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
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
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The Katherine Anne Porter Literary Center
(Charles) Olson Now: Michael Kellaher & Ammiel Alcalay
kari edwards' TranssubMUTATION
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PurPur: Petrus Pokus
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Zotz!
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ecritures bleues: Laura Carter
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a New Word Placements
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|||AS/IS2|||
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ultimate: Stephanie Young's First Well Nourished Moon
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UTA's Lit Mag: ZNine
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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




Saturday, April 08, 2006

 

"Unmoored from the Body, Speech Deteriorates"


from Susan Sontag's essay "The Aesthetics of Silence" * (as reprinted) in The Poetry Reading: A Contemporary Compendium on Language & Performance, edited by Stephen Vincent and Ellen Zweig (San Francisco: Momo's Press, 1981) :

. . . another use for silence: furnishing or aiding speech to attain its maximum integrity or seriousness. Everyone has experienced how, when punctuated by long silences, words weigh more; they become almost palpable. Or how, when one talks less, one begins feeling more fully one's physical presence in a given space. Silence undermines "bad speech," by which I mean dissociated speech -- speech dissociated from the body (and, therefore, from feeling), speech not organically informed by the sensuous presence and concrete particularity of the speaker and by the individual occasion for using language. Unmoored from the body, speech deteriorates. It becomes false, inane, ignoble, weightless. Silence can inhibit or counter-act this tendency, providing a kind of ballast, monitoring and even correcting language when it becomes inauthentic.

(238)


* Sontag's "The Aesthetics of Silence" first appeared in Styles of Radical Will (New York: FSG, 1969, p. 20).

I am especially grateful to my friend Steve Vincent for sending to me in 2003 a beautiful copy (it's now out of print but he may have some more around for sale) of his and Ellen Zweig's wonderful book, The Poetry Reading (fully cited above). It is an excellent resource and offers fascinating insight into not only its topic but also the historical moment of San Francisco poetry doings and many other poetic influences and places circa late 1960s-early 1980s. Great photos, too, including one of Ron Silliman taken while giving a complete, non-stop, unamplified reading of his
Ketjak
on the corner of SF's Powell and Market, September 1978, surrounded by listeners and wandering passersby--the photo accompanies his account of Ketjack and that reading. Having to shout his reading over the sounds of other performers on that famous corner (there were Hare Krishna drummers), left his larynx traumatized; he was with without a voice for several days afterward.

Also, The Poetry Reading contains a memoir-piece on that moment's controversial, "angry" women poets written by second wave feminist poet Frances Jeffers in response to the Intersession for Teachers, the Bay-Area's 1978, week-long presentation of work by women poets--a presentation suggested and urged on by Steve Vincent and Beverly Dahlen.

Wow. Those are only two of the eclectic resources here. The book has many remarkable things about sound, poetry, visuals, poetics, and performance collected all in one place. Really a treasure, and anyone interested in the history of late twentieth century poetics should certainly have a copy of this text.

cm

Adding a note here at 10pm 4/8/06:

I'm glad to see that Steve Vincent has posted to his blog (see link above) information about ordering The Poetry Reading, so that confirms that there are some copies still available. Also, there are other works from his Momo's Press, such as Beverly Dahlen's A Reading, 1-7 (which I am also happy to have here and have featured in the past (check archives -- and I will soon feature this superb work again on Tex).



chris at 2:47 PM |

 

Well, I've gotten to the mysterious source. . . Y'all: here are the roots of the new art and poetics movement, KaBlow!sm, which is to say Ezra Pound and/or dot dot dot . . . Eric Gelsinger! dat dat dat . . . & dat's all the EP for now folks . . .



chris at 2:33 PM |

Friday, April 07, 2006

 

I linked to the review page here the other day, but hey, Y'all, do also check out the rest of the latest issue of
MiPOesias Magazine. It's full-up with off-the-usual po-fun
(eep, seems i'm developing a rash of over-hyphenation here, eh?



chris at 5:52 PM |

 

I'm hearing in comments that I inadvertently left out some presences or members of KaBlow!sm, so am adding them to the link below:
Hey, I just happened onto Francois Luong's very fun blog, Voices in Utter Dark, which at moment is variously questioning the (supposed) necessity of creating poetic movements (and then crashing/dashing them). So then, how about that KaBlow!sm originating with Eric Gelsinger, Jessica Smith. And self-admittedly John Sakkis, more toward "sucked into KaBlow!sm" . . . It all *sounds* to me like it has great inventional poet-tential . . . kaBlowkaBlamkaBlow,yeah! Add to the ranks these po-folk: Francis Luong, Tarwin, Jonathan Fadely, CS Perez -- did a double take on that name, Y'all: at first I misread it as CS Peirce : ) -- Claire Webb, and Al Cohen . . .



chris at 4:22 PM |

Thursday, April 06, 2006

 

