Jim Andrews' discussion -- seemingly never-ending -- on poetics today, coupled with my purchase of rockstar 2 bundle + beatles (beatles rockband was not available; surprisingly, rockband 2 bundle and then separately, beatles, not only includes 2 games and all the components, it is $50 less) has led me to believe that -- further from my idea as many of my poems as *applications* is the view that content is essentially like a musical instrument one plays as one makes a poem


1 1/2 pound crabmeat, picked free of shells
1/2 cup crushed wasa light rye
1/2 cup tartar sauce
1 egg
1 teaspoon Worcestershire sauce
1/4 cup lime juice
Dash cayenne pepper
Flour, for dusting
1/2 cup caola oil (for frying)

balsamic crema, for top

these were too loose to be crab cakes; did better as crab balls


For today's prompt, I want you to title your poems "Never (blank)" with you filling in the blank with a word or phrase. Then, write a poem based off your title, which could be "Never look both ways when crossing the street" or "Never blush in public" or "Never ever" or "Never write a poem with the word never in the title." You get the idea, right?

Never on Sundays

Never rest.
Never free.
Never sacrifice, never

Keep it all.
Keep it real.

no calm, no comfort,
no quarter
close to heart, cherished:

never equal, real to abstract,
hurt to pain.

Kepp the chimera,
vision and need.


a Belle Chocolatiere has graced the BAKER’S Chocolate package for more than 122 years, making her the oldest product trademark in America.

Her story is one of romance and intrigue that began in a quaint chocolate shop in Vienna, Austria, in the mid-18th century.

In 1745 an Austrian nobleman, Prince Dietrichstein, stopped by a chocolate shop in Vienna to try a wonderful new chocolate drink people were talking about. His waitress was Anna Baltauf, daughter of an impoverished knight. Prince Dietrichstein was taken by the young lady, and despite objections from his family, he soon married Baltauf, making her a princess.

As a wedding gift, Prince Dietrichstein commissioned a portrait of his wife by the famous Swiss painter, Jean Etienne Liotard. Liotard posed Princess Dietrichstein in her 18th century chocolate server’s costume, commemorating their “love at first sight.”

The portrait of Princess Dietrichstein was displayed at the Dresden Art Gallery. It was there that Henry L. Pierce—then president of Walter Baker & Company—saw the painting. Pierce was captivated by it, and considered the portrait an ideal image for BAKER'S Chocolate.

In 1883, Pierce registered the image as a U.S. trademark, and named the silhouette “La Belle Chocolatiere.” For the next several decades, La Belle graced not only BAKER'S ads and packages, but also premium items and BAKER'S Chocolate squares.

To this day, each square of BAKER'S Unsweetened and Semi-Sweet Chocolate is emblazoned with the image of La Belle, and she still graces each box and container of BAKER'S Chocolate products. The original portrait of Princess Dietrichstein still hangs at the Dresden Gallery in Germany, where it is one of the museum’s chief attractions.


reloadng the bathrooms with tp, espcially since dad will be here tomorrow

and praises the charmin

which I buy since at some time my husband was, "woman! must our tp be cardboard?" and I replied, "you cheapskate, you complain about the tp bill"

anyway, I generally buy charmin now, and the cross anecdote is my dad, when for cost, had to stop buying it because he had two daughters in the house. "are you eating it?" he wondered. Are you using more than four sheets? shouldn't you use two? (there was, within a year or two, an actress or fashion model who had a *green* campaign about "two sheets") and I will say, no. not if you want to take care of the business without a bidet, and not if you want to wrap bloody things in something not unsightly.

and there is no way suffering ob suppository things are worth charmin.


yeah, I'm seeing how many groupon dollars I can get



Ticketmaster. Ah, who doesn't hate it? The fees, etc.

But of course, now almost exactly 24 hours after not getting Rose Bowl tickets, after trying on two phone lines and two computers from a little before 8 PST to about 8:30, only to go on stub hub and see 8 PAGES of listings for just-purchased Rose Bowl tickets at two to three times the price,

1) in a system, when there is great financial benefit (or other gain) to be made from using the system for financial benefit than for the reason the system was made (this is derived perhaps from another Blackmur? Babbage? idea, which is the designer of the saw cannot see all the ways the saw will be used, a homely variation on intention and on anticipation and on use case -- in this case, the capitalist reason for a system intended to democratise), that system will be used for financial gain.

Here, this is complicated by the fact that for sporting events, especially at public or quasi-public venues (the rose bowl) presenting college sports (which generates a great deal of money for schools, but is not wisely treated by law, ethics, what have you, as what it is), a certain number of seats are reserved for 1) local residents, 2) season ticket holders for the sports teams involved, 3) direct relatives of the players, and these groups (perhaps there are more groups, too) have separate lotteries. The losers of these lotteries are thrown into competition with the public. The public tickets are mostly offered below "going rate," perhaps because what the going rate was can only be established after the fact, but also because the idea that the majority of unmotivated, not wealthy people who are truly interested in seeing the game cannot afford the true going rate, that the going rate is so high it shocks us because it does not fit into our skewed vision of college sport as quasi-public (I think it is about $300. a ticket), and that there is a significant minority of wealthier, less motivated people who will pay the going rate just to have something to do New Years Day after the Rose Parade.

2) The "war on terror" fix is perhaps the easiest effective one for this. If your ID doesn't match the one on your ticket, you can't enter the stadium. Non-transferable tickets. Turn them into will call, which will refund your money if they can revend the tickets. Ironic, how the "war on terror" move fixes the flaw in a system uneasily between one distributing rare commodities and one exploiting the distribution of same.
Blackmur on Eliot like milk. On Moore, not as good for falling asleep. However, his "behaviour" is simply subbing in for the more familiar catholic "acts" or "deeds" and everything else for "faith" or -- here importantly -- words.

Interestingly, he then eliminates everything from the Four Quartets seemingly impelled by one of Eliot's rubrics, schemes, symbol sets, and reduces the poems to Eliot's poetic -- not ticking, habit, throat clearing, quite, but his images which come more from paradox than from a paradoxical structure.

More on that later.


How to Solve It suggests the following steps when solving a mathematical problem:
First, you have to understand the problem.
After understanding, then make a plan.
Carry out the plan.
Look back on your work. How could it be better?
If this technique fails, Pólya advises: "If you can't solve a problem, then there is an easier problem you can solve: find it."[2] Or: "If you cannot solve the proposed problem, try to solve first some related problem. Could you imagine a more accessible related problem?"


Artist Curated Projects presents

Performances by

DECEMBER 12th, 4-8 pm
@ the home of Eric Kim

for more info please visit www.artistcuratedprojects.com

Taisha Paggett is a Los Angeles based dance artist and co-founder of the dance journal project itch. Her work and collaborations for the stage, gallery, and public sphere have been presented and supported by several venues throughout California as well as in Chicago, New York City and Utrecht, The Netherlands. She maintains an ongoing collaborative project “On movement, thought and politics” with visual artist Ashley Hunt and is a member of the audio action collective Ultra-red. She has worked extensively in the projects of Victoria Marks and David Rousseve/REALITY and holds an MFA from UCLA’s Department of World Arts and Cultures.

Nancy Popp is a Los Angeles-based artist working a range of media, including performance, video, drawing and photography. Her projects investigate the body as a site and a material, along with the risk and vulnerability of serious play. Recent exhibitions include Overflow at the Getty Research Institute, Untitled (Street Performances) at the Atlanta Contemporary Arts Center, The Audacity of Desperation at Gallery PS122 in New York, Documental at Pilot Projekts in Dusseldorf, and Cheking Point at The Rex Cultural Center in Belgrade. She holds degrees from Art Center College of Design and the San Francisco Art Institute.

Dawn Kasper is a Los Angeles based performance and mixed media artist actively investigating existing and created emotional structures. She has performed at the Migros Museum Fair, Genenwartskunst in Zurich, Switzerland, the J. Paul Getty Museum, Art Positions: Art Basel Miami Beach, shown video at Art in General in New York, sculpture at Raid Projects, installation at Anna Helwing Gallery, and photos at Circus of Books Gallery in Los Angeles.


this is going to get shortened but

Statement of Plans
My creative writing plans are always to extend and expand my knowledge and practice in order to attempt to produce literature. This application period finds me both in the middle of some large projects and at the end of a way of thinking about my pursuits which has been productive, but leaves me with some important questions. In other words, it is time for me to reconsider my work and the ways I go about making it. I am well aware that the Stegner is not usually granted to mid-career writers. When I was still pre-book, but both pre- and post-MFA, I applied to you. I would benefit from and contribute to the life of the mind at Stanford and in the world by spending two years in supported workshops, library (research) access, and tuition. I am applying to you again that you might consider that I have a need and plan for two fellowship years.
My book Locket was accepted for publication six years before it was published and nine years after I wrote most of the poems I included in it. During this long wait, this sort of poem I write came to represent my concentration on the lyrical. My most recently-published book, Vauxhall, includes poems I began to write after I completed the first draft of Locket. Thus, it came to represent, to me, my continuing exploration of the lyric. What next? Two manuscripts, which I have excerpted in my sample, represent different sorts of lyric poems which have found their ways into journals more easily than the others, but yet not into books. Two variant groups of narrative lyrics I wrote and still write have gotten lost under my “lyric thread” rubric. As you know better than I could possibly know, Stanford has and has had a “perfect storm” of poets and critics working across aesthetics and theories deeply concentrated on the lyric.
Before Locket reached print, I wrote a project-based book, Heresy. It became the central volume of my trilogy DaDaDa. The response I received to DaDaDa was encouraging, and I expanded the project to chart the idea of the confessional together with women’s writing, modern technology, and 20th century poetics. The second trilogy, entitled OOD: Object-Oriented Design, has been accepted for publication. I am beginning to work on the next trilogy, Dea. This research-intensive writing marries form, theory/philosophy, and my technical knowledge, but it is perhaps most unusual in that it is very long, but not a life work. Or maybe it is unusual because I’m one of the few former software developers formally educated only in poetry.
I began to form a distaff trilogy of works related to the works in the long project. For example, a poem in this book consists of all of the etymological forms of mystic keywords in the device in the Heresy poems of DaDaDa. Some of these poems are in Paper Craft. As a designer, I was careful to write a book to exist importantly in print and as a printout. Many of the poems are dictionary definitions of paper objects folded into that object (plane, airplane, and aeroplane folded into paper airplanes), along with fold lines for creating meta-poems from the printout. A second book which continues to treat texts made of texts as peculiar objects is forthcoming. It is called Craft + Work. There’s another book accepted for publication called Heavy Rotation. I have shown the objects these poems are “read from” in gallery shows locally, nationally, and even internationally.
Another set of works made to take advantage of their .pdf publication uses a series of four Hello Kitty coloring books as source texts. The first, Secret Kitty, is a critique of flarf. The second, Kittenhood, is a collaborative exploration of Olson’s Dogtown and MS Word Art. The projected next volume, Calico Cat, thus far consists of various color-music scales, such as Madame Blavatsky’s, applied to text.
i've posted about leland hickman and temblor and douglas messerli's meetings-up-with-hickman here before, and so

