MLA Off-Site Reading
Jan 8, 2011
7pm doors / reading 7:30pm

801 East 4th Pl.
Los Angeles, CA 90013

The traditional MLA-offsite marathon reading -- over sixty poets from across the country, reading for 3 minutes each -- brought to you by Andrew Maxwell, Mathew Timmons, Joseph Mosconi, Ara Shirinyan and Brian Kim Stefans.

More complete information, including directions and restaurant/bar suggestions, can be found at http://www.poeticresearch.com.

Readers include:

Aaron Belz
Aaron Kunin
Allison Carter
Amanda Ackerman
Amina Cain
Andrew Maxwell
Andy Fitch
Anna Joy Springer
Ara Shirinyan
Barrett Watten
Bibiana Maltos
Brent Cunningham
Calvin Bedient
Carla Harryman
Catherine Daly
Cathy Park Hong
Christine Wertheim
Clay Banes
Daniel Tiffany
David Lau
David Lloyd
Dawn Lundy
Deborah Meadows
Diane Ward
Douglas Kearney
Duriel Harris
Eleni Stecopoulos
Grant Jenkins
Guy Bennett
Harold Abramowitz
James Meetze
Jane Sprague
Janet Sarbanes
Janice Lee
Jena Osman
Johanna Drucker
John Pleucker
John Tranter
Jonathan Skinner
Josef Horaceck
Joseph Mosconi
Joshua Clover
Julia Bloch
K. Lorraine Graham
Kit Robinson
Linda Lay
Lisa Sewell
Marcella Durand
Mathew Timmons
Matias Viegener
Michael Hennessey
Molly Bendall
Noura Wedell
Patrick Durgin
Rae Armantrout
Rocío Carlos
Rodrigo Toscano
Román Luján
Ronaldo Wilson
Sarah Dowling
Stuart Krimko
Susan Schultz
Ted Pearson
Teresa Carmody
Therese Bachand
Timothy Yu
Vanessa Place
Will Alexander
William Mohr


Fluxfest - Chicago 2011

Please Join us to Perform and Congregate : at the MCA – Chicago, week of Feb. 15th – 20th, 2011.

organized by Keith A. Buchholz and Picasso Gaglione.
A weeklong exploration of Fluxus activity, from it’s earliest scores and actions, to contemporary re-interpretations of classic scores, and Recent works by Contemporary Fluxus Artists.
Held inside the Museum of Contemporary Art - Chicago, Illinois
February 15th – 20th, 2010

Tuesday, 2/15 12:31 P.M.
The New Fake Picabia Brothers ( Picasso Gaglione / Keith A. Buchholz )
Guitar Kick ( Robin Page ) Performers kick a guitar throughout galleries, until guitar is completely dismembered. – Classic performance score by an anchor artist of the british “school” of 70’s Fluxus.

Tuesday, 2/15 6: 35 P.M.
The Chicago Fluxus Ensemble - Classic Scores and Interventions
Founded in 2009 by Hannah Higgins, Simon Anderson and Alison Knowles, The Chicago Fluxus Ensemble has performed multiple times with Fulcrum Point’s New Music Series. ( Simon Anderson, Picasso Gaglione, Jeff Abell, Sally Alatelo, Keith A. Buchholz, Joshua Rutherford, Jessica Feinstein, Kyle White, Darlene Domel , and others. )

Wednesday, 2/16 12:03 p.m.
“ Eternal Networking “
Guided by artists Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Andy Oleksiuk, Adamandia Kapsalis, Neosho, and others, Visitors will have the ability to interact with the Postal Art Network. Supplies for Collage, Stamping, and Postal Mail Making will be provided, along with insights, and guidance into making works which will be sent into the “Eternal Network “.

Thursday, 2/17 12:15 p.m.
3 Durational Works
1. Premiere of “ Time / Space Ritual “ a New work by Keith A. Buchholz, involving the layering of sound and manipulation of found sources through 4 turntables, influenced by Nam June Paik’s Turntable manipulations and Steve Reich’s Tape Loop work. Duration : 60 Minutes.
2. Premiere of “ Magic Mushrooms” a New work by Andrew Oleksiuk, Utilizing Live telepresence, Virtual FLUXUS Performance in Second Life, with special guest performers. Duration 60 minutes.
3. Dragging Suite - Nam June Paik Performed by Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Allan Revich and others, Paik’s Suite calls for the dragging of multiple dolls throughout the space. Comical and Irreverent, this is a Paik work not often seen. Duration 45min – 1 hr.

Friday, 2/18 12:36 p.m.
TRISTIN TZARA - performance by Miekal And, Camille Bacos .
Explores the relationship of Tzara to his hometown, with filmed imagery, and spoken word.

DADA machine FLUXUS ( Darlene Domel, Keith A. Buchholz, Picasso Gaglione, Andy Oleksiuk, and others.)
* Expected guest performers include Melissa McCarthy (Flux- New Hampshire), Reed Altemus ( Fluxus Maine), Jennifer Kosharek ( Fluxus South), Cecil Touchon ( Fluxus-Texas), Allan Revich (Fluxus Canada) as well as other incoming Flux-Folk.
Manic Re - Interpretations of Classic Fluxus Scores, as seen through the direction of Picasso Gaglione.

Saturday, 2/19 12:34 p.m.
Contemporary Fluxus Scores interpreted by their authors and members of their circle.
A sampling of recent work, performed by contemporary artists from the Fluxus community, many of whom are coming to Chicago specifically to perform at these events. Artists from throughout the U.S.and Canada (and possibly Mexico as well), will converge to perform their recent scores.
* A commemorative Zine of scores will be published by Fluxpress in conjunction with this event, and will be distributed free to MCA visitors during these performances.

Saturday, 2/19 7:13 p.m. ( OFFSITE )
The New York Correspondance School of Chicago Dinner
In Keeping with the traditions of Ray Johnson’s New York Correspondance School, it’s Chicago Affiliates will host an informal dinner gathering at a downtown location TBA. Members of the Chicago Fluxus and Mail Art communities as well as incoming performers and guests will be in attendance. The public will be notified of time and place, by flyers distributed throughout the week at the MCA.

Sunday, 2/20 12:33 p.m.
A variety of Classic and Contemporary Fluxus scores, interpreted by Contemporary Fluxus artists.
This performance gives Contemporary performers the opportunity to present works from the 50 year canon of scores, that personally resonate with them. Performances will undoubtedly be insightful, and will run the gamut from irreverent to introspective. ( discussion with the artists to follow. )
* artists will include all involved during the “Fluxweek” and will conclude the weeks activities.

* As part of the weeks activities, Posters, Flyers, Stampsheets, and Booklets will be printed and distributed freely to visitors at the museum. ( Ephemera is an integral part of the Fluxus practice).
December 31, 1999
Ewa Lipska

All the poets will write about it.
Even the illiterate ones.
There will be rumors that it is the last.
That after this, comes only metal-plated fear.
A compass drawing square.

But the night won't be childless.
Taking by surprise the doubting suicides
and gullible priests,
the New Year's infant
will scream at midnight.

The sudden hawk of a wind
will bend the willow.
The compass will indicate
there is no other choice.
The usual drill of the hours.

Your birthday. Despite everything.
A compass drawing a square.

--tr. Robin Davidson and Ewa Elzbieta Nowakowska, The New Century (Northwestern)

Here's a link: http://poland.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=423

Poets, even illiterate poets,
will write, even rumors.
After this, metal-plated fear.
A compass draws a square.

The night won't be childless:
taking by surprise suicides
and gullible priests,
the New Year's infant screams
after midnight.

The sudden wind bends the willow;
compass indicates no choice but the drill of hours.

Your birthday. Despite everything.
A compass drawing a square.


areas of narrative practice

-- externalizing conversations (dialogue?)
-- re-authoring conversations
-- re-membering conversations (identity and perceived identities in relationship)
-- definitional ceremonies
-- unique outcome conversations
-- scaffolding conversations
john oliver hobbes = Pearl Craigie
frank danby = Julia Frankau


We read poems which are quite lengthy which were written before novels were written, and poems which are primarily statements of poetics, novels, plays, etc.,
long poems with models which are long works (poems incl. epics, plays, works of fiction, non fiction, and/or novels),
long poems with sources which are long works (poems, epics, plays, works of non fiction, novels, and/or entire bodies of work by another author).

We read poems inspired by a false vacuum (lack of women's epics).

I think it is right to introduce the POstMOdern long poem when talking about long poems (I like "big poem" since it seems to me that some shorter poems are big), lyric series, and narrative long poem, because I think it is right to include the varieties of contemporary practice in our conversation.

We read poems which achieve length (or amplitude) in various ways: lyric "linking," semiotic development, dialogue, narrative/plot/voice/story, collage, and the like.

In one personal example, my long book (2d&i) was reviewed as including (long poems in and of themselves) poems written as the apparatus of a book (concordance, index, toc) as "a joke about getting beyond the page length minimum," but that's not why I wrote those poems. The new series by the same publisher amps up the length to --- I think? can't find the letter of invitation -- books of more than 1000 pages? In order to exclude books like my much shorter 300+ page book, which I actually personally wrote, in favor of machine-written (once programmed) or improvised variations and translations.

In another example, I wrote some of the only flarfy long poems (six of them) in my critique of flarf and first of my Kitty books, Secret Kitty (free at Ahadada Books, and I am an acquisitions editor there, so...), BECAUSE for no apparent reason poems written using search engines did not take into account 1) what was indexed, and 2) reinscribed lyric-narrative practice (including paucity of long works).


think it is important to begin to talk more about women writing long poems now that -- as opposed to about a dozen years ago, when the list read several -- everyone writes at least one. There was a time when trying out long poems marked the post-MFA experience, where the MFA was spent writing the type of two-page-and-under poems many workshops used as an upper limit, and then collecting the 36-48 poems into a "slim volume." So the second project -- was often a chance to "get beyond" the artificial limits of the classroom.

Even MFA programs have moved past that. There's been some convergence between the book length poem and the book length poetry project, where because of derivation from the same source or operating to exhaust a subject or..., the poems are so coherent they operate as series rather than collections. I think of this separately from novels in verse and the long narrative poem, although I'm not sure why I do. I guess because if I were going to write a novel, I would probably market it as a novel rather than as a novel in verse, because I don't really see the difference.

But there's something more important: the loosening of publishing restrictions and costs -- the support of micropress and small presses for difficult (including long or very long) work changing things. We see Enslin, Ronald Johnson readily joined by people on this list issuing individual poems as chapbooks and pamphlets, and then rolling them into another context -- a book of books.

The book of books is different from the series is different from a string of books. What is a sequel in poetry, and how is it different from another book in a series? Another mystery with the same detective is often not sequential, or time is not as important. But sometimes it is. There are the lifeworks and the just really long works. There are things which compare to the bildugsroman, the things that compare to a photographic sequence or series of paintings, a group show, or a retrospective.

