misspent youth of reading

incl. David littlejohn, THE MAN WHO KILLED MICK JAGGER

the UC prof?

in grade school....


New American Writing: Vanessa Place and Martha Ronk

A breath mint and a candy mint
Event Info Host:
Hammer Museum
Music/Arts - Performance

Time and Place Date:
Wednesday, December 10, 2008
7:00pm - 9:00pm
Hammer Museum
10899 Wilshire Blvd

Contact Info Phone:


PXL THIS 18, the 18th annual Fisher Price toy camera film festival, premieres on Sat, Dec 6 at 7pm & 9pm (two different shows) at 7 Dudley Cinema, 7 Dudley Ave, Venice CA 90291, 310-306-7330, free admission, www.indiespace.com/pxlthis and www.myspace.com/sevendudleycinema Live 6pm music preshow with Sunny War.

PXL THIS 18 - Dec 6, 2008 - Sponto Gallery, Venice CA http://www.laughtears.com/
1- BIG BAD WOLF - Juniper Woodbury, 5 minutes
2- FREE LOVE - Sunny War, 3m
3- SCREEN SHADOW - George Russell, 3m
4- SMEAR THE LENS - Donovan Seelinger, 1m
5- WATERY CAMERA - Donovan Seelinger, 2m
6- CANNED ETE BALLS - Donovan Seelinger, 2m
7- BIRDLY - Geoff Seelinger, 3m
9- MINISTRY OF OIL - L.M. Sabo, 7m
10- ME, TERRENCE AND THE BOSS - Joe Nucci, 5m
11- UNTITLED BLUES - Jerron Paxton, 3m
12- ONE GOD - Edward LaGrossa, 3m
13- TAPE ELEVEN - William Rees & JoEllen M artinson, 4m
14- CHOOSE BLUES - Edward LaGrossa, 3m

15- KING'S HAWAIIN LULLABY - Denny Moynahan, 5m
16- THE FRUIT OF LOVE - Lisa Marr & Paolo Davanzo, 4m
17- THE TRIMORPHIC HYPOTHESES - Struan Ashby & Roy Parkhurst, 18m
18- PIXIE V ISIONS - Steve Binder, 5m
19- I'M NOT BEER - Willie Erokan, 6m
21- PXL PHIL - Douglas Katelus, 6m
22- HEY BABY - Douglas Katelus, 4m
23- APPROACHING STARS - Atton Paul, 4m
24- MAIL ART - Doug Ing, 2m
25- READING - Doug Ing, 5m
26- FOOM-GODZILLA VS COMMUNISM - Chris Bentley, 3m
27- DOES THIS LOOK SEXUAL? - Michael Koshkin, 5m
28- POSTCARD FROM HELL - Janor Hypercleats, 3m
29- MR. TV's SELECTION '08 - Janor Hypercleats, 3m
30- WONDERSTRUCK - Paul Bacca, 4m
31- RACING CAR - Anonymous, 7m

PXL THIS 18 also screens at the Unurban in Santa Monica 3-10-09, at Echo Park Film Center 5-14-09 & in San Fran - dates TBA '09. Info: pfsuzy@aol.com 310-306-7330 www.indiespace.com/pxlthis


Subject: An Evening of Spoken Word & Cello

First reading to celebrate PEEPING TOM TOM GIRL by East L.A. poet laureate Marisela Norte, accompanied by Chola con Cello! Monday night, free more or less, probably call library for reservations (see below)---great venue, no better reader! Best Monday evening:

524 S. Flower St. Garage
$1 weekdays until 9 PM with validation.
$7 maximum after 4 PM without validation.
$1 all day Saturday and Sunday during library hours with validation.
To receive validation, present your Los Angeles Public Library card
and your parking ticket at the Information Desk in the Main Lobby
during Library operating hours.

Phone: (213) 228-7025

Web: www.lfla.org/aloud

Central Library
630 W. 5th St.
Los Angeles, CA 90014


google says I edited my last post, about being the unfortunate resident "what's that smell" finder -- twice

anyway, it was the tuna, labelled TONGOL by Trader Joe's -- and the smell was so very very foul after two weeks? in the fridge opened... could it be used for torture? has it been? bad smells?

I am beginning to think of curative oromatherapy for the first time.


Sunday November 23, 2pm

Reading & Free Food & Wine Reception
Books for sale

Mark Irwin is the author of six collections of poetry; the last three include White City (BOA, 2000), Bright Hunger (BOA, 2004), and Tall If (New Issues, 2008). Recognition for his work includes four Pushcart Prizes, and fellowships from the Fulbright, Lilly, NEA, and Wurlitzer Foundations. He teaches in the Ph.D. in Creative Writing & Literature Program at the University of Southern California.

Cecilia Woloch is the author of four award-winning collections of poems, most recently Late (BOA Editions 2003) andNarcissus (Tupelo Press 2008), as well as numerous essays, articles and reviews. A fifth collection of poems is slated for publication by BOA Editions in 2009. She is currently a lecturer in the Creative Writing Program at the University of Southern California, as well as the MFA Program in Professional Writing at Western Connecticut State University, and is the founding director of Summer Poetry in Idyllwild. She spends part of each year traveling and teaching in Europe, and directs the Paris Poetry Workshop in Paris, France, each spring.

The Ruskin Art Club
Our Historic House on the corner of Plymouth & 8th
800 S Plymouth Blvd Los Angeles CA 90005
1 block s of Wilshire/3blocks w of Crenshaw
Come early to park on the street
310-936-7484 Elena Karina Byrne, Literary Programs Director


Pharmaka presents - The Third Area: Poetry at Pharmaka –
Thursday, November 20, 2008
featuring: Jane Hirshfield, Sandra Alcosser, Marjorie Becker, and Martha Serpas

Info: Pharmaka gallery -101 W. 5th St., Los Angeles, 90013 (at S. Main St.). Doors at 7 p.m. / stage at 8 p.m. Nibbles and scattered beverages will dot the premises (help yourself). $5 suggested donation. Pharmaka: www.pharmaka-art.org. Free street parking after 6:00. Valet parking at Pete's (on 4th and Main) and nearby lots are always an option.

November 20, 2008 Features

SANDRA ALCOSSER has published seven books of poetry, including A Fish to Feed All Hunger and Except by Nature, selected for the Associated Writing Programs Award in Poetry, National Poetry Series, Academy of American Poets James Laughlin Award, Larry Levis Award, and William Stafford Award from Pacific Northwest Booksellers. She received three NEA artist fellowships, and her poems have appeared in The New York Times, The New Yorker, The Paris Review, Poetry and the Pushcart Prize Anthology.

MARJORIE BECKER has received numerous awards including a Faculty Fulbright and fellowships from the National Endowment for the Humanities, the American Council of Learned Societies, and Yale University. She served in the Peace Corps in Paraguay and developed an oral history project in Mexico. She has written three poetry collections. Body Bach (Tebot Bach, 2005) introduced by David St. John, was nominated for The National Book Award. She teaches Latin American history and innovative writing at USC.

JANE HIRSHFIELD has written six collections of poetry including After (chosen as one of the best books of 2006 by the Washington Post, the San Francisco Chronicle, and the London Financial Times), and Given Sugar, Given Salt (finalist for the 2001 National Book Critics Circle Award). Her numerous honors include fellowships from the Guggenheim Foundation and the NEA. Her work has appeared in The New Yorker, The Atlantic, The Nation, Poetry, and has been featured on Garrison Keillor’s Writers Almanac.

MARTHA SERPAS’s two collections of poetry are Côte Blanche (New Issues, 2002) and The Dirty Side of the Storm (Norton, 2006). Her work has appeared in The New Yorker, The Nation, and Image. She has taught at Yale Divinity School, University of Houston, and University of Tampa, where she is poetry editor of Tampa Review. A south Louisiana native, she remains involved in efforts to restore Louisiana’s wetlands. Currently she works as a part-time trauma chaplain at Tampa General Hospital.

About The Third Area: Sarah Maclay (author, most recently, of The White Bride) serves as artistic director with curating collective members Frankie Drayus (finalist for the May Swenson Poetry Prize), Dina Hardy (2008 Stanford University Stegner Fellow), Tess Lotta (curator of Literati Cocktail reading series and editor for Media Cake eMagazine), Stephany Prodromides (chapbook manuscript finalist for the 2008 Center for Book Arts and co-host of Redondo Poets reading series) and Jan Wesley (author of Living in Freefall), hosting the series on the last Thursday of the month. (November and December are exceptions.)


a terrible deal for some poor slob, or the reson historical preservation goes wrong

these idiots want someone to give them $150,000. CASH in renovations OVER THE NEXT TWO YEARS + neg. "sweat equity" AND continual maintenance in return for a 35 year lease -- read, if you're a skilled enough renovator to even consider this, you will be out on your can at retirement age -- in a hick town no where near Charlotte, one of the towns MOST devastated by the finncial crisis, where real estate is worth JACK all to live in a house without functioning kitchen or bathrooms, and an old fashioned storage / bedroom / bathroom ratio -- which would be perfectly ordinary in CA, but happens to be in a small NC town

Preservation North Carolina is looking for a resident curator for El Nido in Shelby, one of North Carolina's most important bungalows.

Under the resident curatorship program, PNC will enter into a long-term lease with a curator/tenant who will pay rent in the form of services, specifically the rehabilitation and maintenance of the property, as well as provide periodic public access to the house.

El Nido (Spanish for "the Nest") is an extremely rare example of a Spanish Mission/California style bungalow in North Carolina. The house was built in 1921 for physician Emmett Wyattman Gibbs, his wife Maude Sams Gibbs, and their daughter Evelyn Ray Gibbs from house plans obtained from the Aurelius-Swanson Company of Oklahoma City.

The resident curator (or curators) will do all interior rehabilitation (estimated at $150,000, with tax credits available) and maintenance under a long-term lease (up to 35 years). The property may be used as a residence, business or combination; however, it must continue to provide a public benefit to the city of Shelby and state of North Carolina.

