From atelierjewelweed at gmail.com  Mon Oct  1 07:20:22 2007
From: atelierjewelweed at gmail.com (Suzanne Burns)
Date: Mon, 1 Oct 2007 07:20:22 -0400
Subject: [New-Poetry] Frost Medal fallout
In-Reply-To: <cc1.1c3426e1.342fffdf@aol.com>
References: <cc1.1c3426e1.342fffdf@aol.com>
Message-ID: <bda48ea50710010420g13aee483n91eaccfb1b21a64c@mail.gmail.com>

Troubled by Mr. Louis-Dreyfus's tone, Ms. Alexander, Mr. Campo and Ms.
Salter wrote their own responses. When Mr. Louis-Dreyfus subsequently
accused them of McCarthyism and reactionary behavior, they resigned from the
board.

Wow.  If Louis-Dreyfus really believes that it is "McCarthyism" for people
to express dissent or make choices (e.g., resigning) based upon conscience
we really do live in a warped world. Since when is anyone entitled to have
everyone else mousy-up and keep silent?

I'm also disturbed by the contention that Hollander's comments are
"extra-poetic" and irrelevant-- as if poetry exists in some discreet little
region untouched by human experience, culture, politics, etc.

Madonn', as my grandmother would say.


Suzanne



On 9/29/07, JforJames at aol.com <JforJames at aol.com> wrote:
>
>
> http://www.nytimes.com/2007/09/27/books/27poet.html?_r=1&ref=arts&oref=slogin
> Poetry Prize Sets Off Resignations at Society
>
> By MOTOKO RICH
> Published: September 27, 2007
> The cloistered community of American poetry has, in recent months, become
> a little less like Yeats's Land of Faery, where nobody gets old and bitter
> of tongue, and a little more like Allen Ginsberg's "Howl."
>
> The board of the 97-year-old Poetry Society of America, whose members have
> included many of the most august names in verse, has been rocked by a string
> of resignations and accusations of McCarthyism, conservatism and simple bad
> management.
>
> The recent turmoil was driven, partly, by fierce discussion among board
> members
>
>
>
> ------------------------------
> See what's new at AOL.com <http://www.aol.com?NCID=AOLCMP00300000001170>and Make
> AOL Your Homepage<http://www.aol.com/mksplash.adp?NCID=AOLCMP00300000001169>
> .
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>
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From jforjames at aol.com  Mon Oct  1 11:15:31 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 01 Oct 2007 11:15:31 -0400
Subject: [New-Poetry] deep image syllabus
Message-ID: <8C9D2550AE8DB17-36C-2EB1@FWM-D36.sysops.aol.com>


found this on the web...

Pierre Joris : Graduate (& 2 Undergraduate) Seminars
?
ENG450: Special Topics: Deep Image & After (most recently: Fall '97)
This course will focus on one of the richest and most explorative movements of contemporary American poetry. If classical 20th century European literary movements (such as Futurism, Surrealism, etc.) have characteristically been well-defined & definable, postmodern movements in the US in the second half of this century have, with rare exceptions, been more diffuse & difficult to pinpoint. This course will study one of these ? "Deep Image" or "the Caterpillar poets" as it has also been known? by examining its historical roots, its poetic practice & theory and its geographical & poetic dissemination, to help us situate its aims & methods, as well as its practioners, in the wider context of contemporary American and world poetry.
To set the historical frame, all students should have read Jed Rasula's The American Poetry Wax Museum before the course starts. We will then go on to read work by the following poets: Jerome Rothenberg, David Antin, Robert Kelly, Diane Wakoski, Armand Schwerner, Clayton Eshleman, Diane Di Prima & Rochelle Owens. (Books available in bookstore). 
? Students are expected to give in-class presentations of a chosen author or problematic. 
?Evaluation will be based on these presentations as well as on two projects (midterm & final) that can/should integrate critical/theoretical reading of the course and their own (relevant) creative work. 
?All students need to have a VAX account & should familiarize themselves with the DEC NOTES conferencing program before the course starts. (This conferencing program, beyond enabling students & instructor to interact outside the classroom, will also allow a number of the poets studied to be electronically available to respond to class discussion & student queries.)

BOOK LIST


Jed Rasula: The American Poetry Wax Museum, NCTE (NCTE stock number: 01380-3050)
Jerome Rothenberg: New Selected Poems, New Directions, 0-8112-0997-0
Jerome Rothenberg: Pre-Faces, New Directions, 0-8112-0786-2 
David Antin: Selected Poems 1963-1973, Sun & Moon, 1-55713-058-2
Robert Kelly: Red Actions, Selected Poems 1960-1993, Black Sparrow Press, 0-87685-977-5
Diane Wakowski: Emerald Ice: Selected Poems 1962-1987, Black Sparrow Press, 
Clayton Eshleman: The Name-Encanyoned River Selected Poems 1960-1985, Black Sparrow Press, ISBN: 0876856520
Clayton Eshleman: Novices; Marsilio Publishers; ISBN: 1568860366
Rochelle Owens: New and Selected Poems 1961-1994, Junction Press. 
Diane Di Prima: Pieces of a Song : Selected Poems, City Lights, ISBN: 0872862372ENG450 

Class Reader ? available from InfoPro

TABLE OF CONTENTS OF READER

TEXTS:
? Various "Deep Image" manifestos, responses & magazines:
Trobar # 1
Trobar # 2
Trobar # 3
Jerome Rothenberg: "The Deep Image Is The Threatened Image"
(in: Poems From The Floating World vol. 4)
Jerome Rothenberg & Robert Creeley: An Exchange
(in: Kulchur 6)
? Robert Kelly: Statement
? Early Jerome Rothenberg poems
? Jerome Rothenberg/David Rathman:
"Six Pictures for the Granary"
? Jerome Rothenberg: Vort interviews
? Kevin Power: "An Image is an Image is an Image"
?Eric Mottram: "Where the Real Song begins"
? Diane Wakoski: "Jerome Rothenberg's Deep Image"
? Diane Wakoski: "Form is an Extension of Content"
? Armand Schwerner section
SELECTED POEMS:
The Lightfall
Muck The Fuck
The Magic Runner
The Red Horses of the Sun
The Violence Around us
Constellations
Tablets I, II, X, XV
Interviews from VORT magazine (issue # 8)
? David Antin: "Modernism and Postmodernism: Approaching The Present in American Poetry"
? David Antin: Vort Interview


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From cervantes.james at gmail.com  Mon Oct  1 11:46:22 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Mon, 1 Oct 2007 10:46:22 -0500
Subject: [New-Poetry] This deep image
Message-ID: <648208b60710010846s4e50e5bbu9c4889511d0c4911@mail.gmail.com>

This deep image went to market.
This deep image stayed home.
This deep image had a lake
and this deep image had the stone.
This steep image went down down
down down down . . .

-- Jim
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html
~ http://home.earthlink.net/~jvcervantes/
~ http://www.flickr.com/photos/12364573 at N08/


From jforjames at aol.com  Mon Oct  1 12:09:45 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 01 Oct 2007 12:09:45 -0400
Subject: [New-Poetry] This deep image
In-Reply-To: <648208b60710010846s4e50e5bbu9c4889511d0c4911@mail.gmail.com>
References: <648208b60710010846s4e50e5bbu9c4889511d0c4911@mail.gmail.com>
Message-ID: <8C9D25C9E15A95F-36C-344B@FWM-D36.sysops.aol.com>


"Whoever speaks in primordial images speaks with a thousand voices. . . This is the secret of great art. . . the unconscious activation of an archetypal image and. . . elaborating and shaping this image into the finished work. By giving it shape, the artist translates it into the language of the present, so makes it possible for us to find our way back to the deepest springs of life. Therein lies the social significance of art; the artist is constantly at work educating the spirit of the age, conjuring up the forms in which the age is most lacking. The. . . artist reaches back to the primordial image. . . which is best fitted to compensate the inadequacy and one-sidedness of the present. . . seizes on this image, and . . . brings it into relation with conscious values, thereby transforming it until it can be accepted by the minds of his contemporaries according to their powers."

?C.G. Jung, "On the Relation of Analytical Psychology to Poetry"
?
"transforming it until it can be accepted by the minds of his contemporaries according to their powers." 
But it may be impossible for those unable to disengage from the post-modernist mindset to 
access deep image poetry fully. 
Finnegan


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From Opus40-01 at opus40.org  Mon Oct  1 12:13:47 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 01 Oct 2007 12:13:47 -0400
Subject: [New-Poetry] This deep image
In-Reply-To: <648208b60710010846s4e50e5bbu9c4889511d0c4911@mail.gmail.com>
References: <648208b60710010846s4e50e5bbu9c4889511d0c4911@mail.gmail.com>
Message-ID: <47011CBB.6000508@opus40.org>

Love it.

James Cervantes wrote:
> This deep image went to market.
> This deep image stayed home.
> This deep image had a lake
> and this deep image had the stone.
> This steep image went down down
> down down down . . .
>
> -- Jim
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> ~ Salt River Review:  http://www.poetserv.org
> ~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
> ~ http://www.fieralingue.it/documenti/mr_bondo.pdf
> ~ http://www.poetserv.org/jvc/home/index.html
> ~ http://home.earthlink.net/~jvcervantes/
> ~ http://www.flickr.com/photos/12364573 at N08/
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From Opus40-01 at opus40.org  Mon Oct  1 12:15:42 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 01 Oct 2007 12:15:42 -0400
Subject: [New-Poetry] [Fwd: Over Forty Contest Deadlines]
Message-ID: <47011D2E.4040501@opus40.org>

And I thought this was finally a contest for my age group....

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/

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From grahamd at ripon.edu  Mon Oct  1 12:16:33 2007
From: grahamd at ripon.edu (David Graham)
Date: Mon, 1 Oct 2007 11:16:33 -0500
Subject: [New-Poetry] deep image syllabus
In-Reply-To: <8C9D2550AE8DB17-36C-2EB1@FWM-D36.sysops.aol.com>
References: <8C9D2550AE8DB17-36C-2EB1@FWM-D36.sysops.aol.com>
Message-ID: <87772969-7304-4F70-8FD9-02640F47744A@ripon.edu>

Interesting how debate about the deep image poem parallels the  
earlier debate about imagism itself, with various factions &  
promoters competing over whose definition would stick.  Thus, Pound  
complaining about Amy Lowell's usurpation ("Amygism," he sneered) of  
"his" movement, which he had largely borrowed from reading  
translations of & scholarship about classical Chinese poetry.  And  
soon enough he left Imagism behind for Vorticism, which of course  
never caught on as a concept, though Pound's methods certainly did.

So I suppose Deep Image's vagueness as a category has something to do  
with competing aesthetics.  Not many readers of David Antin and  
Clayton Eshleman have much to do with readers of, say, Galway Kinnell  
or Robert Bly.

I've always thought that in its more mainstream incarnation, the  
poster boy of the deep image poem was Gregory Orr.  He's altered his  
style considerably since the early work, but in his first few books  
we find many poems like this one:

A Courting Poem

The wound sought out the stone, because
it was tired of living alone and formless
like a cloud in a cave.

But the stone feared the wound,
sensing that it was not like other things
that were there and then gone.
The stone needed the wound, but still

the silence would never be the same again,
because of the hum of blood in its veins.
The long walks after the first snowfall
would be different: now there would be footprints.

Gregory Orr
---------------------

Most of what can be said against such poems has been said quite  
effectively decades ago.  Primal imagery often just seems generic,  
for one thing, and the relatively limited palette of mostly Anglo- 
Saxon nouns employed by early Orr & others (stone, vein, bone, dark,  
snow, blood, cloud) fairly quickly assumed an inadvertently comic  
simplicity.

I would imagine that even Orr himself might agree that this poem  
hasn't aged particularly well, since he no longer writes in such a  
style.  Of course, we should remember that many of the early poems of  
Pound or Williams are real stinkers.


========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



On Oct 1, 2007, at 10:15 AM, jforjames at aol.com wrote:

> found this on the web...
>
> Pierre Joris : Graduate (& 2 Undergraduate) Seminars
>
> ENG450: Special Topics: Deep Image & After (most recently: Fall '97)
> This course will focus on one of the richest and most explorative  
> movements of contemporary American poetry. If classical 20th  
> century European literary movements (such as Futurism, Surrealism,  
> etc.) have characteristically been well-defined & definable,  
> postmodern movements in the US in the second half of this century  
> have, with rare exceptions, been more diffuse & difficult to  
> pinpoint. This course will study one of these ? "Deep Image" or  
> "the Caterpillar poets" as it has also been known? by examining its  
> historical roots, its poetic practice & theory and its geographical  
> & poetic dissemination, to help us situate its aims & methods, as  
> well as its practioners, in the wider context of contemporary  
> American and world poetry.
> To set the historical frame, all students should have read Jed  
> Rasula's The American Poetry Wax Museum before the course starts.  
> We will then go on to read work by the following poets: Jerome  
> Rothenberg, David Antin, Robert Kelly, Diane Wakoski, Armand  
> Schwerner, Clayton Eshleman, Diane Di Prima & Rochelle Owens.  
> (Books available in bookstore).
> ? Students are expected to give in-class presentations of a chosen  
> author or problematic.
> ?Evaluation will be based on these presentations as well as on two  
> projects (midterm & final) that can/should integrate critical/ 
> theoretical reading of the course and their own (relevant) creative  
> work.
> ?All students need to have a VAX account & should familiarize  
> themselves with the DEC NOTES conferencing program before the  
> course starts. (This conferencing program, beyond enabling students  
> & instructor to interact outside the classroom, will also allow a  
> number of the poets studied to be electronically available to  
> respond to class discussion & student queries.)
> BOOK LIST
>
> Jed Rasula: The American Poetry Wax Museum, NCTE (NCTE stock  
> number: 01380-3050)
> Jerome Rothenberg: New Selected Poems, New Directions, 0-8112-0997-0
> Jerome Rothenberg: Pre-Faces, New Directions, 0-8112-0786-2
> David Antin: Selected Poems 1963-1973, Sun & Moon, 1-55713-058-2
> Robert Kelly: Red Actions, Selected Poems 1960-1993, Black Sparrow  
> Press, 0-87685-977-5
> Diane Wakowski: Emerald Ice: Selected Poems 1962-1987, Black  
> Sparrow Press,
> Clayton Eshleman: The Name-Encanyoned River Selected Poems  
> 1960-1985, Black Sparrow Press, ISBN: 0876856520
> Clayton Eshleman: Novices; Marsilio Publishers; ISBN: 1568860366
> Rochelle Owens: New and Selected Poems 1961-1994, Junction Press.
> Diane Di Prima: Pieces of a Song : Selected Poems, City Lights,  
> ISBN: 0872862372ENG450
> Class Reader ? available from InfoPro
> TABLE OF CONTENTS OF READER
> TEXTS:
> ? Various "Deep Image" manifestos, responses & magazines:
> Trobar # 1
> Trobar # 2
> Trobar # 3
> Jerome Rothenberg: "The Deep Image Is The Threatened Image"
> (in: Poems From The Floating World vol. 4)
> Jerome Rothenberg & Robert Creeley: An Exchange
> (in: Kulchur 6)
> ? Robert Kelly: Statement
> ? Early Jerome Rothenberg poems
> ? Jerome Rothenberg/David Rathman:
> "Six Pictures for the Granary"
> ? Jerome Rothenberg: Vort interviews
> ? Kevin Power: "An Image is an Image is an Image"
> ?Eric Mottram: "Where the Real Song begins"
> ? Diane Wakoski: "Jerome Rothenberg's Deep Image"
> ? Diane Wakoski: "Form is an Extension of Content"
> ? Armand Schwerner section
> SELECTED POEMS:
> The Lightfall
> Muck The Fuck
> The Magic Runner
> The Red Horses of the Sun
> The Violence Around us
> Constellations
> Tablets I, II, X, XV
> Interviews from VORT magazine (issue # 8)
> ? David Antin: "Modernism and Postmodernism: Approaching The  
> Present in American Poetry"
> ? David Antin: Vort Interview
> Email and AIM finally together. You've gotta check out free AOL Mail!
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry

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From bobgrumman at nut-n-but.net  Mon Oct  1 18:06:42 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Mon, 01 Oct 2007 17:06:42 -0500
Subject: [New-Poetry] This deep image
In-Reply-To: <648208b60710010846s4e50e5bbu9c4889511d0c4911@mail.gmail.com>
References: <648208b60710010846s4e50e5bbu9c4889511d0c4911@mail.gmail.com>
Message-ID: <47016F72.2090803@nut-n-but.net>


James Cervantes wrote:
> This deep image went to market.
> This deep image stayed home.
> This deep image had a lake
> and this deep image had the stone.
> This steep image went down down
> down down down . . .
>
> -- Jim
>
>   
I like this quite a bit.  As an irrepressible tinkerer, though, I had to 
change its first line to, "This deep image transcended all markets."  
Sorry, but I just can't imagine a deep image going to any market.  But 
it's funnier your way.

--Bob G.



From jforjames at aol.com  Mon Oct  1 18:12:24 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 01 Oct 2007 18:12:24 -0400
Subject: [New-Poetry] Poetry & Philosophy Conference 
Message-ID: <8C9D28F476E4405-DB4-2796@MBLK-M14.sysops.aol.com>


http://www2.warwick.ac.uk/fac/soc/philosophy/research/phillit/poetryphil/


Poetry & Philosophy Conference 
[c] Poets Reading Philosophy, Philosophers Reading Poetry 
University of Warwick 

26-28 October 2007 


This international conference will bring together poets and philosophers from the U.S., Canada, Australia, and the U.K., to explore questions of method, aim, and substance relevant to both philosophical and poetic practice. We hope the conference will provide a constructive counterweight to a tradition that has often cast philosophy and poetry too simply as representing competing norms--of reasoned argument, generality, and objectivity on the one hand, and of expression, particularity, passion, and subjectivity on the other. To this end we have invited poets who count the philosophical tradition as an inspiration and whose work offers many routes into engagement with philosophers. The philosophical substance of poets? work will be discussed, as well as such overarching concerns as relations between imagery and abstraction, the role of emotion and personal expression in philosophical inquiry, the role of imagination in reasoning, and conceptions of poetic and philosophical achievement. The conference programme will include poetry readings as well.