One thing that surprised me at the outset is that the majority of people who write long poems also write very short poems. For me, I know that part of this is an exercise in the freedom one has with poetry, but I also think it says something valuable about being able to "keep it alive" as well as to develop it. I am no longer very interested in the distinction between the lyrical and the narrative because I think it is an idea that has lost its practical applications vis a vis long works.

We are seeing especially women building major bodies of work, including work which is long form, but, typically, the "cone of silence" is being applied to these works,

partly because of length, since writing an unpaid review on a long book which is part of a mostly unreviewed sustained effort involves a lot more knowledge than writing a squib on a short first book but there are things that I don't think are getting serious attention, such as that these books aren't intended to be ripped through at a sitting, or are limited to literature courses because few workshops read a book a week, or..


Guiding Questions

1. Why do you write? When did you begin? How do you begin?

2. Where does your writing come from? In what ways is it connected to
others? Are you writing for/in response to someone else? (Perhaps
someone who couldn’t write for herself/himself…?)

3. What does it mean to “write like a woman”?

4. Do women writers write the body in a particular way? How does the
body, particularly a woman’s body, with its specific cycles
(menstruation, puberty, pregnancy, birth, menopause, aging) inform your
writing, process & product?

5. How aware are you of your voice as a woman? In what ways do you try
to/feel you have to overcompensate for being a woman (the "feminine")
in your work? In what ways do you exploit/make use of this?

6. What are the particulars of your writing process? How do you take a
piece from initial impulse/spark/genesis to “completion”? How do you
keep your work new? How do you keep challenging yourself? Is writing a
secular process for you? A spiritual one?

7. Is writing activism? Is art enough? Do you feel a sense of your own
particular cultural/historical moment as you work? When you work, do
you have a sense of social obligation or is it important for you to
work free of this?

8. What feeds you & what impedes you?

9. “I have read essays on when women stood up. Triumphed. And why… I
want to hear when they stayed seated & shut down & scared. I think I
need a human naming of their fears & faults.”

10. What are your roots, language, culture? How do they inform your
work? How important is nomadic movement to our writing? How important
it belonging?

11. What do you do for work? How do you earn your living and how does
this impact your writing life & process, if at all?

12. How do you respond to the claim that women’s work has been
relegated to the realms of the personal (domestic, confessional, the
body) in contrast to the epic, transcendental themes of work by men? Do
you find yourself embracing, responding to, or resisting this in your
own writing?


The Souls, including Ada Levenson, Margot Tennant/Asquith, Lady Wemyss, Lady Salisbury


Anna Ballard, a reporter for the New York Sun, was a friend and traveling companion of Ada Clare.

Beach, Juliette H. (1829-1900)

Literary Critic, Journalist, Editor, Poet.

Juliette Beach and her husband Calvin were acquaintances of Henry Clapp. The couple may have visited Pfaff's during their occasional sojourns to New York City. It was Clapp who suggested that Juliette review the 1860 Leaves of Grass manuscript. What resulted was a highly critical review of the text in the June 2, 1860 edition of the Saturday Press. It is believed that Calvin Beach intercepted the manuscript and wrote the disparaging review: "Clapp mistakenly appended Juliette's initials to it, and a week later had to print a retraction" (Mullins 51). A more favorable review of Leaves of Grass was published in the Saturday Press on June 23; this review by "A Woman" is attributed to Juliette Beach. Ellen O'Connor suggests that this review was the start of a long correspondence between Beach and Whitman and that he wrote "Out of the Rolling Ocean Crowd" (1865) for her (Mullins 51). The correspondence continued despite the objections of Calvin Beach (E. Miller, "Walt Whitman" 66-67). No letters between Beach and Whitman have been recovered. At one time she was believed to be the author of the "Ellen Eyre" letter (Holloway, "Whitman Pursued" 10). She was later ruled out as Ellen Eyre because, although she may have visited Pfaff's, she did not have a home in the city as Ellen Eyre claims to have had. Ada Clare, "Bohemian fellow traveler Adah Isaacs Menken," and contributors Juliette Beach and Mary Chilton are listed by Allen as examples of the fact that "'a number of women came to Whitman's aid at this time,' defending the sex poems and such unconventional ideas as the mention of nudity and bodily functions in poetry" (141).

Clare, Ada ( Jane McElheny ) (1836-1874)

Actor, Journalist, Novelist, Poet.

Ada Clare (whose given name was Jane McIlheny) was born in South Carolina. She received a small inheritance upon her parents' deaths, which she used to travel to Paris. In the city of lights, she spent time with pianist and composer Louis Moreau Gottschalk, who may have been the father of her son Aubrey. Clare arrived in New York in 1858 and scandalized the populace as an unwed mother preaching the doctrine of free love and introducing herself and Aubrey as "Miss Ada Clare and Son" (Lalor, "Whitman" 136). As Emily Hahn notes, "she refused to be ruined" and participated fully in the literary life of the city by frequenting Pfaff's where she organized literary contests, took it upon herself to remember members' birthdays, and collected funds for community celebrations (3). William Dean Howells remembers her as "a young girl of a sprightly gift in letters, whose name or pseudonym had made itself pretty well known at that day" ("First Impressions" 64). To Walt Whitman, Clare "represented the ideal of the modern woman: talented, intelligent, and emancipated" (Lalor 136). In Whitman's "Street Yarn" he describes her as "A lady -- slender and elegant -- in black from head to foot; pure white complexion, pale, striking chiseled features, perfect profile, abundant fair hair; abstracted look, and rather rapid, purposeful step...a perfect beauty; questionless, of decided talent;...a persevering and energetic votary of the mimetic art. Possessed of some wealth, great personal attractions, no inconsiderable share of intellect and cultivation,..." (qtd. in Lalor 136).

Clare was a central part of the Bohemian lifestyle in New York. A group of Bohemians, the West 42nd Street Coterie, often gathered at her home. Clare, the "queen" of the Bohemian circle at Pfaff's, provided a congenial atmosphere for the Pfaffians during her Sunday night receptions. She played a pivotal role in maintaining the Bohemian society during this time: "Ada Clare was magnetic in addition to her mental brightness and store of maternal treasures inherited from her family, and with her wealth and beauty she attracted the higher grades of men and women" (Rawson 103).

Her experiences in Paris and New York led her to the Bohemian lifestyle. She defined a Bohemian as a "cosmopolite, with a general sympathy for the fine arts, and for all things above and beyond convention" (Hahn 27). Clare used her own unconventional affair with Gottschalk, which ended badly, as material for many of her poetic and fictional works, like the novel Only a Woman's Heart, which appeared in 1866 to mixed, and even hostile, reviews.

In addition to acting in New York City, San Francisco, and parts of the Southern United States, Ada Clare also wrote a weekly column for Henry Clapp's Saturday Press. In "Thoughts and Things" she discussed a range of topics, from women's rights to the status of the American theater. Clare also employed the pseudonym "Alastor." In addition to the Press, she also published in Atlas and, during her time in San Francisco, she contributed to The Golden Era, a weekly edited by Bret Harte.

After the disappointing reviews of her novel, Clare joined a stock company of actors in Memphis, adopting the stage name "Agnes Stanfield" while touring in Tennessee. She married a member of the company, J.F. Noyes, with whom she had another son, but the child died in infancy. Clare also lost her first son, Aubrey, before he reached adulthood. Clare herself died in 1874 as the result of complications from the bite of a rabid dog, which she incurred while visiting Sanford and Weaver's dramatic agency in New York. Though her wounds seemed to heal, she became delirious a few months later during a performance and died that same night.

Fellow Pfaffian William Winter wrote Clare's obituary in the New York Tribune as well as a poem called "Ada" which was admired by Wilkie Collins (Parry, Garrets 36). The young poet Charles Stoddard, whom Ada traveled with in Hawaii and California, eulogized her by writing, "The queen is dead; but who shall cry 'Long live the Queen!' in her stead? Are there no more queens of Bohemia, I wonder, and is the Bohemia of that day a thing of the past, dead and gone forever?" (qtd. in Hahn 35). Howells stated that her fate "out-tragedies almost any other in the history of letters" ("First Impressions" 64). Whitman also expressed sorrow over her death, writing to a friend that he had been "inexpressibly shocked by the horrible and sudden close of her gay, easy, sunny, free, loose, but not ungood life"

Danforth, Jennie

Essayist, Journalist.

Little is known of Jenny Danforth despite the fact that she is mentioned frequently as one of the women who followed Ada Clare to Pfaff’s. She was rumored to have had an affair with Fitz-James O’Brien, but the true nature of their relationship is uncertain (Wolle 130). Junius Henri Brown identifies her as “a writer for the weekly journals” (157), and Rufus Rockwell Wilson claims that “Jenny Danforth was also a witty and beautiful woman, the estranged wife, it was said, of a naval officer of high rank, but whose name was not Danforth. A clever writer, she lived for a few years a precarious but not wholly unhappy life and then falling into misfortune and poverty, finally vanished without her old friends knowing precisely when or how it happened” (143). The author of Henry Clapp’s New York Times obituary called her "a wild, impulsive Western woman"

Goldbeck, Mary Freeman ( Anna Mary Freeman ) (1817-)

Artist, Poet.

The daughter of respected portraitist and miniaturist George Freeman, Mary Freeman Goldbeck was a poet and a talented painter in her own right, referred to as “a genius in water-color miniatures” (Rawson 103). As Anna Mary Freeman and Mary Freeman Goldbeck, she published poems in The Galaxy, Knickerbocker, Living Age and the Saturday Press. Although her relationship with the Pfaffians is uncertain, sources have described her as a friend of Ada Clare and, in her memoir, Rose Eytinge--another leader of the bohemian community--groups Goldbeck with other “beautiful and brilliant” women who congregated at Clare’s home in New York City (Rawson 38, 22).

Her husband appears to have been Robert Golbeck, a pianist and composer. She was married in 1859 and, two years later, she gave birth to a son, William Freeman Goldbeck

Shaw, Dora

Actor, Poet, Essayist.

Hailed as "one of the galaxy of bright young women who, like stars about the moon, made a beautiful group around Ada Clare," Shaw was an actress of merit and a writer of humorous sketches like "Fashions Follies" and "The One Night Stand," which appeared in Spirit of the Times (Rawson 104). She was a "golden woman of poetical tendencies" who, though born to an aristocratic Episcopalian family in Indianapolis where she was well-educated and married, was shunned by her family after her divorce (104). Junius Browne declares that she "was the best Camille on the American Stage" (157), even though Henry Clapp’s obituary observes that Shaw had an "unsuccessful dramatic career" (“Obituary” 7). Like many of her fellow Pfaffians, whether New Yorkers by birth or by choice, she drew inspiration from the city.