You're invited to a publication party for
Tiresias: The Collected Poems of Leland Hickman
published by Nightboat Books & Otis Books/Seismicity Editions

with brief readings by Bill Mohr, Stephen Motika & Martha Ronk

Saturday, December 12, 5-7pm
Arundel Books
8380 Beverly Blvd, 3 blocks east of La Cienega Bl.
Phone: 323-852-9852

Los Angeles poet and editor LELAND HICKMAN (1934-1991) was the author of two collections of poetry: Great Slave Lake Suite (1980), which was a finalist for the Los Angeles Times Book Award, and Lee Sr. Falls to the Floor (1991). He was the editor of the poetry journal Temblor, which ran for 10 issues during the 1980s. This new volume collects all of the poems published during Hickman's life as well as previously unpublished pieces. The volume, edited by Stephen Motika, features a preface by Dennis Phillips and an afterword by Bill Mohr.

yes, my gmail was somehow used by spammers... apologies...



reading from his work at 7:30 pm on Monday 11/30 in the Skelton Lounge at Bates College (Chase Hall 205, 56 Campus Avenue, Lewiston, ME)

Theodore Enslin has published 118 books of poetry, most recently Then and Now: Selected Poems, 1943-1993 (National Poetry Foundation, 1999) and Nine (National Poetry Foundation, 2004). Enslin's 119th volume, a prose collection, I, Benjamin, A Quasi-Autobiography, is due out from Macpherson & Co. in 2009. Enslin lives in Milbridge, Maine, where he recently completed a 20-CD series of readings from his work of the past sixty years.

This reading is made possible by support from the Department of English, the Environmental Studies Program, the Humanities Division and the John Tagliabue Fund for Poetry at Bates College.



All readings free and open to the public
( 1915-1968)

Flocks feed by darkness with a noise of whispers,
In the dry grass of pastures,
And lull the solemn night with their weak bells.

really wonderful sound in this first stanza; makes it dramatic -=- really makes the whole poem

The little towns upon the rocky hills
Look down as meek as children:
Because they have seen come this holy time.

sorta boring, as a stanza

God's glory, now, is kindled gentler than low candlelight
Under the rafters of a barn:
Eternal Peace is sleeping in the hay,
And Wisdom's born in secret in a straw-roofed stable.

And O! Make holy music in the stars, you happy angels.
You shepherds, gather on the hill.
Look up, you timid flocks, where the three kings
Are coming through the wintry trees;

really interesting, as it is the pronouns in this stanza and the next that can be usefully cut, all are here in service of drawing an unnecessary contrast between "you" and "we" -- which is already made more subtlely by theme

While we unnumbered children of the wicked centuries
Come after with our penances and prayers,
And lay them down in the sweet-smelling hay << sweet hay
Beside the wise men's golden jars. , or just golden jars
A Wreath

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A wreathed garland of deserved praise,
Of praise deserved, unto thee I give,
I give to thee, who knowest all my wayes,
My crooked winding wayes, wherein I live,
Wherein I die, not live : for life is straight,
Straight as a line, and ever tends to thee,
To thee, who art more farre above deceit,
Then deceit seems above simplicitie.
Give me simplicitie, that I may live,
So live and like, that I may know thy wayes,
Know them and practise them : then shall I give
For this poore wreath, give thee a crown of praise.


XL THIS 19, the annual toy camera film festival, premieres Monday, Dec 7, 2009 with two different shows at 7 & 9pm, at Unurban, 3301 Pico Blvd, Santa Monica, CA 90404, 310-315-0056, free admission, preshow at 6pm, laughtears.com

PXL THIS, featuring films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by reframing a new cinema language. "If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly

"Gerry Fialka’s annual PXL THIS is a reliably surprising & seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director

PXL THIS 19 highlights include:

PXL-2000 Inventor James Wickstead's COLOR PXL is the world premiere of the only footage ever shot with this one-of-a-kind PXL-2000 color camcorder. (see Wickstead's essay below)

L.M. Sabo's I PUSH ON captures an individual's personal protest against big oil through simply cutting their lawn every week with a push reel mower. Press ready stills:

Clint Enns' THE AESTHETICS OF FAILURE, from Canada, is simultaneously about his inability to interact with party people as well as the PXLcam's inability to properly interpret the going-ons. Press ready stills

Michael Possert Jr's SOUTHWEST MUSEUM 2009 RECAP - The Autry National Center is burning a lot of donor money to crush the Los Angeles community that wants to keep the Southwest Museum alive and well. Friends of the Southwest Museum Coalition spokesperson - Nicole Possert - gives a clear overview of the contentious merger issues. Press ready stills:

Chris Bentley's THE WANDERING ERA concerns a small group of human survivors traveling through the desert in search for others of their kind after a series of apocalypses. Press ready stills:

Suki Ewers & Clifford Novey's T ZERO is a metaphysical adventure in light and shadow inspired by the fog.

Jon Clark's SURGEON's REPTILE MESS simultaneously represents visually the repetitive synthesized rhythms of Minimal Techno music while still retaining human touch.

The Count of Manifesto & Hillary Kaye's ENCASED and MOURNING gerrymander the warfare state.

Jesse Drew's CULTURAL DEMOCRACY - Technocultural professor gets students to flip their wigs over Pixelvision. With rare Craig Baldwin appearance.

Donovan Seelinger's SOMETHING YOU HAVE TO KNOW - Whiz kid enlightens his audience.

Geoff Seelinger's THE CUTTING - A bloom is set up, controlled and taken on a journey that is pointless, scary, exciting and in moments beautiful. Press ready still- lalawest.org/thecutting/TheCuttingStill.png and vimeo.com/6579693

Seelinger's BREEZE OUT BACK - The effects of breeze on things observed from my back porch, seen in low resolution stuttering black and white pixels, produces an ominous dream-scape. The sounds of wind noise are constructed into music concrete. Press ready stills:

Mariko Drew's WILD BEAST - Young gal and her kitten frolic about the light continuum.

Six-year-old Chester Burnett's DONUT MEMORIAL reanimates a dead pastry.

Bill Burnett's SONGS ARE is a statement of a true song believer.

David Healey presents his photos in DISCOVERING VENICE.

Joe Nucci's ME, THE P.A. & DAVID LEE is the third chapter in a captivating trilogy of hilarious limo driver recollections. His BENHAM'S DISK spins.

Stormin' Norman & Suzy Williams' BLACK EYE AT THE REDEYE energizes rag'n'roll with joyous passion.

Doug Ing's WORK asks if we work to live or live to work.

Will Erokan's KITING probes Sigurd Frey's experience with the Internet, credit card fraud, and 9/11.

Lisa Marr and Paolo Davanzo's THE CHASER surveys the sweet history of female actresses from Hollywood's silent era.

Karin Spritzler & George Russell's transportional dreamscape AS IF ONE BREATH breathes.

Gerry Fialka's EFFECTS PRECEDE CAUSES probes WC Fields as a wool in sheep Symbolism mousing around Poe's reasoning backwards.

William Sabiston's CONVOLVULI feels like living x-rays, electrical storms, and flying saucer hallucinations. A trilogy of abstract music videos for his band Bulbs. aphidtrip.com

Mier N'Gewlieu's UCH! ACH! ECH! FEH! sounds off Yiddish wordage.

Denny Moynahan reinvents interactions with his filmic self, King Kukulele, in the near death experience SHARK HICKEY.

Jason Danti's DEX merges bop and the light fantastic.

Lala McClave's beat poetry evokes GODDESS VENICE.

Jerron Paxton's JUMP BOOGIE smoothes the blues.

Sunny War's POLICE STATE makes a political folk-punk statement.

Church of the Subgenius pioneer Janor Hypercleats' INTERVIEW WITH ROCK STAR MARILYN OSBOURNE returns with laugh-out-loud revitalizing of the street performer to stellar status.

Paul Bacca's DOESEND is another gem from Chicken Leather's Kill Radio vaults.