Invited speakers:


Robert Bringhurst (CA)??????????? 

Richard Eldridge (Swarthmore College, Philosophy)

Jorie Graham (Harvard University, English)

Robert Gray (AU)

Kevin Hart (University of Virginia, Religious Studies)

Geoffrey Hill (Boston University emeritus, Literature and Religion)

Simon Jarvis (Cambridge University, English)

John Koethe (University of Milwaukee, Philosophy)

Peter Lamarque (University of York, Philosophy)

Susan Stewart (Princeton University, English)

Jan Zwicky (University of Victoria, Philosophy)

?

?


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From Opus40-01 at opus40.org  Mon Oct  1 18:30:50 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 01 Oct 2007 18:30:50 -0400
Subject: [New-Poetry] Calling Dr. Giggles
Message-ID: <4701751A.4000303@opus40.org>

Calling Dr. Giggles: a Laff Riot for Young and Old


    Tad Richards

*In an evening of the comic in poetry and song*


          Featuring his own work and that of

Andrew Marvell

Annie Finch

Billy Collins

Don Marquis

Dorothy Parker

 

	

Fred Koller

John Prine

Ogden Nash

ROBERT HERRICK

Sheb Wooley

Tom Lehrer

And selections from his new book, /Take Five: Poems in 5/4 time/


      Wednesday, Oct. 3


      6:30 PM


        Humanities 312


        SUNY New Paltz, New Paltz, NY

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/

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From anny.ballardini at tin.it  Tue Oct  2 04:41:24 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 2 Oct 2007 10:41:24 +0200
Subject: [New-Poetry] an interview
Message-ID: <003c01c804d0$041087c0$ae8e3052@ANNY>

Just translated this, thought it might be interesting.





Interview with Rossana Buremi by Chiara Agnello

 

Since several years your practice has focused around pictorial research in the widest sense of the term. Having abandoned hyper-realism with big-sized canvases, you represent erotic scenes by spacing from a na?f style - as in the bas-riliefs made with pongo - to the quick and light gesture of the series on tables I Prefer Sex to Love, closer to Japanese iconography. What fuels your highly imaginative universe?

A sort of monomania guides my universe and fuels all my work. The series of the sofas was linked to a solid reality of an Euclidean depth in which there was the will of not letting the quality of the represented object be exclusively owned by volumetric parameters, but oriented to a reading of space, as if there was a going back to Byzantinism, to that by now lost way because history preferred another one; as a romantic vision of history's cyclicity, of the eternal return. Such a reading does not only have to do with painting but also with a social reality, with human relationships, with measures and distances. For example such biodimensionality applied to relationships, allows me to read the relationship between victim and executioner: the first is the lengthening of the other, a sort of imaginative segment, while a tridimensional reading - dedicated to doing charity to reach salvation to which I counter the expansion of waste - would be the submission of the one to the other.

Such monomania is addressed then towards an erotic imagery for different motives. One of these is that by eroticism it keeps and highlights that character which is its own and that in my first works was hidden, almost as a sort of decency, and that now becomes explicit and visceral: vice. Its confidential nature remains intact because it does not have any popular, educational aid; we are not trying to corrupt, because corruption has already been established between the artwork and the one who observes it, that is, it is as present as in the artwork as much as in the one who observes it. Another reason is eroticism that allows me to reveal the obsessive character of monomania that obliges a total abandonment to the laws that it dictates, since art cannot be a treatment for anybody, but in some way it is my personal safety. In an erotic theme you can feel that feeling of obstinacy which is typical of any need, that guilt, that I do not want because I cannot.

 

Your characters, in fact, even if they abandon themselves to unrestrained and multicolored behaviors, seem not to want to represent actual spaces of freedom.

Freedom is something serious. To represent it in an adequate way you should know it. The fact is that you are talking to a slave of vice. I work with mathematical rules and quantic probabilities to survive. Not casually, the space of my characters, be them erotic or not, is a space with a margin of and extremely limited survival, with subjects that interact one with the other in a monotonous way where there is a smell of amusement, of a fun fair, but an amusement of brothel, of a law court, of a confessional.

 




--------------------------------------------------------------------------------


Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From anny.ballardini at tin.it  Tue Oct  2 05:24:27 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 2 Oct 2007 11:24:27 +0200
Subject: [New-Poetry] Calling Dr. Giggles
References: <4701751A.4000303@opus40.org>
Message-ID: <008301c804d6$0808dc50$ae8e3052@ANNY>

Congratulations Old Mole, have a great time!
  ----- Original Message ----- 
  From: TheOldMole 
  To: NewPoetry: Contemporary Poetry News &amp;Views ; Poetryetc provides a venue for a dialogue relating to poetry andpoetics 
  Sent: Tuesday, October 02, 2007 12:30 AM
  Subject: [New-Poetry] Calling Dr. Giggles


  Calling Dr. Giggles: a Laff Riot for Young and Old

  Tad Richards
  In an evening of the comic in poetry and song

  Featuring his own work and that of
        Andrew Marvell

        Annie Finch

        Billy Collins

        Don Marquis

        Dorothy Parker


       Fred Koller 

        John Prine

        Ogden Nash

        ROBERT HERRICK

        Sheb Wooley

        Tom Lehrer
       

  And selections from his new book, Take Five: Poems in 5/4 time

  Wednesday, Oct. 3
  6:30 PM
  Humanities 312
  SUNY New Paltz, New Paltz, NY
-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/

------------------------------------------------------------------------------


  _______________________________________________
  New-Poetry mailing list
  New-Poetry at wiz.cath.vt.edu
  http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
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From grahamd at ripon.edu  Tue Oct  2 12:16:53 2007
From: grahamd at ripon.edu (David Graham)
Date: Tue, 2 Oct 2007 11:16:53 -0500
Subject: [New-Poetry] Free Billy
Message-ID: <5C6AB66D-CE78-49FC-94BF-9C0877B6C628@ripon.edu>

Free download of Billy Collins's first CD, *The Best Cigarette*:

http://music.download.com/billycollins/3600-8207-100467105.html? 
tag=MDL_quickurl




========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



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From skip at louisiana.edu  Tue Oct  2 13:41:14 2007
From: skip at louisiana.edu (Skip Fox)
Date: Tue, 2 Oct 2007 12:41:14 -0500
Subject: [New-Poetry] Calling Dr. Giggles
In-Reply-To: <4701751A.4000303@opus40.org>
Message-ID: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>

Don Marquis! Fantastic. (e.e. cummings' father. cummings even got the idea
for the "excessive" use of lower case from Archie, the cockroach who
couldn't use a shift key while typing down another).

 

If I was in the area, I'd come. For Marquis, Marvell, Herrick, and you

 

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of TheOldMole
Sent: Monday, October 01, 2007 5:31 PM
To: NewPoetry: Contemporary Poetry News &amp;Views; Poetryetc provides a
venue for a dialogue relating to poetry andpoetics
Subject: [New-Poetry] Calling Dr. Giggles

 

Calling Dr. Giggles: a Laff Riot for Young and Old


Tad Richards


In an evening of the comic in poetry and song


Featuring his own work and that of


Andrew Marvell

Annie Finch

Billy Collins

Don Marquis

Dorothy Parker

 

Fred Koller 

John Prine

Ogden Nash

ROBERT HERRICK

Sheb Wooley

Tom Lehrer

And selections from his new book, Take Five: Poems in 5/4 time


Wednesday, Oct. 3


6:30 PM


Humanities 312


SUNY New Paltz, New Paltz, NY

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/
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From screwzbaran at gmail.com  Tue Oct  2 14:24:42 2007
From: screwzbaran at gmail.com (Suzanne Baran)
Date: Tue, 2 Oct 2007 11:24:42 -0700
Subject: [New-Poetry] Adrienne Rich at UGA
In-Reply-To: <731bb17a0709291824rd52062bge0465373c8333f14@mail.gmail.com>
References: <731bb17a0709291824rd52062bge0465373c8333f14@mail.gmail.com>
Message-ID: <2d5ffa0b0710021124l7eda981amfd0429df1b61e07a@mail.gmail.com>

She's one of my favorites!

On 9/29/07, Jeff Newberry <jeff.newberry at gmail.com> wrote:
>
> Author Adrienne Rich to read at UGA
>
> Athens, Ga. ? Renowned poet Adrienne Rich<http://www.english.uiuc.edu/maps/poets/m_r/rich/rich.htm>will read from her work on Thursday, Oct. 11, at 7:30
> p.m. in the Griffith Auditorium at the Georgia Museum of Art<http://www.uga.edu/gamuseum/index.html>.
> The event is sponsored by the University of Georgia's Creative Writing
> Program <http://www.english.uga.edu/%7Ecreative/> and the Willson Center
> for Humanities and Arts <http://www.cha.uga.edu/>; it is free and open to
> the public.
>
> Rich is one of the major American poets of the last half of the 20th
> century. Publishing more than 16 volumes of poetry and four books of
> nonfiction, she has been the recipient of nearly every major literary award,
> including the National Book Award, the Tanning Award for Mastery in the Art
> of Poetry, the Academy of American Poets Fellowship, the Ruth Lilly Poetry
> Prize, the Lenore Marshall Poetry Prize and the MacArthur Fellowship. She
> also served as chancellor of the Academy of American Poets.
>
> "There is no writer of comparable influence and achievement in so many
> areas of the contemporary women's movement as the poet and theorist Adrienne
> Rich," according to author Deborah Pope in The Oxford Companion to Women's
> Writing in the United States. "Over the years, hers has become one of the
> most eloquent, provocative voices on the politics of sexuality, race,
> language, power and women's culture."
>
>
> Jeff Newberry
>
> --
> "Memory believes before knowing remembers.  Believes longer than
> recollects, longer than knowing even wonders."
> ?William Faulkner, Light in August
>
>
> http://museoffireblog.blogspot.com
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>


-- 
"What is defeat in life?  It is not merely making a mistake; defeat means
giving up on yourself in the midst of difficulty.  What is true success in
life?  True success means winning in your battle with yourself.  Those who
persist in the pursuit of their dreams, no matter what the hurdles, are
winners in life, for they have won over their weaknesses."
- Daisaku Ikeda
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From Opus40-01 at opus40.org  Tue Oct  2 14:52:02 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Tue, 02 Oct 2007 14:52:02 -0400
Subject: [New-Poetry] Calling Dr. Giggles
In-Reply-To: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>
References: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>
Message-ID: <47029352.3070807@opus40.org>

It occurred to me that mehitabel is also the godmother of my muse Sookie.

I love the line of reasoning that went into Marquis' creation of archy. 
Making him a vers libre bard meant that marquis could type just a few 
words per line, and filling up a column would be easier. Making him a 
cockroach who couldn't use the shift key and didn't use punctuation 
meant less work for Marquis, as well.

Marquis was unusual for his time in the use of vers libre for light 
verse. At the time when the vers libre movement was revolutionizing 
poetry, there were also brilliant light versifiers like Parker, Nash, 
Armour, Ford, who used rhyme and meter, and I wonder if their influence 
hasn't continued to the present day -- a certain feeling that rhyme and 
meter are the more natural metier for light verse, free verse the more 
natural for the serious stuff. I know this is a wild oversimplifcation.


Skip Fox wrote:
>
> Don Marquis! Fantastic. (e.e. cummings? father. cummings even got the 
> idea for the ?excessive? use of lower case from Archie, the cockroach 
> who couldn?t use a shift key while typing down another).
>
> If I was in the area, I?d come. For Marquis, Marvell, Herrick, and you
>
> -----Original Message-----
> *From:* new-poetry-bounces at wiz.cath.vt.edu 
> [mailto:new-poetry-bounces at wiz.cath.vt.edu] *On Behalf Of *TheOldMole
> *Sent:* Monday, October 01, 2007 5:31 PM
> *To:* NewPoetry: Contemporary Poetry News &amp;Views; Poetryetc 
> provides a venue for a dialogue relating to poetry andpoetics
> *Subject:* [New-Poetry] Calling Dr. Giggles
>
> Calling Dr. Giggles: a Laff Riot for Young and Old
>
>
>     *Tad Richards*
>
> *In an evening of the comic in poetry and song*
>
>
>           *Featuring his own work and that of*
>
> Andrew Marvell
>
> Annie Finch
>
> Billy Collins
>
> Don Marquis
>
> Dorothy Parker
>
> 	
>
> Fred Koller
>
> John Prine
>
> Ogden Nash
>
> ROBERT HERRICK
>
> Sheb Wooley
>
> Tom Lehrer
>
> And selections from his new book, /Take Five: Poems in 5/4 time/
>
>
>       *Wednesday, Oct. 3*
>
>
>       *6:30 PM*
>
>
>         *Humanities 312*
>
>
>         *SUNY New Paltz, New Paltz, NY*
>
> -- 
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From anny.ballardini at tin.it  Tue Oct  2 15:25:50 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 2 Oct 2007 21:25:50 +0200
Subject: [New-Poetry] Calling Dr. Giggles
References: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>
	<47029352.3070807@opus40.org>
Message-ID: <004501c8052a$0b183400$8adf3052@ANNY>

Re.: Tad's:
a certain feeling that rhyme and
meter are the more natural metier for light verse, free verse the more
 natural for the serious stuff. I know this is a wild oversimplifcation

I always thought that. In Italian it becomes really funny if you have your 
lines rhyming

----- Original Message ----- 
From: "TheOldMole" <Opus40-01 at opus40.org>
To: "NewPoetry: Contemporary Poetry News &amp;Views" 
<new-poetry at wiz.cath.vt.edu>
Sent: Tuesday, October 02, 2007 8:52 PM
Subject: Re: [New-Poetry] Calling Dr. Giggles


> It occurred to me that mehitabel is also the godmother of my muse Sookie.
>
> I love the line of reasoning that went into Marquis' creation of archy. 
> Making him a vers libre bard meant that marquis could type just a few 
> words per line, and filling up a column would be easier. Making him a 
> cockroach who couldn't use the shift key and didn't use punctuation meant 
> less work for Marquis, as well.
>
> Marquis was unusual for his time in the use of vers libre for light verse. 
> At the time when the vers libre movement was revolutionizing poetry, there 
> were also brilliant light versifiers like Parker, Nash, Armour, Ford, who 
> used rhyme and meter, and I wonder if their influence hasn't continued to 
> the present day -- a certain feeling that rhyme and meter are the more 
> natural metier for light verse, free verse the more natural for the 
> serious stuff. I know this is a wild oversimplifcation.
>
>
> Skip Fox wrote:
>>
>> Don Marquis! Fantastic. (e.e. cummings? father. cummings even got the 
>> idea for the ?excessive? use of lower case from Archie, the cockroach who 
>> couldn?t use a shift key while typing down another).
>>
>> If I was in the area, I?d come. For Marquis, Marvell, Herrick, and you
>>
>> -----Original Message-----
>> *From:* new-poetry-bounces at wiz.cath.vt.edu 
>> [mailto:new-poetry-bounces at wiz.cath.vt.edu] *On Behalf Of *TheOldMole
>> *Sent:* Monday, October 01, 2007 5:31 PM
>> *To:* NewPoetry: Contemporary Poetry News &amp;Views; Poetryetc provides 
>> a venue for a dialogue relating to poetry andpoetics
>> *Subject:* [New-Poetry] Calling Dr. Giggles
>>
>> Calling Dr. Giggles: a Laff Riot for Young and Old
>>
>>
>>     *Tad Richards*
>>
>> *In an evening of the comic in poetry and song*
>>
>>
>>           *Featuring his own work and that of*
>>
>> Andrew Marvell
>>
>> Annie Finch
>>
>> Billy Collins
>>
>> Don Marquis
>>
>> Dorothy Parker
>>
>>
>> Fred Koller
>>
>> John Prine
>>
>> Ogden Nash
>>
>> ROBERT HERRICK
>>
>> Sheb Wooley
>>
>> Tom Lehrer
>>
>> And selections from his new book, /Take Five: Poems in 5/4 time/
>>
>>
>>       *Wednesday, Oct. 3*
>>
>>
>>       *6:30 PM*
>>
>>
>>         *Humanities 312*
>>
>>
>>         *SUNY New Paltz, New Paltz, NY*
>>




From rwilsnac at medicine.nodak.edu  Tue Oct  2 15:26:14 2007
From: rwilsnac at medicine.nodak.edu (Richard Wilsnack)
Date: Tue, 02 Oct 2007 14:26:14 -0500
Subject: [New-Poetry] Calling Dr. Giggles
In-Reply-To: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>
References: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>
Message-ID: <47029B56.7020702@medicine.nodak.edu>

I will sadly have to miss Tad Richards' presentation, but I hope that it 
includes time
for Don Marquis' "archy interviews a pharaoh,"  wherein archy confronts 
a mummy
with the realities of Prohibition pre-1932.

The text can be found at

     http://www.cs.rice.edu/~ssiyer/minstrels/poems/76.html

A key passage spoken by the mummy:

oh by isis
and by osiris
says the princely raisin
and by pish and phthush and phthah
by the sacred book perembru
and all the gods
that rule from the upper
cataract of the nile
to the delta of the duodenum
i am dry
i am as dry
as the next morning mouth
of a dissipated desert
as dry as the hoofs
of the camels of timbuctoo
little fussy face
i am as dry as the heart
of a sand storm
at high noon in hell
i have been lying here
and there
for four thousand years
with silicon in my esophagus
as gravel in my gizzard
thinking
thinking
thinking
of beer


Richard W. Wilsnack
rwilsnac at medicine.nodak.edu


From skip at louisiana.edu  Tue Oct  2 15:39:37 2007
From: skip at louisiana.edu (Skip Fox)
Date: Tue, 2 Oct 2007 14:39:37 -0500
Subject: [New-Poetry] Calling Dr. Giggles
In-Reply-To: <47029B56.7020702@medicine.nodak.edu>
Message-ID: <00f301c8052b$fda87f30$f4954682@win.louisiana.edu>

Sticka du jour #2: Remember Me To Isis.



-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of Richard Wilsnack
Sent: Tuesday, October 02, 2007 2:26 PM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: Re: [New-Poetry] Calling Dr. Giggles

I will sadly have to miss Tad Richards' presentation, but I hope that it 
includes time
for Don Marquis' "archy interviews a pharaoh,"  wherein archy confronts 
a mummy
with the realities of Prohibition pre-1932.

