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?


not sure what I should post abt the post card project but here are next two

one was kingston wash and mine was montego bay but produced in kingston jamaica

response is

hey --

do you make beauty

your maker
your waiting

you will find

your town
heads up to the aether
crowned & below sea

the other on a very recognisable corner of the west village answered with seattle's pike place market (I've never seen)

many marks & markets
on a pier
source to dest-
with product

yeah, I remember that
place & price

(where doesn't the grey line stop)

flavah of joe brainard on christopher street
"with what anxiety every fashionable uthor avoids the word 'I' -- now he transforms himself into a third person... now multiplies... the watchfulness of guilt"

another interesting-- not tagged right now
tagged as the governor's car in mayberry

in any case --abt romantic writing -- or any, but mostly romantic -- being most interesting when not completely understood -- when completely understood, then, that writing dull
la poetry event I heard about on the radio because "indy" (clearchannel) 103.1 isasponsor:

Host, Magician ROB ZABRECKY
One of the 3 members of "The Unholy Trio" at the infamous Magic
Castle in Hollywood. One of the funniest, darkest magic shows I have
ever seen. He is the lead Vocalist for cult band Possum Dixon. He
will read your mind and saw it in half. Don't believe me? Check out
his serious face at:

the magic castle is in downtown hollywood

I think you know enough about me. But incase you don't, I kind of
invented Public Storage. I've still got some rooms left, if you need
to drop your shucks off. Emotional baggage and whatever other clichés
your carrying around. I love you.

He is the two-time Individual World Poetry Slam Champion (2004 and
2005) and has been featured on NPR, the BBC, and HBO's Def Poetry Jam.
In 2004 he won the Individual World Poetry Slam Finals then
successfully defended that title at the International Poetry Festival
in Rotterdam, Netherlands. In 2005 he won the Individual World Poetry
Slam Championship title again. Really, do I need to go on? He also
has an album out called "Run On Anything". It will give you a heart
on. Ani Difranco has played back up guitar and vocals for him. Ya
know? Ya.

Jeffrey is 1 of my 2 favorite poets of all time. He has 3 books,
"Alibi School" (Manic D, 1995), "The Forgiveness Parade" (Manic D,
1998), and "The Splinter Factory" (Manic D, 2002). His poems have
appeared in numerous journals and anthologies including, Best American
Poetry and New (American) Poets. He was the recipient of an NEA
Fellowship. He is a Professor of creative writing at Sarah Lawrence
College in New York. And he has a new book coming out, "The
Endarkenment" on University of Pittsburgh Press, which I have to say,
is a hail storm of brilliance. If anything, do yourself a favor and
come see this man live.

Derrick is a former paratrooper for the 82nd Airborne, gondolier,
magician, and fired weatherman. He now travels the world and performs
his written work. The Brando of Love Poetry. He's written several
books including "Born In the Year Of The Butterfly Knife". He most
recently opened for the COLD WAR KIDS on their European tour. A
documentary is coming out about him, "You Belong Everywhere". He's
won tons of awards. Rolling Stone Magazine called him "The Darker,
deeper side of Jude Law". Another mind blowing performer.
www.brownpoetry.com & www.writebloody.com

Beau is a Chinese-American poet from Oklahoma City. He has been
featured in the award-winning film Slam and the documentary Slam
Nation. As an author, Beau wrote the poetry book, "A Night Without
Armor II: The Revenge." A few of the anthologies his work appears in
include, Def Poetry Jam on Broadway, Why Freedom Matters, and Spoken
Word Revolution. Beau has two spoken word CD's, "Attack! Attack! Go!"
and "Dope and Wack." He was a recipient of the California Arts Council
Writer-in-Residence grant for Youth Speaks in 2001-2002, and was the
lead artist for the Creative Work Fund. Beau has appeared on all
seasons of HBO's "Russell Simmons Presents Def Poetry," and has also
performed on ESPN's 2000 Winter X-Games, Showtime! at The Apollo, and
the 2003 Tony Awards. His one man show, "Fish Out of Water" won the
2004 Jury Prize for Best Alternative Show at the HBO Comedy Festival
in Aspen, Colorado. So much to say about this guy. He also wears
kewl glasses.

Mindy lives in Good ol' Long Beach, CA. Her poem "Metal Detectors and
Other Important Thresholds" was a nominee for the Pushcart Prize. She
has a book out called "Sleepyhead Assassins", which has more quotes
from famous authors on the back than you can shake a lipstick at. She
was once described as "Honey on Burnt toast". Sexy and smooth,
Mindy's voice and words send shock waves through the system. She once
wrote a Cyrano-letter for me, to a boy who broke my heart. It's
framed on my wall. Next to the presidential looking portrait of

Bucky is a simple man. He's tattooed all over, and loves bunnies.
Hailing from San Francisco, Bucky is a legend in the American Poetry
world. He learned to write from poets who dressed like bums but spoke
like kings. He has a new book out called, "All Blacked Out And Nowhere
To Go", which is, an incredible piece of sidewalk shadows collected
over the last several years. Think Charles Bukowski, but with a big,
beautiful faint-worthy heart.

www.poetrytickets.com/tickets , to be exact.
We send the tickets right to your door, or hold them at will call,
whichever you prefer.

