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"A note to Pound in heaven: Only one mistake, Ezra! You should have talked to women"
--George Oppen, _Twenty Six Fragments_
Archives:
xoxo Hey, E-Mail Me! xoxo
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
Web Log -- Charles Bernstein
Google Poem Generator: Leevi Lehto
Marie Mutsuki Mockett
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
Chiaroscuro Metropoli: Tom Beckett
Behrle's latest spout!
Fluffy Dollars: Michelle Detorie
Jane Dark's Sugar High!
The Katherine Anne Porter Literary Center
(Charles) Olson Now: Michael Kellaher & Ammiel Alcalay
kari edwards' TranssubMUTATION
Notes on the Revival: Jeremy Hawkins
PurPur: Petrus Pokus
Snapper Missives: Scott Pierce
A Sad Day for Sad Birds II: Gina Meyers
Great Works: Peter Philpot
zafusy: experimental poetry journal
Writeboard: a collaborative writing tool
John Latta: Rue Hazard
KP Harris: Croissant Factory
Stephanie Young's New Site
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Portable Press@Yo~Yo Labs
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Self Similar Writing: Jukka Pekka Kervinen
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Pornfeld: Michael Hoerman
Seven Apples: Justin Ulmer
Hi Spirits: Andrew Burke
Bacon Bargain!: Joe Massey
Ivy is here: Ivy Alvarez
Whimsy Speaks: Jeff Bahr
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Chicanas! (Susana L. Gallardo)
Masters of Photography
Blog of Disquiet: Gary Norris' Teaching Blog
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Spaceship Tumblers! Tony Tost
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Zotz!
Optative Mood: Tim Morris
ecritures bleues: Laura Carter
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Semio-Karl M&M
Stephen Vincent
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a New Word Placements
Narcissus Works: Anny Ballardini
Richard Lopez
Tributary: Allen Bramhall
The_Delay: Chris Vitiello
Jukka Pekka Kervinen: Nonlinear Poetry
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Clifford Duffy: Fictions of Deleuze & Guattari
DagZine
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Ann Marie Eldon
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SB POET
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|||AS/IS2|||
Li's A Private Studio
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Dumbfoundry
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Hear-it dot org: info on hearing problems
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James Yeager's Modern Lives
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Daniel Nestor's Unpleasant Event
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David Nemeth
Ela's Incertain Plume
Mairead Byrne's Heaven
Catherine Daly
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Br.Tom's Finish Yr Phrase
Shin Yu Pai: makura-no-soshi
Harry K. Stammer: Downtown LA
Corina's Fledgling Wordsmith
Jilly Dybka's Poetry Hut
Ben Basan's Luminations
Katey: Chewing on Pencils
YaY!! Eileen Tabios: Chatelaine Poetics !
Jill Jones: Ruby Street
Geoffrey Gatza's BlazeVox
Bill Allegrezza's P-Ramblings
Gary Sullivan's Elsewhere
GoldenRuleJones
Poetry_Heat
Bookslut
Chickee's SuperDeluxeGoodPoems
As-Is !
John Latta's Hotel Point
Sawako Nakayasu's Ongoing Show
Shanna Compton's Brand New Insects
Crag Hill
kari edwards: transdada
Fluss
Michael Helsem's Gray Wyvern
Word Placement
Bogue's Blog
Jordan Davis: Equanimity
Robert Flach's Unadulterated Text
Michelle Bautista
Ironic Cinema
Mike Snider
Farewell Tonio!
In Through the Out Door
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Awake at Dawn on Someone's Couch is Toast
Jukka-Pekka Kervinen:Non-Linear
Xpress(ed) !
Chris Lott's Ruminate
Venepoetics
Laura: Yellowslip
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Radio UTA: Toni's Thursday Poetry Show
Tim Morris: Lection
Gabe Gudding
Constant Critic
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Jhananin's Insite
Fanaticus
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Stephen Vincent
Stephanie Young: New Well Nourished Moon
Kasey Silem Mohammad's Newest Limetree
Lanny Quarles: (solipsis)//:phaneronoemikon
States Writes
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Simulacro
Braincase Links
Sentence
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73 Urban Bus Journeys
Poeta Empirica
poetry for the people: canwehaveourballback?