The text can be found at

     http://www.cs.rice.edu/~ssiyer/minstrels/poems/76.html

A key passage spoken by the mummy:

oh by isis
and by osiris
says the princely raisin
and by pish and phthush and phthah
by the sacred book perembru
and all the gods
that rule from the upper
cataract of the nile
to the delta of the duodenum
i am dry
i am as dry
as the next morning mouth
of a dissipated desert
as dry as the hoofs
of the camels of timbuctoo
little fussy face
i am as dry as the heart
of a sand storm
at high noon in hell
i have been lying here
and there
for four thousand years
with silicon in my esophagus
as gravel in my gizzard
thinking
thinking
thinking
of beer


Richard W. Wilsnack
rwilsnac at medicine.nodak.edu
_______________________________________________
New-Poetry mailing list
New-Poetry at wiz.cath.vt.edu
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry



From Opus40-01 at opus40.org  Tue Oct  2 16:31:30 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Tue, 02 Oct 2007 16:31:30 -0400
Subject: [New-Poetry] Calling Dr. Giggles
In-Reply-To: <47029B56.7020702@medicine.nodak.edu>
References: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>
	<47029B56.7020702@medicine.nodak.edu>
Message-ID: <4702AAA2.1000706@opus40.org>

"archy interviews a pharaoh" was the very last one not to make the cut, 
and I still regret it. I may change my mind at the last minute. But I 
wanted to use something with mehitabel in it.

Richard Wilsnack wrote:
> I will sadly have to miss Tad Richards' presentation, but I hope that 
> it includes time
> for Don Marquis' "archy interviews a pharaoh,"  wherein archy 
> confronts a mummy
> with the realities of Prohibition pre-1932.
>
> The text can be found at
>
>     http://www.cs.rice.edu/~ssiyer/minstrels/poems/76.html
>
> A key passage spoken by the mummy:
>
> oh by isis
> and by osiris
> says the princely raisin
> and by pish and phthush and phthah
> by the sacred book perembru
> and all the gods
> that rule from the upper
> cataract of the nile
> to the delta of the duodenum
> i am dry
> i am as dry
> as the next morning mouth
> of a dissipated desert
> as dry as the hoofs
> of the camels of timbuctoo
> little fussy face
> i am as dry as the heart
> of a sand storm
> at high noon in hell
> i have been lying here
> and there
> for four thousand years
> with silicon in my esophagus
> as gravel in my gizzard
> thinking
> thinking
> thinking
> of beer
>
>
> Richard W. Wilsnack
> rwilsnac at medicine.nodak.edu
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From cervantes.james at gmail.com  Tue Oct  2 19:07:00 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Tue, 2 Oct 2007 18:07:00 -0500
Subject: [New-Poetry] Calling Dr. Giggles
In-Reply-To: <4702AAA2.1000706@opus40.org>
References: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>
	<47029B56.7020702@medicine.nodak.edu> <4702AAA2.1000706@opus40.org>
Message-ID: <648208b60710021607u4494c252o86e75c5fe48f4f2f@mail.gmail.com>

Hey, I'm an old archy and mehitabel fan - even had a cat named
mehitabel and a typewriter named archy, read the stories to our kids.
I hadn't kept up with the thread, but does anyone hear faint echoes of
Marquis in Berryman's Henry? (probably *just* linguistic)

- Jim

On 10/2/07, TheOldMole <Opus40-01 at opus40.org> wrote:
> "archy interviews a pharaoh" was the very last one not to make the cut,
> and I still regret it. I may change my mind at the last minute. But I
> wanted to use something with mehitabel in it.
>
> Richard Wilsnack wrote:
> > I will sadly have to miss Tad Richards' presentation, but I hope that
> > it includes time
> > for Don Marquis' "archy interviews a pharaoh,"  wherein archy
> > confronts a mummy
> > with the realities of Prohibition pre-1932.
> >
> > The text can be found at
> >
> >     http://www.cs.rice.edu/~ssiyer/minstrels/poems/76.html
> >
> > A key passage spoken by the mummy:
> >
> > oh by isis
> > and by osiris
> > says the princely raisin
> > and by pish and phthush and phthah
> > by the sacred book perembru
> > and all the gods
> > that rule from the upper
> > cataract of the nile
> > to the delta of the duodenum
> > i am dry
> > i am as dry
> > as the next morning mouth
> > of a dissipated desert
> > as dry as the hoofs
> > of the camels of timbuctoo
> > little fussy face
> > i am as dry as the heart
> > of a sand storm
> > at high noon in hell
> > i have been lying here
> > and there
> > for four thousand years
> > with silicon in my esophagus
> > as gravel in my gizzard
> > thinking
> > thinking
> > thinking
> > of beer
> >
> >
> > Richard W. Wilsnack
> > rwilsnac at medicine.nodak.edu
> > _______________________________________________
> > New-Poetry mailing list
> > New-Poetry at wiz.cath.vt.edu
> > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
> >
>
> --
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>


-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html
~ http://home.earthlink.net/~jvcervantes/
~ http://www.flickr.com/photos/12364573 at N08/


From Opus40-01 at opus40.org  Tue Oct  2 19:17:45 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Tue, 02 Oct 2007 19:17:45 -0400
Subject: [New-Poetry] Calling Dr. Giggles
In-Reply-To: <648208b60710021607u4494c252o86e75c5fe48f4f2f@mail.gmail.com>
References: <00d701c8051b$739bdef0$f4954682@win.louisiana.edu>	<47029B56.7020702@medicine.nodak.edu>
	<4702AAA2.1000706@opus40.org>
	<648208b60710021607u4494c252o86e75c5fe48f4f2f@mail.gmail.com>
Message-ID: <4702D199.2000905@opus40.org>

I can see that. I also find more than insignificant echoes of Ogden Nash 
in Russell Edson.

James Cervantes wrote:
> Hey, I'm an old archy and mehitabel fan - even had a cat named
> mehitabel and a typewriter named archy, read the stories to our kids.
> I hadn't kept up with the thread, but does anyone hear faint echoes of
> Marquis in Berryman's Henry? (probably *just* linguistic)
>
> - Jim
>
> On 10/2/07, TheOldMole <Opus40-01 at opus40.org> wrote:
>   
>> "archy interviews a pharaoh" was the very last one not to make the cut,
>> and I still regret it. I may change my mind at the last minute. But I
>> wanted to use something with mehitabel in it.
>>
>> Richard Wilsnack wrote:
>>     
>>> I will sadly have to miss Tad Richards' presentation, but I hope that
>>> it includes time
>>> for Don Marquis' "archy interviews a pharaoh,"  wherein archy
>>> confronts a mummy
>>> with the realities of Prohibition pre-1932.
>>>
>>> The text can be found at
>>>
>>>     http://www.cs.rice.edu/~ssiyer/minstrels/poems/76.html
>>>
>>> A key passage spoken by the mummy:
>>>
>>> oh by isis
>>> and by osiris
>>> says the princely raisin
>>> and by pish and phthush and phthah
>>> by the sacred book perembru
>>> and all the gods
>>> that rule from the upper
>>> cataract of the nile
>>> to the delta of the duodenum
>>> i am dry
>>> i am as dry
>>> as the next morning mouth
>>> of a dissipated desert
>>> as dry as the hoofs
>>> of the camels of timbuctoo
>>> little fussy face
>>> i am as dry as the heart
>>> of a sand storm
>>> at high noon in hell
>>> i have been lying here
>>> and there
>>> for four thousand years
>>> with silicon in my esophagus
>>> as gravel in my gizzard
>>> thinking
>>> thinking
>>> thinking
>>> of beer
>>>
>>>
>>> Richard W. Wilsnack
>>> rwilsnac at medicine.nodak.edu
>>> _______________________________________________
>>> New-Poetry mailing list
>>> New-Poetry at wiz.cath.vt.edu
>>> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>>>
>>>       
>> --
>> Tad Richards
>> http://www.opus40.org/tadrichards/
>> http://opusforty.blogspot.com/
>>
>> _______________________________________________
>> New-Poetry mailing list
>> New-Poetry at wiz.cath.vt.edu
>> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>>
>>     
>
>
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From JforJames at aol.com  Tue Oct  2 22:32:08 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Tue, 2 Oct 2007 22:32:08 EDT
Subject: [New-Poetry] Price Gun
Message-ID: <d55.154e4034.34345928@aol.com>

 
Price Gun 
>From my job at the Family Dollar
I stole the price gun and I?ve  begun
to mark everything down. I?m Crazier
than Eddie in his worst  nightmares.
It?s all coming down, discounts deeper than
research  submarines sounding ocean trenches. 
Baby, stand back, when I pull that  trigger 
& out come those stickers, it?s $.99, 
everything $.99,  rat-a-tat-tat,, an Uzi drive-by 
spraying the Jags, Escalades,  Beamers
& Lexi, if that?s the plural of Lexus, 
they?re all $.99.  Beach houses 
with palms trees and sapphire blue pools,
boat drinks and  bikini-clad women
thrown in without extra charge,  you guessed it,  
just $.99 for the whole package today 
and everyday. I?m marking down  
concert tickets, Fergie, The Stones, Nelly,  
because we?re tight  they cut me a deal,
$.99 for all seats orchestra and balcony,
go figure.  But the hourly wage, 
I?m afraid that just went up another 9
to $9.99,  ?cause I?m worth every penny.



************************************** See what's new at http://www.aol.com
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From anny.ballardini at tin.it  Wed Oct  3 04:14:47 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 3 Oct 2007 10:14:47 +0200
Subject: [New-Poetry] Fw: Call for Work: Imaginary Syllabi
Message-ID: <001c01c80595$76c72dd0$25ae3452@ANNY>


----- Original Message ----- 
From: Jane Sprague 
To: Palm Press 
Sent: Wednesday, October 03, 2007 2:55 AM
Subject: Call for Work: Imaginary Syllabi


Dear Friends:



Please consider sending some of your work to Palm Press for this project. Feel free to forward this call for contributions to others who might be interested. 



Many thanks,

Jane



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

Imaginary Syllabi: 

CALL FOR WORK

 

Imaginary Syllabi, a book-length project of contributions by multiple authors, aims to collect writings which investigate, uncover, examine, complicate, question, spoof, spark, incite, meditate, mediate, mix, sample, nettle, navigate, question, provoke, and otherwise (essentially) challenge pedagogical strategies pursuant to the work of teaching writing and other disciplines. Or, writings which dream up, concoct and explore fabulist fantasy syllabi for potential imagined or real classroom endeavors: Educational projects undertaken and employed (deployed) in and outside of official as well as mongrel "schools." Official spaces might harbor (or cultivate) the mongrel & vice versa.

 

MATERIAL:

--Sample syllabi which have been implemented or might/could be implemented  AND the opposite of this condition: wholly fantastical stuff more suited to investigations in outer space and other socio-cultural vacuums.

 

--Syllabi composed entirely of images or text or some combination of both. Syllabi may be scattered or comprehensive lists of pertinent, esoteric, weird or terribly useful URLs. 

 

--Documents from classroom practices which were successful, compelling, disturbing etc. and which their authors wish to share, distribute, make known.

 

--Essays/Syllabi which mention other teachers and communities of teachers &/or documents, critiques, etc. &/or explore and extend the work of other teachers and communities of teachers, theorists, scholars, activist, revolutionaries, radicals, & intellectual insurgents.... There is no intended fixed, predetermined or official meaning attached in this CFW to the word "teacher"; "A thing which shows or points something out."; teachers are sometimes not necessarily human organisms. 

 

--Writings which disclose, assay, weigh the idea of the "syllabus" itself.

 

--Unimagined documents for unimagined learners among whom we would also group teachers / professors / instructors / mentors / advisors / and so on.

 

READING PERIOD:

October 1, 2007-December 31, 2007.

 

PUBLICATION:

--Summer 2008. Each contributor will receive 2 copies of the published book and additional copies at minimal cost. 

 

QUESTIONS? 

--The intent of this CFW is to spur and develop a sense of critical inquiry, partnership, collaboration, critique and rebellion which the final book object also aims to cultivate among and within its readers. 

 

Points to Consider:

Imaginary Syllabi is primarily (though not exclusively) concerned with work undertaken by students and teachers who are working as writers in some capacity: as documentarians, compositionists, art critics, journalists, performance artists, poets and others. 

 

INTERESTED?

--Send queries, manuscripts, proposals and questions to:

 

Imaginary Syllabi

Editor, Jane Sprague

Palm Press

143 Ravenna Drive

Long Beach, CA 90803

 

Or contact by email:

palmpress[at]gmail[dot]com

www.palmpress.org
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From amyhappens at yahoo.com  Wed Oct  3 09:26:17 2007
From: amyhappens at yahoo.com (amy king)
Date: Wed, 3 Oct 2007 06:26:17 -0700 (PDT)
Subject: [New-Poetry] Sailers, Ward, and Davis
In-Reply-To: <862508.42643.qm@web83306.mail.sp1.yahoo.com>
Message-ID: <657003.55959.qm@web83310.mail.sp1.yahoo.com>

  MiPOesias presents
   
  ~~  CYNTHIA SAILERS, DANA WARD and  PETER DAVIS~~ 
   
   
  Friday, October 26th @ 7 P.M.
   
  ~~
   
  CYNTHIA SAILERS is currently writing a dissertation on Narcissism and
  Perversion in Pathological Group Organization. She is a board member
  of Small Press Traffic, and previously co-curated New Yipes Reading
  Series (formerly New Brutalism).
   
  DANA WARD is the author of New Couriers (Dusie 2006), I Didn't Build This Machine (Boog Literature, 2004) & The Imaginary Lives of My Neighbors (Duration, 2003). Recent poems have appeared in Mirage #4/Periodical, string of small machines, Small Town, & other places. He lives in Cincinnati & edits Cy Press.
   
  PETER DAVIS' book of poems is Hitler's Mustache. He edited Poet's Bookshelf: Contemporary Poets on Books That Shaped Their Art. His poems have appeared in journals like MiPOesias, Octopus, Court Green, Rattle, and McSweeney's. His music project, Shot Hand, is available through Collectible Escalators. He lives in Muncie, Indiana with his wife, son, and daughter and teaches at Ball  State University.
  ~~~~~~~
   
  STAIN BAR
  766 Grand Street Brooklyn  , NY 11211
  (L train to Grand Street Stop, walk 1 block west)
  718/387-7840
  http://www.stainbar.com/
   
  ~~~~~~~~
   
   
  Hope you'll stop by!
   
  Amy King
  Editor
  http://www.mipoesias.com   
    
   
  **please forward**
   **apologies for cross-posting**
  
       
---------------------------------
Shape Yahoo! in your own image.  Join our Network Research Panel today!
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From Sigauke at crc.losrios.edu  Wed Oct  3 11:28:13 2007
From: Sigauke at crc.losrios.edu (Sigauke, Emmanuel )
Date: Wed, 3 Oct 2007 08:28:13 -0700
Subject: [New-Poetry] New Literary jouranal that's very promising
In-Reply-To: <657003.55959.qm@web83310.mail.sp1.yahoo.com>
References: <862508.42643.qm@web83306.mail.sp1.yahoo.com>
	<657003.55959.qm@web83310.mail.sp1.yahoo.com>
Message-ID: <BA9EA20BB68C2C4F9E57DA81E386A9AE04931EA3@CRC-EXCH01.crc.ad.losrios.edu>

http://www.african-writing.com/sigauke.htm

________________________________

From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of amy king
Sent: Wednesday, October 03, 2007 6:26 AM
To: NewPoetry: Contemporary Poetry News &amp, Views
Subject: [New-Poetry] Sailers, Ward, and Davis


MiPOesias presents
~~  CYNTHIA SAILERS, DANA WARD and  PETER DAVIS~~ 
Friday, October 26th @ 7 P.M.
~~
CYNTHIA SAILERS is currently writing a dissertation on Narcissism and
Perversion in Pathological Group Organization. She is a board member
of Small Press Traffic, and previously co-curated New Yipes Reading
Series (formerly New Brutalism).
DANA WARD is the author of New Couriers (Dusie 2006), I Didn't Build
This Machine (Boog Literature, 2004) & The Imaginary Lives of My
Neighbors (Duration, 2003). Recent poems have appeared in Mirage
#4/Periodical, string of small machines, Small Town, & other places. He
lives in Cincinnati & edits Cy Press.
PETER DAVIS' book of poems is Hitler's Mustache. He edited Poet's
Bookshelf: Contemporary Poets on Books That Shaped Their Art. His poems
have appeared in journals like MiPOesias, Octopus, Court Green, Rattle,
and McSweeney's. His music project, Shot Hand, is available through
Collectible Escalators. He lives in Muncie, Indiana with his wife, son,
and daughter and teaches at Ball State University.
~~~~~~~
STAIN BAR
766 Grand Street Brooklyn , NY 11211
(L train to Grand Street Stop, walk 1 block west)
718/387-7840
http://www.stainbar.com/
~~~~~~~~
Hope you'll stop by!
Amy King
Editor
http://www.mipoesias.com   
  
**please forward**
 **apologies for cross-posting**

________________________________

Shape Yahoo! in your own image. Join our Network Research Panel today!
<http://us.rd.yahoo.com/evt=48517/*http://surveylink.yahoo.com/gmrs/yaho
o_panel_invite.asp?a=7>  
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From jforjames at aol.com  Wed Oct  3 21:34:37 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 03 Oct 2007 21:34:37 -0400
Subject: [New-Poetry] O'Brien wins unique hat-trick of Forward prizes
Message-ID: <8C9D43DDC7A5988-368-948A@FWM-D26.sysops.aol.com>


http://books.guardian.co.uk/news/articles/0,,2183020,00.html
Poet Sean O'Brien wins unique hat-trick of Forward prizes

John Ezard
Thursday October 4, 2007
The Guardian 


Sean O'Brien pulled off a unique hat-trick last night by winning the chief Forward poetry award for the third time for a book of poems described by the judges as "witty and heart-wrenching".

He took the ?10,000 best collection prize for The Drowned Book, a volume which immerses itself in "the puddles, drains and culverts of a baleful industrial-northern landscape". The judges said the hat-trick confirmed O'Brien, 55, as one of the leading poets of his generation. They quoted a comment in the Guardian calling him "a formidable wordsmith at the very height of his powers".


