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.