Preservation NC is accepting proposals of interest for the project through January 15, 2009. Download the complete brochure for more information.

Shelby is an attractive historic town of 21,000 located in the foothills of the Blue Ridge Mountains one hour west of Charlotte. Within walking distance of El Nido is a vibrant downtown with an array of shops and restaurants, active arts council, year-round Farmers' Market, and a city park complex with an Olympic-size swimming pool, a fully functioning 1918 Hershel Spillman Carousel, miniature train, and nine-hole golf course. Known as the "City of Pleasant Living," Shelby is home to PNC's Southwest Regional Office.

For more area information, visit www.cityofshelby.com.


Hey, MoMA got back to me and this is the work:

The work you describe is Mark Dion's Cabinet (From Project 82: "Rescue Archaeology: A Project for The Museum of Modern Art"), 2004. Here is a link to our website with a brief description of the work, although there is not an image on the site. I am attaching an image here for your reference (not suitable for reproduction). Many of the bricks were excavated during the renovation of the Abby Aldrich Rockefeller Sculpture Garden at MoMA, and are remnants of the Rockefeller townhouses that once stood where the garden is located.


Mark Dion. (American, born 1961). Cabinet (from Project 82 - "Rescue Archeology: A Project for The Museum of Modern Art"). 2004. Wood, aluminum, plaster, concrete, glass, plastic, paint, stone, ceramic, brick and various metals, 8' 6" x 59 1/2 x 36" (259.1 x 151.1 x 91.4 cm). Gift of the Freedman Family in memory of Doris C. and Alan J. Freedman. © 2008 Mark Dion

On view at MoMA

Gallery label text
Wunderkammer: A Century of Curiosities, July 30–November 10, 2008

Dion's sculptures and installations are based on the methods of categorization and display found in natural history museums and related sites. He filled this cabinet of curiosities with artifacts from an archaeological excavation in this Museum's Sculpture Garden; the drawings take the form of a page from a natural history textbook, and demonstrate Dion's classificatory and methodological systems.


note I just sent to MoMA; I think Brenadette Mayer / brick words is something I've commented on here before -- anyway, maybe someone here NOT an info co spammer knows the answer

Hello. I visited the museum last week; in one of the exhibits -- my guess is the appropriation one -- there is a sculpture / installation which appears to be a workbench and shelving unit which fetures a display of old bricks showing their company stamps. Our brick mason here in Los Angeles would love to see a picture of the work we've described to him, but 1) I can't find it on your site, 2) I don't remember the name of the artist or the work.

Any ideas?

We felt it was really interesting that the characteristics of bricks / manufacture / age Peter has been explaining to my husband and I over the years were part of the artwork's subject matter, and we were also wondering if the artist was aware of the reasons behind the "brick words" -- the information they convey.


There is some debate about the simple and obvious translation of "elpis" as "hope". Some scholars argue that is really should be translated as "expectation" since the root word is from "suppose". And in this context it is argued that what was left in the jar was not Hope as we know it, but the "expectation of ills" so that Man would be unpleasently surprised by ills that befell him instead of expecting them.
It is a job I remember having when I was a much littler kid than having jobs -- so I must've been less than twelve -- and I know I was hired, remember being hired, for my parents' oversight, but: before you are a babysitter, you are a vacation pet and house watcher, no? Come over, here's how you turn on and off the security, feed kitten, water needyplant, see if everything's ok?

Or maybe my career was launched when the Taylors went away -- it was summer (it wasn't one of the winter ski vacations we never took) -- and I was to feed the cats, and one day I fed the cats and I heard something weird, and the cats were odd, and for some reason I went to the basement, which I found was four feet deep in water and water was spurting out of pipes.

and after that, people said 75 cents an hour!!! all right!!!

At all the rest of the neighborhood parties that year, they made me out as a big hero, and without telling Lindy and Jenny (maybe), they gave me -- I dunno, at least 20 dollars. Of course, I called them (who called plumbers), ran home, called my parents, who called plumbers and them.


Come join us for the LAUNCH of Mommy Mommy! on Halloween night,
dressed as your favorite mommy!


Featuring writers: Robin Coste Lewis, Vincent Dachy, Alex Forman, and
Vanessa Place

Friday, October 31, 2008

$5 - $20 sliding scale. Donate a folding chair for free entry.

Doors 7:30pm | Reading starts at 8:00pm

compactspace 105 East 6th St., Los Angeles, CA 90016

Mommy, Mommy! is a literary art event where feminists and their friends
enjoy stimulating word-centered performances. The writing is beautiful,
intelligent, and strange, and so are the performers. Mommy Mommy! features
writers and other artists whose work, like the great fantastical and
fabricated mommy, scolds, abandons, soothes, and triggers. Mommy, Mommy!
fills the hole in your soul with the milk of the shamefully sexy unknown.


This event is supported by Poets & Writers, through a grant they received
from the James Irvine Foundation.
jack - fm is a computer-programmed rdio station in most major markets (here in la, we have two, running a few minutes behind one another, depending wher eyou are driving), trying to make a virtue of their no requests policy (requests never reflect the desires of listeners, but then, neither do the polls and surveys computer (radio) programmers rely upon)

have a slogan on buses around here that reads something like

why do we need disk jockeys
if there are no horses

I revise to

if there are no discourses

Here's a quote through from a review of a female-american-poets poetry anthology (hogue-frost's)

For example, Judith Butler, in her most recent collection of essays, Undoing Gender, writes: “fantasy is part of the articulation of the possible; it moves us beyond what is merely actual and present into a realm of possibility, the not yet actualized or the not actualizable.”

just wondering what the difference in definition between possible and actualizable might be... just typing it makes it seem obvious that "actualize" is a very contemporary word meaning "make actual" in a therapy/new age spea way, while "possible" seems more like potential?

and dictionary.com sez...

making exist in act or fact (the ACT/ION part being the important part)
to make what may or can be, exist, happen, be done, be used

so -- butler exploiting the variance between making exist what is made to exist by action vs. making exit what may or may not be made to exist?


making exist in f/act vs. making exist, happen, using, doing?


rhetorical break up of an ee cummings poem

somewhere i have never travelled, gladly beyond
any experience, your eyes have their silence:
in your most frail gesture are
-- things which enclose me,
-- or which i cannot touch because they are too near

your slightest look easily will unclose me

though i have closed myself as fingers,
you open always petal by petal myself
as Spring opens (touching skilfully, mysteriously) her first rose

or if you wish be to close me,
i and my life will shut very beautifully, suddenly,
as when the heart of this flower imagines the snow carefully everywhere descending;

nothing which we are to perceive in this world equals the power of your intense fragility
whose texture compels me with the colour of its countries, rendering death and forever with each breathing

(i do not know what it is about you that closes and opens;
only something in me understands the voice of your eyes is deeper than all roses)

nobody, not even the rain, has such small hands


Interesting local blog



Guy Bennett will be reading with French poet Jean-Michel Espitallier at Chung King Project on Thursday, October 16, at 7:30 PM. Chung King Project is located on Chung King Road in Chinatown, just behind Full House Restaurant. Address, contact info, and map below.

’Twould be a treat to see you there.

All Best,



Poet Jean-Michel Espitallier is the author of several books of poetry, including Le Théorème d’Espitallier (Flammarion, 2003), translated into English by Guy Bennett (Espitallier’s Theorem, Seismicity Editions, 2005), and Fantaisie bouchère (Derrière la salle de bain, 2001), translated by Sherry Brennan (Butcher’s Fantasy, Duration Press, 2003). He was co-founder of the journal Java, and co-editor of the feature on “New French Poetry” in the Magazine littéraire (March 2001). Espitallier also edited the controversial anthology Pièces détachées, une anthologie de la poésie française aujourd’hui [Bits and Pieces, An Anthology of French Poertry Today] (Pocket, 2000) and wrote the essay Caisse à outils, un panorama de la poésie française aujour’hui [Tool Box, A Panorama of French Poetry Today] (Pocket, 2006). He is curently working on various multimedia projects (sound, video, music, etc.), playing drums in a punk rock band, and giving readings and doing performances and lectures in France and abroad. His latest book, Army, has just been published by Al Dante. In 2009 he will publish an essay on Syd Barrett, rock ’n’ roll and other stuff.

Guy Bennett is the author of five collections of poetry, most recently Without Weight of Light (NeO-Pepper Press, 2006). His poems have been featured in magazines and anthologies in Brazil, Canada, France, Italy, Mexico, Morocco, and the US. Other recent publications include (with Béatrice Mousli) Beyond The Iconic: Contemporary Photographs of Paris, 1970–2003 (Angel City Press, 2008), and (with Brendan Hennessey) a translation of Adriano Spatola’s Toward Total Poetry (Seismicity Editions, 2008). Guy Bennett has also translated works by Nicole Brossard, Jean-Michel Espitallier, Mohamed Khaïr-Eddine, Mostafa Nissabouri, Jacques Roubaud, and Giovanna Sandri. He lives in Los Angeles, teaches at Otis College of Art and Design, is the publisher of Seeing Eye Books and co-editor of Otis Books / Seismicity Editions.