Ernesto Priego's Never Neutral
Nick Piombino's Fait Accompli
Weekly Incite blogresearch
Jim Behrle's first monkey
Jim Behrle's Monkey's Gone to Heaven
David Kirschenbaum's Boog City
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David Hess Heathens in Heat
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Li Bloom's Abolone
Ron Silliman
Chris Sullivan's Bloggchaff
Chris Sullivan's Slight Publications
Chris Sullivan's Department of Culture
Kasey S. Mohammad's Old-New Limetree
Kasey's Old Limetree
James Meetze: Brutal Kittens
Cassie Lewis: The Jetty
Joseph Mosconi's Harlequin Knights
Nada Gordon's Ululate
ultimate: Stephanie Young's First Well Nourished Moon
Steve Evans: Third Factory
Noah Eli Gordon's Human Verb
Jean Vengua's Blue Kangaroo
Sawako Nakayasu: Texture Notes
Free Space Comix: BK Stefans
Crosfader
Malcolm Davidson's eeksy peeksy
Marsh Hawk Press group
Catherine Meng's Porthole Redux
Josh Corey's Cahiers de Corey
Very Nice! Shampoopoetry
UTA's Lit Mag: ZNine
Wild Honey Press
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
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Saturday, October 02, 2004
Re-Post (something too telling about it, too, I now wonder... ), from my first week as a bloggie: a poem for my then 15 y.o. kid, Randy, my son who is now adamant about going to the Marines, despite all. We'd that week been talking about the state of the world and the prospects for people his age, and we've always been close, so I did this poem. It was a revision of something I was working on--yes, really--for several hours on the evening of Sept 10, 2001. Randy kept a copy of the original draft up on the door of his room until we moved the following year.
Tornado-Alley-Day Parade
(for Randy)
Raise the sky blue
umbrella. Find the neon
see-through
mac in the U-Haul trailer
and bring your Bugs Bunny flip
flops. First we'll write our names
in it, then wipe a spring's worth
of Texas dust off our windshield.
Soon it will be raining light
rain and possibility. Even the wild
goldfish are used to it here:
rain hungry thick
ribbons, paintbrush orange, swimming
figure 8s, hoping the sky will rain bread
once more out of a speckled above where
Witnesses & recruiters,
phone book distributors,
have been at the doors again
wafting old lily of the valley promises,
cathedral boom & kingdom come
with navy-blue voice-overs--
cliche and commitments
to end-of-the-world visions.
Just tell them:
we've already had some
& we're busy rising
all the time from what's dead
or coming & going on
or is just
the past.
Then bring the bread crumbs
and find your camouflage
tackle box. Thread the collapsible
poles with new line. Load the red--
so much depends on a--
car. We'll find a road--
they have so many of them here.
chris at
11:52 PM
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Oh Hey, I Love It:
Driver: When You See the ( Pink? )Ambulance Flashing, Immediately Pull Your Arse Over to the Far so it may (P)arse You...
YaY!!--finally: a Pink 911 flash for poetry! 911 in the former sense of that emergency numeric code, of course, as just a code, not a coded historical day to be continually refered to by Bushbagpoliticians.
 --"Pink Ambulance," Die Cast Figures .uk.com (but why does "pink" look so red here?)
Well, I can't speak for how particular to the Canadian situation all the elements and factors here for poetry are, but I do think it could as easily be done here, given caveat:
--a series of questions to consider--
Thus: now will poets finally be equal to Brittany and Buffy or any other *pink* pop star?--or will poets just be able to make much more moolah? Wherein, poetry becomes a new paradigm, a self supporting autonomous notion, enabling poets to have a full career all on their own? Even while still maintaining a cute nose, a stubborn, flirty sense of unique and independent stage presence? So to be distinguished from that of the less pink celebrity?
Pink! I confess I, too, have loved and lost the emergency vertu of pink.
Pink, you cat's tongue ambulance engine lick,
baby, you are so very.
chris at
10:34 PM
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Chain on Chain: Gary Sullivan on Chain 10, (scroll a ways down for it) and many other iterations of interest, including a crumpled up paper copy of one of his poems found under a bed at a quaint Inn in Ithaca ... this is some good reading
chris at
1:09 PM
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Friday, October 01, 2004
Sad to say: no more Yellow House for me.
