From X2deuce at aol.com Tue Jan 1 21:20:39 2002 From: X2deuce at aol.com (X2deuce at aol.com) Date: Tue, 1 Jan 2002 21:20:39 EST Subject: [New-Poetry] I am all hollow inside Message-ID: <15e.67c3138.2963c877@aol.com> Please talk all about me all the times. Everything else is broring to me. I ++need++ to hear about how Shakesperes was constructed, not really the author. I am lonly. I agree. Hamlet is a fake according to Robin. A lord wrote everything about the plays. I am more boring than Pound. +++++I knew Joyce, I am not it according to you, you are bugging Robin.++++ I need you to insult about me. I am all hollow inside. I want to scream with this emptiness in my stomach ache. mE ME ME ME ME ME ME. Talk about that more. I am a geniuis in intelligince. (IQ 179) That's how come it makes me want to pervert myself adolesently. Luv Billie From wjbat at conncoll.edu Wed Jan 2 02:03:12 2002 From: wjbat at conncoll.edu (Wendy Battin) Date: Tue, 1 Jan 2002 23:03:12 -0800 Subject: [New-Poetry] Poetry in Greece In-Reply-To: <20011231203530.020905@oak.cc.conncoll.edu> Message-ID: <20020101230312.019831@oak.cc.conncoll.edu> If any of you have poetry students who might be interested in studying in Greece: Charles O. Hartman and I will be co-teaching a course in reading and writing poetry for College Year in Athens in the fall. We'll be based in Athens but will travel to Crete, Mycaenae, Delphi, Epidavros and other isites with some of the best archaeologists around. It's a full-semester program and offers full credit; when we were there before, the majority of students came from American and British universities, but we had a healthy international representation. Students can work in Mediterranean studies, Classics, archaeolgy, marine ecology, political science, languages, etc.-- you can get details at http://www.cyathens.org/ The fall catalog isn't online yet but should be shortly. Feel free to contact me for more info. Wendy ----------------------------- Wendy Battin wjbat at conncoll.edu From cstroffo at earthlink.net Wed Jan 2 01:18:45 2002 From: cstroffo at earthlink.net (Chris Stroffolino Stroffolino) Date: Tue, 01 Jan 2002 22:18:45 -0800 Subject: [New-Poetry] I am all hollow inside References: <15e.67c3138.2963c877@aol.com> Message-ID: <3C32A645.86B776CB@earthlink.net> a brilliant riff on the buzzcocks..... dr. pepper "which way you goin' billie?" the poppy family X2deuce at aol.com wrote: > Please talk all about me all the times. Everything else is broring to me. I > ++need++ to hear about how Shakesperes was constructed, not really the > author. I am lonly. I agree. Hamlet is a fake according to Robin. A lord > wrote everything about the plays. I am more boring than Pound. +++++I knew > Joyce, I am not it according to you, you are bugging Robin.++++ I need you > to insult about me. I am all hollow inside. I want to scream with this > emptiness in my stomach ache. mE ME ME ME ME ME ME. Talk about that more. > I am a geniuis in intelligince. (IQ 179) That's how come it makes me want to > pervert myself adolesently. > > Luv Billie > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From X2deuce at aol.com Wed Jan 2 06:17:04 2002 From: X2deuce at aol.com (X2deuce at aol.com) Date: Wed, 2 Jan 2002 06:17:04 EST Subject: [New-Poetry] x2 account closing Message-ID: <89.11572ba4.29644630@aol.com> Dear New-Poetry List Members, Last night, after accidentally opening my daughter Clarisse's e-mail, I discovered that she has been sending crank e-mails to this and half a dozen other listservs. As a result, I will be closing this account and suspending her computer privileges. Please accept my apologies. Clarisse is a very intelligent junior at a high school here in Chico, CA., but sometimes very difficult to control. I sincerely hope that she has not been too disruptive of your poetry discussions. Yours, K. From halvard at earthlink.net Wed Jan 2 09:38:21 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Wed, 2 Jan 2002 09:38:21 -0500 Subject: [New-Poetry] Poems by others: Shinkichi Takahashi, "Apex of the Universe" Message-ID: Apex of the Universe Standing with cold bare feet Atop the universe, Raking down the ashes of logic, My voice will be fresh again. I've had more than enough Of the polite sexuality of wind And stars. It's not science that beats The black into the parrot's bill. Without hands and little spirit, I'll blow and blow Till that fresh sound comes: I refuse to hear of the fate of wingless birds. --Shinkichi Takahashi (tr. Lucien Stryk w/ Takashi Ikemoto) Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From snospx at silcom.com Wed Jan 2 11:09:22 2002 From: snospx at silcom.com (Barry Spacks) Date: Wed, 02 Jan 2002 08:09:22 -0800 Subject: [New-Poetry] I am all hollow inside In-Reply-To: <3C32A645.86B776CB@earthlink.net> References: <15e.67c3138.2963c877@aol.com> Message-ID: <3.0.5.32.20020102080922.007c9920@snowcrest.net> At 10:18 PM 1/1/02 -0800, Chris wrote: >a brilliant riff on the buzzcocks..... >dr. pepper > Yeah -- I for another will miss our luv-Billie, if truly she's been busted; but I dunno, that hard-love Momma-message, Billie's 179 makes her more than capable of prose-pur -- as Eliot said (in conversation) 'of sneaky there is no end' (or was it 'sneaky is endless'?). Brother B. as to your Subject-line, dear Billie, believe me, there's all sorts of gutsy-juicey stuff in there, guaranteed, along with the universal empty spaces amongst the stars. From JforJames at aol.com Wed Jan 2 11:52:18 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 2 Jan 2002 11:52:18 EST Subject: [New-Poetry] Billientity persona non grata Message-ID: <109.b37f9b9.296494c2@aol.com> I hope we have seen the last of these nuisance posts...X2deuce at aol.com is unsubbed at this point. (However, she/he had unsubbed last week only to jump back on today, if briefly.) As of now the software has been to set to filter out X2deuce at aol.com. Jim Finnegan NewPoetry List From JforJames at aol.com Wed Jan 2 11:58:18 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 2 Jan 2002 11:58:18 EST Subject: [New-Poetry] Re: Victor Hernandez Cruz poem Message-ID: <8.1f0a493c.2964962a@aol.com> PROBLEMS WITH HURRICANES A campesino looked at the air And told me: With hurricanes it's not the wind or the noise or the water. I'll tell you he said: it's the mangoes, avocados Green plantains and bananas flying into town like projectiles. How would your family feel if they had to tell The generations that you got killed by a flying Banana. Death by drowning has honor If the wind picked you up and slammed you Against a mountain boulder This would not carry shame But to suffer a mango smashing Your skull or a plantain hitting your Temple at 70 miles per hour is the ultimate disgrace. The campesino takes off his hat- As a sign of respect toward the fury of the wind And says: Don't worry about the noise Don't worry about the water Don't worry about the wind- If you are going out beware of mangoes And all such beautiful sweet things. --Victor Hernandez Cruz --------------------------------- copyright (c) 2001. From "Maraca: New and Selected Poems 1965-2000," published by Coffee House Press (http://www.coffeehousepress.org). --------------------------------- E-verse is a free service presented by Milkweed Editions (http://www.milkweed.org). From JforJames at aol.com Wed Jan 2 12:10:31 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 2 Jan 2002 12:10:31 EST Subject: [New-Poetry] brief review of Michael Hoffman book Message-ID: RITISH-POETS at JISCMAIL.AC.UK (british & irish poets) Mon, 31 Dec 2001 15:23:54 -0800 From: Paul Murphy Subject: Hofmann Approximately Nowhere by Michael Hofmann (Faber & Faber) Price: ?7.99 Michael Hofmann's collection Approximately Nowhere is subversive and simultaneously conformist in its attempt to describe or enscribe modernity. A typical poem mentions the venerable and antique, and contrastingly modern vocabulary and imagery: Some kill somewhere upstate. Bud light A gutted mill, three storeys of brickwork, Mattresses and condoms, elder and sumac, Child abusers fishing for chub in heavy water. (Rimbaud on the Hudson) My initial question was, why Rimbaud? And why, particularly the Hudson, which connotes Hudson Bay or the Hudson River? Rimbaud is a venerable French poet, with a risque reputation, his homosexuality and eventual career as a slave trader; but his name, in itself, denotes this as a poem, since Rimbaud is unmistakeably a poet, and a famous one to boot, we cannot but realise the inherent poeticism of this poem. Rimbaud had no connection whatever with the Hudson, so this is a surreal juxtaposition, perhaps hinting at sexual deviancy on the Hudson, or even slave trading. Therefore, we eventually recognise this as a poem, not a pop song, a limerick, a jingle or a ballad. The actual text of the poem is quite separate and separable from the title, it might as well have been Baudelaire on the Mississipi, for by this reasoning: Venerable French poet +trendy Americana+dubious neologisms+child abusers=a poem And unfortunately, for everyone except the most pre-pubescent sixth formers, this is not the case, and this has more connection to nonsense than modernity, or to the thing that it hints that it is, ie a poem. Much of the rest of this collection has a similar feel to it, although there is some excellent writing as well, gems among the mud: A magenta giant like my father, Or again Gerstl, the other hope (after Kokoschka who lived forever) Of Austrian painting, Dead at maybe twenty-five, his head an orange Spiked on the clove of his neck, More shocking than Van Gogh, Sun flecks of paint, A silent bray of disseverance. (Fou Rire) But the writer would be better off trying to convince us of his competancy as a writer, than attempting to impress with this shower of pseudo-academic flummery. There are some reasonable elegies for the writer's father, an eminent novelist in Germany, poems about an adulterous love affair, and about that most drole of all places Essex, an elephant's graveyard if ever there was one, it seems: They turned your pet field into a country club, And the cemetery was grey with rabbits And the graves of your friends Who had died young of boredom. (Essex) Finally, Hofmann's poetry offers possibilities that might gain fruition by a gradual emptying of the academia and spuriousness that surrounds his work, the collection is worth reading, and does reward re-reading. From wasanthony at yahoo.com Wed Jan 2 12:22:46 2002 From: wasanthony at yahoo.com (jcervantes) Date: Wed, 2 Jan 2002 09:22:46 -0800 (PST) Subject: [New-Poetry] I am all hollow inside In-Reply-To: <3.0.5.32.20020102080922.007c9920@snowcrest.net> Message-ID: <20020102172246.249.qmail@web12106.mail.yahoo.com> Yes. Perhaps we should deluge mom with a "Free Billie" campaign. I was just beginning to get used to her syntax, not to mention her spelling. And of course the perspective like unfinished furniture designed by Dr. Seuss. - Jim --- Barry Spacks wrote: > At 10:18 PM 1/1/02 -0800, Chris wrote: > >a brilliant riff on the buzzcocks..... > >dr. pepper > > > Yeah -- I for another will miss our luv-Billie, > if truly she's been busted; but I dunno, > that hard-love Momma-message, Billie's > 179 makes her more than capable of > prose-pur -- as Eliot said (in conversation) > 'of sneaky there is no end' (or was it > 'sneaky is endless'?). > > Brother B. > > as to your Subject-line, dear Billie, believe me, > there's all sorts of gutsy-juicey stuff in > there, guaranteed, along with the universal empty > spaces amongst the stars. > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Salt River Review: "Ripples" @ Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send your FREE holiday greetings online! http://greetings.yahoo.com From wasanthony at yahoo.com Wed Jan 2 12:31:09 2002 From: wasanthony at yahoo.com (jcervantes) Date: Wed, 2 Jan 2002 09:31:09 -0800 (PST) Subject: [New-Poetry] Billientity persona non grata In-Reply-To: <109.b37f9b9.296494c2@aol.com> Message-ID: <20020102173109.1361.qmail@web12106.mail.yahoo.com> --- JforJames at aol.com wrote: > I hope we have seen the last of these > nuisance posts...X2deuce at aol.com is unsubbed > at this point. (However, she/he had unsubbed last week > only to jump back on today, if briefly.) As of now > the software has been to set to filter out X2deuce at aol.com. > Jim Finnegan > NewPoetry List Maybe so, but have you truly gotten rid of Clarisse (a.k.a. Billie) and mom K. (a.k.a. "Billie")? - Jim ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Salt River Review: "Ripples" @ Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send your FREE holiday greetings online! http://greetings.yahoo.com From bobgrumman at nut-n-but.net Wed Jan 2 12:53:22 2002 From: bobgrumman at nut-n-but.net (Bob Grumman) Date: Wed, 2 Jan 2002 12:53:22 -0500 Subject: [New-Poetry] Billientity persona non grata References: <109.b37f9b9.296494c2@aol.com> Message-ID: <000c01c193b6$5f54abc0$cf04fea9@y3b2r8> > I hope we have seen the last of these > nuisance posts...X2deuce at aol.com is unsubbed > at this point. Fie. I got as much out of them than I do out of almost all the other posts plopped into new-poetry. I thought they wuz fun. --Bob G. From tadrichards at prodigy.net Wed Jan 2 13:06:54 2002 From: tadrichards at prodigy.net (theoldmole) Date: Wed, 2 Jan 2002 13:06:54 -0500 Subject: [New-Poetry] Billientity persona non grata References: <109.b37f9b9.296494c2@aol.com> Message-ID: <003a01c193b8$46d4c7e0$6401a8c0@hvc.rr.com> Probably the right move...Billie's comic relief was starting to wear a little thin. Tad Richards "Well said, old mole." The Old Mole Wm. Shakespeare of the MoleNet Hamlet, Act I, Scene 5 ----- Original Message ----- From: To: Sent: Wednesday, January 02, 2002 11:52 AM Subject: [New-Poetry] Billientity persona non grata > I hope we have seen the last of these > nuisance posts...X2deuce at aol.com is unsubbed > at this point. (However, she/he had unsubbed last week > only to jump back on today, if briefly.) As of now > the software has been to set to filter out X2deuce at aol.com. > Jim Finnegan > NewPoetry List > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From tadrichards at prodigy.net Wed Jan 2 13:16:55 2002 From: tadrichards at prodigy.net (theoldmole) Date: Wed, 2 Jan 2002 13:16:55 -0500 Subject: [New-Poetry] Senghor et al. References: <109.b37f9b9.296494c2@aol.com> Message-ID: <004001c193b9$a949bf60$6401a8c0@hvc.rr.com> Meant to write this after Finnegan's post on the death of Leopold Senghor, but one does lose track of time. I once semi-designed a course which I never actually taught, deciding I wasn't smart enough or educated enough. It would have been called "Poets Who Were National Heroes." I would have included Senghor, Neruda, Burns...probably Yevtushenko, or maybe Havel if I stretched my definitions a bit...Tagore...wasn't sure who for east Asia -- maybe Mao? I was going to take the position that America didn't have one, and have my students write a term paper addressing two questions -- Why? and If we did have one, who would he/she be? Anyway, there it is. Anyone who wants it is welcome to take it and run with it. Tad Richards "Well said, old mole." The Old Mole Wm. Shakespeare of the MoleNet Hamlet, Act I, Scene 5 From tdon at n-link.com Wed Jan 2 18:45:24 2002 From: tdon at n-link.com (Marty Hughes) Date: Wed, 2 Jan 2002 18:45:24 -0500 Subject: [New-Poetry] Routine Message-ID: <002201c193e7$8d70e880$a5e818d0@default> Hi - below is something I wrote long ago - am curious to hear any comments. Thanks - Marty one day in 1979 Strain against the chains of sleep Stagger to the kitchen With automatic reflexes One eye open Make coffee Fix lunches Wake kids Wake husband Feed, clothe, good bye School, work, world. One eye still open One ear hears the television Voice of doom. War,assaination, recession. Pick up the clutter of living - Books,toys,papers,empty cups Where did I leave the broom To sweep away the debris of life? The TV blares a talk show. A shallow minded host Hopes to transform three Members of the audience Who are ready for CHANGE ! She points out individual traits. She'll change them to look alike. Another row of Barbie doll travesties - Hoping their new shell will Evoke attention from Husbands,children - THE WORLD. Oh - how sad we are - We robots of routine. Can we not accept routine As part of living Not life ? -------------- next part -------------- An HTML attachment was scrubbed... URL: From CobbCoStudioArts at pro.talentx.com Thu Jan 3 08:28:25 2002 From: CobbCoStudioArts at pro.talentx.com (Robert R.Cobb) Date: Thu, 3 Jan 2002 05:28:25 -0800 (PST) Subject: [New-Poetry] Routine Message-ID: <20020103132825.D805C2756@sitemail.everyone.net> An embedded and charset-unspecified text was scrubbed... Name: not available URL: From JforJames at aol.com Thu Jan 3 17:29:21 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Thu, 3 Jan 2002 17:29:21 EST Subject: [New-Poetry] Wallace Stevens Award Message-ID: <59.15695f4a.29663541@aol.com> Date: 1/3/02 4:30:03 PM Eastern Standard Time From: MatererT at missouri.edu (Timothy Materer) Sender: owner-MODERN_POETS-L at po.missouri.edu Reply-to: MODERN_POETS-L at po.missouri.edu To: MODERN_POETS-L at po.missouri.edu This is old news, but in case you are always a few steps behind like me: John Ashbery Receives the Wallace Stevens Award $150,000 for mastery in the art of poetry New York, November 7, 2001--The Academy of American Poets announced today that John Ashbery has been selected as the recipient of the Wallace Stevens Award. Given annually, the $150,000 prize recognizes outstanding and proven mastery in the art of poetry. The judges for 2001 were Charles Bernstein, Susan Howe, Harryette Mullen, Geoffrey O'Brien, and Cole Swensen. Academy Chancellor and jury chair Susan Howe writes of John Ashbery's poetry: It is abundantly clear to the members of this year's panel that the rich magic of John Ashbery's art is instance and illustration of Poetry's abiding and necessary engagement with life. With their unforgettable and haunting titles, his poems proceed by way of multiple correspondences, reiterated questions, delays, profundities, snippets, fraught variants, and other particular and transitional agencies in the flow of experience; the reader finally arrives at a shelter of the mind where he or she is lonely, though never quite alone. The poems John Ashbery has so meticulously fashioned are singular and secret, his stirred perceptions private, yet how bravely and unreservedly they maintain a sense of infinite generosity and fellowship. The Wallace Stevens Award is given annually to recognize outstanding and proven mastery in the art of poetry. Established in 1994, the award carries a stipend of $150,000. The previous recipients are W. S. Merwin, James Tate, Adrienne Rich, Anthony Hecht, A. R. Ammons, Jackson Mac Low, and Frank Bidart. -- Timothy Materer, 107 Tate Hall, English Department University of Missouri, Columbia MO 65211 Fax: 573 882-5785 Modern_Poets-L: The Modern Poets Electronic Discussion Forum http://www.missouri.edu/~engtim/mopo.html From cstroffo at earthlink.net Thu Jan 3 20:29:06 2002 From: cstroffo at earthlink.net (Chris Stroffolino Stroffolino) Date: Thu, 03 Jan 2002 17:29:06 -0800 Subject: [New-Poetry] Wallace Stevens Award References: <59.15695f4a.29663541@aol.com> Message-ID: <3C350562.DD36CE46@earthlink.net> Well----YEA FOR JOHN---- deserved---being that he's one of the few contemporaries who actually seems to GET Stevens.... JforJames at aol.com wrote: > Date: 1/3/02 4:30:03 PM Eastern Standard Time > From: MatererT at missouri.edu (Timothy Materer) > Sender: owner-MODERN_POETS-L at po.missouri.edu > Reply-to: MODERN_POETS-L at po.missouri.edu > To: MODERN_POETS-L at po.missouri.edu > > This is old news, but in case you are always a few steps behind like me: > > John Ashbery Receives the Wallace Stevens Award > $150,000 for mastery in the art of poetry > > New York, November 7, 2001--The Academy of American Poets announced > today that John Ashbery has been selected as the recipient of the > Wallace Stevens Award. Given annually, the $150,000 prize recognizes > outstanding and proven mastery in the art of poetry. The judges for > 2001 were Charles Bernstein, Susan Howe, Harryette Mullen, Geoffrey > O'Brien, and Cole Swensen. > > Academy Chancellor and jury chair Susan Howe writes of John Ashbery's poetry: > > It is abundantly clear to the members of this year's panel that the > rich magic of John Ashbery's art is instance and illustration of > Poetry's abiding and necessary engagement with life. With their > unforgettable and haunting titles, his poems proceed by way of > multiple correspondences, reiterated questions, delays, profundities, > snippets, fraught variants, and other particular and transitional > agencies in the flow of experience; the reader finally arrives at a > shelter of the mind where he or she is lonely, though never quite > alone. The poems John Ashbery has so meticulously fashioned are > singular and secret, his stirred perceptions private, yet how bravely > and unreservedly they maintain a sense of infinite generosity and > fellowship. > > The Wallace Stevens Award is given annually to recognize outstanding > and proven mastery in the art of poetry. Established in 1994, the > award carries a stipend of $150,000. The previous recipients are W. > S. Merwin, James Tate, Adrienne Rich, Anthony Hecht, A. R. Ammons, > Jackson Mac Low, and Frank Bidart. > > -- > > Timothy Materer, 107 Tate Hall, English Department > University of Missouri, Columbia MO 65211 > Fax: 573 882-5785 > Modern_Poets-L: The Modern Poets Electronic Discussion Forum > http://www.missouri.edu/~engtim/mopo.html > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From JforJames at aol.com Thu Jan 3 22:21:29 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Thu, 3 Jan 2002 22:21:29 EST Subject: [New-Poetry] Wallace Stevens Award Message-ID: <12c.a45c0b1.296679b9@aol.com> In a message dated 1/3/02 8:26:10 PM Eastern Standard Time, cstroffo at earthlink.net writes: << Well----YEA FOR JOHN---- deserved---being that he's one of the few contemporaries who actually seems to GET Stevens.... >> Chris, Except that John Ashbery lacks Stevens' linear stateliness. Or, said another way, Stevens is the parade while Ashbery too easily gets lost drifting among the crowd. Finnegan From JforJames at aol.com Thu Jan 3 22:26:19 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Thu, 3 Jan 2002 22:26:19 EST Subject: [New-Poetry] NOTICE: MUDLARK Message-ID: <18c.16bd50f.29667adb@aol.com> Date: Thu, 3 Jan 2002 10:17:27 -0500 From: William Slaughter Subject: NOTICE: MUDLARK NEW AND ON VIEW: MUDLARK NO. 19 (2002) SMITH STREET: a melodrama in three acts (or, Sunset Clause) (or, Between Heaven and Hell) by John Kinsella, Tracy Ryan and Steve Chinna SMITH STREET was first performed by Theatre Studies students and directed by Steve Chinna at the Dolphin Theatre, the University of Western Australia, on 24 May, 2001. from Steve Chinna's Programme Notes: "SMITH STREET explores the lives and politics of local 'high' and 'low' life who intermingle in a space between heaven and hell - where naturalism moves to fantasy, prose to poetry, dialogue to song, and the distinctions between law makers and law breakers are destabilised." "When John Kinsella approached me late in 2000 regarding the production of a play he was writing - based around events in Perth concerning Smith Street, kerb-crawling clients, prostitutes, and political game-playing - he expressed the wish that it be first performed by students at the Dolphin Theatre at UWA in recognition of the long involvement in theatre production and performance by staff and students at this university. The play was written in collaboration with Tracy Ryan and its poetical nuances display the verbal gymnastics and strong visuality of the dialogue. I was given carte blanche to add material and direct it for performance without authorial intervention. It was clearly recognised by both John and Tracy that a script can only be a potential in terms of staging. I am grateful to them for the opportunity to present this work in performance, and to the efforts put into it by all concerned - especially the students of both cast and crew who have worked on this project with such enthusiasm - against study and work commitments that often made sustained rehearsal impossible." JOHN KINSELLA is the author of more than twenty books whose many prizes and awards include The Grace Leven Poetry Prize, the John Bray Award for Poetry from The Adelaide Festival, The Age Poetry Book of The Year Award, The Western Australian Premier's Prize for Poetry (twice), a Young Australian Creative Fellowship from the former PM of Australia, Paul Keating, and senior Fellowships from the Literature Board of The Australia Council. His POEMS 1980-1994 and volume of poetry THE HUNT (a Poetry Book Society Recommendation) were published in May 1998 by Bloodaxe in the UK and USA, THE UNDERTOW: NEW & SELECTED POEMS (Arc, U.K), VISITANTS (Bloodaxe, 1999), WHEATLANDS (with Dorothy Hewett in 2000), and THE HIERARCHY OF SHEEP (Bloodaxe/FACP, 2001). He is the editor of the international literary journal SALT, a Consultant Editor to WESTERLY (CSAL, University of Western Australia), Cambridge correspondent for OVERLAND, (Melbourne, Australia), co-editor of the British literary journal STAND, International Editor of the American journal THE KENYON REVIEW, and a Fellow of Churchill College, Cambridge. A novel GENRE was published in 1997 (Fremantle Arts Centre Press) and GRAPPLING EROS in late 1998 (FACP). He co-edited (with Joseph Parisi) a double issue of Australian poetry for the American journal POETRY and more recently an Australian issue of THE LITERARY REVIEW. He is Professor of English at Kenyon College in the United States, a Fellow of Churchill College, Cambridge University, and Adjunct Professor to Edith Cowan University, Western Australia. His work has been or is being translated into many languages, including French, German, Chinese, and Dutch. TRACY RYAN was born and grew up in Perth, and has taught writing and literature at various universities, most recently at Curtin University in Western Australia. In the past few years she has also lived in Britain and the USA. She has published a novel, VAMP, and three volumes of poetry. A new volume of poetry, HOTHOUSE, and a new novel, JAZZ TANGO, will be published with Fremantle Arts Centre Press in 2002. An experimental work, bloc-notes, is due out in the USA with potes & poets. STEVE CHINNA teaches theatre and performance studies in the Department of English, University of Western Australia. He works with scripted plays, and devises, writes, and directs new works, often in collaboration with students. These new works have included: FROM DREAMS OF REASON, 1992; LOVE AND ADDICTION: THE DIARY OF A CURE, 1994; THE SHE-WOLF'S BLOODY NECKLACE, 1995; MISSIONARY POSITIONS, 1996; ENCOUNTERS WITH THE ALIEN (DARK HEARTS), 1998; and Kinsella/Ryan/Chinna, SMITH STREET (BETWEEN HEAVEN AND HELL), 2001. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark at unf.edu URL: http://www.unf.edu/mudlark From JforJames at aol.com Thu Jan 3 22:41:10 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Thu, 3 Jan 2002 22:41:10 EST Subject: [New-Poetry] Hamilton obit Message-ID: <49.164cc237.29667e56@aol.com> Saturday December 29 12:11 PM ET British Poet Ian Hamilton Dead Saturday December 29 12:11 PM ET By JILL LAWLESS, Associated Press Writer LONDON (AP) - Ian Hamilton, a highly regarded British poet and biographer whose unauthorized life of J.D. Salinger was blocked by the U.S. Supreme Court (news - web sites), has died at the age of 61. Hamilton died Thursday, according to publisher Between the Lines, for whom he worked as an editor. Hamilton published few collections of poetry - ``The Visit'' (1970) and ``50 Poems'' (1988) account for most of his output - but was praised for his spare yet romantic style. He also was regarded as an incisive critic and editor. From cstroffo at earthlink.net Fri Jan 4 02:22:16 2002 From: cstroffo at earthlink.net (Chris Stroffolino Stroffolino) Date: Thu, 03 Jan 2002 23:22:16 -0800 Subject: [New-Poetry] Wallace Stevens Award References: <12c.a45c0b1.296679b9@aol.com> Message-ID: <3C355827.10C38432@earthlink.net> Well, I like both of them equally.... and so therefore could say "while Stevens too easily refuses to hand out the mardi gra beads he's hoarding" but only to equalize--- doesn't Ashbery sometimes BULL-Rush (not just drift...)the crowd though too? ... JforJames at aol.com wrote: > In a message dated 1/3/02 8:26:10 PM Eastern Standard Time, > cstroffo at earthlink.net writes: > > << Well----YEA FOR JOHN---- > deserved---being that he's one of the few contemporaries > who actually seems to GET Stevens.... > >> > Chris, > Except that John Ashbery > lacks Stevens' linear stateliness. > Or, said another way, Stevens is > the parade while Ashbery too easily > gets lost drifting among the crowd. > Finnegan > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From MillB at aol.com Fri Jan 4 05:36:56 2002 From: MillB at aol.com (MillB at aol.com) Date: Fri, 4 Jan 2002 05:36:56 EST Subject: [New-Poetry] Happy New Year! Message-ID: <11e.9a17e87.2966dfc8@aol.com> Greetings: Happy New Year to all. . .just got back from London where we spent New Year's Eve on the London Eye (a moving ferris wheel/observation pod). It's been a rough year--hope this new year is much better! Many cheers, Mill PS: Any thoughts for a get-together in "real life" perhaps at AWP? From Cadaly at aol.com Fri Jan 4 14:09:28 2002 From: Cadaly at aol.com (Cadaly at aol.com) Date: Fri, 4 Jan 2002 14:09:28 EST Subject: [New-Poetry] Wallace Stevens Award Message-ID: the bandmaster of that parade from Elizabeth Park to the Hartford is Charles Ives, and the parade marches past Harriet Beecher Stowe's House and Samuel Clemens' -- Ashbery is one of the few Rgds, Catherine Daly cadaly at aol.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From halvard at earthlink.net Fri Jan 4 16:40:45 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Fri, 4 Jan 2002 16:40:45 -0500 Subject: [New-Poetry] Wallace Stevens Award In-Reply-To: Message-ID: Hear, hear! Hal "We don't serve fine wine in half-pints, buddy." --Robert Ashley Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html the bandmaster of that parade from Elizabeth Park to the Hartford is Charles Ives, and the parade marches past Harriet Beecher Stowe's House and Samuel Clemens' -- Ashbery is one of the few Rgds, Catherine Daly cadaly at aol.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From GUDDING1 at aol.com Sun Jan 6 03:28:59 2002 From: GUDDING1 at aol.com (GUDDING1 at aol.com) Date: Sun, 06 Jan 2002 03:28:59 EST Subject: [New-Poetry] Fwd: AFRI CAN AMERICAN READ-IN 2002 Message-ID: <158.6d01345.296964cb@aol.com> -------------- next part -------------- An embedded message was scrubbed... From: ampadu Subject: AFRI CAN AMERICAN READ-IN 2002 Date: Fri, 4 Jan 2002 10:17:09 -0500 Size: 3094 URL: From paul.lake at mail.atu.edu Mon Jan 7 04:10:02 2002 From: paul.lake at mail.atu.edu (Paul Lake) Date: Mon, 07 Jan 2002 03:10:02 -0600 Subject: [New-Poetry] Guggenheims Message-ID: Here's a little paragraph from yesterday's Arkansas Democrat Gazette that further illustrates the corruption of today's literary foundations. Paul Lake "The Large Cash Prize Award . . . Goes to Rick Moody, the millionaire author and scion of a banking family so rich he lives on a private island. He applied for, and was awarded, a $35,000 Guggenheim Award, intended to enable artists to finish writing projects without having to take a day job." From aprentiss at agnesscott.edu Mon Jan 7 19:16:58 2002 From: aprentiss at agnesscott.edu (Prentiss, Amber) Date: Mon, 7 Jan 2002 19:16:58 -0500 Subject: [New-Poetry] Guggenheims Message-ID: Pardon my ignorance, but were yesterday's literary foundations not corrupted? -Amber -----Original Message----- From: Paul Lake To: New-Poetry at wiz.cath.vt.edu Sent: 1/7/02 4:10 AM Subject: [New-Poetry] Guggenheims Here's a little paragraph from yesterday's Arkansas Democrat Gazette that further illustrates the corruption of today's literary foundations. Paul Lake "The Large Cash Prize Award . . . Goes to Rick Moody, the millionaire author and scion of a banking family so rich he lives on a private island. He applied for, and was awarded, a $35,000 Guggenheim Award, intended to enable artists to finish writing projects without having to take a day job." _______________________________________________ New-Poetry mailing list New-Poetry at wiz.cath.vt.edu http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From wjbat at conncoll.edu Tue Jan 8 02:22:00 2002 From: wjbat at conncoll.edu (Wendy Battin) Date: Mon, 7 Jan 2002 23:22:00 -0800 Subject: [New-Poetry] Happy New Year! In-Reply-To: <11e.9a17e87.2966dfc8@aol.com> Message-ID: <20020107232200.005832@oak.cc.conncoll.edu> wrote: >Happy New Year to all. . .just got back from London where we spent New Year's >Eve on the London Eye (a moving ferris wheel/observation pod). I'm envious--watched the Eye longingly from the train every day for two weeks last summer, but never managed to ride it. Did you see midnight there? Did you freeze? Wendy, who at least got to a great Macbeth at the old/new Globe ----------------------------------------- From bobgrumman at nut-n-but.net Tue Jan 8 05:50:54 2002 From: bobgrumman at nut-n-but.net (Bob Grumman) Date: Tue, 8 Jan 2002 05:50:54 -0500 Subject: [New-Poetry] Guggenheims References: Message-ID: <001401c19832$59734d80$cf04fea9@y3b2r8> > Pardon my ignorance, but were yesterday's literary foundations not > corrupted? > -Amber I believe most of the arts foundations started idealistically. The MacArthur, for instance, started with the now-hilarious idea that the grants should go to "mavericks." --Bob G. From MillB at aol.com Tue Jan 8 08:44:36 2002 From: MillB at aol.com (MillB at aol.com) Date: Tue, 8 Jan 2002 08:44:36 EST Subject: [New-Poetry] Guggenheims Message-ID: <9f.20c5eca3.296c51c4@aol.com> Greetings all: Unless a competition is based upon financial need, it is not "corrupt" if the winner doesn't need the money. Short of asking for tax returns or pay stubs (which some grants do), there is no criteria that I am aware of for such awards like NEA or Guggenheim. The fault, I believe, lies with the applicant. If Rick Moody is a millionaire, he has no business applying. And I find myself wondering, indeed, why he did because it's a lot of work to prepare the application--especially for someone who doesn't truly need the money. Now, if the intention of the Guggenheim is indeed to offer writing time to talented AND needy applicants, perhaps the selection criteria should be modified to reflect that goal? Cheers, Mill From JforJames at aol.com Tue Jan 8 09:51:22 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Tue, 8 Jan 2002 09:51:22 EST Subject: [New-Poetry] Guggenheims Message-ID: <8f.15303d64.296c616a@aol.com> In a message dated 1/8/02 8:45:34 AM Eastern Standard Time, MillB at aol.com writes: > The fault, I believe, lies with the applicant. If Rick Moody is a > millionaire, he has no business applying. And I find myself wondering, > indeed, why he did because it's a lot of work to prepare the > application--especially for someone who doesn't truly need the money. > Mill, I agree that from the facts given it's hard to say the foundation has acted corruptly in this case. However, couldn't Rick Moody, despite his apparent notoriety, _need_ the affirmation of the award itself? Or he may want the award for his c.v.; thus bolstering his standing in the literary world. The money could be secondary (or in this case insignificant) to him. Then again, if he's living off his pop's dough (or dole), it may be very important to him to show the family that he could make it without that paternal pot of gold. And what if instead of banking the $ or buying a new boat, Moody graciously gives the loot to another needy writer or to a charity? Finnegan From snospx at silcom.com Tue Jan 8 11:53:06 2002 From: snospx at silcom.com (Barry Spacks) Date: Tue, 08 Jan 2002 08:53:06 -0800 Subject: [New-Poetry] Guggenheims In-Reply-To: <9f.20c5eca3.296c51c4@aol.com> Message-ID: <3.0.5.32.20020108085306.007dc840@snowcrest.net> At 08:44 AM 1/8/02 EST, Mill wrote: >I find myself wondering, >indeed, why the man with a cap made of feathers wants a feather for his cap Barry From wasanthony at yahoo.com Tue Jan 8 11:57:33 2002 From: wasanthony at yahoo.com (jcervantes) Date: Tue, 8 Jan 2002 08:57:33 -0800 (PST) Subject: [New-Poetry] Guggenheims In-Reply-To: <8f.15303d64.296c616a@aol.com> Message-ID: <20020108165733.32349.qmail@web12101.mail.yahoo.com> Don't mean to be negative, or snooty, or flip, but why is this our concern? I think Finnegan is right that Moody wants the affirmation - don't we all? I personally know at least a half-dozen tenured faculty/writers whose Guggenheims had nothing to do with money, nor with guaranteeing in any way the evolution of their work. Shucks, some even bought big-screen t.v.s with the dough, or cars, or made significant down payments on second homes, or travelled. It's the affirmation, isn't it, and a wee bit 'o glory? And of course some of it has to do with those names we put down as references! - Jim --- JforJames at aol.com wrote: > In a message dated 1/8/02 8:45:34 AM Eastern Standard Time, > MillB at aol.com > writes: > > The fault, I believe, lies with the applicant. If Rick Moody is a > > > millionaire, he has no business applying. And I find myself > wondering, > > indeed, why he did because it's a lot of work to prepare the > > application--especially for someone who doesn't truly need the > money. > > > Mill, I agree that from the facts given it's hard to say the > foundation has > acted corruptly in this case. However, couldn't Rick Moody, despite > his > apparent notoriety, > _need_ the affirmation of the award itself? Or he may want the award > for his > c.v.; > thus bolstering his standing in the literary world. The money could > be > secondary > (or in this case insignificant) to him. Then again, if he's living > off his > pop's dough > (or dole), it may be very important to him to show the family that he > could > make it without that paternal pot of gold. > And what if instead of banking the $ or buying a new boat, Moody > graciously > gives the loot to another needy writer or to a charity? > Finnegan > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Salt River Review: "Ripples" @ Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ From snospx at silcom.com Tue Jan 8 11:55:56 2002 From: snospx at silcom.com (Barry Spacks) Date: Tue, 08 Jan 2002 08:55:56 -0800 Subject: [New-Poetry] Guggenheims In-Reply-To: <8f.15303d64.296c616a@aol.com> Message-ID: <3.0.5.32.20020108085556.007ce900@snowcrest.net> At 09:51 AM 1/8/02 EST, Finnegan wrote: >And what if instead of banking the $ or buying a new boat, Moody graciously >gives the loot to another needy writer or to a charity? Oh do it, Moody, do! -- the Good Moody Foundation. From CobbCoStudioArts at pro.talentx.com Tue Jan 8 12:08:57 2002 From: CobbCoStudioArts at pro.talentx.com (Robert R.Cobb) Date: Tue, 8 Jan 2002 09:08:57 -0800 (PST) Subject: [New-Poetry] Guggenheims Message-ID: <20020108170857.75B152756@sitemail.everyone.net> An embedded and charset-unspecified text was scrubbed... Name: not available URL: From grahamd at mail.ripon.edu Tue Jan 8 12:35:31 2002 From: grahamd at mail.ripon.edu (David Graham) Date: Tue, 08 Jan 2002 11:35:31 -0600 Subject: [New-Poetry] Poetry 180 Message-ID: <200201081733.g08HX9j14776@mx1.mx.voyager.net> The Library of Congress has established a web site for laureate Billy Collins' Poetry 180 project: http://www.loc.gov/poetry/180/ At this site you can read a bit about the project's intentions and guidelines, and also browse the in-progress list of 180 poems that Collins has selected. There are currently 64 poems listed, with texts. Nearly all seem to be contemporary American, with heavy emphasis (no surprise here) on colloquial free verse. There are a number of names new to me. _______________________ David Graham grahamd at mail.ripon.edu _______________________ From chryss at silcom.com Tue Jan 8 13:11:10 2002 From: chryss at silcom.com (Chryss Yost) Date: Tue, 08 Jan 2002 10:11:10 -0800 Subject: [New-Poetry] Poetry 180 Message-ID: <20020108181132.6715F145635@beach.silcom.com> Does it seem odd to anyone else that some poets have multiple poems? Remember, this is just the first 64 poems, and we already have Lux(7!), Kenyon(3), Kinnell(3), and Koertge (3) and several others duplicated. Sure, Lux is good, but has he really written over 10% of the "accessible to teenagers" verse? Are there really so few voices? (Not to mention, aren't there maybe a few non-contemporary poets that teenagers might appreciate?) C. ---------- >From: "David Graham" >To: "new-poetry at wiz.cath.vt.edu" >Subject: [New-Poetry] Poetry 180 >Date: Tue, Jan 8, 2002, 9:35 AM > >The Library of Congress has established a web site for laureate Billy >Collins' Poetry 180 project: > >http://www.loc.gov/poetry/180/ > >At this site you can read a bit about the project's intentions and >guidelines, and also browse the in-progress list of 180 poems that Collins >has selected. There are currently 64 poems listed, with texts. Nearly all >seem to be contemporary American, with heavy emphasis (no surprise here) on >colloquial free verse. There are a number of names new to me. > > >_______________________ >David Graham >grahamd at mail.ripon.edu >_______________________ >_______________________________________________ >New-Poetry mailing list >New-Poetry at wiz.cath.vt.edu >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From jdavis at panix.com Tue Jan 8 13:18:55 2002 From: jdavis at panix.com (Jordan Davis) Date: Tue, 8 Jan 2002 13:18:55 -0500 (EST) Subject: [New-Poetry] Poetry 180 In-Reply-To: <20020108181132.6715F145635@beach.silcom.com> Message-ID: One more reason why we all ought to be Poet Laureate! Jordan On Tue, 8 Jan 2002, Chryss Yost wrote: > Does it seem odd to anyone else that some poets have multiple poems? > Remember, this is just the first 64 poems, and we already have Lux(7!), > Kenyon(3), Kinnell(3), and Koertge (3) and several others duplicated. > Sure, Lux is good, but has he really written over 10% of the "accessible to > teenagers" verse? > Are there really so few voices? > (Not to mention, aren't there maybe a few non-contemporary poets that > teenagers might appreciate?) > C. > ---------- > >From: "David Graham" > >To: "new-poetry at wiz.cath.vt.edu" > >Subject: [New-Poetry] Poetry 180 > >Date: Tue, Jan 8, 2002, 9:35 AM > > > > >The Library of Congress has established a web site for laureate Billy > >Collins' Poetry 180 project: > > > >http://www.loc.gov/poetry/180/ > > > >At this site you can read a bit about the project's intentions and > >guidelines, and also browse the in-progress list of 180 poems that Collins > >has selected. There are currently 64 poems listed, with texts. Nearly all > >seem to be contemporary American, with heavy emphasis (no surprise here) on > >colloquial free verse. There are a number of names new to me. > > > > > >_______________________ > >David Graham > >grahamd at mail.ripon.edu > >_______________________ > >_______________________________________________ > >New-Poetry mailing list > >New-Poetry at wiz.cath.vt.edu > >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > > > > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From paul.lake at mail.atu.edu Tue Jan 8 02:58:05 2002 From: paul.lake at mail.atu.edu (Paul Lake) Date: Tue, 08 Jan 2002 01:58:05 -0600 Subject: [New-Poetry] Guggenheims Message-ID: "Pardon my ignorance, but were yesterday's literary foundations not corrupted?" -Amber No doubt they were. Perhaps there's something intrinsic to the bureaucratic mind of foundation types, some Peter Principle or Gresham's (sp.?) Law that forever makes foundations slaves to fashion and bad judgment. Paul Lake From JforJames at aol.com Tue Jan 8 14:15:04 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Tue, 8 Jan 2002 14:15:04 EST Subject: [New-Poetry] CROWD #2 Message-ID: <144.78bbf4b.296c9f38@aol.com> From: CROWD Aimee Kelley Subject: CROWD #2 Content-Type: text/plain; charset=us-ascii CROWD, a new literary and visual arts journal, is taking submissions for Issue #2. Please send poetry, fiction, non-fiction, photography and fine art to: CROWD 119 N. 11th St. #1A Brooklyn, NY 11211 and visit us online at http://www.crowdmagazine.com From bobgrumman at nut-n-but.net Tue Jan 8 14:38:35 2002 From: bobgrumman at nut-n-but.net (Bob Grumman) Date: Tue, 8 Jan 2002 14:38:35 -0500 Subject: [New-Poetry] Guggenheims References: <20020108165733.32349.qmail@web12101.mail.yahoo.com> Message-ID: <003901c1987c$1183c6e0$cf04fea9@y3b2r8> > Don't mean to be negative, or snooty, or flip, but why is this our > concern? I have to admit that what the estabniks do Guggenville is no more my concern than what the local mice do in the Fuji Islands, but--still--it's amusing enough at times to deserve a comment or two, I think. --Bob G. From MillB at aol.com Tue Jan 8 15:54:15 2002 From: MillB at aol.com (MillB at aol.com) Date: Tue, 08 Jan 2002 15:54:15 EST Subject: [New-Poetry] Guggenheims Message-ID: <14c.6ee9b61.296cb677@aol.com> This is a related topic. It seems that every few months there's news item about how a famous poet selected his best friend/lover/former student/drinking buddy as a competition winner. What should be done? 1)Should the judge step aside? Admit that he's familiar with the person or the work? 2)Read the "known" work along with the others and select the best. 3)Select the one he knows so he won't have to read the rest? I have mixed feelings about this. . .it's unfair (in a way) that a known quantity would be selected. On the other hand, if the work really IS the best, why should it matter if the person knows the judge. . .the poetry world can be a very small place. I know that when I flip through the Grants and Competitions section in AWP, I'm familiar with, or have studied with, been at residencies with, or met many judges. Should I only submit work to competitions where the judges are complete strangers? Where is the line drawn? Mill <--opening a can of worms From halvard at earthlink.net Tue Jan 8 16:08:45 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Tue, 8 Jan 2002 16:08:45 -0500 Subject: [New-Poetry] Guggenheims In-Reply-To: <14c.6ee9b61.296cb677@aol.com> Message-ID: > It seems that every few months there's news item about how a famous poet selected his best friend/lover/former > student/drinking buddy as a competition winner. > > What should be done? I'd suggest that we all write letters to the editors of the newspapers we read and tell them we'll no longer read such stories and that if they persist in printing them we'll cancel our subscriptions and/or urge all those we know to do so. But seriously (more or less), this seems to be one of those things nothing global can be done about. We can not participate in competitions we consider unfair, and we can try to make those we do participate in fairer than they are. And if we suddenly get airtime on CNN as the Pope sometimes does, we can urge everyone to be fair and to love one another. Hal "The thing to remember is that each time of life has its appropriate rewards, whereas when you're dead it's hard to find the light switch." --Woody Allen Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From wasanthony at yahoo.com Tue Jan 8 16:58:10 2002 From: wasanthony at yahoo.com (jcervantes) Date: Tue, 8 Jan 2002 13:58:10 -0800 (PST) Subject: [New-Poetry] Guggenheims In-Reply-To: <14c.6ee9b61.296cb677@aol.com> Message-ID: <20020108215810.89872.qmail@web12107.mail.yahoo.com> --- MillB at aol.com wrote: > > It seems that every few months there's news item about how a famous > poet selected his best friend/lover/former student/drinking buddy as > a competition winner. > snip > > I know that when I flip through the Grants and Competitions section > in AWP, I'm familiar with, or have studied with, been at residencies > with, or