chris murray's *Texfiles*

"A note to Pound in heaven: Only one mistake, Ezra! You should have talked to women" --George Oppen, _Twenty Six Fragments_





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ManY PoETiKaL HaTs LisT:

Holly's Pirate-girl Hat, chrismurray in a straw hat, Michael Helsem's Gray Wyvern NOLA Fedora. Duchamp's Rrose Selavy's flirting hat. Max Ernst's Hats of The Hat Makes the Man. Jordan Davis' The Hat! poetry. hks' smelly head baseball cap. Samuel Beckett's Lucky's Black bowler hat, giving his oration on what's questionable in mankind, in *Waiting for 'God-ot'*. my friend John Phillips's 1969 dove gray fedora w/ wild feather. Bob Dylan's mystery lover's Panama Hat. Bob Creeley's Black Mountain Felt Boater Hat. Duke Ellington's Satin Top Hat. Acorn Hats of Tree. Freud's 1950 City Fedora. Joseph Brodsky's Sailor Cap. Harry K Stammer's Copper Hat Hell. Lewis LaCook's bowler hat(s). Tom Beckett's Bad Hair Day Furry Pimp Hat. Daughter Holly's black beret. harry k stammer's fez. Cat in the Hat's Hat & best hat, Googling Texfiles: crocheted hat with flames. Harry K Stammer's tinseled berets. Tex's 10 gallon Gary Cooper felt Stetson cowboy hat. Jordan Davis's fedora. Dali's High-heel Shoe Hat. Harry K Stammer's en-blog LAPD Hat & aluminum baseball cap. cap'n caps. NY-Yankees caps. the HKS-in-person-caps are blue or green no logos nor captions. Ma Skanky Possum 10's nighttime cap. moose antler hat. propeller beenie hat. doo rag. knit face mask hat. Bob Dylan's & photographer Laziz Hamani's panama hats. Mark Weiss's Publisher's Hat. Rebecca Loudon's Seattle-TX-Hats'n'boots.




Ever-Evolving Links:


Silliman's Links
Dominic Rivron
Unidentified
Br Tom @ One & Plainer
Dan Waber: ars poetica anthology
Dan Waber: altered books anthology
chris daniels: Notes to a Fellow Traveller
Chris Daniels: Toward an Anti-Capitalist Poetry
David Daniels: The Gates Of Paradise
subterranean poets: Beijing Poetry Group
Charles Alexander/Chax Press: Chaxblog
Headlines Poetry: the latest weblog entries
Henry Gould's AlephoeBooks
Julie Choffel's Understory
Tom Murphy's former one
Jean Vengua's New Okir
Roger Pao's Asian-American Poetry
Tom Lisk: Oilcloth and Linoleum
Kevin Doran
Reb Livingston's Cackling Jackal Blog
Janet Holmes: Humanophone
Lorna Dee Cervantes
Mark Young's gamma ways
Brian Campbell: Out of the Woodwork
Shanna's DIY Publishing Blog
Galatea Resurrects: a Poetry Review
Tom Beckett
John Sakkis: BOTH BOTH
New Francois Luong:Voices in Utter Dark, KaBlow!sm is...
Old Francois Luong: Voices in Utter Dark
Margin Walker: Andrew Lundwall
Free Space Comix: the latest BK Stefans blog
Adam Lockhart, Experimentalist Composer
Antic View: Alan Bramhall & Jeff Harrison
lookouchblog: Jessica Smith
MiPOradio
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Google Poem Generator: Leevi Lehto
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Feral Scholar: Stan Goff
worderos: Tom Beckett
In Galatea's Purse
Japundit
Quiet Desperation: Jim Ryal
Luca Antara: Martin Edmond
Brief Epigrams: Ryan Alexander MacDonald
Radio My Vocabulary: 4 pm Sunday Poetry Streams
Mark Lamoreaux: [[[0{:}0]]]
Hot Whiskey Blog
louder
Nick Bruno: They Shoot Poets Don't They?
Joe Massey: Rooted Fool
Kate Greenstreet: every other day
heuriskein: Tom Orange
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(Charles) Olson Now: Michael Kellaher & Ammiel Alcalay
kari edwards' TranssubMUTATION
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PurPur: Petrus Pokus
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A Sad Day for Sad Birds II: Gina Meyers
Great Works: Peter Philpot
zafusy: experimental poetry journal
Writeboard: a collaborative writing tool
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a New Word Placements
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|||AS/IS2|||
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YaY!! Eileen Tabios: Chatelaine Poetics !
Jill Jones: Ruby Street
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Kasey's Old Limetree
James Meetze: Brutal Kittens
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Joseph Mosconi's Harlequin Knights
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ultimate: Stephanie Young's First Well Nourished Moon
Steve Evans: Third Factory
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Very Nice! Shampoopoetry
UTA's Lit Mag: ZNine
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Jacket
JFK's Poetinresidence
Malcolm Davidson's Tram Spark poems
HYepez: RealiTi
HYpez: Mexperimental
Aimee Nez's Gila Monster
BestMaX: Jim Behrle's jismblog
Cori Copp's Littleshirleybean
Jordan Davis: Million Poems
Eileen Tabios: Corpsepoetics [see Chatelaine above]
YaY! Liz's Thirdwish
Ultra Linking
Henry Gould's HG Poetics




Sunday, December 07, 2003

 

Apology: To Michael Helsem, of Gray Wyvern Blog.

Michael read this afternoon in Dallas, and I had to miss the reading! At the last minute I had some transportation problems, and there was no other way to get there (east Dallas is quite a ways from where I am in Arlington).

