Will probably comment there, but as a preliminary, a list of occasions from VAUXHALL -- also, too, this is work with is also poetry of PLACE (without including "Chinese Wedding" due to length considerations).

1) Sampler: not occasional, but an ars poetica, which wonder, might be occasional for a poet. Also, an object poem.

2) Vessels: an object poem. Lots of the same reference material as Sampler.

Note to self: raw vs. cooked in these poems.

3) Peace: I view this as an occasional poem. It is written to order on a topic. So then, how is "an order for a poem on a topic" an occasion? Well, for one, if a poem written for the Queen's Jubilee is an occasional poem, so is any other poem written to order on a topic. Thus, all those poems written as exercises, really, to order for theme issues of lit journals, are really occasional poems, IMO.

4) Golf: not an occasional poem. One of the games poems. Defintely always a VAUXHALL poem, tho. I keep forgetting if I put in "Chess" and "Parchesi" in VAUXHALL.

5) Music and Dance poems. Different relationship to (different) source material than most of the Vauxhall poems, but about voice and gesture (place? hm)

6)Candy: found bits from holiday candy displays; so oblique, but occasional.

7) The Study of Paradise: written for Grace Lawless Kidd on the occasion of her birth. First Vauxhall poem written. Hence

Delight is her name, though she is very young.
She graces our study of paradise,
glances into our faces.

as a sort of working in of her first name at the end, like a ghazal.

8) Heaven: not occasional

9) Canada Place: written at Canada Place

10) Nouns off Monterey: I was originally -- and still very well may -- do a painting poem, where the nouns were the painting, but it was figural

sky sky sky sky
sky cloud sky
sky cloud cloud
sky sky sky

at it's simplest conception, but maybe something more elaborate like

blue sky white sky aqua sky blue sky sky
sky cirrus streaking across underlit pink
blue sky white sky aqua sky blue sky sky
cirrus white and mauve blue sky blue sky
white sky aqua sky blue sky sky blue

11) It Has It All: like Canada Place, written from text around -- Santa Barbara pier (I don't think the teeny wetland is there anymore)

12) Big Book of Birds: They are each "mini" vauxhall poems. There is a related chapbook which is closer to OOD, Cocktail, which I debated about including too... I just wrote another one for TITS. Nightengale Girl / Girl Nightengale were the first, and they were going to be part of a series that -- I took the form for Chanteuse / Cantatrice instead: it was going to be you know, one half "Mockingbird" and then at the bottom "Nightengale" -- there was going to be a canary / big band vs. Charlie Parker sort of poem... I used to live near Birdland...

13) Art, Art, Art: a poem on a topic for an occasion

14) Do You Hear What I Hear? One of my Christmas poems -- more holiday during a war year; thought about starting out with this as January / New Year, with Hook and Ornament at the end and Art3 and Study in the middle when they were written, but decided "Sampler" was a better foot for the book to stand on.

15) Hook and Ornament: one of my christmas poems.




Dear Local and Caltech Poets,

Local and Caltech Poets will meet at the Red Door Cafe on the Caltech
campus this Friday, January 15, at 4: 30 PM to share their own work
and favorite poems by historical and other contemporary poets. Bring
10 copies of a poem of your own, or a favorite poem to share.

Also consider your thoughts on translation of poetry. Each person will
have a few minutes to present some thoughts on this, and share a short
sample of your own or another poet's translation of a poem.

Our dynamic conversations are always stimulating and inspiring, as the
week ends and dark falls on campus. Caltech Poetry Club has been a
forum for exchange between Caltech community and Local poets since
October 2007. We have met every week since then even through the
summers. Our meetings are attended by Caltech students, staff,
faculty, and community from JPL and the Huntington Library and
Gardens, as well as local poets from Southern California and visiting
poets worldwide. Our farthest guest so far was Masa Jimbo, a
mathematics professor , and conference host from Nagoya, Japan. Last
week we were happy to have with us Noele Norris, a graduating senior
in electrical engineering, who has been with us since 2007, reading a
poem on a painting by Frida Kahlo. Also a new member, post-doc in
biology Amir, who writes poetry in Hebrew.