Program for PXL THIS 19 for Dec 7, 2009 at Unurban, Santa Monica CA laughtears.com
(PLEASE Note: the following schedule is subject to change)


1- SHARK HICKEY - Denny Moynahan, 6 minutes
2- SOMETHING YOU HAVE TO KNOW- Donovan Seelinger, 3 m
3- THE CUTTING - Geoff Seelinger, 6m
4- BREEZE OUT BACK - Geoff Seelinger, 3m
5- DONUT MEMORIAL- Chester Burnett, 3m
6- SONGS ARE - Bill Burnett, 2m
7- COLOR PXL - James Wickstead, 3m
8- AS IF ONE BREATH - Karin Spritzler & George Russell, 6m
9- ENCASED - The Count of Manifesto & Hillary Kaye, 2m
10- MOURNING - The Count of Manifesto & Hillary Kaye, 2m
11- BLACK EYE AT THE REDEYE - Stormin' Norman Zamcheck & Suzy Williams, 2m
12- GODDESS VENICE- Lala McClave, 2m
13- DEX - Jason Danti, 6m
14- ME, THE P.A. & DAVID LEE - Joe Nucci, 9m
15- BENHAM'S DISK - Joe Nucci, 1m
16- JUMP BOOGIE - Jerron Paxton, 3m
17- POLICE STATE - Sunny War, 4m
18- THE CHASER - Here & Now (Lisa Marr & Paolo Davanzo), 2m


19- SOUTHWEST MUSEUM 2009 RECAP - Michael Possert Jr, 3m
20- T ZERO - Suki Ewers & Clifford Novey, 4m
21- I PUSH ON - LM Sabo, 2m
22- SURGEON's REPTILE MESS - John Clark, 4m
23- CULTURAL DEMOCRACY - Jesse Drew, 6m
24- WILD BEAST - Mariko Drew, 6m
26- WORK- Doug Ing, 3m
27- KITING- Will Erokan, 4m
29- EFFECTS PRECEDE CAUSES - Gerry Fialka, 13m
30- CONVOLVULI - William Sabiston, 8m
31- THE WANDERING ERA - Chris Bentley, 12m
32- UCH! ACH! ECH! FEH! - Mier N'Gewlieu, 6m
33- DOESEND - Paul Bacca, 4m

PXL THIS 18 laughtears.com/PXL-THIS-18.html is available for screenings/workshops. "PXL THIS 18is the best festival yet." - Paolo Davanzo, Director of Echo Park FIlm Center echoparkfilmcenter.org rent past PXL THIS festivals and also rents PXL 2000 cameras. EPFC screens PXL THIS 19 in May 20, 2010.
See PXL THIS 18shorts: youtube.com/watch?v=xF0VKPH0ypg& & vimeo.com/3795336 &
youtube.com/watch?v=8pYGEvm7FV4 & Stills: fooie.com/birdlyStills.zip

PXL THIS Director Gerry Fialka is available for Pixelvision & Media Ecology workshops. laughtears.com/workshops.html
"Fialka's workshops are in depth communication of something extremely elusive - the history of the unimaginable - and his lively interpretation renders it useful." - William Farley, Award-winning filmmaker
"Fialka's animated Media Ecology Workshop acted like a Karate chop on the minds of my film/television students. It's rare for high school students to be exposed to these basic media fundamentals with the historical tracks that lead into present day truths. What a reality check for teens. The kids enjoyed the high-energy presentation and got a mental reorientation of how media plays on their day-to-day lives." -Romeo Carey, Media Director, Beverly Hills High School

michaelkoshkin@gmail.com is making a documentary about Pixelvision.

PXL 2000 Color Camcorder - A Brief History by James Wickstead (of JWDA) jwda@wicksteaddesign.com,

In 1995, some years after the demise of the original PXL 2000 Camcorder, JWDA was approached by Hasbro Great Britain to see if a new camera could be developed, this time incorporating higher resolution and full color. The British division of Hasbro was a small and very well structured group with a keen insight into the toy and consumer product markets.

Technically, putting all the “information” required from 3 color channels and voice onto an off-the-shelf audio tape was a considerable challenge. We were to use the original PXL Camera concept but the technical difficulty and needs for custom made, precision parts and electronics was daunting. All of this would end with a product as easy to use and very comparable to a child’s tape recorder and also be inexpensive.

Hasbro USA became aware of the program and immediately took the project from the British subsidiary. This turned out to be a major problem, since the parent company had established a poor reputation with a key vendor. Further, the parent company had no technical ability and was strictly acting as management and contract control.

The project was initially composed of intense R&D to design and prototype the camera to make certain that theory and results matched. Thereafter, we would need to provide the detail design associated with production.

The program evolved slower than expected. There were considerable negotiations required with the key vendor to provide assurances that difficulties experienced with Hasbro, previously, would not be repeated. Once placated, they began to better support the program. Within 8 months, a development system had been created and the rudimentary video was operational, storing and playing color video back from audio tape. At this point, it was obvious that the system would work and we could see physical results, although needing technical refinement.

Hasbro canceled the program after approximately 10 months. They were known for a short project attention span and this was no exception. It was quite a difference from the focus and dedication of our original partner, Fisher Price.

JWDA developed the camera further, using our own resources, but it was becoming obvious that imaging technology was evolving quickly and that solid state and not tape memory was the future. It was just a matter of time before that technology came down in cost to match the PXL concept. Other companies wanted to pick up where Hasbro left off, but it was decided that the time for PXL had past. The project officially ended in mid 1997.

In hindsight, the PXL camera was revolutionary in it’s time. The technology allowed manufacture of a very low cost easy to use camera. However, the real appeal wasn’t just the cost, but the performance, which only a child and creative adult could truly appreciate. Low resolution, black and white images and strange artifacts when used, were hallmarks of the camera and provided most astonishing results in the hands of the artist. the color PXL was a technical tour de force, but it was also an afterthought.

From this person’s perspective, meeting and interacting with the artists was as much a highpoint as seeing the original product born into the marketplace.

Film Production


Don't know why there's no sun up in the sky, stormy weather
Since my gal and I ain't together, keeps raining all the time
Life is bare, gloom and misery everywhere, stormy weather
Just can't get my poor old self together
I'm weary all the time, the time
So weary all the time

When she went away the blues walked in and they met me
If she stays away, that old rocking chair's gonna get me
All I do is pray the Lord above will let me
Walk in the sun once more

Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time
Keeps raining all the time

Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time, the time
Keeps raining all the time


the ms of mt kin, notes toward a review

of course I can't write this review, really, but here s the start

one thng I have never done is really and thoroughly read RadiOS; have read A Humament more thoroughly

I have also written my own bit on erasure, especially in IN MEDAS RES in DaDaDa, but also around that work in this blog etc.

So, I must ask -- is my quick resort to the SOURCE in Homles / Dickinson, or even Anne Carson / et.al, or Ronald Johnson/Pound -- its consequent focus on process rather than result, which comes to my mind first because because, a problem? or is result more important? because to have a bunch of writing no matter the result with a process which is not only more critically discussed but also perhaps the main thing is a problem, as much so as a bunch of writing which is only interesting as to result, with no process, craft, or critical engagement rising to attention also -- yet, and especially younger reviewers -- do focus on effect and while lots of older reviewers focus on context/influence. Or affect.
turn the tables abd think that everything Stevens does is EXACTLY as someone like Stevens would have done


A philosopher of a lawyer? I guess he didn't invent that, but it is so common, as is a poet of a lawyer

A louche and frustrated insurance man? Who married a beautiful wife and lived in a beautiful house and worked a pretty easy job in order to support it? Who are we to question, or to regret more than the poet does?

Finally, what's so bad about the victorian AND mannerist to both the Augustans AND moderns? Too messy, too fun, too... too.

"So it’s all nonsense and elegance, then! Elegance is the vacant form of eloquence."

I think this is an important observation of Logan's. I think he's dead wrong about elegance. think he's dead wrong about nonsense. Thus, I think he has no idea what elegance means, or the blend of decor / decorum that Stevens uses to get that sort of "golden glitter" lord help us Tom Wolfe wrote about in bonfire, as someone influenced by the american flaneur.

Elegance, with its dizzying blend of simplicity, necessity, and aesthetic value, is near opposite eloquence, with its tripping sounds, ringing occasional meanings, and sonorous blank spots (couldn't make that parallel yet -- obviously, aesthetic expression of elaborated meanings someone more rooted in the ego).


beAUTY sleep for K. Greenstreet

wake up
young, rested, more truthful

arise, as though aubade isn't inevitable, Apollo's

or maybe we must all recline, relax, dream a little

(the eye draws the cart)

race, trace, this indicates the final beauty, fully realized dream --


I know I HOPE
AT least


ear Friend of the Redondo Poets,

To help to plan your holiday season...November and December 2009 are full of such high cards we can't resist showing our hands. All in! We're betting you will be surprised and delighted.
November 3 ALL OPEN MIC - What hath Jim wrought!?
November 10 Charles Harper Webb, author most recently of Shadow Ball: New and Selected Poems
November 17 Tobi Cogswell, author most recently of Carpeting the Stones
November 24 Julianna McCarthy, author of Photoplay

December 1 Gail Wronsky, author most recently of Bling & Fringe: The L.A. Poems (with Molly Bendall)
December 8 Danielle Grilli & Buffy Visick, poetry and music (seatbelts will be provided for this attraction)
December 15 Brian Tracy, author most recently of The Distance Between Shores
December 22 Bill Meis, bard of Redondo Beach
December 29 NO READING

Don't forget: This Tuesday (10/27/09) CECILIA WOLOCH (author most recently of Carpathia)

The Redondo Poets reading takes place every Tuesday at Coffee Cartel, 1820 S. Catalina Ave., Redondo Beach (310-316-6554). The reading starts at 8:10 PM and is free. Open mic before and after the feature. For more info: info@redondopoets.com or 310-548-5344.

Visit www.redondopoets.com for information about features, schedule updates, directions, and general information about the reading.