-- Paul Klee, The Yellow House
In the end, I had to say no to the deal--since the Fed rates were going up, the financiers were raising the loan rate, and they were already charging me a higher rate because I have student loans (oh yeah: these are not supposed to matter if they are in good standing, and mine are, but financiers will use every excuse or do whatever they want at the last minute to tack on points, so there it is, and they said it is justfied because of the student loan debt), so they pushed it beyond the point I could tolerate.
Believe me, I have no problem saying no when something looks eff'ed up--I think that this cat-mouse game of pressing the interest rate at the last minute in a mortgage deal like this for a first time buyer is similar to the used car sales strategy of manipulating the dynamics of desire in the buyer, as in, most people get very emotionally attached to the thing they are trying to buy, cars, houses, land, and basically whatever escalated dream they see themselves fitting into with these things. I don't. Or at least, I don't in a way that goes beyond the practical means I know I can support. So there we were, rates being jerked around day-to-day, and perhaps designed to pressure a buyer like me just a tweak more, betting on my wanting, desiring, dreaming of this particular house, & being so close to having it & etc.
Well, I'm glad I said no. It would not have been good to be in that particular 30 year payment schema, and they had of course built in penalties for refinancing, too, so I would really have been locked in. Sometimes *no* is a great word.
As for my feelings and all that, well I am a little disappointed which adds up to sad, in part because I don't want to spend another year in this ghetto apartment but oh well, there it is. I'll get over it--I tend to take the attitude that, for now at least, it was supposed to end this way (if it could have worked out, it would have... what a great tautology, eh?!), and to move on, emotionally speaking. Trying that today. Maybe a house next year some time, and with a more reasonable deal.
Thanks for all your supportiveness Y'all, on this matter and on many other things.
chris at
11:26 AM
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--Blue Glass Reflections, Studioe 3.com
This Giving and Receiving is a Motion that Results in the Blue Glass:
Report on the Poetry_Heat, 29 Sept. Reading at UTA:
It was just a wonderful reading: Joe Ahearn reads like a Sapphic charm waking from a 2,500 year nap; Tia Black like an Homeric storyteller transplanted to the Black Forest; and Corey Marks like one of Diotima's chosen.
We were fortunate to acquire the much coveted Carlisle Suite for the reading, a quiet, well carpeted and chandeliered room most often used by upper admin folk to give presidential awards to one another. Better use is poetry, I thought, so asked and got the room. VERY comfortable chairs, Joe remarked and I had also noticed: cushy stuff. But a little hushed in there, too, even with the microphone, podium, and planned acoustic perfection. I may actually try a different room in future. Anyway, for this reading it was exquisite--a generous, eloquent space for some especially generous minded poets and their work. *Eloquent* in its best senses, is the operative word, in all poetic matters here. Many students and several faculty members came out--it was a good showing in that sense. Thanks, especially to faculty Wendy Faris, Tom Ryan, and Vicky Sapp for coming out and for encouraging your students to come out, too. As always, I was also glad and am grateful to the many students who were able to come, as well.
Wendy Faris, scholar of magical realism/Borges/Latin American textuality, and an artist whose medium is textiles in collage, is chair of our English department. One of her collage pieces graces a poem of mine in Znine, "Your Bruise"--also a poem that Steve Tills has generously written about, as has the incomparable Chatelaine, Eileen Tabios--(thanks very much, once again, to y'all for the good words). Well, Wendy had kindly asked me to read something, too, noting she'd not heard me read any of my work before, so, I did read briefly that poem and one other that I'd posted here and at the group blog, As/Is (now featuring several fine poems by excellent others) last weekend, "The Sujet"--and I heard from Wendy after the readings that she liked these very much. In any case, that was my different way, this time, of opening the introduction to the evening's readings.
Corey Marks read first, and I was stunned by the work from *Renunciation*(Univ Illinois, 2000), for its narrative mode, its probative epistemological questioning. Here are the first two stanzas from the title poem:
In evening light's splayed radiance,
in a field of scrub and vines hedging a river,
a boy found a black snake sunning itself.