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From jforjames at aol.com  Wed Oct  3 21:35:17 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 03 Oct 2007 21:35:17 -0400
Subject: [New-Poetry] Fwd: New books by Mark Strand and Mary Kinzie
In-Reply-To: <Kilauea169285-1346-43885468-2-1021@flonetwork.com>
References: <Kilauea169285-1346-43885468-2-1021@flonetwork.com>
Message-ID: <8C9D43DF3DF8048-368-9492@FWM-D26.sysops.aol.com>


-----Original Message-----
From: Knopf Poetry Newsletter <knopfpoetry at info.randomhouse.com>
To: JforJames at aol.com
Sent: Wed, 3 Oct 2007 2:00 pm
Subject: New books by Mark Strand and Mary Kinzie






If you cannot view images in your e-mail, please visit http://info.randomhouse.com/cgi-bin21/DM/y/jvBZ0DXKYc0Wa0BAAV0Eo 

















?









 

We're delighted to share excerpts from two fall poetry books. Mark Strand's New Selected Poems covers his career from the beginning: spanning four decades of work, during which Strand developed and refined his long poetic gaze and won the Pulitzer Prize for his book Blizzard of One, this selection offers a full sampling of the continually haunting work of a master. And then from the daring and elegant Mary Kinzie, a poem from California Sorrow, a new book that makes provocative poetry of our complex interactions with the landscape and the experiences and passions that bind us to it. 









 

Velocity Meadows 
I can say now that nothing was possible
But leaving the house and standing in front of it, staring
As long as I could into the valley. I knew that a train,
Trailing a scarf of smoke, would arrive, that soon it would rain.
A frieze of clouds lowered a shadow over the town,
And a driving wind flattened the meadows that swept
Beyond the olive trees and banks of hollyhock and rose.
The air smelled sweet, and a girl was waving a stick
At some crows so far away they seemed like flies.
Her mother, wearing a cape and shawl, shielded her eyes.
I wondered from what, since there was no sun. Then someone
Appeared and said, "Look at those clouds forming a wall, those ??crows
Falling out of the sky, those fields, pale green, green-yellow,
Rolling away, and that girl and her mother, waving goodbye."
In a moment the sky was stained with a reddish haze,
And the person beside me was running away. It was dusk,
The lights of the town were coming on, and I saw, dimly at ??first,
Close to the graveyard bound by rows of cypress bending ??down,
The girl and her mother, next to each other,
Smoking, grinding their heels into the ground. 



???????????????????????????????????????????????? ?Mark Strand






The Parakeet 
There was my father's short sister rushing down the street
with white light flying out her fingerends
from a kitchen towel with which she must have sought
to lure or drive or flutter space down upon
????????????????????????????????????????????????????????????(to calm it

a chartreuse parakeet
upright in grasshopper green against
the thick tip of a tall poplar bare of leaves

One of her children ran after with the birdcage


Nothing tragic closes the anecdote

It never became an anecdote
????????????????????????????????????????When I began
???????????to tell it???????? ask it ???????????to the cousins
??????????????????????did she scold down the parakeet
the grownups at the edges of the hour all seemed
to turn their backs
???????????from the room with the noontime hellish kids' TV show
and her children Joan
??????and John Paul and Stephen and Bobbie Ann
????????????????????went blank and jumpy
?????????as they ate their pb and j and drank their milk

as if I hadn't spoken
??????????????????????????????or were no longer there
as if they had never had a parakeet
?????????????????????as if the creature
???????????near the TV were new
?????????????????????????????????????? or never missing ??????? or would
only flee the house in some
?????????? far future after they'd
?????????????????????????????? moved away
????????????? while I could not
??? not see it in all the time that would pass???? then
till now
here??? as it stood up like a woodpecker against the bark

green as the green of sun on murky water

as she made her distant warble to the world
?????????????????????? (though she was more used to saying it
????????????????????????????????? to herself

The aunt is dead
?????????? and the youngest
????????????????????????????????? female cousin with the bones of a bird

They haven't spoken

????????????????????????????? but they know 



???????????????????????????????????????????????? ?Mary Kinzie




 












KEEP CLICKING:

 About NEW SELECTED POEMS

 About CALIFORNIA SORROW

Attention collectors! There are still a few signed editions of Kevin Young's For the Confederate Dead and W.S. Di Piero's Chinese Apples available. Click here for details.





? ? 

 





 















Excerpt from NEW SELECTED POEMS. Copyright ? 2007 by Mark Strand. Excerpted by permission of Alfred A. Knopf, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Excerpt from CALIFORNIA SORROW. Copyright ? 2007 by Mary Kinzie. Excerpted by permission of Schocken Books, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

We welcome your feedback. Please send any thoughts or questions to knopfpoetry at randomhouse.com 

You received this issue because your email address is in Knopf's Poem-a-Day mailing list. To unsubscribe, send a blank email to unsub_knopfpoetry at info.randomhouse.com. Or if you received this poem as a forward and wish to subscribe, send a blank email to sub_knopfpoetry at info.randomhouse.com.


 












?











 

We're delighted to share excerpts from two fall poetry books. Mark Strand's New Selected Poems covers his career from the beginning: spanning four decades of work, during which Strand developed and refined his long poetic gaze and won the Pulitzer Prize for his book Blizzard of One, this selection offers a full sampling of the continually haunting work of a master. And then from the daring and elegant Mary Kinzie, a poem from California Sorrow, a new book that makes provocative poetry of our complex interactions with the landscape and the experiences and passions that bind us to it. 









 

Velocity Meadows 
I can say now that nothing was possible
But leaving the house and standing in front of it, staring
As long as I could into the valley. I knew that a train,
Trailing a scarf of smoke, would arrive, that soon it would rain.
A frieze of clouds lowered a shadow over the town,
And a driving wind flattened the meadows that swept
Beyond the olive trees and banks of hollyhock and rose.
The air smelled sweet, and a girl was waving a stick
At some crows so far away they seemed like flies.
Her mother, wearing a cape and shawl, shielded her eyes.
I wondered from what, since there was no sun. Then someone
Appeared and said, "Look at those clouds forming a wall, those ??crows
Falling out of the sky, those fields, pale green, green-yellow,
Rolling away, and that girl and her mother, waving goodbye."
In a moment the sky was stained with a reddish haze,
And the person beside me was running away. It was dusk,
The lights of the town were coming on, and I saw, dimly at ??first,
Close to the graveyard bound by rows of cypress bending ??down,
The girl and her mother, next to each other,
Smoking, grinding their heels into the ground. 



???????????????????????????????????????????????? ?Mark Strand






The Parakeet 
There was my father's short sister rushing down the street
with white light flying out her fingerends
from a kitchen towel with which she must have sought
to lure or drive or flutter space down upon
????????????????????????????????????????????????????????????(to calm it

a chartreuse parakeet
upright in grasshopper green against
the thick tip of a tall poplar bare of leaves

One of her children ran after with the birdcage


Nothing tragic closes the anecdote

It never became an anecdote
????????????????????????????????????????When I began
???????????to tell it???????? ask it ???????????to the cousins
??????????????????????did she scold down the parakeet
the grownups at the edges of the hour all seemed
to turn their backs
???????????from the room with the noontime hellish kids' TV show
and her children Joan
??????and John Paul and Stephen and Bobbie Ann
????????????????????went blank and jumpy
?????????as they ate their pb and j and drank their milk

as if I hadn't spoken
??????????????????????????????or were no longer there
as if they had never had a parakeet
?????????????????????as if the creature
???????????near the TV were new
?????????????????????????????????????? or never missing ??????? or would
only flee the house in some
?????????? far future after they'd
?????????????????????????????? moved away
????????????? while I could not
??? not see it in all the time that would pass???? then
till now
here??? as it stood up like a woodpecker against the bark

green as the green of sun on murky water

as she made her distant warble to the world
?????????????????????? (though she was more used to saying it
????????????????????????????????? to herself

The aunt is dead
?????????? and the youngest
????????????????????????????????? female cousin with the bones of a bird

They haven't spoken

????????????????????????????? but they know 



???????????????????????????????????????????????? ?Mary Kinzie




 












KEEP CLICKING:

 About NEW SELECTED POEMS

 About CALIFORNIA SORROW

Attention collectors! There are still a few signed editions of Kevin Young's For the Confederate Dead and W.S. Di Piero's Chinese Apples available. Click here for details.





? ? 

 





 















Excerpt from NEW SELECTED POEMS. Copyright ? 2007 by Mark Strand. Excerpted by permission of Alfred A. Knopf, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Excerpt from CALIFORNIA SORROW. Copyright ? 2007 by Mary Kinzie. Excerpted by permission of Schocken Books, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

We welcome your feedback. Please send any thoughts or questions to knopfpoetry at randomhouse.com 

You received this issue because your email address is in Knopf's Poem-a-Day mailing list. To unsubscribe, send a blank email to unsub_knopfpoetry at info.randomhouse.com. Or if you received this poem as a forward and wish to subscribe, send a blank email to sub_knopfpoetry at info.randomhouse.com.


 



 

________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From chris.kelly at nyu.edu  Thu Oct  4 09:04:19 2007
From: chris.kelly at nyu.edu (Christopher Kelly)
Date: Thu, 04 Oct 2007 09:04:19 -0400
Subject: [New-Poetry] Verse-slinging
In-Reply-To: <5C6AB66D-CE78-49FC-94BF-9C0877B6C628@ripon.edu>
References: <5C6AB66D-CE78-49FC-94BF-9C0877B6C628@ripon.edu>
Message-ID: <d557a7f4517a0.4704ac93@mail.nyu.edu>


Verse-slinging

Poets have always been a touchy bunch. But the latest wrangle in the US reflects a wider problem in deciding what's good poetry and what's not, explains John Freeman

Thursday October 4, 2007

Guardian Unlimited

Are literary spats ennobled by time? Stopping by a Greenwich Village bookstore recently, near where Stanley Crouch slapped the critic Dale Peck in 2004, this question came to mind again. On the store's front table was a handsome batik-print covered paperback that caught my eye: Contemporary American Poetry, selected and introduced by Donald Hall. Here, I thought, was a dignified little book. Then the bookseller interjected. "Oh, the old poetry anthology wars," he said, as if I were picking up a bullet casing. "Now that was fun to watch from the sidelines."

I hadn't stumbled on an old gunslinger, or a man drenched in nostalgia - just a bookseller with a long memory. During the 1950s and early 60s, what the Beats didn't accomplish in coffee houses and on City Lights Press, anthologists hammered home in the pages of pocket-sized books that sold for a dollar. They feel today like field manuals, complete with marshalling introductions. "For 30 years an old orthodoxy ruled American poetry," Hall wrote in Contemporary American Poetry. "It derived from the orthodoxy of TS Eliot and the new critics ... it asked for a poetry of symmetry, intellect, irony, and wit. The last few years have broken the control of this orthodoxy."

It's hard to imagine this sentence being written today. It's not that there isn't any orthodoxy - rather that there are too many of them. There are lyric poets and language poets, slam poets and funny poets. There are poets who identify by ethnicity, gender, and sex; many who could claim the mantle of such identity politics and refuse. But mostly, it should be said, there's simply a lot of poetry. As a judge of a poetry prize I can attest - it piles in like cordwood in the winter.

I don't begrudge this because among the stacks I've come across poets - DA Powell, Matthea Harvey, Lawrence Joseph, Miltos Sacthouris, Troy Jollimore, James Richardson, Michael O'Brien, Venus Khoury-Ghata and James Lasdun to name a few - who are as different as they are amazing. No longer do Americans have to read a prevailing kind of poetry, or even within their own borders. It's a big old buffet.

But in this mishmash something has gotten lost. What is a poem anymore? Let alone a good one, or even a beautiful one? Who sets this taste? These are not idle questions. As Brian Phillips wrote a few years ago in Poetry magazine: "Taste's instability, its internal jostle of meaning, is of enormous interest to poetry, because it reveals how, at the level of everyday language, we cope with the uncertainty that pervades our aesthetic experience." But can a culture actually turn this internal jostle into a conversation?

I think this question lies at the heart of the series of dust-ups which have rippled through the American poetry world of late over what the US's Poetry Foundation should do with the $150m bequeathed to it by heiress Ruth Lilly over. Should the newly wealthy regime be conservative and elitist? Popular and populist? Carefully diverse or devoted to a single variety of excellence? The ding-dong spilled into the pages of the New Yorker and the New York Times Book Review as well as generating a fair bit of heat in the blogosphere.

This is not the poetry world's inability to play nice with itself - to hear about that, one need only buy an American poet a beer. This is the poetry world attempting, in an environment where poetry is as marginalised as it's ever been - despite the volume of the stuff being produced - to figure what is good, and why it should matter, and then make those judgments heard.

That's bound to be a problematic question when a single organisation has so much money, and there are more poets than readers. Sadly, though, the old anthology solution won't work anymore. In 1962, poetry was more central to American life. Robert Frost had read at Kennedy's inauguration; paperback publishing was taking off; the Beats had made poetry cool. Cheap anthologies were the perfect way to have a debate about taste: what better than just to put the work out there and let the readers decide? In the past decade, there have been attempts to resurrect this model in fine anthologies edited by Eliot Weinberger and JD McClatchy, but the environment has changed.

Today the taste-making power of anthologies has been replaced by MFA programs, a staggering proliferation of prizes, and, yes, the clarifying fires of scandal. As tempting as it is to proclaim each new scandal a new low, the hubbub and hullabaloo routes to discussion have been there all along, waiting for us. The same year Hall's anthology was published Frederick Seidel's debut volume, Final Solutions, was picked by Robert Lowell, Louise Bogan, and Stanley Kunitz to win a poetry award in New York. Seidel was asked to revise some poems, which the sponsoring organisation felt had libeled Mamie Eisenhower; he refused, and the judges resigned. The dust-up was covered in the 'Times.

It is perhaps not a representative response to such circumstances, but sobering nonetheless that Seidel survived this early bump and, after a 17-year gap, began publishing again. Since 1979 he has put out some of the smartest, strangest, loveliest, and angriest American poetry around. His Selected Poems was just issued by Faber, and I heartily recommend it. Even though he is the last American dandy, I can't say his work is scandalous now. Nor will you find the poems within in many anthologies. But it's as startling as a slap in the face, and a whole lot more interesting. 


From Opus40-01 at opus40.org  Thu Oct  4 11:26:50 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 04 Oct 2007 11:26:50 -0400
Subject: [New-Poetry] New Literary jouranal that's very promising
In-Reply-To: <BA9EA20BB68C2C4F9E57DA81E386A9AE04931EA3@CRC-EXCH01.crc.ad.losrios.edu>
References: <862508.42643.qm@web83306.mail.sp1.yahoo.com>	<657003.55959.qm@web83310.mail.sp1.yahoo.com>
	<BA9EA20BB68C2C4F9E57DA81E386A9AE04931EA3@CRC-EXCH01.crc.ad.losrios.edu>
Message-ID: <4705063A.9000106@opus40.org>

I love the poem about the woman who is to become your mother.

Sigauke, Emmanuel wrote:
> http://www.african-writing.com/sigauke.htm
>
> ------------------------------------------------------------------------
> *From:* new-poetry-bounces at wiz.cath.vt.edu 
> [mailto:new-poetry-bounces at wiz.cath.vt.edu] *On Behalf Of *amy king
> *Sent:* Wednesday, October 03, 2007 6:26 AM
> *To:* NewPoetry: Contemporary Poetry News &amp, Views
> *Subject:* [New-Poetry] Sailers, Ward, and Davis
>
> MiPOesias presents
> ~~  CYNTHIA SAILERS, DANA WARD and  PETER DAVIS~~
> Friday, October 26th @ 7 P.M.
> ~~
> CYNTHIA SAILERS is currently writing a dissertation on Narcissism and
> Perversion in Pathological Group Organization. She is a board member
> of Small Press Traffic, and previously co-curated New Yipes Reading
> Series (formerly New Brutalism).
> DANA WARD is the author of New Couriers (Dusie 2006), I Didn't Build 
> This Machine (Boog Literature, 2004) & The Imaginary Lives of My 
> Neighbors (Duration, 2003). Recent poems have appeared in Mirage 
> #4/Periodical, string of small machines, Small Town, & other places. 
> He lives in Cincinnati & edits Cy Press.
> PETER DAVIS' book of poems is Hitler's Mustache. He edited Poet's 
> Bookshelf: Contemporary Poets on Books That Shaped Their Art. His 
> poems have appeared in journals like MiPOesias, Octopus, Court Green, 
> Rattle, and McSweeney's. His music project, Shot Hand, is available 
> through Collectible Escalators. He lives in Muncie, Indiana with his 
> wife, son, and daughter and teaches at Ball State University.
> ~~~~~~~
> STAIN BAR
> 766 Grand Street Brooklyn , NY 11211
> (L train to Grand Street Stop, walk 1 block west)
> 718/387-7840
> http://www.stainbar.com/
> ~~~~~~~~
> Hope you'll stop by!
> Amy King
> Editor
> http://www.mipoesias.com  
>  
> **please forward**
>  **apologies for cross-posting**
>
> ------------------------------------------------------------------------
> Shape Yahoo! in your own image. Join our Network Research Panel today! 
> <http://us.rd.yahoo.com/evt=48517/*http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7> 
>
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From Opus40-01 at opus40.org  Thu Oct  4 11:54:58 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 04 Oct 2007 11:54:58 -0400
Subject: [New-Poetry] Verse-slinging
In-Reply-To: <d557a7f4517a0.4704ac93@mail.nyu.edu>
References: <5C6AB66D-CE78-49FC-94BF-9C0877B6C628@ripon.edu>
	<d557a7f4517a0.4704ac93@mail.nyu.edu>
Message-ID: <47050CD2.1090506@opus40.org>

<<

In 1962, poetry was more central to American life. Robert Frost had read at Kennedy's inauguration; paperback publishing was taking off; the Beats had made poetry cool.>>

Poetry central to American life in 1962? In recent years, Miller Williams and Maya Angelou have read at inaugurals, web publishing is taking off, and slams have made poetry cool.