Live webcast of reading, Tuesdays 7:30 pm to 10:30 pm: www.blogtv.com/people/diogenesclub
Shiva Sutras

1. a i u Ṇ
2. ṛ ḷ K
3. e o Ṅ
4. ai au C
5. h y v r Ṭ
6. l Ṇ
7. ñ m ṅ ṇ n M
8. jh bh Ñ
9. gh ḍh dh Ṣ
10. j b g ḍ d Ś
11. kh ph ch ṭh th ca ṭ t V
12. k p Y
13. ś ṣ s R
14. h L


Even the blooming flowers
Will eventually fade
Even our world
Is not eternal
The deep mountains of vanity
Cross them today
And superficial dreams
Shall no longer delude you

[die without sin]

Nirvana Sutra

All acts are impermanent
That's the law of creation and destruction.
When all creation and destruction are extinguished
That ultimate stillness (nirvana) is true bliss.
In the 5th century BCE in ancient India, the grammarian Pāṇini formulated the grammar of Sanskrit in 3959 rules known as the Ashtadhyayi which was highly systematized and technical. Panini used metarules, transformations and recursions with such sophistication that his grammar had the computing power equivalent to a Turing machine.


didn't know my favorite steve mccaferey/bp nichol collab was online, though MISSES MOST OF ITS EFFECT only having I and not the rearranged sheep a moment later



Polish Goulash

2 red peppers

chop and brown

2 tbsp paprika

put on peppers, then add

2 cups cubed chuck (defatted)

don't completely brown

then add

3-4 fresh tomatoes, chopped

cook until mushy

then add

1 cup wine

1/2 cup milk

cook until that's absorbed

add more wine, juice from a can of tomatoes

serve on rice or noodles


identification of a source for the elimination of my pet peeve, automatically-capped lines! Others magazine, 1916.

of course this is williams (although his first books did have capped lines), but in context w. kreymbourg


actually, I'm a little appalled, as it is both the death and beginning of everything hate and love about Hartford and Stevens

14th Annual ‘Wallace Stevens Birthday Bash’
Saturday, November 7 2009, 6:30 P.M.
Hartford Public Library, 500 Main Street

Program begins with a reception at 6:30 P.M.

Beyond Adagia: Eccentric Design in Wallace Stevens' Poetry
“Poetry is a pheasant disappearing in the brush.” —Wallace Steven, Adagia

Birthday Cake & Champagne after the Program!

Tickets: $45 per person. Send check payable to:
Connecticut Center for the Book
500 Main Street
Hartford CT 06103.

Or reserve your tickets at the door,
via email: lyons@hplct.org
or by phone: 860-695-6320.
Sponsored by
Connecticut Center for the Book at the Hartford Public Library
with help from The Friends & Enemies of Wallace Stevens.
more notes! soon -- about neoclassicism and pseudonyms...
starting to read showalter's jury

one thing is that I am unsure of the distinction she makes between all women writers and American women writers, then pointing out, of all the societies, publications, and conferences devoted to women's writing, old and new, LEGACY and Society for the Study of American Women Writers.

while she does treat this difference: primarily in what I am interested in, the difference between puritan women writers and catholic or main line protestant women writers during the restoration/counterreformation, she also 1) discards it, as not in the catchment area of her book theme,

2) resists drawing any conclusions at all, or even asking why and how questions, in favor of just looking at what american women were writing. She states she does this in order to avoid feminist criticism, in particular, but also a reaction against feminist criticism as well, as well as a reaction for and against any criticism.
chrs hamilton-emery on one part of the uk avant garde

And the second thing I find fascinating is what I call Liberation Poetics,
the idea that poetry has been enslaved in some consumerist conspiracy,
and that leads to a kind of messianic quality in some work, and, as I've
remarked before, a lot in Keston's. This kind of poetry needs to be
outside, needs to be oppressed and needs to be secret. It can't
accommodate or mediate as it relies on an extreme position and in
many respects requires converts and acolytes, neophytes and indeed
some Grand Masters. It's religious in effect. One has to believe. Though
a key feature of the dogma is to express doubt, uncertainty and
incompleteness, just as it embraces process over product, openness
over closure and radicalism over restraint. It's chief weapon is excess.
And of course it is oppositional.


Stephen van Dyck
Music/Arts - Exhibit
Sunday, October 11, 2009
12:00pm - 6:00pm
all 27 miles of Washington Boulevard and in cars
Washington Boulevard
Los Angeles, CA
View Map
“A Day in L.A.” shows work from over sixty Los Angeles artists and non-artists in unused public outdoor spaces along the entire length of Washington Boulevard’s 27 miles, from Whittier to Venice Beach. For one day artists will perform works, create installations, facilitate happenings, and make music in unexpected spaces, such as on the sidewalk, between dumpsters, along railroad tracks, as well as inside the audience’s cars as they traverse one of LA’s most iconic boulevards. An official map of the day’s events along with schedules and other downloadable information will be available to the public starting on October 4 on the event website (www.washblvd.tk).

Works range from performances and installations to writings and discussions. The audience can choose how long they want to spend at each spot, skip spots or drive at different speeds between destinations as they traverse Wash. Blvd from Whittier to Venice Beach, culminating in an end performance at Venice Pier. Audience members are additionally invited to car pool with some artists between spots and to switch car pools at their leisure.

Building on the success of his last curatorial endeavor, The San Fernando Road Concert in 2008, Curator Stephen van Dyck seeks to investigate the possibilities of Washington Blvd as a site for artistic exploration. Washington Blvd is LA’s longest east-west street and one of the longest municipal streets in the world. This event will highlight this space as a way to view how the Los Angeles metropolis grew, and the massive in-between and negative spaces it left behind as it expanded. Additionally, this day will examine the Blvd as a cross-section of the city's diversity of landscapes and people. This exhibition/event/experiment asks, “How can we generate a new kind of LA experience, bringing meaning and attention to a collection of less obvious destinations?”

Participating artists include musicians, artists, writers, non-artists and residents of Washington Blvd's many neighborhoods: Danielle Adair, Karen Atkinson, Lisa Anne Auterbach, Lara Bank, Ama Birch, Michael Buitron, Kathrin Burmester, John Burtle, Amina Cain, Teresa Carmody, David Casey, Audrey Chan, Caroline Chang, Carolyn Chen, Samantha Cohen, John D'Amico, Ken Ehrlich, Daiana Feuer, Flint, Cary Georges, Mary Beth Heffernan, D Jean Hester, Jen Hofer, Julia Holter, Maryam Hosseinzadeh, Alexis Hudgins, Sarah Ibraham, Katie Jacobson, Ian James, Shaun Klaseus, Ari Kletzky, Sojung Kwon, Andrea Lambert, Eric Lindley, Elana Mann, Emery Martin, Anita K. Marto, Meghann McCrory, Joe Milazzo, Joanne Mitchell, Tracy Molis, Robin Myrick, Tucker Neel, Paul Pescador, Ali Prosch, James Rojas, Ally Sachs, Janet Sarbanes, Nate Schulman, Veronica Shalom, Katie Shook, Cynthia Simonian, Mark So, Mariangeles Soto-Diaz, Jennifer Styperk, Robert Summers, Jade Thacker, Mat Timmons, Jared Woodland, Austin Young, Luis Zavala and Yelena Zhelezov. Additional artists will be announced as the event draws nearer.
o read this Life of the Day complete with a picture of the subject,
visit http://www.oxforddnb.com/view/lotw/2009-10-04

Catley, Ann (1745-1789), singer and actress, was born in an alley off Tower Hill, London, the daughter of a washerwoman and a hackney coachman, Robert Catley. According to The Life and Memoirs of the Late Miss Ann Catley (1789-90) she was a pretty and sexually precocious girl who earned money singing at public houses and to officers at the Tower of London. At the age of fifteen she was bound apprentice to the theatre composer and singing teacher William Bates. In 1762 she sang at Vauxhall Gardens and then joined the Covent Garden Theatre company, making her debut as the pastoral nymph in Thomas Arne's Comus on 8 October. The high-spirited girl rebelled against Bates's control and left to live with a lover, the dissolute baronet Sir Francis Blake Delaval (1727-1771). Delaval arranged for her apprenticeship to be transferred to himself and recompensed Bates for his loss of earnings from her engagements. Ann's father, supported by his Quaker employer, who was shocked by the immorality of the transaction, brought a law suit in May 1763 against Delaval, Delaval's lawyer, and Bates, but Ann remained with Delaval and sang that summer at Marylebone Gardens. The love affair ended and she was engaged by the Smock Alley Theatre, Dublin, on the recommendation of Charles Macklin, who was giving her acting lessons. On 31 December 1763 the Dublin Journal printed a poem in praise of her performance as Rosetta in Isaac Bickerstaff's Love in a Village. Her impudent charms and accomplished singing drew crowded houses and, according to The Thespian Dictionary, she was paid 40 guineas a night. Her favourite roles included Polly (and occasionally Macheath) in John Gay's The Beggar's Opera, Sally in Thomas and Sally, Fanny in Bickerstaffe's Maid of the Mill, Mandane in Arne's Artaxerxes, Laura in The Chaplet, and Euphrosyne in Comus. According to Macklin she was pregnant in February 1764 and there was gossip about numerous lovers, but the Irish public warmed to her personality. When she performed gratis at a concert for the lying-in hospital in May 1765 the takings were £66 13s. as against an average of £6. About 1768 she met Lieutenant-Colonel Francis Lascelles (1744-1799); they became a mutually devoted couple and lived together until her death, when her will divided her estate between their eight surviving children.


About Fylkingen
Fylkingen is a society, consisting primarily of practicing artists, devoted to the production and promotion of new music and intermedia art. Since its foundation in 1933, initially as a chamber music society, Fylkingen has been committed to experimental, new and unestablished forms of contemporary arts.

The very first concerts of electroacoustic music in Sweden were arranged by Fylkingen in the early 1950's, and further radicalization occurred during the 1960's with the happenings, musical theatres and text-sound compositions prominent on the society's programme. Since then Fylkingen has regularly presented intermedia art.