So, I am very sorry to have missed what I am certain must have been a great reading--I do enjoy Michael's poetry so much!

Michael, I hope the reading went well, and I will definitely find better transportation in time for your next one.




chris at 6:26 PM |

 

Odd: Blogger seemed to be down most of this afternoon, or at least from here somehow. First I couldn't get to the main site, got a message saying the server was down even tho I was able to go everywhere else I wanted to go. Then once I got blogger dot com to open, I got error messages evertime I tried to sign in--generic error messages with apologies saying that blogger technicians would be alerted. Weird! Anyone else find this problem for 3 or so hours this afternoon?


chris at 4:23 PM |

 

Lanny, Hey!--how's everything?

I really like that poem: "Montezuma-Bitch-Cortez-Mainframe (pure water memory)," too.


Lanny Quarles has a great link to/on Clayton Eshleman. Skip down a bit, it's under Friday, 5 Dec. And to put a few more apples in your basket, after reading Lanny's link, skip back and down here at tex just a few streetlights below. You will find green lights to Skanky Possum and Limetree, on similar, recent Eshleman doin's. Thanks for finding and posting that one, Lanny!

But just when I thought I was full, along came another dinner course. I kept sampling, yes! At Lanny's I just kept reading (you cannot ever stop reading once you are at Lanny's!) and discovered that he has also followed the Eshleman post/link with--in admirably true & distinctive Lanny style--a kick-ass poem, titled as per above. Please keep us all rockin, LQ. And in the meantime, I promise to stop using so many mixed metaphors!--oo-la-la...


chris at 5:11 AM |

Saturday, December 06, 2003

 

This absence of Eileen is disturbing. Very.

Oh, Ever So Sensitive, Winged, Corpse-One,

where ever have you gone?


chris at 11:31 PM |

 

Stephen Vincent, Texfiles Poet of the Week & some Soundful New Poems !

One thing I really like regarding textuality in general is discovering or even creating new connections between differing or apparently disparate works and ideas. The idea of a relation between voice as uttered in time and space, voice (not meant in the usual way of reference to a so called expressive individual full of solipsistic meaning, but more literally as sound choral, dialogic, or singularly uttered and heard) as relayed (undoubtedly different, delightedly so!) to lettering (signing) and page (alternative form/form as venue of activity), and anything, everything.

That's a lot to digest there, and to ask, sure. But that random, indeterminate unpredictable kind of connecting seems in keeping with such theoretical efforts as chaos theory, or anything that looks at patterns of relation and development across space/time *as continuum* (that is the key criterion, I think),even if the pattern cannot be fully understood or realized. Life, afterall, seems to be that way; and consciousness playing a dramatic quarto full of chaos theory-- to the max -- just trying to catch up... : )

So, poetry with an especial emphasis on its own sound qualities (meta-sound, if you will: really I am sort of winging it here but that is how thinking aloud or onblog works, no?) is of premium interest to me as a thinker right now. Basic lesson: for humans (and as best as anyone seems able to figure, also true of all living things--a thesis in the old sense of *science,* as Rachel Carson, for one, suffered rhetorically, emotionally, intellectually and materially, to investigate and clearly point out) things *are* connected. That is why we need, and why we have, the thing we call community.

That sorted out somewhat, then, let me just say that as a relational complement to the discussion in the post just below this one, re: ideas about Fanny Howe prompted by observations at Human Verb blog (Noah Eli Gordon), it is my privilege and my pleasure to post these new works from the poet, Stephen Vincent, who right now is not merely Texfiles Poet of the Week, but certainly one of our better thinkers and experimenters in poetry and poetics, as well as belle lettres, on all kinds of subject matter. Perhaps more significantly, tho, in terms of human community--here, discourse community in particular-- Stephen Vincent's life-work has been focused toward keeping community together, sustaining creative, inquisitive, innovative thinkers and thinking--yet not in devisive ways. Rather, in mutually supportive terms, means, and innovations. That is really something, given our western cultural romance with divisiveness. Stephen Vincent: You Rock!

Now then, as my title indicates above, I admire and appreciate these new poems of Steve's for their soundful qualities, in particular. Soundful, for me, is always necessary: it is not poetry unless identifiable in terms of the soundful.

Soundful: poetry that contains the seeds of music or musical meanings that interpenetrate all thresholds of body and mind. Music/affect: yes, that controversial old thing.

But hey, how about some poetry here!

As yet, these are untitled:


*

When I said I had no rhythm,
She said she would find it.
When I said I had no heart,
She said she had it.
When I said I was half way in the grave,
She said there is no bottom.
When I am compelled to praise her,
A dark dove is a shadow in the window.
When I ask her the origins of my name,
She speaks in an ancient Arabic.
When I ask her has there always been a war,
She says the strongest words are scraped in torment.
When I ask what about desire,
She speaks in a calligraphy of constant fire.
When I say what is that,
She does not speak and points her finger:
The marble tablet in the bush,
Its upturned words are each one burning.


*

In these kind houses – the ones with the aqua-
transparent blue walls – bring your friends
bow to the Gladiola, the Tiger Lily,
the white-throated Woodpecker,
the iridescent fuchsia-burgundy
Humming-bird, the out-sprung blue winged
Heron on a hop and a hop.
Along the green river between
& around her huge, light brown thighs,
the sun sprinkling nothing but heat
and the ting-ting metal handle
against the slender, aluminum canoe,
the dry brush, dark climbing ivy, entwined
light green willow, the fir, the redwood,
an intemperate sky, the sand swollen beach,
small gray river stone, each forward stroke,
palm to handle, pull or push against, the water
awash: deliverance, an intimacy unto sorrow.