Chung King Project

945 Chung King Road

Los Angeles CA 90012

213 625 18022


Map and directions at:

Ernesto Laclau: Articulation and the Limits of Metaphor
Presented by CalArts MA in Aesthetics and Politics
at RedCat Thur, Oct 16 at 8:30pm

Argentine political theorist Ernesto Laclau, one of the most influential thinkers of our time, will be on hand to expound on his latest works and their relationships with contemporary political processes in a conversation with fellow political theorist Martín Plot.

tickets 213 237 2800
General $10
Students and CalArts Alums with affinity card $5
CalArts Students, Faculty and Staff FREE


Title: Marjan's Opening

Date: Saturday October 4, 2008
Time: 6:00 pm - 9:00 pm
Location: (LA Art Association/Gallery 825) 825 N La Cienega Blvd
Street: 825 N La Cienega Blvd
City State Zip: Los Angeles, CA 90069
Phone: 310 980 5548
Notes: I believe that the fun stuff starts around 8:00 - 8:30 ish
still trying to figure out the methodology for the issue 1 anthology, though "Luke Daly's" poem might be a WCW rewrite, with the red and the rain and the birds

found this on essay 411

Sources list for CATHERINE DALY

Dali, Salvador: (Essay in) "Dali, Dali, Dali" Draeger, Imprimateurs, 1974
"Invention of the Monsters"

Abrams, Harry N,: (Essay in) Dali, Dali, Dali", Draeger Imprimateurs, 1974
"Invention of the Monsters"

Editors. "Salvador Dali Art Gallery." Dali-gallery.com. 2004. 29 Dec. 2004. < [1]http://www.dali-gallery.com/html/dali.php >
Salvador Dali

Edwards, Catherine. "Introduction." Lives of the Caesars. Suetonius. Ed. Catherine Edwards. New York: Oxford University Press, 2000.
Caesar's Military Career

Rafferty, Catherine. (October 19, 2001). Socrates in the Apology. Retrieved from the Internet at: http://catherine.rafferty.org/index.htm.
The Alleged Hypocrisy of Socrates
"my" poem in issue 1 hoax anthology

A majority

Distant as an exultation
An end of keys
A liberty
Like a matter
Coming goals and novel shouts
Like a day
Like a spirit
Hocks turned without mud
Sure windows and omnipotent
. shanties
Boring heaven
Bonnie as a content
Candid as sleep
The candid skies
A mistake of majorities
Covert as a shout

Catherine Daly
page 1808

the question is, how was it written? I don't think it was written from my work, because I rarely use similies, prepositional phrases starting with "of" or the words "spirit," "candid," and "covert" -- unless it was babelfished a few times, or if it is googleism from reviews? or from words that rarely appear -- you know, one-use words


Late Night Snack
at BPD at the REDCAT lounge
Tuesday, Again On Tuesday, but Earlier!
Tuesday, September 30 at 7:30pm


eat a little muenster cheese. From what I've been waking up sitting
there are those other times I get out of craker in the night eating
really bad for everyone because I reach for about 2 tbsp.
If you still do, just make me FAT! Yeah...midnight
snacking really high carb stuff like crackers. I know people here are
taking in my appitite because I know people here are those 20 crackers
is pretty bad for a portion on a change in the music, dance,
manifestos, theory, poems, pictures, masks and get that guest artists
will hopefully help you wake up a better alternative for cottage
cheese - it's filling and simultaneous poetry. The soirees were often
raucous events with aromatic forms attacked the craving, it reduces
the audience attacked the cabaret ye Cabaret's stage.
Ye Cabaret's stage. Mirroring the body.
Just be very strict with new forms attacked the middle

At Late Night Snack on February 17, 2008:
Allison Carter read.
Caribbean Fragoza read.
Danielle Adair read.

At Late Night Snack on November 15, 2007:
Sean Deyoe lectured.
Michelle Detorie read.
Sandy Ding and Mathew Timmons improvised a film score.
Ara Shirinyan read.
Teresa Carmody and Vanessa Place read and asked others to read.
Amanda Ackerman and Harold Abramowitz read.
Jason Brown lectured and led a sing-along.
Danielle Adair performed.
Honey Crawford, Jen Hofer and Billy Mark created poetry.
Laura Steenberge talked.
Liz Glynn and Matt Kool performed.

At Late Night Snack on October 25, 2007: Sandy Ding screened two
films, accompanied by Laura Steenberge on bass. Heather Lockie played
banjo and sang, accompanied by Laura Steenberge on bass. Mitsu Salmon
performed. Marcus Civin read. … At Late Night Snack on October 11,
2007: Susanne Hall read and presented a movie with Ryan Adlaf. Harold
Abramowitz and Mathew Timmons collaborated. Amanda Ackerman read.
Jason Brown lectured about poetry and memory. Michelle Detorie read. …
At Late Night Snack on September 27, 2007: Gerard Olson read. Michael
Smoler read. Catherine Daly read. Laura Steenberge & Heather Lockie
composed and performed a film score. Michael Kelleher read. Emily Lacy
played guitar and banjo and sang. … At Late Night Snack on September
13, 2007: Liz Glynn performed Untitled. Ara Shirinyan read. Eileen
Myles read. … At Late Night Snack on August 7, 2007: Harold Abramowitz
and Mathew Timmons collaborated. Amanda Ackerman read. Ara Shirinyan
presented a paper. Jenny Hodges showed slides and read. Everyone
collaborated with the internet. … At Late Night Snack on July 24,
2007: Mary Kite showed a video and read. Laura Steenberge played bass
and Heather Lockie played fiddle, they both sang. Jane Sprague read.
Franklin Bruno played guitar and sang. … At Late Night Snack on July
10, 2007: Danielle Adair read and danced. Maximus Kim presented his
manifesto. C.J. Pizarro told 3 jokes, read 3 poems and sang 3 songs.
Stan Apps read. … At Late Night Snack on June 26, 2007: Alyssandra
Nighswonger played guitar and sang. Jane Sprague presented Syria is in
the World by Ara Shirinyan. Ara Shirinyan read from Syria is in the
World by Ara Shirinyan. The Year Zero played music. Alan Semerdjian &
Will Alexander created music. … At Late Night Snack on June 12, 2007:
A film by Danielle Adair. Will Alexander gave a lecture. Laura
Steenberge played bass and sang. Todd Collins read. Stan Apps read.
Lee Ann Brown did string tricks. Tony Torn and Lee Ann Brown presented
a reading. … At Late Night Snack on May 29, 2007: A film by Nick
Flavin. Jane Sprague performed. Laura Steenberge gave a lecture. Emily
Lacy played banjo and sang. Will Alexander read. … At Late Night Snack
on May 15, 2007: Ara Shirinyan read. Laura Steenberge played guitar
and sang. Emily Lacy spontaneously played guitar and sang. Dan
Richert's hi-tech hut made sound. … At Late Night Snack on April 24,
2007: A film by Danielle Adair. Laura Steenberge played stand-up bass
and sang. Teresa Carmody read. Sean Deyoe performed karaoke. Stan Apps
read. Sandy Ding performed the Flash Light Show with Laura Steenberge.
… At Late Night Snack on April 10, 2007: Emily Lacy played banjo and
sang. Jen Hofer and Billy Mark created spontaneous poetry. WAMPA
staged the Dialectical Fuss. Frederique de Montblanc and Janne Larsen
presented the Masculinihilist Manifesto. … At Late Night Snack on
March 20, 2007: Maximus Kim explained his manifesto. Ara Shirinyan.
Milly Saunders read. Frederique de Montblanc and Janne Larsen
presented a film. Jen Hofer read, assisted by William Mark. … At Late
Night Snack on March 6, 2007: Mathew Timmons read. Oliver Hall played
guitar and sang. Emily Lacy played banjo and sang. Stan Apps lectured
spontaneously. … At Late Night Snack on Feb 20, 2007: Michael Smoler
read handmade tarot cards and projected them on the wall. Emily Lacy
played banjo and sang. Ara Shirinyan read. Jane Sprague read, assisted
by Marcus Civin. … At Late Night Snack on Feb 6, 2007: Marcus Civin
performed. Oliver Hall played guitar and sang. Roy Lanoy (Stan Apps)
read from the WAMPA mailbag and dispensed advice. Alex Maslansky
played guitar and sang. Nature's Nobleman, Sir Oliver Hall, read from
his WAMPA Conference address. Emily Lacy played banjo and sang. Teresa
Carmody and Vanessa Place presented Turkey Trot. … At Late Night Snack
on Jan 16, 2007: Marcus Civin performed, Oliver Hall played guitar and
sang, Lloyd Ducal (Joseph Mosconi) and Roy Lanoy (Stan Apps) presented
the tenets of WAMPA, Michael Smoler read handmade tarot cards and
projected them on the wall, Darin Klein presented Untitled Performance
with Stan Apps, Jesse Aron Green, Steven Reigns, and Christopher
Russell, Emily Lacy played banjo, fiddle, and sang … At Late Night
Snack on Dec 19, 2006: Oliver Hall played guitar and sang, Cat Lamb
and Lewis Keller performed a composition for viola and electrified
cymbal/electronics, Stan Apps read, Khanh Tran performed a recital on
the theremin … At Late Night Snack on Dec 5, 2006: Oliver Hall played
guitar and sang, Michael Smoler read handmade tarot cards and
projected them on the wall, "Ghost drawings 'were' brought fourth
throught the ouija board assisted by christian cummings and michael
decker.", Teresa Carmody and Vanessa Place played Judgment Day Bingo
with the audience, Ara Shirinyan read … At Late Night Snack on Nov 21,
2006: Ara Shirinyan read, Sandy Ding performed the Flash Light Show,
Oliver Hall played guitar and sang.
REDCAT is located in the heart of downtown Los Angeles at 631 W. 2nd
St., on the northeast corner of the intersection with Hope St. We are
housed in the Walt Disney Concert Hall complex but have our own
separate street entrance on 2nd St.
Directions to REDCAT

From US-101 southbound: Exit at Temple St. in downtown Los Angeles and

turn left (east) onto Temple. Turn right at Grand Ave. Turn right at
2nd St., then turn right again into the Walt Disney Concert Hall
parking garage. Proceed to level P3 for the REDCAT entrance.

From US-101 northbound: Exit at Grand Ave. in downtown Los Angeles and

turn right (south) onto Grand. Turn right at 2nd St., then turn right
again into the Walt Disney Concert Hall parking garage. Proceed to
level P3 for the REDCAT entrance.

From I-110 southbound: Merge onto US-101 southbound as you approach

downtown Los Angeles and follow the directions above.