When he crouched near, his face bloomed in its scales
so the snake's coils were crowded with his eyes.
I almost want to leave him there, dawning
with amazement, this boy dead centuries now
and hushed in weak soil, leave him before
he flares with too much certaintly.
But like every moment, this one brims over.
(45)
The switchings out of time and place are sudden, thus a surprise--the boy is an ancient figure, not really only a *boy*--yet also put so subtlely that it is a real whammy--no less aloud in the context of reading-room delivery. Audience was completely drawn in by the combination of skillful delivery and intriguing text.
Tia Black read next, new work and from her excellent book, Near Sydenham, (DAAGNIM, 1995)-- a book dedicated to Linda Hull, who tragically lost her life in a car accident the year before the book came out. Linda and Tia were friends. I knew neither personally at that time, but was a great fan of Linda's poetry via poets in Northern Arizona where I was at that time completing my master's degree. It is stunning and good to find this tribute to Linda, now, and this very fine and utterly unique poet, Tia Black. Again, in the reading last night, here was a hearkening to narrativity, to labyrinthine storytelling, yet heady with lyric, a calling up of tropes drawn fresh from the wells of myth and fairytale. There, a wonderful Persephone poem that easily fits with some of the best in that recently burgeoning sub-genre (a favorite of mine, some readers here may recall). And Tia likes to dispense with the academic techno props of podium and microphone, so to move in close, gently so, with her audience--she is an exceptionally personable poet, very engaging, engrossing, and the poems reflect this in their own way, via lyric that is sensually penetrating. Here are lines from "Persephone":
No one dreamed I'd walk into a flowering field
sun blazing down my back, lie
in the cool grass and fall silent, still as glass.
Dreamless, how well I slept under the cold.
Time, like sand, fell through me.
I wandered off, that was all
... not knowing the sentence I read, days passed.
Stiff with frost, hay was mown
...
Above, Demeter held my child,
...
as if I were still to be found.
(15)
Persephone is a difficult subject matter for a poem: it can easily slip into either a terrible sentimentality or a mannered superficiality. Tia handles this problem with great aplomb, and the delivery aloud opened its full gift. I was happily drawn in and amazed.
Joe Ahearn is one of the most dedicated, perceptive, imaginative and versatile writers I have ever met. Beyond all that, he's just one hell of a guy. He and his wife, Lisa, keep a keen eye on art and politics via action in the Critical Art Ensemble, which is currently tracking the government harrassment of artist and SUNY Buffalo college prof, Steve Kurtz. If you have not yet had the pleasure to meet Joe and hear his work, then do find a way soon to do so--you will find yourself within a compelling, powerful poetry. Joe read from work in syn-the-tic (Firewheel Editions, 2002)--one of my all-time favorite chapbooks: it is not too short and not too long, yet it's packed full of tightly-put, masterly poems, in many voices, so is definitely a wonder both to hear for pleasure and to study/ponder--and he read from his new book, Five Fictions a e i o u (SRLR Press, 2004). Joe's work has an eclecticism that is seldom found today. He can write in every mode I'm aware of, and he does so in some of the most sensitive and affecting poetic lines I've ever read. Technically, his poems are all about economy of language, compression of image, and rhetorical expanses that stretch out and out and out as would a Picasso painting in the most radical cubist moment, yet, in the poems?--oh, these are made of silk: thus, a cubism of silk. An "objectivist" thing, as Joe pointed out. Very nice effect. And reading aloud?--Joe is marvelous, one of the best in poetic delivery. Here is a poem he read last night, one that I will be adding to my favorites list of poems:
The Blue Glass
The blue glass stands alone,
smoothed and calmed by loneliness.
It is brusque, planar, beveled.
The blue glass is formal
and untouched by confusion.
The blue glass stands in a round blue pool.
It has always stood so.
It is from every side the same:
a slow outward-leaning
and two feet pressed together.
It is thought at the top.
This morning I drank from the blue glass.
I supposed it was liquid that I drank.
I see now that I drank instead the blue glass,
which gave of itself,
and then, in an instant,
recollected perfect form.
