some prefer innovative, but I wonder if anything is truly new -- some things are, but... --- language, modestly so -- the experiment has to do with process-based poetry, and the problem with a lot of experimental poetry is that the poet isn't particularly good at setting up a good test/experiment/process/project -- there's a divergence between intention and outcome that tends to yield something more random/chance-based than good literature. Flarf was one attempt to address that, where the chance was essentially front-loaded, but


just finished watching a bbc trollope miniseries

reminds me that while Tower's columbia writing department -- novel side -- seemed to be very much James vs. Dickens, James preferred -- I'm Trollope yields Wolfe and Joyce yields the novel now, and I'm, sticking with Messerli -- Stein was not a novelist, but a poet --

going thru papers and tossing as much as possible -- when my parents moved last they re-gifted me with all my notebooks and stuff that wasn't stolen in college (yeah, I had the worhol perrier that's in MOMA now -- that size -- stolen, all my notes for my religion thesis, everything I wrote -- other than old notebooks & high school papers -- prior to 1987 stolen -- perhaps kismet for the bravura Zen Buddhism paper -- I torched the paper, here's why for 30 pages (stolen) -- here are the notes for the lost independent study that is how mysticism isn't "the now" but it has a history and a cultural flavor -- it exists in every culture, but the language around it travels -- and here is the history of zero and one --

so what I have is proof that even though I was a high school valedictorian, and a college full ride, the reasons English was my "pick up" second major is that in high school, I was getting Ds and Cs on English papers -- and hiring typists!!!!! besides -- paying to get bad grades -- I'm not sure how I managed to pull As out of that ditch, but I did -- that's the reason I came to college as undecided major, Philosophy, Fine Art/Design, Psychology, Math. Chose a school that would not only give me a ride, but also allow me to be undecided for two years (U of I gave me a ride, but I had to go in with a major, and Physics and English were pushed for me (I knew were wrong); Stanford didn't let me in, and no advisors in central illinois knew Brown and Harvard were open c).

Maybe that's why I can't get a teaching job -- I'm a reader, and a writer, a technologist, a super geek who reads criticism and does non-text art and math for fun, but not an ENGLISH MAJOR.

another thing revealed by not a careful reading but a sorting thru for recyclable pages of "the files" is that one of the reasons I'm not a mainstream poet is that I'm a self-made poet, not a born one. I knew this, but I was reminded: writing beginning as a child, empathy, emotion, emotional understanding, religion (was a religion major, but no religion for me), "spirituality" <<< scare quotes, none of that, but all of that in a strange way, nope, don't got it

all the discipline (yeah, I had a congressional appt. to West Point), the job that paid off my student loans (grad school) and my car (mustang convertable) -- for NASA -- & the banking -- used up my discipline. choices: should have stayed in NYC, bought the floor on the upper west side, earned the MBA; should have helped create web 2.0 like I did web zero --

shoulda, coulda, but the reason I started writing poetry is I wanted to be a writer, and I figured I could master poetry. Huh, how stupid -- the same way that I pursued religion and not philosophy -- even being not religious or spiritual -- was because many approaches to the same idea is more to the point than a survey leading to law school.

more soon


great link to a .pdf
Cockeyed Charlie Parkhurst
Sybil Herrold


"For where two or three are gathered together in my name, there am I in the midst of them."

Matthew, The Bible.

"Keep in mind that permits are legally required for assemblies of more than 20 or more people within the confines of NYC public parks, which close at 10pm.


Public assembly is a tricky thing. 12 people wearing Ku Klux Clan gear milling around a sidewalk -- not coool. People living in Parks, storing dirty needles in their items (endangering others) and suing city workers for discarding their findings -- a threat to joggers and babies in stollers everywhere.

Look at the old history of Wall Street -- the original "guttersnipes" were in the sidewalks, trading -- so then there is this irony of the sidewalks as public space, and the gutters -- hmm?

Hamilton.... what authority will we end up brokering, in the end?


when one reads a book/movie there are almost always poems, stories, passages, that fall flat / don't move one (this leads one to think this portion is "less fine" or even "bad"). One starts skimming or skipping to the sympathetic works or areas.

Usually the thing under perusal is ordered such that the good stuff is first and last OR that once one wades in (after introductory material / set up), one adjusts to the water temperature, i.e., the world sets up and starts to progress.

An exception was a very bad movie I saw that demonstrated a pattern of bad movies wherein the experience began in medias res, but then the flashback that followed was merely repetitive.

Can you tell I've been reading James?

In any case, continuing: Neal Skowbo pointed out the same characteristic in my first book to be published, DaDaDa. In that work, he noted the first piece was like a wall/barrier. That was every first and last word of the Norton Anthology -- it ended up to key into some autobiographical touchstones as well as to serve as an homage to James Joyce's ULYSSES, a book Neal Skowbo gave to me --

These are thoughts from Brian Massumi, quoted through notes on translation of Deleuze & Guittari and a book about music and obviously Walter Benjamin. The reaminder of the documentary text or apparatus -- the intro -- is questionable. We have and do query recorded performance vs. live play (and recorded live play is another case).

We ourselves do this questioning more strongly and popularly -- firstly? -- than other composition/performance acts, and this habit is embedded in process vs. craft & inspiration in composition, and form/content/facility in perFORMance.


List of things Catherine Dalys wrote from academia edu -- kinda cool --

Advances In Phytase Research
Predictive Biomarkers of Chemotherapy Efficacy In Colorectal Cancer: Results From the UK MRC FOCUS Trial
Burning Velocities of Dimethyl Ether and Air
KRAS and BRAF mutations in advanced colorectal cancer are associated with poor prognosis but do not preclude benefit from oxaliplatin or irinotecan: results from