Stoddard, Elizabeth Barstow (1823-1902)

More images...
Novelist, Poet, Essayist, Short Story Writer.

Remembered as a novelist and poet, Elizabeth Drew Barstow Stoddard was the second of nine children raised in Mattapoisett, Massachusetts, a setting she drew on for her novels. She met the man who would become her husband, Richard Henry Stoddard, and after a brief courtship, the couple married in 1852 and settled in New York City. At their home in Manhattan, they hosted gatherings for people interested in literature and culture including Thomas Bailey Aldrich and William Dean Howells (Greenslet 33, Howells, “First Impressions” 72). The Stoddard household was “a little literary world, for every member of it writes" (J. Barry 184). Edmund Clarence Stedman likened the circle that grew up around the Stoddards to “the traditions of Charles and Mary Lamb, the Brontes, the Howitts, the Shelleys, and the Brownings” (“Mr. Stedman’s Tribute” 9). Elizabeth was one of only two women to be fully accepted into the bohemian circle (Sentilles 143); her superiority is reaffirmed by Mrs. Thomas Bailey Aldrich, who observes: "I know no prototype of Mrs. Stoddard -- this singular woman, who possessed so strongly the ability to sway all men who came within her influence. Brilliant and fascinating, she needed neither beauty nor youth, her power was so much beyond such aids. On every variety of subject she talked with originality and ready wit; with impassioned speech expressing an individuality and insight most unusual and rare" (Crowding Memories 14). Elizabeth belonged to Bayard Taylor’s poetic group, along with her husband and others from the crowd at Pfaff’s including George William Curtis, Edmund Clarence Stedman, George Henry Boker, Fitz-James O’Brien, Christopher P. Cranch, and Fitz Hugh Ludlow (Winter Old Friends 177). Perhaps inspired by these literary associations, and encouraged by her husband, Mrs. Stoddard began writing short stories, poems, and sketches for popular periodicals like the Atlantic Monthly, the Knickerbocker, Harper’s New Monthly Magazine, and Appleton’s Journal.

In addition to editing books with her husband, Stoddard produced her own novels: The Morgesons (1862), Two Men (1865), and Temple House (1867); she also wrote a book for children Lolly Dinks’s Doings (1874), and a poetry collection, Poems (1895). Pfaff’s frequenter, Edmund Clarence Stedman, wrote an introduction to the reissued editions of her novels. While they never achieved widespread success, Stoddard’s novels, rich in realistic detail, were praised by important literary figures like Nathaniel Hawthorne and Leslie Stephen; William Dean Howells maintains that her work did not achieve the recognition that it merited, “which will be hers when Time begins to look about him for work worth remembering" (“First Impressions” 72-73). Howells also admires her integrity and commitment to cultivating an authentic voice: "In a time when most of us had to write like Tennyson, or Longfellow, or Browning, she never would write like anyone but herself" (73).

Despite her critical success, Mrs. Stoddard’s later life was made difficult by the poor health of her husband and the deaths of her three sons, one of whom, Lorimer Stoddard, had inherited the family proclivity for creative expression, writing plays and poems (J. Barry 104). According to the obituary penned by her husband, Elizabeth died after a lingering illness at seventy-nine years of age, four months short of the couple’s golden anniversary and one year after the death of her son. E. C. Stedman records that her last words were to a family servant: “Alice, after I am gone take good care of Dick, and, for Heaven’s sake, go out and buy him a couple of new shirts”
Holiday Party, Open Mic, and Gretchen Mattox's Mystery Birthday Celebration
Amy Newlove Schroeder invited you

Saturday, December 18 · 7:30pm - 10:30pm
Location Ruskin Art Club
Created By
Amy Newlove Schroeder
More Info Reading from 7:30pm-8:30pm.
Birthday cake, nibbles, and reception, 8:30pm-9:30pm.

The gift of your presence is the present. Anyone who would like to participate in the reading is welcome to bring 1-3 poems to share and can just sign up the night of the event.



Far backward, in the dusky mists of Time,
When Arts and Learning o'er the darkened Earth,
After long ages, rose again sublime,
But faint and tottering, from their later birth.

Men groped obscurely on that border land,
Where Nature's laws were blent with Magic old,
And vainly sought to find that wonderous Stone,
Whose simple touch turned baser things to Gold;

While some more daring, tranersed Land and Sea
For that Elixir, which they dreamed, in truth,
From age and death would leave them ever free --
The fabled "Fountain of Eternal Youth!"

But lo! the World moves on, from age to age,
And Science tells us, with its voice serene:
"This long-sought Talisman is found at last,
Lifes great Elixir, wonderous Vaseline."

It cures in sickness, and in health adorns;
From youth to age its various virtues shine;
On every ill it sheds a softening calm,
And adds to loviness a sharm devine,

When faint and sleepless with Rheumatic pains,
Or torn with fell Neuralgia's arrows keen,
How like a balm from Paradise it flows,
Soft, soothing, mild all-healing Vaseline.

Great Magic Healer of a thousand pains,
For Croup and Asthma, simple, pure and clean,
For Colds, Eruptions, Wounds, or Cuts or Burns,
There's nought on earth can equal Vaseline.
More soap abcedaria:

Pretty pictures and truism about children's friend Wool Soap,” “A true story told in
verse and pretty pictures which we trust will interest both young and old.”

A is for Alphabet read this one through and learn all the good that Wool Soap can do.
B is for Baby so pink and so white who is bathed with Wool Soap each morning and night.
C is for Children immersed in a tub now take some Wool Soap and give them a scrub.
D stand for Dip, which we take in the sea Wool Soap, comes in here, for you and me.
E for Early the time to arise and bathe with Wool Soap—that is if you are wise.
F stands for Faultless, as you surely will see that Wool Soap for the bath and toilet will be.
G is for Goose and of course he don’t know Wool Soap is the best of all in this row.
H stands for Hurrah! We’ve found it last the famous Wool Soap, which can’t be outclassed.
I is for Indian who sees with delight a really clean red man Wool Soap did it right.
J is for Judge he is healthy and stout, he uses Wool Soap—the secret is out.
K stands for Kisses the baby wants three bathe with Wool Soap she is sweet as can be.
L is for Laces the richest and best well washed with Wool Soap a critical test.
M stands for Model the word people use when quoting Wool Soap and stating their views.
N is for Nations progressive and great who use Wool Soap and are right up to date.
O stands for Object we have one in mind to talk for Wool Soap the best of its kind.
P is for Present the best time to try a bar of Wool Soap with quality high.
Q stands for Question which soap is quite pure? Why Wool Soap of course, in that rest secure.
R is for Ribbons as good as when new Wool Soap will do just the same thing for you.
S stands for Success which comes at our call if we use Wool Soap when soap’s use at all
T is for Trial all soaps to compare Wool Soap win if the trial is fair.
U is stands for Uncle of American fame he uses Wool Soap let’s all do the same.
V is for Victory Wool Soap has won, and yet its mission only begun.
W stands for Wool Soap remember its name keep singing its praises and spreading its name.
X is a cross, which we will all have to bear but using Wool Soap will lessen our care.
Y is the letter that still stands for You. It means use Wool Soap whatever you do.
Z stands for our Zeal of which we are proud when we talk Wool Soap we talk right out loud.
F is for “Foremost,” “Fairest” and “Fine”;

A is for “Able” to do it each time;

I stands for “Ideal” in everything great;

R means the “Rarest” yet found up to date;

B is for “Better,” “Brighter” and “Best”

A is for “Acme,” that stands every test;

N means “no rival,” and that is no jest;

K tells you “keep it” and you will be glad,

S is for “Standard” the best to be had.

F is for “Fairy” white, floating and pure;

A stands for “Always” the good kind, and

I is for “Idol” of rich and of poor;

R is for “Real Merit,” the sort that will stay

Y is for “You,” and you need it each day.

S is for “Soap,” the boon of all health;

O is for “Our” kind, better than wealth;

A is an “Acrostic,” you see it, we hope;

P is for “Perfect” and “Pure” FAIRY SOAP.

Fairy Soap’s interesting advertising stated: “Sense Cents Scents” and “People
with Common Sense pay but five common cents for a soap with no Common Scents/
That’s Fairy Soap.”
Start - Settings - Connections tab - "manage existing connections" - then edit bradband acc. When in that area, just delete the password. The password is ALWAYS vzw so if you want to use data, it will ask for the password and then you just type it in. This way, you will always know whether or not your connected to data services.

if you want to completely get rid of data services (cellular, not wifi) is just delete the broadband access connection. Beware though because if you update your prl (*228 option 1 or 2, or even *22899) then it will put that setting back in there. Just be sure to go back and delete it again!

[exploring a verizon phone without data plan; other is that voice is 800 hz and data 1200]

You can prevent your device from using the Verzion Broadband connection by going into Connection Manager and change the Network Management (Advanced tab, Select Networks) to use "My Work Network" instead of "My ISP" for both the Internet and private network. Your connections will now only use WiFi.

... hmmm ...


Los Feliz Village´s Eclectic Annual Holiday Festival features lots of incredible gifts, cheer and goodwill. Trolley and an open-air bus transport revelers around Village main streets of Vermont Ave. Hillhurst Ave. and Hollywood Blvd. Magicians, musicians, elves and carolers create mirth and an unforgettable holiday experience.

Who: The Los Feliz Village Business Improvement District (LFVBID), Village merchants and restaurants

What: 5th Annual Los Feliz Village Holiday Festival

Where: Los Feliz Village; Hillhurst Ave., Hollywood Blvd. and Vermont Ave.

When: Saturday, December 4th, 2010 5PM – 10PM

(Kicks off at 5PM at the Los Feliz library with Tree-lighting ceremony and singing.)

Why: The Los Feliz Village Holiday Festival, now in its 5th year, has become THE place for creative Angelinos to source imaginative, eclectic and one-of-a-kind holiday gifts.

Special Attractions:


5:00pm tree lighting ceremony at the Los Feliz Library (Hillhurst/Franklin) kicks off the holiday festival.

Photos with Santa at Coldwell Banker. (1917 Hillhurst)

Alphabet Soup puppeteers at Dragonfly DuLou (2066 Hillhurst)

Antique Car Show at Ise Automotive (1774 Hillhurst)

Hot cider and 20% discounts at Panty Raid Fine Lingerie 11M-10PM (1953 Hillhurst)

Food, drink, music and craziness at Transcend Salon. (1946 Hillhurst)

Live mariachi music at Yuca’s. (2056 Hillhurst)

Chanukah festivities from 6pm to 10pm–including refreshments, Menorah lighting and more. Chabad of Greater Los Feliz (1930 Hillhurst Ave)

An Elf and a Hannukah Harry offering face painting on the sidewalk, handing out candy canes and Hannukah gelt!-Alcove | Big Bar (1929 Hillhurst)


Stocking give-a ways, stuffing and decorating at numerous shops and restaurants on Hollywood Blvd.

