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