Site-Directed Mutagenesis of Aspergillus Niger NRRL 3135 Phytase at Residue 300 to Enhance Catalysis at PH 4.0
The Oxidation and Ignition of Dimethylether From Low to High Temperature (500-1600 K): Experiments and Kinetic Modeling
Shifting the PH Profile of Aspergillus Niger PhyA Phytase to Match the Stomach PH Enhances Its Effectiveness As An Animal Feed Additive
Association of molecular markers with toxicity outcomes in a randomized trial of chemotherapy for advanced colorectal cancer: the FOCUS trial
Kalabari female appearance and the tradition of iria
Male and female artistry in Kalabari dress
Oxidation of Dimethoxymethane In a Jet-Stirred Reactor
Phytase Activity In Aspergillus Fumigatus Isolates
The Aspergillus niger (ficuum) aphA gene encodes a pH 6.0-optimum acid phosphatase
Use of the ethnographic approach as interpretive science within the field of Home Economics: Textiles and clothing as an example
Using next-generation sequencing for high resolution multiplex analysis of copy number variation from nanogram quantities of DNA from formalin-fixed paraffin
Individual variation in tactile map reading skills: Some guidelines for research.
Developing the Whole Child: The Importance of the Emotional, Social, Moral, and Spiritual In Early Years Education and Care
Critical Comparison of Two Methods for the Determination of Nanomechanical Properties of a Material: Application to Synthetic and Natural Biomaterials
Gender dilemmas in social work: Issues affecting women in the profession
The Effectiveness of Feminist Social Work Methods: An Integrative Review= L'Effectivité Des Méthodes De Travail Social Féministes: Un Regard Intégrateur
Method of Payment--Relation to Abortion Complications.
Evaluation of An Accelerated Aging Medium for Acrylic Bone Cement Based on Analysis of Nanoindentation Measurements on Laboratory‐prepared and Retrieved
Inhibition of macromolecular synthesis in tumors by L-1-tosylamido-2-phenylethyl chloromethyl ketone
The Afghan Women's Chaadaree: An Evocative Religious Expression
The Kalabari Tradition of Iria: Examples of Cloth Use and the Female Life Cycle
Art and Decorum in Kalabari Dress
Analysis of the budding yeast pH 4–7 proteome in meiosis
„Annelies Strba and Bernhard Schobinger: The Paradise “
" Ah, A Real Kalabari Woman!": Reflexivity and the Conceptualization of Appearance
Ah, A Real Kalabari Woman!: Toward a Reflexive Approach to the Study of Appearance
Coming Out: The Process of an Appearance Among the Kalabari
Dressing for Respect: Communicating Wealth, Status, and Prestige at Kalabari Funerals
Abonnema's Centenary: An Occasion for All That Is Kalabari
The notion of justification in the commentary of St. Thomas Aquinas on the Epistle to the Romans
Iria Bo appearance at Kalabari funerals
The Curious Garden
Work orientation as a function of sex, job level and marital status.
The Exploding Toilet and Other Tales Too Funny to be True
On Display: Prescribed Aesthetics Among Kalabari Females
Developing the whole child
Teaching, Consulting, and
A survey of the social and psychological needs of an adult speechreading group
Regional Perinatal Care in Hawaii: Proceedings of a Conference
Spend the Day with Bear: A Playbook with 5 Press-out Figures
Correlation Studies of Accelerated and Natural Weathering Tests of Protectively Finished Cotton Duck
2‐D DIGE analysis of the budding yeast pH 6–11 proteome in meiosis
Love is all you need
At the movies
Titan AE: the junior novelization
Gene Cloning and Characterization of Phytase Activity in Four Aspergillus Fumigatus Isolates
Daly-Weir (1998) Knights
Journal of International Women's Studies
Ah! A Real Kalabari Woman: Toward an Eticemic Analysis of Female Appearance
To speak belief love
Daly-Weir (1996) All aboard cars
The magic knitting needles of Mary Walker Phillips: exhibition, March 15-May 10, 1987, Goldstein Gallery, University of Minnesota, St. Paul
Best Buds
Make a Simple Wish of Your Very Own


something's beeping, kumbaya

whether or not kumbaya means come by here, the sacred intent of the song was to say, in a "primitive" fashion, that in the quotidian as it is overheard and sounded, logos is present

this is really interesting to consider in light of the recent coinage of kumbaya in gulluh (if that etymology is correct), especially vis a vis beeping --- which, as I've written before, and in poems to, is deliberately coded to allow the machine / process to send a message --

"something's beeping, kumbaya" is a tautology

now how is "something's beeping, kumbaya" different frm "someone's crying, kumbaya"?

at one remove from human intervention -- calling for intervention / attention from humans versus the great whatever? the "shut off the beeper" finger rather than the "attend to the cosmos" brain cell?


from wiki

Pseudonymous authorship

The prophet stood in direct relations with his people; his prophecy was first spoken and afterwards written. The apocalyptic writer could obtain no hearing from his contemporaries, who held that, though God spoke in the past, "there was no more any prophet." This pessimism limited and defined the form in which religious enthusiasm should manifest itself, and prescribed as a condition of successful effort the adoption of pseudonymous authorship. The apocalyptic writer, therefore, professedly addressed his book to future generations. Generally directions as to the hiding and sealing of the book[11] were given in the text in order to explain its publication so long after the date of its professed period. There was a sense in which such books were not wholly pseudonymous. Their writers were students of ancient prophecy and apocalyptical tradition, and though they might recast and reinterpret them, they could not regard them as their own inventions.

Conception of history
Apocalyptic writing took a wider view of the world's history than prophecy.


Some really repetitive thoughts on writing:

1) I always wanted to be a writer. I am a writer. But I don't get to write what I want, when I want. Do any of us? Furthermore, I feel trapped. I feel in competition with others.

2) A lot of writing out there is crap.

3) I am better at writing (unpleasant to write) things that "anyone could write" than anyone I've encountered. Also, I have been leading others to be pretty ok at writing for more than 20 years. Now I'm out of the loop, I'm not paid for that sacrifice.


5) About 500 people total like my free to be you and me work. None of these will get me nominated for an NBA.


I have a back patio -- at least for another month or two -- with a sort of stage-like porch... and a marionette theatre.

I'm asking a number of people to think of ways we can finally start using it. My first thought was fundraisers for various theatre companies, presses, etc., book launches... a reading series would work -- like David Lloyd's Effie Street series.

But some more interesting ideas we've been talking about include a writing / reading day where people pay a modest amount of money which includes food and gives the writing a focus and creates a donation to a charity (writing to benefit Griffith Park or something). Another was an "arts house" where each person curates a room. Teach-in for weird knowledge?

Something easier than a salon, not needing a ton of pr to please the venue/draw a crowd. Though if we found folding chairs, we could accommodate quite a crowd.

Spare room in Portland and the other spare room in Chicago also do some interesting things that are worth consideration.
I have been thinking more about this.

We had just as strict rules about hair, makeup, jewelry, piercing, tattoos, socks, shoes, belts, scarves, and sashes as about the clothes. The hair -- there was so little we were allowed. The two african american girls weren't allowed to wear braids unless they were white girl braids. If the boys came in with anything odd, their heads were shaved.

That was wild and free compared to grade school, where the boys could wear any color trousers and a shirt -- even a patterned one! -- with a collar, and the girls had to wear a plaid jumper and a white shirt -- rounded or pointed collars, long or short sleeves, no strange weaving, I remember a problem with oxford cloth button downs -- although the plaid had lots of colors, some genius had decided only white or green was ok for socks and sweaters, jackets and blazers were not ok, and when it was bitter cold, we could wear green pants, under the jumpers.

I remember my mom being relieved I chose to buy my own other clothes as soon as I could, rather than arguing, and previously by the uniform, but also disappointed my sister and I couldn't wear anything she thought was cute. I was chewed out the first day of first grade because I had a white shirt and matching bobbie socks with white lace trim. By high school, I had a closet full of the strangest blue clothes I could find, and was perpetually in trouble. A teacher(?) decided a turquoise shirt I had wasn't blue. Girls had gym uniforms that were really bizarre, and boys had blue shorts and a reversible t-shirt. If girls came in with something questionable, they had to wear their gym outfit all day.

Thinking about your comment brought out how some of this, my exception to conformity and uniform, stems from my rejection of the culture of averageness the religious practice created, an objection to religion itself (which, IMO, except for some liberation theologies, tends to reinforce adherence to a standard, conformity, the status quo, a uniform outlook). I also felt uniforms marked us out -- hey look at the catholic school girls! -- which is the opposite of what many of today's school uniforms do for kids.

I'm also thinking about uniforms for work, the way that the contractors who work for me *never* come to work in coveralls, and just put them on as needed. The way that purchasing the uniform sort of enslaves one to a job because it takes so much money right before you've accumulated any savings. The way that uniforms are now spreading into more jobs -- the most restrictive code I saw recently was for cashiers in AutoZone (posted on the way to the bathroom).