”Blushing Santa” house rum punch, classic Christmas music and delectable edibles at Sweeney Todd’s Barber Shop. (4639 Hollywood Blvd.)

Free tamale samples & hot delicious Ponche ( a Mexican holiday tradition) at Yuca’s on Hollywood. (4666 Hollywood Blvd.)

Craft fair, face painting, free baked goods and drinks. Primrose Organics Salon. (4616 Hollywood Blvd.)


Most restaurants and coffee shops open quite late with specials

Hot chocolate stations at various points on Vermont.

Strolling musicians up and down Vermont Ave.

Skylight Books (1818 N. Vermont)- Annual holiday window display featuring model train; refreshments and libations.

Vermont Restraurant and Bar, “Holiday Road: The Soundtrack of John Hughes” (1714 N. Vermont Ave.), 9PM (this is a ticket purchase event).

Admission: Free to the Public


Sacheverell Sitwell wrote in 1947....

a scarf is, admittedly, not a tapestry, not a dress; it is a mere square of silk

or some other material intended to be worn around the head. But it can be

treated as a work of art. It can be collected like a rare book or print....


Poet Laureate nominations may come from people in the field of Literature (poets may self-nominate) and must be emailed to PL2011@cac.ca.gov.

Exception: If a nominator does not have access to email, nominations will be accepted by mail to the following:

California Arts Council
c/o Kristin Margolis
1300 I Street, Suite 930
Sacramento, CA 95814

Nominations must contain the following:
• A cover letter from the nominating organization or individual describing the qualifications of the nominating organization or individual.
• The name and biography of the poet to be nominated (300 words maximum). Note: A competitive biography would include a summary of significant awards and published literary works.
• A link to a complete vita or website if available.
• A summary of no more than a half-page indicating why the nominator considers the poet's work to be of the highest quality and representative of the State of California;
• Complete contact information for the nominated poet, including the following:
o Name
o Address
o Email and Website if available
o Phone
o Cell Phone if available
• Confirmation from the nominator that the poet has reviewed the job description in the California Government Code attached and agrees to the nomination.
• Three (3) poems by the nominated poet typed on 8 ½" x 11" papers single-sided.

• Nominations shall be limited to current residents of California.
• Nominees must have lived in California for at least 10 years.

Nominations must be received via email by the Arts Council and/or postmarked by 5:00 p.m. Tuesday, February 1, 2011. If you have questions please contact Kristin Margolis at Kmargolis@cac.ca.gov (Nominations will not be accepted if sent to this email).


Beyond Baroque will be hosting six amazing voices from the border towns of Tijuana and Jaurez, Mexico. These poets traversed many hoops and challenges to travel across the border and be with us in L.A. If you are free please consider joining us on Friday at 7:30pm to welcome our international guests and listen to their unique voices that speak of being neither here nor there.


Hey! If you are a friend, or not, but if you promise not to send chipper spam e-mails, check


multi-bloggers welcome, link backs -- let me know

I will also be posting f/f updates so that I do not have to spend 20 hours on the phone explaining things, etc.


November 18 at 8 pm at Frank Pictures Gallery, Bergamot Station, Santa Monica. Doors open at 7.15. Barry Schwabsky reading with Judith Hall, Vanessa Place, and Mark Irwin.


Eight years after California's Legislature adopted a tuition break to help undocumented immigrants afford college, these students account for 1 percent or less of all students in the state's three higher education systems.

The data come as both Republican candidates for governor are calling for the practice to end, saying the cash-strapped state can't afford to let illegal immigrants attend state-supported colleges at resident rates.

The most recent data from the University of California, California State University and the California Community Colleges system show:

• At UC's 10-campus system, undocumented students were no more than three-tenths of a percent of 220,000 students in 2007-2008.

• More than 68 percent of the 1,941 UC students who received the waiver of out-of-state tuition rates were actually U.S. citizens or "documented" immigrants who qualified under the terms of Assembly Bill 540. U.S. citizens and documented students consistently have been the greatest number of UC's AB 540 students, as they are called, since waivers began in 2002.

• In 2007-08, AB 540 students at UC received an estimated $26 million "value" with their tuition waivers. That added up to five-tenths of a percent of UC's "core" state-funded budget of $5.4 billion, said spokesman Ricardo Vasquez.
• At CSU's 23 campuses, 3,633 students are receiving AB 540 waivers in the current school year – less than 1 percent of all 440,000 students. The numbers have increased since the law passed in 2001, when CSU officials told the Legislature they expected about 500 students to take advantage of the waivers.

• In the community college system in the 2008-09 school year, 34,016 students were granted AB 540 waivers – 1 percent of all 2.89 million students.

• CSU and community college records do not identify the status of AB 540 students, but administrators believe the undocumented make up a larger percentage there than at UC.
With support from some Republicans, lawmakers approved AB 540 in 2001.

The California Chamber of Commerce called AB 540 good for the state's economy and work force quality. Supporters also said tens of thousands of illegal students didn't come here by choice, were graduating annually from high school, but remained in limbo.

The law allows students who attended California high school for at least three years and graduated here, including citizens, to pay in-state tuition even if they are not legal residents of the state.

Undocumented AB 540 students in California are barred from all state, school or federal grants or loans. They also must sign an affidavit promising to seek legal status as soon as they can, even though most of the students have no avenue to obtain that status.

Read more: http://www.sacbee.com/2010/04/01/2648006/illegal-immigrants-less-than-1.html#ixzz13t3AXb3G


Haven't read it yet, but this is another entry in what seems to be an answer to the Gioia / New Formalist cry for a New Narrative, this one not in form but in a "slim volume" of "free verse". There are more books than these; this is another facet in that gem -- silicon? carbon? -- that is the project-driven book of poems. In other words, free verse poems which together tell a story is a subset of the poetry project book (rather than a collection) (not a women's epic either), but also an entry into the contest to make poetry an entertainment: here, like watching a drama.

The Forest of Sure Things is a layered sequence of poems set in a remote, historic village at the tip of a peninsula on the Northwest Coast, near where Lewis and Clark encountered the Pacific.
With hypnotic phrasing and imagery along with an innovative approach to chronology, Snyder-Camp tells the story of a grieving couple, then dramatizes the impact of this enigmatic story on her imagination, her artistic practice, and her own new beginnings in married life and parenthood.

"Megan Snyder-Camp's poems seem to emerge from the deep well of our common experiences.... In this book we find the authenticity and care we too often forget we need from poems, inflected with its own version of grace."

-- Carol Ann Davis, judge for the Tupelo Press / Crazyhorse Award

Megan Snyder-Camp grew up in Baltimore and received a B.A. in Creative Writing from Oberlin College and an M.F.A. in Poetry from the University of Washington. She has taught at the University of Washington and the Richard Hugo House in Seattle, where she lives with her family.

The Forest of Sure Things

In this land the children tear their hearts in half.
Let me explain. If ten things are wanted, only ten
can be had. If a stand of birches is found to be made of tin,
the soil around them will bleed with rust. In this land children
study their magazines in broad daylight, and in their books
any soldier who stumbles will not fall. No one will fall,
a gift parents try not to make much of. At every meal
some is set aside. In every garden a patch lies fallow. At parties
there are whispers of illegal cheeses. Camembert, especially,
is said to taste alive. And so the children learn
to make room. To leave some.
Nothing will come, but nothing will go.
To love like this half must rattle in its pit.


as I apply for the broad, it behooves me to look at some of the education-related jargon in the current campaign

even though I've voted, I'm armed with a Meg Whitman education plan

the first thing I'm looking up is "simplify categorical funding"

the first resource I found was an article in the San Diego paper, that says it is a good thing, that there are some current category-funded programs which would be cheaper to administer (overhead costs) and more accountable if lumped in with the basic grants, including meals for needy students, some special ed, and especially class size reduction

class size reduction, which doesn't, apparently, alone improve functioning at grade level for students: is more of a teacher benefit as it stands

cap on charter schools

MY first thought, before research, is that since charter schools have greater accountability requirements, there is quite a hefty failure rate (except for some of the larger charter school COMPANIES' schools, like Kipp). What this could mean is that we are replacing a stable, failing system, but an established institution, with an unstable system which may or may not become successful enough to continue to educate the same child through a grade group (preschool, primary grades, middle school, high school).

Now the research:

higher teacher turnover rate. part of this is probably lack of unionization / voice in management. part of this is probably a truer representation of job / pay / rewards for workers in a corporate / "white collar"/non union environment.

"For one, there is clear evidence that teachers with strong academic backgrounds are most inclined to leave the profession"

“The preponderance of evidence suggests that teachers with higher measured ability have a higher probability of leaving…” (p. 186).

attrition is highest among teachers that are new to the profession.

a question is: is teacher turnover bad? is unionization of k-12 teachers an analog to tenure, and should both systems be dissolved?

it is common for senior faculty to note that a teacher with 10 years experience is far more valuable than a new teacher -- for ability to handle bureaucracy, discipline, and grant getting / special programs, at the very least. what about teachers with degrees in subject areas versus in education or teaching? what about teachers / administrators with graduate degrees (paid a differential) and those without? is there a "path" for teaching k-12 as there is for university (assistant - associate (tenured) - full professor, named chair, foundation or institute head, head of department, chancellor, dean? increasingly senior committee work?

they are saying that during the first five years of employment, teachers increase -- a great deal -- in effectiveness

and that teachers who leave are almost always replaced with less experienced teachers

"These costs include money spent to exit the teacher from the school, recruit and hire a new teacher and/or fill the vacancy with a substitute until a new teacher can be hired, and train the new teacher. In some districts, costs include signing bonuses and school material stipends granted to new teachers."

Well, but the teacher then is receiving more money in the first year or two of teaching -- because the teachers are in high demand -- than in the years when the teacher is most valuable to the institution. Clearly, this portion is a wage and budget for supplies issue. If wages + bonus and supplies are larger year one than year three, there is a lot of motivation to move.

"turnover rates are comparable to private schools" -- other non union schools -- again, where benefits are not likely to continue to improve

"the federal No Child Left Behind (NCLB) Act mandates all public schools have a “highly qualified” teacher in every classroom. To be “highly qualified” a teacher must have a full state license or certificate."

"We predict that teachers who attended selective colleges will be at greater risk of leaving the profession because they may have better career options outside of teaching. Similarly, we predict that teachers whose major field of study was not in education will also be at greater risk of leaving, in part because their degree may provide more professional opportunities outside of education."