met many judges. > > Where is the line drawn? > The line exists between the two statements above. Most of us can say we're familiar with, have studied with, been at residencies with, and met many judges, but not all of us can say we're the judge's "best friend/lover/former student/drinking buddy" - though of course you'd have to change "former student" to "former student-best-friend" or "former student-lover" etc. The burden to be ethical is on the judges. If some sponsoring press or institution had the balls to revoke a prize upon discovery of a questionably close relationship between a judge and a "winner," then maybe the practice would at least slow down. But who would tell? Who would admit? And think of the possible law suits. The burden is on the judge. Let their "best friend/lover/former student/drinking buddy" enter some other contest. - Jim, liking Hal's idea anyway ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Salt River Review: "Ripples" @ Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ From grahamd at mail.ripon.edu Tue Jan 8 23:30:05 2002 From: grahamd at mail.ripon.edu (David Graham) Date: Tue, 08 Jan 2002 22:30:05 -0600 Subject: [New-Poetry] Guggenheims Message-ID: <200201090427.g094Rck55372@mx4.mx.voyager.net> APPLICATION FOR A GRANT Noble executors of the munificent testament Of the late John Simon Guggenheim, distinguished bunch Of benefactors, there are certain kinds of men Who set their hearts on being bartenders, For whom a life upon duck boards, among fifths, Tapped kegs and lemon twists, crowded with lushes Who can master neither their bladders nor consonants, Is the only life, greatly to be desired. There's the man who yearns for the White House, there to compose Rhythmical lists of enemies, while someone else Wants to be known to the Tour d'Argent's head waiter. As the Sibyl of Cumae said : It takes all kinds. Nothing could bribe your Timon, your charter member Of the Fraternal Order of Grizzly Bears to love His fellow, whereas it's just the opposite With interior decorators; that's what makes horse races. One man may have a sharp nose for tax shelters, Screwing the IRS with mirth and profit; Another devote himself to his shell collection, Deaf to his offspring, indifferent to the feast With which his wife hopes to attract his notice. Some at the Health Club sweating under bar bells Labor away like grunting troglodytes, Smelly and thick and inarticulate, Their brains squeezed out through their pores by sheer exertion. As for me, the prize for poets, the simple gift For amphybrachs strewn by a kind Euterpe, With perhaps a laurel crown of the evergreen Imperishable of your fine endowment Would supply my modest wants, who dream of nothing But a pad on Eighth Street and your approbation. (FREELY FROM HORACE) --Anthony Hecht _______________________ David Graham grahamd at mail.ripon.edu _______________________ ---------- >From: Paul Lake >To: >Subject: [New-Poetry] Guggenheims >Date: Tue, Jan 8, 2002, 1:58 AM > >"Pardon my ignorance, but were yesterday's literary foundations not >corrupted?" >-Amber > >No doubt they were. Perhaps there's something intrinsic to the bureaucratic >mind of foundation types, some Peter Principle or Gresham's (sp.?) Law that >forever makes foundations slaves to fashion and bad judgment. > >Paul Lake From halvard at earthlink.net Wed Jan 9 09:09:06 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Wed, 9 Jan 2002 09:09:06 -0500 Subject: [New-Poetry] Poems by others: James Sherry, "Disinterment" Message-ID: Disinterment Producify by exclusioness give by subvert replumb or dismake shiftment submonition to Thursday Dismorphology Unheraldrate rememberment deassurify Ok to refriend (stamp) depertinent takeability unmongst rephrasatory unfemalization Disregard, recoriate pairitude comparement of sculpturority; defile (side) vs. unremergement as selfification safed to suspiciate, not reever, simplicon of nonfinement uncontinued deferral of reselfizationicity cat-meow yellowize unregenerate redigressivity unlistening, hand descention from wrist prechandelierizement digiticity deconnoiter hydromarinertudinousness foppitude respite feminotropicity desophisticate identizoid--African sculptines --James Sherry Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From Rsgwynn1 at cs.com Wed Jan 9 09:36:55 2002 From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com) Date: Wed, 9 Jan 2002 09:36:55 EST Subject: [New-Poetry] Poems by others: James Sherry, "Disinterment" Message-ID: <175.1d89cc0.296daf87@cs.com> In a message dated 1/9/2002 8:12:08 AM Central Standard Time, halvard at earthlink.net writes: > Disinterment > > Producify by exclusioness > give by subvert > replumb or dismake shiftment > submonition to Thursday > > Dismorphology Unheraldrate > rememberment deassurify > > Ok to refriend (stamp) > depertinent takeability > unmongst > rephrasatory unfemalization > > Disregard, recoriate pairitude > comparement of sculpturority; defile (side) vs. > unremergement as selfification > safed to suspiciate, not reever, simplicon of nonfinement > > uncontinued deferral of reselfizationicity > cat-meow yellowize > unregenerate redigressivity > unlistening, hand descention from wrist > prechandelierizement digiticity > deconnoiter hydromarinertudinousness > foppitude respite feminotropicity > desophisticate identizoid--African sculptines > > --James Sherry > > > Free Billie! -------------- next part -------------- An HTML attachment was scrubbed... URL: From wasanthony at yahoo.com Wed Jan 9 09:43:35 2002 From: wasanthony at yahoo.com (jcervantes) Date: Wed, 9 Jan 2002 06:43:35 -0800 (PST) Subject: [New-Poetry] Poems by others: James Sherry, "Disinterment" In-Reply-To: <175.1d89cc0.296daf87@cs.com> Message-ID: <20020109144336.46682.qmail@web12108.mail.yahoo.com> --- Rsgwynn1 at cs.com wrote: > In a message dated 1/9/2002 8:12:08 AM Central Standard Time, > halvard at earthlink.net writes: > > > > Disinterment > > > > Producify by exclusioness > > give by subvert > > replumb or dismake shiftment > > submonition to Thursday > > > > Dismorphology Unheraldrate > > rememberment deassurify > > > > Ok to refriend (stamp) > > depertinent takeability > > unmongst > > rephrasatory unfemalization > > > > Disregard, recoriate pairitude > > comparement of sculpturority; defile (side) vs. > > unremergement as selfification > > safed to suspiciate, not reever, simplicon of nonfinement > > > > uncontinued deferral of reselfizationicity > > cat-meow yellowize > > unregenerate redigressivity > > unlistening, hand descention from wrist > > prechandelierizement digiticity > > deconnoiter hydromarinertudinousness > > foppitude respite feminotropicity > > desophisticate identizoid--African sculptines > > > > --James Sherry > > > > > > > > Free Billie! > And Jessie Jackson too! ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Salt River Review: "Ripples" @ Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ From JforJames at aol.com Wed Jan 9 10:05:04 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 9 Jan 2002 10:05:04 EST Subject: [New-Poetry] Announcing new book of essays Message-ID: <16e.6e3d0b8.296db620@aol.com> Subj: Announcing new book of essays Date: 1/9/02 7:45:10 AM Eastern Standard Time From: SaturdayPr at aol.com Sender: owner-MODERN_POETS-L at po.missouri.edu Reply-to: MODERN_POETS-L at po.missouri.edu To: MODERN_POETS-L at po.missouri.edu from Charlotte Mandel -- I'm pleased to forward this announcement from Cynthia Hogue - Congratulations to Cynthia and co-editor Laura Hinton -- The University of Alabama Press presents We Who Love to Be Astonished: Experimental Women's Writing and Performance Poetics, ed. by Laura Hinton and Cynthia Hogue, now available. Susan Schultz writes: "This is an important collection, especially in its emphasis on multicultural experimental writing, and on differences between modes of experimental writing." We Who Love to Be Astonished collects a powerful group of previously unpublished essays to fill a gap in the critical evaluation of women's contributions to postmodern experimental writing. Contributors include Eileen Gregory, Susan McCabe, and Rachel Blau DuPlessis; discussions include analyses of the work of Kathleen Fraser, Harryette Mullen, and Alice Notley, among others. orders: From JforJames at aol.com Wed Jan 9 10:09:39 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 9 Jan 2002 10:09:39 EST Subject: [New-Poetry] Poetry 180 Message-ID: In a message dated 1/8/02 1:12:47 PM Eastern Standard Time, chryss at silcom.com writes: > Sure, Lux is good, but has he really written over 10% of the "accessible to > teenagers" verse? This might be somewhat related to their Sarah Lawrence MFA Program association...both Lux and Billy Collins (on leave) are faculty members. Finnegan From grahamd at mail.ripon.edu Wed Jan 9 11:21:52 2002 From: grahamd at mail.ripon.edu (David Graham) Date: Wed, 09 Jan 2002 10:21:52 -0600 Subject: [New-Poetry] Poetry 180 Message-ID: <200201091619.g09GJPv75849@mx1.mx.voyager.net> Lots of Ron Koertge on the developing list, too--a poet Collins has blurbed, and probably feels is unjustly neglected, I suspect, in his frequently Collinsy comedy. Most of all, though, I'm sure Collins simply feels that Koertge's poems might speak to a high schooler's imagination, as Lux's poems might. Worth keeping in mind that Collins has not set out to survey contemporary American poetry, fulfill any particular quotas or critical agendas, or present any sort of representative accounting. He's just trying to come up with poems that adolescents might find memorable. Whether BC's taste is up to the task, well, I guess we'll find out. If I were Pope Laureate, I'd choose different poets, sure. So would you. Given the absurdity of the task (interesting *all* US high schoolers in specific poems?) I'd probably adopt a somewhat more wide-net approach, if I were given the reins. I'd surely throw in more than a few non-contemporary, non-American pieces. And my experience has been that many students don't rate "accessibility" very highly as a poetic virtue, while others find even Robert Frost's "Birches" hard. Still others would love to hear more good old rhyming stuff, etc. Others will find almost all the poems Collins has come up with as too remote to their experience, and so forth. You really can't win this sort of game, so my philosophy would probably be more of a scattershot attack than BC's seems to be. But more power to him. I think it's a great project. _______________________ David Graham grahamd at mail.ripon.edu _______________________ ---------- >From: JforJames at aol.com >To: new-poetry at wiz.cath.vt.edu >Subject: Re: [New-Poetry] Poetry 180 >Date: Wed, Jan 9, 2002, 9:09 AM > >In a message dated 1/8/02 1:12:47 PM Eastern Standard Time, chryss at silcom.com >writes: >> Sure, Lux is good, but has he really written over 10% of the "accessible to >> teenagers" verse? >This might be somewhat related to their Sarah Lawrence MFA Program >association...both Lux and Billy Collins (on leave) are faculty members. >Finnegan From aburack at mail.slc.edu Wed Jan 9 11:33:52 2002 From: aburack at mail.slc.edu (Alexandra Burack) Date: Wed, 9 Jan 2002 11:33:52 -0500 Subject: [New-Poetry] Poetry 180 References: Message-ID: <001901c1992b$6d1c4fe0$930653c6@bzln101> Hello Folks, I have to agree with Jim's conjecture here. As a Sarah Lawrence MFA student, I've had the pleasure of working extensively with Thomas Lux, and met for two conferences with Billy Collins last year. From what I understand, Billy is known for his great loyalty to supportive colleagues, which is not always a given in the contemporary American "poetry biz." It appears this loyalty extends to Collins' students as well, as Mary Cornish, featured in the Poetry 180 list, was Collins' thesis advisee last year here at SLC. I know Mary, and think she's a good poet who shares Billy's concerns for voice, clarity, and structure. I think it is certainly debatable what "accessible to teenagers verse" is, and whether it makes sense to assign any poet the "10% award." Certainly, there are some teenagers for whom Homer, Milton, Eliot and Dickinson, for example, are quite accessible, and others who would run screaming back to PlayStation 2 were they confronted with these poets. It seems to me that historically speaking, a lot of underestimating of teenager's capacity for all things literary continues in the present moment, the logical result of which is that teachers think there needs to be a separate kind of poetry called "poetry for teenagers." I don't know if this kind of bifarcation of the poetic gesture gets us very far toward letting poetry do what it has always done to engage the human soul. Perhaps a good first exercise would be to ask just what we mean by "accessible" in the first place. Are we talking about sheer clarity of meaning? Subject matter Gen Y will relate to? Discernable form and metrics? Easily identifiable imagistic gestures? Diction low on the Latinate end of the scale? I have this funny idea that a good poem, if it is in fact a good poem and not merely an anecdote, would be accessible to the average high school age person, for the reason that good poetry exerts its own force of communication to the intellect, the heart, and the soul without us having to police its clarity. So perhaps a collection of good poems, rather than "poems accessible to teenagers" might be an interesting project. I wonder what kinds of lists the people in this forum would come up with. But having said the above, I do think that Billy's project is a laudable one, given all in our contemporary culture that mitigates against the primacy of the imagination. Respectfully, Alexandra Burack Sarah Lawrence College ----- Original Message ----- From: To: Sent: Wednesday, January 09, 2002 10:09 AM Subject: Re: [New-Poetry] Poetry 180 > In a message dated 1/8/02 1:12:47 PM Eastern Standard Time, chryss at silcom.com > writes: > > Sure, Lux is good, but has he really written over 10% of the "accessible to > > teenagers" verse? > This might be somewhat related to their Sarah Lawrence MFA Program > association...both Lux and Billy Collins (on leave) are faculty members. > Finnegan > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From tadrichards at prodigy.net Wed Jan 9 11:49:15 2002 From: tadrichards at prodigy.net (theoldmole) Date: Wed, 9 Jan 2002 11:49:15 -0500 Subject: [New-Poetry] Poetry 180 References: Message-ID: <002901c1992d$92bfb5a0$6401a8c0@hvc.rr.com> Might not a better question be... Will this help introduce teenagers to poetry? Tad Richards "Well said, old mole." The Old Mole Wm. Shakespeare of the MoleNet Hamlet, Act I, Scene 5 ----- Original Message ----- From: To: Sent: Wednesday, January 09, 2002 10:09 AM Subject: Re: [New-Poetry] Poetry 180 > In a message dated 1/8/02 1:12:47 PM Eastern Standard Time, chryss at silcom.com > writes: > > Sure, Lux is good, but has he really written over 10% of the "accessible to > > teenagers" verse? > This might be somewhat related to their Sarah Lawrence MFA Program > association...both Lux and Billy Collins (on leave) are faculty members. > Finnegan > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From JforJames at aol.com Wed Jan 9 19:57:01 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 9 Jan 2002 19:57:01 EST Subject: [New-Poetry] Sheck poem Message-ID: <124.9ec6b4c.296e40dd@aol.com> Memory Palaces 1 But I wanted the colors back. The astounding openness in them. Wanted what Cicero desired for his memory palaces: "we set up images and assign to them exceptional beauty or singular ugliness...we dress some with crowns or purple cloaks, or we disfigure them, as by introducing stained blood or mud or red paint." And in this way we will remember them. 2 You are carrying red zinnias. The sky's pale yellow. That taxi is yellow and black, its window-frame silver. Those leaves are orange, indifferent to distrust. No, those leaves are pale green. Distrust is purple, or it is very white, like arsenic or raw silk. Speed is blue then gold; it will wear nothing. That commentary is covered in wet blood. That hand is gloved. What color is the glove? What color is the hand? Blue is patient, it knows how to hide, it knows what waiting is. The rain is blue and also the river and the sun. 3 A memory palace seems too grand. Maybe I'll just take that turn of road, brown and unprotected. I'll leave a woolen hat. A fork, a spoon, a knife. A bottle of water and of wine. My shame is a red fog; it settles on the road. There's the gold scrap of someone's laughter. Hand tracing my spine in the night. 4 Once, while attending a gathering at the palace, Simonides stepped outside for air, and a split-second later the whole ceiling collapsed. Everyone inside was killed. But because he valued order and remembering, he could recall the exact placement and seating arrangements of the guests. The crushed, unrecognizable bodies were handed over to the proper relatives for burial and mourning, while Simonides pointed, calling out each name. 5 This window frame is silver. Kindness is many colors, impossible to name. A storm changes my section of brown road. Red dust, green dust. The rain is blue and also the river and the sun. +++++++++++++++++++++++ For more Laurie Sheck: http://www.aaknopf.com/authors/sheck/poem.html -------------- next part -------------- An HTML attachment was scrubbed... URL: From aprentiss at agnesscott.edu Wed Jan 9 23:26:59 2002 From: aprentiss at agnesscott.edu (Amber Prentiss) Date: Wed, 09 Jan 2002 23:26:59 -0500 Subject: [New-Poetry] Poetry 180 In-Reply-To: <002901c1992d$92bfb5a0$6401a8c0@hvc.rr.com> References: Message-ID: <5.0.2.1.0.20020109231949.021d4730@tyne.agnesscott.edu> It all depends on the motivation and awareness of each school and especially each teacher. If they don't know about the project, they can't do anything with it. If they do know about it, but no faculty members can or want to carve out extra 10 minutes for a poem of the day thing, it won't happen. Still, at least he tries. -Amber At 11:49 AM 1/9/2002 -0500, you wrote: >Might not a better question be... Will this help introduce teenagers to >poetry? > > > >Tad Richards "Well said, old mole." >The Old Mole Wm. Shakespeare >of the MoleNet Hamlet, Act I, Scene >5 >----- Original Message ----- >From: >To: >Sent: Wednesday, January 09, 2002 10:09 AM >Subject: Re: [New-Poetry] Poetry 180 > > > > In a message dated 1/8/02 1:12:47 PM Eastern Standard Time, >chryss at silcom.com > > writes: > > > Sure, Lux is good, but has he really written over 10% of the "accessible >to > > > teenagers" verse? > > This might be somewhat related to their Sarah Lawrence MFA Program > > association...both Lux and Billy Collins (on leave) are faculty members. > > Finnegan > > _______________________________________________ > > New-Poetry mailing list > > New-Poetry at wiz.cath.vt.edu > > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > >_______________________________________________ >New-Poetry mailing list >New-Poetry at wiz.cath.vt.edu >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From JforJames at aol.com Fri Jan 11 10:18:26 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Fri, 11 Jan 2002 10:18:26 EST Subject: [New-Poetry] Music Like Dirt, Message-ID: <164.6fcfa28.29705c42@aol.com> FOR IMMEDIATE RELEASE Sarabande Books Announces the April 2002 Publication of Music Like Dirt, A Poetry Chapbook by Frank Bidart www.SarabandeBooks.org Frank Bidart writes of Music Like Dirt, I wanted to make a sequence in which the human need to make is seen as not only central but inescapable. I wanted not a tract, but a tapestry in which making is seen in the context of the other processessexuality, mortalityinseparable from it." In 2001, Bidart received the Wallace Stevens Award, given by the Academy of American Poets. The judges were Eavan Boland, Louise Gl?ck, Wendy Lesser, James Longenbach, and Carl Phillips. Jury chair Louise Gl?ck writes: Since the publication, in 1973, of Golden State, Frank Bidart has patiently amassed as profound and original a body of work as any now being written in this country. He has given form for our age to what is most urgent and most private in the human soul: the ordeals of solitude and mortality and hunger and, recently, that action through which being speaks: the drive to make or create. Bidarts poems sound like no one elses; they look like no one elses: to accommodate the requirement of his art, that the voice be precisely enacted in its every variation and hesitation, Bidart has made of his form a theatre: if the voice must be confined to the page, it will exploit that page, extend its possibilities. His work has been, from the start, remarkable in its disdain for the soothing, the sentimental, the facile, the partial. He is, in the feeling of our jury, one of the great poets of our time. Music Like Dirt is the inaugural edition in Sarabande's Quarternote Chapbook Series that will feature a select group of poets by invitation only. James Tate will be the author of the second chapbook. Frank Bidart, author of Music Like Dirt (Sarabande Books, 2002), was born in 1939 in Bakersfield, California, and was educated at the University of California, Riverside, and at Harvard University. His collections of poetry include Desire (Farrar, Straus & Giroux, 1997), which received the 1998 Bobbitt Prize for Poetry from the Library of Congress and the Theodore Roethke Memorial Poetry Prize, and was nominated for the National Book Award, the National Book Critics Circle Award, and the Pulitzer Prize; In the Western Night: Collected Poems 1965-90 (1990); The Sacrifice (1983); The Book of the Body (1977); and Golden State (1973). Among his many honors are the Lila Acheson Wallace/Readers Digest Fund Writers Award, the Morton Dauwen Zabel Award given by the American Academy of Arts and Letters, the Shelley Award of the Poetry Society of America, and the Lannan Literary Award. He teaches at Wellesley College and lives in Cambridge, Massachusetts. Music Like Dirt is the forty-fifth title to be published by Sarabande Books, a nonprofit literary press headquartered in Louisville, Kentucky. Founded in 1994 to publish poetry and short fiction, Sarabandes mission is to disburse these works with diligence and integrity, and to serve as an educational resource to teachers and students of creative writing. Since the 1996 debut of the press, our titles have received positive review attention from nationally distinguished media including The New York Times Book Review, Publishers Weekly, Kirkus Reviews, American Book Review, Small Press, The Nation, and Library Journal. This book was funded in part by a grant from the Kentucky Arts Council, a state agency of the Education, Arts and Humanities Cabinet. To learn more, please visit our Website! www.SarabandeBooks.org For additional information please contact: Nickole Brown Sarabande Books 2234 Dundee Road, Suite 200 Louisville, KY 40205 Phone: (502) 458-4028 Fax: (502) 458-4065 E-mail: SarabandeB at aol.com From JforJames at aol.com Fri Jan 11 12:26:27 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Fri, 11 Jan 2002 12:26:27 EST Subject: [New-Poetry] Brooks Haxton poem Message-ID: <59.15d12e33.29707a43@aol.com> Here is a selection from a longer piece in "Nakedness, Death, and the Number Zero," entitled "What If the Old Love Should Return." +++++++++++++++++++++++++++ I Thought of Ovid Whining in His Exile, When You Said You Missed Me Now, Three Decades Since You Broke My Heart Ovid told a few young wives, his readers, how they might most pleasurably cheat their husbands, and they did. The Son of God, Augustus, then sent Ovid east. Only a fool would think those last poems from the Black Sea transcend exile, every word sent back to Rome, where Ovid dared not ask that he be sent: a few miles nearer might be less like death, he said. In Pontus, he was dying, while his pleas, which failed to get him home, squeaked like wingbones in their sockets, carrying him neither here nor there. But outside Time, they say, the throats of whip-poor-wills and human beings vibrate in the Cosmic Harp. And you and