This giving and receiving is a motion
that results in the blue glass.
This is the song of the blue glass:
all form is sorrow.
(27)
I think for now this poem says about all there is, ya kno? Such as, do check out this new book of Joe Ahearn’s. But do not expect fluidity as slow as glass...
Many thanks to all, poets and audience alike, for coming out last night.
--cm—
~~~poems copyright of Corey Marks, Tia Black, Joe Ahearn, respectively~~~~
chris at
1:36 AM
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Thursday, September 30, 2004
--Check(ing) out Lanny's Plunt blog--via & sez Jean: WoW! I completely agree: I'm amazed--seeing echoes of image, waves of reverb, all over the music of it! Terrific stuff, Lanny!--thanks for doin' whatcha do!
--And now, the parakeet is still there, and the sun has set, so I guess it's planning on roosting in this tree. Something a little amazing about that, I feel.
--I'm going out for a bit and when I get back I'll be posting a report about the wonderful Poetry_Heat reading given at UTA last evening by Dallas-area poets Joe Ahearn, Tia Black, and Corey Marks.
chris at
6:45 PM
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Lost/Found: Parakeet!
Someone's (apparently) domestic pet, a bird (pet, that is, unless they migrate here, too--I don't know), grayish back and wings, mediterrean-blue breast, little hooked beak--I think a parakeet (yes, I've confirmed via photos like the one above)--has roosted in the live oak tree right outside my window along with hordes of chatty wild ones: sparrows, starlings, mockingbirds. I wonder if it can find a way back to its humans or its indoor roost. Maybe it doesn't like that idea--cages are so dull, while trees, sky, and companions must seem so much better. It's preening itself slowly, as if it could care less that anyone might be looking for it, or as if it does not have to care that it is probably at a disadvantage as a domesticated bird loose in the urban wilds. I hope it does well. On the other hand, if it is a migrating bird (I doubt it, not having seen these before), then I guess this is a post I can scrap since the bird certainly needs no
chris at
6:32 PM
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This intriguing call came today from Open City--
it would be fun to go if ya happen to be in Brooklyn...
The editors invite you to celebrate the publication of
OPEN CITY #19
Wednesday, October 6, 2004, 7-9 p.m., at
UNION POOL
(a nice bar with a great big outdoor patio and a black-and-white photo booth)
484 Union Ave. (corner of Meeker)
Williamsburg, Brooklyn
Directions below
Admission is $10 at the door for one drink and a copy of the magazine, or subscribe at http://www.opencity.org/partyspecial.html and get free admission.
(All current subscribers and contributors to this issue get in free; just give us your name at the door.)
Directions:
Subway: Take the L train to the Lorimer stop OR the G to Metropolitan, use Union Ave. exit; walk one block on Union toward the BQE to Meeker.
Car: (from Manhattan) Take the Williamsburg Bridge (stay in right lane); at the end of the bridge, bear right onto ramp; stay straight to S 5th St; turn left onto Rodney St; turn right onto Union Ave; go one block to Meeker.
OPEN CITY #19 CONTRIBUTORS:
Bill Adams * Jack Anderson * Priscilla Becker * Joshua Beckman * Jason Brown * Robert Olen Butler * Bryan Charles * Trevor Dannatt * Amber Dermont * Norman Douglas * Juliana Ellman * Alicia Erian * Matthew Fluharty * Wayne Gonzales * Sarah Gorham * Zach Harris * Jim Harrison * Katherine Hollander * Luis Jaramillo * Daniel John * Janet Kaplan * Jennifer L. Knox * Giuseppe O. Longo * Cameron Martin * Chad McCracken * David Mendel * Nadine Nakanishi * Dawn Raffel * Thomas Robertson * Rick Rofihe * Matthew Rohrer * Sally Ross * George Rush * Harvey Shapiro * Nina Shope * Peter Nolan Smith * James C. Strouse * Wendy Walker * J. Patrick Walsh III *
chris at
3:35 PM
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Congratulations to C.D. Wright on the award of a MacArthur Fellowship (I read about it over at Ron Silliman's blog--excellent photo there, too). Wonderful news, this is an absolutely well deserved result of her very fine poetic work and critical thought. Here is a poem from her book, Deepstep Come Shining (with photography from Deborah Luster [Debbie, YaY!!], Copper Canyon, 1998) [via The East Village, # 8, faux press]
from C.D. Wright's Deepstep Come Shining :
Everyone in their car needs love. Car love. Meat love. Money
love. Pass with care.