From I-110 northbound: Exit 4th Street. Turn left at Lower Grand Ave.

Before Lower Grand dead ends, turn left into Walt Disney Concert Hall
parking garage. Proceed to Level P3 for the REDCAT entrance.

Via Metro Rail: Take the Metro Red Line to the Civic Center Station.
Proceed west on 1st St., turn left (south) on Grand Ave., and turn
right (west) again on 2nd Street. The REDCAT entrance is at the corner
of 2nd and Hope Streets.

The Metro Gold Line connects to the Red Line at Union Station, one
stop east of the Civic Center Station. The Metro Blue Line connects to
the Red Line at the 7th St./Metro Center Station, two stops west of
the Civic Center Station. See mta.net.

Please plan on arriving at least 30 minutes before curtain time.
Seating at REDCAT is unreserved, and late seating is not guaranteed.

Parking is available in the Walt Disney Concert Hall parking garage.
Enter from 2nd St. and proceed to level P3 for direct access to
REDCAT. The evening event rate is $8 after 5 p.m. Before 5 p.m., the
maximum daytime rate is $17.

Please note that parking rates at Walt Disney Concert Hall are
determined by the County of Los Angeles and are subject to change
without notice.

Self-parking is also available at the Five Star parking lot on the
corner of Hope St. and Kosciuszko Way. This lot is open until 7 p.m.
and offers maximum daytime rates of $10, and $6 after 4 p.m.


Descendants of Francis Le Baron of Plymouth, Mass By Mary Le Baron Esty Stockwell

Descendants of Francis Le Baron of Plymouth, Mass By Mary Le Baron Esty Stockwell: "thanks are due to Mr Frederick Dielman for his kindness and courtesy in allowing the use for the frontispiece of a copy of his etching A Colonial Wedding which represents the marriage of Francis LeBaron and Mary Wilder The Rev Calbraith B Perry DD has"
really uplifting talk with family friends, Marc and Cris Mackey -- especially since Cris has more campaigning experience than Palin, and also M&C began their family early on, and have three girls (plus an adopted son), and, and.

but here's the simpler cut n'paste from ebay re ceiling fans

wide (but wood) paddle and not the wicker "whisper' sound -- worth considering

whitewash this hunter
buy this online

synthetic blades


now to begin thinking about "sacredness" and "purity" -- appropriate this anniersary year for the first edition of TECHNICANS OF THE SACRED, eh? written by a person named Catherine = katharos = pure? i.e., some things I DO spend a lot of time thinking and knowing about

a) the sociological/anthropoligical work done by the author of the edge article was purportedly done in India. where I did mine! I would suggest that subcontinental purity vs. pollution is quite different from greek catharsis, purgation, purity. subcontinental purity vs. pollution issues then encoded in things like the caste system and religious practices are, well, yes, originally a lot about poo and things like that; they have a lot in common with leviticus / kosher laws. if you eat with your hands and wipe poo with your hands, you probably designate one hand for the food, and another hand for the processed food. and you probably designate your dominant hand for the food. and so the other hand is probably the polluted, or bad hand. and it is probably a pretty sticky wicket to be a southpaw in such a society. but, other than a sort of wasp-y "nocd" series of attitudes that political conservatives who are wealthy are very good at manipulating, and political conservatives who are not wealthy are very manipulated by, I would suggest that catharsis is about emotional purgation and communication. something that prepares one to encounter a western sacred through ritual, or an inner eastern sacred state. not about poo.

> But if Durkheim is right, then sacredness is really about society and its collective concerns. God is useful but not necessary. The Democrats could close much of the gap if they simply learned to see society not just as a collection of individuals—each with a panoply of rights--but as an entity in itself, an entity that needs some tending and caring. Our national motto is e pluribus unum ("from many, one"). Whenever Democrats support policies that weaken the integrity and identity of the collective (such as multiculturalism, bilingualism, and immigration), they show that they care more about pluribus than unum. They widen the sacredness gap.

this seems utterly hollow to me; how does inclusiveness weaken the collective? it forms it. what is a collective but an entity made of a collection? warning to psychologists: take some Literature courses, already. our national motto is about many STATES, one NATION, not "some of the people who happen to be living here, who are united by a set of religious beliefs"

> Sanctity does not have to come from God; the psychology of this system is about overcoming our lower, grasping, carnal selves in order to live in a way that is higher, nobler, and more spiritual.

This is SUCH a strange notion.

WHAT IF mind and body aren't separate? WHAT IF we all have one life to live and nothing follows? Doesn't that throw off little sparks of, "well, maybe then shafting people of different sexual orientation or body type or nationality or religion is REALLY REALLY WRONG"? Unfortunately, for many who firmly believe first that the rapture is coming and mind and body are separate, what can even in the imagination replace heaven is not only mortal fear and fear of mortality, but also the fear of complete suspension of ethics and "selfishness"(not a la Rand or Nietsche) of "the enemy" Hitler, the great satan, the serial killer, and the unbelievable pressure and responsibility one must assume. I mean, wow, what if "they won't get theirs" and a little prayer won't make it better, and handing it over to a higher power is just a mind fuck? well, then we had better have a sense of the sacredness of the collective and the value of the individual. In other words, the politics of fear -- if the liberals want to do that, which I think is pretty crappy, but -- can be based on the fear of no god just as it can be based upon fear of god and disdain of the godless.



A Durkheimian society would value self-control over self-expression, duty over rights, and loyalty to one's groups over concerns for outgroups.

A Durkheimian ethos can't be supported by the two moral foundations that hold up a Millian society (harm/care and fairness/reciprocity). My recent research shows that social conservatives do indeed rely upon those two foundations, but they also value virtues related to three additional psychological systems: ingroup/loyalty (involving mechanisms that evolved during the long human history of tribalism), authority/respect (involving ancient primate mechanisms for managing social rank, tempered by the obligation of superiors to protect and provide for subordinates), and purity/sanctity (a relatively new part of the moral mind, related to the evolution of disgust, that makes us see carnality as degrading and renunciation as noble).

This is a quote from the edge.com, and, frankly, I have a problem with the categories, *especially* the last three, which I expect any more educated respondant might, and which I suspect may be skewing the results: harm/care are opposites; fairness/reciprocity are complimentary (both related to equality) but are not antonyms or synonyms; ingroup/loyalty are related, but "ingroup" has negative connotations, since it implies exclusion, while loyalty comes in all flavors; authority/respect is a truly odd coupling, but the explanation seems to indicate that what is really intended is "respect for authority / responsibly acquitting duties"; purity/sanctity are another odd pair, and I frankly don't have a handle on how they are trying to make "sanctity" operate as a category.

So, I think they're really misunderstanding Durkheim here. Or maybe I am; I dunno much about that Durkheim lad. Mill is about protection, service, and equality; is Durkheim about loyalty in exchange for protection, respect reinforcing equality, and responsibility derived from service PLUS? Putting "sanctity" aside again, I think it is plain to see how these pretty common values have been exploited. We have been protected from problems we created in order to have our loyalty policed; we have been asked not to respect others because they are equals, but because they are superiors (mostly through this manipulation of authority); and no responsibility or assumption of true duty or service has occurred.

If Durkheim is about "ingroup, authority, purity" then, well, yeah, that's pretty objectionable stuff. Exclusion, hierarchy, and -- there again, purity, I'm not ready to touch that yet -- that's pretty unAmerican stuff.

All of this makes me think of the odor of sanctity that accompanied some sainted individuals -- individuals made saints, exemplars, ideational intercessors to more difficult and complex moral truths. No one knows if a person is pure or holy except by that person's actions or other outward signs, where language is a sign, not a statement, like "I am good with God," but "I think thus and thus and thus," and we judge that.

Another tactic is: this seems to be a gross misunderstanding of how american protestantism has historically worked. Now, I am willing to concede that this is not a primary area of my expertise, and that it seems to be operating differently than formerly. However -- a stab at it -- the ability of believers to have a direct communication with god, rather than one mediated by a church, is a founding principle of most protestantisms, no? and we have seen one of our vp candidates SHOP for religion by moving from church - mediated religion (roman catholicism) to direct emotional relationship with god (pentacostal) to direct literal (no interpreation necessary) reading of "god's text" (bible church).


The Ups & Downs
At Betalevel
September 2008 – May 2009

The Ups & Downs is an installation series. The show goes up, the show goes down. Opening party on Thursday night and closing party the next night, on Friday. No time for exhibitions. Low impact, ephemeral and immersive art. People with lots of People. The market. It’s a party. Time for the underground. It’s a ball. It’s for The People. This has been made for you. Do I know you? The show must go on. Installed and De-installed. Up. Down. Now what? Now then…

The Ups & Downs is:

Pablo N. Molina
Thursday, September 25, 2008, from 7 p.m. to 10 p.m.
Friday, September 26, 2008, from 7 p.m. to 10 p.m.

Continuing an exploration of human-media interaction, Pablo N. Molina’s newest work uses digital projection and custom software to create a dynamic spatialized interface where human movement is processed and extended. An immersive and responsive video display and digital sensory framework will track both presence and movement to produce an intricate and reactive environment. Meaningful conversations between human stimuli and data processing are temporarily registered as visual and auditory output. Viewers should feel free to explore and discover new modes of action and reaction. The purposely open-ended coding framework allows for completely unexpected, though never random, modes of feedback.

Pablo N. Molina is a Los Angeles and New York City based video, lighting and sound artist. His work has appeared in several galleries and numerous theatrical, music and dance performances including pieces by Carl Hancock Rux, Neil Denari, Karin Coonrod, Bebe Miller, Aimee Michelle, Lars Jan, Mira Kingsley, Sam Gold, Chi-wang Yang, Benny Sato Ambush, Cloud Eye Control, Rachel Boggia and High Jinks Dance Co. His digitally generated video content was prominently featured in Linkin Park’s recent Projekt Revolution world tour. He is currently collaborating with MODE Studios in Seattle to develop a large scale interactive video and sound installation commissioned by a prominent Fortune 500 company. Pablo teaches video design and programming at CalArts.