ROCKPILE Performance

Thursday, October 8th 7:00pm
The Hammer Museum
Billy Wilder Theater
10899 Wilshire Blvd
Los Angeles, CA 90024
Phone: 310.443.7000

David Meltzer and Michael Rothenberg with Theo Saunders (piano), Johnny Lee Schell(guitar), John B. Williams(bass), Joe Sublette(saxophone), Debra Dobkin (drums and percussion) for a fusion of poetry, jazz, blues and roots rock.


some notes on cathy young ceasefire

wow what an incendiary, arguable, but ultimately dull book

it is sort of like camille paglia but pretending to be feminism rather than literary criticism

she does a good job in taking apart of twelve step ideology, the abuse ideology, but she does so with wife battering and child custody in divorces, which is -- I dunno, the way to get the least possible credit for doing the hard thing about taking apart these ultimately religious ideologies, and the place where they perhaps apply least best, and so she makes many errors

from pages I flagged as skimming:

she points out that since women are less likely to be murdered than men, they are not primary victims of male violence -- i.e., men kill more men than women

this seems sort of odd; what about the women murdered?

she points out that gay men "are at least as likely to be raped by their dates as women [sic: I suppose, "are likely to be raped by their dates" is how this sentence should end]

first of all, this seems to be separating gay date rape from rape of gay men

she points out that 6-10% of sexual assaults have adult male victims -- are these all gay male date rapes?

and concludes, "rapists as a group seem no more hostile to women than other criminals"

the next thing I flagged was about battering; I'm not really sure about the argument here either. she points out that some women stay in abusive relationships because they feel they have a moral high ground/more power, like the "edge," "passion," or "charge", etc. while this seems to be a version of "she's asking for it", the anecdotes are coupled with others: that feminists downplay the role of poverty and drinking/drugs on wife battering, that borderline personalty makes men more likely batterers, and that men are battered too

the real debate is, of course, why are more women battered than men; one of the things she points out is that things like ripping up photos of old girlfriends, stalking, damaging cars and other objects, are ways that women more often batter men, being, in general, less physically violent -- I would add another version of some of the things she uses anecdotally -- that perhaps it is more routine for recent immigrants from more traditional societies, or people with less opportunity (financal, educational) to be exposed to a variety of cultures where women are considered to be equals in some way are more likely to believe that men are allowed to establish physical control of women; perhaps people with certain psychological traits are more likely to react to a feeling of being trapped, controlled, or dominated by the opposite sex with physical violence -- but isn't this what feminists are saying? that this is not the case or not to be condoned in our society?

I was particularly shocked by the idea, "there is always communication in sex; it just doesn't have to involve words. A physical overture is a nonverbal request for permission..." While, like anything else, "no means no," and many other slogans and school policies, for example, are difficult to carry through in a fair way, I think that we will always have to struggle with educating many young women, like me when I was young, that they are allowed to push aside, ignore, counter, fight off, young men who force their case, as it were.

When Young treats custody battles, she attempts to elucidate -- and counter -- what she sees as a view of divorced fathers (by feminists) as "selfish and spiteful."

Now, I can't think right now of many divorced parents who don't think of their former spouses as selfish and spiteful. I can think of a few couples who married very young and don't have children who don't see it that way. Seems pretty gender and sexual-orientation neutral. I mention this because in the quote:

"...I came across an eye-opening comment by one attorney: she described herself as an "advocate for a woman and her children against the wealthy father" (emphasis added). Some champions of "women and their children," I realized, actually view fathers as their children's enemies."

it is unclear how the leap was made. It seems clear that the attorney is particularly interested in getting fair divorce settlements for female clients who had wealthy husbands -- i.e., who had more financial resources to pursue AND to use. How is this viewing all fathers as enemies of their children?


one of my dreams last night was about some of this, where a very large hispanic family was gathering (although Stan Apps made a brief appearance at the end to buy drugs -- sorry Stan, know you'd never do that), and not for that reason, but incidentally there were lots of children and a baby was being born in another room.

In any case, I know that in the experience of some people, a strong patriarchy is accompanied by a strong matriarchy, and relations are mostly homosocial in any case. The men are watching the game, or talking business, or smoking cigars; the women are telling each other family stories with the kids, the women are preparing food, the women are having appletinis.

One of the things -- Young never says it -- but where we might agree, but gender roles become increasingly inequitable when more and more people depart from the role, and want to depart from the role. "Seperate but equal" doesn't work. It is easier to see now that single sex higher education has mostly changed into mostly women's colleges where women do not feel hazed, and boys high schools where men do not feel distracted (there are so few men's colleges), rather than places where women could get an education, albeit one lesser in especially business management and the sciences or not particularly leading to anything, the famous institutions being reserved for men. This is such a recent change, though, that we haven't seen an entire generation pass through life having it be the case.

But there are now more men and women with approximately similar educations, work experiences, and *interests* than before. What, indeed is the conversation over cigars, and how it it different from the other ones? If the locus of women's power is the (disintegrating) family, where does that leave women who "don't give a rat's ass" about what her cousins got in trouble for doing?

I don't think it leaves men who are more interested in family or women or not interest in management of check cashing stores in a more feminist position, either; I suspect it actually simply keeps them at the kids' table as far as the patriarchy is concerned. Which, in fact, might be ok, except we all eventually have jobs and responsibilities that eventually involve dealing with "powers that be."

Eve Sedgwick on gossip:

"everybody who survives [the knowledge that people are different from each other] has reasonably rich, unsystematic (i would argue this, which is why it is in italic) resources of nonce taxonomy of mapping ... their human social landscape. It is probably people with the experience of oppression or subordination who have the most need to know it; and I take the precious, devalued arts of gossip ... " [as the refinements of ths -- I would say SYSTEM -- because *classification begs a system*; the "human social landscape" is not a system; the system is that whch s classified.
note on epistemology of the closet reading for one minute:

1880-1920 influx of catholic and jewish immigrants like a reformation/counterreformation, as far as morality/mores is concerned

of course a lot about the increased awareness of homosexuality during wwi, and the clampdown on new orleans and other read light districts: the disappearance of "victorian" mores -- is written

but n this book: child sex, autoeroticism, etc. : don't we see that priests are emphasizing the sinfulness of these practices to the uneducated, devoted new immigrants, while at the same time, prostitution, abortion, drinking, among the immigrants is disdained by the established, victorian protestants in america?

I will try to get back to this idea...

I can't believe the "i" key is going on my new computer. I hope it is my finger...


while I think the genetic/evolutionary portion of meme theory is pure bunk, I like the idea of a meme as a unit of more complex cultural meaning than a seme

I have always thought that visual poetry operates more effectively on the meme level than the seme level, that semes are too atomic for the visual

I would also add that for me most readable visual art and media is memetic, not semantic

and importantly so; that literary critics of media, because they are looking at semantics and symbols, language spoken and written, overlook the deeper effects at least possible with visual, sonic, technological, and language grammars


A little girl named Brenna showed me Word World last night. So cool!



made this when reading cahun; I intend to translate and publish her p.d. work -- but this line particularly struck me

the second "la femme" is already after -- as we read, on the line, it follows, the first "la femme," while the first "la femme" is the one referred to as after

the full stanza

la femme apres la femme
au nom du pere
au nom du fils

one of the first things it of course that it is the beginning of the sign of the cross; head and heart balanced (although I first thought of the weird "holy spirit" which is touching left (holy) and right (spirit) shoulders as a balance -- a visual balance? of course that it less meaningful than head and heart

anyway, also the way that the name of the father follows the name of the woman

very simple little stanza with very simple multiple meanings laid out; nice


big Kearney fan...

H.I.P., Hollywood Institute of Poetics, prersents

hosted by Bryan Sanders & Robert Juarez
John "Survivor" Blake
Nikki BLAK
Ashaki Jackson
Douglas Kearney

Friday September 25
1716 Sunset Blvd
8 pm
A highly respected member of the Los Angeles spoken word community, Ms. Blak has developed a voice with a perspective well beyond her years. She is the recipient of the 2005 Leimert Park UCLA Literary Scholarship and was the only poet whose likeness was depicted in a Michael Maussenburg Mural in the heart of Liemert Park.

In November 2005 Nikki released her first collection of written work entitled GIRL, which has been embraced by the poetry community. She was a member of the 2006 Los Angeles and 2007 Hollywood Slam Teams and had the privilege of competing against poets from all over the country at the National Poetry Slam Competition for both years. She is currently completing her second literary work, Five Three and Rising, which is set to be released some time in the fall.

John Stanley Blake was nicknamed "Survivor" by his therapist after their 1st session. He told her about being biracial in the 70s, growing up the youngest of nine children in a two bedroom apartment in the Baruch Projects on the lower east side of Manhattan, about his entire family being addicted to (and eventually dying from) heroin, the molestations, the drinking, the crimes, the nightmares. When he told her that, after burying his parents (father from AIDS and mother from a bone-marrow infection she contracted in prison) and all of his siblings, especially his brother, Benny who was left to die in winter's winds of '84 (AIDS, murder, Hep C, and overdoses), he was the only one left, she promised him that something great would come of it; that there were no coincidences. John "Survivor" Blake is now speaking out about addiction and struggle at universities and rehabilitation centers (Virginia Tech, Columbia, SUNY, Berkeley Univ/Newark, Westchester
Community College, Phoenix House, AZ, Lourdsburg HS, NM, and the Virginia State Journalism Championship Awards Ceremony). He's also a well-known spoken word artist across the nation! He's shared the stage with such fabulous artists as Patricia Smith, Tara Betts, Marty McConnell, Rachel McKibbens, Amiri Baraka, Roger Bonair-Agard, Saul Williams, Suheir Hamad, and Carlos Andres Gomez. He's touched final stage at The National Poetry Slam in 2007 representing the Louder Arts slam team. Survivor is now the slam coach and one of four curators for SlamRichmond in Richmond, Virgina. He conducts weekly workshops every Saturday afternoon and hosts the venue as well. His book of memoirs (the first in a five-part series), Drifting From Fire, is soon to be published as well as his first book of poetry by "Smalls Books Press". (read less)
John Stanley Blake was nicknamed "Survivor" by his therapist after their 1st session. He told her about being biracial in the 70s, growing up the youngest of nine children in a two bedroom apartment in the Baruch Projects on the lower east side of Manhattan, about his entire family being addicted to (and eventually dying from) heroin, the molestations, the drinking, the crimes, the nightmares. When he told her that, after burying his parents (father from AIDS and mother from a bone-marrow... (read more)
Personal Interests:
reading and writing, chess, touring, reaching out to students anywhere and everywhere, roller-coasters, showing others how to

Ashaki Jackson

Growing up in Fresno and Texas, Ashaki had many interests -- genetics, forensics, brain structure, and poetry. Still unsure of what she wanted to do in grad school, her work with youth offenders “really moved me to do something about the juvenile justice system.” She chose social psychology, recognizing that it offered many different paths. Ashaki’s focus is helping youth, especially young women, for whom positive treatment services are very limited.