One of the things that I noticed in the investment banks I worked in for a long time was that the higher up the chain of command, at least for women, the looser the uniform code. The female MDs and even most of the VPs didn't really wear suits and business casual (Fridays), they wore couture. But engineers! What a sad group, fashion-wise. And engineering is so creative, even visual. I went to an interview recently in -- it wasn't even an interview suit -- and the recruiter said, "this is a web 2.0 company that is vehemently designer jeans & t-shirts." I replied, this is an interview (I expect to be one of the few women this company had on staff), this is not what I will wear on a day to day basis. I wore a very groovy vintage suit for the next interview. Didn't get the job. But I couldn't stand it. They were just making Barney's Casual Men's Department the uniform.

Next, I think, for me is to thing harder about the benefit of the uniform as the person wearing it. I can see the gender neutrality, the savings & efficiency, but...


We felt that there might be different negotiations of conformity and
uniformity by region and population density. But in a strange way
that more populous cities breed both lemminghood AND development of a
strong sense of individuality, while more isolated areas also -- at
least until very recently -- breed both the uniformity from lack of
access to options (even in consumer goods), and also idiosyncrasy from
looser social controls. We also felt generational bias in favor of
conformity, especially in migrating or mobile (socially, locationally)
groups where issues of assimilation and bias arise very quickly, might
be active.

This makes me think more about identity poetics and the "innovative"
or "progress" mindsets.

For example, in situations the majority of "pioneers" or "leaders"
leave ASAP to pursue their individuality, lack of conformity is a
signal -- perhaps one of unreliability or instability. In areas with
the reputation for being "frontiers" of various sorts, lack of
conformity can be conformity, or perhaps "unraveled hem on the
uniform" or "unusual hair color and style" is just expected,
tolerated, encouraged, a similar sort of signal, in a sense.

In most workplaces, and perhaps more so during economic downturns,
while ideas like "outside the box" might be ubiquitous, there's a
strong People Like Us or Not Our Class Dear bias. Doesn't this make
seeming to be uniform an advantage? Perhaps homosexuals are more
likely to wear polka dotted underwear ; )

Part of this discussion -- which included mothers of children wearing
and not wearing uniforms, as well as veterans of uniformed or
quasi-uniformed schooling and employment (Capital One sounded like a
nightmare) -- dovetailed with the content of Judith E Johnson's recent
post on WOMPO as part of a discussion about teaching.


LACE is proud to present Unfinished Paintings, a provocative curatorial project organized by Los Angeles artists Kristin Calabrese and Joshua Aster. The headlining exhibition for our 2011 summer season, Unfinished Paintings is an exhibition of 38 medium sized paintings by 38 artists, hung alphabetically by the artist’s first name. This show is meant to dissect and turn contemporary painting inside-out. Works-in-progress will be put on view and offered as a point of entry into each painter’s respective creative world.

Artists and audience members alike will stand in front of the works, wondering why the artist decided it was unfinished, and what would make it finished? The organizing principal of this show is meant to provoke a healthy ambivalence and seed the desire for dialog and feedback. These are critical junctures in the art making experience. Calabrese and Aster now invite the public to engage in this part of the painter’s practice too.

Unfinished Paintings features work by Lisa Adams, Joshua Aster, Nina Bovasso, Delia Brown, Kristin Calabrese, Sarah Cromarty, Sydney Croskery, Noah Davis, Gerald Davis, Mark Dutcher, Mari Eastman, Brad Eberhard, Bart Exposito, Michelle Grabner, Alex Grey, James Hayward, Salomon Huerta, Xylor Jane, Valerie Jaudon, Chris Johanson, Annie Lapin, Jose Lerma, Caitlin Lonegan, Dan McCleary, Shiri Mordechay, Loren Munk, Laurie Nye, Eamon Ore-Giron, Susie Rosmarin, Frank Ryan, David Ryan, Katia Santibañez, Kenny Scharf, Cary Smith, Linda Stark, Don Suggs, Mitchell Wright, and Brenna Youngblood.

For more on LACE programs and summer exhibitions, visit www.welcometolace.org

Be sure to join us for the opening reception of Unfinished Paintings and our other summer exhibitions on Thursday, 16 June 2001 from 8-10PM at LACE.


Some thoughts on Yoga

Some thoughts on Meditation


Bill Berkson & Cole Swensen Reading their Poems
May 13, 2011,7:30 p.m. Armand Hammer Auditorium (New York Avenue entrance)
Corcoran Gallery of Art and College of Art + Design, 500 17th St. NW,
Washington DC
Graduating students from the Corcoran will read from 6 to 7. Reception from
7 to 7:30 p.m.
Admission Free­Everyone Welcome. Questions: csmith@corcoran.org

Note: On the previous evening, May 12, 6:30 pm, Bill Berkson will give a
lecture ³The Story Goes: Philip Guston, Piero della Francesca & their
Followers² at The Phillips Collection, 1600 21st Street, NW, Washington, DC


expressionist gesamtkunstwerk and intermedia / happenings / performance


jacket 2

jacket 2

the impulse the reviewer has -- same as mine -- to "re-read" the image -- to regularize it. the text has been made by folding and then it must be read as folded. why?

also, the idea that things could be written to be folded -- as paper craft, things were written, then folded and that folding was a writing (mine and baum different but related, I think to DuPlessis' folds), but then there is the writing TO BE folded. can be either folded or not. can be folded this way or that.
Felís Stella -- IKEA My House: Part III
April 23 - May 21, 2011
Opening Reception Saturday, April 23 · 7:00pm - 10:00pm

L2kontemporary Gallery
990 N Hill St #205
Los Angeles, CA 90012


Press Release:

L2kontemporary is pleased to present Felís Stella’s second exhibition with the gallery, opening April 23, 2011 and closing May21. This exhibition debuted at Elements gallery in Perth, Australia in 2010 and is making its first public appearance in the United States.

Heimdal anyone?

IKEA My House Part III is a series of photographs serving as playful interpretations of IKEA's unique product naming convention. Consumers love the idea of owning something that has an exotic foreign name, such as Poäng, or Heimdal or Gutvik. It imbues each object with a seductive mystique. But what do these words really mean?

Felís Stella, who had to learn English from scratch when she immigrated to the US from the former Soviet Union, has since been interested in etymology, and in the way word origins affect our perception and interpretation of these words. In this series she married her love of language with her enduring obsession with the giant Swedish retailer.

Ingvar Kamprad, the founder of IKEA, is dyslexic. Instead of using alpha numeric codes for cataloging inventory -- a dyslexic’s nightmare -- he started titling his products with names of various geographic locations in Sweden and Norway, people's names, job occupations, action verbs, and more. Inadvertently, he created a unique retail language of his own.

Stella’s photographs are actually depicting IKEA products -- specifically, furnishings that have been integrated into her own home décor -- in their "native" etymological environments. This series is an excerpt from a visual “dictionary” of Kamprad’s language. A HEIMDAL side table is shown at a Heimdal train station in Heimdal, Norway; a POÄNG chaise rests atop Yaki Point peak at Grand Canyon (poäng means point of view in Swedish); a DOCENT bookcase is shown in a museum gallery, surrounded by a crowd during a docent tour; a couple is having sex atop a GUTVIK bunk bed (gutvik is pronounced goot fick, which means good fuck in German). Ingvar Kamprad himself appears in the print titled IKEA, which stands for Kamprad’s first and last name initials and the initials of the town and farm in which he grew up, Elmtaryd, Agunnaryd.