This is interesting to me, since it seems so very obvious when we are considering the history of teacher education in the U.S. Many of our second - tier institutions are from the Normal school / Teacher's college movement. In some states, the "state university" system is from normal schools and the higher-ranked, main "university" system is meant to compete against the private schools, especially of the east coast, which were, after all, founded as schools to train ministers to teach and preach, so that women (and others not "officially educated") couldn't -- i.e., Harvard -- even in an era when everyone was encouraged to be literate to be able to read the vernacular Bible.

"Normal schools soon started popping up in more and more cities and towns. The first three all opened in the year of 1839 in Massachusetts. The first was Lexington, the second in Barre and the third in Bridgewater.[5]
The next four opened in four different states, with the next normal school opened in Albany, New York in 1845, Philadelphia, Pennsylvania in 1848, New Britain, Connecticut in 1849, and Ypsilanti, Michigan in 1850.[6] Eastern Michigan University, as we know it today, started as a normal school and continues today to have one of the best teacher education programs in the country."

Illinois State, the CSU system...

Jefferson: public schooling separate from religious education
"free public education at the elementary level was available for all American children by the end of the 19th century"

"The first publicly supported secondary school in the United States was the Boston Latin School, founded in 1635. Harvard was the first University in existence at that time. The attendance in secondary schools was very little because the curriculum was specialized and hard. The demand for skilled workers in the middle of the eighteenth century led Benjamin Franklin to start a new kind of secondary school. Thus, the American Academy was established in Philadelphia in 1751. American high schools eventually replaced Latin grammar schools. The rise in American high school attendance was one of the most striking developments in U.S. education during the 20th century. From 1900 to 1996 the percentage of teenagers who graduated from high school increased from about 6 percent to about 85 percent. As the 20th century progressed, most states enacted legislation extending compulsory education laws to the age of 16."

Franklin (U Penn)
accounting, physical education, modern languages, english grammar, logic, ethics, history: speech, civics/poly sci, classics, art history, chronology; geography


"Whereas many poetry collections in the last few years have fully incorporated a single idea as the driving point of the entire collection..."

Because this is true (is "collection" meaningful? were the poems written to theme, or were they collected?) and also because this is increasingly causing anxiety (project poetry -- while "project" has been a fruitful term, practice -- "project poetry" as a term with a negative/cliche aspect is now recognisable by including poems that are necessary to the project but not good as poems, by not generally having an emotional or metaphorical core, by working through exhaustion), here is my review of

Alison Hawthorne Deming
The Monarchs
LSU Press


12th Annual ALAP (10-Minute) Playreading Festival

1. Spanksgiving << this is how I am spelling it, like "Thanksgiving"
Thomas J. Misuraca

It is about what you think it is about: two tops exchanging "water cooler" style remarks while following their scripts -- stereotypes about spanking. These intertwine very humorously, "you've been a bad girl" "it's hard to find a good woman."

2. Coyote
Ron Burch

More coyote facts! Obviously, I have a bias.

3. One Call
Mary F. Casey

Obviously, the call one gets when arrested.

[Note to self: has this changed? With the ubiquity of cell phones?]

4. Tragedy on West Utica
Catherine Pelonero

A funny story, well told.

5. Pere-Lachaise
Bridgette Portman

Lovely, well-written characters (Gerard de Nerval in a play -- gotta love it).

6. Ceremony
Kenny Hargrove

Funny, full of devices: flowers, then a box, a letter arrives....

7. Chitchat with the Succubus
Dan Berkowitz

(party host!)

Very funny. Well acted.
Alliance of Los Angeles Playwrights

Lovely group of people; web site's in transition. I am using their event as a model for a small press weekend / day at Beyond Baroque, where a small press would bring in, say, the publisher, and the local authors (well, it is LA, there are loads of presses which have, say, three-ish local authors at least), and maybe the few -- California, American West, some family in LA, a place to stay with the local authors of the press -- non-local authors.

Three would read on Friday night. Nice length, etc.: three readers. Then, on Saturday, there would be workshops, panels, talks -- specially tailored to the press and its authors -- one in the morning, maybe, one in the afternoon definitely, and then another three readers on Saturday night.

I LOVED the scene slam idea too -- I think it would make genius reality arts tv programming. You know that cooking show where three chefs get three weird ingredients, like blueberries, chocolate, and sardines, a half an hour, and any other ingredients that they want? So scene slam gives you a person, a place, and a thing/event, like "a jerky guy", "Egypt," and "a wedding", and three sets of playwright + actors have to make up a scene about it in 30 minutes, and then they put on the scene. I feel this is a viable idea if you show the set up, maybe highlights of the struggle, highlights of rehearsal, and then the "scene off".



Here is what I said at the Planning meeting, which will be continued. So that we don't have to enter it into minutes / so our meeting can be shorter. Together with Dana, I will write a report from the meeting to put on our new blog; I will start making the blogroll for the blog too. I will send a version of this to some people I haven't contacted yet @ WAHA, La Fayette Square HPOZ, and La Fayette Square HPOZ. Dana and I will be meeting with Lambert Geissinger about HPOZ & Mills Act -- not entirely related to LFSNA.

Also, they want to do a workshop with us, and we need to plan that. We need to review the complete text of the proposed policy revisions and write a letter in advance of the next planning meeting and next time we meet, too.

My name is Catherine Daly. I am on the board of Los Feliz Square Neighborhood Association. As a former board member of West Adams Historical Association, La Fayette Square HOA, and La Fayette Square HPOZ, I am concerned with both the Western - Vermont and Crenshaw Corridor impacted areas for the new planning policy.

I came here to appose the passing of Agenda Item #8 which we view as the first domino of nine to potentially topple; I will be here to oppose every single agenda item related to revising the plan. Since I signed up to speak, there has been a motion to continue this hearing and vote, I am now in support of that, but a continuation -- for giving us more knowledge of the policy changes, which I have read -- does not alter what I came here to say.

My comments are not "merely" semantic. A change to the language of a policy is a change to the policy. You have asked us to cite "chapter and verse" for policy changes. In previous responses to speakers, the idea of intent has arisen, in the case of the change of the phrase "harmony with" to the phrase "substantial deviation." Regardless of case law, the phrase "harmony with" not only substantially deviates from the phrase, "substational devision," is has an utterly different meaning.

My other comments are:

you have replaced a series of "and"s with a series of "or"s when speaking about whether a proposed change offers a benefit. Whether something benefits a neighborhood and a region rather than benefits a neighborhood or a region is a substantial change because often the needs of neighborhoods and regions differ: what benefits a region often degrades a neighborhood, and vice versa.

You have removed language about mitigants to negative impacts of development. As you know, there are some negative impacts which CANNOT be mitigated, and those which CAN and MUST be mitigated. By eliminating the language, not only do negative impacts which can be mitigated not get mitigated, not only do negative impacts which cannot be mitigated get approved, but a conversation about mitigating impacts never occurs.

Thank you.


Red Rover Series
{readings that play with reading}

Chicago, IL

*Experiment #40: October 23
videos by Carrie Olivia Adams, Justin Cabrillos,
Laura Goldstein, Amira Hanafi, Kurt Heintz,
& Mark Jeffery/Judd Morrissey

*Experiment #41: November 5
Joel Lewis, Adrian Moens & Marthe Reed

*Experiment #42: December 4
Vanessa Place

at Outer Space Studio
1474 N. Milwaukee Avenue
suggested donation $4

Logistics --
near CTA Damen blue line
third floor walk up
not wheelchair accessible
7pm event / doors lock 7:30pm

Red Rover Series is curated by Laura Goldstein & Jennifer Karmin. Each event is designed as a reading experiment with participation by local, national, and international writers, artists, and performers. The series was founded in 2005 by Amina Cain & Jennifer Karmin.

Email ideas for reading experiments to


Saturday October 9th at 7:30
a reading/performance for the Art of the Book 3 exhibit
at the Artists Union Gallery
330 S. California Street - Ventura

reader/performers include:
Glenna Luschei, Friday, Beverly Messenger, Gigi Bennett,
Phil Taggart, Gauvin, Doris Vernon, Cathryn Andresen, Peg Quinn,
Joyce Lombard

Host: Marsha de la O

The Art of the Book 3 exhibit features contemporary, traditional
and unusual book art. The exhibit includes three dimensional
artwork that uses any book format (from tablets to codex) or a
book as the base for the artwork. The exhibit is “book as art”
and includes two-dimensional artwork that has text as an integral
part of its’ composition.

Curator, Ines Monguio
Juror, Joe Cardella

admission is $5
This a fundraiser for the Artists Union Gallery


PHOTOGRAPHS BY Ann Mitchell Head of Art and Photography Department, Long Beach City College "Family Stories:
An Exhibition exploring Family, Memory and Identity"
Curated by Neil France
Location: 218 N PROMENADE Long Beach
Dates: October 6- November 5, 2010
Opening Reception October 9, 2010 7-10pm
Photographer Ann Mitchell explores family in this body of work trough the understanding of personal and cultural memories and their relationship to identity.

SPOKE UP A CSULB Student Mixed Media Exhibition at Belong Projects Curated by Stephanie Libanati
Location: 216 North Promenade Long Beach Phantom Galleries Long Beach
Dates: October 6- November 12, 2010
Opening Reception October 9, 2010 7-10pm
CSULB student mixed media exhibition to launch their 2010 fall program: Belong Project’s SPOKE UP, a mixed media exhibition discussing alternative modes of local transportation.

