee, we've got this formula which we now know how to wear/ware. look at those stars in the sky. hey -- lookey, we've made a description that has a more universal application than we realized. some specific things can be universal. now, how about that wheel....

this is no more a showing of a symbolic, abstract, or mathematical universe than it is a showing of how the "mind" works (though it does seem to demonstrate rather amply a way in which belief works)
really wonderful poem from Marjorie Rommel received today, by way of reminderthat fun as slapping together something is, actually giving and receiving a fabulous poem created and made/sent to a very high standard is really what is required

having spent the majority of the day word processing, only to receive at the end of it a new book about women and the new york school -- while I think that the idea that women in general don't pursue their pursuits in ways that lend themselves to grouping into schools is useful, and looking at the absent or abstracted female in the work of homosexual male artists around the time of stonewall is certainly good, I met this book with a feeling of despair -- it is failure that makes grass seem greener

here is answer (of course to next person, not Marjorie)

for you -- you can't see
the other side of this show
and comment on it at once

trees withdraw, nature retreats
from nature; seeds, words
lay dormant,

spring the next lie


the first thing to be remarked are the porticoes in which nearly all the roads terminate.

in bologna

coming up because

as I wrote to http://www.americassuburb.com/

We found your site looking for some local history. In any case, I am a writer myself, and I tried to look up St. Catherine of Bononia. Here's a bit of elucidation: Bologna, Italy's Latin name is Bononia. The saint is more familiar as St. Catherine of Bologna or Catherine de Vigri. [yes, bologna-baloney is from this town in Italy! it is student sandwich food (there were big historic universities there)]


more postcrds, one a kind of watercolor set of drawings in little boxes, drawings of fish and streams, and one a cornell-esque or memory box thing with means of transport in the literal not drawn boxes

on a postcard with old minipics of historic boston sites, picked up "spotted"

one if, two if
what spotted; see
technologies "lap the miles"

station, meeting, road

sons of thunder
sons of liberty

boundary marker, stone


on a postcard of the rainier bank tower going to seattle

art to artists, coals
alit, aloft, above


twelve stories between heart and sea
cards house distance between us
from coleridge, aquinas on memory/artistotle, recall as a pattern starting with a thing or "time" "frame" "period" "moment"

resemblnce -- custom moves us from one thingto another by deliberate search, "when we try to remember a verse we remember the oening lines"

word -- first letter, shape?

things are better remembered when they are systemetized ("systematically linked")


"scattered things are hardly remembered" hmm -- this is what made me take the note

study to arrange the order in which to retain
bring the mind tobear on the arrangement
start from the beginning

Erna's trip down the Danube

(neighbor with failing memory -- frequently was reminded of a barge trip down the Danube by just all sorts of things -- though I thought of her memory more as Kaiser Steel, since I felt that it had a more linguistic trigger-- you'd be talking about helthcare -- we are near Kaiser Permamente -- and she would transition to shipbuilding)

Erna's husband was a bandleader? was that someone else? they met in Shanghai in the 30s.

"In Campbell's ecclesiastical history the printing of mutilated editions so beautiful as gradually toproduce at utter oblivion of the entire ones -- "

coleridge wonders if this is true in the age pfprint, how so before
indeed, first copying, and before that trasitionto written histories

truly beginning with credit???

Pope Clement VIII: "...if anything corrigible occurs which can be emended by slight deletion or addition, take care that it is done; otherwise let the whole passage / book be deleted" as reported in the notes

online... He issued revised editions of the Vulgate, the Breviary, the Missal, also the "Cæremoniale", and the "Pontificale".

where the heck is philip neri's poety when you're looking for it?
when we are talking about female physical comedians, are we just having another aesthetic quibble?

The problems in the discussion are just what comes up and wht doesn't -- because the semi-public discussion is always shaped in strange ways by the electronic medium, time, and the participants. And these participants picked up an interesting set of alternatives to light verse as the ground to talk about funny poetry. But it doesn't include performance in an interesting way. And my concern is that --beyond "women can't carry a broad comedy"

[gotta poem at dusie with that line, but -- where is it --doubtless online -- while looking for it found this review again


ah here it is, I type before searching the dusie archive directly:

this verges on phyical humor isn't funny, because it is a women's body sorta thing;

Sylvia Fine not Danny Kaye, Ruth Draper not ...

also remins me of that bad post-Wanda python movie in a zoo with Jamie Lee Curtis where the pythons came off more as Benny Hill than as ... anyone else, reminding us that the BBC in the 60s included mostly cute women as set dressing.

sylvia fine -- where are the lyrics? not online, that's for sure
did she write shortnin bread?

Mammy's gonna to make a little short'nin' bread;
That ain't all she's gonna to do,
Mammy's gonna to make a little coffee, too.
|: Mammy's little baby loves short'nin', short'nin',
Mammy's little baby loves short'nin' bread. :|

Three little chillun, lying in bed,
Two was sick an' the other 'most dead;
Sent for the doctor, the doctor said,
"Feed those chillun on short'nin' bread."

Snuck in the kitchen, lifted the lead,
Filled my pockets full of short'nin' bread;
Stole the skillet, stole the lead,
Stole the gal makin' short'nin' bread.

Caught me with the skillet, caught me with the lead,
Caught me with the gal makin' short'nin' bread;
Paid six dollars for the skillet, six dollars for the lead,
Spent six months in jail eatin' short'nin' bread.


funny women

I am extremely disturbed by the repetition in the excerpted humpo at jacketmagazine about women, funny women, and physical humor

especially when humpo seems to have been devoted to an extremely small wedge of funny poetry, and an even smaller wedge of performance in funny poetry

first of all, like anyone -- not just any female -- properly learning to say nyuk nyuk or veterans of Shakey's back in the day when pizza,pitchers, and the great silent movies were the equivalent of chuck e cheese's pizza,pitchers, whack a mole and performing automata I feel it is my right to say that the three stooges are just not as funny as some other less violent acts -- and while reportedly chaplin's father's act was downright abusive, it is important to note that chaplin at his best is a delirious balance

I also want to say that when you are talking about the great midcentury (physical) comediennes Diller and Ball, you see actually very very attractive women going out of their way to appear clownlike (red hair, fright wigs,costumes...) to say-- perhaps to industry more than audience, it is ok to laugh; on the other hand, you have monroe, who it seems everyone has forgotten was essentially a comedic actress

this seems to have filtered down to the present day mysteriously, I think in the division -- perhaps only in some conversation rather than in real audience --of performance art and writing (poetry) that's hilarious-- like Eleanor Antin AND David Antin -- from accepted stuff like "stand up poetry" or deliberately declasse (so it is ok to laugh) jennifer blowdryer, or pleasant gehman or...

I mean, c'mon, the dinner party? what is on those plates? that's not funny? yoko ono -- can you listen to a recording and not laugh?