On Monday, May 5th, 2008 at the Medicine Show Theater on 52nd Street, NYC, Factory School requests your presence for a pre-Publication Book Party for Charles Bernstein and Ben Yarmolinsky's Blind Witness: Three American Operas, due out in August.

For more information about this event, please click here:

For more information about Blind Witness, and to pre-order a copy, please click here:


If you are unable to attend Monday's event, we hope you will join us online for an important announcement regarding the future of Factory School and its work in the community. We are planning a significant relaunch of our organization, its purpose and orientation. This change will be visible on our website on Monday, May 5th, when we will unveil a 2.0 upgrade to our site. To this end, we are seeking collaborators, projects, and support for our work.

Since 2000, Factory School has sponsored online galleries, an audio archive of poetry readings, as well as resources for teachers and teachers of writing--all this in addition to our books. Hundreds of thousands of visitors have made use of these materials. Since our books are our only source of income, we are pleading with the community to help us continue our work by purchasing one or more of our books. These purchases will allow us to continue to publish books while continuing to expand our organizational infrastructure.

While we will be making a more significant announcement on Monday, May 5th, here is a preview of what our priorities will be in the coming years:


--Free University of New York Press: a new academic press without the university.
--Publication Club: social networking site allows younger writers to meet each other and develop editorial identity, social and real capital.
--Series based publishing: Developing projects for extant book series (Heretical Texts, PS3577, Public Intermedia, Southpaw Culture).
--Working collaboratively not as aesthetic judges, seeking alternatives to the social-subcultural engine that drives micro communities of taste.
--Development of books for use in courses, not the other way around.


--"Community Handbook" resource development project: teaching materials, student-generated learning modules.
--Textbook recycling program.
--Reclaiming for public use educational content pilfered from the public domain by private corporations.


--Community-based problem solving and future planning.
--Design studio and workshop.
--Curriculum and learning program development.
--Organizational feedback strategies, research methods and practice.


--Interactive websites for all new Factory School books.
--Beginning research and planning phases for independent urban college.
--Think tank and policy-paper laboratory to counter-act regressive trends in American politics and culture.


Please click on the link below to order a book or make a donation using Paypal. If you would rather send us money, please send an email to INFO "@" FACTORYSCHOOL ORG to make arrangements.

from Chris Piuma's blog from Feb.

It's possible that by "famous" I mean "the kind you have to pay traveling expenses for to get them to [ ]"

I have long thought this, but wonder how -- I mean, the most unlikely people are paid, versus people who are not.

My friends who don't attend poetry readings regularly mention that they lose focus during readings, that their minds wander. They think this makes them feel like they are bad audiences for poetry readings. My mind wanders all the time at readings. It does not seem like a bad thing.

music concerts are the same, and why shouldn't they be -- art shows -- what up??? are poetry readings supposed to be more like movies or theatre

Marjorie Perloff said on Saturday: "I like to pick winners."

because united statesites like to pick winners by voting for them rather than evaluating who they think might be an effective leader, our electoral process is crap

How can you know who the winners are when you can't keep tabs on the races?

Clearly, we need some sort of writing uh, racing form? whatzit called?

here's a racing glossary that's cool
beloved imagination, I love your unsparing quality

romantic view of "madness" is pain
what is the way to liberate,
to satisfy the several demands of

the problem of memory against pattern,

grid of streets
like a girl imposed on an island, peninsula

Yonder Heart

"Delight is her name..."
"what god quotes himself?"

I have not seen her
her heart
monitored, watched
her breath, her small face;

I do not know her name.

I saw a picture of her when my husband described
the small hat hospitals now put on newborns,
my mom described her curly red hair,
Elizabeth, her mom, described her expressive, sleeping face.

how can we have not been babies, and how
similar babies are, all species' babies tender,
every thing born part closed, part open,
raw and vulnerable,
more sophisticated than

some ax, some bucket, some radio

and the problems of grand, old trees.


Null, dictates my beloved, is the number
she would rather marry [than me]; not if Jupiter himself seeks her hand.
The beloved's speech deceives: a quote of love in wind ought to be carried by fast water.

Null dictate my number
Deceit: cupid, cupidity quote deceit love
in fast writing

beloved cupidity quote deceit love


what I did
the night my niece wasn't born
honestly, not a whole heck of a lot
shit and the guys who hang out in front of our house
who found mom's cellphone only threw it back down?
or, he found it, and they said "yeah, we found it, but didn't know what to do"

It is cool outside in Florida.
It is cool outside in California,
and Elizabeth and Adam are not walking together in the cool, or taking a vigorous hike, or meandering over to friends'.

It is lovely here but Ron says he loves me by saying he wants me there.
Do I have the courage to light candles outside and play radio jazz and write to the candles and crickets at home?

I am in Sunny Shores and have put some paper around a lightbulb to filter it, it now being too cool outside to sit there.

Deep-Sea Fishing is fun for the whole family.
It is four-quadrant.