Martha De Perez Projects, "United", Trailblazing Women Artists
Recent works by, Consuelo Campos, Margaret Garcia &, Dolores Guerrero, Curated by Martha De Perez & EL Azur, Location: 350 E 3rd Street
Opening Reception, Sat Oct 9th 2010, 6-10 pm

Lucha Libre Arte Celebrating la Cultura"
A celebration of Lucha Libre culture through fine art, a group exhibition focusing on Mexican wrestling culture. rtists:, OCHO, CHUYMOSCA, CHATISMO, Ray Aliviado, CHEE-BO, EFREN LUNA, Ray Vasquez, Cora Ramirez-Vasquez, YEYO, DELUXSOUL, Gerardo Chow, Herman Herrera, Steven Guerra, Jessica Miranda, and MORE!!! We’ll be presenting legendary luchadores via Lucha Libre art and culture with iconic images such as Blue Demon, EL Santo, El Hijo Del Santo, - Blue Demon Jr.- Medico Asesino Jr - Pirata Morgan – La Autenica Parka, L.A. Park – Rayo de Jalisco Jr., Whose influence had reached many Latin American cultures and Lucha Libre is currently making its way into the hybrid of American culture.
Opening during the Sat Oct 9th LB Art walk 5pm-10pm
Location: 344 E 3rd Street Long Beach

MATERIALITY An Exhibition Curated By Todd Ciborowski
Backspace Gallery is pleased to announce the opening of MATERIALITY, a group exhibition curated by Todd Ciborowski of new work by artists Jenn Reifsneider, Jordan Christian, Julia Haft-Candell, and Michael Walsh.
Materiality and its many definitions relating to things that emphasize their physicality or pertaining to matter or body; formed or consisting of matter; corporeal, has been addressed more and more recently in the art world.
Location: Backspace Gallery 218 N Promenade.
Dates: October 6- November 12, 2010

Famonn & Cod Projects FORMAL ART A joint effort.
Eamonn Fox and Todd Ciborowski will exhibit works that primarily deal with and foreground compositional elements. Todd Ciborowski will be presenting cast silicone rubber objects as well as works that revisit sculptural issues dealing with display and complicating the eventual domestic settings most artworks find themselves in. Eamonn Fox will be constructing a Haystack out of found and cast hangers dealing with issues of value and craft while formally referencing the popular series of paintings by Monet.
Location: 346 East 3rd St. Long Beach, Ca 90802
Opening Reception, Sat Oct 9th 2010, 6-10 pm

Long Beach City College
PHOTOGRAPHY PROGRAM curated by Neil France
More info
Sacramento Poetry Center

Christopher Mlalazi and Ron Slate
Monday, Oct. 11 at 7:30 PM
Crossroads for the Arts
1719 25th Street
Host: Emmanuel Sigauke

Christopher Mlalazi is a Zimbabwean writer who has been published in 11 short story anthologies, including the 2006 Caine Prize Anthology (Obituary Tango), the 2006 Edinburgh Review, and the 2007 PEN SOUTH Africa anthology. He was on the HSBC PEN international short story shortlist as well as the 2004 Sable Lit/Arvon short story competition.He has written plays for Zimbabwean performing arts groups that include Amakhosi Theatre; Umkhathi Theatre; Sadalala Amajekete Theatre and the Khayalethu Performing Arts Project. His poems and short stories have been published in newspapers, magazine and websites that include Crossing Borders Magazine, Poetry International Web, The Sunday News and The Zimbabwean newspaper. He is the author of Dancing with Life: Tales from the Township (aMa Books, 2008) and Many Rivers (Lion Gate Books, 2009). He is currently in California after receiving a Feuchtwanger fellowship.

"Christopher Mlalazi is the rising voice of the ghetto, with all its violence, sharp anger, bitter protestations and tangible promise of a better tomorrow." - Raisedon Baya, Writer and Columnist

Ron Slate was born in Quincy, Massachusetts in 1950. He earned his Masters degree in creative writing from Stanford University in 1973 and did his doctoral work in American literature at the University of Wisconsin, Madison. He started a poetry magazine, The Chowder Review, in 1973 which was published through 1988. In 1978, he left academia and was hired as a corporate speechwriter, beginning his business career in communications and marketing. From 1994-2001 he was vice president of global communications for EMC Corporation. More recently he was chief operating officer of a biotech/life sciences start-up and co-founded a social network for family caregivers. He lives in Milton, Massachusetts. He is the author of two books The Incentive of the Maggot (Houghton Mifflin, 2005) and The Great Wave (Houghton, 2009). He also edits On the Seawall, a first-rate blog [http://www.ronslate.com/] dedicated to reviewing contemporary literature.

SPC members now receive a special 10% discount on all UC Davis Extension writing courses!
Note: This is an unadvertised discount and SPC members must self-identify for it to be applied. At this time, discounts are not available when enrolling "and paying" online; we recommend that SPC members enroll by phone at (800) 752-0881. In addition, discounts must be applied when enrolling and cannot be combined or applied retroactively.

Coming Events at SPC and Elsewhere:

October 18 [Rebecca] Poetry Reading in memory of Pearl Stein Selinsky. Featured readers include: JoAnn Anglin, Nancy Wallace, Jeanine Stevens, Ann Privateer, Mary ellen burns, Lisa Bert, Carol Louise Moon, Maggie Frost, Joe & Susan Finkelman, Jennifer Pickering, Melen Lunn, Allegra Silberstein, and Tom Goff.
October 21 [Mary Zeppa and Lawrence Dinkins] Brown Bag Poetry at the Central Library, 828 I Street, 12 noon
October 21: Confluence at Natsoulas Gallery in Davis
October 29: Stories on Stage: Angie Chau and Alex Dezen
October 25 [Tim] Graham Foust and Matthew Zapruder and Michael Earl Craig

November 1 [Bob]: SPC Book Contest Winner
November 5: WORD at The Guild {6 to 11 PM}
November 8 [Emmanuel]:
November 10: Mary Zeppa and Victoria Dalkey {Sacramento Room}
November 11: Homecoming at The Crocker
November 15 [Rebecca]:
November 18 [Mary Zeppa and Lawrence Dinkins] Brown Bag Poetry at the Central Library, 828 I Street, 12 noon
November 18: Rancho New Voices Book Release
November 22 [Tim]: Jason Koo and Megan Harlan
November 26: Stories on Stage: Mary Volmer and Vanessa Hua
November 29 [Frank]:


Guess the source and circa of these:

1. theme within the ken of most readers
2. attention-getting title repeated within the work
3. "genderless": no gender to the speaker / can be narrated or ____ by man or woman or any combination
4. "heart" / emotion
5. Original in idea, words, sound/form
6. Nature not in the abstract but in the tangible, quotidian.
7. Open vowels / euphony
8. Simple/clear/concise
9. businesslike/professional/sincere approach to piece as WORK


These are cool, but I am using them to think (as usual)
Thomas Sayers Ellis

Change the Game Rule #1. Poetry is unique. A book of poetry is not a novel, so please resist the current trend of making books of poetry about one subject, Series writing. A book-length poem is different but most (not all) Series depend heavily on fiction with line breaks, as well as the enemy of the line, the sentence, so get thee beneath the wreckage, Story, and be thee drowned.

Obviously, there are many threads here. A book-length poem is not necessarily a story or narrative; nor is a series or sequence necessarily a story or narrative. However, there is a trend to have "super unified" or exhaustive or complete books, projects, etc. rather than collections or overviews. But I do think that poets must participate in the making, showing, telling, whatever, of ideas and yes stories, but also -- what-have-you -- in a way that they seem to have ceded to filmmakers, programmers, etc.

Change the Game Rule #2. No former student of a judge of a literary contest will be eligible for the prize. Judges must either remove themselves or the manuscript. Young poets should practice integrity when acquiring blurbs, requesting them from writers who are new to their work. Say, “I cannot accept this prize because the judge was my teacher.” Interrupt the lit-inbreeding, the first step toward verse diversity!

It would be nice if all presses disclosed who their readers/judges are in advance. Additionally, a call for blurbers who are not familiar with the work or writer is unrealistic, since too many people don't like to blurb.

Change the Game Rule #3. I am not telling writers what to write but I am telling them to write Now, about Today, to engage Society, all of the designs of Nature. We take too long, crafting our cries for permanence when nothing is meant to last. We’ve allowed the immediacy of ignorance to out advertise us and advertisers to out cinema us. Cinema owes poetry. Our lines don’t have enough current mouths in them.

Good point!

Change the Game Rule #4. Susan Sontag told me, “There are Only Two Places to Publish Poetry, the New Yorker and the Paris Review.” O, the Traceable Hierarchy of Literary Publishing and the Predictable Schema of Most Rewarded Work: Witness, Experience, Simile, Fade-out with a Metaphor. How to Land at FSG, Get Noticed by Knopf? Don’t Start, Be Already Started, Pre-Page, in the Hand, in the Approach, in the Worry.

Uh, huh? It would be nice to rise to somebody's attention. I think we'll figure this out again.

Change the Game Rule #5. Choose to Continue Language and Culture not to Leave it as You Have Inherited it. Every Time Writing Tries to Write You, Re-write It or Revise You. This Also Applies to Lines and Stanzas which are Governed by Breathing More so than Music or Meaning. I Take that Back. Music plus Meaning are Flowers in the pot of Dirt Known as Breathing!

I like the plea for growth and change, but I also feel, very strongly, too, that language and culture comes to us full of air pockets with stuff missing -- generally it is important stuff that I think was in the peanut gallery of the earlier answer that is missing. Soooo, continue to pick up crumbs. New doesn't always not involve the old; new isn't always good -- new isn't always new in an important way....

Change the Game Rule #6. The Workshop Model Must Become Mobile. Time for the Literary Socratic Table to Spin. The (Living) Creative Process not the (Dead) Poem Must be Present. Time to Back to the Future to Iowa 1936 and add some moonwalking. The Workshop Model is Broke and Does Not Serve Wholeness.

I concede this. I do think that part of it is that there are workshops and there are workshops... and participants often need more outside info than they have...

Change the Game Rule #7. Share Your Resources. Journals and Anthologies Need Writers More than Writers Need Them. For Black Writers this Means Share Your White Folks. For White Folks this Means Syllabi More Black Writers. An Editor is not A Tastemaker––the Writing Is!

I agree. An USAmericans: look beyond your borders!

Change the Game Rule #8. Younger Writers With One, Two, Three Books (Flavors of the Month), Write Notes to the Editors Who Love You Suggesting That They Also Publish the Writers Who Have Made A Path for You. Too Often (As a Short-sighted Control Move), Older Editors Will Replace the Cultural Foundation with Young Writers Who are Simply Reinventing the ‘Fro-Wheel. Beware, Inkslingers, of Such Advancement-Standstill.

I dunno. Is this for real?

Change the Game Rule #9. Don’t Publish for Publication’s Sake. Only Send to Journals You Really Like. A Table of Contents is a Community, A Conversation. If You Can’t Find A Decent Place for Exchange or to Change the Exchange, Start Your Own. Don’t Over Publish Or You Will End Up Like…

What's wrong with getting the stuff out again? I mean, don't fling it like poo, and a TOC is a tribe, and a writing is an exchange, but... is Lyn Lifshin BAD? Heck no.

Change the Game Rule #10. Let the work Network.

That would be nice if poems were a little bit more sticky and squeaky and sneaky than they are, but they aren't, and so I think they need to be more persistent, obtrusive, and ubiquitous -- and how to make them so, authors?
Mirra Lokhvitskaya


I'm a Blok fan.


Cara Be
Mommy! Mommy!
7:30pm Saturday, October 2

Cara Benson
Sean Griffin
Jennifer Karmin
Kate Zambreno

at Pieter (Performance Art Space DANCE)
420 W Ave 33, #10
Los Angeles, CA (Lincoln Heights)

Mommy! Mommy! presents
“Mommy, I'm Sorry”
Forgiven, forgiven

Door at 7:30.
Show at 8.
Event is Free.
Please bring non-monetary contribution like liquor or something for them to provide guests at shows or like clothing to put in their clothing exchange shop.

CARA BENSON is author of a book of interconnected pre-elegaic prose poems for humans animals plants and earth called (made). Her book length poetic meditation on historical, biological, and cosmological evolution, Protean Parade, is due out from Black Radish Books early 2011. Benson teaches poetry in a NY State Prison and edits the online text and art journal Sous Rature.