In IKEA My House: Part III these mundane objects, normally part of our everyday interior landscape, become displaced namesake portraits of unexpected locales, ideas and actions. It is the artist’s hope that these images will inspire viewers to question the obvious and the unknown, and to see IKEA from a different poäng.


so now we are back in it, or how are we back in it?

I mean -- now that one can say that -- I have been reading this about Cocteau -- to fall asleep -- but then I got a ittle curious, and thought, what did that number of that journal look like, and were there women in it (unfortunately, always a question in my mind), and what was their work like and could it be played -- received differently -- by me! the reader, ok -- here it is, I am jumping back and now -- what does it mean to be an artist now with this sort of access to information?, this sort of knowledge and pleasure and ability to choose one's imaginations... and for what purpose of course, and why
So this represents my diving back into last years NaPoWriMo project with a renewed something or other

because of you I'm distraught
lost in thought

for, you've given up your song

I wish you'd pick it up again

without you I'm gone
was the song wrong?

tensions, tensor
stretching canson

all manner of song I thought I'd given up too trop, dew drop

glamour long
I dot
daughter growing up
laughter, throwing up


when you summon
come on

I can sing
I must sing

if you don't ask, I can't answer
if you don't ask, I can't not stop
if you don't answer, I can't start

I'm stretched too thin
back to the songs you've given up

and songs I'd thought I'd forgotten,
I sing when I think of you

how can I refuse to sing

lady, here people say when a lady wants to love
she owes her lover
equal honor
since they're equal in love

they say ladies want to love
their loves equally --
do I want to love my lover
more than that one can discover
over hover


lady, it's embracing

argue askew, a lady should
be higher than the man whom she's made one heart of two

the lady ought to do / exactly for her lover
as he does for her
without regard for rank
look out!
between two hearts neither one should rule


it's nothing short of treason
if he says he's her equal and her beggar

short of treason, the reason
I give for liking you, eye to eye, is this ---------

if you love me more (than you did before?)
(than you knew I did?)
your words and acts would show it
by your mouth and by your hands, I'd know it
and if the clam, gam, can jump the tram...poline...

if you're fickle and untrue
can your freckles lie for you?

if you're tickled or when you're blue

hide it with your pretty face
be plus belle


when I think of your body and face
corps visage
star miracle body back
I used to kiss and touch -- I'm crazy
I'm lucky I'm not deranged

your body a miracle I stroked, touched
I remember -- I'm insane
(how we fit together)
am I crazy? I's do it all again
despite all this pain
let's arrange

ranging around your bed
(I'd cradle your sleeping head) -- better off dead
I'm lucky I'm not enraged


you take away what I love best
I'll never love you. My unhappiness
is all the rest
you have caused my unrest

How will you endure your ache for me
when nothing tells the grief I feel without you


I've never been without desire
since you loved me

there is never a time
I didn't want you often

I never regretted, no, it never happened
you never left angry; you were always feted on your return

you wanted me and so I had it --
that black magic, love --


My 2 cents on the budget crisis:

The Vatican is opposed to contraception; it softened in the 30s on natural methods of contraception, and in the 90s on sexual activity for pleasure -- even if it could not lead to conception. [A return to practices in the 13th century, say.] To put a finer bead on it, papal infallibility as a doctrine (unsupported by scripture) is called into question by the most questionable papal utterances, which have to do with sex, life, disease, and death.

Both church and state are bad at sex, life, disease, and death. If they would just stop trying, and focus on taxing the rich, cutting military spending, eating (inexpensive) vegetables and whole grains, and funding elaborate celebrations with music and poetry... stuff they're good at...


Chanteuse / Ricochet (!)


Join PEN Center USA
in celebrating the works of
the 2011 Emerging Voices Fellows


April 17, 2011 @ 6 PM
21 and over | $6 cover

Hosted by Tongue and Groove at The Hotel Cafe
1623 1/2 N. Cahuenga Blvd.
Los Angeles, CA 90028

Musical Guest: Janet Klein and her Parlor Boys!!!


I was lucky enough to see a real "live" page of Insects of Surinam at the Huntington on Sunday!

Just to announce a new book of poetry: Saccade Patterns by Deborah Meadows from Geoffrey Gatza’s BlazeVOX [books]

Publisher Web site: http://www.blazevox.org/index.php/Shop/Poetry/saccade-patterns-by-deborah-meadows-226/

Saccade Patterns explores vision, the erotic gaze, and social discernment. The book opens with a shuffled text that dismantles melodrama by inscribing primate capacity for abstract thought. There’s even a list of possible names for a pet cricket that follows a mathematic iteration. The poems seem to ask how an ekphrastic poem based on the story of Tristan und Isolde illumines the oldest gaze of love and eros. “Highways out to desert proving grounds” lead to technologically-enhanced vision, failures in our “dynastic speed-up.”

On Saccade Patterns

Some crazy inter-speciation all relative going on here. Keep up the reflexes. But
without rules, no axiomatic set — or: something takes over the rules. Words thinking, re-rule, feel. Need de-bunking? Gladiatorial spoof, dirty rimshots — “how squeeze structures”. “Will/we fall out/of our shadows?” The subject self-perfumes, not too allegorized. Engines lighten touch on proximate jitters strapped to the galaxy. Your bestiary or mine. Pleasure gives outlandish learning: resist containment. We’re leaning in toward its surface, likely haptic, “shot sub-surface” multiplication just gets us going. “how/underneath” — let’s facilitate: “try to dance”.

— Bruce Andrews

Some things which come to mind are, and of course not all in a derivative way but rather in the way of communion (the way a string from one's sweater will end up in a wren's nest), are Leslie Scalapino's Way and Christopher Smart's cataloging poems. What is so very strong in Meadows' work is its precision in thought and its power of accrual. I see these texts as sincere evidence of a parsing intelligence; taking cross-sections of the world at varying widths and preparing them (by whatever means required) for exploration. This is infinitesimal vision; vision which casts the bonds of the world in bright relief.

—Lance Phillips

This book by Deborah Meadows is surprising in its audacity. Few texts can assemble and recompose themselves like these, through a process: the gaze (Cubist) takes in the fragment, the splinter, and then their whole. Thus each detail is foreseen, chosen in advance for an aesthetic solution, like a puzzle setting in the substance of its lines: porous, material, bright, liquid. You feel the vision, her way of seeing, and you learn to see that which is different through her angle of subjectivity. A window opening to a landscape of the mind, of time. An original space gained, trimmed out in shapes of paper, light. A strange geography that motivates me to revisit its point of view, located not in the subject but in the thing it refracts toward the other – a viewer proposing that this refracted thing may be an instant won out of loss, out of the ordinary. Meadows paints and sculpts with words, provoking the eye to turn toward memories, and toward impossibility.
—Reina María Rodríguez, Havana, Cuba (Kristin Dykstra, trans.)


Dear Local(ish) Poemeleon Contributors:

Please join Poemeleon editors Maureen Alsop & Cati Porter for a multi-media collaborative event celebrating the work of poet & artist Carl Miller at the Riverside Art Museum, Thursday March 24 at 7 pm. This event is FREE. Beer & wine will be available for purchase.

Please forward to freely to anyone who might be interested!