Christopher Kelly wrote:
> Verse-slinging
>
> Poets have always been a touchy bunch. But the latest wrangle in the US reflects a wider problem in deciding what's good poetry and what's not, explains John Freeman
>
> Thursday October 4, 2007
>
> Guardian Unlimited
>
> Are literary spats ennobled by time? Stopping by a Greenwich Village bookstore recently, near where Stanley Crouch slapped the critic Dale Peck in 2004, this question came to mind again. On the store's front table was a handsome batik-print covered paperback that caught my eye: Contemporary American Poetry, selected and introduced by Donald Hall. Here, I thought, was a dignified little book. Then the bookseller interjected. "Oh, the old poetry anthology wars," he said, as if I were picking up a bullet casing. "Now that was fun to watch from the sidelines."
>
> I hadn't stumbled on an old gunslinger, or a man drenched in nostalgia - just a bookseller with a long memory. During the 1950s and early 60s, what the Beats didn't accomplish in coffee houses and on City Lights Press, anthologists hammered home in the pages of pocket-sized books that sold for a dollar. They feel today like field manuals, complete with marshalling introductions. "For 30 years an old orthodoxy ruled American poetry," Hall wrote in Contemporary American Poetry. "It derived from the orthodoxy of TS Eliot and the new critics ... it asked for a poetry of symmetry, intellect, irony, and wit. The last few years have broken the control of this orthodoxy."
>
> It's hard to imagine this sentence being written today. It's not that there isn't any orthodoxy - rather that there are too many of them. There are lyric poets and language poets, slam poets and funny poets. There are poets who identify by ethnicity, gender, and sex; many who could claim the mantle of such identity politics and refuse. But mostly, it should be said, there's simply a lot of poetry. As a judge of a poetry prize I can attest - it piles in like cordwood in the winter.
>
> I don't begrudge this because among the stacks I've come across poets - DA Powell, Matthea Harvey, Lawrence Joseph, Miltos Sacthouris, Troy Jollimore, James Richardson, Michael O'Brien, Venus Khoury-Ghata and James Lasdun to name a few - who are as different as they are amazing. No longer do Americans have to read a prevailing kind of poetry, or even within their own borders. It's a big old buffet.
>
> But in this mishmash something has gotten lost. What is a poem anymore? Let alone a good one, or even a beautiful one? Who sets this taste? These are not idle questions. As Brian Phillips wrote a few years ago in Poetry magazine: "Taste's instability, its internal jostle of meaning, is of enormous interest to poetry, because it reveals how, at the level of everyday language, we cope with the uncertainty that pervades our aesthetic experience." But can a culture actually turn this internal jostle into a conversation?
>
> I think this question lies at the heart of the series of dust-ups which have rippled through the American poetry world of late over what the US's Poetry Foundation should do with the $150m bequeathed to it by heiress Ruth Lilly over. Should the newly wealthy regime be conservative and elitist? Popular and populist? Carefully diverse or devoted to a single variety of excellence? The ding-dong spilled into the pages of the New Yorker and the New York Times Book Review as well as generating a fair bit of heat in the blogosphere.
>
> This is not the poetry world's inability to play nice with itself - to hear about that, one need only buy an American poet a beer. This is the poetry world attempting, in an environment where poetry is as marginalised as it's ever been - despite the volume of the stuff being produced - to figure what is good, and why it should matter, and then make those judgments heard.
>
> That's bound to be a problematic question when a single organisation has so much money, and there are more poets than readers. Sadly, though, the old anthology solution won't work anymore. In 1962, poetry was more central to American life. Robert Frost had read at Kennedy's inauguration; paperback publishing was taking off; the Beats had made poetry cool. Cheap anthologies were the perfect way to have a debate about taste: what better than just to put the work out there and let the readers decide? In the past decade, there have been attempts to resurrect this model in fine anthologies edited by Eliot Weinberger and JD McClatchy, but the environment has changed.
>
> Today the taste-making power of anthologies has been replaced by MFA programs, a staggering proliferation of prizes, and, yes, the clarifying fires of scandal. As tempting as it is to proclaim each new scandal a new low, the hubbub and hullabaloo routes to discussion have been there all along, waiting for us. The same year Hall's anthology was published Frederick Seidel's debut volume, Final Solutions, was picked by Robert Lowell, Louise Bogan, and Stanley Kunitz to win a poetry award in New York. Seidel was asked to revise some poems, which the sponsoring organisation felt had libeled Mamie Eisenhower; he refused, and the judges resigned. The dust-up was covered in the 'Times.
>
> It is perhaps not a representative response to such circumstances, but sobering nonetheless that Seidel survived this early bump and, after a 17-year gap, began publishing again. Since 1979 he has put out some of the smartest, strangest, loveliest, and angriest American poetry around. His Selected Poems was just issued by Faber, and I heartily recommend it. Even though he is the last American dandy, I can't say his work is scandalous now. Nor will you find the poems within in many anthologies. But it's as startling as a slap in the face, and a whole lot more interesting. 
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From anny.ballardini at tin.it  Thu Oct  4 14:12:35 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 4 Oct 2007 20:12:35 +0200
Subject: [New-Poetry] Fw: EAAS-L BOOKS: Litteraria Pragensia New Issue
Message-ID: <001201c806b2$23ffa140$2ca83252@ANNY>



> From: Litteraria Pragensia [mailto:litteraria.pragensia at seznam.cz]
> Sent: Monday, October 01, 2007 1:30 AM


Announcing LITTERARIA PRAGENSIA Vol. 17, no. 33 (2007):
SAMUEL BECKETT:TEXTUAL GENESIS AND RECEPTION
Edited by Ond?ej Piln? and Louis Armand


http://litteraria.ff.cuni.cz/journals/current_issue.html
www.litterariapragensia.com


Contents:

Ond?ej Piln?
"WHENEVER SAID SAID SAID MISSAID": INTRODUCTION

Mark Nixon
SOLITUDE(S) AND CREATIVE FIDGETS:
BECKETT READING RAINER MARIA RILKE

Dirk Van Hulle
"AND HERE A WORD HE COULD NOT CATCH":
TOWARDS A GENETIC EDITION OF BECKETT'S LAST TEXTS

Colin Duckworth
EN ATTENDANT GODOT:
NOTES ON THE MANUSCRIPT

Louis Armand
BECKETT / FILM

S.E. Gontarski
BECKETT THROUGH THE KEYHOLE:
VOYEURISM, THE SCOPOPHILIC DRIVE, AND THE APPEAL OF THEATRE

Michel Delville
MUDDY MOUTH: BECKETT'S POETICS OF TASTE-LESSNESS

                    ----------            ----------

Also please note the previous issue,
LITTERARIA PRAGENSIA vol. 16, no. 32: "Towards a New Aesthetics"


http://litteraria.ff.cuni.cz/journals/current_issue.html
www.litterariapragensia.com



CONTENTS:

Martin Proch?zka, Louis Armand and Brian Rosebury
TOWARDS A NEW AESTHETICS:
TECHNOLOGY, INTENSITY, HETEROGENEITY

Ashley Woodward
NEW TECHNOLOGIES AND LYOTARD'S AESTHETICS14Lisa OttyAVANT-GARDE AESTHETICS:
KITSCH, INTENSITY AND THE WORK OF ART

Jeremy J. Kelly
AESTHETIC EXPERIENCE AND THE SCOPE
OF NARRATIVE EXPLANATION

Louis Armand
CINEMA, OR THE PHANTOM CONSCIOUSNESS

Michael David Sz?kely
FULLNESS-TO-EXPLOSION:
THE MODE OF MUSICAL BECOMING

Flori(a)n Liber
D?MEMBREMENT DU CORPS HUMAIN 2.1

Francesco Pastorelli
TOWARDS AN AESTHETICS OF THE PRESENT

Obituary: In Memoriam Wolfgang Iser (1926-2007)
----------------------------------------------------------------------------
-
_______________________________________________




From cervantes.james at gmail.com  Thu Oct  4 15:18:46 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Thu, 4 Oct 2007 14:18:46 -0500
Subject: [New-Poetry] Salt River Review submissions
Message-ID: <648208b60710041218p60349988y41a41ffb58ff64ff@mail.gmail.com>

Submissions for the Fall, 2007 issue of The Salt River Review (Greg
Simon, guest-editor/poetry, and Carol Novack, guest-editor/fiction)
are closed.  Any submissions sent to the guest editors will now be
saved for consideration for the Winter, 2007/08 issue.  Submissions
should now be sent to James Cervantes, poetry editor, and Lynda Schor,
fiction editor.  Addresses and guidelines are available at
http://www.poetserv.org

-- James Cervantes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html


From anny.ballardini at tin.it  Fri Oct  5 11:35:06 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 5 Oct 2007 17:35:06 +0200
Subject: [New-Poetry] Fw: Invio in corso posta elettronica: The Art of Jim
	Denevan
Message-ID: <002101c80765$4e896e60$8bdf3052@ANNY>

The Art of Jim Denevan

               

--------------------------------------------------------------------------
                 
                 
               >    
                   

           
     



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From Sigauke at crc.losrios.edu  Fri Oct  5 18:23:13 2007
From: Sigauke at crc.losrios.edu (Sigauke, Emmanuel )
Date: Fri, 5 Oct 2007 15:23:13 -0700
Subject: [New-Poetry] Journal publishes members of Poetry Listserv,
	calls for more submissions
In-Reply-To: <001201c806b2$23ffa140$2ca83252@ANNY>
References: <001201c806b2$23ffa140$2ca83252@ANNY>
Message-ID: <BA9EA20BB68C2C4F9E57DA81E386A9AE04931EAD@CRC-EXCH01.crc.ad.losrios.edu>

 
http://munyori.com/michael_lee_johnson

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu [mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of Anny Ballardini
Sent: Thursday, October 04, 2007 11:13 AM
To: New Poetry
Subject: [New-Poetry] Fw: EAAS-L BOOKS: Litteraria Pragensia New Issue



> From: Litteraria Pragensia [mailto:litteraria.pragensia at seznam.cz]
> Sent: Monday, October 01, 2007 1:30 AM


Announcing LITTERARIA PRAGENSIA Vol. 17, no. 33 (2007):
SAMUEL BECKETT:TEXTUAL GENESIS AND RECEPTION Edited by Ond?ej Piln? and Louis Armand


http://litteraria.ff.cuni.cz/journals/current_issue.html
www.litterariapragensia.com


Contents:

Ond?ej Piln?
"WHENEVER SAID SAID SAID MISSAID": INTRODUCTION

Mark Nixon
SOLITUDE(S) AND CREATIVE FIDGETS:
BECKETT READING RAINER MARIA RILKE

Dirk Van Hulle
"AND HERE A WORD HE COULD NOT CATCH":
TOWARDS A GENETIC EDITION OF BECKETT'S LAST TEXTS

Colin Duckworth
EN ATTENDANT GODOT:
NOTES ON THE MANUSCRIPT

Louis Armand
BECKETT / FILM

S.E. Gontarski
BECKETT THROUGH THE KEYHOLE:
VOYEURISM, THE SCOPOPHILIC DRIVE, AND THE APPEAL OF THEATRE

Michel Delville
MUDDY MOUTH: BECKETT'S POETICS OF TASTE-LESSNESS

                    ----------            ----------

Also please note the previous issue,
LITTERARIA PRAGENSIA vol. 16, no. 32: "Towards a New Aesthetics"


http://litteraria.ff.cuni.cz/journals/current_issue.html
www.litterariapragensia.com



CONTENTS:

Martin Proch?zka, Louis Armand and Brian Rosebury TOWARDS A NEW AESTHETICS:
TECHNOLOGY, INTENSITY, HETEROGENEITY

Ashley Woodward
NEW TECHNOLOGIES AND LYOTARD'S AESTHETICS14Lisa OttyAVANT-GARDE AESTHETICS:
KITSCH, INTENSITY AND THE WORK OF ART

Jeremy J. Kelly
AESTHETIC EXPERIENCE AND THE SCOPE
OF NARRATIVE EXPLANATION

Louis Armand
CINEMA, OR THE PHANTOM CONSCIOUSNESS

Michael David Sz?kely
FULLNESS-TO-EXPLOSION:
THE MODE OF MUSICAL BECOMING

Flori(a)n Liber
D?MEMBREMENT DU CORPS HUMAIN 2.1

Francesco Pastorelli
TOWARDS AN AESTHETICS OF THE PRESENT

Obituary: In Memoriam Wolfgang Iser (1926-2007)
----------------------------------------------------------------------------
-
_______________________________________________


_______________________________________________
New-Poetry mailing list
New-Poetry at wiz.cath.vt.edu
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry



From cervantes.james at gmail.com  Sat Oct  6 09:36:54 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Sat, 6 Oct 2007 08:36:54 -0500
Subject: [New-Poetry] "Word are clothing"
Message-ID: <648208b60710060636v671d10ebya1d442c9578895fa@mail.gmail.com>

Shop Talk II

Words are clothing,
though sometimes a poet
thinks of them as a large flashlight
with a battery that weighs 5 pounds,
or the small hide-in-your-hand
type with a beam you shouldn't
shine in anyone's eyes.
The former spread almost
clear across a page and include
all that the poet can legally
or aesthetically get into
that particular crop, while the
other has squeezed life
into a blue-white beam
that goes out if you release
your thumb from the switch.
But back to the clothing:
there are styles etc.

-- Jim
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html
~ http://home.earthlink.net/~jvcervantes/
~ http://www.flickr.com/photos/12364573 at N08/


From halvard at earthlink.net  Sat Oct  6 10:26:01 2007
From: halvard at earthlink.net (Halvard Johnson)
Date: Sat, 6 Oct 2007 10:26:01 -0400
Subject: [New-Poetry] "Word are clothing"
In-Reply-To: <648208b60710060636v671d10ebya1d442c9578895fa@mail.gmail.com>
References: <648208b60710060636v671d10ebya1d442c9578895fa@mail.gmail.com>
Message-ID: <F6329534-706C-4521-82B7-0D90C4292F7E@earthlink.net>

I see that GWB revised your subject line, Sr. Jeem.
Watch your step.

Hal

"If you have liver disease, tell
your doctor."
            --TV drug commercial

Halvard Johnson
================
halvard at earthlink.net
http://home.earthlink.net/~halvard/index.html
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org
http://home.earthlink.net/~halvard/vidalocabooks.html






On Oct 6, 2007, at 9:36 AM, James Cervantes wrote:

> Shop Talk II
>
> Words are clothing,
> though sometimes a poet
> thinks of them as a large flashlight
> with a battery that weighs 5 pounds,
> or the small hide-in-your-hand
> type with a beam you shouldn't
> shine in anyone's eyes.
> The former spread almost
> clear across a page and include
> all that the poet can legally
> or aesthetically get into
> that particular crop, while the
> other has squeezed life
> into a blue-white beam
> that goes out if you release
> your thumb from the switch.
> But back to the clothing:
> there are styles etc.
>
> -- Jim
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> ~ Salt River Review:  http://www.poetserv.org
> ~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
> ~ http://www.fieralingue.it/documenti/mr_bondo.pdf
> ~ http://www.poetserv.org/jvc/home/index.html
> ~ http://home.earthlink.net/~jvcervantes/
> ~ http://www.flickr.com/photos/12364573 at N08/
> _______________________________________________
> 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  Sat Oct  6 16:35:31 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 6 Oct 2007 16:35:31 EDT
Subject: [New-Poetry] Sincerely, Ted
Message-ID: <cfd.1c559e67.34394b93@aol.com>

_http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/10/06/nosplit/boted
106.xml_ 
(http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/10/06/nosplit/boted106.xml) 
Sincerely,  Ted Hughes 
Last Updated: 12:01am BST 06/10/2007
 
Ted Hughes was one of the most original and powerful visionary poets of the  
20th century. Here, we present the first in our three-part serialisation of 
his  Letters. 
 
His marriage as a young man to Sylvia Plath, their extraordinary creative  
connection and its terrible end with her 1963 suicide have been endlessly and  
often damagingly mythologised. 
 
These early letters show his growth as a poet, give a sense of his warmth  as 
a correspondent, and tell ? for the first time ? the real story of his  
relationship with Sylvia Plath.





************************************** See what's new at http://www.aol.com
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From edmundhardy at hotmail.com  Sun Oct  7 06:07:42 2007
From: edmundhardy at hotmail.com (Edmund Hardy)
Date: Sun, 7 Oct 2007 10:07:42 +0000
Subject: [New-Poetry] Peter Riley Symposium
In-Reply-To: <200710061600.l96G04Ww001175@wiz.cath.vt.edu>
References: <200710061600.l96G04Ww001175@wiz.cath.vt.edu>
Message-ID: <BAY112-W31549A79EC6EF67BA1642FBAAB0@phx.gbl>



"Intercapillary Space" is today launching a blog symposium on the work of Peter Riley. This will range over the next eleven days with a new article on the site every morning (timetable below). Readers are invited to comment at length or in brief on what they find, maybe writing further pieces to extend the symposium onwards.
 