My humble thanks to Steve for these poems.


chris at 10:45 PM |

 

Coming up in a little while tonight: more new poems
from Stephen Vincent, Texfiles Poet of the Week.


Meanwhile, and since Fanny Howe's work has been a prominent (fantastic!) topic here lately via Steve's poem-conversions, check this out:

Reporting on a Fanny Howe reading last night in western MA,

Noah Eli Gordon over at Human Verb

posts a few passages from Howe's book, Gone, and offers these intriguing observations (and much more):

"... It was wonderful to hear the poem lent the speed of a speaking voice... Her ability to move through the physical and the metaphysical--to really embody them both--is just stunning."


I like that emphasis on voice embodied, the spoken as connected to metaphysic (perhaps a neologism, then?--metaphysique), or perhaps even more as bridge between material and non material. Sound of voice--so lovely that it is this particular voice, Fanny Howe, yes but also voice as genre of sound--voice specifically as sound performing action: thus, a working action. Thanks for this subtle yet important way of considering, Noah.

Oh, and a note--perhaps I should email it--but I'll try putting it here, first: The statue of Shaw (Noah provides a great photo of it too!) and his regiment of African American, Union-soldiers going off to the Civil War--this is the same image/figure/historical materialist subject that inspired Robert Lowell's For the Union Dead (the poem, as well as what became the title of the major Lowell work--many think it his best... ), I believe, so there is an allusion- connection in Howe perhaps? Dunno. This is just to offer the suggestion of added resonance, especially in terms of historical-poetics.
cm



chris at 4:51 PM |

 

Blog-hopping and found these terrific lines in a tight poem over at

Word Placements:


"... exposed the stage collapses
from all the waiting undelivered lines"--Clayton Couch,

entry of Monday November 24, 2003


(you'll also find my apology over there in the comment box: for misspelling Clayton's first name! sorry! ... blush blush oh these darn typo makin fingers!)

Thanks on the great poem, Clayton.


chris at 4:31 PM |

 

I just went to one of my other email boxes (I always keep a couple of different ones for back-up because UTA's email goes down once in a while or my box there fills up and I can't access things until I unload it and if I'm in a rush I don't have time to fiddle with it & etc., ya kno?), yaomingsmeow@netscape.net, and found this announcement that should have gone up several days ago (though I did post a shorter version of my own on Tuesday evening). So that's why it didn't make it here til now:

It's from Del Ray Cross, announcing the latest Shampoo (19) : YaY!!

Hello Hello,

And please go pronto to the brand-new SHAMPOO issue 19:

www.ShampooPoetry.com

Yes, yes, you really must. It is so super-sudsy and includes such starry
ingredients as Alli Warren, Zinovy Vayman, Eileen Tabios, Todd Swift,
Chris Stroffolino, Ron Silliman, Todd Shalom, Suzy Saul, Christopher Rizzo,
Chris Murray, Gordon Moyer, Bruna Mori, Bobbi Lurie, Lewis LaCook,
W.B. Keckler, Jane Joritz-Nakagawa, Jill Jones, Laura Jent, Yuri Hospodar,
Tom Hamill, Adriana Grant, C. E. Gatchalian, Drew Gardner, Carolyn Gan,
Andrew Felsinger, Michael Farrell, Jason Earls, William Charles Delman,
William Cannon, Mike Bucell, Luis Cuauhtemoc Berriozabal, Melissa R.
Benham, and Stephanie Beecham; plus radiant ShampooArt by Nico Wijaya.

Even better than shopping,

Del Ray Cross, Editor
SHAMPOO
clean hair / good poetry

Shampoo Poetry





chris at 3:30 PM |

Friday, December 05, 2003

 

from Joseph Brodsky's "The Fifth Anniversary: June 4, 1977" * :

...

Well, I'm no longer there. The sense of loss, as much as
this was indeed a loss, is best displayed by statues
in galleries, or by their vases' mute "Don't touch us."

The place sustained this loss. Some moss combined with lichen,
encountering the hole I've made, will quickly stitch it.
A connoisseur of hues won't tell you later which one

is missing. This feels odd but constitutes a variant.
It would be odder still to lie there low and ironed
or play a warrior valiant and nudge an aging tyrant.

_________


So I'm no longer there. All things have rules to reckon.
I never liked fat cats, and never kissed an icon.
And on a certain bridge, a black cast-iron Gorgon

seemed in those parts to me the truth's most honest version.
So later having met her in gigantic person,
I haven't turned to stone and let my lumpy portion

of savage screams go stale. I hear the Muse's prattle.
I sense the thread within strained by the Parcae's shuttle:
the spheres still tolerate my CO-2 life rattle,

_________________

as my free-flapping tongue, a glutton for clear lyric
sends its Cyrillic thanks into the blue acrylic
to fate--since fate can grasp the meaning in Cyrillic

as well. I face pure space, which tolerates no columns
nor torsos of Apollos, nor pyramids, nor chorus.
There, it appears, I need no guide; at least, it follows.

Scratch on, my clawlike pen, my pilgrim staff, my salvage!
Don't rush our shuffling words: the age wheel-deep in garbage
won't overtake us and won't grab you, barefoot savage.

_______________________

This won't be heard up North, nor where hot sands hug cactus.
I don't know anymore what earth will nurse my carcass.
Scratch on, my pen: let's mark the pen the way it marks us.