Cati Porter, editor


I didn't get to the -- surely a gala celebration -- Margaret Randall reading last night, but she has some new books coming out -- of writing! (I will check -- photography, too?)

We're so proud to send you Issue Three of SOL: English Writing in Mexico. This issue marks the first year of this quarterly on-line literary magazine. To read it, click on the link below. Here's what we've got in store for you--a chapter from the just-out Teresa Nicholas's Buryin' Daddy: Putting My Lebanese, Catholic, Southern Baptist Childhood to Rest; Aaron Clark's short story examining when a chicken is indeed a chicken; Wayne Greenhaw with a surrealisic encounter---as well as poets James Cervantes, Molly Frisk, and Margaret Randall. And more, and more, and more.

While you're at it, take a look at past issues featuring Tony Cohan, C.M. Mayo, Bill Pearlman, Joseph Dispenza, and many other frine writers.

We hope you'll enjoy our magazine, and sign up for a complementary subscription, so you won't miss any of SOL.


Eva Hunter
SOL: English Writing in Mexico

Sol Literary Magazine: http://solliterarymagazine.com/


A German Sound Exploration
Launch party
Saturday, March 19th 2011
3:00 to 7:00 p.m.

Join this Saturday for the inauguration party of the German Sound Exploration theme-stream or visit the dublab website to view and listen to the launch broadcast live!

The dublab.com radio collective and the Goethe-Institut Los Angeles offer a wide-spectrum survey of German sounds that will enlighten your ears.

This web radio theme-stream showcases creative waves of German music from the past, present and future.
Culled from dublab's deep audio archives come exclusive DJ Sets, live performances, and interviews featuring: Pole, Jazzanova, Mouse on Mars, Gudrun Gut, DJ Koze, Pluramon, Thomas Fehlmann, Ulrich Krieger, Cluster, Manuel Göttsching (Ash Ra Tempel), Oval and dozens more.

Alongside these incredible archives enjoy freshly recorded profiles of influential German record labels and revolutionary music movements as well as a wealth of information and web-links to spark your continued exploration of Germany's rich, modern musical heritage.

To kick-off the German Sound Exploration theme-stream the labrats take over the Goethe Institut Media Lounge with live DJ sets, beer, brezeln and plenty music banter.

DJ's performing -
3.00pm - 3.45pm: Mahssa
3.45pm - 4.30pm: Turquoise Wisdom
4.30pm - 5.15pm: Hoseh
5.15pm - 7.00pm: Nanny Cantaloupe, Sam Cooper and Ale (tag team)

German experimental music videos by Mouse on Mars, Sensorama, Kreidler, Amon Tobin, Wir sind Helden, Chicks on Speed, Rechenzentrum, Die Goldenen Zitronen and many more will screen continously.

Free admission
Goethe Institut Los Angeles
5750 Wilshire Blvd. Suite 100
Los Angeles, CA 90036
Info: +1 323 5253388


To understand the music of spoken words, to help in creation of a new poetic art form — for everyday speech may be heard as a rich and complex music that we all create at will with effortless virtuosity, and when we do so consciously may become an art — it seems preferable to me to use music notation.


It's that time again...another Vinatero Wine Shop Poetry Night! Join us on Thursday, March 24th at 7:30 PM at Vinatero Wine Shop in Uptown Whittier for a night of good poems and good drink!

If you've been to one in the past, you know how much fun they are! And if you haven't been before, you're in luck because this one's going to be one of the best!

I will be hosting, and the evening's special guest poets will include: SoCal legend & Poetix Calendar Editor, G. Murray Thomas, 1/2 of the hosting squad of Two Idiot's Peddling Poetry, Steve Ramirez, and repo man & private detective, & fellow grad from CSULB's MFA program, Luke Salazar!!! Plus, we may have a few more surprise poets in the works!

It's going to be a night full of boozy literary fun!

Here are some important details straight from Vinatero's invite:

This FREE event is open to all that are 21 and over. Just be sure to bring your Valid I.D.

Due to the special event and larger attendance, we will be featuring specially selected wines by the glass only. Feel free to also buy any wine bottle at our shop and drink for only the retail price of the bottle. You can share a bottle with a friend... or not!

Now for the nuts:

Vinatero Poetry Night
Thursday, March 24th @ 7:30 PM
6531 Greenleaf Ave
Whittier, CA 90601


You are invited to Shearsman Books' 30th Anniversary Reading
Featured Poets: Joseph Bradshaw, Richard Deming, Shira Dentz, George Economou, Anne Gorrick, Michael Heller, Nancy Kuhl, Maryrose Larkin, Jill Magi, Deborah Meadows, Eléna Rivera, Mercedes Roffé and Mark Weiss

March 19, 2011, 6 – 7:30 p.m.
Bowery Poetry Club, 308 Bowery (between Houston & Bleecker), New York City, NY

2011 marks the 30th anniversary of Shearsman Books, one of the UK’s most significant poetry publishers and one of the first post-national presses. Producing some 60 books a year, with many titles by American poets and translations in English that give voice to poets writing in Spanish, German, French, Galician, Norwegian, Turkish and more, Shearsman is committed to creating a global audience, and is noted both in the U.S. and abroad for its large numbers of first-book and experimental American authors of exceptional quality. This event exemplifies the diversity and excellence of recent American titles in the publisher’s catalog.

Sponsored by Shearsman Books

Info: 212-614-0505


It kind of amazes me that no one seems to be formatting with hanging indents, which is what print publishers do with lines that are too long for a printed page. There are even protocols for hanging indents for long lines when some of the lines are indented (usually less of an indent). There's actually a whole listserv devoted to w3 specifications for poetry, but none of the people there seem to have heard about the hanging indent either (it is a tab / spacing problem that is difficult to conquer).

Sticking with images (scans), like google ebooks still do, works for me -- you can magnify them or shrink them if the size is tough, and the text isn't altered. Admittedly, I like to have both -- the image, unaltered, of the page, and full access to all the letters. But I don't have a problem with the "artifact of the codex" for poetry. I mean, if they are art works, they're images anyway, and one of those things that's supposed to distinguish poetry is its *intended* appearance....


oh yes -- to switch from form to form to see something -- that's it -- that's closer to transposition without being the same but just the same sort of idea -- hit it with a different seive
thinking briefly on annie finch's idea of "multiformalism" this morning, together with my idea of "transposition"

in systems (and a poem is a little system, or a piece of one (if it is a serial poem, say), or a version or release or iteration of one), one thing you have to consider is the formalism of your approach to the system; if it is a little poem, will it bludgeon it to death and cost a lot of irrelevant effort and overhead to use a very formal process, or will something important occur as the output?

well, in this case, learning how to make a system properly is a good -- if you're writing the poem to learn to write poems, then a certain amount of formalism may be a benefit -- not immediately but to systems down the line -- but in a piece of something else, you want just the right amount of formalism -- never done a use case, and got some hairy reqs? do the cases, and see where the chips fall -- or shlep the cases through the process if they've been getting abandoned as early lifecycle decoration during data modelling --

so, too, ... lost track

opportunities for disruption and variation seem -- not just offered by form by also by semantics, by grammar, by subject matter (being multidimensional)


March 8 Matthew Hendriksen is publisher of Cannibal Books, co-editor of Typo, and author of Ordinary Sun.

March 15 Nicoloas Lopez is a local regular who consistently impresses with his intensity and invention.