Deepstep, Baby. Deepstep.
The boneman said he would take the blinded driver to the river. With
a mirror. And then what.
The boneman said he would take the blinded into a darkened
room. And put a hot-herb poultice on their sightless face.
Mellein for this mullein for that. We called it flannel.
Then leave them there.
The baby sister of the color photographer had a baby girl in the
hills. Born with scooped-out sockets in the head. Born near the
tracks they sprayed with Agent Orange. The railroad's denials,
ditto the army's.
They would have been blue. The eyes. She did not have. Blue
as the chicory in yonder ditch.
We see a little further now and a little further still
She said her lights would be on and they were
Groping around the sleeping house in our gowns
Peeping into the unseen
Beautiful things fill every vacancy
~~~~~~~~poem copyright of C.D. Wright~~~~~~~~~~~~~ o~o/ ~~~~~
chris at
2:33 PM
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Received:
Journal (back-issue):
Turbulence, Oct 1993 issue (Hockessin, DE: Turbulence Press, 1993. David Nemeth, editor)
*
Books:
Joe Ahearn, Five Fictions a e i o u (Austin, TX: SRLR Press, 2003
Tia Black, Near Sydenham (Dallas, TX: DAAGNIM Publishers, 1995)
Daryl Scroggins, The Game of Kings: a Prose Poem Sequence (Dallas, TX: Rancho Loco Press, 2001)
Corey Marks, Renunciation (Chicago, IL: U of Illinois Press, 2000. National Poetry Series Selection by Phillip Levine)
*
Pamphlet:
"Critical Art is Under Attack: Defend Civil Liberties." (CAE Pamphlet, 2004)
Critical Art Ensemble dot org and CAE Updates
chris at
1:21 PM
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Wednesday, September 29, 2004
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hey, All You Flagrant Poetry Lovers here in DFW :
*3* Dallas-area SuperPoStars will be Reading Poetry at UTA Tonight!
--Joe Ahearn, Corey Marks, Tia Black--
catch the awesome tressome at 7:00 pm,
Carlisle Suite, top floor, University Center
University of Texas, Arlington
Given the Will to Power of Being in UberPoetry or Nothingness: Be!
Just Be
There!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
chris at
4:19 AM
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If You've Never Landed in Texas, Here's What You'll Likely Find When You Do :
--via the most excellent & dangerous
*Daughter Holly*
(huzzzzah!)
chris at
1:26 AM
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Tuesday, September 28, 2004
Vast HomelandSecurity Treasure Found!
via Steve Evans' Third Factory : Propaganda Remix Project, a superfund of blowback for Bushbag.
Here are just a few of the many that caught my eye :
chris at
10:58 PM
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This just in from Hal Johnson:
Hamilton Stone Review, Issue 4, Fall 2004, Now Online!
This time--an all-fiction issue featuring Meredith Sue Willis,
Lynda Schor, Carole Rosenthal, Edith Konecky, Rebecca
Kavaler, and Halvard Johnson.
Hamilton Stone Review # 4 Check it out!
& the following is a note about submissions to the Hamilton Stone Review:
At this time, the Hamilton Stone Review is not open to unsolicited
fiction submissions, but will be taking unsolicited poetry submissions
until December, 15, 2004, for Issue #5, which will be out in February
2005. Poetry submissions should go directly to Halvard Johnson at
halvard@earthlink.net or halvard@gmail.com.
chris at
10:30 PM
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A new email interface to deal with here, making things more complicated than they need be. But hey--I'm really looking forward to the Poetry_Heat reading tomorrow night (Wednesday, 9/29), here at UTA, featuring Joe Ahearn, Corey Marks, Tia Black.
chris at
10:39 AM
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Yes! New Awareness on Publishers, Authors, Translators: Well, they're just Getting it ON:
So in Slope 20, under "Issue," then under "Whither Freedom," "The Threat of Crackdown..."--an interview by Chris Murray (hey,yeah! that's me!) of super-translators Chris Daniels, Chris Chen, and Susan Maxwell, there is an elaborated and dialogic perspective on the legal and socio-linguistic problems involved in the new U.S. embargo on many foreign texts.