While working as a peer-advising counselor, “I got a sense of how people navigate through issues and coupled that with my father’s legacy in criminology and victims’ services.” At CGU, she had the opportunity to work on a variety of projects, from the Getty museum to juvenile justice, analyzing data on relationships between peer pressure and disclosure.

“Youth disclosure to parents about what’s happening in their social lives is important. Adult figures can really help kids navigate their lives. All kids want to do is talk and get their story heard. Every child has a story.”

Ashaki says she really feels at home at CGU. “When CGU accepted me, I thought, wow, there are professors here who are internationally known. It was a good fit for me and it's a beautiful place. My professors are opening doors for me. While I was still very green, one of my evaluation professors gave me an opportunity to run an evaluation project. Another professor emailed a job opportunity at Riverside County Department of Mental Health where a CGU alum worked. She applied and got the job. It was my first substantial job in research and evaluation and a great learning experience.”

“Our cohorts are small. We become family and can talk about anything. It’s a great, warm environment. I came from UC Davis with thousands of students and I was shocked when I came to CGU and the professors knew my name."

While working on her Ph.D., Ashaki completed an MFA in creative writing with an emphasis in poetry.

Ashaki would like to create policy and to evaluate programs for at-risk youth. At some point she hopes to combine her interest in poetry with juvenile justice.

Douglas Kearney's first full-length collection of poems, Fear, Some, was
published in 2006 by Red Hen Press. His second manuscript, The Black
Automaton, was chosen by Catherine Wagner for the National Poetry Series
and will be published by Fence Books in 2009. In 2008, he was honored with
a Whiting Writers Award. An Idyllwild and Cave Canem fellow, Kearney has
performed his poetry at the Public Theatre, Orpheum, and The World Stage.
His poems have appeared in journals such as Callaloo, jubilat, nocturnes,
Ninth Letter, Washington Square and Gulf Coast. He has a BA from Howard
University and an MFA in Writing from the California Institute of the
Arts, where he now teaches courses in African American poetry, myth, hip
hop and opera. douglaskearney.com
Beauty is mysterious as well as terrible. God and devil are fighting there, and the battlefield is the heart of man.
Fyodor Dostoevsky

H.I.P., Hollywood Institute of Poetics, established this April 2009, is committed to the perpetuation of PLC: Poetry, Literature and Community through Poetic Loving Care. Our numbers are committed to the ongoing promotion of good works, good thouhgts and good people by serving the poetic muse in the form of public readings, publication and the promotion of poetry everywhere.



crack 2: not a sequel, a parody

Camper Van / Cracker: "I hate that Cracker rockstar shit."

He's got the Eye of Fatima on the wall of his room
Two bottles of tequila, three cats and a broom
He's got an 18-year-old angel and she's all dressed in black
He's got 15 nickels of cocaine tied up in a sack
And this here's a government experiment and we're driving like Hell
To give some cowboys some Acid and to stay in motels
We're going to eat up some wide open spaces
Like it was a cruise on the Nile
Take the hands off the clock, we're going to be here a while
And I am the Eye of Fatima on the wall of the motel room
And cowboys on acid are like Egyptian cartoons
And no one ever conquered Wyoming from the left or from the right
But you can stay in motel rooms and stay up all night


Rachel Loden
Rae Armantrout
Hammer, Tuesday

Rarely is a pairing of readers so fortuitous. No, that would be the pairing was by chance, and this is not so. These readers were deliberately paired, either by themselves or Benjamin Weissman.
Conversations with Artists: Guerilla Girls and Young-hae Chang Heavy Industries
Monday, September 14 | 7:00 pm
The Guerilla Girls, an anonymous collective of women artists, art historians, and art administrators, produce provocative posters, books, and actions that expose sexism and racism in politics, art, film, and pop culture. Young-hae Chang Heavy Industries creates web art, edgy digital poetry that flashes to the beat of music. A collaboration of Young-hae Chang (Seoul, Korea) and Marc Voge (USA), these texts are often politically pointed stories covering everything from sex and violence to alienation and the mundane. In this conversation with former LACMA curator Lynn Zelevansky, each will discuss their similar uses of provocation, collaboration, and broad-based accessibility in their work.

Bing Theater | Free, no reservations
as I realized that the first thing I learned from the Nixon Library yesterday is perhaps *not* to try to -- as has become my habit -- process all the information and make it fit (into what, for me?)

this is different from writing and writing from sources so much you make your own smudge of them, as I'm doing with Louise Colet, very slowly now

then I woke up with commands to make the sprinkler system go on and to make an ip address dynamic from static

now to home depot
then to call and see why the chimney didn't pass inspection
and then to get some *finishing* done
to get ready for some *cleaning*



The Poetic Research Bureau presents...


Sunday, September 13 2009 at 4:00pm

@ The Poetic Research Bureau
3702 San Fernando Blvd
Glendale, CA 91206

Doors open at 4:00pm
Reading starts at 4:30pm

$5 donation requested


WHAT: Mixed Reality Performance in Second Life and "Real Life", Technesexual

WHO: Elle Mehrmand and Micha Cardenas
WHEN: Sunday, 6pm, September 6th, 2009
WHERE: Cal State Long Beach at GLAMFA, map here:

On *September 6th* at 6pm we’ll be doing a new performance called
which we
just performed in Bogota, Colombia at the Hemispheric Institute of
Performance and Politics. Technesexual is part of Mixed Relations
and involves a mixed
reality performance using biometrics and live audio that responds to our
movements in order to explore relationality. Upcoming performances
include Tijuana at CECUT on Oct 4th, San Francisco at Arse Elektronika,
and Montreal at Artivistic 2009. Also, Elle Mehrmand and Micha Cardenas
will be showing the video of Slapshock
in the
exhibition of GLAMFA.

On Wednesday, September 9th from 5-7pm, Mehrmand and Cardenas will be
speaking at a round table about these works as well as a pervious work,
Becoming Dragon, as part of the CSULB Visiting Artist Lecture series.

Technesexual involves Mehrmand and Cardenas kissing in physical and
virtual space, while biometric sensors monitor their heartbeats,
allowing the audience in both spaces to hear their live heartbeats,
blurring the lines between the two spaces.

Slapshock is a performance using an Arduino, a Freeduino and a
Transdermal Electro Nerve Stimulation (TENS) unit in which each
performer slaps themselves, which in turn causes the other performer to
receive a painful electric shock. The performance continues as long as
the performers can tolerate the pain.

More info at the GLAMFA website.



photos: http://www.flickr.com/photos/lotu5/sets/72157620312879150/


photos: http://www.flickr.com/photos/lotu5/sets/72157621943139937/

Mixed Relations Project description:

A series of performance and workshops that explore how relations between
people change in mixed realities, using the body as an instrument, with
biometric sensors to create live audio and activate avatars in Second Life.


This project is being supported by the University of California
Institute for Research in the Arts and the Center for Research in
Computing and the Arts at UC San Diego.

Micha Cárdenas / dj lotu5 / Azdel Slade is a
transgender artist, theorist and trickster. She is a Lecturer in the
Visual Arts department at UCSD. She is an Artist/Researcher in the
Experimental Game Lab at CRCA
and the b.a.n.g. lab at Calit2
. Her interests include the interplay of technology,
gender, sex and biopolitics. She blogs at Transreal.org
. Micha holds an MFA from the University of
California San Diego, an MA in Media and Communications with distinction
from the European Graduate School and a BS in Computer Science from
Florida International University. Micha recently joined the Lui
Velazquez space in Tijuana as a curator and collective member. She has
exhibited and performed in Los Angeles, San Diego, Tijuana, New York,
San Francisco, Montreal, Egypt, Ecuador, Spain and many other places.
Micha has received grants from UCIRA, calit2 and Ars Virtua and her work
has been written about in publications including the LA Times, San Diego
Union Tribune, .dpi magazine and Rolling Stone Italy.

Elle Mehrmand is a performance/new media artist and musician who uses
the body, electronics, video, photography, sound and installation within
her works. She is the singer and trombone player of Assembly of Mazes, a
music collective who create dark, electronic, middle eastern, rhythmic
jazz rock. Elle is currently an MFA candidate at UCSD, and received her
BFA in art photography with a minor in music at CSULB. Elle has received
grants from UCIRA and Fine Arts Affiliates. She is a researcher at CRCA
and the b.a.n.g. lab at UCSD. Her performances have been shown in Long
Beach, Los Angeles, Tijuana, Montreal, Dublin and San Diego.

blog: http://transreal.org


Bill Berkson in Southern California, Fall 2009

September 9 Otis College of Art and Design, with Bhanu Kapil
7:30 pm
Ahmanson Hall Forum, 9045 Lincoln Boulevard, Los Angeles

November 12 Cal Arts
7:30 pm
Butler Building #4 on the CalArts campus, 24700
McBean Parkway, Valencia CA 91355

November 13 Santa Monica Museum
³Since When: Home Movies & a Memoir²
with Allen Ruppersberg
2525 Michigan Ave, Santa Monica

November 14 Beyond Baroque, with Don Bachardy
8 pm
681 Venice Blvd, Venice, CA

December 1 San Diego State University
4:30 pm
Love Library, Room 430



August 26, 2009 7:00 p.m.