March 22 Jerry Garcia is an accomplished poet, photographer, and filmmaker, and was selected by the LA Poetry Festival in 2006 for the prestigious Newer Poets reading.

March 29 Peggy DoBreer curates the superb LMU Extension poetry reading, and is the author of four chapbooks.
Find us at Redondo Poets on Facebook, and visit www.redondopoets.com for links about the poets and samples of their work, plus schedule updates, directions, and general information about the reading.

The Redondo Poets reading takes place Tuesdays at Coffee Cartel, 1820 S. Catalina Ave., Redondo Beach (310-316-6554). The reading starts at 8:10 PM and is free. Open mic before and after the feature. For more info: lcolker@gmail.com or 310-480-4047. Occasional live webcast, 7:30 - 10:30 at www.blogtv.com/peopel/diogenesclub.

Your Hosts, Jim Doane & Larry Colker
When I receive spam like thism it;s as if the "C"s in the print are faces of flapppers and inattentive female clerks just setting up their first accounts, when the reality of it is moving from the necessity of check cashing to having an account!


We want to summarize the potential consequences of not having Chase Debit Card Overdraft Coverage on your account so you can make sure this decision is right for you. Not having this coverage means:
Everyday debit card purchases will be denied if there's not enough money in your account OR available under Chase Overdraft Protection. Accordingly, you will not be charged an insufficient funds fee for everyday debit card transactions.

In an emergency, if you don't have sufficient funds in your account, or available under Chase Overdraft Protection, you may not be able to use your debit card.
If you'd prefer to have Chase Debit Card Overdraft Coverage on your account, talk to a banker.


Some Emmy Hennings:

Jetzt muß ich aus der großen Kugel fallen.
Dabei ist in Paris ein schönes Fest.
Die Menschen sammeln sich am Gare de l'Est
Und bunte Seidenfahnen wallen.
Ich aber bin nicht unter ihnen.
Ich fliege in dem großen Raum.
Ich mische mich in jeden Traum
Und lese in den tausend Mienen.
Es liegt ein kranker Mann in seinem Jammer.
Mich hypnotisiert sein letzter Blick.
Wir sehnen einen Sommertag zurück...
Ein schwarzes Kreuz erfüllt die Kammer...

Ether Stanzas

Now I have to drop out of the big ball.
This is a great party in Paris.
People gather at the Gare de l'Est
And Waller colorful silk flags.
But I am not among them.
I fly in the great room.
I mix in every dream
And read in the thousand faces.
It is a sick man in his misery.
Me hypnotized his last glance.
We long for a summer back ...
A black cross, the board meets ...

für Hugo Ball

Oktaven taumeln Echo nach durch graue Jahre.
Hochaufgetürmte Tage stürzen ein.
Dein will ich sein -
Im Grabe wachsen meine gelben Haare
Und in Holunderbäumen leben fremde Völker
Ein blasser Vorhang raunt von einem Mord
Zwei Augen irren ruhelos durchs Zimmer
Gepenster gehen um beim Küchenbord.
Und kleine Tannen sind verstorbene Kinder
Uralte Eichen sind die Seelen müder Greise
Die flüstern die Geschichte des verfehlten Lebens.
Der Klintekongensee singt eine alte Weise.
Ich war nicht vor dem bösen Blick gefeit
Da krochen Neger aus der Wasserkanne,
Das bunte Bild im Märchenbuch, die rote Hanne
Hat einst verzaubert mich für alle Ewigkeit.

Octaves to stagger Echo by gray years.
Towering days a crash.
I want to be your -
In the tomb to grow my hair yellow
And elderberry trees live in foreign nations
A pale curtain whispers about a murder
Two eyes wander restlessly around the room
Gepenster go to the kitchen board.
And small fir trees are dead children
Ancient oak trees are the souls tired old men
The whisper the story of the failed life.
The Klintekongensee sings an old tune.
I was not immune from the evil eye
Since Negroes were crawling out of the water jug,
The colorful picture of a fairy tale book, the red Hanne
Had once enchanted me for all eternity.

[Those crazy Gepensters!!!]

Ich gehe morgens früh nach Haus.
Die Uhr schlägt fünf, es wird schon hell,
Doch brennt das Licht noch im Hotel.
Das Cabaret ist endlich aus.
In einer Ecke Kinder kauern,
Zum Markte fahren schon die Bauern,
Zur Kirche geht man still und alt.
Vom Turme läuten ernst die Glocken,
Und eine Dirne mit wilden Locken
Irrt noch umher, übernächtig und kalt.
Lieb mich von allen Sünden rein.
Sieh, ich hab manche Nacht gewacht.

I am going home early.
The clock strikes five, it is already light,
But the lights are still at the hotel.
The Cabaret is finally out.
cowering in a corner for children,
To drive the farmers market already,
You go to church still and old.
Seriously from the tower to ring the bells,
And a girl with wild curls
Err still around, bleary-eyed and cold.
Love me pure of all sins.
Look, I've watched many a night.

Wir warten auf ein letztes Abenteuer
Was kümmert uns der Sonnenschein?
Hochaufgetürmte Tage stürzen ein
Unruhige Nächte - Gebet im Fegefeuer.

Wir lesen auch nicht mehr die Tagespost
Nur manchmal lächeln wir still in die Kissen,
Weil wir alles wissen, und gerissen
Fliegen wir hin und her im Fieberfrost.

Mögen Menschen eilen und streben
Heut fällt der Regen noch trüber
Wir treiben haltlos durchs Leben
Und schlafen, verwirrt, hinüber...

We are waiting for one last adventure
What we care about the sunshine?
Towering days collapse
Restless nights - prayer in purgatory.

We no longer read the daily mail
But sometimes we smile still on the pillow,
Because we know everything, and torn
We fly back and forth in the chill.

People like rush and aspire
Today the rain falls even bleaker
We drive through life without foundation
And sleep, confused, over ...

Dir ist als ob ich schon gezeichnet wäre
Und auf der Totenliste stünde.
Es hält mich ab von mancher Sünde.
Wie langsam ich am Leben zehre.
Und ängstlich sind oft meine Schritte,
Mein Herz hat einen kranken Schlag
Und schwächer wird's mit jedem Tag.
Ein Todesengel steht in meines Zimmers Mitte.
Doch tanz ich bis zur Atemnot.
Bald werde ich im Grabe liegen
Und niemand wird sich an mich schmiegen.
Ach, küssen will ich bis zum Tod.

You is as if I had already drawn
And stood on the death list.
It keeps me away from some sin.
As I slowly erode life.
And my steps are often anxious,
My heart has a sick beat
And it gets weaker by the day.
An angel of death stands in the middle of my room.
But I dance to the shortness of breath.
Soon I will be in the grave
And no one will hug me.
Oh, I want to kiss her to death.


This Friday, March 4
Kristi Engle Gallery

8 pm

Third in our poetry series curated by Carolie Parker

Mathew Timmons is a writer, curator and critic in Los Angeles. He is the General Director of General Projects at various locations including Outpost for Contemporary Art and The Ups & Downs, an installation series, at workspace. He also co-edits/curates Insert Press (w/ Stan Apps), LA-Lit (w/ Stephanie Rioux), Late Night Snack (w/ Harold Abramowitz) and he is the Los Angeles editor of Joyland. A chapbook, Lip Service is recently out from Slack Buddha Press. His first full length book, The New Poetics (Les Figues Press), his micro-book collaboration with Marcus Civin, a particular vocabulary (P S Books), and a chapbook, Lip Music (By the Skin of Me Teeth), are forthcoming. His work may be found in various journals, including: P-Queue, Holy Beep!, Flim Forum, The Physical Poets, ND,
PRECIPICe, Or, Moonlit, aslongasittakes, eohippus labs, Area Sneaks, Artweek and The Encyclopedia Project.