So, for today, I offer up the Spring/Summer 2004 issue of Slope. but then, here comes a response to the U.S. powers that contrived the apparent legal constraint (keeping in mind that this is not an answer in terms of resolve; it is yet a beginning, however slow) ... .
"Publishers [& Translators] and authors, along with the Association of American Publishers Professional and Scholarly Publishing division (AAP/PSP), the Association of American University Presses (AAUP), PEN American Center (PEN), and Arcade Publishing are asking the court to strike down OFAC regulations that require publishers and authors to seek a license from the government to perform the routine activities necessary to publish foreign literature from embargoed countries such as Iran, Cuba, and Sudan in the United States. Representatives of the plaintiffs' organizations expressed frustration over a series of OFAC rulings that have created uncertainty and confusion among publishers fearful of incurring prison sentences of up to 10 years or fines of up to $1,000,000 per violation. Those rulings and the regulations they interpret mandate that Americans (1) may not enter into transactions for works not yet fully completed, (2) may not provide "substantive or artistic alterations or enhancements" to the works, and (3) may not promote or market either new or previously existing works from the affected countries.
The group challenges the regulations on the grounds that they violate the Trading with the Enemy Act (TWEA), the International Emergency Economic Powers Act (IEEPA) and the First Amendment. TWEA and IEEPA were twice amended by Congress, in the Berman Amendment and the Free Trade In Ideas Amendment, to make clear that the statutes exempt transactions involving "information and informational materials" from trade embargoes. The AAP/PSP, AAUP, PEN, and Arcade contend that OFAC's regulations directly contradict the statutes that authorize trade sanctions and endanger publishers, authors and the public's constitutional rights.
"Our most basic liberties are violated when we, as publishers, have to either ask the government for permission to publish, or risk serious criminal and civil penalties if we do not obtain permission," said Marc Brodsky, chairman of the AAP/PSP and executive director of the American Institute of Physics. "How can the United States uphold our position as a beacon for the free exchange of ideas and science if we ourselves censor authors because of where they live?" Mr. Brodsky continued.
"The OFAC regulations are arbitrary and counterproductive," added PEN American Center president Salman Rushdie. "For example, OFAC says publishers are free to publish 'pre-existing' texts from these countries. Yet the countries currently under U.S. trade embargo routinely prevent important work by writers and scholars from seeing the light of day. American writers and publishers are being told that unless they get a license from OFAC, they may not work with their censored colleagues in these countries to bring their works into print."
"It is quite troubling that we will be risking criminal penalties if we proceed with the publication of The PEN Anthology of Contemporary Iranian Literature, which will present works created by Iranian writers, poets, and critics since the Iranian Revolution that expose the turmoil and repression of recent years," said Dick Seaver of Arcade Publishing. "Some of the work can't be published in Iran because of government censorship there. If publication is blocked by government interference here, what's the functional difference between Iran's censorship and ours? ... "
--from EurekAlert News Source: @ http://www2.eurekalert.org/pub_releases/2004-09/jws-paa092704.php--
Hey, please do keep on reading!
& I'm sending my special hellos out to Chris Daniels: a person whose love for poetry just plain rocks. Chris, you're a wonder!--keep on!
chris at
2:27 AM
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Monday, September 27, 2004
from Tex poet, Reyes Cardenas,
(of *Survivors of the Chicano Titanic*, Austin: Place of Herons Press, 1981 --I cannot emphasize how much I love that title--it is PERFECT), another new, & hey, I think, a K-O poem.
Reyes' Alivianate el Coco blog is lighting up my bloggy clicks lately, I want to say loudly here. He's lately been investing in the vitamins industry: the iron-loaded, one-a-day poetic variety: subtle in-yr-face poems, of the wake-up variety, wherein I've been finding some great sardonic-minded reads, to whit, the one that follows, with its understated sharp edges (now, this is my take, so if you want to hear more, contact Reyes): *hey, ya mainstream plush-class-tight-ass anglos who thought you knew anything called *multi-culti*: hey, guess what?--it's *still* not about you!).