Katherine Hastings presents a one-hour tribute to the late poet David Bromige. The author of dozens of books and the recipient of many literary honors, David Bromige was also a former Poet Laureate of Sonoma County, a professor at Sonoma State University, and a mentor to many. His experimental style and sharp wit translated to a large collection of work so varied that the poems could easily be mistaken as the work of many. Born in London in 1933, Bromige died in Sebastopol in June of this year. Participating in tonight's program will be his wife, Cecelia Belle, their daughter, Margaret, and others. Recordings of Bromige reading his work will also be featured.

To listen to the program:

1) Tune in to KRCB 91.1 FM

2) Stream live at www.krcb/org

3) iTunes: Go to Radio/Public/KRCB

4) Comcast Cable TV, Santa Rosa, Channel 961
eleanor agnes lee; rbt. e. lee's daughter; two poems online
agnes lee, part of the poetry list-making endeavor here, a poet who reads less like dickinson and more like a victorian

fannie sterns davis, myself and i
Edith Franklin Wyatt was born in Tomah, Wisconsin in 1873 but lived almost her entire life in Chicago. Her father was a railroad and mining engineer and her mother a published poet, so her early years engendered many interests. After two years at Bryn Mawr College, 1892-1894, and five years of teaching at a local girls' school, Wyatt's first publication in 1900 was entitled "Three Stories of Contemporary Chicago." This work was greatly admired by William Dean Howells, who became her friend and literary champion.

During the century's first decade, while teaching at Hull House and being active in The Little Room, Wyatt produced her best fiction, including short stories in Every One His Own Way (1901) and her first novel True Love (1903). At the same time she began to produce work that reflected her commitment to social causes and she became in great demand as a social commentator and Progressive activist, writing on themes of working-class women, child labor, stockyard animal abuses and other societal problems she observed in Chicago. Although she continued to write stories and poetry, and was one of the founders of Poetry magazine, Wyatt's talents were best displayed in her articles in newspapers and magazines based on civic and social investigations, many of which were assigned by McClure's Magazine. Her first success in this vein was her report of the Cherry Mine Disaster in the Illinois coal fields, and she continued throughout her life to demonstrate her concerns with social issues and human welfare.

Wyatt had friendships with many outstanding people of her day, including William Dean Howells and his daughter. Through her work she was acquainted with Jane Addams, Janet Ayer Fairbank, Dorothy Canfield Fisher, Henry B. Fuller, Vachel Lindsay, John T. McCutcheon, Edgar Lee Masters, Theodore Roosevelt, Karl Shapiro, Ida Tarbell, Booth Tarkington and Edmund Wilson. Wyatt, who never married, died in Chicago in 1958.
Anita Fitch

perhaps no books

Miss Amy Sebree-Smith, of San Diego, Cal.; Miss Ruth Hall, of Catskill, N. Y.; and Miss Jean O'Brien,

Marguerite Wilkinson (Mrs. James W.) is still conducting the poetry department of the Los Angeles Graphic, although she is no longer living on "the Coast." Her books of verse are: In Vivid Gardens (Sherman, French & Co.), By a Western Wayside and Mars: a Modern Morality Play. In Vivid Gardens was reissued recently; a version of the 1911 original should be made available free.


Book Review: The Poems of Rosamund Marriott Watson Monroe, Harriet
Book Review: Interpretations: A Book of First Poems, by Zoë Atkins Henderson, Alice Corbin
Book Review: Lyrical Poems, by Lucy Lyttelton Henderson, Alice Corbin
Emilia Stuart Lorimer
Anna Wickham

people we know

Dudley, Helen
Conkling, Grace Hazard
Monroe, Harriet

Wyatt, Edith the wind in the corn already online

Van Rennselaer, Schuyler Mrs.
Lily Long, The Singing Place and Other Poems already online

Margaret Widdemer; heaven forfend, google books has from Kirkus, "This is- it is to be hoped- the complete and definitive collection of Margaret Widdemer's verse from the time she was a favorite rhymester of the ladies magazines of the '20's until now when- but for this book- she is almost forgotten. Better proof that sentimental thoughts and second-rate rhymes do not result in poetry could hardly be asked for. There is not a line of elegance or distinction throughout, scarcely a recommendation for presenting these poems in more permanent form."
Zoe Akins

The Tragedienne

A STORM is riding on the tide;
Grey is the day and grey the tide,
Far-off the sea-gulls wheel and cry--
A storm draws near upon the tide.
A city lifts its minarets
To winds that from the desert sweep;
And prisoned Arab women weep
Below the domes and minarets.
Upon a hill in Thessaly
Stand broken columns in a line
About a cold forgoten shrine,
Beneath a moon in Thessaly
But in the world there is no place
So desolate as your tragic face.
Zoë Akins

I am the Wind

I AM the wind that wavers,
You are the certain land;
I am the shadow that passes
Over the sand.
I am the leaf that quivers,
You, the unshaken tree;
You are the stars that are steadfast,
I am the sea.
You are the light eternal--
Like a torch I shall die.
You are the surge of deep music,
I but a cry!
Zoë Akins

The Wanderer

THE ships are lying in the bay,
The gulls are swinging round their spars;
My soul as eagerly as they
Desires the margin of the stars.
So much do I love wandering,
So much I love the sea and sky,
That it will be a piteous thing
In one small grave to lie.
ABER, LOUREINE also wrote plays
Baskirtseff, Marie
Mercedes de Acosta
Hazel Rawson Cades
Moireen Fox

The Fairy Lover
Moireen Fox

It is by yonder thorn that I saw the fairy host
(O low night wind, O wind of the west!)
My love rode by, there was gold upon his brow,
And since that day I can neither eat nor rest.

I dare not pray lest I should forget his face
(O black north wind blowing cold beneath the sky!)
His face and his eyes shine between me and the sun:
If I may not be with him I would rather die.

They tell me I am cursed and I will lose my soul,
(O red wind shrieking o're the thorn-grown dun!)
But he is my love and I go to him to-night,
Who rides when the thorn glistens white beneath the moon.

He will call my name and lift me to his breast,
(Blow soft O wind 'neath the stars of the south!)
I care not for heaven and I fear not hell
If I have but the kisses of his proud red mouth.

AND title poem to A 1917 BOOK I NEED A TEXT TO SCAN!

Liadain to Curithir

By Moireen Fox

Liadain and Curithir were two poets who lived in Ireland in the seventh century. They fell in love, but while Curithir was absent making preparations for their marriage, Liadain, for some unexplained reason, took the vows of a nun. Curithir in despair became a monk. At first they continued to see each other, but when this led to the breaking of their vows, Curithir left Liadain to spend his life in penance and thus save his soul.

IF I had known how narrow a prison is love,
Never would I have given the width of the skies
In return for thy kiss, O Curithir, thou my grief!

If I had known love’s poverty, I would have given
Dúns and forests and ploughlands and begged my bread: 5
For now I have lost the earth and the stars and my soul.

If I had known the strength of love, I would have laid
The ridge of the world in ashes to stay his feet:
I would have cried on a stronger lord—on Death.

I, that was wont to pass by all unmoved 10
As the long ridge of the tide sweeps to the shore,
Am broken at last on the crags of a pitiless love.

I, who was wont to see men pale at my glance,
Like the quivering grass am shaken beneath thine eyes;
At thy touch my spirit is captive, my will is lost. 15

I would darken the sun and moon to break from thy love,
I would shatter the world to win thee again to my side.
O aching madness of love! Have the dead repose?
Or wilt thou tear my heart in the close-shut grave?

I have done with blame, I have risen from the cold earth 20
Where night and day my forehead has known the clay.
With faltering steps I have passed out to the sun.

Now in the sight of all I stand, that all may know
(For I myself will praise thee and prove their words)
How great was thy wisdom in turning away from me. 25

Who that has drunken wine will keep the lees?
Who that has slain a man will wait for revenge?
Who that has had his desire of a woman will stay?

Farewell, O Curithir, let thy soul be saved!
I have not found a thing that is dearer to thee. 30
In the eyes of God is it priceless? Who can say!

My soul is a thing of little worth unto God:
Of less worth unto thee, O Curithir, than my love.
And unto me so small I flung it beneath thy feet.

If the dark earth hold a Power that is not God 35
I pray It to bind up memory lest I die.

There was a day when Curithir loved me, now it is gone.
It was I that sundered his love from me, I myself;
Or it was God who struck me with madness and mocked.

If the dark earth hold a Power that is not God 40
I pray It to hide me for ever away from His face.

All things are outworn now—grief is dead,
And passion has fallen from me like a withered leaf.
Little it were to me now though Curithir were beside me:
Though he should pass I would not turn my head. 45
My heart is like a stone in my body.
All I have grasped I loose again from my hands.

new post in response to a typo in an e-mail; ways word enforces hierarchical thinking


Since people outside of the USC community are wlcome to attend, I thought that some of you would like to know this Fall's schedule.

The lectures are from 12pm–2pm every Wednesday, followed by an informal lunch.