SEAN GRIFFIN, composer and interdisciplinary artist, lives and works in Los Angeles. He has developed compositional and interdisciplinary methodologies positioned at the intersection of sound and performance, creating large and small-scale concert works, collaborative sound and video installations, and film scores. His works have been presented by Los Angeles' REDCAT, the Armand Hammer Museum, June in Buffalo, Berlin's Volksbühne, Secession Vienna, London's Royal Academy and the Tate Modern, Festival d'Avignon, Taipei City Arts Festival, Walker Art Center, and Centre Pompidou. His current work addresses scripting rhythmic regimentation and conflicting behaviors in performances by instrumentalists, vocalists, and actors in a large-scale event called Cold Spring at EMPAC this year. He holds a Ph.D. from the University of California at San Diego.

JENNIFER KARMIN's text-sound epic, Aaaaaaaaaaalice, was published by Flim Forum Press in 2010. She curates the Red Rover Series and is co-founder of the public art group Anti Gravity Surprise. Her multidisciplinary projects have been presented at festivals, artist-run spaces, community centers, and on city streets across the U.S., Japan, and Kenya. A proud member of the Dusie Kollektiv, she is the author of the Dusie chapbook Evacuated: Disembodying Katrina. Walking Poem, a collaborative street project, is featured online at How2. In Chicago, Jennifer teaches creative writing to immigrants at Truman College and works as a Poet-in-Residence for the public schools.

KATE ZAMBRENO's first published novel, O Fallen Angel, won Chiasmus Press' "Undoing the Novel - First Book Contest" and was published in April. She writes the literary blog Frances Farmer Is My Sister , which will inspire a collection of essays to be published by Semiotext(e)'s Active Agents series in Fall 2011. She is the prose editor of Nightboat Books, and recently curated July for Everyday Genius.


UNESCO Cities of Literature
Edinburgh, UK
Iowa City, Iowa, USA
Melbourne, Australia
Dublin, Ireland

UNESCO City of Film
Bradford, UK

UNESCO Cities of Music
Bologna, Italy
Ghent, Belgium
Glasgow, UK
Seville, Spain

UNESCO Cities of Crafts and Folk Art
Aswan, Egypt
Kanazawa, Japan
Santa Fe, New Mexico, USA
Icheon, Republic of Korea

UNESCO Cities of Design
Berlin, Germany
Buenos Aires, Argentina
Kobe, Japan
Montreal, Canada
Nagoya, Japan
Shenzhen, PRC
Seoul, Republic of Korea
Shanghai, PRC

UNESCO City of Media Arts
Lyon, France

UNESCO City of Gastronomy
Popayan, Colombia
Chengdu, PRC
Östersund, Sweden


Sacramento Poetry Center

Mark Statman and Kurt Brown
Mon. Sept. 24 at 7:30 PM
Crossroads for the Arts
1719 25th Street
Sacramento, CA

Mark Statman's writing has appeared in numerous publications including Tin House, Hanging Loose, Cincinnati Review, Trespass, The Hat, Bayou, Conduit, Subtropics, The Florida Review, Ping Pong, and American Poetry Review. His work has been featured on Poetry Daily, as well as The Bob Edwards Show, The Leonard Lopate Show, and PBS' New York Voices. His most recent books are the poetry collection Tourist at a Miracle (Hanging Loose, 2010) and with Pablo Medina a translation of Federico Garcia Lorca's Poeta en Nueva York (Poet in New York) [Grove, 2008]. Other books include Listener in the Snow (Teachers & Writers, 2000), and with Christian McEwen The Alphabet of the Trees: a Guide to Nature Writing (Teachers & Writers, 2000). His essays, poetry, and translations have appeared in nine other anthologies. He is currently at work on a translation on the selected works of Jose Marie Hinojosa. A recipient of awards from the National Endownment for the Arts and the National Writers Project, Statman is an associate professor of literary studies at Eugene Lang College of The New School where he teaches courses on Spanish surrealism and the art of sports.

Kurt Brown was born in Brooklyn, New York, and grew up on Long Island and in Connecticut where he attended the University of Connecticut. He spent many years in Aspen, Colorado where he founded the Aspen Writers' Conference and edited the Aspen Anthology. His poems have appeared in many periodicals, including Ontario Review, Massachusetts Review, Crazyhorse, and Southern Poetry Review. Kurt has edited several anthologies: Drive, They Said: Poems about Americans and Their Cars (Milkweed Editions), Verse and Universe: Poems about Science and Mathematics (Milkweed Editions), Night Out: Poems About Hotels, Motels, Restaurants and Bars [co-edited with Laure-Anne Bosselaar] (Milkweed Editions). His latest anthology is called The Measured Word: On Poetry and Science (Univ. of Georgia Press, 2001). Kurt's first book of poems, Return of the Prodigals, was published in April, 1999 by Four Way Books, and his latest is No Other Paradise (Red Hen Press, 2010).

SPC members now receive a special 10% discount on all UC Davis Extension writing courses!
Note: This is an unadvertised discount and SPC members must self-identify for it to be applied. At this time, discounts are not available when enrolling "and paying" online; we recommend that SPC members enroll by phone at (800) 752-0881. In addition, discounts must be applied when enrolling and cannot be combined or applied retroactively.

October 4 [Bob]: American River Review reading
Oct. 6 [Bob]: 4 Poets Laureate: Connie Post, Dennis Schmitz, Allegra Silberstein, Ronna Leon. {Sacramento Room}
October 9: SPC Presentation at Crocker
October 11 [Emmanuel] Ron Slate and Christopher Mlalazi
October 18 [Rebecca] Poetry Reading in memory of Pearl Stein Selinsky. Featured readers include: JoAnn Anglin, Nancy Wallace, Jeanine Stevens, Ann Privateer, Mary ellen burns, Lisa Bert, Carol Louise Moon, Maggie Frost, Joe & Susan Finkelman, Jennifer Pickering, Melen Lunn, Allegra Silberstein, and Tom Goff.
October 21 [Mary Zeppa and Lawrence Dinkins] Brown Bag Poetry at the Central Library, 828 I Street, 12 noon
October 21: Confluence at Natsoulas Gallery in Davis
October 29: Stories on Stage: Angie Chau and Alex Dezen
October 25 [Tim] Graham Foust and Matthew Zapruder and Michael Earl Craig


Stephen Dunn
A Circus of Needs
Carnegie Mellon, 1978

I was pleasantly surprised, cracking this open on the way to mailing it out. What this book has going for it that I don't find as clearly in many contemporary lyric narrative collections of its ilk is that the poems in this easily convert: i.e., "The Man Who Never Loses His Balance" isn't a hypothetical aerialist, and isn't only Dunn. It is both, and not as mawkishly so as I had begun to remember, reading more current poems like this.

While other poems compare perhaps less favorable with those of Diane Di Prima (A Capitalist Love Letter to her Revolutionary Love Letters) or to Robert Haas' FIELD GUIDE POEMS....

A message from the time the third person could be used rather than the "I", and have all the benefits of that distance, none of the limits of the "I" but a ghost of it, an illusion/conjuring. Why is the third person so illigitimate now?


Marble Goddesses with Technicolor Skins
Corinne Robins
Segue, 2000

I started a review of this book a long time ago. I never finished it. There are stunning moments in these words which are a melding of feeling and visuals poured into words ("a box within a box / a painted sky canopy protecting"), of words used for the felt sense, the tangible artistic experience, but different from the New York School ("Hope transforms into architecture..."). A lot of the rhetoric to get airborne should go, leaving this beautiful poetry, the generous observer who is informed and informing.
CALL NOW! to participate in The Arc of Noise, one of the largest collaborative sound poetry choirs ever! Watch the video score here, call (323) 843-4652 or (323) TIE-IN-LA to contribute. You can listen to a track from the album, The Archanoids then leave a message that follows the score by hitting play on the video at the beep, you may also press 1 twice to skip straight to leaving a message.

You can read a write up of The Archanoids by Joshua Morrison at Fine Arts LA and a note at TRY HARDER. Shana Nys Dambrot of flavorpill says, “Mathew Timmons is a hard-core collaborator with no regard for traditional boundaries when it comes to mixing media and even entire genres. … Listen, speak, repeat as necessary.”

The Archanoids
an album of solo and collaborative sound poetries 2005-2010
$10 + S&H

Insert Press in collaboration with 323 Projects and Pleonasm Music is pleased to present The Archanoids, an album of solo and collaborative sound poetries, 2005-2010.

The Archanoids will exist as the inaugural exhibition of 323 Projects a phone gallery visited by calling (323) 843-4652 or (323) TIE-IN-LA. The show is open all day and all night, every day of the week from September 6-October 11, 2010. Featuring all the recordings from the album, 323 Projects phone gallery will present a new track from the album every other day and invite callers to participate in a collective sound poem by leaving a message and following an online score.

Pleonasm Music, the net-label run by Christian Cummings, An independent musical community of uncategorizable avant-weird living room minstrels par excellence, will release a free downloadable selection of tracks from the album.

Insert Press is releasing the full album including a 32 page booklet of scores and written work from the album which can be purchased only through Insert Press for $10 + S&H.

The Archanoids

Composers (in the order they appear): Robert Darry, Mathew Timmons, Hugo Ball, Gertrude Stein, Christian Bök, Kurt Schwitters, Theodor Seuss Geisel, Luigi Russolo, Claude Gauvreau, Janine Armin, Giacomo Balla & F. T. Marinetti

Performers (in the order they appear): Robert Darry, Mathew Timmons, Sandy Ding, Harold Abramowitz, js makkos, Gary Barwin, Gregory Betts, Janine Armin, Amaranth Borsuk, Amina Cain, Allison Carter, Kate Durbin, Gabriela Jauregui, Stephanie Taylor, Donato Mancini & Christine Wertheim.

Remixes by last nights of paris. Album mixed by Patrick Navarre.

Programming / Audio Engineering of The Arc of Noise collaborative sound poem by Dan Richert.
Sony Reader (Sony)
Agebook Reader (EBS Tech)
eGriver IDEO (Condor Tech)
eGriver Touch (Condor Tech)
Kogan eBook Reader (Kogan Tech)
Alex eReader (Spring Designs)
Kobo eReader (Kobo Books)
ES600 (Stereo International)
Digital Reader (iRex Tech)
Boox-S and Boox-60 (Wolder Electronics)
Paperback (yes, that's a name - italica)
Nook (Barnes & Noble)
Story (Iriver)
iPapyrus 6 (iPapyrus Inc)
WISE Reader N516, N518, N520, N526
PocketBook (Pocketbook)
BeBook (Endless Ideas)
COOL-ER (Interead)
Papyrus (Samsung)
Kindle (Amazon)
Kindle DX (Amazon)
eSlick (Foxit)
Hanlin (Jinke)
WISEreader (Hanvon)
(and this doesn't count your phones)

And Google is launching a new reader in China called Editions.