(243-244)


Joseph Brodsky, Collected Poems in English. New York: Farrar, Straus and Giroux, 2000.



chris at 11:29 PM |

 

Announcement: Dallas Poetry Reading: Michael Helsem-- Gray Wyvern


Sunday, December 7th

5 pm at Paperbacks Plus (note time change: 5 pm is the correct time)

6115 LaVista, Dallas, TX



Gray Wyvern's blog is one of my favorite and frequent reads. I heard him read from his poetry during the terrific inaugural of Brian Clements's Sentence: a Journal of Prose Poetics -- his work is a wonder at every turn. Really makes ya think! Do try to make it to this reading--I'll be there for sure.

Here's a little from his Sentence poem, "A painting is a mountain; video is water..." * :

4. Mountains don't fit on a map
...
7. We can play with a mountain but the mountain is always serious
...
10. Mountains are neither physical nor metaphysical
11. Petrarch was the first modern European to climb the Alps

(87)

See you there!



* Michael Helsem, "A painting is a mountain; video is water... ," in Sentence: a Journal of Prose Poetics, v1. Dallas: Firewheel Editions, 2003



chris at 4:34 PM |

 

from Texfiles Poet of the Week, Stephen Vincent: more poetry from his new work, "Triggers," all of which is composed using Steve's "conversion" techne (see my post on this, Tues., Dec. 02, 10:06 pm).

(Note: The poetry below is the second half of a 2-part posting of these poems. see part 1, posted below, Thurs., Dec. 4, 4:44 am) :

--Triggers --

She’s seen Versailles
and the Vermeers in Delft
but nothing prepares her
to acknowledge the back of his hand
It was once and that was enough.

*

She swims against stiff green water –
each stroke a cut against aqua-velvet –
suede streams cross her back:

Her hand grazes the wall into a flip-turn:
her butt and thighs an hourglass
follow through to pointed toes -

pushing back against the blind
hard wall - to go forward on impulse
in which the equilibrium of her face
turns sideways up and Belief -
composed and charged - races through the water.

*

The river slithers into and out
A meadow in light and impoverished grass

Apples (ecstatic chipmunks)
fallen with dry, dark bruised skins

As much hurt as released
along the channel

Among the parched limbs
he grips the voluptuous trunk

So that he may return, again and again

*
Nothing can be found, she says,
beyond the eye’s knowing.
There is no halo in the darkness -

Yet there is something real and gold,
ecstatic and delightful north of California:

A border is eliminated
and all that squiggles manages to converge:
someone paints a green hexagon

to enclose a heart and then another.
We have not talked in a long time.














chris at 2:51 PM |

 

Chatty-One-On Tonight, Plus an Adrienne Rich Poem, "In the Evening" *

I am bloggo-on tonight. Likely because it's the semester's end--pressure toward closure invades all aspects of life, though all is actually ongoing rather than trained to American university administrative scheduled semester's endings. thank goodness.

But I have just this week been talking with my colleague here, Tim Morris, about Adrienne Rich's presence in American poetry. What is the import of her vitality in the rhetorical world of academic American poetry? Because?--I am interested in how her work intersects culturally and poetically with that of Carolyn Forche.

I see that there is some Rich posted at kari's Transdada right now.

But I have to qualify here: I am not always a Rich fan. My problem with her stuff is that it is often so damned humorless. Alas. Then again: my problem is that I want things to have some humor. Many things do not have the luxury of humor, no? But should gender be one of those locked down things?--well, no!--but of course--how funny is it to get your ass beat up because you happen, in some marriage-thing, to be the one desigated by gender to be the "wife" ? Sheesh--this stuff bears looking into, then.

But here is a poem (typically humorless for the most part) that now, thirty-forty years later, just plain rocks, I think. Even tho at the time it must have seemed so, well, quiet (not trying to chose a particularly *hot* word here).

So, from Adrienne Rich, * just sayin a poem, one of her best, I think :


In the Evening


Three hours chain-smoking words
and you move on. We stand in the porch,
two archaic figures: a woman and a man.

The old masters, the old sources,
haven't a clue what we're about,
shivering here in the half dark 'sixties.

Our minds hover in a famous impasse
and cling together. Your hand
grips mine like a railing on an icy night.

The wall of the house is bleeding. Firethorn!
The moon, cracked every-which-way,
pushes steadily on.

(1966)

I wanted to post this poem that I have spent a lot of time this week thinking and writing on. It is an amazing departure from the critical-stereotypes usually attributed to Rich. That is to say: in this poem, the speaker REALLY does not know gendering and its ascriptions. Where to be or to go. but rather than a wise transgendered persona, this speaker is an embedded persona--as opposed to posing questions about assured positions, thus indicating a large measure of knowing over same (or the assumption of). I am not completely convinced that this speaker's ways of saying--understated position of enunciation--are rhetorically and politically useful. I just found it useful to continue thinking on this week. Thank goodness I live in a time and place where I have the privilege to do so.

best to you all,
cm


*Adrienne Rich, "In the Evening," Poems Selected and New, 1950-1974. New York: Norton, 1975


chris at 1:54 AM |

Thursday, December 04, 2003

 

Your Brighter Writer-Rider

(coming soon to a website near you!):

Lo! Differing Ways to Write for Differing Purposes and Audiences!