You can also buy tickets the night of the event.
The Brentwood theatre is located BEHIND the Wadsworth theatre, in Westwood.
11301 Wilshire Blvd, Los Angeles, CA 90073
postcards received

one from cat ruiz -- a direct address! makes it so nice and personal


On Thursday evening, 02 August, 7-9 pm
at Antioch University (LA) in Culver City, they're celebrating the reissue of Lila Karp's important novel The Queen is in the Garbage. Lila will be reading from her novel and then she will be interviewed by Stephanie Solomon. Wine and noshies for all
three post card poems sent in mail

how to get there
missing you
sending this
getting from here
like a bird

[verso: talmadge bridge, savannah georgia, 70s]


a bird between two
so bright
good news or guilt
out of the blue
the theatre of the

[verso: atlanta international airport, 70s]


ordinary travel
paper whaling
return to
aethetics and time everywhere
relational character of everything

[verso: mystic river diorama, mystic seaport museum, 70s]
michael fried art and objecthood
job idea last night was to go to my space (conveniently located in santa monica) and get on their social networking for business implementation team -- I'm sure it is there -- leading the selling, training, and implementing of private my space networks at global companies; overlapping (and changing) networks then of 1) hiring group, 2) team, 3) division, 4) location, 5) internal clients, 6) business partners, 7) job role, 8) software / hardware user groups, etc. The latter exist, public social networking is trying to do external (goldman sachs alum, currently at chase, etc.), but this could allow for info-richer interoffice comms, easier restriction of public internet access, and
reading this morning from a cfw the la art girls might respond to

wondering why my sewing and scrubbing paintings were so poorly received


Allan Kaprow
Art Which Can’t Be Art
It’s fairly well known that for the last thirty years my main work as an artist has been located
in activities and contexts that don’t suggest art in any way. Brushing my teeth, for
example, in the morning when I’m barely awake; watching in the mirror the rhythm of my
elbow moving up and down . . .
The practice of such an art, which isn’t perceived as art, is not so much a contradiction
as a paradox. Why this is so requires some background.
When I speak of activities and contexts that don’t suggest art, I don’t mean that an
event like brushing my teeth each morning is chosen and then set into a conventional
art context, as Duchamp and many others since him have done. That strategy, by
which an art-identifying frame (such as a gallery or theater) confers “art value” or “art
discourse” on some nonart object, idea, or event, was, in Duchamp’s initial move,
sharply ironic. It forced into confrontation a whole bundle of sacred assumptions about
creativity, professional skill, individuality, spirituality, modernism, and the presumed
value and function of high art itself. But later it became trivialized, as more and more
nonart was put on exhibit by other artists. Regardless of the merits of each case, the
same truism was headlined every time we saw a stack of industrial products in a gallery,
every time daily life was enacted on a stage: that anything can be estheticized, given
the right art packages to put it into. But why should we want to estheticize “anything”?
All the irony was lost in those presentations, the provocative questions forgotten. To go
on making this kind of move in art seemed to me unproductive.
Instead, I decided to pay attention to brushing my teeth, to watch my elbow moving. I
would be alone in my bathroom, without art spectators. There would be no gallery, no
critic to judge, no publicity. This was the crucial shift that removed the performance of
everyday life from all but the memory of art. I could, of course, have said to myself,
“Now I’m making art!!” But in actual practice, I didn’t think much about it.
My awareness and thoughts were of another kind. I began to pay attention to how
much this act of brushing my teeth had become routinized, nonconscious behavior,
compared with my first efforts to do it as a child. I began to suspect that 99 percent of
my daily life was just as routinized and unnoticed; that my mind was always somewhere
else; and that the thousand signals my body was sending me each minute were ignored.
I guessed also that most people were like me in this respect.
Brushing my teeth attentively for two weeks, I gradually became aware of the tension in
my elbow and fingers (was it there before?), the pressure of the brush on my gums,
their slight bleeding (should I visit the dentist?). I looked up once and saw, really saw,
my face in the mirror. I rarely looked at myself when I got up, perhaps because I
wanted to avoid the puffy face I’d see, at least until it could be washed and smoothed to
match the public image I prefer. (And how many times had I seen others do the same
and believed i was different!)
This was an eye-opener to my privacy and to my humanity. An unremarkable picture of
myself was beginning to surface, and image I’d created but never examined. It colored
the images I made of the world and influenced how I dealt with my images of others. I
saw this little by little.
But if this wider domain of resonance, spreading from the mere process of brushing my
teeth, seems too far from its starting point, I should say immediately that it never left the
bathroom. The physicality of brushing, the aromatic taste of toothpaste, rinsing my
mouth and the brush, the many small nuances such as right-handedness causing me to
enter my mouth with the loaded rush from that side and then move to the left side —
these particularities always stayed in the present. The larger implications popped up
from time to time during the subsequent days. All this from toothbrushing.
How is this relevant to art? Why is this not just sociology? It is relevant because developments
within modernism itself let to art’s dissolution into its life sources. Art in the
West has a long history of secularizing tendencies, going back at least as far as the Hellenistic
period. by the late 1950s and 1960s this lifelike impulse dominated the vanguard.
Art shifted away from the specialized object in the gallery to the real urban environment;
to the real body and mind; to communications technology; and to remote natural
regions of the ocean, sky, and desert. Thus the relationship of the act of toothbrushing
to recent art is clear and cannot be bypassed. This is where the paradox lies; an
artist concerned with lifelike art is an artist who does and does not make art.
Anything less than paradox would be simplistic. Unless the identity (and thus the meaning)
of what the artist does oscillates between ordinary, recognizable activity and the
“resonance” of that activity in the larger human context, the activity itself reduces to
conventional behavior. Or if it is framed as art by a gallery, it reduces to conventional
art. Thus toothbrushing, as we normally do it, offers no roads back to the real wold either.
But ordinary life performed as art/not art can charge the everyday with metaphoric