I, just now, where were we, when a voice without a body whispered, Are you with me? +++++++++++++++++++++++++++++ More Brooks Haxton at http://www.aaknopf.com/authors/haxton/excerpt.html From JforJames at aol.com Sun Jan 13 15:49:39 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Sun, 13 Jan 2002 15:49:39 EST Subject: [New-Poetry] A press release for JUBILAT 4 Message-ID: <143.7c657e2.29734ce3@aol.com> From: Robert N. Casper" Subject: A press release for JUBILAT 4 Amherst, MA--JUBILAT announces the publication of its fourth issue, an arresting mix of poetry, art, interviews and prose that simultaneously enlivens and challenges the very definition of a literary journal.JUBILAT 4 includes never-before-published selections from Pulitzer prize-winning poet George Oppen's Daybooks; new translations of Eugenio Montejo (winner of Venezuela's National Prize for Literature), French Surrealist Paul ?luard, and Israeli children's book author and poet Nurit Zarchi; the first major interview with acclaimed poet Dean Young; and new work by an array of emerging and established talents including Reginald Sheperd, Andrzej Sosnowski, Liz Waldner, Russell Edson, and John Ashbery. In keeping with JUBILAT's belief that, to poetry, everything is relevant, JUBILAT 4 also presents a Chinese menu of dishes inspired by late T'ang Dynasty poems and a selection of images made from ink signatures from the 1920s & '30s.Only two years old, JUBILAT has quickly made a name for itself as one of the most exciting new journals to make its way into print. Work from recent issues has been selected for inclusion in Best American Poetry 2001 & 2002, and for reprint in Harper's Magazine.Twice yearly JUBILAT delivers more than 150 pages of the best in contemporary poetry along with art, interviews and prose. Part of the unique focus of the journal is to offer a forum for poets to publish prose pieces on a wide variety of subjects which may or may not have anything to do with poetry. In addition, JUBILAT re-introduces lost or neglected talent that may have been passed over by the standard canon or otherwise deserves a wider audience, such as Christopher Smart and John Clare. Past issues have also included work by Sappho, Bob Perelman, Paul Celan, Nathaniel Mackey, Odysseus Elytis, Claudia Rankine, James Tate, Jane Miller, Vasko Popa, Pierre Reverdy, Jorie Graham, and Heather McHugh."JUBILAT is already handsomely unpredictable, and the reader turns its pages often in sheer aesthetic excitement. I can think of only a few -- very few -- journals with this variety and openness," wrote the late poet and translator Agha Shahid Ali, who was also a beloved friend and Contributing Editor to the journal."JUBILAT is stunning both inside and out, a magnificent contribution to the literary magazine in America and the world," says poet and editor Gillian Conoley."I love JUBILAT because it isn't jaded or sleeping or cynical; it's open to everything a 21st century literary venue needs to make a place for itself in the vast cacophony of writing we call the literary world," says poet Dara Wier. JUBILAT Dept. of English 452 Bartlett Hall Univ. of Massachusetts Amherst, MA 01003 413-577-1064 www.jubilat.org -------------- next part -------------- An HTML attachment was scrubbed... URL: From JforJames at aol.com Sun Jan 13 16:37:46 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Sun, 13 Jan 2002 16:37:46 EST Subject: [New-Poetry] The Yalobusha Review Message-ID: <7e.2101bc2b.2973582a@aol.com> From: Mairead Byrne Subject: Yalobusha Review The Yalobusha Review, the graduate student literary journal, at theUniversity of Mississippi, is looking for submissions (up to 5 poems) andboth fiction and nonfiction (up to 5,000 words). Send material with SASE to:Editor, The Yalobusha Review, Department of English, University ofMississippi, PO Box 1848, University, MS 38677-1848. Deadline for nextissue: Feb 15.It's an annual magazine, at present being revamped and improved. -------------- next part -------------- An HTML attachment was scrubbed... URL: From JforJames at aol.com Tue Jan 15 13:03:47 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Tue, 15 Jan 2002 13:03:47 EST Subject: [New-Poetry] New and On View: Mudlark Poster No. 37 (2002) Message-ID: From: William Slaughter Subject: NOTICE: MUDLARK In-Reply-To: Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Poster No. 37 (2002) Issam Zineh a.m. Sestina | God and the American Spiritual | Regression St. Patrick's Purgatory | The Beginning of Verse Issam Zineh is a cardiovascular pharmacogenomics research fellow at the University of Florida. Originally from Los Angeles, he has lived in Cape Cod, Boston, Durham, NC, and Gainesville, FL. His work has either appeared or is forthcoming in Amelia, Nimrod, JAMA (Journal of the American Medical Association), and Parting Gifts among other magazines. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark at unf.edu URL: http://www.unf.edu/mudlark From JforJames at aol.com Tue Jan 15 21:13:46 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Tue, 15 Jan 2002 21:13:46 EST Subject: [New-Poetry] Yankee poetry page yanked Message-ID: <84.21bbc7bd.29763bda@aol.com> Dear Faith, A friend of mine has just gotten a letter from Jean Burden, the long-time poetry editor of Yankee Magazine. Jean tells her that the powers-to-be have, in their infinite wisdom, made a decision not to publish poetry any more. For any true blooded (or transplanted) New England poet, this is an outrage. As Pat writes, "The poetry page in Yankee reaches over a million readers each month and has printed poetry by many of our best known poets along with many unknown or little-known poets. . . poetry there is read by many, many readers who otherwise have little exposure to poetry." Apparently the magazine is intended to de-emphasize its focus on traditional New England culture and traditions and become more of a "life-style" magazine such as Southwest Living. Pat is spreading the word, and I am too. Would you please post a notice about this on your poetry list? I'm sure you are the quickest way to reach the most poets in Connecticut. I'd appreciate it very much. Those interested in protesting and in asking Yankee executives to please reconsider, can write to President Jamie Trowbridge and/or Editor-in-Chief Judson D. Hale, Sr. The address is P.O. Box 520, Dublin, NH 03444. The phone is 603 563-8111. Thank you so much! [Non-text portions of this message have been removed] To unsubscribe from this group, send an email to: ConnecticutPoet-unsubscribe at egroups.com -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- An embedded message was scrubbed... From: "HanoverPress" Subject: [ConnecticutPoet] Fw: Yankee Magazine and Poetry Date: Tue, 15 Jan 2002 16:57:26 -0500 Size: 4045 URL: From wasanthony at yahoo.com Wed Jan 16 11:50:20 2002 From: wasanthony at yahoo.com (jcervantes) Date: Wed, 16 Jan 2002 08:50:20 -0800 (PST) Subject: [New-Poetry] Two lotto tickets Message-ID: <20020116165020.63654.qmail@web12108.mail.yahoo.com> Has anyone ever entered two different manuscripts to the same book "contest"? Some allow it, others I'm not sure about but I'm inquiring. If you have done the above, do you think it gave you an edge (whether you "won" or not--heh heh)? Commentary: I notice Cornelius Eady is the judge in poetry for AWP this year -- AWP allows more than one entry. I met Eady last year but I happened to light up a cigarette as we were yakking and I noticed a fire and brimstone glance from him. Do you think he'd remember? Would it help to include a note that I am in the process of quitting smoking? Of course I would note that in my cover letter with both submissions. Seriously, I am curious because I'm flogging two different manuscripts these days and wonder if submitting both to each contest or publisher would make any difference. I should have an intuitive answer to this but I don't. It's been one book every ten years with a serendipitous approach. - Jim ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Salt River Review: "Ripples" @ Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ From JforJames at aol.com Wed Jan 16 16:23:14 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 16 Jan 2002 16:23:14 EST Subject: [New-Poetry] Negotiating the Darkness, Fortified by Poets' Strength Message-ID: <168.7423638.29774942@aol.com> From wasanthony at yahoo.com Wed Jan 16 18:50:15 2002 From: wasanthony at yahoo.com (jcervantes) Date: Wed, 16 Jan 2002 15:50:15 -0800 (PST) Subject: [New-Poetry] Negotiating the Darkness, Fortified by Poets' Strength In-Reply-To: <168.7423638.29774942@aol.com> Message-ID: <20020116235015.14816.qmail@web12108.mail.yahoo.com> Yes, I read that when it first appeared, and the following passage stuck despite the eloquence of the Zbigniew Herbert quote: "Only lyric poetry yields the artwork in its entirety, anytime, anywhere. And it arrives in common language - the same tool we use to get gas pumped into a dry tank. While standing in a bank teller's long line, I can rerun a whole sonnet in my head and enjoy a rush of tenderness that sometimes disperses my impatience as if a wand had been waved." (Mary Karr) And I wondered if those of us given to the lyric must get approval from the FDA? Can I freely dispense lyrics at the dumb teller? - Jim --- JforJames at aol.com wrote: > From NYTImes online... > Negotiating the Darkness, Fortified by Poets' Strength > > January 14, 2002 > > By MARY KARR ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Homepage: Salt River Review: Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ From halvard at earthlink.net Fri Jan 18 12:15:52 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Fri, 18 Jan 2002 12:15:52 -0500 Subject: [New-Poetry] Blue Telephone Message-ID: Blue Telephone Success and self-worth, sweetie. Love in action aids meditation; peachtree agate grounds and balances emotions,stills your mind. Pale green or turquoise semiprecious stones, pendants and beaded necklaces. Love one another? How did you preach my gospel today? Didn't I give you my mind, babe?my body? Didn't I set your feet on solid ground? Just look around a bit, and you'll see. Putting love into action, manifestations of self, mind, and spirit. Money and fertility born of working-class parents? nurturing, stabilizing, grounding. Some type of blue-collar life, two feet on the ground. Never back down. Mind your own business, you who like to preach all day. Now it's moonstone, with its soothing essence, true action from the heart, from conscious thinking mind, from the infinite. You can preach at Gilman Street. It's what was on her mind. And courage, slightly grounded, increases resistance to pale green, to brown or pink, by slow volcanic action. Reduces stress; connects mind and emotions. Mama don't preach much anymore; a kind of middle ground between one's personal life and politics, letting out its contents, a blue telephone, and then some stretch of mind, the other in "some other mode," some other way to go. Milky yellow, green or calming white, centering and grounding, releasing negative emotions. Peace, sweeping action to balance, an open mind refracting bloody pictures, while ecstatic bluebells wait patiently, unmasked, until your thoughts begin to jell. Feet shook the ground like the Northridge quake. (Don't preach to me? I warn you, Mister Mind.) Emotionally unstable, love leaps into action, clears the air. Slightly sedative, cuts through red silt. Vistas, everywhere that mountains rise. Near Blue Creek, lava flows through volcanic ash, river slaking the thirst of a green, curving snake, raising self-esteem, grounding active, inquisitive loving. To initiate change, use turquoise, which breeds peacefulness in thought or action, freedom to make wrong choices, returning a sense of self-worth, of groundedness and reliability enough to quench the thirst of any swimmer's dream. See the black lava outcroppings at the edge of the photo? This view shows the green sea turtle of perfect psychic awareness, which, after all, is the right way to go, the right action. Go back now, deal with your mind before it deals with you. Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From JforJames at aol.com Fri Jan 18 13:21:46 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Fri, 18 Jan 2002 13:21:46 EST Subject: [New-Poetry] Typo Tyrannosaurus Message-ID: <38.21b5ea4e.2979c1ba@aol.com> Got a bad/good typo story?... Wednesday January 16 3:30 PM ET Actor's Plaque Mistakenly Honors King's Assassin LAUDERHILL, Fla. (Reuters) - A plaque intended to honor black actor James Earl Jones at a Florida celebration of the life of Martin Luther King instead paid tribute to James Earl Ray, the man who killed the black civil rights leader, officials said on Wednesday. The embarrassing mix-up was caused by an error by the plaque's designer, the owner of the company that ordered the plaque said. It was being corrected in time for Jones' visit to the Fort Lauderdale suburb on Saturday. Over a background featuring stamps of famous black Americans, including King, the erroneous plaque read, ``Thank you James Earl Ray for keeping the dream alive.'' He was the man who shot and killed King in a Memphis hotel in 1968. King is honored across the nation on Jan. 21, Martin Luther King Day. ``We were very upset,'' said Gerald Wilcox, owner of Lauderhill-based Adpro, which ordered the plaque for the city. ''We wanted to find out how a mistake of this magnitude could occur and to try to determine if it was deliberate or not.'' Wilcox said his company made it clear to the plaque's manufacturer, Texas-based Merit Industries, that the message was for James Earl Jones, the Tony Award-winning actor who voiced the roles of Darth Vader in ``Star Wars'' and Mufasa in ''The Lion King.'' Merit Industries said the mix-up was caused by a typographical error. ``We in no way meant any disrespect. It was an honest error,'' said Herbert Miller, the owner of Merit Industries. From halvard at earthlink.net Fri Jan 18 13:26:33 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Fri, 18 Jan 2002 13:26:33 -0500 Subject: [New-Poetry] Typo Tyrannosaurus In-Reply-To: <38.21b5ea4e.2979c1ba@aol.com> Message-ID: I think it's time to see Terry Gilliam's *Brazil* again. Hal "Way down the deserted street, I thought I saw a bus which, with luck, might get me out of this sentence . . . " --Rosmarie Waldrop Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html > Got a bad/good typo story?... > > Wednesday January 16 3:30 PM ET > Actor's Plaque Mistakenly Honors King's Assassin > LAUDERHILL, Fla. (Reuters) - A plaque intended to honor black actor James > Earl Jones at a Florida celebration of the life of Martin Luther King instead > paid tribute to James Earl Ray, the man who killed the black civil rights > leader, officials said on Wednesday. > > The embarrassing mix-up was caused by an error by the plaque's designer, the > owner of the company that ordered the plaque said. It was being corrected in > time for Jones' visit to the Fort Lauderdale suburb on Saturday. > > Over a background featuring stamps of famous black Americans, including King, > the erroneous plaque read, ``Thank you James Earl Ray for keeping the dream > alive.'' > > He was the man who shot and killed King in a Memphis hotel in 1968. King is > honored across the nation on Jan. 21, Martin Luther King Day. > > ``We were very upset,'' said Gerald Wilcox, owner of Lauderhill-based Adpro, > which ordered the plaque for the city. ''We wanted to find out how a mistake > of this magnitude could occur and to try to determine if it was deliberate or > not.'' > > Wilcox said his company made it clear to the plaque's manufacturer, > Texas-based Merit Industries, that the message was for James Earl Jones, the > Tony Award-winning actor who voiced the roles of Darth Vader in ``Star Wars'' > and Mufasa in ''The Lion King.'' > > Merit Industries said the mix-up was caused by a typographical error. > > ``We in no way meant any disrespect. It was an honest error,'' said Herbert > Miller, the owner of Merit Industries. > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From cstroffo at earthlink.net Fri Jan 18 13:38:32 2002 From: cstroffo at earthlink.net (Chris Stroffolino Stroffolino) Date: Fri, 18 Jan 2002 10:38:32 -0800 Subject: [New-Poetry] Typo Tyrannosaurus References: <38.21b5ea4e.2979c1ba@aol.com> Message-ID: <3C486BA8.9F866A19@earthlink.net> ohmigod JforJames at aol.com wrote: > Got a bad/good typo story?... > > Wednesday January 16 3:30 PM ET > Actor's Plaque Mistakenly Honors King's Assassin > LAUDERHILL, Fla. (Reuters) - A plaque intended to honor black actor James > Earl Jones at a Florida celebration of the life of Martin Luther King instead > paid tribute to James Earl Ray, the man who killed the black civil rights > leader, officials said on Wednesday. > > The embarrassing mix-up was caused by an error by the plaque's designer, the > owner of the company that ordered the plaque said. It was being corrected in > time for Jones' visit to the Fort Lauderdale suburb on Saturday. > > Over a background featuring stamps of famous black Americans, including King, > the erroneous plaque read, ``Thank you James Earl Ray for keeping the dream > alive.'' > > He was the man who shot and killed King in a Memphis hotel in 1968. King is > honored across the nation on Jan. 21, Martin Luther King Day. > > ``We were very upset,'' said Gerald Wilcox, owner of Lauderhill-based Adpro, > which ordered the plaque for the city. ''We wanted to find out how a mistake > of this magnitude could occur and to try to determine if it was deliberate or > not.'' > > Wilcox said his company made it clear to the plaque's manufacturer, > Texas-based Merit Industries, that the message was for James Earl Jones, the > Tony Award-winning actor who voiced the roles of Darth Vader in ``Star Wars'' > and Mufasa in ''The Lion King.'' > > Merit Industries said the mix-up was caused by a typographical error. > > ``We in no way meant any disrespect. It was an honest error,'' said Herbert > Miller, the owner of Merit Industries. > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From cstroffo at earthlink.net Fri Jan 18 13:39:36 2002 From: cstroffo at earthlink.net (Chris Stroffolino Stroffolino) Date: Fri, 18 Jan 2002 10:39:36 -0800 Subject: [New-Poetry] Typo Tyrannosaurus References: Message-ID: <3C486BE8.31792908@earthlink.net> ohigetitmetaphormeansbusingreece Halvard Johnson wrote: > I think it's time to see Terry Gilliam's *Brazil* again. > > Hal "Way down the deserted street, I thought I saw > a bus which, with luck, might get me out of this > sentence . . . " > --Rosmarie Waldrop > Halvard Johnson > =============== > email: halvard at earthlink.net > website: http://home.earthlink.net/~halvard/index.html > > > Got a bad/good typo story?... > > > > Wednesday January 16 3:30 PM ET > > Actor's Plaque Mistakenly Honors King's Assassin > > LAUDERHILL, Fla. (Reuters) - A plaque intended to honor black actor James > > Earl Jones at a Florida celebration of the life of Martin Luther King instead > > paid tribute to James Earl Ray, the man who killed the black civil rights > > leader, officials said on Wednesday. > > > > The embarrassing mix-up was caused by an error by the plaque's designer, the > > owner of the company that ordered the plaque said. It was being corrected in > > time for Jones' visit to the Fort Lauderdale suburb on Saturday. > > > > Over a background featuring stamps of famous black Americans, including King, > > the erroneous plaque read, ``Thank you James Earl Ray for keeping the dream > > alive.'' > > > > He was the man who shot and killed King in a Memphis hotel in 1968. King is > > honored across the nation on Jan. 21, Martin Luther King Day. > > > > ``We were very upset,'' said Gerald Wilcox, owner of Lauderhill-based Adpro, > > which ordered the plaque for the city. ''We wanted to find out how a mistake > > of this magnitude could occur and to try to determine if it was deliberate or > > not.'' > > > > Wilcox said his company made it clear to the plaque's manufacturer, > > Texas-based Merit Industries, that the message was for James Earl Jones, the > > Tony Award-winning actor who voiced the roles of Darth Vader in ``Star Wars'' > > and Mufasa in ''The Lion King.'' > > > > Merit Industries said the mix-up was caused by a typographical error. > > > > ``We in no way meant any disrespect. It was an honest error,'' said Herbert > > Miller, the owner of Merit Industries. > > > > _______________________________________________ > > New-Poetry mailing list > > New-Poetry at wiz.cath.vt.edu > > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From MillB at aol.com Sat Jan 19 14:30:51 2002 From: MillB at aol.com (MillB at aol.com) Date: Sat, 19 Jan 2002 14:30:51 EST Subject: [New-Poetry] Re: New York Message-ID: <18b.20c0215.297b236b@aol.com> I'll be in New York from Feb 8th through the 16th. I've done some checking already, but does anyone know if there's a poetry reading or literary event during that time? Many thanks, Mill From tadrichards at prodigy.net Sat Jan 19 16:23:27 2002 From: tadrichards at prodigy.net (theoldmole) Date: Sat, 19 Jan 2002 16:23:27 -0500 Subject: [New-Poetry] Re: New York References: <18b.20c0215.297b236b@aol.com> Message-ID: <003501c1a12f$8b6d1040$6401a8c0@hvc.rr.com> http://www.poetz.com/calendar/ has a pretty good listing.You can find all the regular reading series there, and they list Anne Waldman and Eileen Myles on the 15 -- NEW YORK OPEN CENTER, 83 Spring Street. I'm going to be reading in Connecticut on the 6th, but that won't help you any. Check out The Old Mole's Poets and Jazz Musicians Gallery at http://pages.prodigy.net/tadrichards ----- Original Message ----- From: To: Sent: Saturday, January 19, 2002 2:30 PM Subject: [New-Poetry] Re: New York > I'll be in New York from Feb 8th through the 16th. I've done some checking already, but does anyone know if there's a poetry reading or literary event during that time? > > Many thanks, > > Mill > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From MillB at aol.com Sat Jan 19 17:49:39 2002 From: MillB at aol.com (MillB at aol.com) Date: Sat, 19 Jan 2002 17:49:39 EST Subject: [New-Poetry] Re: New York Message-ID: Tad: Thanks much for the info. I'm sorry that I'll miss your reading. Cheers, Mill From wasanthony at yahoo.com Sun Jan 20 11:32:33 2002 From: wasanthony at yahoo.com (jcervantes) Date: Sun, 20 Jan 2002 08:32:33 -0800 (PST) Subject: [New-Poetry] Call for submissions Message-ID: <20020120163233.99262.qmail@web12108.mail.yahoo.com> The Salt River Review welcomes submissions of poetry, fiction, and non-fiction for its spring issue, which will be published late March/early April. Poetry and non-fiction should go to James Cervantes at jvcervantes at earthlink net Fiction should be sent to Lynda Schor at lyndaschor at msn.com Work submitted should be included in the body of your message. No attachments, please. E-mails arriving with attachments will be deleted unread. Guidelines for submissions are at The current issue of The Salt River Review, Vol. V, No.1, Winter, 2001-2002, is online at ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Homepage: Salt River Review: Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ From tadrichards at prodigy.net Mon Jan 21 00:03:51 2002 From: tadrichards at prodigy.net (theoldmole) Date: Mon, 21 Jan 2002 00:03:51 -0500 Subject: [New-Poetry] Fw: [ConnecticutPoet] Fw: [loudNOTES] INFO: it's not that cold. go hear poetry! Message-ID: <003701c1a239$05b88960$6401a8c0@hvc.rr.com> ----- Original Message ----- From: "HanoverPress" To: "ConnecticutPoet" Sent: Sunday, January 20, 2002 11:25 PM Subject: [ConnecticutPoet] Fw: [loudNOTES] INFO: it's not that cold. go hear poetry! If you are interested in new york events, subscribe to this email poetry post - thanks Faith ----- Original Message ----- From: "martyoutloud" To: Sent: Sunday, January 06, 2002 7:05 PM Subject: [loudNOTES] INFO: it's not that cold. go hear poetry! coming soon: www.louderARTS.com UPCOMING NYC POETRY EVENTS! Tuesday, January 8 STRIVING FOR POETIC JUSTICE The National