Example Numero Uno: Plato

I'm Not Talkin the Plato of the Republic Here
(whoever did he write that piece of stupid clap for?),

But the Other Plato, Made like a Hallmark Card ever-so-to
Himself so he could make a mark, survive: Phaedrus (forgive me I am
listening to one train after another chow its whistle here tonight for everyone who can hear)
in his First Dialogues
with Lovers of Word and World,

& OH! that Sexy Thing
who Glides around Rhetorica,
Diotima, in Symposium :
must obviously and can only be
our Numero Uno, Mr James--

Mr. James
Brown (yeah, say it loud!), ,
as you all well know--- so, carry on, then:



Diff between Plato and his student, Aristotle? Oversimplified--warning: grad school lexicon about to be spouted like it volcanic or not: *Reductive*--I love that term!-- but this, oversimplified to the max? Plato liked categories and he liked possibility, and more, antithesis blowing up the categories and all their glorious NOTs. Derrida amply overdoes that for us today as readers of obfuscated academic bullshit, of course. That is just how long it took us to come. This far_oh so_Pl_ato.

Plato liked categorizing things, sure. But he liked pushing the load of it all forward. He liked to look ahead toward an unknown and he was okay with not knowing. All of what I say here is, of course, based only on the paltry remains of their texts, which is completely indeterminate!-- anutter whole madder youse whose be academic guys know dis! -- as it is well known. But here and now, let's just make a sup-pose on it all, frailty tho it has, is what I'm thinkin aloud here in writing(one good def of blogging: thinking aloud in writing except when you are not). That's really all theorizing can ever do. Fun or devasting as it is.

Epistemology. Get some effing Vicks, okay? We sort of give a shit, but we are trying to get a life here and can't get around the fact that to discuss whether or not there is such a thing as goodness, we have to have a lot more leisure time and all our basic needs met minimally is all, to be sure. Not our teeth falling out! Not our children's teeth fallin out! Some nice dentists, okay? Got it? Plato cannot nod. That is because he is dead. Hmmmm. Some wisdom spreads around the rock fire. That was an aesthetic sunset on a canyon wall, for sure, kinda pink like a rock lip. A pine tree falls down in the oak forest, flat on its face. Two Arms will Always. Um. Om. Make a man. Oh Woman?--where are you sweetie? And everyone please remain in your seats until we sort this dam thing out: half go to girl, everything to boy, okay? That'll do: no more muttering in the back of the room, Y'all.

Okay, now: back to the seer-we-us madders at hand: the diff between Plato and Aristotle. I always want to say Chortle, at this point. Does anyone here know what a chortle sounds like, exactly?--Patrick Herron?--can you tell me?

Still trying to get back to the serious matter at hand in the major Academic long standing divergence between these two marble-encrusted, too wordy fellas, Mr. Plato, and Mr. Aristotle--tho of course neither one of them is nearly as word-numbing as Mr. Cicero (you know Aristotle-Chortle taught that first one we have on record as wanting. Well: to colonize the world?--yes?--why do we even READ this stuff?)

Okay now that the chaff has been separated from the ongoing. I love. You are good. Very nice is also good. Thank you very much. Send me to CNN now. Do they have an express elevator in this studio meme? How about lyrics, do they have any of those?

And Mr. Aristotle? Such a categorical mind: it makes you want to pet its saw toothed blades, slim reverb to wooden handle grip, no?

Moral of the story? Aristotle liked his with no gravy. He liked categories to stay in place, no stray. Downy is not Scott Free, but they are both Fabric Softeners. Which one is best?

Whereas Plato would have made them so dialectical that the stream of knowing could not ever have pinned one or the other into any Heraclitan bed or good foot. The rocks were very mossy and after that became very slip-cover on grandmother couches, then.

Stave Tuned to Brighter Writer-Riders!

In the Mean Time:
will Mr. Tristram Shandy, Mr. Lewis Carroll, and Mr. James Joyce,
Ms. Sojourner Truth, Ms. Zora Neale Hurston and Ms. June Jordan
please stick around for more meow?
Blessedness, always, All.

special thanks to kari edwards for the good words.







chris at 11:20 PM |

 

I'd Like to Say It Rocks, but, um...

Daughter Holly's friend Jeff made me some *heavenly* cd's. His dad's a local--Dallas--DJ, and Jeff likes techno (well, we're all likin a lot of what we hear down here Texas-way, mostly what we hear as ethno-techno, tho, not that other, latest American re-version that tries way too hard to be buddhist imitatio or ethno-ok, ya kno?). So between them they put together a whole lot of good sounds on... well, it must be 10 cds (some they mixed themselves; but, dunno: haven't counted them--it's a big stack, anyway), just for moi! It's nice to be treated special sometimes, yeah! I am one very lucky human shape shiftin form, I have to say.

These cd's are fantastic!--I'm lovin this--hot instrumentation, electro-eclectic soundings, haiku-like voicings close to prayer & chantings interspersed.

I can see, however, that this genre has the potential to become really dumb, mind-numbing as TV commercials, ya kno? I'm talkin Plato and Socrates making yuk-yuk over Rhapsodes; the music to poetry ratio as mantic is to manic (that controversial Phaedrus passage where Socrates, mockingly, dons a hood and recites poetry like a god in order to sound sexually-intellectually seductive). Plato, my conflicted friend: you did have some horse sense afterall, despite your other, more horse's ass sense. Have I ever told you all how much I love Plato (not for any given school of thought that tries to claim him)? Prolly not.

Maybe one of these days I'll post a little on my main man, Plato. Especially his letters.

But, back to the techo-earth-sounds here! These particular selections on Jeff's gifted cd's, well, they do ... um... (not) Rock?!

Thanks so much, Jeff!


chris at 10:17 PM |

 

Corpse Poet in Most Frightening Dilemma Ever !

