7.28.2007

THE WRITERS’ WORKSHOP PRESENTS...
EMERGING WRITERS reading series
On Sunday, July 29th, five writers will read from their most recent
work.
Where: Stephanie Feury Theater
5636 Melrose Ave. (2nd floor)
(southeast corner of
Melrose and Larchmont)
When: Sunday, July 29th
Doors open at 11:00 am.
Reading begins promptly at 11:30 am
and runs approx. one hour.
(please arrive early)
Parking: There is plenty of street parking.
Price: $5 suggested donation.
Reading from their work will be...
1) Maria Banks
2) Mary-Beth Manning
3) Stephanie Hubbard
4) Alan Watt
5) Allen Zadoff
PEN USA is currently accepting applications for a UCLA Extension Writers'
Program scholarship. The winner will receive three full courses at UCLA
Extension Writers' Program during the 2007/08 academic year. You are
receiving this email either because you have been identified as someone who
would potentially be interesting in applying for this scholarship or because
you may know potentially interested applicants. Please forward this
application as appropriate. More details are available on our website at
www.penusa.org or by calling PEN at 310-862-1555 x 358.

7.26.2007

Hal Sirowitz

teachability, because things that are taught are "serious"

7.24.2007

combining 4) & 5), I think it is not as though the collins is more teachable, but it is more taught; I think the padgett is teachable -- also simply that it is poetry and it is teachable in a context of teaching writingpoetry not teaching writing a poemand a poem and a poem

this makes me think of kenneth koch's teaching poetry books for elderly people (back when they were truly elderly? back when they were in institutional environments for alonger period? -- dunno) and for children -- he was careful to separate the poems written according to these menthods from real poems in many ways, and I wonder why or how -- this sort of reminds me of a local writing teacher who has people interminably in "intro" courses and then slowly "progressing" of course never to the point where they are encouraged to out perform? outgrow? the teacher?
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enough about dead kittens and the pastoral as spirit channelling, and onto badness and humor?

kitty is more akin to kasey's deer head than otherwise, but the blatantly commercial nature of the internet as seen through a commercial search engine is, I hope, brought to the forefront; the three parts of section 1 of kitty 1 are for the different search engines -- these are then machine translated in various ways in section 2 of kitty 1

kitty speaks for sanrio, though she has no mouth

kitty 2 isn't out yet but it is handed in and uses some word art/ refs to olson's dogtown, but the beating heart of it is a collaboration from the pussipo list

kitty 3 -- an early draft of the blavatsy poem -- spirit medium, get it? -- is forthcoming at naropa's We. it uses color, and I've bolded the stresses on at least one poem, but I'm thinking of super and subscripting, kerning, whatnot to it as well. it is a synesthesia confusion of color - sound and letter - sound right now.

in any case, what does this have to do with dead kitties and humor?

set up

1)

what does humor have to do with kasey's evolution of thought about badness in poetry? I think that you can see -- in gabe's poem's too -- that humor is most easily read when satire or irony -- someone on humpo said they read "swift, not ____, not ____"

2)

Rachel pointed out that if everything is seen to be humorous -- like Todesfugue -- humor becomes useless to label, desribe or categorize -- and here that like humorist mark twain I've said mary oliver may be bad, but not as bad as she is read


3)

what if competence in poetry writing, writing a competent poem (good form, plain speech, etc.) can't be taught, but writing very very well can? because I think this is a distinct possibility that tromping through the idea of play and creativity -- and abstraction -- can lead us to (that taught using an entirely different pedagogy, more people -- perhaps more than we're prepared to cope with -- will write more gooder poetry and writing it would be funner)

I can paint a better picture with my dead cat; my dead cat can paint a better picture.

4)

the billy collins anecdote leads me to point out that he is a uc riverside grad, and "funny poet" ron koertge (he wrote some book about roget's wife before ... Harryette Mullen wrote sleeping with a dicitonary...) was a buddy of his there, so this east coast west coast thing is hype, not a true music style division in this case

the only furniture maker I can think of Collins could be referencing is Maloof, where the front IS as important as the back -- Japanese influence -- in other words, this is artcraft object, and the comparison is to a poem as competent artcraft object

it has got the punch line standing in for the lyric lift in other merely lyric official verse, like most officially funny poems

it has also got -- winks aside -- a demonstration of a number of things, like there are artcraft furniture makers like maloof and I know of them, and they aren't making just chairs, and I am eddicated, unlike the Padgett poem, which does beg the question, could a dead cat have written the poem? the answer is no, but the Padgett poem only requires education to write because it states it is a poem, and the result of thought, which is serious in some way, and not an idle conversational thought shared over a Blatz, perhaps while whittling something.

ok, now -- going somewhere with these numbered thoughts -- will certainly require some ceiling plastering

7.22.2007

dead kittens on humpo /jacketmagazine

now, I do have dead kittens in VAUXHALL

but I am responding to this

Rachel Loden: [quoting Kasey]: “We mustn’t have sad poetic feelings about dead kittens. It’s ‘melodramatic.’” Unless of course those sad poetic feelings are blown sideways as in Ashbery’s “Our Youth,” a very poignant and romantic poem (“The dead puppies turn us back on love”). So it’s not the dead kittens per se, is it? It’s the preciousness of Oliver’s speaker, her self-dramatizing pleasure in what she wants to bury.

because I think that mary oliver perhaps isn't quite so bad as she is, because she really dwells on and travels over a certain new england, using animals and nature to stand for people and ideas which she doesn't give any clear clues she consciously seeks to understand, encounter, etc., but which pervade the ideas of that landscape, and here I am thinking of the "monstrous births" of the female preachers / heretics in RI, mass bay, etc. -- now, like unfortunate warts, were these just noticed on those who were about to be expelled in any case? miscarriages and still births etc. being very common? or --