Arts Club 15 Gramercy Park South (20th St. between Park & Irving) 6:30 p.m. * $15 ($10 for students/struggling artists) An evening of poetry and spoken word featuring the following members of Poetic Justice-NYC: Celena Glenn, Alix Olson, Jason Schneiderman plus special invited guest F. Omar Telan. Funds raised at this event will help to send the members of Poetic Justice-NYC to Sydney, Australia in the fall of 2002 to compete in the poetry slam at Gay Games VI. e-mail: fool3953 at mindspring.com *** Sunday, January 13 Benefit Reading and Mural Exhibition presented by The Community~Word Project in collaboration with The Emerging Writers Series Liquids (266 East 10th Street) 7 p.m. * $5 (includes $2 off 1 drink) featuring: Hettie Jones, Quraysh Ali Lansana and NYU Graduate Creative Writing Program students/Community~Word Project teaching- artist trainees Susan Brennan, Aracelis Girmay, Alisa Klevens, and Jason Schneiderman *** Sunday, January 20 and February 17 SOUND OFF! Team Slam Tournament Justin's (31 West 21st Street) 8 p.m. * $10 ($7 w/student ID) Idkhajah Productions' Spoken Word Sundays presents the largest team slam tournament ever to take place in NYC, every Sunday at Justin's. Sunday, Jan. 20th: Bar 13 (Marty McConnell, Eric Guerrieri, Edward Garcia and Helen Yum) vs. Terrorist Syndicate vs. Wordstock Inc. Sunday, Feb. 17th: Bar 13 (Roger Bonair-Agard, Bassey Ikpi, Peter of the Earth and Franklin Leonard) vs. Glass Onion Dynasty vs. African Poetry Theater. *** POETS FOR PEACE Friday, January 25 Bread and Roses, Local 1199 (310 West 43rd Street) 6:30 p.m. * $10 contribution {Contributions go to HERE Local 100 (Hotel & Restaurant Workers) and Women in Black} a reading with Zoe Anglesey, Yusef Komunyakaa, Grace Paley, Martin Espada, Cornelius Eady, Chris Brandt, Veronica Golos, Rashidah Ismaili, D.H. Melhem, Angelo Verga, and David Williams. Music by Pam Parker & Joe Uehlein. to RSVP call 718-653-1153 *** Tuesday, January 29th Women's Poetry Jam & Women's Open Mic featuring Marty McConnell and Sonia Pilcer Bluestockings Bookstore 172 Allen St. (between Staton & Rivington, 1 1/2 blocks south from E. Houston) 7 p.m. * Free ($2 suggested donation) Sonia Pilcer's fifth published book "The Holocaust Kid" explores the psychological/spiritual effects of being '2G', a child of Holocaust survivors. Marty McConnell's work aims to explode the boundaries modern American society imposes regarding sexuality, gender, race and beauty. Hosted by Vittoria repetto - the hardest working guinea dyke poet on the lower east side. http://www.bluestockings.com *** FROM THE MOUTHS OF BABES: A FESTIVAL OF NEW WORKS FROM A BEVY OF BODACIOUS WOMEN All shows at 8 p.m. at the WOW Caf? Theater located at 59-61 East 4th street, between 2nd Ave & the Bowery. Call (212) 777-4280 for reservations and show details. Tickets are $20-15 sliding scale, $10 for students with a valid student I.D., free for Open Stage participants. Prices include both shows of the evening. From JforJames at aol.com Wed Jan 23 09:44:48 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 23 Jan 2002 09:44:48 EST Subject: [New-Poetry] Anne Carson: first woman to win TS Eliot Prize Message-ID: <12c.b3c326e.29802660@aol.com> forwarded from another list: http://books.guardian.co.uk/news/articles/0,6109,637278,00.html Canadian poet becomes first woman to win TS Eliot Prize Maev Kennedy, arts and heritage correspondent Tuesday January 22, 2002 The Guardian Canadian poet Anne Carson last night became the first woman to win the TS Eliot Prize. Founded nine years ago, the 10,000 prize is not the richest but is regarded as the most distinguished poetry award - but has been criticised as a private club for male poets. This year, however, there were two women on the 10-name shortlist, and the chairwoman of the judging panel, Helen Dunmore, called Carson's work "brilliant". The ceremony in London last night, where the prize was presented by Valerie Eliot, widow of TS Eliot, was hosted by the arts minister, Lady Blackstone. Anne Carson, 50, who is professor of classics at McGill University in Montreal, triumphed in a shortlist which included Seamus Heaney, and Sean O'Brien. Although her work is less well known in Britain, she has been scooping up prizes in Canada and the US, including the $500,000 MacArthur fellowship, which allowed her to venture into installation art. She took the TS Eliot prize for her fourth book to be published in Britain, The Beauty of the Husband, a single piece about the disintegration of a marriage, which she has described as "a fictional essay in 29 tangos". The prize is organised by the Poetry Book Society, of which Eliot was a founder member in 1953. As well as the money, Professor Carson will receive a presentation copy of her book bound in Morocco leather. The Beauty of the Husband (Extract) by Anne Carson Husband: final field exercise cut out the three rectangles and rearrange them so that the two commanders are riding the two horses Hurts to be here. "You are the one who escaped." To tell a story by not telling it - dear shadow, I wrote this slowly. Her starts! My ends. But it all comes round to a blue June moon and a sullied night as poets say. Some tangoes pretend to be about women but look at this. Who is it you see reflected small in each of her tears. Watch me fold this page now so you think it is you. From GrahamD at Mail.Ripon.EDU Wed Jan 23 14:12:31 2002 From: GrahamD at Mail.Ripon.EDU (Graham, David) Date: Wed, 23 Jan 2002 13:12:31 -0600 Subject: [New-Poetry] Euphony Index Message-ID: <4BBBE1EC8182D511BF9800508BBD7599E86CA9@mail.ripon.edu> I have just learned from another list about a journal called Euphony that has provided a helpful Index of "words which should be used with caution in poems, words that should only be used with skill in poems, and words which may make a poem impossible." Check it out at: http://euphony.uchicago.edu/index/ Here's a snippet from their explanatory text: "In brief, the first category, words which must be used with caution, are words which, when used throughout a poem or as supplying the thematic material, may be warning signs of impending mediocrity. All too often, a young poet will center his poem on, say, singing and dancing in the moonlight, thinking that the very nature of the topic will lend depth or art to his poem. Sadly, this is not the case. Though words in this category can be used in a successful poem, and indeed are used with great regularity, they are also the cause of the brutal poverty of a great many others. The second category, words which should be used with skill only, are words that are likely to ruin a line. Some of these are simply words which fail to describe - eg "beautiful" instead of "small gilded fly" - they are the result of laziness or poetic nihilism. Some of these are words which, as in the first category, lend the poet to think his poem enters the sublime simply by virtue of containing them, such as foreign words, overly scientific terms; the word "drunk". There is some overlap between this category and the first. The third category is self-evident. The presence of these words in a poem constitutes legitimate grounds for summary dissmissal, accompanied by an anguished cry of disgust. Especially to these, there are a few notable exceptions, accomplished by the timeless heroes of poetry, which have been duly noted by your diligent archivists here." ____________________ =================== David Graham grahamd at mail.ripon.edu =================== From gmcvay at patriot.net Wed Jan 23 14:18:24 2002 From: gmcvay at patriot.net (Gwyn McVay) Date: Wed, 23 Jan 2002 14:18:24 -0500 (EST) Subject: [New-Poetry] Euphony's verboten words Message-ID: Three Poems I. Use with Caution O magic intestine of New York! II. Use with Skill Your visceral flame body-checks my 5-dollar sax. Let's get jiggy wit' it. III. Not Allowed DickNixon.com Is A Real Dick, and I think Jerry Garcia would agree, from the languorous afterlife where he floats like a postmodern astronaut in Grateful recapitulation. Gwyn --- "We share half our genome with the banana. This is more evident in some of my acquaintances than others." Sir Robert May, President of the Royal Society of London From jdavis at panix.com Wed Jan 23 14:21:33 2002 From: jdavis at panix.com (Jordan Davis) Date: Wed, 23 Jan 2002 14:21:33 -0500 (EST) Subject: [New-Poetry] Euphony Index In-Reply-To: <4BBBE1EC8182D511BF9800508BBD7599E86CA9@mail.ripon.edu> Message-ID: Blessed are the undergraduates, for sarcasm will not permanently damage them. Jordan On Wed, 23 Jan 2002, Graham, David wrote: I have just learned from another list about a journal called Euphony that has provided a helpful Index of "words which should be used with caution in poems, words that should only be used with skill in poems, and words which may make a poem impossible." Check it out at: http://euphony.uchicago.edu/index/ Here's a snippet from their explanatory text: "In brief, the first category, words which must be used with caution, are words which, when used throughout a poem or as supplying the thematic material, may be warning signs of impending mediocrity. All too often, a young poet will center his poem on, say, singing and dancing in the moonlight, thinking that the very nature of the topic will lend depth or art to his poem. Sadly, this is not the case. Though words in this category can be used in a successful poem, and indeed are used with great regularity, they are also the cause of the brutal poverty of a great many others. The second category, words which should be used with skill only, are words that are likely to ruin a line. Some of these are simply words which fail to describe - eg "beautiful" instead of "small gilded fly" - they are the result of laziness or poetic nihilism. Some of these are words which, as in the first category, lend the poet to think his poem enters the sublime simply by virtue of containing them, such as foreign words, overly scientific terms; the word "drunk". There is some overlap between this category and the first. The third category is self-evident. The presence of these words in a poem constitutes legitimate grounds for summary dissmissal, accompanied by an anguished cry of disgust. Especially to these, there are a few notable exceptions, accomplished by the timeless heroes of poetry, which have been duly noted by your diligent archivists here." ____________________ =================== David Graham grahamd at mail.ripon.edu =================== _______________________________________________ New-Poetry mailing list New-Poetry at wiz.cath.vt.edu http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From paul.lake at mail.atu.edu Wed Jan 23 14:52:32 2002 From: paul.lake at mail.atu.edu (Paul Lake) Date: Wed, 23 Jan 2002 13:52:32 -0600 Subject: [New-Poetry] Bananas Message-ID: "We share half our genome with the banana. This is more evident in some of my acquaintances than others." Now that's a poem. Thanks, Gwyn. Paul Lake From gmcvay at patriot.net Wed Jan 23 15:07:32 2002 From: gmcvay at patriot.net (Gwyn McVay) Date: Wed, 23 Jan 2002 15:07:32 -0500 (EST) Subject: [New-Poetry] Bananas In-Reply-To: Message-ID: Paul, thank my father, who passed on the quote to me, along with another one today, spotted in a USA Today editorial, saying that Nevada should no more grant Mike Tyson a boxing license (because of his dangerous nut-hood) than an arsonist should be given a hose. Huh? And then there was the delightful headline in the Washington Post last Sunday: Panda Lectures At Zoo This Week They didn't say whether it would be speaking English or Chinese. Gwyn --- "We share half our genome with the banana. This is more evident in some of my acquaintances than others." Sir Robert May, President of the Royal Society of London From paul.lake at mail.atu.edu Wed Jan 23 15:16:07 2002 From: paul.lake at mail.atu.edu (Paul Lake) Date: Wed, 23 Jan 2002 14:16:07 -0600 Subject: [New-Poetry] Bananas and eucalyptus Message-ID: "Panda Lectures At Zoo This Week They didn't say whether it would be speaking English or Chinese." Maybe the lectures were in pandamime. Paul From Rsgwynn1 at cs.com Wed Jan 23 16:13:14 2002 From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com) Date: Wed, 23 Jan 2002 16:13:14 EST Subject: [New-Poetry] Euphony Index Message-ID: In a message dated 1/23/2002 1:14:30 PM Central Standard Time, GrahamD at Mail.Ripon.EDU writes: > > I have just learned from another list about a journal called Euphony that > has provided a helpful Index of "words which should be used with caution in > poems, words that should only be used with skill in poems, and words which > may make a poem impossible." Check it out at: > > http://euphony.uchicago.edu/index/ > I can't seem to find the index itself, only the page quoted above. Am I doing something wrong? -------------- next part -------------- An HTML attachment was scrubbed... URL: From Rsgwynn1 at cs.com Wed Jan 23 16:15:52 2002 From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com) Date: Wed, 23 Jan 2002 16:15:52 EST Subject: [New-Poetry] Euphony Index Message-ID: <135.832d72e.29808208@cs.com> In a message dated 1/23/2002 3:14:26 PM Central Standard Time, Rsgwynn1 at cs.com writes: > > >> I have just learned from another list about a journal called Euphony that >> has provided a helpful Index of "words which should be used with caution >> in >> poems, words that should only be used with skill in poems, and words which >> may make a poem impossible." Check it out at: >> >> http://euphony.uchicago.edu/index/ >> > > I can't seem to find the index itself, only the page quoted above. Am I > Never mind. Didn't see the links. Sam-I-Am -------------- next part -------------- An HTML attachment was scrubbed... URL: From JforJames at aol.com Wed Jan 23 19:50:05 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 23 Jan 2002 19:50:05 EST Subject: [New-Poetry] Euphooey Message-ID: <18d.242dec0.2980b43d@aol.com> I propose a game...post poems (or the titles only if you're lazy) that fly in the face of these tread lightlies and outright eschewals... I. CAUTION: In brief, the first category, words which must be used with caution, are words which, when used throughout a poem or as supplying the thematic material, may be warning signs of impending mediocrity. All too often, a poet will center his poem on, say, singing and dancing in the moonlight, thinking that the very nature of the topic will lend depth or art to his poem. Sadly, this is not the case. Though words in this category can be used in a successful poem, and indeed are used with great regularity, they are also the cause of the brutal poverty of a great many others. I self-portrait poem, poetry, poet, word, words, write, grammar, syntax, language art, sculpt, paint dancing, singing generally speaking, musical instruments sexual organs (including womb) mouth, stomach, intestine, swallowing liquor, drunkeness soothe, caress; hug, kiss, embrace scream, howl, cry said, did, walked, felt O spell, fairy, magic, nymph, spirit, ghost, sprite, sylph identity ocean, drifting, drowning rain, clouds, fog, mist water night, moon, darkness, stars insanity, madness; awe, wonder; dreaming loneliness, time, empty; love, hate; destiny, fate New York, Chicago, Los Angeles; generally, major cities and other nominal climatizing bizarre, weird, queer, odd, strange vaguely, virtually death - and birth spring, The Earth, fertility II. WITH SKILL ONLY second category, words which should be used with skill only, are words that are likely to ruin a line. Some of these are simply words which fail to describe - eg "beautiful" instead of "small gilded fly" - they are the result of laziness or poetic nihilism. Some of these are words which, as in the first category, lend the poet to think his poem enters the sublime simply by virtue of containing them, such as foreign words, overly scientific terms; the word "drunk". There is some overlap between this category and the first. ... onomatopoeia of any kind words dramatic in themselves, such as magnificent, repulsive, revelation, rapture hackneyed clich?s sax, jazz - sometimes flute, fife words overly technical or specific, without being descriptive, as sartorial mentions of specific types or amounts of currency (eg 7 lira) foreign languages O, when misspelled 'Oh'* fire, flame generalized and non-descriptive intensifiers, such as very, quite, particularly - and profanity bland adjectives such as beautiful, pleasant, fine, nice, pretty, lovely, dead, good adjectives which have been used to the point of becoming bland: soft, quiet, sweet, subdued sensual, visceral, sexual subliminal, subconscious, infinite references to modern sports, such as striking out or making a slam dunk slang and other forms of jargon * (evidence of our genius) III. SUMMARY DISMISSAL The third category is self-evident. The presence of these words in a poem constitutes legitimate grounds for summary dissmissal, accompanied by an anguished cry of disgust. Especially to these, there are a few notable exceptions, accomplished by the timeless heroes of poetry, which have been duly noted by your diligent archivists here. 'my art' e-mail, email .com CD recapitulation generally, words over four syllables in length World Series post modern astronaut superfluous capitalizations exclamation points (exception: the "Wake!" which opens Fitzgerald's Rubaiyat of Omar Khayyam) Brand names, including Target, Tylenol, etc. Band names and band leaders Current World Leaders (exception: various Walt Whitman eulogies to Abraham Lincoln. But you'll note he never uses Lincoln's name.) languorous scholarship galaxy (galaxies is fine)* magnanimity (magnanimous is wonderful) punning references to sexual organs (note: not metaphorical, ie poetic, ie proper to poetry) * (evidence of our genius) From JforJames at aol.com Wed Jan 23 20:01:49 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 23 Jan 2002 20:01:49 EST Subject: [New-Poetry] Bananas Message-ID: In a message dated 1/23/02 2:55:18 PM Eastern Standard Time, paul.lake at mail.atu.edu writes: << We share half our genome with the banana. This is more evident in some of my acquaintances than others." >> Is this just the postmo version of, "Is that a gun in your pocket or are happy to see me." --Mae West? From tadrichards at prodigy.net Thu Jan 24 09:03:33 2002 From: tadrichards at prodigy.net (theoldmole) Date: Thu, 24 Jan 2002 09:03:33 -0500 Subject: [New-Poetry] Poet Gallery Message-ID: <002801c1a4df$e9bca080$6401a8c0@hvc.rr.com> Something I've been fooling around with for awhile...I'll be continuing to add to it, but I guess I'm ready to call some attention to it...the link below, with my signature, will take you to a bunch of drawings I've been doing of contemporary poets. Tad Richards Check out The Old Mole's Poets and Jazz Musicians Gallery at http://pages.prodigy.net/tadrichards -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: image/jpeg Size: 7073 bytes Desc: not available URL: From JforJames at aol.com Thu Jan 24 10:13:54 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Thu, 24 Jan 2002 10:13:54 EST Subject: [New-Poetry] Euphony Index Message-ID: <132.7e81a5b.29817eb2@aol.com> In a message dated 1/23/02 2:14:30 PM Eastern Standard Time, GrahamD at Mail.Ripon.EDU writes: > > http://euphony.uchicago.edu/index/ > > Here's a snippet from their explanatory text: > > "In brief, the first category, words which must be used with caution, are > words which, when used throughout a poem or as supplying the thematic > material, may be warning signs of impending mediocrity. All too often, a > young poet will center his poem on, say, singing and dancing in the > moonlight, thinking that the very nature of the topic will lend depth or art > to his poem. Sadly, this is not the case. Though words in this category can > be used in a successful poem, and indeed are used with great regularity, > they are also the cause of the brutal poverty of a great many others. > > The second category, words which should be used with skill only, are words > that are likely to ruin a line. Some of these are simply words which fail to > describe - eg "beautiful" instead of "small gilded fly" - they are the > result of laziness or poetic nihilism. Some of these are words which, as in > the first category, lend the poet to think his poem enters the sublime > simply by virtue of containing them, such as foreign words, overly > scientific terms; the word "drunk". There is some overlap between this > category and the first. > > The third category is self-evident. The presence of these words in a poem > constitutes legitimate grounds for summary dissmissal, accompanied by an > anguished cry of disgust. Especially to these, there are a few notable > exceptions, accomplished by the timeless heroes of poetry, which have been > duly noted by your diligent archivists here." Without taking the proscribed word list too seriously, I've always consider it something of a "social duty" for the poet, whenever possible, to rescue and to redeem words that have been dissipated by overuse or that have been tainted by the jargon of specialization. Finnegan From DICK at watson.ibm.com Thu Jan 24 10:11:51 2002 From: DICK at watson.ibm.com (DICK at watson.ibm.com) Date: Thu, 24 Jan 02 10:11:51 EST Subject: [New-Poetry] euphooey Message-ID: <200201241522.g0OFMVD36316@sp1n293en1.watson.ibm.com> I'm with Finnegan on this one. Blanket proscriptions like these are worse than useless, and bespeak laziness on the part of the proscribers. Lots of poems are lousy, and maybe exhibit such symptoms. But mindlessly believing them excludes recognizing, for example, irony. If I hear an editor or critic say, "no poems about your grandmother, or the moon," I know I'm hearing a lazy or burnt-out case. Richard From JforJames at aol.com Thu Jan 24 10:28:51 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Thu, 24 Jan 2002 10:28:51 EST Subject: [New-Poetry] Poet Gallery Message-ID: <4b.17463054.29818233@aol.com> Tad, I enjoyed those portraits/caricatures...I noticed that Dana Gioia has the neck of comicbook superhero & that Lucie Brock Broido's enwrapped/enrapt by her Rapunzelength hair. How much did your view of the poet &/or his/her poetry affect your drawing hand? Finnegan From paul.lake at mail.atu.edu Thu Jan 24 11:56:54 2002 From: paul.lake at mail.atu.edu (Paul Lake) Date: Thu, 24 Jan 2002 10:56:54 -0600 Subject: [New-Poetry] Drawings Message-ID: Tad, could you repost the site with your drawings. I accidentally trashed your post before I could access. Paul Lake From languagethief at yahoo.com Thu Jan 24 14:47:36 2002 From: languagethief at yahoo.com (The Old Mole) Date: Thu, 24 Jan 2002 11:47:36 -0800 (PST) Subject: [New-Poetry] Drawings In-Reply-To: Message-ID: <20020124194736.89195.qmail@web12205.mail.yahoo.com> Paul -- http://pages.prodigy.net/tadrichards Tad --- Paul Lake wrote: > Tad, could you repost the site with your drawings. I > accidentally trashed > your post before I could access. > > Paul Lake > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry __________________________________________________ Do You Yahoo!? Great stuff seeking new owners in Yahoo! Auctions! http://auctions.yahoo.com From languagethief at yahoo.com Thu Jan 24 15:03:43 2002 From: languagethief at yahoo.com (The Old Mole) Date: Thu, 24 Jan 2002 12:03:43 -0800 (PST) Subject: [New-Poetry] Euphony Index In-Reply-To: <132.7e81a5b.29817eb2@aol.com> Message-ID: <20020124200343.52172.qmail@web12206.mail.yahoo.com> I got drunk when she was screamin? in the ocean Her sex organs singin? in the rain In the darkness of my destiny somehow I vaguely rode From tadrichards at prodigy.net Thu Jan 24 23:09:06 2002 From: tadrichards at prodigy.net (theoldmole) Date: Thu, 24 Jan 2002 23:09:06 -0500 Subject: [New-Poetry] Poet Gallery References: <4b.17463054.29818233@aol.com> Message-ID: <00c301c1a556$2397b580$6401a8c0@hvc.rr.com> Jim....not sure. When I get into a drawing, my awareness is all visual...which means that there may well be something critical slipping through on another level. I wondered about Dana Gioia looking like Billy Batson, but then I decided