Well, at least there is some Good News! A post card from beyond: although Eileen Tabios has not been able to blog since tending to her new little animal-babies, as she explained recently on Corpse Poetics, she did want to send out a shout to everyone via a postcard. Remember (as they say on the first offenders' brand of news:

You Heard it, Baby, on Texfiles First :

************************************************************

EILEEN'S POSTCARD FROM BEYOND BLOGLAND

Dear Chris,
I just cleaned out my first cat litter box. OMOIGOD: THERE HAS GOT TO BE A BETTER WAY! You shoulda seen moi wings droop!

New Poem:

TERCET FOR LIMESTONE FLOOR

Kittycat kittycat pitter patter pitter patter
Pitter patter pitter patter kitty cat kitty cat
Soften my stones

Eileen & Her Fallen Angels


************************************************************

Thanks, Eileen--hang in there!--we miss you! I thought they already had cat litter boxes complete with mechanized pooper scoopers: but we will look into it!

Google--what the heck good are you?--find some pooper scoopers, a.s.a.p.

Everyone: please let me know what you find on Google that will help Eileen! Thanks...

More on this frightening corpse poetics dilemma soon.

: )



chris at 5:10 PM |

 

Thanks, Alli Warren: for the provocative defs.

Y muchas gracias, tambien, a Senor Million Poems, para las palabras muy interesantes (poema numero 951, "New Words 1939-1945") !


chris at 3:28 PM |

 

As promised, here is some of Texfiles Poet of the Week, Steve Vincent's new, most recent work in "conversions," via Fanny Howe poems--

(and also check out the article on Howe by Dale Smith, at the Possum Pouch, November 21 post, "Jim Gibbons on Fanny Howe.")


Steve has titled his manuscript "Triggers"

(Note: this is part 1 of a two part posting of these poems; see part 2, above, posted Friday, Dec. 5, 2:51 pm) :



A Selection from Triggers


*
Into the city he saunters
He sees torsos and eyes in the verticals
of buildings, extended arms in the bridges,
but nowhere her name

Drum beats collide and clear

He wanted to be rain or water
to be smooth against,
but in each neighborhood,
it is a different face:

Liquid light her name.

*

Out on the street an angel
coveting pain. Men and women
hunger for his wings.
Puddles and pot-holes
propel the body into ceremony.
Ravage or delight, what spills indoors
will disappear with little public account.
To call out tells us someone
burns against the disastrous,
though the sky is blue and quiet
and the kid on the street kicks off
on his skateboard to flip from the curb
into an ankle-jolted - full circle - triple axle,
while inside he combs his wings
in preparation for the larger story.

*
The road stops short
and there is no way to make payments

Plums for the wealthy
orchestrate the white counter top

Ready to go for the picking
the young and brown are plucked

There is always some dream of return
even when the origins are damaged
Affection is a lingering doubt

To slip unskirted through memory
where Paradise is plum and scout.



chris at 4:44 AM |

 

Limetree has a substantial feature up on Clayton Eshleman's recent talk at UC Santa Cruz, and a post of his scheduled talks in the San Francisco area (I believe, but go check it out). Eshleman is a remarkable thinker--I'm glad to see the Limetree feature.

In the comment box there, Kent Johnson reminds folks that Dale Smith recently hosted Eshleman when he was in Austin to give a talk at UT's Spanish Department (Eshleman visited there mid-November). The talk was on Vallejo's Trilce.

Eshleman had Dale post the Introduction to his Austin talk at Skanky Possum' s blog, Possum Pouch. It was also the week Dale was featured here as a Texfiles Poet of the Week (check the archives for the week 11/8-15). At the time, I put up a link to Dale's Eshleman post, and for the convenience of readers who happen by texfiles, I've provided another link here : Clayton Eshleman's Austin Talk Posted at Dale Smith's Possum Pouch: November 18, 2003, "Eshleman on Vallejo." There are a few new posts on the Pouch, too--all very well worth reading, as is Dale's keen article on Pound, up at Bookslut.com.


chris at 4:12 AM |

 

On labeling and/or self-naming: a thoughtful exposition by kari edwards.

Thanks for taking the time to search out, collate and comment on this collection of very specific, informative, and thought provoking passages, kari.


chris at 3:43 AM |

Wednesday, December 03, 2003

 

Best Wishes, Mark Shtreyzman :

Good thoughts out to my friend, student-poet-writer, Mark Shtrezman,
who stopped by my office at the university yesterday, on his way to Iraq.
Mark joined the Army in June in order to get a life after finding no job & etc.
He has now finished boot camp:
*half-way savvy,* he says.
So on to the show, although he doesn't agree with this war.

We will miss you Mark.
Start a blog! Send poems.
Please stay safe!

I'm going to try to post some of Mark's poems later this week.


chris at 2:18 AM |

 

from Jack Myers * :

Blue Collar

I work with men whose laughter
lifted the bar stools through a window
last night. They are burning out
the weaker lives inside them,
hitting the bars as the walls harden
and their hands lose the feel of machines.
They know tomorrow they'll be broke,
that they're drinks could've bought the homes
their hands have lifted up and left
for sale. But they unroll their money
and snap it off like farmers
breaking a chicken's neck. Today is home.

(42)


Jack Myers, " Blue Collar," in The Glowing River: New & Selected Poems by Jack Myers. Montpelier: Invisible Cities Press, 2001



chris at 2:08 AM |

Tuesday, December 02, 2003

 

Daughter Holly has some heavy-heart-rocking-beat-muse-ik on tonight



in this weak walled
apartment
& she's crankin it up
pulse notch by pulse
notch & etc.
& I'm not saving
the neighbors this
time: not tellin her
*turn it down*

Hah! Love
this one:
"I love rock n roll... "
never turn it down, love,
child


Yeah. Kid knows what
to listen after--
how to rock a wall.

