in an extremely annoying development the women's poetry list "festival," is a freeware bbs supported by ads, has decided that they will only take one listing for book per member

so -- and if you have done this before you know that doing this sort of thing according to someone else's specifications and format probably took the equivalent of $150. of my time -- money and time which is do not have -- I AM POSTING IT HERE

Catherine Daly
Salt Publishing, 2003
ISBN: 9781876857950



An information-age critique of information and process, this poetry
trilogy treats such interrelated themes as identity and authority and
strategies beyond Dadaist appropriation and postmodern ventriloquism.
Catherine Daly's constructed a reader's playground by vatic, cathartic
rapine of canonical texts including the "Amoretti" of Edmund Spenser,
the Greek Anthology, and the Norton Anthology of English Literature;
religious women's dictation, testimony, and writing; wireless
communication, slide shows, truth tables, and Boolean algebra; high
culture sculpture and junk culture celebrities and plots. Included in
the three sections of DaDaDa is hagiography of interior decorators and
fashion designers, OuLiPonian manipulations of anonymous medieval
prayers about the passion, a "woman's epic" poem based on the writings
of Marguerite Porete which erases, creative etymology, quotes from
female country and western lyricists, and instructions for making a
Palm Pilot vibrate, all ultimately examining truth, freedom, art,
craft, and other ideas. Daly rewrites as reading, as performance, as
decoding, recoding, and encoding. This post-language poetry is devoted
to sound play and pleasure. It is religious poetry underpinned by
fervid atheism, literary criticism as heresy, confessional verse
biography, serious poetry riddled with cheap puns.

Cavernous and electric, DaDaDa unfolds as a hypnotically twisted love
tome investigating the r/elation between language systems and the
erotics of communication. Plotting the truncated lives of letters, as
mistresses, matrices, vessels, vials, viols, vile induces, indices,
Catherine Daly's passionate tripartite tour de force rages with
linguistic virtuosity as a "cross-stitched sampler" of contemporary
culture, "hot sync simulacra," literary heresies.

Adeena Karasick

Seldom is such a commodious pathway opened with a first book. It is,
as its author says, "Huge toroid / experiments." She's right about
that; look up "toroid." Catherine Daly is the "epideictic girl" of her
verse's universe. Any book that places Georgia O'Keefe in the same
neighborhood with Ann Corio has a thing or two to tell us about
telling, about "deep regional feeling," about aboutness.

Alson Nielsen



Seme / Billy Baldwin

Everybody wants the same
kind of different thing.
A tree
adapted from a Matisse
in negative repeats on each cushion
on the couch and the Baldwin-signature slipper

There is a connection
between the pieces
of furniture. Color
is not subject to fashion.

Interpretant / Sister Parish

that old-money look
rag rugs & antiques
a "flair"
daredevil color crocheted throws
"baroque" "freewheeling"
"felt" her way along
the reins of taste
English country
horse country
vintage & fashionable
bring back what is good

Catherine Daly
Tupelo Press, 2005




With humor and sense, nuisance and nonsense, sensibility and style,
the poems in Locket guide us past the recognizable signposts of life,
love and loss. Inside Daly's locket reside, like glittering jewels, a
cornucopia of gems borrowed from our contemporary culture. We meet
NASA websites, The Chicago Manual of Style, ambulance chasers and
submarines, as well as an assortment of coffee table books, the likes
of which Daly uses to convince us that, one way or another, we are all
making love, or making art.

Silly, sophisticated, elegant and offbeat, these poems, reckless and
direct and dripping with motor oil, are in love with language, and in
love with love.

"This is important (and joyful!) work."

—Janet Holmes

"Catherine Daly's poems are at once captivating and disarming."

—Annie Finch



When the body opens,
held close in a steady caress,
wings descend

quietly, as figures
decanting scent.
Shadows sweep the floor.
The world rings descant. The planet continues.
Night turns the room. The hushed pictures push.

Catherine Daly
To Delite and Instruct
blue lion books, 2006



To Delite and Instruct asks the purpose and worth of the poetry
exercise or experiment. It investigates pedagogy of reading, speaking,
hearing, and writing. Beginning with poems containing definitions,
problems, and a word box, that is, beginning with limiting statements,
centered on poems relating to mimeo workbooks from the 1960s, ending
with a word hoard of the words in the book with indo-european roots
sorted according to those roots, To Delite and Instruct is a
thoroughgoing poetry exercise with a self-limiting vocabulary, poetry
written in answer to peculiar perception problems presented devoid of
information and forming an exercise in perception: a book of poems.

Catherine Daly
Paper Craft
Moria Poetry, 2006




In the domain of the digital, Catherine Daly gives us paper; in an age
of speed, she
gives us craft; in a moment of dematerialization, she gives us
concrete; in Southern
California, she gives us snow. Process is the key: Daly wraps her
fingers around words,
privately sculpting them into linguistic megaliths, only to later
destroy them. What remains,
strewn across these pages, is pure poetry.

Kenneth Goldsmith

I am awed by the capaciousness of Catherine Daly's language, or I
should say languages,
and the dizzying array of forms like a series of birdcages in which the door
stands open, if the captive birds only knew it. Paper Craft is a
startling melange of fragmentary
discourses, each of which intersects with English to form a snapshot
of the moment
meaning happens. Electromagnetism literalizes the "light" in enlightenment; an
illustration of "Decomposing Monzogranite" reveals the gradual erosion
of a poetic
monument; modern and Middle English stand side by side and vie for the
reader's attention
and sympathy. Daly insists on multiplying the available dimensions for poetry: a
five-pointed "rose" of words seems to revolve as we read them, and
actual patterns for
folding and cutting paper literally underwrite some of the poems. The
gendered languages
of science and papercrafting meet in this new, frankly feminist
dictionary, setting
off fireworks that illuminate as much as they dazzle.

Joshua Corey

Catherine Daly
Chanteuse / Cantatrice
factory school, 2007



Chanteuse / Cantatrice is a book about collaboration and complicity.
Chanteuse starts with the surreal singer or radio operator giving
voice to whose message, why, and ends with the absurd message of war
and peace we hear, perpetuating it. "Ni de votre guerre, ni de votre
paix." Cantatrice begins with the all-but-impossible task of
extracting meaning from codes and ruins only to end without emotional
truth. "is not / My heart". The book can be read with the spine on the
left, from the top of the page down, Chanteuse, or with the spine on
the right, from the bottom of the page up, Cantatrice. Each poem
begins at a title, and moves toward 'the other side'.

Catherine Daly
Shearsman Books, 2008


through SPD or Salt Publishing website

Vauxhall is pitched where voice and experience coincide. The poems
sing and dance through heavenly mansions and real bungalows, tourist
traps and museums, pharmacies and vending machines. Vauxhall is a
calendar. It's an "all occasion" greeting and gift.

The Hollywood pitch for Vauxhall might have been "Marianne Moore meets
Joan Jett" or "Alexander Pope goes to night school."

Like the pleasure garden once called "Fox's Hill" which gives this
book its title, Vauxhall puts emotion in Place because things are
alone or entire after they have been torn or leased or unmoored. Or,
to quote rather than rephrase Yeats, "Love has pitched his mansion in
/ The place of excrement; / For nothing can be sole or whole / That
has not been rent."

Catherine Daly
Secret Kitty
Ahadada Books, 2006


Catherine Daly
Ahadada Books, 2007



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