 To launch the symposium, a Peter Riley eBook:
This is a revision of a poem first published in Grosseteste Review X, 1977, and it will be returned to by Michael Haslam in his forthcoming essay for this symposium. In that piece Haslam comments, "It stands out, like a mountain peak or a sore thumb. It breaks the rules of several schools of poetry. The poet must have wondered, Am I really writing this?" Peter Riley's comment on Haslam's piece will also discuss this poem.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Symposium Timetable
 
MondayMichael Haslam: The Art of Ethical MeditationTuesdayKelvin Corcoran: AlstonefieldWednesdayDavid Kennedy: From A Map of Reading Peter Riley's Passing MeasuresThursdayTom Lowenstein: Excavation and ContemplationFridayGavin Selerie: World Levered on OneSaturdayJames Wilkes: Alstonefield: a journalSundayAlistair Noon: Ghostly Others on a Ridge-Top Walk: Peter Riley's "Aria with Small Lights"MondayPeter Hughes: A poem and an essayTuesdayPeter Riley: Comment on Michael Haslam's 'The Art of Ethical Meditation'WednesdayDavid-Baptiste ChirotThursdayMelissa Flores-B?rquez: I've lost my watch: The Llyn Writings
_________________________________________________________________
The next generation of MSN Hotmail has arrived - Windows Live Hotmail
http://www.newhotmail.co.uk
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From by.tjmst at gmail.com  Sun Oct  7 10:17:20 2007
From: by.tjmst at gmail.com (BY TJMST)
Date: Sun, 7 Oct 2007 07:17:20 -0700
Subject: [New-Poetry] COMMENT ON KING & PADGETT INTERVIEW AND PERSPECTIVE ON
	FAREWELL PSALMS by gbemi tijani mst
Message-ID: <5908b9b20710070717g526e20fft8c0bc0ced9def2db@mail.gmail.com>

WHAT IF EVERYTHING WERE PERFECT ASKS GBEMI TIJANI MST-
A COMMENT ON  AMY & PADGETT INTERVIEW :HOW TO BE PERFECT
*FEAREWELL POETRY-A REVIEW OF LIFE AND MORTALITY & PERFECTION -IF NECESSARY



 an addenda on Padget 's catalysis :  I don't think Padgett isn't a
phenomenologist feeding on the visuals?God is in the details- rather than
the abstracts -gbemi tijani mst(011007)













?..Sequel to the comment below I was just extrapolating my thinking how
esoteric, compromising or again - what an epicurean duo Ron Padgett and his
drunk ally are to have hilariously imposed such a ludicrous project on
themselves. It could also be considered frivolous for an imperfect mortal
breathing in an imperfect world to prescribe perfection for another being in
a less alert state - *only from the cerebrals.* However nothing is a times
impossible when friends are gathered in an atmosphere of ecstasy or regular
recreational clubs. Dreams are tacitly divulged, special quest are let loose
for perspective sharing or synergy ?especially if it involves intellectual,
professional or political elevation. These are normal and perfect behavior
patterns of men from time immemorial. Life and love are discussed and
barriers limiting total fulfillment - libido enhancement inclusive are often
freely bantered or hypothesized in such settings seriously or salaciously.
I'm not limiting libido here to mere sexuality but holistic creativity
as *Irving
Stone* (biographer of Sigmund Freud and Charles Darwin implied in one of his
books, *Passions of the Mind*.



As Amy King interview states ,the genesis of Padgett's book title?especially
HOW TO BE PERFECT was originally prompted from a friend who was drunk and
asked Padgett, the acclaimed author to tell him how one could be perfect.
Being a matured concerned accessible poet who isn't cocooned by ethical
impossibilities of man, he nodded a yes to such a gargantuan assignment. As
evidenced by a CANADIAN PHILOSOPHER POET,FRANCIS SPARSHOTT poets could also
philosophize and vice versa for philosophers ? I guessed he was unruffled
but optimized he could prescribe some poetic values. He could have made him
a centre of literary gravity in the book. He could also be made a model
drunker. Femi Osofisan aka OKINBA LAUNKO,playright, an ex - cultural
adviser, notable lecturer, poet, columnist and prolific critique of Theatre
Arts Literature said during *an interview on Longevity-Is man or god in
charge?* an essay written by this writer 16 years ago that *writers are
character creators themselves*. A narrative poet or novelist or playwright
can determine the life span of an heroine or hero in a book or novella or
similar works of art purportedly envisioned to entertain or moralize his or
her audience.







Padgett must have surmised that man is essentially a protean creation. Today
he's socially compliant, tomorrow he falls far off from society 's moral
expectations. Man's barometers of honesty in money matters and purity or
weakness in women make a normal man (not just a drunk) imperfect in many
human societies from time immemorial. Yet, man is also tacitly stubborn to
attain perfection in decorum. He's also trying to fulfill his Creator's
standard of him-otherwise religion or belief model would be redundant in his
earthly sojourn. Then there couldn't have been any dos and don'ts guiding
his mandatory mortality and a hope of return to a paradise of bliss.



- Either as arts for arts sake or as a poetic challenge or mere literary
experiment I hope it will be an interesting reading if a poet can make a
philosophically positive or metaphorically lucid poem ? IF EVERYTHING WERE
PERFECT for us all.



*In view of the possibilities, interpersonal geniality, interstate
cordiality, capacity building,, conviviality, multicultural understanding
and true love and customized wealth that will be the experience of world
citizens --*

*Will poets still create ideals which humans** must or ought to attain or
maintain to be fully fulfilled or engaged as poets?* Will poetry for
excellence be outmoded? Will utopia be commonplace? Will poets functioning
in such a near utopia be esteemed when compared to 20th century counterparts
faced with wide disparity in living conditions and access to public
amenities? Will poets be ecologically revered compared to unequal ?ribs
milieu since mankind's *gregariousness prior to and after the cave dwelling*
?''



 What of good surgeons that prolong other lives, writers that sensitize
change for good governance on planet earth pending a *millennium poetic rule
by The Carpenter of Nazareth with His lovingly Nazarene team?*



*Can poetry* make perfection much more expediently attainable?

*WHICH CAN DO BEETTER- *religious practice out of faith or poetic practice
rooted in selfless infectious CREATIVITY, philanthropy?



 Ditto for Ron Padgett. This is amplified in the initial dialogue between
King & Padgett ?

As a reader of poems and merely enthusiastic writer i love the auction that
*God is in the details*?Then the sky is the limit for* poetic imaging. Such
a humble writer can then* leave the interpretation or understanding of his
works to the lesser gods -the readers, anonymous critics WHO MAY NOT HAVE
60% PERFECTION themselves due to many incongruous illumina germane to
perfection.





* Will writers of nature and nurture be solely responsible or predominantly
responsive to the status quo-if everything were perfect? *

*Will perfection bring joyful transformation beyond poetic metaphors? *Will
some poets resurrect before rapture ?as this is also a gallantly soothing
prophetic poetry of a perfect, albeit indefinitely assured nirvana
especially to friends in Christ, theologically speaking ? On the secular
premise ?surmising that our Creator is not only Superior and Almighty in
knowing who and who will not inhabit his incredibly fantastic all round rest
kingdom hereafter ?judging from His gorgeously elastic mercies some have
believed and popularized beyond folktales.



*          * Will heaven fail to accommodate the good peoples of whatever ?
is-

          divinely practiced, as true religion provided it adorns the
Covenant keeper  Abba ,Father?

What of good surgeons that prolong other lives ,writers that sensitize
change for good governance on planet earth pending a *millennium poetic rule
by The Carpenter of Nazareth with His lovingly Nazarene team?*





I love those intellectuals - poets, authors, scientists or whatever their
callings that acknowledge or relate or root the raw materials or substrates
for deep musings or inventions to a superior intelligence variously named
Providence, God, Transcendental Being Or even a SUPERNATURAL
POWER-Olodumare, Oyigiyigi, Chi,omenana *ad infinitum*



Felicitations however for bringing this PERENNIALLY ACTIVE, ECLECTIC MIND of
Padgett to our readership. I wish I can grab any of his how- to *therapeutic
musings*?in the poetic clinic ?he being an unabashed phenomenologist. I mean
any of the books-the real pudding itself! No qualms - poetic healing is
integral in the new millennium development readings-especially as
internet *surfing
is divulging rather than hoarding global literati across the periods *they
have been created ,archived or produced TO fruitfully active minds ?whatever
their genre or affinity

?As for Ron Padgett 's facile fraternity with painters and visual artists I
'm not surprised at all. I was like that in the 70s and late 80s adoring,
fraternizing with novelists or composers who are also
poets,academics,activists,journalists who 're evidently bold and fecund in
their writings .This includes columnists like ALLAH ?DE,DAN ABASIEKONG, DELE
GIWA,SONALA OLUMESE,ODIA OFEIMU,NOSA OSAIGBOVO,Mark Ighile,AL- BISHAK,
A.AKINKUOTO,AJIMATANRAREJE.These poet or writer ?journalists dared to be
nearly perfect as columnists as far as Decree No 4 ?limiting press freedom
then allowed-though this draconian decree was shortlived.Other African
poets, novelists and literary heavy weights, impact activists via poetic
surveillance and dramatic output beyond class teachings) provoked by
idiosyncrasies of their political habitats include the likes of WOLE
SOYINKA,CHINUA ACHEBE,JAMES NGUGI,CAMARA LAYE,,MONGO BETI, GABRIEL
OKARA,AMIRI BARAKA,ATUE OKAI,OLU OGUIBE.There are several other poets,
novelists who influenced me or healed my agraphia  when the mood was heavy
or the political climate was needlessly cloudy. American scientists and
sci-fi writers like Arthur C. Clarke, Ray Bradbury, Mitchell Bizley and
prolific and versatile writer like ISAAC ASIMOV have productively impelled
my writing praxis and evidently the short story and science writing world to
some degree of perfection beyond the critics' lens.



Although almost all  of us grow up in a typical village or urban community
where traditional or ritual arts or mere Yuletide festival 's pomp and
pageantry that integrates all strata of the society are more often the
initial witness of real arts and authentic performers-not fictional artists
as dancers, drummers oracular priest or priestess and mandatory puberty
group performance. Some people are still not EARTHLY PERFECT.
Anthropological travelogue has revealed that this isolated tribe doesn't
wear clothes nor sheath  genitals.



Memoir of early childhood can't be exhaustive without these  poetically rich
events Surely not all are celebrated nor observed without some reverence to
the ancestral gods but freedom of religious worship is always
available-except that nothing should be done to cause any entropy. For
instance *,Edwin Obilo*'s narrative (SPLASH FM 1055) of THE GODS ARE NOT
BLAME  and the violation of THE WEAK OF PEACE when the prince stole a
precious item and injustice was evidently retorted instantly. Nnana the
innocent was to be sacrificed -in this case  to be swallowed by a  python!.
The python vomited instantly because the victim   wasn't the thief that
stole the lost item. This is not  anti-peristalsis as such. Endogenous
culture  novelists such as D.O.FAGUNWA,AMOS TUTUOLA,CAMARA LAYE have
authored classic truthful fictions culturally rooted on the mystery of
traditional societies--especially informative and almost perfectly rendered
works such as FOREST OF A THOUSAND DEMONS translated by WOLE SOYINKA,NOBEL
LAUREAT,1986,THE PALM WINE DRINKARD (acclaimed to be the first experiment as
a novel ever written in Africa and THE AFRICAN CHILD(L'EFANT AFRICAINE)
respectively.



*IF EVERYTHING WERE PERFECT will there be demons tormenting human beings or
criminals armed enough to kill and disturb peace  in today's cities?*

One  should not only mention the OSUN OSHOGBO AUGUST FESTIVAL recently
designated by Unesco  as one of the world's cultural Heritage  Site but also
should include The New Orleans daily jazz itinerary, the trepidation but
fabulous burial ceremonies of archaic Japan's Kings and  chiefs of ancient
Africa.Above all else globally noticed Nigerian Painter ,,Bruce
Onaibraikpeya and immensely gifted sculptor like PA LAMIDI
FAKEYE.Thetheatrical triumphs of early travelling theartres such as
DURO LADIPO's
SANGO,OBA KOSO,HUBERT OGUNDE'S dance drama will ever remain permanently
significant works of art worth archiving by the Federal film corporation of
Nigeria.



 **

*FAREWELL POETRY?*

 (mixed impressions about life,vanity,destiny and immortality)



Quiet recently - as frequently experienced elsewhere too -CHRIST THE GOOD
SHEPHERED CATHOLIC CHURCH ,FELELE,IBADAN organized a  thought -provoking
funeral mass for her departed member, the lovely MADAM HENRIETTA MODUPE
LAOTAN,who passed on to glory at 80 and survived by many children and
grandchildren including CHIEF BANKOLE LAOTAN a rotarian ,who's also a PAST
PRESIDENT. Like father like son as they say when describing someone as the
chip of the old block.

Mama was not only remembered for her QUEENS' ENGLISH but also commended for
her  boundless love, compassion and geniality to church members and
her  consistency
in mandatory activities such as the early morning prayers..



*LET US PRAY,* the priest said after the mass of the dead

ALMIGHTY GOD OUR FATHER

WE FIRMLY BELIEVE THAT YOUR SON DIED AND ROSE TO LIFE

WE PRAY TO OUR SISTER,HENREITTA MODUPE LAOTAN

WHO HAS DIED IN CHRIST.RAISE HER AT THE LAST DAY TO SHARE IN THE GLORY

OF RISEN CHRIST.GRANT THIS THROUGH CHRIST OUR LORD



*ALL* *chorused AMEN*.



As already amplified below the immortality of souls ,the second coming of
The Lord ,the hope of rapture for those who are not yet asleep as the
translated believers, the fact that we are sinners and are helpless by our
mere good works to receive forgiveness except through Christ, our Lord and
Saviour



HELP LORD THE SOULS?



Help Lord the souls that thou hast made

The souls to Thee so dear

In prison for the debt unpaid

Of sins committed here.

(  )

Oh, by their patience of delay,

Their hope amid their pain

Their sacred zeal to burn away,

Disfigurement and stain.



Oh, by their fire of love, not less.

In keenness than the flame,

Oh ,by their very helplessness

Oh,by Thy own great Name.

*All of the redeeming prayers that followed point to one vital need of
believers that died in Christ -the granting of the eternal rest by God, the
Most High. Even then salvation is basic to receive help from the saints of
God who will shepherd us to Abraham's side.

The invocation on the left side is eloquently a way shower and the common
hope in faith to all these conditions is the ultimate eternal safety to
glory through *The Lord's response in SAVING HIS PEOPLE*...:





By Christ's coming as man ,

By His birth

By His baptism and fasting,

By His sufferings on the cross

By His death and burial

By His rising to new life

By His coming again in Glory?..



After this invocation-a resurrection of life is assured and the leading of
the departed by the

Angels to where Lazarus is no longer poor is a guaranty in faith. As the
Lord himself said

*I'm the resurrection and the life*

*The man who believes in me will live, even if he dies*

*Every living person who put his faith in me will never suffer eternal
death.*



GOOD ENOUGH! During her special sleep in the church, Madam *MODUPE HENREITTA
LAOTAN* WASN'T JUST IDENTIFIED WITH CHHRIST-- knowing that that is her
ultimate  lordly garment -she  also came in flesh from somewhere!

Her glorious passage was also lamented by the rich ORAL PRAISE POEM (ORIKI)
of the OWUS OF ABEOKUTA. Towards the last part of the funeral rites one of
the daughters recited the Oriki-the family root to a mixed congregation of
catholics,non-catholics,Moslem friends Rotarians from District 9130,
pressmen and relations of Madam Laotan from farand wide.

The church auditorium was nonetheless charged with memories as the Oriki was
impeccably recited:



 THE OWUS OF ABEOKUTA.



OMO OLOWU ODURU

IBI ESO POJU OMIDAN LO

OMO AJILA

OMO A RI OTI WE BI OJO

OMO ASUNKUN GBA ADE

OMO A FI OKAN JE OYE



OMO OKE A BI JUWON

OMO ONIWO ?IWO MODU OLA

IWO KO NI ILEKUN

BENI KONI KOKORO

ERU WEWE NI O FI DELE

OMO ADEBOSIN

    *Sun re o ,iya dada*

*   This translates to mean*

*ADIEU, THE GOOD MOTHER*

* *

*The ORIKI is the family oral poetry that informs or traces the genealogy of
the person -dead or alive .There's hardly any Yoruba person that lacks this
vital PRAISE OR TRACE POETRY. Any trace of resemblance with other family
history in the same village ? far or near show that there must have been
some  mass migration or  group exile  warranted by  civil war-or discontent
provoked by land dispute or booty sharing or unfulfilled political ambition
.Democracy has existed in African clans and traditional ruling system far
before colonial experience but there are checks and balances
too.Forinstance,The ex-President of Federal Republic of Nigeria, Chief
Olusegun
Obasanjo hails from OWU,Abeokuta,is also an Owu Chief till date .If you
extrapolate the meaning of line 4-7

    OMO AT ILE TA BI ISU

i.e* the one that's already groomed for any travail or war or challenge*

     OMO A RI OTI WE BI OJO

?*especially if the deal is daringly worthy and congruous to values in vogue
*

   OMO ASUNKUN GBA ADE

    OMO A FI OKAN JE OYE











 (This* also portrays the owus as resilient go-getters ?whatever it takes *

*They are rarely undaunted in struggle?.*

*This characteristic trait is also amplified in the only Rotarian in the
family. By classification he's a public relations consultant after a stint
with NIGERIAN TELEVISION AUTHORITY. He was asked to give birth to another
rotary club  by the District Governor .He didn't give up  until the baby
club was chartered by ROTARY INTERNATIONAL and witnessing the club 's
doubling in membership also gladdens his mid-wifery.*

*The life of people in trouble and their strategic vehemence in getting out
or averting the trouble altogether*

*Oriki also narrates the ancestral identity of a family or lineage of
families -sometimes from very far past to the faintest present cultural
niche of that family personality.*

* *

Sequel to my reading 3 CONTEMPORARY JAPANESE POETS published by Unesco  in
the 70s.

I was so challenged to do a modest translation of my ORIKI .I disclosed this
literary urgency to an auntie, MADAM MOJOYIN AGBEDEYI nee IDOWU in Lagos who
burst out INSTANTLY in a repertoire of oral poetry specifically

ORIKI of OKE AGO. -I succeeded in uploading or shall I say  in translating
only one -tenth to the times international  1- page Journal of special
poetry in 1990. Albeit I was paid left and right for doing a mere rudiment
to the real thing ?it provoked avalanche of such oral arts in the DAILY
TIMES stable and elsewhere AKEEM LASISI was doing fine with performance of
another genre  -not inextricably separate from IJALA POETRY apart although
ours was  actually a mountainous collection  ORIKI  of the  AREMUs AND
AJEJIs  .