On Dream Street
Melanie Alexander, 2007
Tupelo Press

ON DREAM STREET: I have written before about poems and dreams, their "history together", things in common and not. Taking dreams, and poems, literally, part of this commonality is the desire to see, through the "stream of consciousness", or images, of dream, and through the language bent to form or thought in poetry, of emergent meanings perhaps richer than those on the surface. We interpret dreams; we interpret poems.

Here in this book are elusive poems which are exact, but not indicative. But perhaps this is more true. Do dreams mean much, or are our consciousnesses just unraveling the day in order to start again? Is a jumble evocative, and why? If a jumble is not evocative, and these poems seems to evoke something -- but what? -- are they like dreams? The poems have the urgency of "the muse" -- but toward their own creation.


Martha Collins
History of Small Life on a Windy Planet
University of Georgia Press, 1993

This is a third book, a prize winner (PSA) while in draft, by an author who had won several prizes already when the book was published. The "flip open" poem has both the pomo gestures ("the text"), etc. one would expect, but also -- I want to say a greater immediacy that Janet Holmes' F2F, but since that book is about mediated immediacy or imMEDIAcy, the comparison is faulty, yet, here is Collins:

In Black and White

--Words, he said, black
stars in a white sky.

--No, she said, white
words, milk, you can't see.


--Off my back, Hon, I'm
your text, you wrote



Have books gotten bigger? This -- given the title, a small life, the writer's life as a small life? the poet's? what a comparatively modest claim on the millennial poet-turf; on a windy -- too verbose? -- planet, ostensibly ours,


Monday, Oct. 25

9:50-10 am | Ahmanson 1000 Opening remarks by Dean Paul Tiyambe Zeleza
10.10-11.50 am| Ahmanson 1000 -- Skirting Authority: Early Women's Voices in the Catholic Tradition

1-3 pm | Macintosh 3999 -- Arpillera Workshop
Veronica De Negri, a former political prisoner from Chile, will give a talk on the Chilean women's art form, the arpillera, a kind of story-telling by sewing scenes on squares of cloth, often used as a means of protest or of bearing witness. She will then lead an arpillera-making workshop for students, faculty, and staff. Workshop Registration Required. Please email apartnoy@lmu.edu

1.30-3 pm | Ahmanson 1000 "Autumn Gem: A Documentary on Modern China's First Feminist"

Moderated by Professor Susan Barber and Professor Robin Wang. Film by Adam Tow and Rae Chang. Meet the "Chinese Joan of Arc," Qiu Jin (1875 - 1907). An accomplished writer, women's rights activist, and leader of a revolutionary army, Qiu Jin boldly challenged traditional gender roles and demanded equal rights and opportunities for women. She was the first woman to lead an armed uprising against the corrupt Qing Dynasty, for which she was arrested and executed. She later emerged as a national heroine who redefined what it meant to be a woman in early 20th-century China.
4-5 pm | Marymount Institute UH 3000 -- Afternoon Tea with Music by Kelly Kawar, former LMU student, and her trio. "Reading Women Writing":

7.30-9.00 pm | Ahmanson 1000

Performance/Lecture by Guerilla Girls Q/A and reception to follow Introduction by Professor Gail Wronsky, Department of English

Tuesday, October 26

9.25 - 10.50 am | Ahmanson 1000 -- Comfort Women: Trans-national Activism and Art
This panel will focus on activism surrounding the comfort women issue in Korea and in the United States. Scholars will discuss transnational activism and justice regarding comfort women as well as discuss artwork by comfort women. Stella Oh, Department of Women's Studies, chair. Panelists: Laura Hyun Yi Kang is Chair of the Department of Women's Studies at University of California, Irvine. Her research and teaching interests include the politics of knowledge production, feminist epistemologies, critical race studies, and cultural studies. JongHwa Lee, Ph.D. is an Assistant Professor in the Department of Communication Studies at LMU. A scholar of contemporary rhetorical theory, Dr. Lee has published articles on Japanese Military Sexual Slavery and was the chief organizer of the World Conference on Japanese Military Sexual Slavery in 2007.

10 - 12 noon | McIntosh UH 3999 -- Members of the Guerilla Girls will conduct a workshop in art and activism for 25 LMU students.

1.35 - 3 pm | Ahmanson 1000 -- Women Artists of Ciudad Juarez

Evangelina Arce, poet and mother of one of the girls murdered in the femicide taking place in Ciudad Juarez, will read her work. There will be a panel discussion about how women are using art to draw attention to this atrocity. Alicia Partnoy, Dept. of Modern Language and Literatures, chair.

4 - 5 pm | Marymount Institute UH 3000 Afternoon Tea: Women's Folk Music, performed by Ellen Geer and Melora Marshall

7.30 - 8.30 pm | Ahmanson 1000 -- Three Generations of Activist/Artist Women (Alicia Partnoy, Raquel Partnoy, Ruth Irupe Sanabria)

International best-seller and acclaimed poet Alicia Partnoy was disappeared during the military dictatorship in Argentina in the 70s. Her mother, Raquel Partnoy, is a nationally and internationally recognized artist and activist whose series of paintings, "Surviving Genocide" has been exhibited at the Martin Luther King Library in Washington DC, among many other shows and honors. Her daughter, Ruth Irupe Sanabria is a poet whose first book, "The Strange House Testifies" received second place in the International Latino Book Awards 2010.

Wednesday, Oct. 27
11-11.50 am | Ahmanson 1000 -- LA Art Girls

The intentions of the LA Art Girls are to provide inspiration, support, dialogue and feedback to one another. The group strives to be a voluntary and non-hierarchical gathering of practices. Ellina Kevorkian, chair with Nancy Buchanan, Phyllis Green, Nancy Popp and Marjan Vaughan.

1.35-3 pm | St. Robert's Auditorium -- Performance of "THE NEED TO KNOW." s a coming-of-age story, written and performed by Air Force veteran, April Fitzsimmons.

4-5 pm | Marymount Institute UH 3000 Afternoon Tea Students reading the writings of Afghani women.

7.30-8.30 pm | Ahmanson 1000 -- Performance by Jude Narita of Coming Into Passion/Song For A Sansei, of which she was actor, writer and producer. P Introductions by Professor Stella Oh, Department of Women's Studies, and Curtiss Takada Rooks, Associate Dean, Bellarmine College

Thursday, October 28
9.25-10.40am | Ahmanson 1000 -- Women Who Teach Art for Social Change

Four Los Angeles women discuss how they use the knowledge and expertise of their art to change the lives of kids and, in turn, take steps to transform society.
Professor Chuck Rosenthal, Department of English, chai Sherry Jason of City Hearts, Keren Taylor, founder and Executive Director of WriteGirl and Erin Cottrell proud teacher for City Hearts: Kids Say Yes to the Arts.

1.35-3 pm | Ahmanson 1000 Student You-tube Competition

4-5 pm | Marymount Institute UH 3000 -- Afternoon Tea: Women in Theater with Beth Henley; Ellen Geer, Amy Madigan, Velina Houston

7.30-8.30 pm | Ahmanson 1000 Keynote address and reading by Carolyn Forche

Poet, winner of the Yale Younger Poets Prize, a Guggenheim Fellowship and a Lamont Award, Forche was a journalist for Amnesty International in El Salvador and served as Beirut correspondent for NPR's "All Things Considered." Her books include Gathering the Tribe, The Country Between Us, The Angel of History, and Against Forgetting: Twentieth Century Poetry of Witness. Forche will be introduced by Celeste Fremon, an award winning freelance journalist, and the author of G-Dog and the Homeboys and the upcoming, An American Family. She is the creator and editor of WitnessLA.com, a Senior Fellow for Social Justice/New Media at the Institute for Justice and Journalism, an adjunct professor at the USC Annenberg School of Journalism, and a Visiting Lecturer at UC Irvine where she teaches literary journalism as it relates to social justice.

Friday, October 29
10-11.50 am | Ahmanson 1000 Lifting Oppression as We Climb: Black Women Artists and Activism

Professor Cassandra Veney, Department of Political Science, chair with Sherry Simpson-Dean, executive director of the United Nations Pasadena/Foothills. Marcia Kure, Nigerian painter, Nkiru Nzegwu, artist curator, and poet, is the current Chair of Africana Studies at Binghamton University.

1-2.50 pm | Ahmanson 1000 Women in Hip Hop Panel

Evelyn McDonnell, chair with Angie Colette Beatty, and The (SIS)TEM, a collective of female emcees, producers, vocalist, and Djs, co-founded by Aceyalone and DVS 1, from the legendary Project Blowed in Los Angeles.

4-5 pm | University Hall East Atrium "Dust of Gold" - Performance by Elia Arce

Elia Arce is an internationally known Costa Rican artist and cultural activist who works in a wide variety of media, including performance, experimental theater, film/video, spoken word and installation. "Dust of Gold" is an interactive installation project for Bellarmine Forum 2010 at Loyola Marymount University based on the "Alfombras de Aserrín" or street carpets of sawdust made for Easter in Guatemala, a tradition with roots solidly in Mayan culture dating back to long before the Spanish arrived. The colorful and fragrant use of carpets of pine needles, flowers and other natural elements has its beginnings in the Mayan custom of creating pathways for kings and priests to walk upon when entering ceremonial locations and for use in sacred spaces. A ritual performance art piece honoring the Tongva ("people of the earth") tribes that inhabited this region before the arrival of the Europeans, will take place the last evening of the forum.

Reception 5-7 pm Dunning Courtyard

6 pm | Laband Gallery -- Artist Talk & Gallery Walk thru with Kim Abeles of her exhibition

LA artist Kim Abeles mines the urban environment with a great sense of curiosity. She incorporates both conventional and unorthodox media-from using smog particles to quilting with trash-to explore broad social topics. In her own artistic practice and community collaborations, she uses metaphors and humor to bring our attention to crucial issues such as pollution, gender roles, civil rights, and even traffic.

On View at the Laband Art Gallery September 11-November 21, Kim Abeles: Art and Activism. Please visit http://cfa.lmu.edu/laband for more information.

Concurrent Exhibition in the Thomas P. Kelly Student Art Gallery called "The Purpose of Being: LMU + LA Artists/ Activists" with Amitis Motevalli, Ofunne Obiamiwe, Kristin Ross Lauterbach and Christina Lee Storm, Vera Brunner-Sung and Elana Mann, Arzu Arda Kosar, SaeRi Cho Dobson and Jane Brucke, with theirr LMU student collaborators:

7.30-8.30 pm | Murphy Recital Hall -- Video installation and performances curated by Ellina Kevorkian