EP / on / or / Poetic Ear

from Mary Barnard's memoir, Assault on Mt. Helicon * :


I decided Pound was the poet I wanted to write to. . . . I thought he knew more about the technique of writing poetry than any other living poet. . . . I went to the Vancouver Library and looked him up in _Who's Who_. I had never mailed a letter to Italy in my life, and I wished he were nearer . . . [but] one crisp fall day in 1933 I fired off six poems and a short letter asking for advice or assistance. The answer to my letter arrived early one November morning. It was a postcard that deserves to be quoted in full:

"Age? intentions? intention? how MUCH intention? I mean how hard and for how long are you willing to work at it? Rudiments of writing // vide my pubd/ crit.
Rudiments music??? my unpubd/ and mostly unwritten crit.
Contents??
'Lethe' the best because there is more IN it.
What magazines do you refer to? Young uns that dont pay / or
the old fungus that has been putrifying on nooz standz fer 40
year?
Nice gal, likely to marry and give up writing or what Oh?"

[--Ezra Pound postcard to Mary Barnard, Nov. 1933]

. . . In reply to the postcard I wrote a rather long letter explaining more about my situation, asking just what he meant by 'Contents' (my guess turned out to be correct), and telling him that so far as music was concerned, I was hopeless. I couldn't carry a tune. I did not know then that both he [Ezra Pound] and Yeats had the same difficulty. [but in part what he then replied was :]

". . . Music rots when it gets too far from dance.
Poetry when too far from music . . .
you needn't worry about not having an exact pitch sense
NOW . . . Besides the difficulty in WRITING mus-
ic is in the RHYTHM NOT in pitch . . . any-
body can tap a pyanny till they find the pitch
they want. The question of the DURATION of
the note, is another job altogether . . .
Get a metronome and learn HOW long the differing syllables,
and groups of them take.
and don't go telling everybody I said so/
I don't want the NEXT 'movement' smeared over by
Lowells and people who won't work.
. . ."
[--Ezra Pound, Letter to Mary Barnard, December 2, 1933]

(52-55)



* Mary Barnard, Assault on Mount Helicon: a Literary Memoir (Berkely: Univ Calif Press, 1984)



chris at 11:22 AM |

Wednesday, April 05, 2006

 


In MiPoesias Magazine: Revista Literaria, Francois Luong has a review of various recent issues of poetry journals, including mem 3, which is edited and published by poet Jill Stengel. Gosh, what a nice surprise to read this--thank you.



chris at 11:25 AM |

Tuesday, April 04, 2006

 

from Ezra Pound's ABC of Reading * :


"I suppose this is the most beautiful sonnet in the language, at any rate it has one nomination." --EP (Exibits/Notes, 134)


by Mark Alexander Boyd (1563-1601):


Fra bank to bank, fra wood to wood I rin
Ourhailit with my feeble fantasie
Like til a leaf that fallis from a tree
Or til a reed ourblawin with the wind,

Two gods guides me, the ane of them is blin,
Yea, and a bairn brocht up in vanitie,
The next a wife ingenrit of the sea
And lichter nor a dauphin with her fin.

Unhappy is the man for evermair
That tills the sand and sawis in the air,

But twice unhappier is he, I lairn,
That feidis in his heart a mad desire
And follows on a woman throw the fire
Led by a blind and teachit by a bairn.


(134)


* Mark Alexander Boyd, "Sonnet," in Ezra Pound, The ABC of Reading (New Directions, 1960, 1987; orig. 1934)



chris at 11:03 AM |

Monday, April 03, 2006

 

from Geoffrey of Vinsauf's
_The New Poetics_ (Poetria nova) * :

. . . [I]t you wish to proceed the more safely, fashion little cues for yourself, whatever your mind's free will suggests. If they delight you, then you will learn by using them. There are some people who wish to learn, but not to work or to suffer study and pain. That is the way of a cat: it wants a fish but does not want to go fishing. I do not speak to them, but only to any there may be whom the labor of getting knowledge rejoices as much as the knowledge itself does.

* * *

These languages should be heard in reciting: first, that of the mouth; next, that of the speaker's countenance, and, third, that of gesture. The voice has its own laws, and observe these as follows. Let the period keep its pauses when spoken, and let pronunciation preserve accent. Those words which the sense separates, separate; those which the sense joins, join. So tame your voice that it is not at odds with the subject, nor let it be inclined down a path other than that which the subject matter intends; let both go together: some particular tone of voice will be the perfect reflection of the subject matter. As the subject behaves, so let the speaker behave. Let us see this by one example:
*Wrath, offspring of flame and mother of madness, deriving its origin from its own bellows, poisons the heart and the innermost parts. . . . It blasts with its bellows, burns with its flame, and confounds with its madness.* If you represent the person of this angry man, what, as a speaker, will you do? Imitate true rages. Yet be not yourself enraged; behave partially like the character, but not inwardly.
. . . You can also present the gestures of a rustic character and be humorous . . . through little clues. . . . This is a disciplined charm; this technique of oral recitation is appealing and this food is flavorful to the ear.