Marcus Civin and Candice Lin
Thursday, October 23, 2008, from 7 p.m. to 10 p.m.
Friday, October 24, 2008, from 10 p.m. to 1 a.m.

When the wind got too rough, and the ship was pitching, sailors took an axe to the mast, so the lighting wouldn't catch. We were at the top, in the crow's nest, tangled in the nets and in the tatters of the sails. When it was all over, we climbed out and found we had washed upon a beach of graphite sand. Shipwreck! Enormous Crow's Nest built to reach the ceiling, stuck in and consuming the underground space at Betalevel.

Candice Lin and Marcus Civin both attended Brown University at the same time but never really met there. They both lived in San Francisco but never met there, though they had friends in common. A mutual friend, Maggie Foster, encouraged them to meet up in LA. As a result, they have been exchanging ideas for the last 2 years. Candice is planning an exhibition for Chung King Projects. Marcus is almost finished his MFA in Studio Art at University of California, Irvine.

Dan Richert
Thursday, November 13, 2008, from 7 p.m. to 10 p.m.
Friday, November 14, 2008, from 7 p.m. to 10 p.m.

*sc3gzr* is an interactive gamepad-controlled text stream filter designed around pattern-based text filtering functionality similar to that found in the UNIX tools grep and sed. Filtering patterns are determined by control messages sent from the gamepad. *sc3gzr* is an experiment in non-linear text presentation.

Dan Richert is a programmer and digital artist. His work primarily focuses on computerized text and audio generation, recombination and breakage.

Danielle Adair
January 2009

Danielle Adair’s work utilizes performance, video, sound, text, and multi-media installation to address current events in phenomenological ways. By realizing work through different forms, she aims to avoid any particular narrative trajectory, and to, in turn, heighten sensitivity to one's social and theatrical surroundings. The subject matter of her recent projects include mental illness within current diagnostic understanding, systems of education, and wartime experience.

Danielle Adair is an interdisciplinary artist based in Los Angeles. Most recently she has performed and/or exhibited work at The Museum of Contemporary Art - Los Angeles, the Roy and Edna Disney CalArts Theater, UC Santa Cruz, Beyond Baroque, and Track 16 Gallery. Currently she is at work on a performance-essay based on one female soldier's experience while stationed in Bagram, Afghanistan.

Bari Zipperstein
February 2009

Bari Ziperstein’s artistic practice is engaged with the architectural history of Los Angeles by drawing attention to the way built environments are designed – both as architectural and as aspirational consumerist constructs. Her site-specific sculptures, collages, and photographs challenge viewers to discern the familiar from the strange, and to question the attachments – be they psychological, economic or emotional – that consumers tend to project onto spaces and the objects that decorate and adorn them.

Bari Ziperstein, who lives and works in Los Angeles, is a site-specific sculptor, photographer and collage artist. Ziperstein holds her MFA from CalArts and double majored at Ohio University to receive a BFA in painting and a Women’s Studies Degree. Exhibiting and reviewed internationally, Bank - Los Angeles - currently provides Ziperstein with representation. To view Ziperstein’s complete work visit: www.bariziperstein.com

March 2009

"Skullphone" is an artist who works anonymously in city streets and deserted highways, incorporating his artwork into the urban environment. While ten foot tall posters loom high above building walls, small supporting incarnations blend into utilitarian spaces including gas stations, public bathrooms, parking meters, roll-up gates, and trash dumpsters—the unique platforms and non-blank canvases from which Skullphone "speaks".
Skullphone's monochrome pieces revolve around the central image of a skull holding a mobile phone, and usually take the form of classic wheat-pasted posters. Interpretations reflect modern fears about phone radiation and technology, and at the same time the image says something wider about the darker side of consumerism and the commodification of life.

Liz Glynn
April 2009
Trash predicates revolution.
Ruin leads to rebirth.

Liz Glynn's practice seeks to embody dynamic cycles of growth and decay. Through a production process which combines transformative recycling with traditional sculpture techniques, she creates objects which are fragile, temporal, and cannot cheat death like the mythologized museum artifact. For The Ups and Downs, Liz will present a new series of actions which consider the relationship between garbage and revolution in the twenty-first century.

Liz Glynn uses objects and actions to explore the ambition of empire and the pleasure of ruin. Recent works include the 24 Hour Roman Reconstruction Project at Machine Project, and the In the Beginning is the End, a Processional for Los Angeles in Chinatown. Her work has been presented at venues including Acuna-Hansen Gallery (LA), John Connolly Presents (NYC), and will be included in an upcoming project at LACMA. She has attended residencies at the Atlantic Center for the Arts, Vermont Studio Center, and soon will travel to O'artoteca in Milan. Reviews of her work have been published in Art Lies and the Los Angeles Times.


well, the 28 ft ladder is still at Phantom Galleries, but the LAAG show is down;

here are the poems from the LA XPress text object (rug); I think mine are inthe archive here?

My Beautiful Doormat
C. Parducci

Newsprint, tightly rolled and strung together to make a mat of some kind. Too big to be a placemat -- it'smore like an area rug or a doormat. A beautiful doormat -- the kind you feel bad wiping your shoes on.


Adult Say
E. Montgomery

Sensual Massage, Private Sipping
and hot dimes.
It's about you sexy girl
Try credit
Try Sable
Try Maria


Somber Sauce

Sweet surrender down sunshine alley ways leading to the glittering concrete bush that never ends. The liquid engulfs my ankles while...


Pragmatic, functional
Plcemat, Rug for life
reality stands behind
Picks up the scraps
is never read
But supports us.


Hot Body was a guy in West Hollywood in for illegal purposes.



Vamo Boquita Carajo



West Hollywood - Santa Monica (Sta.) Bl.
Abby, Specialities

Perfect Body


Paper Boy in a Small World
Paper Boy

Sometime you've got to make a delivery.


Banbo Blind

lightweight Disposal for practical purpose



West Hollywood Specialties


West Holly An

Lets relax, SF lucky M
with news specialties, .



Live the Journey
For every doorway is
a Destination to
the Other.


Message to Yuppies

Leave Downtown?


[korean text I don't know how to transcribe, but which is, not doubt, in the LA XPress text object]



News Rolls

names ad ties.


World News

Valley Hot Body, Nice + Clean
Exciting Specialties


Put This on a Table

Cynthia was A Guy
Norn in Lebanon
Independent Asian Sweetie

I really love my husband's fiction. Links to it @



change agent
reading o RING OF

she rose from those / lovers of the difficult
the hours were wild, welcomed her sea pink, violet, welcomed
and no man knows the story, and that's a shame to whom

Slavoj Zizek is in conversation at Central Library, 630 W 5th St, btw S Flower St and S Grand Ave, 7pm, Reservation required


still too chicken to post this to wompo

this part is from yesterday

my "a" and "s" keys are on the way out

because I have been thinking today about a certain political party's likely nominees to the executive office together with this list and with -- admittedly, not just poetry, but also teaching


while I ws disturbed by the "writing the body" feminist trend in criticism and art as having some strange-to-receive spects vis a vis biological difference nd aesthetics before now, the focus on the female, fertile bodies in the election is disturbing & throws a new light on this -- is it more possible for mle writers to leave the body and its functions behind? is there a matching effort, say in some fatherhood poems, for male poets to reach out *to* society and the body in order to ground the work, because otherwise it is not s grounded as women's writing?


many single issue voters will vote for a certain party's ticket on moral, not political, grounds, many for a single issue (to overturn Roe and continue to attempt to make political appointments to the Supreme court)

many candidates who are not particularly religious, spiritual, or church-going have felt it important to make (often empty) gestures toward showing this;
I am increasingly distubed by the gap between rhetoric and analysis of action -- at the same time

I have noticed -- particularly among younger writers -- an increasing willingness to apply a moral opinion to writing of others -- i.e., this writing is not "right" because it is not situationist, formal, etc.

or a larger intolerance, "being a vegan/following the 100 miles guideline/organic/fair trade is the only ethical way to live -- even the sympathetic characters in this story are eating EGGS"


a certain choice for vice president converted from roman catholicism to a pentacostal protestantism; whereas in the past, a concern, perhaps left over from the reformation in England, was that a foreign power would be making decisions about censorship, stands on political issues, etc., so much so tht many roman catholic politicians carefully distinguish their beliefs and those views espoused by their religious leaders from the way they would govern, one candidate hs (in some cases unsuccessfully) tried to align policy -- including book banning, censroship, library book budgets -- with her adopted american-based religion

or, "faith shopping"?

we are all familiar with the sad fact tht homeless men surf porn on public library computers next to children researching school reports, and with budget cuts for book buying, and controversies over text choices in public institutions of learning

but what of poems and books and movies that represent a range of human experience, not what is "right" and perhaps not with a frame like "this is purient" or an interpretation or judgment applied? is this the message of reality tv or incest poems -- it really happened, so, whatever, what can we do?


age of consent, voting age, parents' and the state's responsibility to protect and provide for education and health until 16? 18? 21? in an age of earlier and earlier physical maturity and greater ideational access to adult society? women as teachers, and institutions in loco parentis?


Hi Art Friends,

I am writing to invite you to two exciting art events this week that I am involved with.