yeah, that's pretty much how he looks to me. Check out The Old Mole's Poets and Jazz Musicians Gallery at http://pages.prodigy.net/tadrichards ----- Original Message ----- From: To: Sent: Thursday, January 24, 2002 10:28 AM Subject: Re: [New-Poetry] Poet Gallery > Tad, > I enjoyed those portraits/caricatures...I noticed that Dana Gioia has the > neck > of comicbook superhero & that Lucie Brock Broido's enwrapped/enrapt by her > Rapunzelength hair. How much did your view of the poet &/or his/her poetry > affect your drawing hand? > Finnegan > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From FanwoodJEL at aol.com Thu Jan 24 23:56:28 2002 From: FanwoodJEL at aol.com (FanwoodJEL at aol.com) Date: Thu, 24 Jan 2002 23:56:28 EST Subject: [New-Poetry] getting your irish down -- call for manuscripts Message-ID: <14a.7c819cc.29823f7c@aol.com> All, Tupelo Press would like very much to publish a full-length book of poetry (simultaneously in the US and Ireland) that is in meaningful part given over to things Irish: sense and sensibility. If you have such a manuscript laying about the clover or have been waiting for sufficient inspiration to finish one up, please let me know. There are no (other) restrictions but that you have a passport in decent working order and that the poetry be, you know, magnificent. If you have something, please send with it a short bio, acknowledgments and publishing history. www.tupelopress.org Jeffrey Levine -------------- next part -------------- An HTML attachment was scrubbed... URL: From thebobcooperfor at hotmail.com Fri Jan 25 08:37:21 2002 From: thebobcooperfor at hotmail.com (bob cooper) Date: Fri, 25 Jan 2002 13:37:21 +0000 Subject: [New-Poetry] Euphony Index Message-ID: Wow! What a hoot!! At first I thought this was serious - then I realised it's only a bunch of students who haven't yet learnt about IRONY - the great blunt point of contemporary poetry - which may be impossible without using some of the words they wish to barr. But, come to think of it, (and I'm trying to think of it) how much irony is there widdling round the world from American writers/poets these days? But Euphony's a good example to show how not to approach potential submitters, I suppose. (I like that word "submitters" - I think I may have made it up, and it sounds sort of masochistic and it seems to fit...). Or... are they catching me out - and the whole Magazine is edited and read by everyone with hoots of laughter at what great ironies they've got away with. Or, when I say the title, should I be saying "You phonies!" and leave it at that. Bob >From: JforJames at aol.com >Reply-To: new-poetry at wiz.cath.vt.edu >To: new-poetry at wiz.cath.vt.edu >Subject: Re: [New-Poetry] Euphony Index >Date: Thu, 24 Jan 2002 10:13:54 EST > >In a message dated 1/23/02 2:14:30 PM Eastern Standard Time, >GrahamD at Mail.Ripon.EDU writes: > > > > > http://euphony.uchicago.edu/index/ > > > > Here's a snippet from their explanatory text: > > > > "In brief, the first category, words which must be used with caution, >are > > words which, when used throughout a poem or as supplying the thematic > > material, may be warning signs of impending mediocrity. All too often, >a > > young poet will center his poem on, say, singing and dancing in the > > moonlight, thinking that the very nature of the topic will lend depth >or >art > > to his poem. Sadly, this is not the case. Though words in this category >can > > be used in a successful poem, and indeed are used with great >regularity, > > they are also the cause of the brutal poverty of a great many others. > > > > The second category, words which should be used with skill only, are >words > > that are likely to ruin a line. Some of these are simply words which >fail >to > > describe - eg "beautiful" instead of "small gilded fly" - they are the > > result of laziness or poetic nihilism. Some of these are words which, >as in > > the first category, lend the poet to think his poem enters the sublime > > simply by virtue of containing them, such as foreign words, overly > > scientific terms; the word "drunk". There is some overlap between this > > category and the first. > > > > The third category is self-evident. The presence of these words in a >poem > > constitutes legitimate grounds for summary dissmissal, accompanied by >an > > anguished cry of disgust. Especially to these, there are a few notable > > exceptions, accomplished by the timeless heroes of poetry, which have >been > > duly noted by your diligent archivists here." > >Without taking the proscribed word list too seriously, I've always >consider it something of a "social duty" for the poet, whenever possible, >to rescue and to redeem words that have been dissipated by overuse >or that have been tainted by the jargon of specialization. >Finnegan >_______________________________________________ >New-Poetry mailing list >New-Poetry at wiz.cath.vt.edu >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com From wasanthony at yahoo.com Fri Jan 25 09:22:55 2002 From: wasanthony at yahoo.com (jcervantes) Date: Fri, 25 Jan 2002 06:22:55 -0800 (PST) Subject: [New-Poetry] Euphony Index In-Reply-To: Message-ID: <20020125142255.85932.qmail@web12102.mail.yahoo.com> What's ironic is that the whole thing is tongue-in-cheek(s) and they've got this list taking it somewhat seriously. - the other Jim --- bob cooper wrote: > Wow! > What a hoot!! > At first I thought this was serious - then I realised it's only a > bunch of > students who haven't yet learnt about IRONY - the great blunt point > of > contemporary poetry - which may be impossible without using some of > the > words they wish to barr. But, come to think of it, (and I'm trying to > think > of it) how much irony is there widdling round the world from American > > writers/poets these days? > But Euphony's a good example to show how not to approach potential > submitters, I suppose. (I like that word "submitters" - I think I may > have > made it up, and it sounds sort of masochistic and it seems to > fit...). > Or... are they catching me out - and the whole Magazine is edited and > read > by everyone with hoots of laughter at what great ironies they've got > away > with. > Or, when I say the title, should I be saying "You phonies!" and leave > it at > that. > Bob > > > > > >From: JforJames at aol.com > >Reply-To: new-poetry at wiz.cath.vt.edu > >To: new-poetry at wiz.cath.vt.edu > >Subject: Re: [New-Poetry] Euphony Index > >Date: Thu, 24 Jan 2002 10:13:54 EST > > > >In a message dated 1/23/02 2:14:30 PM Eastern Standard Time, > >GrahamD at Mail.Ripon.EDU writes: > > > > > > > > http://euphony.uchicago.edu/index/ > > > > > > Here's a snippet from their explanatory text: > > > > > > "In brief, the first category, words which must be used with > caution, > >are > > > words which, when used throughout a poem or as supplying the > thematic > > > material, may be warning signs of impending mediocrity. All too > often, > >a > > > young poet will center his poem on, say, singing and dancing in > the > > > moonlight, thinking that the very nature of the topic will lend > depth > >or > >art > > > to his poem. Sadly, this is not the case. Though words in this > category > >can > > > be used in a successful poem, and indeed are used with great > >regularity, > > > they are also the cause of the brutal poverty of a great many > others. > > > > > > The second category, words which should be used with skill only, > are > >words > > > that are likely to ruin a line. Some of these are simply words > which > >fail > >to > > > describe - eg "beautiful" instead of "small gilded fly" - they > are the > > > result of laziness or poetic nihilism. Some of these are words > which, > >as in > > > the first category, lend the poet to think his poem enters the > sublime > > > simply by virtue of containing them, such as foreign words, > overly > > > scientific terms; the word "drunk". There is some overlap > between this > > > category and the first. > > > > > > The third category is self-evident. The presence of these words > in a > >poem > > > constitutes legitimate grounds for summary dissmissal, > accompanied by > >an > > > anguished cry of disgust. Especially to these, there are a few > notable > > > exceptions, accomplished by the timeless heroes of poetry, which > have > >been > > > duly noted by your diligent archivists here." > > > >Without taking the proscribed word list too seriously, I've always > >consider it something of a "social duty" for the poet, whenever > possible, > >to rescue and to redeem words that have been dissipated by overuse > >or that have been tainted by the jargon of specialization. > >Finnegan > >_______________________________________________ > >New-Poetry mailing list > >New-Poetry at wiz.cath.vt.edu > >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > > > > > _________________________________________________________________ > Send and receive Hotmail on your mobile device: http://mobile.msn.com > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Homepage: Salt River Review: Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Great stuff seeking new owners in Yahoo! Auctions! http://auctions.yahoo.com From Rsgwynn1 at cs.com Fri Jan 25 10:19:37 2002 From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com) Date: Fri, 25 Jan 2002 10:19:37 EST Subject: [New-Poetry] Poet Gallery Message-ID: <170.7b6e518.2982d189@cs.com> In a message dated 1/24/2002 10:12:25 PM Central Standard Time, tadrichards at prodigy.net writes: > Jim....not sure. When I get into a drawing, my awareness is all > visual...which means that there may well be something critical slipping > through on another level. > > I wondered about Dana Gioia looking like Billy Batson, but then I decided > yeah, that's pretty much how he looks to me. > I sent Dana your drawing with the caption: Smallville Poet Fights for Truth, Justice, and the American Way. He may request an original. -------------- next part -------------- An HTML attachment was scrubbed... URL: From khodges at softhome.net Sat Jan 26 02:45:54 2002 From: khodges at softhome.net (Kim Hodges) Date: Fri, 25 Jan 2002 23:45:54 -0800 Subject: [New-Poetry] euphooey In-Reply-To: <200201241522.g0OFMVD36316@sp1n293en1.watson.ibm.com> Message-ID: <5.0.2.1.0.20020125234347.02138690@pop.softhome.net> At 10:11 AM 1/24/02 -0500, you wrote: >I'm with Finnegan on this one. Blanket proscriptions like >these are worse than useless, and bespeak laziness on the >part of the proscribers. Lots of poems are lousy, and >maybe exhibit such symptoms. But mindlessly believing them >excludes recognizing, for example, irony. > >If I hear an editor or critic say, "no poems about your >grandmother, or the moon," I know I'm hearing a lazy >or burnt-out case. > >Richard But grandmothers under the moon -- that would probably be ok! Kim From JackKerouac25 at aol.com Sat Jan 26 13:27:28 2002 From: JackKerouac25 at aol.com (JackKerouac25 at aol.com) Date: Sat, 26 Jan 2002 13:27:28 EST Subject: [New-Poetry] Robinson Jeffers CFP Message-ID: <10e.b5b3639.29844f10@aol.com> For the interested parties: >Reply-To: rjeffers at mm.isu.edu >To: "'rjeffers at maillist.isu.edu'" >Subject: [rjeffers] Call For Papers, 8th Annual RJA Conference, May 25-26, >2002, Stan ford University >Date: Wed, 23 Jan 2002 08:32:12 -0800 > >CALL FOR PAPERS > >"Robinson Jeffers and the Poetry of California" > >The 8th Annual Robinson Jeffers Association Conference >May 25-26, 2002 >Oak Lounge West, Tresidder Union >Stanford University > >Some argue that Robinson Jeffers is not only the greatest poet ever to work >in California, but the greatest to emerge in the American West. He was also >probably the most controversial, and he casts a long, intriguing, and >contentious shadow, not only in poetry, but in many other arts, in the >environmental movement, and on a wide range of social critics. > >The Association welcomes proposals on Jeffers's work in relation to any >aspect of the poetry of California, broadly defined. We encourage >revaluations of Jeffers's work in light of the new edition of the Collected >Poetry from Stanford University Press; meditations on California poetics >generally; discussion of art forms other than poetry in California, and >Jeffers's impact on them; considerations of regionalism vs. national >literary culture; forthright evaluations of the merit of poetry in >California, and of California poets past and present; analysis of >historical, cultural, political, aesthetic, and social issues surrounding >California poetry; and more. Bring it on. > >Proposals should be relatively brief and must be postmarked by Saturday, >March 30. The conference has a number of different formats and includes >opportunities for standard academic talks (15-20 mins.), longer plenary >presentations (30-45 mins.), responses to longer talks (5-10 mins.), panel >chairs, participation in discussion sections, and poetry readings (20-30 >mins.). > >Please address all queries and paper proposals directly to: > >David J. Rothman, Executive Director >Robinson Jeffers Association >P.O. Box 1296 >Crested Butte, CO, 81224 > >Proposals may also be submitted on-line to Dr. Rothman at djr at rmi.net. > >To join the Robinson Jeffers Association, remit $25 to: > >Rob Kafka, Treasurer >Robinson Jeffers Association >UCLA Extension Rm. 214 >10995 Le Conte Ave. >Los Angeles, CA 90024-2400. > >An annual membership includes a subscription to Jeffers Studies. To learn >more about the organization, visit . > >_______________________________________________ >rjeffers mailing list >rjeffers at maillist.isu.edu >http://maillist.isu.edu/mailman/listinfo/rjeffers Jeffrey L. Newberry Adjunct Instructor Department of English and Foreign Languages University of West Florida 11000 University Parkway Pensacola, FL 32514 850.474.2923 850.473.7330 From GrahamD at Mail.Ripon.EDU Sat Jan 26 13:40:33 2002 From: GrahamD at Mail.Ripon.EDU (Graham, David) Date: Sat, 26 Jan 2002 12:40:33 -0600 Subject: [New-Poetry] Poetry Online Message-ID: <4BBBE1EC8182D511BF9800508BBD7599E86CB1@mail.ripon.edu> A while back I mentioned my web site where I am collecting (mostly for teaching purposes) various online resources in poetry and poetics. I am currently updating and expanding, and would love to hear about any favorite sites you'd care to recommend. I'm especially interested in adding to my links on single poets (home pages and reference sites) and online journals. Because this is a resource for students, I like home pages that contain or link to a lot of online texts--poetry or biographical & critical material--as opposed to ones that mostly list bibliographic data or offer books for sale. I'd be grateful for all tips, suggestions, and nudges. The main page is: http://www.ripon.edu/faculty/GrahamD/poetrylib.html --in case you're intersted in seeing what's already there. If you've visited before, you'll see a good number of recent additions, including some of your very own home pages. (And if you haven't checked out Tad Richards's poets' portrait page, do so immediately!) David Graham ======================================== David Graham grahamd at mail.ripon.edu Home Page: http://www.ripon.edu/faculty/GrahamD/index.html Poetry Library: http://www.ripon.edu/faculty/GrahamD/poetrylib.html ======================================== From bobgrumman at nut-n-but.net Sat Jan 26 16:52:52 2002 From: bobgrumman at nut-n-but.net (Bob Grumman) Date: Sat, 26 Jan 2002 16:52:52 -0500 Subject: [New-Poetry] Poetry Online References: <4BBBE1EC8182D511BF9800508BBD7599E86CB1@mail.ripon.edu> Message-ID: <000d01c1a6b3$cec8afa0$cf04fea9@y3b2r8> Well, David, if you're interested in completeness, you should mention my Comprepoetica: http://www.geocities.com/comprepoetica It's a general poetry site but has so much crap of mine, it could also be called my personal site--and it has a number of essays on poetry, mostly by me, but by others, as well. It's been idle for a while, and will remain so for another while, but has a lot of stuff, and is pretty ecumenical, though favoring burstnorm poetry. -- Bob G. From rlong at jcws.net Sat Jan 26 17:52:58 2002 From: rlong at jcws.net (Richard Long) Date: Sat, 26 Jan 2002 16:52:58 -0600 Subject: [New-Poetry] Poetry Online In-Reply-To: <4BBBE1EC8182D511BF9800508BBD7599E86CB1@mail.ripon.edu> Message-ID: <5.1.0.14.2.20020126165200.00b75040@mail.jcws.net> David, Maybe you could add 2River: http://www.2River.org Richard At 12:40 PM 1/26/2002 -0600, you wrote: >I'm especially interested in adding to my links on single poets (home pages >and reference sites) and online journals. From grahamd at mail.ripon.edu Sat Jan 26 18:00:49 2002 From: grahamd at mail.ripon.edu (David Graham) Date: Sat, 26 Jan 2002 17:00:49 -0600 Subject: [New-Poetry] Re:Poetry Online Message-ID: <200201262259.g0QMxu392054@mx13.mx.voyager.net> Will do, Richard. Thanks. And let me say a general thank-you now to all who have sent suggestions so far--on list or back channel. I appreciate it. More, please! David Graham ======================================== David Graham grahamd at mail.ripon.edu Home Page: http://www.ripon.edu/faculty/GrahamD/index.html Poetry Library: http://www.ripon.edu/faculty/GrahamD/poetrylib.html ======================================== ---------- >From: Richard Long >To: new-poetry at wiz.cath.vt.edu >Subject: Re: [New-Poetry] Poetry Online >Date: Sat, Jan 26, 2002, 4:52 PM > >David, > >Maybe you could add 2River: > > http://www.2River.org > >Richard > >At 12:40 PM 1/26/2002 -0600, you wrote: > >>I'm especially interested in adding to my links on single poets (home pages >>and reference sites) and online journals. > >_______________________________________________ >New-Poetry mailing list >New-Poetry at wiz.cath.vt.edu >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From halvard at earthlink.net Sun Jan 27 09:38:02 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Sun, 27 Jan 2002 09:38:02 -0500 Subject: [New-Poetry] Poems by others: Joseph Ceravolo, "Wild Provoke of the Endurance Sky" Message-ID: Wild Provoke of the Endurance Sky Be uncovered! Hoe with look life! Sun rises. Rice of suffering. Dawn in mud this is roof my friend. O country o cotton drag of the wild provoke, there's a thousand years How are you growing? No better to in a stranger. Shack, village, brother, wild provoke of the endurance sky! --Joseph Ceravolo Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From halvard at earthlink.net Sun Jan 27 09:52:37 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Sun, 27 Jan 2002 09:52:37 -0500 Subject: [New-Poetry] Poems by others: Harry Matthews, "The Sense of Responsibility" Message-ID: The Sense of Responsibility The society in my head Said the viper in the washrag Having no creator, requires my love: "Eton pets who lag in their Latin At a slow trot, who become of note Reversing their school-step (as the apple ate Adam)," And such--innocents whose Eden is need. Divination without divinity Affirmed the viper in the twirled spaghetti Morse-tusks clatter in paleocrystic seas My absurd blood is thin chrism For my creatures by default, the default not mine: I trace the dancing of their secular swarm. --Harry Matthews Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From halvard at earthlink.net Sun Jan 27 09:57:00 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Sun, 27 Jan 2002 09:57:00 -0500 Subject: [New-Poetry] Poems by others: Harry Mat(t)hews, "The Sense of Responsibility" In-Reply-To: Message-ID: Kindly ignore the extra in Mathews. Hal > The Sense of Responsibility > > The society in my head > Said the viper in the washrag > Having no creator, requires my love: > "Eton pets who lag in their Latin > At a slow trot, who become of note > Reversing their school-step (as the apple ate Adam)," > And such--innocents whose Eden is need. > Divination without divinity > Affirmed the viper in the twirled spaghetti > Morse-tusks clatter in paleocrystic seas > My absurd blood is thin chrism > For my creatures by default, the default not mine: > I trace the dancing of their secular swarm. > > --Harry Matthews > > Hal > > Halvard Johnson > =============== > email: halvard at earthlink.net > website: http://home.earthlink.net/~halvard/index.html > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From halvard at earthlink.net Sun Jan 27 11:04:32 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Sun, 27 Jan 2002 11:04:32 -0500 Subject: [New-Poetry] Poems by others: Tony Towle, "Daybreak" Message-ID: Daybreak The muse at daybreak stuttering, informs my bed, pines in the scented winter air for poems, and mumbles about the government and whether I should vote: "The government stinks. Withhold your vote of red and white its hidden sea and blue of politic sky which forms the world and so to surround our realm." *Government* would speak as well, from the vales of Abstraction who on the death of Pound will ramble on once more, their inbred elegance making you feel like a schmuck. Milton of course could order these people around, God, Satan, Liberty, Progress and the rest. To me God might say You employ a distinctive style and I know who you are, but you are not illuminating for me, you do not give me any ideas, about myself or what I have done. Satan: Since you deal only with your own activity and in immeasurable vanity, I will eventually bring you something you dislike, and in phrase of unshakable metaphor as with that you think to spin out your life. Satan concludes: You will have more poems than you hope but more than you wish, your finger pressed on a difficult line, your tongue through a word's transparency, but my older tongue of iron comes inexorably to cover yours and in your future is of greater eloquence. The day half gone the muse and its servants fled, a sandwich gone through you in enormity to Philadelphia, cheese and milk flowing through you and into Boston, air on the way to Minneapolis. --Tony Towle Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From tadrichards at prodigy.net Sun Jan 27 11:19:34 2002 From: tadrichards at prodigy.net (theoldmole) Date: Sun, 27 Jan 2002 11:19:34 -0500 Subject: [New-Poetry] Poems by others: Tony Towle, "Daybreak" References: Message-ID: <007101c1a74e$6a5186a0$6401a8c0@hvc.rr.com> Hal -- re the Tony Towle poem -- I really like this one. Tad Check out The Old Mole's Poets and Jazz Musicians Gallery at http://pages.prodigy.net/tadrichards ----- Original Message ----- From: "Halvard Johnson" To: "New-Poetry" Sent: Sunday, January 27, 2002 11:04 AM Subject: [New-Poetry] Poems by others: Tony Towle, "Daybreak" > > Daybreak > > The muse at daybreak stuttering, informs my bed, > pines in the scented winter air for poems, > and mumbles about the government and whether I should vote: > > "The government stinks. Withhold your vote of red and white > its hidden sea and blue of politic sky > which forms the world and so to surround our realm." > > > *Government* would speak as well, from the vales of Abstraction > who on the death of Pound will ramble on once more, > their inbred elegance making you feel like a schmuck. > Milton of course could order these people around, God, Satan, > Liberty, Progress and the rest. To me God might say > You employ a distinctive style and I know who you are, > but you are not illuminating for me, > you do not give me any ideas, about myself or what I have done. > > Satan: Since you deal only with your own activity > and in immeasurable vanity, > I will eventually bring you something you dislike, > and in phrase of unshakable metaphor > as with that you think to spin out your life. > > Satan concludes: You will have more poems than you hope > but more than you wish, your finger pressed on a difficult line, > your tongue through a word's transparency, > but my older tongue of iron comes inexorably to cover yours > and in your future is of greater eloquence. > > > The day half gone the muse and its servants fled, > a sandwich gone through you in enormity to Philadelphia, > cheese and milk flowing through you and into Boston, > air on the way to Minneapolis. > > --Tony Towle > > > Hal > > Halvard Johnson > =============== > email: halvard