3.14.2008

I will read in Jennfier's piece in this:

Flim Forum Launch
A Sing Economy
Saturday, March 15 at 8pm
http://betalevel.com/2008/03/15/flim-forum/

Please join us for readings from Flim Forum’s new anthology, A Sing
Economy. With readings from Harold Abramowitz, Amanda Ackerman, Mathew
Timmons, Jennifer Karmin and Jaime Corbacho.

A SING ECONOMY is the second Flim Forum Press anthology and contains
extensive selections from 20 contemporary poets. Founded in 2005, Flim
Forum Press is an independent press that provides SPACE for emerging
poets working in a variety of experimental modes. It’s edited by
Matthew Klane and Adam Golaski.
http://asingeconomy.blogspot.com/
http://flimforum.blogspot.com/
http://www.flimforum.com

HAROLD ABRAMOWITZ is a writer and teacher from Los Angeles, author of
a chapbook, Three Column Table, from Insert Press. With Mathew
Timmons, Harold co-curates the Late Night Snack literary cabaret
series at BetaLevel in L.A., and with Amanda Ackerman, he co-edits a
short form literary press called eohippus labs. Harold also has a
book, Dear Dearly Departed, to be published in the near future by Palm
Press and a micro-book, Sunday, or a Summer’s Day, to be published in
the near future by PS Books. He teaches at Charles R. Drew University
of Medicine and Science in Los Angeles.

AMANDA ACKERMAN lives in Los Angeles where she writes and teaches.
Along with Harold Abramowitz, she is co-editor of the press eohippus
labs. She is also a member of BetaLevel. Her work has been published
or is forthcoming in Flim Forum; String of Small Machines; The
Physical Poets; Womb; and the Encyclopedia Project, Volume F-K.

JAIME CORBACHO was grown in Ohio, aged in Boston and vinted in Los
Angeles. She has been published in LIT, Rattapallax, Oh One Arrow and
New Genre and has two chapbooks Tricked in Waking and Killingly.

JENNIFER KARMIN curates the Red Rover Series with fiction writer Amina
Cain and is a founding member of the public art group Anti Gravity
Surprise. Her multidisciplinary projects have been presented at a
number of festivals, artist-run spaces, community centers, and on city
streets. She teaches creative writing to immigrants at Truman College
and works as a Poet-in-Residence for the Chicago Public Schools.
Recent poems are published in Bird Dog, MoonLit, Womb, Seven Corners,
Milk Magazine, and the anthologies Growing Up Girl: An Anthology of
Voices from Marginalized Spaces, The City Visible: Chicago Poetry for
the New Century, and The Outside Voices 2008 Anthology of Younger Poets.

MATHEW TIMMONS is guest editor of Trepan, co-edits Insert Press, co-
hosts LA-Lit, and co-curates Betalevel’s Late Night Snack. His
writings appear in Manufactured Inspirato, Greetings, Disaster,
Sleepingfish, P-Queue, Holy Beep!, Outside Voices 2008 Sound Poetry
Anthology, Flim Forum, The Physical Poets Vol. 2 and PSBooks.

3.12.2008

cut up from a music encyclopedia w/ last line from various newspapers (words from a hat)

an H-shaped orifice
into a hollow body
any verb stem

parchment belly
with some license

the performer usually sat at the table
denoting whatever pertains
technical sense
that indicates style
of advanced composition
themes or subjects, a catalogue of works
terms of style, often adjectives

insurance line fit profile
rolling in day looming
blitz filming

3.09.2008

a reportedly enabling correspondance -- by men for men or more universal?

http://jacketmagazine.com/31/rc-jorgensen.html

1.

I don’t see that you should let rejection... dissuade you from writing a way you actively feel your own. ... [W]here you are to locate company?

2.

"Others will have endless opinions – some useful, some not – but that really can’t be the decisive reason why you write or not.'

3.

"What I can do in reading is to make clear what sense or impression I have -- and, very occasionally, suggest that x might work more effectively than y. But you are far too particular a writer to be served by finagling, even well intentioned"

4.

I read your poems as often a ‘double,’ part the ironic and usually witty take on habits of speech, ways people think of themselves, one’s endlessly various place with said one and all -- and then the equally often presence of what would be your feelings, the so-called ‘you’ who is writing. ... Anyhow I am sure the fellow in Iowa is serious but if he thinks what you are doing is gibberish, then one knows he’s not getting it -- and that’s that. If you want particularly to write ‘for him,’ then you will have to alter present structure and tone – but otherwise I’d see no reason.