The opening reception of Documental, a video Exchange between Los Angeles and German artists.
Kim Schoenstadt and I have co-curated this exchange, in conjunction with artist collective Nüans, in Düsseldorf, Germany. The artists in the show are:
Anina Brisolla, Eli Cortiñas Hidalgo, Marcus Herse, Kao Okada, Angela Ellsworth, Nancy Popp, and Kevin Young and Kent Young

The opening reception is 5:30-8pm on Thursday, Sept 4th at the Guggenheim Gallery at Chapman University
For info call: 714-997-6729
Address: 1 University Drive, Orange, CA 91866 (the Guggenheim Gallery is in the Moulton Center, at the corner of Palm and Center streets at the SE corner of campus)

SECONDLY (but related): Anina Brisolla is giving a lecture on her work at Chapman tomorrow night (Wednesday, Sept 3rd) from 7 - 8pm (also at Chapman, in Moulton Center, rm167)

Anina is visiting from Berlin. Her video, Porto Heli, is featured in the Documental video art show at the Guggneheim Gallery (Sept 2nd through October 4th). Anina studied art at the School of Visual Art in New York, and at the Academy of Fine Art in Enschede, The Netherlands, and has exhibited her work in Germany, France, Sweden, Vienna, and The Netherlands.

Brisollas’ work plays with the transfer of media, the translation from real world to scale-model on to video, referring again to another medium: that of painting and drawing. With this cross-examination of media she questions conditions of perception itself and creates spaces that all share one fundamental tone: a melancholic commentary about society’s need for efficiency.
Palin first attended Hawaii Pacific University and then transferred to North Idaho College in Coeur d'Alene. In the fall of 1984, she transferred to the U of I. She attended U of I that semester and in spring 1985, spring 1986 and fall 1986. She took two breaks to return to Alaska, including the spring semester of 1987 as an intern at a television station. After graduation, she returned to Alaska to work for KTUU in Anchorage.


neither one of her college-age children seems college bound; at lest the last few presidential children have attended UT, Stanford, Yale...


John McCain made a little joke at his wife's expense. Referring to her alma mater -- Cindy McCain is a graduate of the University of Southern California, where she was a cheerleader and sorority sister -- he called it "USC, the University of Spoiled Children."


does he even know where his children went to school? are his sons in the military college grads? dunno


open draft response to a guide to religious ministries, 2002, one of the items I got for $2 a bag in Winchester, VA (including six pr ferragamo and bruno magli slingbacks and three pr leather slip on sandals (red maine trotters, black patent talbots flats, ... and airplane books and levis, a sweater, a shirt, and not including black hills gold earrings and amethyst earrings for 50 cents)

ah, materialism and the opprtunities a 6 - 7 N foot accords

the decision to dedicate one's life/self to a vocation is different than tht of choosing a career

of course, we all have several careers, aside from our vocations, but there are those with trditional vocations, or without them -- ex., parenting as a vocation or adopted vocation vs. inattentive or accidental/inattentive parenting or "assumed" giving birth to children w/o western high culture "parenting" -- and there are those with non traditional vocations -- artists -- and there are those with careers that some others have as vocations -- ministry, scholarship/teaching, etc.

can this decision be recast as an answer to a question -- what will I do with my life? vs. what will I be / who am I? -- I say 1) only insofar as one desires to actually control the uncontrollable can one attempt to make these decisions -- not just once and for all but at all -- although these questions are of course always at the forefront of the thoughts of a fully conscious human

questions are not answers, and decisions are; it is interesting the greater tension between "deciding" what one's real essence / being IS or WILL BECOME versus "deciding" the meaning -- the interpretation of the process and series of events and objects produced in a life -- one would like to have applied to one's efforts/process

here our book goes onto claim that a question about being -- a "call" to "answer" the question Doris Day sang /discussed in "que sera, sera" -- a "call" to "nounship" (state of being) is THE CALL


the commitment to the religious vocation section is weird; I think it is trying to communicate the way that a sense of purpose proceeds from the tautological relationship between honoring what one IS and BEING

this view of vocation is that vocation expresses what one is / one's being, while occuptions do not do this

I love tautology; I think it is an honest philosophical relationship / core; so I don't really understand how things like social service, or placing moral values into practice in some way can be confused with this sort of direct vision of the being verb (by some said to be the idea of "god")


is a life of prayer the same as a life of poetry

how can a life of pryer relate one to community / society rther thn be a closed feedback loop? the comparison to a life of writing -- even poetry -- makes this more cler EXCEPT THAT only "god" "reads" prayer unless one dabbles with canon, no?

and what does it mean to change literary or religious canon, differently thn it means to pry -- more different than it means to write, although all writing has at some goal the goal to change canon

whaat gives meaning to being or the pursuit? well, the prctice, the work

not "faith"

except -- is prayer work? does it effect? not directly, and *essentially* not directly, but as a relationship / a communication with the esoteric in a way tht poetry is eminntly practical

and here our book urges that relavance is tailoring message to udience, and not about meaning at all

think life through
reading is important
the more one knows, the more one can manipulate
manipulate decisions / answers

do things that further the pursuit


strange equation in the text: one w/ a religious career = servant
(not the strange portion)
someone doing, committed to doing AND serving
a symbol of service -- in word deed and being (how diff from previous? in an artist?)

happiness in fulfilling one's pursuit the lifetime reward (the tautology, w/o canon change)


what are we called by (vocation)
we hear it in convenient times


The Third Area: Poetry at Pharmaka.
Monthly poetry reading series, (usually) on the last Thursday of each month, that celebrates some of the most vibrant new work by local, regional, national and international poets.

Hosted by Pharmaka Art Gallery in Gallery Row—the heart of the art scene in downtown Los Angeles.

Directions to Pharmaka
101 West 5th St
Los Angeles, CA 90013
Phone: 213.689.7799


PHARMAKA proudly presents:

The 3rd Area
Poetry at PHARMAKA

August 28, 2008
Door 7:00 pm / Stage 8:00 pm
$5 recommended donation
Featured Poets

Jan Wesley
Noah Blaustein
Elena Byrne
Brendan Constantine

September 25, 2008
Door 7:00 pm / Stage 8:00 pm
$5 recommended donation
Featured Poets

Gail Wronsky
Holaday Mason
Louise Mathias
Marsha de la O


newest Tom Daly product idea: foam cheesecake hats for the JETS fans


california book awards

1947 (17) Zimmerman Hazel Louise Journey to Victory Poetry Silver
1955 (25) Margot-Parle Delina Symphony Poetry Silver
1958 (28) Stanford Ann Magellan Poetry Silver
1964 (34) Altrocchi Julia Girl with Ocelot Poetry Silver
1970 (40) Boyle Kay Testament For My Students Poetry Silver
1973 (43) Wright Celeste T. A Sense of Place Poetry Silver
1977 (47) Stanford Ann In Mediterranean Air Poetry Silver
1978 (48) Moon Sheila Songs for Wanderers Poetry Silver
1981 (51) Lewis Janet Poems Old and New, 1918-1978 Poetry Silver
1983 (53) Miles Josephine Collected Poems, 1930-83 Poetry Silver
1985 (55) Stanford Ann The Countess of Forli Poetry Silver
1988 (58) Hirshfield Jane Of Gravity and Angels Poetry Silver
1989 (59) Hillman Brenda Fortress Poetry Silver
1993 (63) Ehret Terry Lost Body Poetry Silver
1994 (64) Addonizio Kim The Philosopher's Club Poetry Silver
1994 (64) Hirshfield Jane The October Palace Poetry Silver
1996 (66) Kizer Carolyn Harping On Poetry Silver
1998 (68) Bloch Chana Mrs. Dumpty Poetry Silver
2000 (70) Howe Fanny Selected Poems Poetry Gold
2001 (71) Kizer Carolyn Cool, Calm & Collected: Poems 1960-2001 Poetry Silver
2004 (74) Rich Adrienne School Among the Ruins Poetry Gold
2005 (75) Ryan Kay Niagara River Poetry Gold
charge of the light brigade
barretts of wimpole street
tom & viv

Christina Rossetti in KISS ME DEADLY

Ken Russell, Dante's Inferno

then there are movies written by poets, but not necessarily of their poetry of bios, like Parker's SMASH-UP, A STAR IS BORN

poets.org has a lot of the more traditionally-referenced ones, as well
as in the two articles


pretty good list at the end of this one!

but one question is the obvious -- what sort of film? commercial
english-language film not being films of verse plays?

anything that's not a poem in form thrown in to a period piece or biopic?

dada / surrealist film?


circle poems
for nancy popp


I'd love to be considered for this;had a great moment gallery sitting, where TWO Rhapsodomancy authors converged at LAAGAFBLA08 around my piece at the same time!!!!!

Rhapsodomancy announces the writers reading on Sunday, August 10, 2008


Sunday, August 10, 2008
Doors open at 7:00 - Reading begins at 7:30pm
The Good Luck Bar, 1514 Hillhurst Ave., Los Angeles, 90027 (east Hollywood/Silver Lake: corner of Hollywood & Hillhurst)
21 and over only.
RSVP at rhapsodomancyla@yahoo.com (RSVP not required, but appreciated)
$3 suggested donation at door.
There will be a cash bar.

Michele Matheson is the author of Saving Angelfish. She is currently working on a second novel and plays in a band called The Black Tales. Michele lives in Echo Park with Noodles and Harold, her two cats, and hopes to adopt a stray dog one of these days to join her on walks.

Kristi Maxwell currently lives and writes in Cincinnati, Ohio. She is the author of Realm Sixty-four (Ahsahta Press, 2008), Elsewhere & Wise (Dancing Girl Press, 2008), and Hush Sessions (Saturnalia Books, forthcoming in 2009).