Not a noisy sport. Niece still not born.
Night snook fishing.
Ernest Dimnet: "do not read good books... only read the best"

Historic Spanish Point
Pt. O'Rocks

created gem

I've created a clean patch on my floor.

Maybe the west direction is my romantic poetry direction.

what's so good about an evergreen shrub


where is history?
only here, for the year
from the rest of the April world jumble that will become where am I, I hope

fresh local flavor
the city's motto
decorations are down
the city's real cadence
inescapable logos
"where am I" who, me?
oh, happy day
sick rail tricks
luxury, eco-firendly
men demand luxury and attention
shave and a harcut, two bits
the architects drafted were stationed here
the modernist community
products might seem plain, but
recyclable, portable speakers

I know where Mayberry Lake is located
Easter Brunch at the Rainbow room
dinner at Cafe des Artistes before the marriage of figaro

aphrodesiacs range from banal to bizarre
like memory -- this bouillabase, this fertility rite --
sets the tone
(ensure, treat)

you have an unselfish heart
it is only the effect of your emotions you don't know how focussing
on that
that is

wht's why we're in this

if poetry's a gift, what is the ultimate?
rural "tripping the light fantastic"
xenophobic paranoia publish activity, communal sensibility

(where am I)
Inside Her

write about what you see and hear
stress is like white noise, pink noise, orange static; is has weight, viscosity
sharp pain or dull pain better to ignore by walking out or listening to vehicles
read and writing as sounded is too loud
if writing is about responding, how not to respond to an unhealthy environment

a poem in a cactus garden

"you can't hear yourself think"

clearing quiet for "your own" writing


really boring e-mail interview which didn't make the deadline --

I woke up this morning realizing that this would have been a perfect opprtunity to show that my courses came out of my opinions about writing

I read Charles Bernstein's A Poetics before I read any of his
other work; it was published when I was in New York working on my MFA,
and it was an eye opener for me. The workshop leader I found most
helpful -- who recommended that book -- was Ann Lauterbach. She also
introduced me to Temblor, the New York School writers and to Sun
& Moon Press: she simply listed -- verbally -- writers she guessed
might interest each of us, based upon the work we were doing. That's a
method I've tried to make a little bit more useful by recommending or
loaning individual books, writing out author lists for workshoppers,
links, etc.

I moved to Los Angeles from Manhattan with my now-husband, writer Ron
Burch, in 1996. He is a language-oriented playwright who writes
screenplays (and fiction). When we moved to LA, I moved a lot of my
social interaction online to join my work; I joined the SUNY BFLO
Poetics listserv which Charles Bernstein founded, and the WOM-PO
Women's poetry list which Annie Finch founded from the Poetics listserv.

Sun & Moon Press is the non-profit press, Green Integer, the for-profit
press, edited by Douglas Messerli. The press is arguably the most
well-known one (especially internationally) publishing innovative
writing, especially language-oriented writing, and very especially
language-oriented writing including and "after" that of the New York
School. Douglas has published many of Charles Bernstein's books. I
lived across the street from Sun & Moon / Green Integer in Los Angeles
for about seven years, and lived for another two years around the
corner from it. All of our fattest silverfish come from books,
including Dark City and Republics of Reality, that I
purchased from the "bargain bin" at the old Sun & Moon. I used to go
to the ATM for cash to buy as many books as I could carry about once a
month. There were readings there (I heard Bernstein read / perform a
libretto at the Salon for its publication) or at LACMA (The LA County
Museum of Art, also near Green Integer).

They way I generally come to something is from the outside, reinventing
the wheel. I didn't go to any special school; I worked on Wall Street,
on the orbiter, for the studios. I chose my undergrad college because
it was the largest open curriculum school that gave me tuition. I went
to Columbia because I wanted to live in New York. I don't have a PhD.
Yet, Toby Olson, a very early supporter of Sun & Moon, Green Integer,
and Douglas Messerli editing adventures in general -- since they taught
at Temple University in Phiadelphia together -- is my cousin. We
always had his books in the house when I was growing up, and I was
always trying to figure them out.

I started submitting for publication in 1985, with the 1986 POET'S
MARKET. Half the journals in it had something in their listing about
not wanting L=A=N=G=U=A=G=E writing. Obviously, this was intriguing.


I titled my reading, rather too late for the posters, "Song, Sung
Through." I use sound, music, and the musicality of language in many
different ways, and wanted to offer that particular tour through my
work. My new book, Vauxhall, will still be at the printers during the
reading, but should finally be out before the end of the term. I spent
too much time proofing it. In any case, the title, which is a classic
British car built in a part of London that used to be a pleasure gardem
which used to be called "Fox's Hill" -- but sounds like "voice hall" --
is up my alley.

Members of the chapbook collective and writing collective are reading
Saturday afternoon, because I felt it was appropriate to honor the
writers who are writing "under their own steam" rather than for class,
and because it has more of a -- though peaceful -- guerilla writing
quality. I could go on and on, but there will be free printed ephemera
and maybe even gizmos.