If you have never joined us before, please write kaw@oldflutes.com for
location, directions and rsvp. Look for Kathabela's flowery hat in
front of the Red Door Cafe, we move indoors into the cafe when it is
too dark to read in the lamplight, ends promptly at 6 when the cafe


Please join us for the next Loudest Voice!

Thursday, Jan. 21, 2010
7-9 pm
The Mountain Bar
475 Gin Ling Way
Los Angeles, CA

Kate Durbin

Welcome to 2010! The Loudest Voice is pleased to invite you on a
fantastic voyage. Join our intergalactic crew on an adventure unlike
any we have taken you on before -- featuring gifted and dangerous
girls, educated young people, brain thieves, and words with minds of
their own.

Featuring their earthly avatars:
Mary Ann David
Colin Dickey
Heather Dundas
Kate Durbin
and Bonnie Nazdam

Mary Ann Davis has taken a six-year hiatus from poetry, recently
returning to it as a means of surviving her dissertation. Before
pursuing a PhD in the dept of English at USC, she received an MFA in
poetry from the University of Michigan. She is the winner of a Hopwood
Award in Poetry (from UM), and the Moses Award (from USC). She doesn't
believe in the divide between the creative and the critical.

Colin Dickey is the author of "Cranioklepty: Grave Robbing and the
Search for Genius," published in Fall of 2009 by Unbridled Books. He
is also the co-editor of "Failure! Experiments in Social and Aesthetic
Practices," and his work has appeared in Cabinet, TriQuarterly, The
Santa Monica Review, and elsewhere. He is currently a contributor to
Lapham's Quarterly's online Roundtable blog.

Heather Dundas is a College Doctoral Fellow in Fiction for the Ph.D.
in Literature and Creative Writing at USC. In earlier incarnations,
she was a playwright, producer, lyricist, teaching artist, writer of
cooking shows, editor of medical textbooks, and was once hired to
write a dramatic version of The Odyssey for fifth graders, but told to
leave out “all sex, violence and pagan worship.” Her plays have been
produced around the country. “Five Things About Basquiat” is part of a
collection of stories set in an art museum.

Kate Durbin's first full-length collection of poetry, The Ravenous
Audience, is available from Black Goat Press/ Akashic Books. Her
chapbook, Fragments Found in a 1937 Aviator's Boot, is available from
Dancing Girl Press. Her poems have appeared or are forthcoming in
journals such as Drunken Boat, Action Yes, elimae, and diode. She
lives in Whittier, California. Check out her website at www.katedurbin.com.

Bonnie Nadzam is currently the Daehler Fellow in Creative Writing at
The Colorado College. She has fiction published or forthcoming in
Epoch, The Kenyon Review, Storyquarterly, The Alaska Quarterly Review,
and several others. Her short story collection The Devil's Circle was
a finalist for the 2009 Flannery O'Connor Award in Short Fiction. She
is a PhD candidate in the University of Southern California's Creative
Writing and Literature program.
Question is, since this is a modernist architect, is the purpose of the requested report to establish that the property has no historical significance, and may be modernized? Or is this a report for a "significant" mid century house (although here in Los Angeles, mid century is of course, anything built between 1940 and 1970, regardless of original quality of construction or style)?

Marmol Radziner and Associates, a design-build practice encompassing Architecture, Landscape, Interiors, Furniture Design and Construction, seeks a temporary staff person to assist in the preparation of a Historic Structure Report. We estimate an employment period of approximately 3-4 months.

We are looking for highly motivated individuals who are leaders with strong writing and communication skills. Applicants should have a degree in historic preservation, architecture or architectural history from an accredited college, with a minimum of 3 years of working experience in Historic Preservation.

To apply, send a copy of your cover letter, resume and work samples to the contact information below. No phone calls please.

Marmol Radziner and Associates
12210 Nebraska Avenue
Los Angeles, CA 90025