* *

*If everything were perfect will death ever exists to terminate every man's
life no matter how good or careful or wealthy or kind or healthy or
magically powerful?*

*Will immortality guaranty happiness?*

*Is happiness actually the ultimate solution or  the sole delightful
experience of humankind?*

*Heroes, friends, the beloved ,famous pastors and poets and politicians
together with  scientists that have even patented drugs or techniques that
can prolong lives of others have died just as **the ordinary folks too in
the villages will die ?does that mean life is vanity?***

*Sometimes I wonder which joint devotion or poetry has the most or provoke
the kindest aspect of humanity -is it the poetry of lyrics when we are
celebrating something joyous or the mournful prayers when a dear one is
translated and we are regretting the precious loss?*

*Which of these states of emotional states is or are biochemically
healthier? *



*Is bereavement imperfectly alien to a typical mourning soul?*

*Will funeral ceremonies and the encyclopedia of devotions and delightfully
buoying notes of heavenly bliss than earthly harshness -a  pot-pouri of
disease entities enrich  mortality  much more effectively than preaching or
ministrations by choir when nobody is lost or sick or a disaster is prayed
against?*





My acquaintance and detailed 'browsing' of their etchings and carvings in
their studio-especially TOKI MEMORIAL ART STUDIO before the internet era in
Africa have opened other anthropological raw matter for original review
articles with visual artists' works till date. *Birds of the same feather
always flock together* *It isn't then un?Padgett to reecho that ornithology
specimen of identical plumage invariably congregates at the closest
proximity.*



*Gbemi tijani mst*,sat061007







.
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From anny.ballardini at tin.it  Sun Oct  7 16:45:05 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 7 Oct 2007 22:45:05 +0200
Subject: [New-Poetry] Mrs Spears
Message-ID: <002701c80922$f1828520$dcc93a52@ANNY>

The "Leave Britney Alone!" video has become one of the site's most viewed entries of all time, with more than 10.8 million viewers, and Mr. Crocker is making appearances on national talk shows. 

if you wish to know more:
http://www.nytimes.com/2007/10/07/fashion/07britney.html?_r=1&oref=slogin



--------------------------------------------------------------------------------

Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From JforJames at aol.com  Sun Oct  7 20:53:05 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 7 Oct 2007 20:53:05 EDT
Subject: [New-Poetry] 'Poetry can speak decisively to power' 
Message-ID: <d3e.150ca784.343ad971@aol.com>

_http://books.guardian.co.uk/poetry/features/0,,2183290,00.html_ 
(http://books.guardian.co.uk/poetry/features/0,,2183290,00.html) 

'Poetry can speak decisively to power'

In the build-up to National Poetry Day this week, the poet laureate,  Andrew 
Motion, spoke at a Poet in the City event in the House of Commons about  the 
relationship between poetry and power. This is what he said. 
 
Thursday October 4, 2007
Guardian Unlimited 

Andrew Motion: 'The sacred duty of poets is to tell the truth about  humanity 
whatever those in authority have to say.' Photograph: Jane  Bown

Thank you very much for inviting me to speak about Poetry and  Power; I'm 
happy to do this - especially because it means renewing my contact  with Poet in 
the City, a terrific scheme run with wonderful energy and  resourcefulness by 
Graham Henderson.
Graham has asked me to do three things:  to say something about the 
relationship between poetry and power in general; to  say something about the 
relationship between power and the post of Poet Laureate  that I occupy; and to read 
something which has to do with the subject. That's a  lot in 10 minutes, but 
here we go.




************************************** See what's new at http://www.aol.com
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From bobgrumman at nut-n-but.net  Sun Oct  7 23:03:36 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sun, 07 Oct 2007 22:03:36 -0500
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <d3e.150ca784.343ad971@aol.com>
References: <d3e.150ca784.343ad971@aol.com>
Message-ID: <47099E08.5000902@nut-n-but.net>

Andrew Motion: 'The sacred duty of poets is to tell the truth about 
humanity whatever those in authority have to say.'

The sacred duty of authorities is to do right by humanity no matter what 
poets say.  Bob Grumman

Sorry.  I have trouble resisting the urge to counter pompous bilge with 
its positive image.

BG
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From JforJames at aol.com  Mon Oct  8 09:22:46 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Mon, 8 Oct 2007 09:22:46 EDT
Subject: [New-Poetry] 'Poetry can speak decisively to power'
Message-ID: <ccd.1ea4292c.343b8926@aol.com>

 
In a message dated 10/7/2007 10:04:34 PM Eastern Daylight Time,  
bobgrumman at nut-n-but.net writes:

Andrew Motion: 'The sacred duty  of poets is to tell the truth about humanity 
whatever those in authority have  to say.' 

The sacred duty of authorities is to do right  by humanity no matter what 
poets say.  Bob Grumman

Sorry.  I  have trouble resisting the urge to counter pompous bilge with its 
positive  image.



--
The 'sacred' bit might be carrying things too far, but poets traditionally,  
being word-slingers, have seen the need if not a duty to be a vocal force  for 
change when they feel their government has gone badly awry. The word  'force' 
may be overstating the immediate effect of their language acts,  but if one 
believes in the cummulative force of small acts,  then the poems they write 
matter as much as letters to the editor or  handwritten placards carried in a 
march or a celebrity wearing a  peace-sign on his lapel at a photo op. 
As we have witnessed in recent years under Bush-Cheney doctrine, there are  
too many examples of the failure of "authorities to do right by humanity," for  
certain citizen-poets to stand silently by. 

Yesterday at our downtown library, Martin  Espada gave a talk on Neruda. He 
spoke about Neruda's politicalization during  1930s, his turning away from a 
poetry that was primarily concerned with beauty. Espada read from the poem 
"Explaining A Few  Things," which has that telling 'metaphor': "and the blood of 
children ran  through the streets / simply, like children's blood."
 
I wrote a while back on my blog, poetry that  cuts ifself off from its 
socio-political ties is in danger of becoming nothing  more than an intellectual 
luxury good.
Finnegan
_http://ursprache.blogspot.com/_ (http://ursprache.blogspot.com/) 



************************************** See what's new at http://www.aol.com
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From Opus40-01 at opus40.org  Mon Oct  8 14:12:56 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Mon, 08 Oct 2007 14:12:56 -0400
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <47099E08.5000902@nut-n-but.net>
References: <d3e.150ca784.343ad971@aol.com> <47099E08.5000902@nut-n-but.net>
Message-ID: <470A7328.4010402@opus40.org>

The sacred duty of humanity is to turn poets in to the authorities.

Bob Grumman wrote:
> Andrew Motion: 'The sacred duty of poets is to tell the truth about 
> humanity whatever those in authority have to say.'
>
> The sacred duty of authorities is to do right by humanity no matter 
> what poets say.  Bob Grumman
>
> Sorry.  I have trouble resisting the urge to counter pompous bilge 
> with its positive image.
>
> BG
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From halvard at earthlink.net  Mon Oct  8 16:14:37 2007
From: halvard at earthlink.net (Halvard Johnson)
Date: Mon, 8 Oct 2007 16:14:37 -0400
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <470A7328.4010402@opus40.org>
References: <d3e.150ca784.343ad971@aol.com> <47099E08.5000902@nut-n-but.net>
	<470A7328.4010402@opus40.org>
Message-ID: <CA03D743-D1B2-4CB4-A76C-612FFB08947D@earthlink.net>

Power can speak derisively to poetry.



From cervantes.james at gmail.com  Mon Oct  8 16:19:50 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Mon, 8 Oct 2007 15:19:50 -0500
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <CA03D743-D1B2-4CB4-A76C-612FFB08947D@earthlink.net>
References: <d3e.150ca784.343ad971@aol.com> <47099E08.5000902@nut-n-but.net>
	<470A7328.4010402@opus40.org>
	<CA03D743-D1B2-4CB4-A76C-612FFB08947D@earthlink.net>
Message-ID: <648208b60710081319tc1dc255v17697742dd2419c6@mail.gmail.com>

Pooer be the powtrees

-- Jim
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html
~ http://home.earthlink.net/~jvcervantes/
~ http://www.flickr.com/photos/12364573 at N08/


From skip at louisiana.edu  Mon Oct  8 16:35:24 2007
From: skip at louisiana.edu (Skip Fox)
Date: Mon, 8 Oct 2007 15:35:24 -0500
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <648208b60710081319tc1dc255v17697742dd2419c6@mail.gmail.com>
Message-ID: <000d01c809ea$c6c4e990$f4954682@win.louisiana.edu>

Powder to the Poets! Right Arm! Down with Downers! Save the Grail! Etc.



From bobgrumman at nut-n-but.net  Mon Oct  8 16:35:45 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Mon, 08 Oct 2007 15:35:45 -0500
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <ccd.1ea4292c.343b8926@aol.com>
References: <ccd.1ea4292c.343b8926@aol.com>
Message-ID: <470A94A1.5010101@nut-n-but.net>



>     Andrew Motion: 'The sacred duty of poets is to tell the truth
>     about humanity whatever those in authority have to say.'
>
>     The sacred duty of authorities is to do right by humanity no
>     matter what poets say.  Bob Grumman
>
>     Sorry.  I have trouble resisting the urge to counter pompous bilge
>     with its positive image.
>
> --
> The 'sacred' bit might be carrying things too far, but poets 
> traditionally, being word-slingers, have seen the need if not a duty 
> to be a vocal force for change when they feel their government has 
> gone badly awry. The word 'force' may be overstating the immediate 
> effect of their language acts, but if one believes in the 
> cummulative force of small acts, then the poems they write matter as 
> much as letters to the editor or handwritten placards carried in a 
> march or a celebrity wearing a peace-sign on his lapel at a photo op. 
> As we have witnessed in recent years under Bush-Cheney doctrine, there 
> are too many examples of the failure of "authorities to do right by 
> humanity," for certain citizen-poets to stand silently by.
>
> Yesterday at our downtown library, Martin Espada gave a talk on 
> Neruda. He spoke about Neruda's politicalization during 1930s, his 
> turning away from a poetry that was primarily concerned with beauty. 
> Espada read from the poem "Explaining A Few Things," which has that 
> telling 'metaphor': "and the blood of children ran through the streets 
> / simply, like children's blood."
>  
> I wrote a while back on my blog, poetry that cuts ifself off from its 
> socio-political ties is in danger of becoming nothing more than 
> an intellectual luxury good.
> Finnegan
> http://ursprache.blogspot.com/
You an' me ain't never gone agree on this one, James.  What is better or 
more important than "an intellectual luxury good?"  Although I'd call 
poetry at its best "a sensio-viscero-intellectual good," along with 
music and painting and the dance.  I do believe that anyone upset with 
politicians should raise their voices against them--but in prose, with 
rational arguments, not with sentimentality, which all political poetry 
reduces to.  But,.to each his own. 

--Bob
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From rog3r.day at gmail.com  Mon Oct  8 16:42:23 2007
From: rog3r.day at gmail.com (Roger Day)
Date: Mon, 8 Oct 2007 21:42:23 +0100
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <d3e.150ca784.343ad971@aol.com>
References: <d3e.150ca784.343ad971@aol.com>
Message-ID: <fde503480710081342p6e611ae7rfc7eb956190482ea@mail.gmail.com>

as fellow brit
I can say with authority
Andrew Motion is a git

and 'tis a pity Poetry's a Whore

On 10/8/07, JforJames at aol.com <JforJames at aol.com> wrote:
>
>
> http://books.guardian.co.uk/poetry/features/0,,2183290,00.html
>
> 'Poetry can speak decisively to power'
>
> In the build-up to National Poetry Day this week, the poet laureate, Andrew
> Motion, spoke at a Poet in the City event in the House of Commons about the
> relationship between poetry and power. This is what he said.
>
> Thursday October 4, 2007
> Guardian Unlimited
>
> Andrew Motion: 'The sacred duty of poets is to tell the truth about humanity
> whatever those in authority have to say.' Photograph: Jane Bown
>
> Thank you very much for inviting me to speak about Poetry and Power; I'm
> happy to do this - especially because it means renewing my contact with Poet
> in the City, a terrific scheme run with wonderful energy and resourcefulness
> by Graham Henderson.
> Graham has asked me to do three things: to say something about the
> relationship between poetry and power in general; to say something about the
> relationship between power and the post of Poet Laureate that I occupy; and
> to read something which has to do with the subject. That's a lot in 10
> minutes, but here we go.
>
>
>
> ________________________________
> See what's new at AOL.com and Make AOL Your Homepage.
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>


-- 
My Stuff: http://www.badstep.net/
"In peace, sons bury their fathers. In war, fathers bury their sons."
Roman Proverb


From robin.hamilton2 at btinternet.com  Mon Oct  8 17:56:13 2007
From: robin.hamilton2 at btinternet.com (Robin Hamilton)
Date: Mon, 8 Oct 2007 22:56:13 +0100
Subject: [New-Poetry] 'Poetry can speak decisively to power'
References: <d3e.150ca784.343ad971@aol.com>
	<fde503480710081342p6e611ae7rfc7eb956190482ea@mail.gmail.com>
Message-ID: <001101c809f6$0ba50cb0$4001a8c0@CoreDuo>

> as fellow brit
> I can say with authority
> Andrew Motion is a git

I'd tend to use the term "prat", myself, Roger -- a total nonentity raised 
to prominence simply because of the position he holds (a bit like members of 
the royal family).

The list of "anyone but X" that let Motion in is rather distinguished, 
though.

Those in the frame who (for various reasons) weren't created Potes Lariat:

        U.A.Fanthorpe
        Derek Walcott
        Tony Harrison

... those are the three in my mind who should have formed the short list.

Dunno if Heaney was asked and refused -- can't see how there could be much 
objection to him, other than he's Eire rather than Northern Irish.

Sad times, but.  Oh, well, at least he's no longer for life.

(I hate to say it, but we do these things better in Scotland -- Edwin Morgan 
is National Makar, a choice I think few would quarrel with.  Even Bob 
Grumman would approve, I'd guess. <g>)

Robin 



From anny.ballardini at tin.it  Mon Oct  8 18:04:20 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 9 Oct 2007 00:04:20 +0200
Subject: [New-Poetry] 'Poetry can speak decisively to power'
References: <d3e.150ca784.343ad971@aol.com>
	<fde503480710081342p6e611ae7rfc7eb956190482ea@mail.gmail.com>
Message-ID: <00a101c809f7$2e03eb40$50d93052@ANNY>

down the church

From: "Roger Day" <rog3r.day at gmail.com>
Sent: Monday, October 08, 2007 10:42 PM


> as fellow brit
> I can say with authority
> Andrew Motion is a git
>
> and 'tis a pity Poetry's a Whore
>
> On 10/8/07, JforJames at aol.com <JforJames at aol.com> wrote:
>>
>>
>> http://books.guardian.co.uk/poetry/features/0,,2183290,00.html
>>
>> 'Poetry can speak decisively to power'
>>
>> In the build-up to National Poetry Day this week, the poet laureate, 
>> Andrew
>> Motion, spoke at a Poet in the City event in the House of Commons about 
>> the
>> relationship between poetry and power. This is what he said.
>>
>> Thursday October 4, 2007
>> Guardian Unlimited
>>
>> Andrew Motion: 'The sacred duty of poets is to tell the truth about 
>> humanity
>> whatever those in authority have to say.' Photograph: Jane Bown
>>
>> Thank you very much for inviting me to speak about Poetry and Power; I'm
>> happy to do this - especially because it means renewing my contact with 
>> Poet
>> in the City, a terrific scheme run with wonderful energy and 
>> resourcefulness
>> by Graham Henderson.
>> Graham has asked me to do three things: to say something about the
>> relationship between poetry and power in general; to say something about 
>> the
>> relationship between power and the post of Poet Laureate that I occupy; 
>> and
>> to read something which has to do with the subject. That's a lot in 10
>> minutes, but here we go.
>>
>>
>>
>> ________________________________
>> See what's new at AOL.com and Make AOL Your Homepage.
>> _______________________________________________
>> New-Poetry mailing list
>> New-Poetry at wiz.cath.vt.edu
>> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>>
>>
>
>
> -- 
> My Stuff: http://www.badstep.net/
> "In peace, sons bury their fathers. In war, fathers bury their sons."
> Roman Proverb
> _______________________________________________
> 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 Oct  8 19:00:37 2007
From: halvard at earthlink.net (Halvard Johnson)
Date: Mon, 8 Oct 2007 19:00:37 -0400
Subject: [New-Poetry] Third and last call for poetry submissions for Big
	Bridge 13 (Jan. '08)
Message-ID: <B6791B20-A8F7-4CD4-81AD-AC4C0698D23E@earthlink.net>

Friends and neighbors--

For a second (check out the first at http://www.bigbridge.org/ 
deathindex.htm )
mini-anthology of poems, this time inspired by/responding to/related to
Czeslaw Milosz's poem "Dedication" and/or the various wars/ 
insurgencies/etc. going
on in the world today, please send 1-6 poems to me at  
halvard at earthlink.net with the
words "Big Bridge" followed by your own name clearly in the subject  
line. Please,
when sending attachments, send all poems in a single attachment.

This mini-anthology will appear in the January issue of Big Bridge,  
and I'll
consider submissions of work received before the end of November.

Halvard Johnson
================
halvard at earthlink.net
http://home.earthlink.net/~halvard/index.html
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org
http://home.earthlink.net/~halvard/vidalocabooks.html



Dedication

You whom I could not save
Listen to me.
Try to understand this simple speech as I would be ashamed of another.
I swear, there is in me no wizardry of words.
I speak to you with silence like a cloud or a tree.

What strengthened me, for you was lethal.
You mixed up farewell to an epoch with the beginning of a new one,
Inspiration of hatred with lyrical beauty,
Blind force with accomplished shape.

Here is the valley of shallow Polish rivers. And an immense bridge
Going into white fog. Here is a broken city,
And the wind throws the screams of gulls on your grave
When I am talking with you.

What is poetry which does not save
Nations or people?
A connivance with official lies,
A song of drunkards whose throats will be cut in a moment,
Readings for sophomore girls.
That I wanted good poetry without knowing it,
That I discovered, late, its salutary aim,
In this and only this I find salvation.

They used to pour millet on graves or poppy seeds
To feed the dead who would come disguised as birds.
I put this book here for you, who once lived
So that you should visit us no more.