Harold Abramowitz is a writer and editor from Los Angeles. His books and chapbooks include Not Blessed (Les Figues Press, 2010), A House on a Hill - Part One ( Insert Press, Parrot Series, 2010), Sin is To Celebration (collaboration with Amanda Ackerman, House Press, 2009), and Dear Dearly Departed (Palm Press, 2008). He has contributed, alone and collaboratively, to various literary publications and anthologies, including Fold Appropriate Text, P-Queue, Ixnay Reader, Area Sneaks, The Physical Poets Volume 2, Moonlit, sidebrow, Aufgabe, and Sand. Harold co-edits the short-form literary press eohippus labs. He also writes and edits as part of the collaborative projects, SAM OR SAMANTHA YAMS and UNFO.


March 3, Thursday 7:30 PM
681 Venice
Venice, CA 90291 Phone 1-310-822-3006
March 3, Thursday 7:30 PM

Join Will and special guest readers as well as musicians.
Enjoy music with WILL ALEXANDER on the piano and ANDREW JORON on the theremin.
ANDREW JORON is the author of Trance Archive: New and Selected Poems (City Lights, 2010). Joron’s earlier poetry collections include The Removes (Hard Press, 1999), Fathom (Black Square Editions, 2003), and The Sound Mirror (Flood Editions, 2008). The Cry at Zero, a selection of his prose poems and critical essays, was published by Counterpath Press in 2007. From the German, he has translated the Literary Essays of Marxist-Utopian philosopher Ernst Bloch (Stanford University Press, 1998) and, most recently, The Perpetual Motion Machine by the proto-Dada fantasist Paul Scheerbart (Wakefield Press, 2011). Joron lives in Berkeley, California, where he theorizes using the theremin.


2011 Conference on Sor Juana
Inés de la Cruz:
Her Work, Colonial Mexico, and Spain’s Golden Age

Sponsored by the Center for Contemporary Poetry and Poetics, and the Gigi Gaucher-Morales Memorial
Lectures Series
This conference is free and open to the public

May 13-14, 2011
Golden Eagle Ballroom
California State University, Los Angeles


The objects missing are as follows:

1. Gilded wood statue of Tutankhamun being carried by a goddess

2. Gilded wood statue of Tutankhamun harpooning. Only the torso and upper limbs of the king are missing

3. Limestone statue of Akhenaten holding an offering table

4. Statue of Nefertiti making offerings

5. Sandstone head of an Amarna princess

6. Stone statuette of a scribe from Amarna

7. Wooden shabti statuettes from Yuya (11 pieces)

8. Heart Scarab of Yuya


From Claudia Rankine's site:

If you write about race frequently what issues, difficulties, advantages, and disadvantages do you negotiate?

First I think of Harryette Mullen's essay about writing for people who haven't even been born. So, I first think of what another African American writer writes about audience. Because I am first off thinking of Hoagland's "white people" comment.

Do I write for white people? I don't think I do. Is my audience at readings (where I see "them") is caucasian, latin@, asian-american, african american, probably in that order.

- How do we invent the language of racial identity--that is, not necessarily constructing the "scene of instruction" about race, but create the linguistic material of racial speech/thought?

- If you have never written consciously about race why have you never felt compelled to do so?

When I have written about race, I have been deeply concerned about writing in particular about slavery in the US. In other words, I am not really sure my writing is important or correct enough to seek publication for it. Helps that the ms. got put in turnaround.

- If you don’t consider yourself in any majority how does this contribute to how race enters your work?

I think about women, the minority majority, a great deal, and the problems of translation / reading in English 1) writing from thousands of years ago, 2) writing originally not in English, 3) the additional effort to find writing by non-European women, particularly outside a few usual Japanese, Chinese, Middle Eastern, and African suspects.

- If fear is a component of your reluctance to approach this subject could you examine that in a short essay that would be made public?

No, but I think it is an unusual combination of fear that comes from knowledge and fear that comes from knowing one's own ignorance.

- If you don’t intend to write about race but consider yourself a reader of work dealing with race what are your expectations for a poem where race matters?

I think race needs to matter in the spirit of the poem when race matters in the poem. I think this discussion about audience and address is disconcerting, there is some very strong mismatch with how I think about poetry -- what it IS -- & the idea that one might *deliberately* address readers (often fellow writers) of a certain race, the idea that while there may or may not be certain aspects of the writing, its music & meaning, that indicate race (my old idea was -- is the default white?), that writing a poem might be making weird shit in a limited way.

- Do you believe race can be decontextualized, or in other words, can ideas of race be constructed separate from their history?

Only in the simple experience of race -- the recognition of, say, skin color -- but all of the cultural expression and etc. -- that needs context to try to understand --
Also, I was taught in integrated "70s" schools when young, but then in lily white upper schools. And then I worked on corporations. So, while on the one hand, the vast majority of people I meet, I never think of race at all, I might not be able to identify race, outside of "race writing" -- there's racial identity presentation...

- Is there a poem you think is particularly successful at inventing the language of racial identity or at dramatizing the site of race as such? Tell us why.

I don't know. I don't really think about it except when I think of failed poems which aren't working because of some people with identity language.


Literary Orange 2011.

Date: April 09, 2011 08:00AM
Venue: UCI, Irvine, CA
Location: West Peltason Drive, Irvine, CA, The United States
18 Panels. 73 authors and moderators. $60.00 general admission. $25.00 student/military ID. Lunch included. More details online.


After I read these depressing poets on cancer.

Rae Armantrout got a Pulitzer for her book last year -- poems include selecting a place on the California coast for ash-dumping... Ted Kooser wrote one. Judith Hall's book (I read it ages ago for WOMPO -- plus she's local) is called, _Anatomy, Errata_. Isn't that cool? The front has a piece of hindu statuary with the breasts defaced (almost all of the statues are missing them, I guess between gravity and the Greeks...).

I'm slightly afraid of re-reading Kathy Acker, Adrienne Rich, Audre Lord, some of the later Susan Sontag. I've shied away from reading -- even a supposedly cool memoir from a U of RI prof. Why are people looking to artists for reports about suffering, not fun?

Ron found me the most absurdly dull Penguin paperback leftover from HIS college years about New England in the 1700s -- Crevecoeur -- it is impossible to know the subject under scrutiny, or to determine whether one read it before falling asleep, or not.


I wonder if Whitney St. John is a descendant.

It is almost TOO dull to be a falling asleep book. I mean, reading it is speeping, while not sleeping, so it doesn't lull? Perhaps I protest too much...




Craftswoman House will open her doors with the group exhibition Unveiled, a show that features works by six west-coast artists who explore feminist content. The exhibit includes works by Launa Bacon, Ursula Brookbank, Wendy Kveck, Freya Prowe, Cindy Rehm, Angela Simione.

Unveiled coincides with the 39th anniversary of Womanhouse, the first public exhibition of feminist art organized in January 1972, by Judy Chicago and Miriam Schapiro. The original collaborative project was presented in a deserted mansion in Hollywood, whereas the new venue is a 1924 Craftsman House located in the historic Orange Heights tract of Pasadena.