(105-106)


* Geoffrey of Vinsauf, Poetria nova (c. 1210 AD) trans. Jane Baltzell Kopp, in Three Medieval Rhetorical Arts ed. James J. Murphy (Berkeley: Univ. Calif. Press, 1971).



chris at 10:22 AM |

Sunday, April 02, 2006

 

from Mikhail Bakhtin, on
Notes on the Forms of Knowledge, Monologic, Dialogic * :


. . . The exact sciences constitute a monologic form of knowledge: the intellect contemplates a thing and expounds upon it. There is only one subject here--cognizing (contemplating) and speaking (expounding). In opposition to the subject there is only a voiceless thing. Any object of knowledge (including man) can be perceived and cognized as a thing. But a subject as such cannot be perceived and studied as a thing, for as a subject it cannot, while remaining a subject, become voiceless, and, consequently, cognition of it can only be dialogic. . . . Historicity. Immanence. Enclosure of analysis (cognition and understanding) in one given text. The problem of the boundaries between text and context. Each word (each sign) of the text exceeds its boundaries. Any understanding is a correlation of a given text with other texts. Commentary. The dialogic nature of this correlation. The place of philosophy. It begins where the precise science ends and a different science begins. It can be defined as the metalanguage of all sciences (and all kinds of cognition and consciousness). . . . thought about the world, and thought in the world. . . .

(161-162)


* M.M. Bakhtin, "Methodology for the Human Sciences," Speech Genres and Other Essays eds. Caryl Emerson and Michael Holquist. trans. Vern W. McGee (University of Texas Press, 1986).



chris at 3:08 PM |

 

An Announcement from John Tranter, publisher/editor of Jacket Magazine :

There are over two hundred books and magazines forlornly awaiting reviewers
in Jacket's unassigned list, from Kazim Ali to Rachel Zucker:

Jacket's List of Books for Review

And Jacket 29 is slowly growing...

Jacket 29, Index

=== Douglas Messerli: The Countess of Berkeley: on Barbara Guest

Feature: Gilbert Sorrentino -- Edited by Ken Bolton

=== Ken Bolton: Gilbert Sorrentino: an Introduction
=== John O'Brien: Gilbert Sorrentino: Some Various Looks
=== Eric Mottram: The Black Polar Night: The Poetry Of Gilbert Sorrentino
=== Donald Phelps: Extra Space
=== Gilbert Sorrentino in conversation with Barry Alpert, 1974

Interviews

=== Bill Berkson in Conversation with Robert Glück, August 2005
=== Setting the World on Fire: Charles Bernstein in conversation with
Leonard Schwartz, 2004
=== On the Nature of the Lyric: Tom Clark in conversation with Ryan Newton
=== My Motto Is: 'Translation Fights Cultural Narcissism' -- Chris Daniels
in conversation with Kent Johnson, on Fernando Pessoa, Brazilian Poetry,
and the Task of the Translator, 2005

Feature: James Schuyler, Edited by Pam Brown

=== James Schuyler: Letters from Italy, Winter 195455, to Frank O'Hara (a
selection, ed. William Corbett)
=== Simply, Freely, Clearly: David Kennedy reviews Just the Thing: Selected
Letters of James Schuyler 1951-1991, edited by William Corbett. 470pp.
Turtle Point Press. US$21.95 / £13.99. 1885586302. Paper. AND James
Schuyler: Selected Art Writings, edited by Simon Pettet. 310pp. Black
Sparrow Press. US$17.50. 157423076X. Paper.
=== On editing James Schuyler: Simon Pettet and William Corbett and Nathan
Kernan in conversation with Pam Brown

Mallarmé revisited

=== Chris Edwards: A Fluke: 'A Fluke' is a mistranslation into English of
Stéphane Mallarmé's 1897 poem 'Un coup de dés...' with parallel French text.
=== Rachel Blau DuPlessis: Draft 73: Vertigo -- a response to Mallarmés work.
=== John Tranter: Desmond's Coupé: A partly homophonic mistranslation into
English of 'Un coup de dés', using a nice, sensible even left margin.
=== John Tranter: a review of Musicopoematographoscope, by Australian poet
Christopher Brennan, a manuscript parody of 'Un coup de dés' written within
a few months of Mallarmé's poem being published in the May 1897 issue of
the Paris journal Cosmopolis.