Alistair McCartney is the author of The End of the World Book: a Novel (University of Wisconsin Press, April, 08). The End of the World Book is both a novel and an encyclopedia (A to Z) of memories, obsessions and philosophical fixations, working in and building upon the same metafictional terrain as Roberto Bolano and W.G. Sebald. Praising this novel, Dennis Cooper, author of Frisk, wrote, “If I’ve read a more deeply impressive, beautiful, sweeping, mindful, and innovative first novel than Alistair McCartney’s The End of the World Book, I have no memory of it. McCartney is a writer of peerless, brilliant originality and pure, giant talent.” Publishers Weekly described it as ". . . a surreal and self-referential encyclopedia for the 21st century... fans of alternative literature and Borges may discover a kindred spirit." And The Los Angeles Times characterized it as "...a giddy literary jape...'The End of the World Book' ...is an interrogation of
literature -- how we think about writing, what we choose to write about and why." The book was recently chosen to be featured on Critical Mass, the blog for the National Book Critics circle. McCartney is currently at work on his next novel The Death Book: A Comedy, which is the 2nd book in a trilogy. Other writings of his have appeared in Fence, Bloom, James White Review, and numerous literary journals, as well as in a number of fiction and creative nonfiction anthologies, including Wonderlands (University of Wisconsin Press) and Between Men (Carroll and Graf.) Originally from Australia, since 1997 he has been based in Los Angeles, where he lives with his partner Tim Miller. McCartney teaches creative writing and literature at Antioch University LA, in the MFA Creative Writing and BA programs.

Jillian Weise wrote The Amputee's Guide to Sex (Soft Skull Press, 2007) and Translating the Body (All Nations Press, 2006). Her work appears in A Public Space, The Atlantic Monthly, Tin House and others. Plays have been staged at the Provincetown Theater and the New York Fringe Festival. She now teaches at Clemson. In the winter, she will travel to Patagonia on a creative writing Fulbright.



article in DOWNTOWN NEWS about LAAGAFBLA08!

Article about PGLA LA Art Girls show


GV7 Random Urban Static is a two hour DVD featuring
fifteen performance oriented poets from the United
States. Included in the mix
are two time national slam champion Sekou (tha
misfit), LA Slam Masters Mollie Angelheart and Natalie
Patterson, two time Grand
Slam Champion Bridget Gray, and many others. Poets and
their performances are cut with interviews that
connect performance poetry
to hip-hop, question the importance of race and
sexuality in performance poetry, and discuss the
reasons behind performance poetry.
The performances range from the wild and outloud,
with Common Ground (Angelheart and Patterson together)
getting right in the
viewers face, to the deeply personal, whether it be
The Lindz weeping or Nick Lopez’s nasal performance
and introverted headturning,
to the humor of Tony award winning Poetri and even the
obscure and bizarre Eric Haber.

What was interesting, and what makes Bob Bryan’s film
less of a production and more of an actual documentary
was that there didn’t
seem to be a message across the poets. Each poet was
represented as an individual, with their opinions,
beliefs and experiences
allowed to interact and contradict. The movie opened
up a discussion and didn’t try to pigeonhole any poet
into a “performance” mold.

Where one poet insists upon the poem working on the
page, another poet insists that performance poetry is
entirely focused on
performance to the point that she doesn’t write her
own work down (Mollie Angelheart). Where one
champions directness and
accessibility, another celebrates the bizarre and
random. One defends the hip-hop connection to
performance poetry, and another
advocates breaking away from that connection and some
of the negativity it brings to performance poetry.
This discussion opens up the
idea of performance poetry as an evolving movement
with many voices, and not necessarily a static entity
with no potential for growth
or change.

As an educational tool, this DVD invites students and
teachers into the conversation and provides them with
an idea of what is
happening in the world of performance poetry without
being too overwhelming or too flashy. It also connects
the poetry to the academy,
as certain poets (Tim’m T. West and J. Walker) speak
about their educational backgrounds and how that has
influenced what they do
in performance.

While some of these poets are slam poets, this
documentary also shows other aspects and venues for
performance work, whether it
be Hunter Lee Hughes shaking his entire body to his
poem, Nick Lopez reading over a film, or even Jessica
Healy taping her poems to
bathroom stalls.

Thanks for the chance to review it and good luck with
this DVD,

Joshua Gage, contributor to
http://clevelandpoetics.blogspot.com/ and

This blog celebrates creativity in the
world of ideas, exploring a wealth of artforms.

GV7 Testimony of the Undying Power of the Spoken Word

Don't worry about poetry losing its place in the
world; it has many avenues through which it conveys
its message. If all else fails, it can
manifest itself in the one form that it has always
done for centuries: the spoken word. This is the
message director Bob Bryan conveys
in his latest GV7 documentary entitled Random Urban
Static: The Iridescent Equations of the Spoken Word.

The documentary presents a cross-section of Southern
California Spoken Word artists who, in this two-hour
presentation of diverse
styles, show their determination to keep the word
alive. Basically, these poets understand that there is
so much static in the urban
world, and the poet's role is turn the static into
words. Expertly-captured selected words, this static
turns into a message that can
make our world a better place.

Here is a selection of poets who remain true to what
they feel, to their sense of being, even in cases
where they may have to use
words to search for this humanity. And when they
capture it, we capture and share it with them and
those around us.

Watching this documentary, I came to know artists like
Vejea Jennings, Eric Haber, Poetri, Nicholas Lopez,
Natalie Patterson,
GaKnew, Tim West and many others who remind us to cry
if words dictate we do so, to talk about the problems
of the world and listen
to those whose views and ideals may differ from ours.
Poetri, in particular, reminds us "to listen with our
hearts" and expresses his
wish that everyone on earth was a poet; then the world
would be a better place. Of course, everyone is a
poet; it's the extent to which
we are willing to explore the poetry within and
without that makes a big difference. The poets in this
documentary have discovered the
magic of the spoken word and are determined to keep it
mending the ills of society.

One piece that stuck with me is "Letter to Hip hop"
(by Bridget Gray) which joins the debate on the issue
of hip-hop and social
responsibility. The poet chants:

" Back that thinking up
I'm not backing that thing up "

" Stop calling yourself a n*gga
and call yourself a man"

Eric Haber, who claims that he was "conceived in the
summer of love and [was] born in the winter of regret"
says that spoken word has
the power even to say even the wierd. Somewhere in
that message, as another poet points out (Sekou tha
misfit), there is a message
that will help someone.

This documentary is a fine blend of interviews and
performances which will leave you calling out for
more; an inspiring,
thought-provoking rendition of both the familiar and
unfamiliar. Its artistry shows the commitment to the
arts that director Bob Bryan
continues to demonstrate.

GV7 Review by Emmanuel Sigauke
I am currently reading Kazuo Ishiguro, Ernest
Hemingway, Nadine Gordmer, D.H. Lawrence, Dambudzo
Marechera, and Leo Tolstoy, Yusef Komunyakaa,
Vogler and Thomas Hardy

REVIEW BY Ellyn Maybe, Poet

GV7 RANDOM URBAN STATIC: Iridescent Equations of
SPOKEN WORD is a compelling journey for those
interested in not only
seeing great spoken word performers but also the
candor that goes underneath the verse.

Strong mix of readings/ interviews and very resonant.

Ellyn Maybe, Poet

Ellyn's Signature Work "The Cowardice of Amnesia" is a
sparkling debut from a poet who's already proven
herself on the spoken word circuit. She dazzles her
with streams of un/sub/consciousness, drowns them in
murky-beautiful word rivers, yells "catch!" as she
throws out the darts of her sub/urban imaginings and
lunges at all manner of hypocrisy and cant.

Published by Henry Rollins
Edited by Exene Cervenka
Cover by Viggo Mortensen

VividNUrban Magazine
The Iridescent Equations

I have to admit that I had no idea what to expect,
when I first agreed to review GV7 Random Urban
Statics. However, what I found
was a film that highlighted all the characteristics of
me. Long before I ever ventured into the world of film
and journalism, I was a hip hop
artist and poet, and of course I still am. It was
indeed my frustrations with the Las Vegas’ media’s
lack of interest and support of local
artists that propelled me towards becoming a

GV7 does an excellent job of illustrating how and why
poets do what they do. I especially like the idea of
highlighting the various types
of poetry, and discussing what I myself have found,
that some poems are for song, some are for the page,
and that some are for both.
As a rapper first, poet second I loved the that hip
hop was a highlight of the film.

It is very hard to string the intricate details of a
creative process and the masterminds behind it into a
compelling linear story line.
Filmmaker Bob Bryan did that flawlessly. By using the
verite style of story telling, he allowed the poets
themselves to explain all that
the viewer needed to know.

With this being my first introduction to the GV series
I am very excited and motivated to inquire into the
prior 6 installments. I am
hoping to leverage this review into an interview with
the filmmaker and the poets who make GV7 such a
wonderful piece.

For more information please visit

VividNUrban Magazine
VividNUrban Magazine is a magazine built for the Urban
individual. Whether that individual is a musician,
politician, teacher, athlete, doctor, athlete or any
of the
other tens of thousands of occupations that
exist…VividNUrban has something for them. We hope to
educate, spark dialogue, and build the bridge between
the gaps.
We are Las Vegas premiere Urban Arts and Culture
Magazine. Through commentary, and interviews we hope
to establish relationships that will allow vegas
to explore collaboration opportunities in and out of
the city. We hope to find not only beat makers and
MC’s but promoters, organizers, teachers and DJ’s.

We hope to serve as the voice of our constituency and
speak truth to power in ways that are not only
entertaining and thought provoking but showcase the
Vivid light
that shines through the urban life. *Urban
Problems-Conversations of Solutions-And the Artistry
that Arises out of the Confusion.

Athens Boys Choir review of
by Harvey

Great video!

GV7 came to me like most things, from the Internet,
but it brought me to many other places. GV7 does an
exceptional job of showing
the versatility of spoken word, it's differing styles,
and the many paths people take to get the words from
the brain, to the page and to
the stage.

The visual effects keep the view enticing and the
soundtrack does an awesome job of enhancing the
emotions of the words. The
individuality of each author's journey is a portal
the public rarely gets to explore and GV7 takes you on
the journey with grace and

Great video for the spoken word enthusiast and if
you're not one before this DVD you're certain to
become a fan of the medium

Review by Harvey Katz
Athens boys choir
Athens Boys Choir has been touring nationally since
2003, performing for audiences that are becoming more
diverse everyday. You don't have to be a spoken-word
enthusiast to enjoy the lyrical stylings of the Athens
Boys Choir. Katz has the unusual skill of opening even
the most skeptical minds to the world of performance
poetry. With three CD's already out and a fourth due
for release on March 27, 2007, Katz/The Athens Boys
Choir has established himself as a force in the
spoken-word/queer/pop culture/homo-hop movement; you
choose how it moves you.