Isn't that what it takes?
Love it & love that girl.


chris at 11:48 PM |

 

Wood's Lot: you know how to do us readers right!

Update: the other day I posted a note about how John Tranter rocks, given what he wrote on his Poet's Diary article for Poetry International Web (scroll down to Mon Dec 01, 02:12:59 AM).

Mark Woods, creator of Wood's Lot, that prolific and immaculate, mind-full website, saw the note/post and harvested for us readers some fine poetry of Tranter's for Wood's Lot.

Why?--Mark explains that he's been reading Tranter's benchmark webzine, Jacket, for years. So, he wanted to give thanks, and a tribute to Tranter.

Mark Woods: I believe what you have done in this is what was meant by that Chaucer-fellow when he made characters like Alisoun remark how some will merely say, but the best will do

swiche goode werkes, parfitly and at leyser.

And heck, if she didn't say that or say it that way, well... she should've!
Please keep on, and thanks!


chris at 11:21 PM |

 

Writing Through and Across the Modernist & Pomo Breaks: Intertext as Reading Traversal--Stephen Vincent's Recent "Conversions"


Steve Vincent, latest Texfiles Poet of the Week (hey!--check out Steve's blog today, too...),has been working since last spring on some fascinating new takes on form and poetic intertextuality. For now, Steve is calling the works "conversions," which of course refers to the process he's been using to write through and across--to traverse--some other poetries. Here, that of Fanny Howe, from Selected Poems .

I posted on some of this new work of Steve's last summer, I think in August (tho I'd have to check the archives to be sure); Stehanie Young did a fine post with some of Steve's new poems taken from Fanny Howe's work (those used below as examples). Now, to revisit and update my thinking a little on this, here is the example of what Steve means by "conversions" :


The lines Steve selected from Fanny Howe * :


Go on out but come back in
you told me to live by, so I went
with my little dog trotting
at my side out of the garden
into woods colored rotten

I did this several times, out and in,
it was of course a meditation
The out surrounds me now
a whole invisible O to live in:

tender tantrums, sky gone suddenly gray
still soften light but no one brings

papers here to sign. The top of the water
shudders under the brush of wind.
Past? Present? Future? No such things.

(148)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
and here is the result of Steve's conversion process:


Untitled (by Stephen Vincent)


Ascend and dive
and don't tell me a thing
I've got a good love on the loose

A wet madrone, skin pealing, its bone bare trunk

Never stop for thought,
especially when the going's good

She's inside me, then out,
tactile as a banana or something to munch

Spasms spring tender illuminations
mauve and pink -

I am a young man now and a young man then:
Live Live Live


Thus, Steve takes the original line-by-line, image-by-image, and converts by using correlative images or actions, sometimes using antithesis, and sometimes mere relative conjunctions. Via such, and in intertextual effect, then, an interesting paraphrastic, though also very much an entirely new poem, emerges to great creative delight.

It's a process, I think, that mirrors in many ways how minds latch onto, interpret and retain poetry, particularly that on page/screen--a readerly/writerly effect of reading more than of listening. Yet one that takes place without slamming the door on absolute meanings and closure. Thus a very open ended effect, yet correlational with a given tradition and body of work. A different way, then, to think about what avant work might entail beyond the severities of the so-called modernist and pomo breaks.

Tomorrow I will be posting some more recent "conversions" Steve has created.

cm



*Fanny Howe, Selected Poems. UC Press, 2000





chris at 10:06 PM |

 

YaY!! Issue 19 of Shampoo is OUT & lookin good.

My poem, "Cafe Morphemics," is in it along with lots of great stuff from folks such as Lewis LaCook, Jill Jones, Eileen Tabios, Drew Gardner, Alli Warren, Chris Stroffolino, Ron Silliman, Andrew Felsinger, plus many other excellent works. Happy Reading!

Thanks, Del Ray Cross!


chris at 8:30 PM |

 

Yeah ! BookSlut (Gets) On (Un)green Austin, Texas

And talking about those "big-haired" Texas date-book-types & faux book festivals:

My experience of the Texas Book Fair this year?--hearing/seeing Simon Ortiz read was a wonder. But then later a very-Texas-male counterpart of a big-haired-Texas-date-book-type actually walked out on Jack Meyers's poetry reading: because he didn't like an answer Jack gave to his question about the official function of poetry in Texas. Jack, besides being one of the most provocative, accomplished and prolific poets writing right now, is also the new Texas Poet Laureate. He graciously gave us a terrific reading, spanning work from throughout his life of poetry writing. What happened that led to the big-hair-Tex-pardner walking out?--Jack's poetry didn't gratuitously romanticize Texas as generative place, let alone as one more special (stumble)point for U.S. history. The man had asked Jack why his poetry isn't specifically about Texas. Although several poems had settings out of Jack's experiences in Texas, they do not highlight any Texas ideology. Jack kindly gave a patient and generous reply about how the poetry-of-place kind of writing has never been his writing focus. The man walked out, apparently pissed off that the Poet Laureate wouldn't write the way he (the man) preferred. Jack kept on. We loved the reading. I'll post some more on it soon.