On Flarf

=== Dan Hoy: on Flarf: The Virtual Dependency of the Post-Avant and the
Problematics of Flarf: What Happens when Poets Spend Too Much Time Fucking
Around on the Internet
=== The Flarflist Collective: Actual Interview with a Six-Year-Old on the
Topic of Flarf

Margaret Avison:

Eight poems: The World Still Needs / End of a Day or I as a Blurry
Needy / Christmas Approaches, Highway 401 / The Hid, Here / A Small Music
on a Spring Morning / Cycle of Community / The Fixed in a Flux /

Articles

=== David Brooks: "Petit Testament": A Reading [on the Ern Malley hoax]
=== Stephen Kirbach: Resisting the power museum with and beyond Allen
Ginsberg's 'Wichita Vortex Sutra'
=== Thomas Lisk: William Bronk's Path Among the Forms
=== Michael Palmer: Ground Work: on Robert Duncan
=== John Welch: Getting it Printed: London in the 1970s
=== Barry Wood and Bill Luckin: Catch the Music as it Fades: The Poetry of
Jack Beeching

Comic Strip

=== John Tranter: Dan Dactyl and the Mad Jungle Doctor: A 95-frame black
and white comic strip that traces the adventures of adventurer Dan Dactyl
and his pals as they search the South American jungles for the mysterious
French poet Doctor Verlaine. First published in Chain (US), Poetry Review
(London) and Southerly magazine (Sydney).

Reviews

=== Erik Anderson: Join the Planets, by Reed Bye
=== Jasper Bernes: The Hounds of No by Lara Glenum and A Defense of Poetry
by Gabriel Gudding
=== Michael Cross: Rumored Place by Rob Halpern
=== Elaine Equi Light and Shade: New and Selected Poems, by Tom Clark
=== Michael Farrell reviews "Hyper Taiwan: Art Design Culture", by Kurt
Brereton
=== Thomas Fink: 60 lv bo(e)mbs, by Paolo Javier
=== John Hall: Whisper 'Louise', A double historical memoir and meditation,
by Douglas Oliver
=== David Koehn reviews: Profane Halo by Gillian Conoley
=== Michael Leddy: More Winnowed Fragments by Simon Pettet
=== David McCooey: Compared to What: Selected Poems 1971-2003 and The Ash
Range by Laurie Duggan
=== Marianne Morris: Embrace, by Andrea Brady
=== Chris Murray: Small Works by Pam Rehm
=== John Olson: What He Ought To Know, New and Selected Poems by Edward Foster
=== Gerald Schwartz: Drunken Sailor by John Montague
=== Erik Sweet: American Music by Chris Martin
=== Erik Sweet: Father of Noise by Anthony McCann
=== Eileen Tabios: The Passion of Phineas Gage & Selected Poems by Jesse Glass
=== Nathaniel Tarn: Red Sky Café by Geoffrey O'Brien
=== Ed Taylor: The Beautifully Worthless, by Ali Liebegott

Poems

=== Aaron Belz: Four Poems for Jen Bervin
=== Dustin Collis: Two poems: Title Poem / Light Plucked
=== Alfred Corn: Rip at the Half Moon
=== Wystan Curnow: Three poems from Modern Colours
=== Denise Duhamel and Stephen Paul Miller: from 'Hurricanes': 2. B-Boy /
4. Desperate Young Americans / 6. If RFK had become President
=== Jon Fosse: The train in one's heart: English version by May-Brit Akerholt
=== Bill Freind: Four poems: Serenade for Intercom and Tardy Chorister /
Dispensationalist Foxtrot / Deportation Celebrant / Chillun of the Hods
=== John Hall: An essay on lyric ethics
=== Anthony Hawley: Six poems: 'Awhile' -- Field Guide for Voices / Five
poems from P(r)etty Sonnets
=== Brian Henry: Three poems: Poem for the Man / Dead Aesthetic / Jesus/Stick
=== Kent Johnson: Prosodic Structure (A bit after Barbara Guest)
=== Kent Johnson: Julian in Nicomedeia -- after Cavafy
=== Andrew Johnston: Mauve
=== Peter Larkin: Urban Woods (Section 1 of Open Woods)
=== Norman MacAfee: The Coming of Fascism to America
=== Nicholas Messenger: The Pleasures of Reading
=== Philip Nikolayev: Two poems: Three Stars / Litmus Test
=== Ron Padgett and Yu Jian: Five poems: Shoe Cloud / Poem 8 / Poem 9 /
Poem 16 / Poem 11
=== Christopher Salerno: Two poems: The Republic, Book X / Not Dying
=== Ouyang Yu: Nine Poems: Listening to the ex-Chinese-woman-soldier /
Listening to the Pakistani Taxi-driver / Listening to the Big Bus Guy in
London / Listening to the poet talk about himself / Listening to the
Lebanese Taxi-driver / Listening to my woman patient / Listening to the 80
year old telling me a story / Listening to the Bangladeshi taxi-driver /
Listening to the Chinese audience
=== Maged Zaher: my software mission



 

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