Unveiled includes painting, drawing, video, and site-specific room installations created in memory of Womanhouse. The library will be transformed into a haunting underwater environment with Brookbank’s The Splendor Trap. Through a process of staining and accumulation, Rehm will create The Curse, her response to Chicago’s Menstruation Bathroom. The kitchen will highlight Kveck’s Meateater, which features a reclining woman laid out like a body, readied for dissection. Bacon will present her video I Sat Beauty on my Knees; Found Her Bitter, Therefore I Injured Her in the study where the work was performed and filmed. Simone and Prowe will occupy the living room and hallway with their paintings. The garden will also feature installations by Bacon and Brookbank.

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Labels: exhibition, Unveiled
In Praise of Older Women

In Praise of Older Women, Jackie Wullschlager, FT.com.
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Labels: art, women
Call for Performance & Video

Craftswoman House seeks video and performance works focusing on feminist issues by California based artists. Please send a CV, a brief proposal or description, and a link to relevant work to craftswomanhouse@gmail.com

Deadline December 13.

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Labels: call for works, performance, video
Cut With the Kitchen Knife

image by collage collective

Cut With the Kitchen Knife
Saturday, October 23, 2010
6pm -8pm

Craftswoman House
929 North Oakland Avenue
Pasadena, CA 91104

Come channel the spirit of Hannah Höch with an evening of collage making at Craftswoman House. Please bring materials to use and share. For additional information, contact cindyrehm@gmail.com.

Craftswoman House
929 North Oakland Avenue
Pasadena, CA 91104
quote from vallum magazine this morning

Part Two, “Poetry and Anarchy,” charts the trajectory of Webb’s “anarchist poetics” (89) away from “the lyric self” toward “the multitude of others” with the poem as a place of “communion” (89). Collis suggests that the form of the serial poem, which Webb increasingly favoured, is “the anarchist form par excellence – the formal analogue of anarchism’s decentralist philosophy” (90).



Some thoughts on etymology and poems

Out of a WOMPO conversation about etymology and poems, where posted this to poet and former Stegner fiction fellow...
[can't find]
You are thoroughly invited to our 10th Annual Poets Theater Festival!

This year's lineup, scheduled for Friday January 28th and Saturday
January 29th, includes innovative offerings by some of our most
elastic minds, who will whip you into a frenzy of joy and ecstasy
that will leave you begging for more.

Join us Friday January 28th at 7:30pm for:

+Feel Your Media--Bitch by Rodrigo Toscano/Collapsible Poetics
Theater and directed by David Brazil and Sara Larsen

+Draft 101: A Puppet Opera by Rachel Blau DuPlessis and directed by
Lara Durback

+I CAN SEE YOU BUT I KNOW YOU'RE THERE written and directed by Tom

+Tell Only One written and directed by Corina Copp

+ If You Want To See Flying Go To The Circus written and directed by
Brent Cunningham

++crazy pre-show and intermission type fun times!

And then come back on Saturday January 29th at 7:30pm for :

+Ascidian Play written by Laynie Browne and directed by Erin Morrill

+The Photographer Without a Camera written and directed by Ariel

+Ambergris Desktop Vocalist written and directed by Christine Choi
and Drew Fernando

written and directed by C.S. Giscombe

+I Confess! written and directed by David Brazil and Evan Kennedy

++the kind of pre-show/intermission fun that you have come to love
more than you are willing to admit.

As this is a Special Event Fundraiser $20 per night/$30 for the
weekend. Tickets are available only at the door and include drink

Visit Small Press Traffic's website here -
http://cts.vresp.com/c/?SmallPressTraffic/ec2632c6c6/9cabb49c97/152d2c5367 !



CLMP & SPD have arranged the following program:

Session 60. Roundtable on Poets Theater
1:45-3:00pm, Plaza III, J.W. Marriott
Presiding: Patrick F. Durgin, School of the Art Inst. of Chicago; Kevin Killian, California Coll. of the Arts
Speakers: Sarah T. Bay-Cheng, Univ. at Buffalo, State Univ. of New York; Heidi R. Bean, Bridgewater State Coll.; Fiona Templeton, Brunel Univ.; Rodrigo Toscano, Labor Inst.


Session 403. The Grand Piano, An Experiment in Collective Autobiography: A Reading and Discussion
Friday, January 7, 7:00–8:15 P.M., 407, LA Convention Center

Presiding: Hélène Aji, Université Paris-Nanterre
Speakers: Rae Armantrout, Univ. of California, San Diego; Antoine Cazé, Université Paris-Diderot; Carla Harryman, Eastern Michigan U.; Lyn Hejinian, Univ. of California, Berkeley; Ted Pearson, Univ. of Redlands; Kit Robinson, Berkeley, Calif.; Barrett Watten, Wayne State U.


In support of the Grand Piano panel, SPD is having our first book signing & wine event at the MLA:

Grand Piano Book Signing & Wine Reception
4:30–5:15 P.M., Booth 425, Concourse Hall, LA Convention Center

Flyer: http://www.english.wayne.edu/fac_pages/ewatten/pdfs/gp10spdevents.pdf

And, for the grand finale, we hope to see you at the big group reading:

Poster: http://www.spdbooks.org/images/tnjpeg/MLA_reading_poster.jpg


I wonder, though, how revising different sorts of poems is different? For example, revising a poem with meter and rhyme must certainly be different from rewriting a lyric narrative in free verse, from improving a poem in an innovative format?

Length strikes me as a difference too -- short vs. 1-3 pages vs long vs. book length?

Thinking about this today: there seems to me to be a number of ways and means hiding under "revision" (to see again):

editing (in Pat's note full of great tips, "proofreading" -- but it is more than that -- there's also usage, concision, mot juste, tone, timing, space, of punctuation, line breaks and other pauses, syntax, words, grammatical structure; there's -- outside of narrative, logic...

revision, audition, overhearing (see my comments a while back)

rewriting, reworking...

This last -- because we continue whatever it is we're doing in ways that have a history -- how do you work on things differently, depending on their source, relationship to you, to the world?

a thing that came from notes (and are those overheard from other people? bits of thoughts?) versus research (notes from...)

sui generis

a promising squib from practice in craft
(which I crabbily distinguish from)
a promising squib from a "poetry exercise"

I wonder, though, how revising different sorts of poems is different? For example, revising a poem with meter and rhyme must certainly be different from rewriting a lyric narrative in free verse, from improving a poem in an innovative format?

Length strikes me as a difference too -- short vs. 1-3 pages vs long vs. book length?

Thinking about this today: there seems to me to be a number of ways and means hiding under "revision" (to see again):

editing (in Pat's note full of great tips, "proofreading" -- but it is more than that -- there's also usage, concision, mot juste, tone, timing, space, of punctuation, line breaks and other pauses, syntax, words, grammatical structure; there's -- outside of narrative, logic...

revision, audition, overhearing (see my comments a while back)

rewriting, reworking...

This last -- because we continue whatever it is we're doing in ways that have a history -- how do you work on things differently, depending on their source, relationship to you, to the world?

a thing that came from notes (and are those overheard from other people? bits of thoughts?) versus research (notes from...)

sui generis

a promising squib from practice in craft
(which I crabbily distinguish from)
a promising squib from a "poetry exercise"