Map to the USC MFA program


August 26, 2009 My Barbarian, Performance Collective

September 2, 2009 Dexter Sinister (Stuart Bailey & David Reinfurt), Designers, Pamphleteers

September 9, 2009 Jennifer West, Artist

September 16, 2009 A.L. Steiner, Artist

September 23, 2009 Anoka Faruqee, Artist

September 30, 2009 Michael Smith, Artist

October 7, 2009 Rhea Anastas, Art Historian

October 14, 2009 Anne Ellegood, Senior Curator, Hammer Museum

October 28, 2009 Vanessa Beecroft, Artist

November 4, 2009 Britt Salvesen, Department Head and Curator of the Departments of Photography and Prints and Drawings at LACMA

November 11, 2009 Charline von Heyl, Artist

November 18, 2009 Aaron Curry, Artist

December 2, 2009 Yvonne Rainer, Artist


I have not been keeping track of the poetry postcards this month

here are two

how to make a city safe
-- fortified at the confluence
-- far-flung
the buck stops at
the end of the line

after the line was breached,
town annexed,
oh the peace of westphalia
oh the ocean school

the fog and the rain
the non-stop chatter of the tour guide, tourists
soaked in information

neighborhoods reassembled, renamed, restores
is memory necessary to location
or does it say, "ignore place,
the body is home"


this is tweakjob, for david schubert,

but also some of Winterreise (Winter Journey) is a cycle of 24 poems by Wilhelm Müller, set by Franz Schubert


I steal away by moonlight, in winter, because love wanders.
The wind blows the vane this way and that way; the wind beats at the window panes.
Inside my chest, my warm heart still beats, but the images are frozen.
My favorite place seems to invite only death.
Snow I walk through will melt, ice will melt into the river, and with the water meeting water, all traces of love, of me, will melt away.
It is really she who stole my love, who stole my warmth, who stole me.
Every river flows to an ocean, every favorite place leads to the place of death.
Every anonymous bright sky, calm sky, distant sky freezes me. In news, in dreams, I imagine warmth, warmth like love.
If I sing, sing in the ice, sing in the snow, sing to the springtime and the free river, I will continue to wander.


is this already on here?

Shakespeare's Sonnet 23
Microsoft Word 7.0 AutoSummary

The perfect ceremony of love’s rite,
learn to read what silent love hath writ:
To hear with eyes belongs to love’s fine wit.

Thesaurus Substitution

While inn perfect performer upon the upper house platform
Which person by personal alarm is expedient place adjacent to personal piece,
Part of speech any brutal object full by also abundant anger,
Why strenuous plenty weaken personal possess blood pump;
Consequently I appreciate it, as alarm from belief, disremember until state
The upper house finished ritual from lover ceremony,
As well as inside of excavation possess lover energy appear until decline,
O'er by weight from excavation possess lover strength.
O.K.! allow myna ledger exist at that time the upper house expressiveness
As well as mute presaging from myna verbal chest,
Which person beg as commitment, as well as glance as payment,
Increased look down at another lingua another increased hating increased expressed.
O.K.! master until seen and understood what it boils down to quiet commitment
hating law:
Until listen by eye belong until lover refined satire.


UnS un unperfect actor in ze stage
What wiff hiss fear be put beside hiss piece,
Ou zum fierce dingy replete wiff too-too mucho rage,
Whose strength’s abundance weakens hiss own blood organ;
Zo I and I, far fear uff trust, f-f-f-f-???? ta zay
Ze parfait ceremony uff lub’s rite,
Und into jelen own lub’s strength ,think eye, ta decay,
O’ercharg’d wiff burden uff jelen own lub’s mebbe.
O! let m-m-my word-devices b-b-b-be zen ze eloquence
Und dumb presagers uff m-m-my speaking breast,
What plead far lub, und luck far recompense,
Mo zan dot tongue dot mo hath mo local’d.
O! learn ta read oh boy vatt silent lub hath writ:
Ta understand wiff eyeballs belongs ta lub’s fine vit.


abundance actor an And And and As
be belongs beside books breast, burden
ceremony decay, dumb eloquence
express’d. eyes fear fear fierce fine for for for
forget hath hath hear heart; his his his I,
in is learn let look love love, love’s love’s love’s
love’s might. mine mine More more more much my
my O! O! O’ercharg’d of of of of on
Or own own own part, perfect plead presagers
put rage, read recompense, replete rite, say
seem silent So some speaking stage strength strength’s
than that that the the The then thing to to
to To to tongue too trust, unperfect weakens
what Who Who Whose wit. with with with with writ:


decay, O'ercharg'd with burden of mine own love's might. O! learn to read what silent love hath writ: To hear with eyes belongs to love's fine wit of love's strength seem to say The perfect ceremony of my books be then the eloquence And in mine own love's fine decay, for recompense, and look for fear of trust, Or some fierce thing replete with eyes belongs to read what silent love, O'ercharg'd with his part, and look for recompense, and look for love hath writ: To hear with burden of love's might. O! learn to read what silent love hath
No Puck

“what fools these mortals be”

on Sunday comics
hockey strike
huckleberry finn
no luck?

“no truck with that”
life’s pleasure is mixed with pain

Cupid complains to Venus of being stung by bees when stealing a honeycomb. This is to be taken as moral commentary.

Signed on the stone bottom right with Cranach's device. Inscribed, top right: dvm pver alveo (lo) f (vratvr me)lla cvpido/fvranti digitvm cv(spide) f(ixit) apis/sic etiam nobis brevis et (peri)tvra volvptas/qvam petimvs tri (s)t(i) (m)ixta dolore n(o)cet.
Cupid complains to Venus of being stung by bees when stealing a honeycomb. This is to be taken as a moral commentary; as the inscription observes: 'life's pleasure is mixed with pain.'

The subject derives (but the last two lines of the inscription do not) from Theocritus' 'Idyll' 19 (The Honeycomb Stealer). Two Latin translations of 1522 and 1528 by German scholars are known. Johann Hess, a humanist, made, in his copy of one of them, the manuscript note 'Tabella Luce', which means 'Picture by Lucus', perhaps referring to this work by Cranach.

Few sounds bring as much joy to my heart as the song of the Winter Wren, with its exuberant, cascading warble ringing out in the springtime forest. As ornithologist Stanley Cramp (1988) wrote, it sings "as if [the] bird [were] trying to burst [its] lungs. "
The Winter Wren (Troglodytes troglodytes from the Greek meaning "one who creeps into holes") is one of fifty-nine species of wrens.
This seems strange until one realizes that ancient Greek "troglodytes" translates to "cave dweller," which describes well the wren's love of dark and concealed places.


An Evening of Ethereal Instruments


The Douglas Lee


Glass Harp - Theremin - Singing Saw


The Velaslavasay Panorama
1122 West 24th Street
Los Angeles, CA 90007


Saturday, August 8, 2009
8 o'clock

Tickets $12
{$10 V.P.E.S. Members, Students & Seniors}
Advance tickets available here

Do not miss this singular encounter with the evocative lyricism and fascinating sounds of the Glass Harp, Theremin, and the Singing Saw. Hosted by Greg Crooks and also featuring performances by Shereen Khan & Danny Gomes on the traditional Japanese Koto, The Douglas Lee will showcase these rarely performed-upon instruments and put his talents to the rapturous task of conjuring the unique and uncommon musical possibilities to be found within them.

The Questions
These are the questions that are asked of the poet.

1)What first sparked this poem?
2)Tell us about this poem’s life.
3)How long did it take to go from inspiration to published?
4)Are you satisfied with this poem?
5)What, in particular, do you, the poet, like about this poem and why?
YOUR BRIGHT FUTURE: Contemporary Artists from Korea

1) we should see more contemporary Korean artists in LA, though YOUNG-HAE CHANG HEAVY INDUSTRIES is pretty omnipresent

2) The best work was the plastic walk through sculpture in the courtyard. It reminded my of my favorite work in the Hirshhorn in 1976, which was plastic tubing hanging from the ceiling almost to the floor lit by black light? purple light? This was plastic stuff: laundry baskets, dishes, buckets, bowls, etc. also hung from abt a 15 ft height that could be walked through. I have long been trying to think of something to do with these plastic things, art-wise (other than plaster them with printed paper-mache). I felt the color play could have been more interesting, but there was a strong effort there. It was perfectly located outside, so you could see both 99 cents only stores (which carry these sorts of things) that are nearby.

Someone had either put "made in china" stickers on some of the bowls as a comment, or the artist didn't buy everything on Korea. Hmmm. It is better if everything was made in Korea.
The collected Works of Billy the Kid
Michael Ondaatje
1970, 1979

This was a recommendation from WOMPROSE re: creative biography.

This was an enjoyable read. For nearly 40 years ago, this proved an amazing precursor to the slim volume length books of poems and prose poems which Iowa grads wrote 5 to ten years ago, even before Cole Swensen was there (although Swensen's books are frequently like this, well... seems to be less in style). A group of tightly interrelated works drawn from or about the same character, subject, natural science idea, science idea, event, nonfiction work, even flies.

More of these, like this book (like Anne Carson's) should (have) include(d) pictures and posters.

It also reminded me to Martine Bellen's poems based on autobiographies of women in the American West in the book of hers I reviewed, THE VULNERABILITY OF ORDER.
when is a gate a gate,
a gate, a harbor?

when the gold sways
like a tude, swings wildly like

commodities markets
review (pre-publication of the review) of the wompo listserv anthology


although this didn't link work for me... (so I don't think tinyurl would help)

this does



what's american
is what's here

and made here
by Americans, but

what is what us made
for Americans

of for Chinese?


from the new poem, controller seedbed, the first part of steering through torture garden

some friends gather

competitive acquaintances
matrix of horror, my story
it would be really unfortunate not to try everything

poetic nature
without scruple
free game hunt
release to
what is outside

dead – tease – bitter
dis-ease freak of the foreign
post card poetry


dance int he street
you haven't been
until you've been
further afield

tiger gate


I want to say something about Sharon Harris' I Love You project, which is not at drunken boat (I am on the masthead, disclosure), and also that her ephemera, through dusie and others of her projects, is of high quality, artistically, and in execution, but very risky -- maybe brilliant, maybe weird, and I think that's a risk I take sometimes, but not as she does.

that "i love you" on a mug, on a t-shirt, in pen on jeans or hands in a boring classroom, scratched into a mirror, carved into the wooden walls around amusement park ride mazes during the hours teenagers spend there... wouldn't be text object, text clothing, what is? it crosses the usual and the emotional -- yet -- it is trite or sentimental? it is her best work thus far, but I expect more from her, given what I've seen of the ephemera too -- so few see the writing in the things that surround us, and then the poetry in some of that...