at earthlink.net > website: http://home.earthlink.net/~halvard/index.html > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From MillB at aol.com Sun Jan 27 11:41:25 2002 From: MillB at aol.com (MillB at aol.com) Date: Sun, 27 Jan 2002 11:41:25 EST Subject: [New-Poetry] Re: Yankee Message-ID: <8a.130fcc7e.298587b5@aol.com> Greetings all: I wrote Yankee magazine and received a reply: "after 50 years of doing a supurb job, Jean Burden will be retiring" as poetry editor and there are no plans to replace her. However, as they develop their plans for the years ahead, they are confident that poetry will continue to have a role to play with Yankee magazine. Mill From antrobin at clipper.net Sun Jan 27 17:25:23 2002 From: antrobin at clipper.net (Anthony Robinson) Date: Sun, 27 Jan 2002 14:25:23 -0800 Subject: [New-Poetry] Poems by others: Joseph Ceravolo, "Wild Provoke of the Endurance Sky" References: Message-ID: <056f01c1a781$84c7f040$62acefd8@0021936706> More Ceravolo!!! *** "The Romantic movement left, when it departed, a tremendous gap in poetry which could be filled by criticism and by literary theory but which would be better left alone." Kenneth Koch *** ...theres some thing in us it dont have no name...it aint us but yet its in us. Its looking out thru our eye hoals. Russell Hoban, "Riddley Walker" ----- Original Message ----- From: "Halvard Johnson" To: "New-Poetry" Sent: Sunday, January 27, 2002 6:38 AM Subject: [New-Poetry] Poems by others: Joseph Ceravolo, "Wild Provoke of the Endurance Sky" > > Wild Provoke of the Endurance Sky > > Be uncovered! > Hoe with look life! Sun rises. > Rice of suffering. Dawn > in mud > this is roof my friend. > O country o cotton drag > of the wild provoke, > there's a thousand years How are > you growing? > No better to in a stranger. > Shack, village, > brother, > wild provoke of the endurance sky! > > --Joseph Ceravolo > > > Hal > > Halvard Johnson > =============== > email: halvard at earthlink.net > website: http://home.earthlink.net/~halvard/index.html > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From halvard at earthlink.net Sun Jan 27 18:49:17 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Sun, 27 Jan 2002 18:49:17 -0500 Subject: [New-Poetry] Poems by others: Joseph Ceravolo, "Happiness in the Trees" Message-ID: Oh, all right. Another one. Happiness in the Trees O height dispersed and head in sometimes joining these sleeps. O primitive touch between fingers and dawn on the back You are no more simple than a cedar tree whose children change the interesting earth and promise to shake her before the wind blows away from you in the velocity of rest --Joseph Ceravolo Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From snospx at silcom.com Sun Jan 27 19:34:37 2002 From: snospx at silcom.com (Barry Spacks) Date: Sun, 27 Jan 2002 16:34:37 -0800 Subject: [New-Poetry] Poems by others: Joseph Ceravolo, "Happiness in the Trees" In-Reply-To: Message-ID: <3.0.5.32.20020127163437.007dcd80@snowcrest.net> At 06:49 PM 1/27/02 -0500, Hal wrote: > >Oh, all right. Another one. Hal, am I simply ungrateful in hoping for more cera but less volo? barry From CobbCoStudioArts at pro.talentx.com Mon Jan 28 06:42:49 2002 From: CobbCoStudioArts at pro.talentx.com (Robert R.Cobb) Date: Mon, 28 Jan 2002 03:42:49 -0800 (PST) Subject: [New-Poetry] Poems by others: Harry Mat(t)hews, "The Sense of Responsibility" Message-ID: <20020128114249.4CF502756@sitemail.everyone.net> An embedded and charset-unspecified text was scrubbed... Name: not available URL: From jdavis at panix.com Mon Jan 28 10:19:20 2002 From: jdavis at panix.com (Jordan Davis) Date: Mon, 28 Jan 2002 10:19:20 -0500 (EST) Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" In-Reply-To: <3.0.5.32.20020127163437.007dcd80@snowcrest.net> Message-ID: No Barry! Volo as necessary as cera! Case in point: DRUNKEN WINTER Oak oak! like like it then cold some wild paddle so sky then; flea you say "geese geese" the boy June of winter of again Oak sky (from _Spring in this World of Poor Mutts_) Jordan From snospx at silcom.com Mon Jan 28 11:04:59 2002 From: snospx at silcom.com (Barry Spacks) Date: Mon, 28 Jan 2002 08:04:59 -0800 Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" In-Reply-To: References: <3.0.5.32.20020127163437.007dcd80@snowcrest.net> Message-ID: <3.0.5.32.20020128080459.007ef470@snowcrest.net> At 10:19 AM 1/28/02 -0500, you wrote: >No Barry! Volo as necessary as cera! Case in point: > >DRUNKEN WINTER > >Oak oak! like like >it then > cold some wild paddle >so sky then; >flea you say >"geese geese" the boy >June of winter >of again >Oak sky > > >(from _Spring in this World of Poor Mutts_) > > >Jordan > ah, now I get it! -- Volo is our dear-departed luv-Billie, high on oak. B. From jdavis at panix.com Mon Jan 28 11:12:36 2002 From: jdavis at panix.com (Jordan Davis) Date: Mon, 28 Jan 2002 11:12:36 -0500 (EST) Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" In-Reply-To: <3.0.5.32.20020128080459.007ef470@snowcrest.net> Message-ID: > ah, now I get it! -- Volo is our dear-departed luv-Billie, > high on oak. > > B. No no! Much more like Roethke's "Where Knock Is Open Wide," actually. O'Hara and Koch were big influences, too. Coffee House's _The Green Lake Is Awake_ is a good, thorough introduction to this American Celan. Jordan From halvard at earthlink.net Mon Jan 28 11:48:03 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Mon, 28 Jan 2002 11:48:03 -0500 Subject: [New-Poetry] Poems by others: Harry Mat(t)hews, "The Sense of Responsibility" In-Reply-To: <20020128114249.4CF502756@sitemail.everyone.net> Message-ID: Hmm, judging from the subject line above, it's the second one, but it might just as well be the first. I'll leave it to you, Bob. Hal Please stand clear of the closing doors. Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html > Hal, > > Which "t" is the extra "t" that you reference? > > Bob C. > > Poetry Catamaran > > "Just how advanced a poetic craft need be to sail along the'known mainstream' down to the poetic sea?" > > Robert R. Cobb > AMONG FRIENDS, original art and poetry. > http://rrcobb.tripod.com > > > --- "Halvard Johnson" wrote: > > > >Kindly ignore the extra in Mathews. > > > >Hal > > > >> The Sense of Responsibility > >> > >> The society in my head > >> Said the viper in the washrag > >> Having no creator, requires my love: > >> "Eton pets who lag in their Latin > >> At a slow trot, who become of note > >> Reversing their school-step (as the apple ate Adam)," > >> And such--innocents whose Eden is need. > >> Divination without divinity > >> Affirmed the viper in the twirled spaghetti > >> Morse-tusks clatter in paleocrystic seas > >> My absurd blood is thin chrism > >> For my creatures by default, the default not mine: > >> I trace the dancing of their secular swarm. > >> > >> --Harry Matthews > >> > >> Hal > >> > >> Halvard Johnson > >> =============== > >> email: halvard at earthlink.net > >> website: http://home.earthlink.net/~halvard/index.html > >> > >> _______________________________________________ > >> New-Poetry mailing list > >> New-Poetry at wiz.cath.vt.edu > >> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > >> > >_______________________________________________ > >New-Poetry mailing list > >New-Poetry at wiz.cath.vt.edu > >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From bobgrumman at nut-n-but.net Mon Jan 28 15:59:21 2002 From: bobgrumman at nut-n-but.net (Bob Grumman) Date: Mon, 28 Jan 2002 15:59:21 -0500 Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" References: Message-ID: <001b01c1a83e$a97a7c60$cf04fea9@y3b2r8> I have to admit I was going to write off this Ceravolo guy--and more so after my first glance at "Drunken Winter." It looked like Steinian automatic writing to me. But, but-- well, I soon caught on, or think I did. "The June of winter" is a lovely old-fashioned bit of goo, and the coming back at the end to oak and sky seemed pretty right. I think I could write a thousand words of oakay about the poem, so much more there is to it than there is to so much standardly syntaxed mainstream poetry. (And I may have it all wrong, as I find Yeats swans of Coole in it--as geese.) Thanks, Jordan. And Hal. ----- Original Message ----- From: Jordan Davis To: Sent: Monday, January 28, 2002 10:19 AM Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" > No Barry! Volo as necessary as cera! Case in point: > > DRUNKEN WINTER > > Oak oak! like like > it then > cold some wild paddle > so sky then; > flea you say > "geese geese" the boy > June of winter > of again > Oak sky > > > (from _Spring in this World of Poor Mutts_) > > > Jordan > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry From antrobin at clipper.net Mon Jan 28 17:05:34 2002 From: antrobin at clipper.net (Anthony Robinson) Date: Mon, 28 Jan 2002 14:05:34 -0800 Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" References: <001b01c1a83e$a97a7c60$cf04fea9@y3b2r8> Message-ID: <065401c1a848$edfd59c0$62acefd8@0021936706> Yup Bob. Ceravolo is the real deal. Interestingly, I used to teach the poem "Drunken Winter" to a freshman creative writing class, and instead of the loathing/incomprehension I expected, the students usually "got" it, and found it delightful, despite the lack of "making sense," at least in the usual way. One of my favorites by him. Tony *** "The Romantic movement left, when it departed, a tremendous gap in poetry which could be filled by criticism and by literary theory but which would be better left alone." Kenneth Koch *** ...theres some thing in us it dont have no name...it aint us but yet its in us. Its looking out thru our eye hoals. Russell Hoban, "Riddley Walker" ----- Original Message ----- From: "Bob Grumman" To: Sent: Monday, January 28, 2002 12:59 PM Subject: Re: [New-Poetry] Joseph Ceravolo, "Drunken Winter" > I have to admit I was going to write off this Ceravolo > guy--and more so after my first glance at "Drunken Winter." > It looked like Steinian automatic writing to me. But, but-- > well, I soon caught on, or think I did. "The June of winter" > is a lovely old-fashioned bit of goo, and the coming back at the > end to oak and sky seemed pretty right. I think I could write > a thousand words of oakay about the poem, so much more > there is to it than there is to so much standardly syntaxed > mainstream poetry. (And I may have it all wrong, as I > find Yeats swans of Coole in it--as geese.) > Thanks, Jordan. And Hal. > > > > ----- Original Message ----- > From: Jordan Davis > To: > Sent: Monday, January 28, 2002 10:19 AM > Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" > > > > No Barry! Volo as necessary as cera! Case in point: > > > > DRUNKEN WINTER > > > > Oak oak! like like > > it then > > cold some wild paddle > > so sky then; > > flea you say > > "geese geese" the boy > > June of winter > > of again > > Oak sky > > > > > > (from _Spring in this World of Poor Mutts_) > > > > > > Jordan > > > > _______________________________________________ > > New-Poetry mailing list > > New-Poetry at wiz.cath.vt.edu > > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From Rsgwynn1 at cs.com Mon Jan 28 17:39:37 2002 From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com) Date: Mon, 28 Jan 2002 17:39:37 EST Subject: [New-Poetry] Poetry Online Message-ID: David, this is the link for Poetry: A Pocket Anthology. Students might find some good study questions, etc. here. http://wps.ablongman.com/long_gwynn_pocketanth_1. -------------- next part -------------- An HTML attachment was scrubbed... URL: From grahamd at mail.ripon.edu Mon Jan 28 20:04:25 2002 From: grahamd at mail.ripon.edu (David Graham) Date: Mon, 28 Jan 2002 19:04:25 -0600 Subject: [New-Poetry] Re: Ceravolo, "Drunken Winter" Message-ID: <200201290104.g0T149w87834@mx12.mx.voyager.net> I mean these questions in the least antagonistic way possible, for I'm genuinely curious. I'm not looking for an argument, but I would love to see some further discussion from those who love the Ceravolo poems that have been posted. What does it mean to say you "got" a poem when it doesn't "make sense"? What does "got" indicate in that case? Is "got" perhaps just a synonym for "liked"? If not, how do you know when you *have* gotten it? Or how do you tell when someone else has, such as a student? And, in a larger sense, when you're in the realm of the nonsensical, how do you go about teaching a poem? David Graham ======================================== David Graham grahamd at mail.ripon.edu Home Page: http://www.ripon.edu/faculty/GrahamD/index.html Poetry Library: http://www.ripon.edu/faculty/GrahamD/poetrylib.html ======================================== ---------- >From: "Anthony Robinson" >To: >Subject: Re: [New-Poetry] Joseph Ceravolo, "Drunken Winter" >Date: Mon, Jan 28, 2002, 4:05 PM > >Yup Bob. Ceravolo is the real deal. > >Interestingly, I used to teach the poem "Drunken Winter" to a freshman >creative writing class, and instead of the loathing/incomprehension I >expected, the students usually "got" it, and found it delightful, despite >the lack of "making sense," at least in the usual way. One of my favorites >by him. > >Tony >*** >"The Romantic movement left, when it departed, a tremendous gap in poetry >which could be filled by criticism and by literary theory but which would be >better left alone." >Kenneth Koch > >> > >> > DRUNKEN WINTER >> > >> > Oak oak! like like >> > it then >> > cold some wild paddle >> > so sky then; >> > flea you say >> > "geese geese" the boy >> > June of winter >> > of again >> > Oak sky > From bobgrumman at nut-n-but.net Mon Jan 28 21:05:10 2002 From: bobgrumman at nut-n-but.net (Bob Grumman) Date: Mon, 28 Jan 2002 21:05:10 -0500 Subject: [New-Poetry] Re: Ceravolo, "Drunken Winter" References: <200201290104.g0T149w87834@mx12.mx.voyager.net> Message-ID: <005901c1a869$62ccb5a0$cf04fea9@y3b2r8> > What does it mean to say you "got" a poem when it doesn't "make sense"? When I said it this time, it meant I found it to make or suggest sense. I also liked the sense it made or suggested. For instance, the image of winter having seasons, and therefore a "June." A flight of geese making a summer in winter? I haven't had time to verbalize much else about it, but only feel sure that I could work up a reasonable unified gestalt from the poem. There seems to be something there about oak that becomes sky that, again, is oak sky--which suggests a glimpse into something of beauty, in this case the winter's June. Of course, the title helps make the scene more natural, or should. "Of again" pleases me by itself because I like adverbs as nouns. It should fit the poem, and probably does, but it's good, I think, for a poem to make a reader think of things like what "again" as an object might be. Actually, in the next line "again" seems to become an adjective, which is still grammatically unconventional but more normal. I merely think these things are happening for a purpose. I need much more time with the poem to work it out. What I've said so far is Very Preliminary. But I can't get this far with much of Stein, and there are those who think her buttons are great. I think any poem must eventually be what I call pluraphrased in such a way as to persuade others that it makes some kind of significant sense before we can trust anyone who claims to have gotten it beyond the power of words to express. I haven't done that yet with this poem, but--frankly--have always gotten such a pluraphrase for any poem I've felt this way about before, and had time to work out. (pluraphrase is paraphrase plus discussion of language used and poetic devices and their value for the poem--with, I'm sure, etc.'s I can't think of right now.) --Bob G. From antrobin at clipper.net Mon Jan 28 21:44:52 2002 From: antrobin at clipper.net (Anthony Robinson) Date: Mon, 28 Jan 2002 18:44:52 -0800 Subject: [New-Poetry] Re: Ceravolo, "Drunken Winter" References: <200201290104.g0T149w87834@mx12.mx.voyager.net> Message-ID: <06be01c1a86f$26932be0$62acefd8@0021936706> David, No antagonism perceived on this end. I'll attempt to "get at" what I meant-- I want to ground my discussion by talking about the function(s) of language as used for everyday communicative purposes and for poetry/literature and trying to sketch out a rough map that may reveal these functions as adjacent countries, as countries wholly separate, or something in between. If we can agree that language has a primary function of signification, and that the purpose of this signification is to enable "everyday communication," i.e. useful information: my head hurts, this berry tastes bad, turn left, etc..., we can infer that the primary function of poetry *may* be to convey "useful information," the poem as a packet of words that signify agreed-upon things that when combined form a narrative, a lyric perception, and so forth. Most poems operate this way. Of course, this is a simplification as it does not take into account much of the stuff of poetry, i.e. metaphor, figurative language, aural effects that echo sense, "special" meanings particular to certain contexts that may or may not be known by the reader, and so forth. In any case, the denotative meaning of most poems is clear enough. We may all have slightly different readings of Yeat's "Lake Isle of Innisfree" or "When You Are Old" for example, but their primary surface meaning remains pretty clear, provided you have a working knowledge of English. With the primary function of language out of the way, let's consider what I often refer to as "the other thing," or "evocation." Language not only has the capacity to signify but also to do the other thing, to evoke. This may be accomplished by musical means, although we can probably agree that a great deal of what we call "music" in poetry is musical because we believe to some degree that sound should echo sense. This sort of evocation then, is really dependent upon language's primary function as signifier, and not evocation in the strict sense. (The strict sense being one that does not rely upon signification to evoke. As you can quickly see, there isn't much poetry that is able to do this. So to speak of language that evokes in a strict sense is to confine yourself to a very limited range of possibilities--I only mention it as a possibility, not as a given. Strict evocation, with the possible exception I note below, is probably not possible. Again, I very well could be wrong). Now what if we hear a poem in a language not our own that still manages to strike our ear as "musical"? Now we're talking about something else entirely, are we not? I don't speak or read Polish. If I hear a Polish poem, for example, that sounds fabulous, and I am moved by this poem, then the "music" is working without the help of signification. (Perhaps. This particular example strikes me is a bit faulty, but it's the best I can do right now.) So the question that I have posed: "Isn't language's capacity to evoke feelings at least partially dependent upon its function as signifier?" is answered in this special case (a musical poem in a foreign tongue). No, it's probably not. However, as readers of English, can an English poem do this? Provisionally, though, I would say yes, even though I can't quite account for it. If we agree that language both signifies and evokes, HOW dependent is the latter on the former, if at all? I feel that the "other thing" does happen in English poems I read, even though I'm not always able to explain why something evokes the feeling it does. (Ceravolo's poems "work" for me in this way, for example). Sometimes it's as simple as saying, "Oh yes, the word 'winnebago' reminds me of the camping trip Jeff and I took to Death Valley so this poem evokes a feeling not unlike the emotion that washed over me in the desert when I almost died of thirst. Good thing those camels showed up." Or something like that. At other times, however, the "other thing" is undeniably taking place, but it becomes difficult to ascertain whether it's t happening because a word "means" a certain thing or "reminds me" of a certain thing or if it is "purely evoking," independent of "normal sense". If I pick up a copy of "Tender Buttons" [picking up copy of "tender buttons"] and I thumb through it, stopping at "Roast Beef" (because I'm hungry), and read aloud: "Lovely snipe and tender turn, excellent vapor and slender butter, all the splinter and the trunk, all the poisonous darkning drunk, all the joy in weak success, all the joyful tenderness, all the section and the tea, all the stouter symmetry. Around the size that is small, inside the stern that is the middle, besides the remains that are praying, inside the between that is turning, all the region is measuring and melting is exaggerating. Rectangular ribbon does not mean that there is no eruption it means that if there is no place to hold there is no place to spread. Kindness is not earnest, it is not assiduous it is not revered." I must then consider, is this language signifying or evoking or both or neither? I guess it does signify, albeit very obliquely, but I wouldn't say that signification is Stein's primary objective here. So what is? Does it evoke? For me, it evokes *something* very strongly--I take true delight in these words, but, beside the obvious musicality of the rhymes in the first sentence, I'm not sure how or why it's working. It does not speak to my desire for "meaning," nor does it strike me as a primarily "musical" text. You might read this poem-snippet and pronounce it complete and utter rubbish. It has evoked nothing in you but disgust. My question/problem is, how does it do this? In the latter case, it evokes disgust by being apparently devoid of "real sense"--in the former case (mine) it evokes a very urgent sense of wonder; I'm at a loss, however to describe exactly how and why it works. I'm reminded here that poetry is not math (unless you're Bob Grumman). "Getting it," then, may be, as you suggested, a way of saying "I like this, it evokes a strong response in me" without necessarily being able to paraphrase or explain it in a conventional way. Another possibility is that those who find the poem evocative (like myself) may be unconsciously responding to what we might call the "ghost of signification"--the words don't literally mean, but they somehow make a certain awkward sense based on our prior associations and expectations. As I said earlier, I picked up the book, and read "Roast Beef" because I was hungry. My response might have more to do with my hunger and my expectations about what a poem called "Roast Beef" is supposed to do than anything the language itself is actually doing...If I were a vegetarian, "Roast Beef" might evoke an entirely different feeling. In any case, the poem has evoked. Conventional sense, i.e. the "correct" words in the "correct" order doesn't come into play, but "meaning" does to a certain degree. The words themselves evoke variously, by their juxtapositions, by hidden associations and established expectations, by their musicality, and so forth. I would say, off hand, that Ceravolo's poetry primarily evokes, but does so by using words that manage to signify, although within a context that frustrates our attempts to make literal or communicative sense. Henry Gould described this on another list as the "aesthetic purpose" of language. That said, it is, as we know, a highly subjective business. Intellectually, I can understand why someone may prefer autobiographical narrative over the relatively disjointed structures of Ceravolo, but emotionally, I am more likely to respond to the Ceravolo. I assume that the inverse is true for many others. Of course, as Kant says, the power of judgment is such that when we find a work of art beautiful, we struggle to persuade others that is so, that is MUST be so, even if their taste runs counter to ours. Which is how discussions like this get started. I could give a line by line reading of the Ceravolo poem, but I doubt it would convince anyone. Grumman did a pretty admirable job of explaining why he admires the poem, and I'll leave it at that. Tony *** "The Romantic movement left, when it departed, a