Keep on, Jessa Crispin!--give 'em hell about the deluded and or buffered and lacking sense of what is literary and what community actions constitute what is politically green.



chris at 3:20 PM |

 

from Stephen Vincent, Texfiles Poet of the Week, poems from the book, Walking * (Junction Press, 1992), the section, "Oppositions" :

1

An Oedipal cleverness to her acts.
A complication in that he is not the father.
A mother roasts cherries in an ancient fire.
A father waits in a boat. They bomb Japan.
He brought a blue & yellow flower. She brought a vase.
A thin bird in the window, the blood, the hard light.
The cats thrown out. Fleas. Allergies.
Bit, the children leave. Drunk on their blood.
A roof savaged. The winds. A bitter winter.
Cleared the house. Moistened the beans.
A blind winter. Left without grace.

(23)


2

They were not known for burning their dead.
The rain rattled. The darkness risen.
The gray barge stalled. The lagoon.
The orange flame, the ship, a torch.
The green green hill over which her house stood.
The two horses and the husband gone.
The forbidden a seamless web the story not by not.
In a dark wood the light falls--glows--the water.
It is not clear why the mother is absent.
Betrayed, seduced, abandoned.
He went into the woman to find her broken heels eyes and
      fingers.
Suddenly a dread an orange wilted flower in the transparent
vase.
Amply he fills the house, the studio, one artist after
another.
Paint this paint that paint it hard paint it full the daughter
      not there.
No matter when or how he swings the cane at the thistle.
A cruel month to stake out the ridge, the soaked ground.
So much power to break and heal.
The deer's slanted ear the highest point on the mountain.
The red-winged blackbird hovers and haunts.
Invited to make a heaven for a daughter in green.
Stripped red and bare the high madrone belabors the creek.
You are that daughter, and I.
Who know the crime, the tribe he prepares.
The frequent but despicable oppression to wilt before elders
who come to heal or ravage.
The poison in his limp he will carry forever.
Who walks these hills Janus-faced, in dread, flowering.

(24-25)


6

That my fathers would bless me on a sacred ground.
And my son and my daughter.
That there would be a circle and we would be within.
And the snake's head would be charmed.
And the tail reborn.
And the mother not cast out but into flower.
And I would be that son and that father.

(30)


7

That I too would not be betrayed or go broken-lipped at
      dusk.
There would be a gate in each of his fences.
There would be cows in and out of season.
And the bull would both stud and provide.
In the house the monster on the mantle would join the fire.
The fire would join the body on the hearth.
I would be that body dancing.
My children near the loom, harmonicas at their lips.

(31)


8

I was once a woman.
A green cape on a high field, not far from the fountain.
High shoulders, firm breasts, a spinning body, the cape
        extended.
At the edge of the fountain my sisters and I.
The men who are brothers live on the other side.
When I approach they are rigid.
I slap them, shake them, try to break them away.
It is no use.
On our side my thighs grow large. I am earthbound.
Pregnant by the wind.
Labor is the humbling.
I am no longer I, but a generation among many.
I can see my mother and the mothers that will follow.
There is a child.
He goes out before me onto the ground.
I cannot reach for him.
He can barely hold a step.
He begins to wander away.
I become that son.

(32)


Stephen Vincent, Walking. North Hampton: Junction Press, 1993 (junction@earthlink.net $9 + $ 3 postage)






chris at 1:47 AM |

 

Having a little trouble publishing. Lost a substantial post. Not sure if it is a Blogger dot com problem or something I'm doing with a new laptop. Will redo.
Check back soon!--the next post is of Steve Vincent's poetry.


chris at 1:23 AM |

Monday, December 01, 2003

 

I did find an interesting Chicago blog this weekend: Golden Rule Jones! I love that blogname!

It's a blog intent on offering news mostly of Chicago area poetry events and readings, tho there is a lot of other, provocative, poetry news intersecting that focus on news listing. Today's posting, for example, questions the phenomenon of literary blogging by looking into who blogs, with speculations on why. Gave me some pause to think.

Hey there, goldenrulejones, keep on!


chris at 4:35 PM |

 

Congratulations to Ron Silliman, whose blog just received a

Top Ten Weekly Blog Award from Blogger Forum dot com.

I haven't looked much into the blog-on-blog sites yet so hadn't known of that forum and site until now. The famous Iragi citizen blog, Where is Raed, is the number one blog on the same Top Ten Weekly Blog Award list that just honored Ron's blog. The site's impressive: on checking it out, there is an eclectic mix well worth investigating. Not least of the interesting stuff is a feature article on a U.S. soldier's blog.



chris at 4:14 PM |

 

Last of Autumn, Via Ironic Cinema, via John Cheever :

Paint me
the Wekonsett River...


chris at 4:30 AM |

 

John Tranter Rocks--

Few could highlight while visiting New York the more estranging elements of Texas with such aplomb as John Tranter does, pointing out from an international perspective and venue, how, Dalai Llama plus-plus many other issues, sometimes the place can definitely cause the 'end of conversation' :

"A friend who had been staying at our hotel told Lyn about a conversation in the elevator. A large gentleman said to her gravely: 'Down in Texas we don’t set much store by the Dalai Llama.' End of conversation."


Ha!--Yes, Texas is definitely a piece of work: I mean, what other place has so many extra prezzes boinging themselves around in so many special and pricey golf carts every weekend in medium sized burbs where the homeless are always swept so efficiently, it seems, out of sight ? Do check out John Tranter's Poet's Diary for a recent New York trip from home--Australia--at Poetry International Web, out of Rotterdam.

And while at it, check out his Jacket Magazine, issue 17 in particular--the Ern Malley issue John refers to in his Poetry International Web article.


 

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