And to top off all that history? I see now that his poetry blog is being hit by the Xtian ultima-fundamentalists, straight out of Revelations (we need some revelations around here but not the kind they were thinkin', alas for them). They're awfully aggressive, so I want explictly to re-assert here and now: this country and rhetorical space is still governed by a democratic episteme, you asses--at least in law, and however marginally for so many. So bug off.
Ya kno what i'm sayin', eh? Well, I'm liking hearing Reyes tell it like it *still* is in smoothie Bush-Am *today*, where it seems so many would like to ignore issues about cultural difference as affected by cultural privileges and tenuous ideas of *opportunity* (as opposed to *opportunistic* ideas, which is more like the Bushbag M.O.).
Hey, Reyes, you rock!
Here's one of the recent poems I like because they sort of mainstain this perspective of sounding all smiley-lyric-y, yet they are packing a punch that people better keep on listening to, because it ain't over yet...
so, check this out--
by Reyes Cardenas:
Juan Seguin Elementary
I was
not born
in Papalote,
long ago
I was born
and raised
in Seguin,
Texas,
Aztlan.
My barrio
had gravel
streets,
only the
white side
of town was paved.
At the
Palace Theater
if you were
black or brown
you had to
watch movies
from the balcony.
Whites went
to white schools.
Blacks went
to black schools,
and Mexicans
went to
all Mexican schools.
I went
to Juan Seguin
Elementary,
there by the creek.
The only
white kids
I knew
when I was
growing up
were Dick and Jane.
~~~~~~~~~~~~~poetry copyright of Reyes Cardenas~~~~~~~~
--cm o~o/
chris at
10:49 PM
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Announcement: Poetry_Heat Reading Series,
at University of Texas, Arlington
I'm happy to bring Dallas Area Poets
Joe Ahearn, Corey Marks, & Tia Black
to read in UTA's Carlisle Suite,
of the University Center
Wednesday, Sept. 29, 2004
7:00 p. m.
Hope to see you there!
Chris Murray and The UTA Writing Center **
** Very Special Thanks to Cyndi Dumas, UTA Creative Writing student
for all her excellent help organizing and preparing for this special event.
chris at
5:49 PM
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Jean's really got it goin' on with the fotos--thanks for the good stuff, Jean!
chris at
3:57 AM
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I especially like this *No War on Iraq* piece of John Byrum's. I'm glad to see this good work. And thanks to Tom Beckett for the heads-up post about John Byrum and the Generator--definitely a rockin' enterprise.
chris at
3:28 AM
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On the UCM Museum outside New Orleans, Louisiana (Abita Springs)--
Oh hey! I Absolovely Lute! this place:
the Louisiana UCM (u-see-em) Museum of found objects. I happened on the site while searching Googlies for cool bikes for a post from a week or so ago, and they had some very nice Murray bikes, one of which I posted a picture for a poem that I had going on at the time... . Anyways, explore this website--it's cool as hell, and I know the next time I'm in Abita Springs, outside N'awlins, I'll be stopping by to say hey to these nice folks. Hey, Y'all, thanks for doin' whatchur doin'--rock on!
Best Wishes,
cm
chris at
1:07 AM
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Sunday, September 26, 2004
Tornado Alley Poem # 69:
The Sujet
the subject remittance
is today stamped
paid
nor is it pucktuating
the finally
sessions
were several
hours
long of position
in constant object
but oh the downed
arms
of revelation
the show was about mango
angels moving
the harvested if
what does it mean to be ringing
from the position of unavailable
the subject pronoun wants to hold all
fluid and organs
of the subject relations
the object must demonstrate
sensual
or what is left out of palm tree
agreement in number
the subject's debt to mankind is tremulous
& lunar rising
denunciation of positions will not easily shift
for itself one more infant
picture pucktuation as lip
piercing
the historical
subject is missing
you again
its verb was only trying to help
or please know the subject
is best when yoke
~~~~~~~~~~~~~~~~~~~chris murray~~~~~~~~~~ o~o/ ~~~~~~~
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