tremendous gap in poetry which could be filled by criticism and by literary theory but which would be better left alone." Kenneth Koch *** ...theres some thing in us it dont have no name...it aint us but yet its in us. Its looking out thru our eye hoals. Russell Hoban, "Riddley Walker" > What does it mean to say you "got" a poem when it doesn't "make sense"? > What does "got" indicate in that case? Is "got" perhaps just a synonym for > "liked"? If not, how do you know when you *have* gotten it? Or how do you > tell when someone else has, such as a student? > > And, in a larger sense, when you're in the realm of the nonsensical, how do > you go about teaching a poem? > > David Graham > > > ======================================== > David Graham > grahamd at mail.ripon.edu > Home Page: > http://www.ripon.edu/faculty/GrahamD/index.html > Poetry Library: > http://www.ripon.edu/faculty/GrahamD/poetrylib.html > ======================================== > > > ---------- > >From: "Anthony Robinson" > >To: > >Subject: Re: [New-Poetry] Joseph Ceravolo, "Drunken Winter" > >Date: Mon, Jan 28, 2002, 4:05 PM > > > > >Yup Bob. Ceravolo is the real deal. > > > >Interestingly, I used to teach the poem "Drunken Winter" to a freshman > >creative writing class, and instead of the loathing/incomprehension I > >expected, the students usually "got" it, and found it delightful, despite > >the lack of "making sense," at least in the usual way. One of my favorites > >by him. > > > >Tony > >*** > >"The Romantic movement left, when it departed, a tremendous gap in poetry > >which could be filled by criticism and by literary theory but which would be > >better left alone." > >Kenneth Koch > > > > >> > > >> > DRUNKEN WINTER > >> > > >> > Oak oak! like like > >> > it then > >> > cold some wild paddle > >> > so sky then; > >> > flea you say > >> > "geese geese" the boy > >> > June of winter > >> > of again > >> > Oak sky > > > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From halvard at earthlink.net Mon Jan 28 22:44:12 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Mon, 28 Jan 2002 22:44:12 -0500 Subject: [New-Poetry] Re: Ceravolo, "Drunken Winter" In-Reply-To: <200201290104.g0T149w87834@mx12.mx.voyager.net> Message-ID: > And, in a larger sense, when you're in the realm of the nonsensical, how do > you go about teaching a poem? > > David Graham The poem's just gotta wanna be taught, David. Hal "language--the Riviera of consciousness" --Bob Perelman Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From halvard at earthlink.net Mon Jan 28 23:28:04 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Mon, 28 Jan 2002 23:28:04 -0500 Subject: [New-Poetry] Re: Ceravolo, "Drunken Winter" In-Reply-To: <200201290104.g0T149w87834@mx12.mx.voyager.net> Message-ID: > What does it mean to say you "got" a poem when it doesn't "make sense"? > What does "got" indicate in that case? Is "got" perhaps just a synonym for > "liked"? If not, how do you know when you *have* gotten it? Or how do you > tell when someone else has, such as a student? > > David Graham To tell you the truth, David, I don't know what it means to say you "got" a poem when it *does* "make sense." Surely the paraphrasable sense of the poem isn't "the poem," is it? Seems to me the totality of the poem (if we can speak of such a thing) is something that a reader (readers) makes out of the materials presented to him/her (them) by the poet. And, yes, multiple "poems" can be made from the same materials. When I don't "get" a poem, I usually figure I haven't managed to make a poem of it yet. And, yes, I have more success with some sort of materials than others. I don't think that "liking" has much to do with it. Hal "Way down the deserted street, I thought I saw a bus which, with luck, might get me out of this sentence . . . " --Rosmarie Waldrop Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From snospx at silcom.com Tue Jan 29 02:07:38 2002 From: snospx at silcom.com (Barry Spacks) Date: Mon, 28 Jan 2002 23:07:38 -0800 Subject: [New-Poetry] Re: Ceravolo, "Drunken Winter" In-Reply-To: <200201290104.g0T149w87834@mx12.mx.voyager.net> Message-ID: <3.0.5.32.20020128230738.007cb100@snowcrest.net> Lorsque outerness regal lushtapoise compline as a revel godsend melon on the headstone thataboys --Spacksavolo From jdavis at panix.com Tue Jan 29 08:39:58 2002 From: jdavis at panix.com (Jordan Davis) Date: Tue, 29 Jan 2002 08:39:58 -0500 (EST) Subject: [New-Poetry] Re: Ceravolo, "Drunken Winter" In-Reply-To: <3.0.5.32.20020128230738.007cb100@snowcrest.net> Message-ID: Hrmm, if you went on for 186 pp that would be a little more like Ceravolo's truly random poem Fits of Dawn. But Barry, I don't think you're taking C very seriously! I guess that's fine, but the vandalism of your versions doesn't have much to do with the little-boy emotions of C's originals. Anyway, bully for you. Jordan On Mon, 28 Jan 2002, Barry Spacks wrote: > Lorsque > > outerness > regal lushtapoise > compline as a revel godsend > melon on the headstone > thataboys > > --Spacksavolo > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > From JforJames at aol.com Tue Jan 29 12:34:29 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Tue, 29 Jan 2002 12:34:29 EST Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" Message-ID: <154.80ba76b.29883725@aol.com> In a message dated 1/28/02 11:14:49 AM Eastern Standard Time, jdavis at panix.com writes: > Coffee House's _The Green Lake > Is Awake_ is a good, thorough introduction to this American Celan. Jordan, This seems too large a claim to me. Celan's poetry seems to me driven by the historical extremities of the last century. Ceravolo is more about play...sometimes serious play....but play nevertheless. Celan's poetry is language rended; anguish drives his surrealist flights. There has been a lot of controversy in the art world of late over the term "outsider art." Because the term "outsider" is perhaps trying to cover too many types of art: unschooled/folk/naive/ethnic/ vernacular/etc., and just plain oddball stuff. Also, as my use of "oddball" suggests, "outsider" may seem somewhat condescending or derogatory as well. Anyway, this is long way around asking if one could speak of Ceravolo's work as "outsider poetry"? Jim Finnegan From GrahamD at Mail.Ripon.EDU Tue Jan 29 12:39:39 2002 From: GrahamD at Mail.Ripon.EDU (Graham, David) Date: Tue, 29 Jan 2002 11:39:39 -0600 Subject: [New-Poetry] William Logan Message-ID: <4BBBE1EC8182D511BF9800508BBD7599E86CCC@mail.ripon.edu> An article in Slate that's worth a look. Eric McHenry reviews reviewer William Logan ("the most hated man in American poetry"). http://slate.msn.com/?id=2061228 David Graham ======================================== David Graham grahamd at mail.ripon.edu Home Page: http://www.ripon.edu/faculty/GrahamD/index.html Poetry Library: http://www.ripon.edu/faculty/GrahamD/poetrylib.html ======================================== From JforJames at aol.com Tue Jan 29 12:56:00 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Tue, 29 Jan 2002 12:56:00 EST Subject: [New-Poetry] somethinglike spring's acummings in Message-ID: <48.5afe6b4.29883c30@aol.com> In a message dated 1/28/02 9:08:52 PM Eastern Standard Time, bobgrumman at nut-n-but.net writes: > For instance, the image of winter having > seasons, and > therefore a "June." We're having a June day in midwinter here in central New England. Was Ceravolo influenced by Cummings perhaps? Finnegan From jdavis at panix.com Tue Jan 29 13:14:27 2002 From: jdavis at panix.com (Jordan Davis) Date: Tue, 29 Jan 2002 13:14:27 -0500 (EST) Subject: [New-Poetry] Joseph Ceravolo, "Drunken Winter" In-Reply-To: <154.80ba76b.29883725@aol.com> Message-ID: Hi Jim. I stand by my assertion that Ceravolo is an American Celan. Emotion - pure and strong - drives that play. True, there are different historical circumstances, different contexts involved in / evoked by their work. And I don't see them as particularly outsider or self-taught, either. Best wishes, Jordan From DICK at watson.ibm.com Wed Jan 30 14:17:11 2002 From: DICK at watson.ibm.com (DICK at watson.ibm.com) Date: Wed, 30 Jan 02 14:17:11 EST Subject: [New-Poetry] William Logan's "Night Battle" Message-ID: <200201301921.g0UJLaO37786@sp1n293en1.watson.ibm.com> "Editorial" and users' reviews of this at Amazon are all over the lot. Funny to find Logan - with his Mandarin attitude toward poetry - co-editing a book with Dana Gioia, who wants to take poetry back for the people, from the academy. Richard From bobgrumman at nut-n-but.net Wed Jan 30 14:29:02 2002 From: bobgrumman at nut-n-but.net (Bob Grumman) Date: Wed, 30 Jan 2002 14:29:02 -0500 Subject: [New-Poetry] somethinglike spring's acummings in References: <48.5afe6b4.29883c30@aol.com> Message-ID: <008501c1a9c4$604b0d20$cf04fea9@y3b2r8> > In a message dated 1/28/02 9:08:52 PM Eastern Standard Time, > bobgrumman at nut-n-but.net writes: > > > For instance, the image of winter having > > seasons, and > > therefore a "June." > We're having a June day in midwinter > here in central New England. Was Ceravolo > influenced by Cummings perhaps? > Finnegan I didn't feel any Cummings, to speak of, in the poem--but I don't know anything at all about Ceravolo. I heard Roethke--and think Stein's in there, too. I found Yeats but have no idea whether Ceravolo wanted him there or not. . . . --Bob G. From JforJames at aol.com Wed Jan 30 15:18:06 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 30 Jan 2002 15:18:06 EST Subject: [New-Poetry] 2 Merwin poems Message-ID: <11e.afa3be3.2989aefe@aol.com> W. S. Merwin's new collection, "The Pupil." +++++++++++++++++++++++++ Flights in the Dark After nights of rain the great moths of December drift through green fronds into the end of the year I watch their eyes on the door near midnight memories of the sun near the solstice and their wings made of darkness the memory of darkness flying in time remembering this night +++++++++++++++++++++++++ The Night Plums Years afterward in the dark in the middle of winter I saw them again the sloes on the terraces flowering in the small hours after a season of hard cold and the turning of the night and of the year and of years when almost all whom I had known there in other days had gone and the stones of the barnyard were buried in sleep and the animals were no more I watched the white blossoms open in their own hour naked and luminous greeting the darkness in silence with their ancient fragrance +++++++++++++++++++++++++ --- NOTE: You received this message because you subscribed to knopfpoetry as: JforJames at aol.com on the Books at Random Web site. To unsubscribe send a blank email to leave-knopfpoetry-6633036S at list.randomhouse.com From gmcvay at patriot.net Wed Jan 30 15:21:26 2002 From: gmcvay at patriot.net (Gwyn McVay) Date: Wed, 30 Jan 2002 15:21:26 -0500 (EST) Subject: [New-Poetry] 2 Merwin poems In-Reply-To: <11e.afa3be3.2989aefe@aol.com> Message-ID: Oh God, someone showed him the "Robert Bly Deep Image Instant Poetry Generator." Gwyn From JforJames at aol.com Wed Jan 30 15:26:43 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Wed, 30 Jan 2002 15:26:43 EST Subject: [New-Poetry] Poetry Finalists, Nat'l Book Critics Circle Prize Message-ID: <12b.b783ae6.2989b103@aol.com> It's unclear whether Milosz has been nominated for essays or for poetry?-- Besides Milosz, nominated for ``A Treatise on Poetry,'' poetry finalists are: Albert Goldbarth, ``Saving Lives''; Louise Glueck, ``The Seven Ages''; Jane Hirschfield, ``Given Sugar, Given Salt''; and Bob Hicok, ``Animal Soul.'' The full article... Monday January 28 1:08 PM ET Franzen Among Fiction Finalists By HILLEL ITALIE, Associated Press Writer NEW YORK (AP) - The author himself may not be that popular in certain circles, but acclaim for Jonathan Franzen's ``The Corrections'' continues. Franzen's novel about an unhappy Midwestern family is a finalist for the National Book Critics Circle prize. Among other nominations announced Monday are a poetry collection by 90-year-old Nobel laureate Czeslaw Milosz, essays by Martin Amis and a novel by W.G. Sebald, a highly regarded German writer who was killed in a car crash late last year. Two of 2001's most notable biographies, David McCullough's ``John Adams'' and Edmund Morris' ``Theodore Rex,'' were not cited. Franzen is already a National Book Award winner. The critics' nomination reinforces the author's place in what he calls ``the high-art literary tradition,'' and should help ``The Corrections'' outlast the notoriety from his falling out with Oprah Winfrey. The talk-show host chose his novel in September for her book club but canceled the traditional author dinner after he made a series of disparaging remarks. The wrath of Winfrey apparently did not hurt Franzen commercially, and may have helped. Sales for ``The Corrections'' are nearing the 1 million mark, an enormous number for literary fiction and especially large for an author whose previous novel sold less than 20,000 copies. Franzen joins a strong list of fiction finalists. Besides ``The Corrections,'' nominees include Sebald's ``Austerlitz,'' Ann Patchett's ``Bel Canto,'' Colson Whitehead's celebrated ``John Henry Days,'' and ``Hateship, Friendship, Courtship, Loveship, Marriage,'' the latest collection from the revered short story writer Alice Munro. Paula Fox, whose books Franzen helped bring back in print, is a finalist for her memoir, ``Borrowed Finery.'' Other nominees include Barry Werth's ``The Scarlet Professor,'' Adam Sisman's ``Boswell's Presumptuous Task,'' David Hadju's ``Positively Fourth Street'' and ``Milking the Moon,'' by Eugene Walter, as told to Katherine Clark. Walter, an award-winning writer and translator, died in 1998. The book critics circle has a history of favoring outsiders, but nine of the 25 finalists this year were published by Random House Inc., the largest trade publisher in the United States. A lifetime achievement award is being given to Random House editor Jason Epstein, whose authors include Norman Mailer and E.L. Doctorow. Amis' book, ``The War Against Cliche,'' was published by Talk Miramax Books, the sister company to Tina Brown's now-defunct Talk magazine. Nominees for general nonfiction include ``Seabiscuit,'' Laura Hillenbrand's best seller about the famous race horse; Sam Roberts' ``The Brother''; Nina Bernstein's ``The Lost Children of Wilder''; and ``Double Fold,'' by Nicholson Baker. Also cited was ``Neighbors,'' by Polish emigre historian Jan Gross. Right-wing groups have disputed Gross' account of a 1941 massacre in which as many as 1,600 Jews were burned alive, saying that the Nazis were responsible. But the author's book reinforced the increasingly held belief that Poles were to blame. Besides Milosz, nominated for ``A Treatise on Poetry,'' poetry finalists are: Albert Goldbarth, ``Saving Lives''; Louise Glueck, ``The Seven Ages''; Jane Hirschfield, ``Given Sugar, Given Salt''; and Bob Hicok, ``Animal Soul.'' Amis is a finalist in the criticism category. Other nominees are W.D. Snodgrass, ``De/Compositions''; Joy Williams, ``Ill Nature''; Rebecca Solnit, ``As Eve Said to the Serpent''; and H.J. Jackson, ``Marginalia.'' The winners will be announced March 11. The National Book Critics Circle, founded in 1974, is a not-for-profit organization of book editors and critics. - On the Net: National Book Critics Circle: http://www.bookcritics.org. From halvard at earthlink.net Wed Jan 30 16:16:01 2002 From: halvard at earthlink.net (Halvard Johnson) Date: Wed, 30 Jan 2002 16:16:01 -0500 Subject: [New-Poetry] Poems by others: Tom Raworth, "Hot Day at the Races" Message-ID: Hot Day at the Races in the bramble bush shelley slowly eats a lark's heart we've had quite a bit of rain since you were here last raw silk goes on soft ground (result of looking in the form book) two foggy dell seven to two three ran crouched, the blood drips on his knees and horses pass shelley knows where the rails end did i tell you about the blinkered runners? shelley is waiting with a cross-bow for his rival, the jockey all day he's watched the races from his bush now, with eight and a half fulongs to go raw silk at least four lengths back disputing third place he takes aim and horses pass his rival, the jockey, soars in the air and falls. the lark's beak neatly pierces his eye --Tom Raworth Hal Halvard Johnson =============== email: halvard at earthlink.net website: http://home.earthlink.net/~halvard/index.html From DICK at watson.ibm.com Wed Jan 30 18:17:28 2002 From: DICK at watson.ibm.com (DICK at watson.ibm.com) Date: Wed, 30 Jan 02 18:17:28 EST Subject: [New-Poetry] 2 Merwin poems Message-ID: <200201302321.g0UNLHO21360@sp1n293en1.watson.ibm.com> Who can explain it, who can tell you why... but.... at the end of this particular day, these two poems went down smooth as silk. Very nice, Finnegan. Thanks. Richard From snospx at silcom.com Tue Jan 29 22:19:48 2002 From: snospx at silcom.com (Barry Spacks) Date: Tue, 29 Jan 2002 19:19:48 -0800 Subject: [New-Poetry] Poems by others: Geoffrey Chaucer, from "The Knight's Tale" In-Reply-To: Message-ID: <3.0.5.32.20020129191948.007fbc30@snowcrest.net> With knotty knarry bareyne trees* olde, Of stubbes sharpe and hidouse to biholde, In which ther ran a rumbel in a swough As though a storm sholde bresten every bough. And downward from an hille, under a bente, Ther stood the temple of Mars armipotente, Wroght al of burned steel, of which the entree Was long and streit, and ghastly for to see. * pronounced "tre-es" (no way to indicate the umlaut over 2nd "e") knarry=gnarled bareyne=barren stubbes=branch-stubs swough=wind-sound bresten=break bente=grassy slope burned=burnished entree=entrance streit=narrow From wasanthony at yahoo.com Wed Jan 30 22:38:33 2002 From: wasanthony at yahoo.com (jcervantes) Date: Wed, 30 Jan 2002 19:38:33 -0800 (PST) Subject: [New-Poetry] Poems by others: Geoffrey Chaucer, from "The Knight's Tale" In-Reply-To: <3.0.5.32.20020129191948.007fbc30@snowcrest.net> Message-ID: <20020131033833.40770.qmail@web12106.mail.yahoo.com> A little spooky, yes? armipotente = omnipotent? - Jim --- Barry Spacks wrote: > With knotty knarry bareyne trees* olde, > Of stubbes sharpe and hidouse to biholde, > In which ther ran a rumbel in a swough > As though a storm sholde bresten every bough. > And downward from an hille, under a bente, > Ther stood the temple of Mars armipotente, > Wroght al of burned steel, of which the entree > Was long and streit, and ghastly for to see. > > * pronounced "tre-es" (no way to indicate the umlaut over 2nd "e") > > knarry=gnarled > bareyne=barren > stubbes=branch-stubs > swough=wind-sound > bresten=break > bente=grassy slope > burned=burnished > entree=entrance > streit=narrow > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony at yahoo.com & jvcervantes at earthlink.net Homepage: Salt River Review: Poetserv: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Great stuff seeking new owners in Yahoo! Auctions! http://auctions.yahoo.com From snospx at silcom.com Tue Jan 29 23:00:35 2002 From: snospx at silcom.com (Barry Spacks) Date: Tue, 29 Jan 2002 20:00:35 -0800 Subject: [New-Poetry] Poems by others: Geoffrey Chaucer, from "The Knight's Tale" In-Reply-To: <20020131033833.40770.qmail@web12106.mail.yahoo.com> References: <3.0.5.32.20020129191948.007fbc30@snowcrest.net> Message-ID: <3.0.5.32.20020129200035.007f9100@snowcrest.net> At 07:38 PM 1/30/02 -0800, you wrote: >A little spooky, yes? yep >armipotente = omnipotent? actually a seeming coinage: potent in arms, powerfully armed Chaucer's always a great mouthful, wanted to share the luster and bluster a bit b. From dbarone at sjc.edu Thu Jan 31 14:56:32 2002 From: dbarone at sjc.edu (dbarone) Date: Thu, 31 Jan 2002 14:56:32 -0500 Subject: [New-Poetry] award Message-ID: <0D9D00A18A08ED47875BD976E134249008D299@sjcmail.sjc.edu> There's more poetry in the prose of W. G. Sebald than in any of the poets listed for the National Book Critics Circle Awards. I hope Sebald gets every prize. Dennis Barone From GrahamD at Mail.Ripon.EDU Thu Jan 31 15:05:06 2002 From: GrahamD at Mail.Ripon.EDU (Graham, David) Date: Thu, 31 Jan 2002 14:05:06 -0600 Subject: [New-Poetry] RE: award Message-ID: <4BBBE1EC8182D511BF9800508BBD7599E86CD9@mail.ripon.edu> Once again this year, without really trying, I have somehow managed to avoid reading all the books nominated for the Nat. Book Critics Circle Awards--though I've read earlier books by Goldbarth, Gluck, Milosz, Hirshfield, and Hicok. I'd love to hear opinions on these books (or other worthies). David Graham ======================================== David Graham grahamd at mail.ripon.edu Home Page: http://www.ripon.edu/faculty/GrahamD/index.html Poetry Library: http://www.ripon.edu/faculty/GrahamD/poetrylib.html ======================================== > ---------- > From: dbarone > Reply To: new-poetry at wiz.cath.vt.edu > Sent: Thursday, January 31, 2002 1:56 PM > To: 'new-poetry at wiz.cath.vt.edu' > Subject: [New-Poetry] award > > > There's more poetry in the prose of W. G. Sebald than in any of the poets > listed for the National Book Critics Circle Awards. I hope Sebald gets > every prize. > > Dennis Barone > _______________________________________________ > New-Poetry mailing list > New-Poetry at wiz.cath.vt.edu > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry > > From JforJames at aol.com Thu Jan 31 18:18:38 2002 From: JforJames at aol.com (JforJames at aol.com) Date: Thu, 31 Jan 2002 18:18:38 EST Subject: [New-Poetry] 2 Merwin poems Message-ID: <15b.83b238e.298b2ace@aol.com> In a message dated 1/30/02 3:22:39 PM Eastern Standard Time, gmcvay at patriot.net writes: > Oh God, someone showed him the "Robert Bly Deep Image Instant Poetry > Generator." Actually Merwin holds the patent on deep image poetry, doesn't he? Those new poems I forwarded from a knopf poetry list may not be his best.. but book after book Merwin has stuck to his central themes; themes I'm in sympathy with. And his treatment of those themes if often imaginative in both a philosophical and poetic sense. Also, he's writes amazingly seamless poetry for someone who writes without the conventional punctuation set. I'm wondering if any of you who know more about linguistics than I do can say whether or not there are things you just can't do in English without punctuation marks? Finnegan From snospx at silcom.com Thu Jan 31 18:02:50 2002 From: snospx at silcom.com (Barry Spacks) Date: Thu, 31 Jan 2002 15:02:50 -0800 Subject: [New-Poetry] Poems by others: Geoffrey Chaucer, from "The Knight's Tale" In-Reply-To: References: <3.0.5.32.20020129191948.007fbc30@snowcrest.net> Message-ID: <3.0.5.32.20020131150250.007c64d0@snowcrest.net> At 04:24 PM 2/1/02 -0500, you wrote: >Barry, > >I like Chaucer too, but usually it's his characters and his dialogue that >strike me as for the ages, and not his settings --so I'm curious, why this >passage? Is it for the purposes of comparing literary portraits of trees >in winter? > >Jordan > Thanks for the question, Jordan. I love the sound of Chaucer's verse so I chose a gnarly few lines to throw us back for a moment to older stuff that works with 18 wheels on the ground (story-telling not the least of it) in contrast to some of what I see as "easy" & perverse in the way of automatic- writing that we'd been looking at recently volo-wise. Other poets can make wild fresh noises, I guess I found myself thinking, that's not such a hard thing to do, so here's a look at a few refreshingly dark growlings from one of the masters of the often adolescently-despised canon. Now I'd never choose to say anything so contentious straight-out, of course, I simply lobbed a truffle into the stew. Just bad-tempered, I guess. I've been teaching Bob Hass's BEST AMERICAN POETRY 2001, growing as unhappily weary with empty, pretentiously obscure verse there as are my students; stuff -- and I choose that word with care -- which has little beyond self-empowering spritz to recommend it. Granted, dragging a few lines of Chaucerian description in to an oh-so-post-mod moment must reveals my own Imp of the Perverse. with best wishes to all, Barry-Tartuffe