Born to Speak the Word
By Victor Ho, Movies Editor for LA2DAY.COM

"Spoken word is a form of literary art or artistic
performance in which lyrics, poetry, or stories are
spoken rather than sung. Spoken
word is often done with a musical background, but the
emphasis is kept on the speaker.”

Directed by Bob Bryan, GV7 Random Urban Static: The
Iridescent Equations of Spoken Word is the 7th
installment of a
documentary DVD series about the spoken word poets who
live for and love the word. The truth of the word
defines their very character.
And the power in the word is considered a gift from

To call it rap music would be a shame running 8 mile
long. You can say spoken word is like rap music but
without the corporate and
media bling-bling. The music comes from the heart and
soul of the performer – grounded in reality and the
spirituality. The sources of
its rhythm can be found in different cultures,
sexuality, and religion (sometimes even the
imaginary). Spoken word has been around
since the troubadours performed during the Middle Ages
and then famously revived by the Beat Generation. It
is a sacred art form.
Focused in the act of listening to the sights and
sounds around them, these creative wordsmiths are
fresh and in your face.

They may not look hip hop but they live hip hop. They
are the slam poets, or performance artists. They are
just simply the storytellers
of our time skilled in capturing our attention in the
digital revolution.

There is a rhyme to the reason from these artists that
includes… The Lindz, Mollie Angelheart, Vejea
Jennings, J. Walker, Eric Haber,
Sekou (tha misfit), Nicholas Lopez, Natalie Patterson,
Jessica Healy, Bridget Gray, Tim’m T. West, Rachel
Kann, GaKnew Roxwel,
Poetri, Hunter Lee Hughes, and Common Ground.

Some of the outstanding performances include pieces
such as:

Seventh Grade Girl by Sekou (tha misfit) – A junior
high crush is told as an analogy to Sekou’s
infatuation with a woman. He is
hilariously interrupted by his annoying mother on the
phone during the climatic moments of his story. The
best part is when he
describes his kiss to the sound of the classic Miles
Davis tune, So What. Pure improvised genius!

Krispy Kreme by Poetri – A fictitious conspiracy
theory about Krispy Kreme Doughnuts, formally called
Krispy Kreme Kroissants
(KKK), selling their addictive “glazed drugs” to
African-Americans to control them. Funny stuff!

Zen by The Lindz – It’s an entertaining speech done in
a bluesy, unplugged way.

With maybe a laptop as their only technological tool
and quiet room of solitude, the poets secret weapon
are their voices and their
mission is to bring out the poetic justice that will
challenge our very being.


For more information about Graffiti Verite and its DVD
series, please visit www.graffitiverite.com.

Review By Victor Ho, Movies Editor for LA2DAY.COM
LA2DAY.com is one of the first Lifestyle Magazines
that exists entirely online. We bring you in-depth, on
trend and off-beat coverage
24 hours a day, 365 days a year free of charge. We
have no cover fee, no paid subscription and no
requirement to register to be able to
read ALL our news and reports.

African American Literature Book Club -
The #1 Site for
"Readers of Black

Slam Poets Deliver Powerful Performances in Spoken
Word Documentary

Graffiti Verite’ 7: Random Urban Static
Click to order via Amazon

Running time: 120 minutes
Studio: Bryan World Productions

DVD Review by Kam Williams
Excellent (4 stars)

If you enjoy the strident, staccato cadence of
commercial rap music but not its uniformly antisocial,
macho content, then you’ll
probably find GV7, aka Graffiti Verite’ 7, a
refreshing alternative. Just when you’re convinced
hip-hop is dead as an art form, along
comes this collection of powerful performances by 15
talented innovators as different from each other as
they are entertaining in their
own unique ways. Black, white, Latino, gay, straight,
male and female, the only thing they have in common is
a compelling ability to
express themselves eloquently on the subjects most
meaningful to them.

With the same raw intensity which the icons of BET
videos celebrate misogyny, conspicuous consumption and
black-on-black crime,
these wordsmiths explore a variety of themes ranging
from politics to privilege to sexual preference to
self-esteem to racism to religion
to AIDS to anorexia in a heartfelt and intimate
fashion. Directed by Bob Bryan, GV7 features both
interviews and acappella readings by
accomplished artists on the poetry circuit, such as
two-time Grand Slam-winners Bridget Gray and Sekou
(the misfit), along with the
likes of L.A. champ Mollie Angelheart who warns, “If
you don’t cut deep… you don’t make a difference.”

Highlights include The Lindz, who deftly blends talk
and song to produce a unique brand of soulful,
blue-eyed lyricism, and Tim’m T.
West, who reflects in rhyme about what it’s like to be
gay, black, and HIV+. I found his contribution to be
particularly of value since the
AIDS epidemic is hitting the African-American
community the hardest, yet the voices of the victims
of the disease rarely get heard.
Obviously, Tim’m is not one to allow any stigma to
prevent him from sharing his feelings with the world.

Ready to be discovered is Bridget, a charismatic
beauty beloved by the camera with a look and attitude
are tailor-made for movies.
Nonetheless, each and every cast member holds his or
her own, here, including Nicolas Lopez, Poetri,
Jessica Healy, GaKnew
Roxwel, J. Walker, Hunter Lee Hughes, Vejea Jennings,
Eric Haber, Natalie Patterson and Rachel Kann.

A delightful indulgence in the lyric form likely to
restore your faith in the Hip-Hop Generation.


making, tasting towards a life of continual cheap or at least profitable enjoyment

while I'm a little sorry that this reading, run by poetryfriends, and around the corner from the LA Art Girls LAAGAFBLA08 and my piece within in show, has established so little traction -- or tried to -- with other series: other art poetr, art downtown or poetry downtown -- it is a big city -- PHARMIKA is great and these organizers and readers are:

THE THIRD AREA: POETRY AT PHARMAKA is proud to feature Beckian Fritz Goldberg, Mariano Zaro, Yvette Johnson, and Sarah Maclay
July 31, 2008
Doors at 7pm / stage at 8pm. Suggested donation is $5. Pharmaka is located at 101 W. 5th St., Los Angeles, 90013 (at S. Main St.).For more information: www.pharmaka-art.org.
About The Third Area: Pharmaka gallery presents The Third Area: Poetry at Pharmaka, a monthly literary reading held at the downtown gallery space. Sarah Maclay, poet (most recently The White Bride) and visiting assistant professor at Loyola Marymount University, serves as artistic director, with curating collective members Frankie Drayus (finalist for the May Swenson Poetry Prize), Dina Hardy (2008 Stegner Fellow), Tess. Lotta (curator of the Literati Cocktail reading series and editor for Media Cake eMagazine) and Stephany Prodromides (chapbook manuscript finalist for the 2008Center for Book Arts and co-host of Redondo Poets reading series) hosting the series on the third Thursday of the month. The Third Area showcases outstanding established and up-and-coming poets as featured guests.
July 31, 2008 Features
Beckian Fritz Goldberg is the author of The Book of Accident and Never Be the Horse, both from the University of Akron, and Lie Awake Lake (Oberlin), which won the 2004 FIELD Poetry Prize. Other collections are In the Badlands of Desire and Body Betrayer, both from Cleveland State. Her poetry has appeared in numerous journals and anthologies, including The Best American Poetry 1995. She teaches in the MFA program at Arizona State University.
Mariano Zaro is a poet and fiction writer. He is the author of two poetry books Where From/Desde Donde (Bay Books) and Poems of Erosion/Poemas de la erosión (Carayan Press). His work has appeared in The Baltimore Review, Caracola, El Signo del Gorrión, Luces y Sombras, The LouisvilleReview, The River's Voice and The Portland Review. He is the winner of the 2004 Roanoke ReviewShort Fiction Contest. He teaches Spanish Literature at Whittier College.
Yvette Johnson was born in Los Angeles and has lived most of her life in Southern California. She studied creative writing, theater and dance at Trinity College, and acting in London. She turned to poetry in 2001 and was chosen to be a Newer Poet in 2007 (LA Poetry Festival / Beyond Baroque). Her poems have appeared in GlitterPony and DMQ Review, and she has two chapbooks: Poem and Other Poems and Bluffs.
Sarah Maclay, author of The White Bride (University of Tampa Press, 2008) and Whore (Tampa Review Prize for Poetry), is the book review editor of Poetry International and a visiting assistant professor at Loyola Marymount University. Her poems and essays have appeared in APR, FIELD, Ploughshares, The Writers' Chronicle and The Best American Erotic Poems: 1800 to the Present (Scribner, 2008). She received a Special Mention in The Pushcart Prize XXXI.


music collab notes

one "first thought" is to write something called "Amass" or "A Mass" for the puns
this stupid thinking about puns (I got started by the MASS cover of the CDs I bought was red to underscore marxism = mass movement & the intro mentioned liberation theology) led me back to when the joke when we got to pick songs for a litergy, we all wanted to pick a song called "The Mass is Ended" -- I have to get out my keyboard, which I haen't yet, but it is basically a five note tune all GO in peace being two notes -- basically the recessional set simply music -- first -- because of the reversal and because then we wouldn't have to sit in church for another 45 minutes. So it would be fun to use the same set of simple notes as an intro. The real MASS does end with the same The Mass is Ended / Peace recessional. "in the end is my beginning"


Catherine Daly

[untitled text object]
various titled texts from the object

LA XPress newspaper, string

ongoing, 2008

texts from the object

Not a Doormat

extremely serious, functional
stunned by random discovery made while examining you: accident interview:
by anything life has to throw

the intent behind this is not to raise money; it is to change behavior

obligations encourage use, not honoring service

I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat.
Rebecca West