--Czeslaw Milosz, Warsaw, 1945

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From bobgrumman at nut-n-but.net  Mon Oct  8 21:09:27 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Mon, 08 Oct 2007 20:09:27 -0500
Subject: [New-Poetry] 'Poetry can speak decisively to power'
In-Reply-To: <001101c809f6$0ba50cb0$4001a8c0@CoreDuo>
References: <d3e.150ca784.343ad971@aol.com><fde503480710081342p6e611ae7rfc7eb956190482ea@mail.gmail.com>
	<001101c809f6$0ba50cb0$4001a8c0@CoreDuo>
Message-ID: <470AD4C7.3050800@nut-n-but.net>



Robin Hamilton wrote:
>> as fellow brit
>> I can say with authority
>> Andrew Motion is a git
>
> I'd tend to use the term "prat", myself, Roger -- a total nonentity 
> raised to prominence simply because of the position he holds (a bit 
> like members of the royal family).
>
> The list of "anyone but X" that let Motion in is rather distinguished, 
> though.
>
> Those in the frame who (for various reasons) weren't created Potes 
> Lariat:
>
>        U.A.Fanthorpe
>        Derek Walcott
>        Tony Harrison
>
> ... those are the three in my mind who should have formed the short list.
>
> Dunno if Heaney was asked and refused -- can't see how there could be 
> much objection to him, other than he's Eire rather than Northern Irish.
>
> Sad times, but.  Oh, well, at least he's no longer for life.
>
> (I hate to say it, but we do these things better in Scotland -- Edwin 
> Morgan is National Makar, a choice I think few would quarrel with.  
> Even Bob Grumman would approve, I'd guess. <g>)
>
> Robin

I'd have a heart attack.

--Bob



From JforJames at aol.com  Mon Oct  8 21:26:37 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Mon, 8 Oct 2007 21:26:37 EDT
Subject: [New-Poetry] 'Poetry can speak decisively to power'
Message-ID: <d53.1670e1ac.343c32cd@aol.com>

 
Reginald Shepherd tends to agree with you, though he uses the term  
'uselessness'...
_http://reginaldshepherd.blogspot.com/_ 
(http://reginaldshepherd.blogspot.com/) 
A  citizen-baker might bake pretzels shaped like peace signs. A 
citizen-barber  might shave his head. A citizen-artist might paints Guernica. People will  
often protest injustices or rail against barbarous policies in way  that 
relates to some skill/trade they possess. Citizen-poets, of  course, might well 
write political poems. Efficacy is beside the point. 
 
Meanwhile, the citizen-gunmaker may be boring rifle barrels in his  basement, 
which in the end may prove quite efficacious to the struggle,   but which may 
not be the means others would choose.
Finnegan
 
In a message dated 10/8/2007 4:37:17 PM Eastern Daylight Time,  
bobgrumman at nut-n-but.net writes:


--
The 'sacred' bit might be carrying things too far, but poets  traditionally, 
being word-slingers, have seen the need if not a duty to be a  vocal force for 
change when they feel their government has gone badly  awry. The word 'force' 
may be overstating the immediate effect  of their language acts, but if one 
believes in the  cummulative force of small acts, then the poems they write 
matter  as much as letters to the editor or handwritten placards carried  in a 
march or a celebrity wearing a peace-sign on his lapel at a photo  op. 
As we have witnessed in recent years under Bush-Cheney doctrine, there  are 
too many examples of the failure of "authorities to do right by  humanity," for 
certain citizen-poets to stand silently by. 

Yesterday at our downtown library, Martin  Espada gave a talk on Neruda. He 
spoke about Neruda's politicalization  during 1930s, his turning away from a 
poetry that was primarily concerned  with beauty. Espada read from the poem  
"Explaining A Few Things," which has that telling 'metaphor': "and the blood  of 
children ran through the streets / simply, like children's  blood."
 
I wrote a while back on my blog, poetry  that cuts ifself off from its 
socio-political ties is in danger of becoming  nothing more than an intellectual 
luxury good.
Finnegan
_http://ursprache.blogspot.com/_ (http://ursprache.blogspot.com/) 


You  an' me ain't never gone agree on this one, James.  What is better or 
more  important than "an intellectual luxury good?"  Although I'd call poetry  at 
its best "a sensio-viscero-intellectual good," along with music and  painting 
and the dance.  I do believe that anyone upset with politicians  should raise 
their voices against them--but in prose, with rational arguments,  not with 
sentimentality, which all political poetry reduces to.  But,.to  each his own.  
 

--Bob


_______________________________________________
New-Poetry  mailing  list
New-Poetry at wiz.cath.vt.edu
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry


 



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From JforJames at aol.com  Mon Oct  8 21:34:31 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Mon, 8 Oct 2007 21:34:31 EDT
Subject: [New-Poetry] Stevens as a war poet?
Message-ID: <cfe.18f135a7.343c34a7@aol.com>

 
Two nights ago, _The Friends & Enemies of Wallace Stevens_ 
(http://www.wesleyan.edu/wstevens/stevens.html)  with the  Hartford Public Library had James 
Longenbach as our guest speaker. His talk was  entitled "An Examination of 
Wallace Stevens in a Time of War." Generally,  Longenbach's thesis was that Stevens 
did care about what was happening around  him in the world, and that he used 
his poetry not as evasion but as way to  inflect and to change those impinging 
circumstances of existence. Longenbach,  using the example of the composition 
of one his own poems, told about how a box  of paperclips had been one of the 
poem's triggering elements. However,  Longenbach choose not to make that 
specific thing an image in the poem. The  imagination would not be pinned to that 
particular reality.

A key quote  in the talk was this one from Opus Posthumous:

"The pressure of  the contemporaneous from the time of the beginning of the 
World War to the  present time has been constant and extreme. No one can have 
lived apart in a  happy oblivion."

Stevens goes on to state:

"In poetry, to that  extent, the subject is not the contemporaneous, because 
that is only the nominal  subject, but the poetry of the contemporaneous. 
Resistance to the pressure of  ominous and destructive circumstance consists of 
its conversion, so far as  possible, into a different, an explicable, an 
amenable circumstance." 
-- 
Finnegan 




************************************** See what's new at http://www.aol.com
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From editor at eratiopostmodernpoetry.com  Tue Oct  9 11:12:35 2007
From: editor at eratiopostmodernpoetry.com (editor at eratiopostmodernpoetry.com)
Date: Tue, 9 Oct 2007 11:12:35 -0400
Subject: [New-Poetry] CHICAGO POETS READ FROM The City Visible: Chicago
	Poetry for the New Century
Message-ID: <200710091512.l99FCZDr004575@mail29.atl.registeredsite.com>

CHICAGO POETS READ FROM The City Visible: Chicago Poetry for the New 
Century

Cracked Slab Books is pleased to announce a reading by poets of its new 
anthology, The City Visible: Chicago Poetry for the New Century, on October 
20th at 7:00 p.m. at 3617 W Belle Plaine Ave. (Gethsemane Evangelical 
Church?yes, in the church).

The readers will include:

Nick Twemlow ? Robyn Schiff ? Johanny V?zquez Paz ? Joel Felix ? Peter 
O'Leary ? Garin Cycholl ? Chris Glomski ? Simone Muench ? Cynthia Bond ? 
Kristy Odelius ? Lina Vitkauskas ? Larry Sawyer ? William Allegrezza ? Jorge 
Sanchez ? Tony Trigilio ? Jennifer Karmin ? Ray Bianchi ? Kerri Sonnenberg ? 
Eric Elshtain

Admission:  $5 (or $15 dollars if you want a copy of the anthology?its retail 
value is $22.95)

 
For more information, contact editor at crackedslabbooks.com or call 312
-342-7337.   For the book, see crackedslabbooks.com or visit amazon.com.

 
About The City Visible:

Edited by Ray Bianchi and William Allegrezza, this anthology brings together a 
sampling of some of the best poets working in Chicago and the surrounding 
region. From all corners of the city, these poets are crafting a voice for 
Chicago literature in the new century.

The book contains work from the following poets:

Jennifer Scappettone * Suzanne Buffam * Srikanth Reddy * Robyn Schiff * Nick 
Twemlow * John Tipton * Eric Elshtain * David Pavelich * Peter O'Leary * 
William Fuller * Michael O'Leary * Mark Tardi * Erica Bernheim * Michael 
Antonucci * Chris Glomski * Garin Cycholl * Luis Urrea * Kristy Odelius * Lina 
Ramona Vitkauskas * Simone Muench * Lea Graham * Ed Roberson * Arielle 
Greenberg * Tony Trigilio * Shin Yu Pai * Dan Beachy-Quick * Maxine Chernoff 
* Kerri Sonnenberg * Jesse Seldess * Paul Hoover * Michelle Taransky * Robert 
Archambeau * Bill Marsh * Larry Sawyer * Cecilia Pinto * Johanny V?zquez Paz 
* Ela Kotkowska * Jorge Sanchez * Joel Craig * Daniel Borzutzky * Joel Felix * 
Raymond Bianchi * Cynthia Bond * William Allegrezza * Jennifer Karmin * Tim 
Yu * Laura Sims * Roberto Harrison * Brenda C?rdenas * Stacy Szymaszek * 
Chuck Stebelton * Jordan Stempleman.

Praise for the Anthology:

When Carl Sandburg asked in his Chicago Poems, close to a hundred years 
ago, for "a voice to speak to me in the day end, / A hand to touch me in the 
dark room / Breaking the long loneliness," little did he know his city would be 
so fully and livingly answered and so honored. Chicago is again transformed 
by poetry. Here in these myriad acts of imagination, the poets of The City 
Visible give to it again, in Shakespeare's terms, :a local habitation and a 
name."

Peter Gizzi

The most exciting and satisfying anthology I've acquired in the past month is 
The City Visible: Chicago Poetry for the New Century . . . It not only is easily 
the best anthology I've ever seen that tried to capture the lively scene of the 
Second City, but it's a worthy companion to Stephanie Young's Bay Poetics, 
which for my money is the gold standard in contemporary poetry anthologies, 
especially ones that offer a regional focus.

Ron Silliman


For Bill Allegrezza, posted by Gregory St. Thomasino




From letitia.trent at gmail.com  Tue Oct  9 16:49:48 2007
From: letitia.trent at gmail.com (L Trent)
Date: Tue, 9 Oct 2007 16:49:48 -0400
Subject: [New-Poetry] Sixth Issue of 21 Stars Review
Message-ID: <e50ab58e0710091349n351a2929gb03c1c5ea04d1c27@mail.gmail.com>

The sixth issue of 21 Stars Review, featuring work by Mark Baumer, Jeff
Calhoun, Catie Crabtree, Mark Cunningham, Adam Elgar, Daniel Gallick,
Michael K. Gause, Joseph Goosey, Steve Himmer, Tammy Ho, Jane Ormerod,
Amanda Silbernagel, and Christian Tablazon, is now live:

 http://www.sundress.net/21stars



Our submission period has reopened as of the beginning of September. We
would love to read work that uses constraints, innovative meter and form, or
carefully executed collage/cut-up techniques. We welcome submissions of both
poetry and prose (or anything in between), and we are particularly
interested in reading prose submissions for our next issue (ideally of under
1,000 words). See our submission guidelines for more details:
http://www.sundress.net/21stars/submit.htm
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From r_loden at sbcglobal.net  Wed Oct 10 08:29:42 2007
From: r_loden at sbcglobal.net (Rachel Loden)
Date: Wed, 10 Oct 2007 05:29:42 -0700
Subject: [New-Poetry] recently on wordstrumpet: the longfellow of philosophy
	&c.
Message-ID: <004201c80b39$3c4d7610$220110ac@GLASSCASTLE>


http://wordstrumpet.blogspot.com/


    * The Longfellow of Philosophy : the infamous Georg Kreisel on
Wittgenstein's anxieties

    * In the Vale of Poem-Making : humiliations and discoveries

    * 'Guillaume Apollinaire is Dead' : Jasper Johns and _The Sonnets_

    * The Library of Missing Books : a secret Alexandria

    * Poetic License and the Powers That Be : "Prizes are for boys" (Charles
Ives)




From jforjames at aol.com  Wed Oct 10 17:04:19 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 10 Oct 2007 17:04:19 -0400
Subject: [New-Poetry] recently on wordstrumpet: the longfellow of
	philosophy &c.
In-Reply-To: <004201c80b39$3c4d7610$220110ac@GLASSCASTLE>
References: <004201c80b39$3c4d7610$220110ac@GLASSCASTLE>
Message-ID: <8C9D9984276CC32-10E8-1D4F@FWM-M13.sysops.aol.com>

I not sure where I read it, but Wittgenstein was said to have enjoyed reading the poetry of Rabindranath Tagore...
http://www.schoolofwisdom.com/tagore-bio.html
By 'Longfellow of Philosophy', do you think he means: Well-regarded by the general reader, but less well thought of by other philosophers?
Finnegan

-----Original Message-----
From: Rachel Loden <r_loden at sbcglobal.net>
Bcc: jforjames at aol.com
Sent: Wed, 10 Oct 2007 8:29 am
Subject: [New-Poetry] recently on wordstrumpet: the longfellow of philosophy &c.




http://wordstrumpet.blogspot.com/


    * The Longfellow of Philosophy : the infamous Georg Kreisel on
Wittgenstein's anxieties

    * In the Vale of Poem-Making : humiliations and discoveries

    * 'Guillaume Apollinaire is Dead' : Jasper Johns and _The Sonnets_

    * The Library of Missing Books : a secret Alexandria

    * Poetic License and the Powers That Be : "Prizes are for boys" (Charles
Ives)




________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From Opus40-01 at opus40.org  Thu Oct 11 01:06:24 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Thu, 11 Oct 2007 01:06:24 -0400
Subject: [New-Poetry] Online vs Print, again
Message-ID: <470DAF50.9050100@opus40.org>

An exchange I recently had with George Simmers, editor of Snakeskin, a 
British online journal that's published a few poems of mine:

Mole:
 George -- I send out announcements of my online publications to a 
mailing list of about 300 people, and apparently it reaches farther than 
that. I ran into someone I knew from years ago at an art opening
recently, and he told me someone had passed on the Snakeskin link to him 
-- he'd checked it out, and read not only my poem but the rest of the 
issue, and loved all of it.

George:
Thanks - that's good to know. Some months I wonder whether we're getting 
through to anyone much, and then comes feedback like this to show that 
it's all worth doing.

It's always nice to have feedback to show that it's all worth doing. I 
wish my life would have some. But any thoughts on this in the 
print-vs.-online debate? My family doesn't even read the print journals 
I'm in. But at least most of the people on my mailing list -- and some 
that it gets passed along to -- read at least my poems in online 
journals, and as we see here, at least sometimes they read more.

This in itself doesn't usher in a new golden age of readers for poetry, 
but it's a group of readers that almost certainly would not be there 
otherwise.

Does anyone else here send out similar announcements? Any feedback? Any 
thoughts on the value of this sort of audience building?



-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From r_loden at sbcglobal.net  Thu Oct 11 11:04:02 2007
From: r_loden at sbcglobal.net (Rachel Loden)
Date: Thu, 11 Oct 2007 08:04:02 -0700
Subject: [New-Poetry] recently on wordstrumpet: the longfellow
	ofphilosophy &c.
In-Reply-To: <8C9D9984276CC32-10E8-1D4F@FWM-M13.sysops.aol.com>
Message-ID: <003901c80c17$f5edc280$220110ac@GLASSCASTLE>

<By 'Longfellow of Philosophy', do you think he means: Well-regarded by the
general reader, but less well thought of by other philosophers?>

Hi Jim,

That's probably pretty close to what he seems to have meant -- but the essay
I'll quote from tomorrow on wordstrumpet (written by his close associate)
throws a bit more light. No time to type it in today so hope you can check
back at the blog.

I was crazy about Tagore in my teens! Will check that site.

Rachel

http://wordstrumpet.blogspot.com/


________________________________

	From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of jforjames at aol.com
	Sent: Wednesday, October 10, 2007 2:04 PM
	To: new-poetry at wiz.cath.vt.edu
	Subject: Re: [New-Poetry] recently on wordstrumpet: the longfellow
ofphilosophy &c.
	
	
	I not sure where I read it, but Wittgenstein was said to have
enjoyed reading the poetry of Rabindranath Tagore...
	http://www.schoolofwisdom.com/tagore-bio.html
	By 'Longfellow of Philosophy', do you think he means: Well-regarded
by the general reader, but less well thought of by other philosophers?
	Finnegan
	
	-----Original Message-----
	From: Rachel Loden <r_loden at sbcglobal.net>
	Bcc: jforjames at aol.com
	Sent: Wed, 10 Oct 2007 8:29 am
	Subject: [New-Poetry] recently on wordstrumpet: the longfellow of
philosophy &c.
	
	
	
	http://wordstrumpet.blogspot.com/
	
	
	    * The Longfellow of Philosophy : the infamous Georg Kreisel on
	Wittgenstein's anxieties
	
	    * In the Vale of Poem-Making : humiliations and discoveries
	
	    * 'Guillaume Apollinaire is Dead' : Jasper Johns and _The
Sonnets_
	
	    * The Library of Missing Books : a secret Alexandria
	
	    * Poetic License and the Powers That Be : "Prizes are for boys"
(Charles
	Ives)
	
	
	
________________________________

	Email and AIM finally together. You've gotta check out free AOL Mail
<http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/index.htm?ncid=A
OLAOF00020000000970> !
	




From r_loden at sbcglobal.net  Thu Oct 11 11:36:16 2007
From: r_loden at sbcglobal.net (Rachel Loden)
Date: Thu, 11 Oct 2007 08:36:16 -0700
Subject: [New-Poetry] accessing the strumpet (ignore unless you're having
	trouble getting to the site)
Message-ID: <005201c80c1c$76a52090$220110ac@GLASSCASTLE>

Please forgive the question, but I received the following msg this morning
and am wondering whether anybody else is having trouble seeing wordstrumpet:

<<Rachel, when I try to open your blog I get the picture of Witt. and
then can't scroll down; the page doesn't load.

I've checked 3 or 4 times over the last two days.

Any advice?  Has anyone else been having problems?>>

http://wordstrumpet.blogspot.com/

If you're having a hard time getting to the site, I'd be very grateful to
hear.

Rachel

P.S. I guess backchannel is best.







From wwmorgan at ilstu.edu  Thu Oct 11 14:08:01 2007
From: wwmorgan at ilstu.edu (Bill Morgan)
Date: Thu, 11 Oct 2007 13:08:01 -0500
Subject: [New-Poetry] Online vs Print, again--Mailing Lists
In-Reply-To: <470DAF50.9050100@opus40.org>
References: <470DAF50.9050100@opus40.org>
Message-ID: <005701c80c31$aa00a940$fe01fbc0$@edu>

Mole asks:

"Does anyone else here send out similar announcements? Any feedback? Any
thoughts on the value of this sort of audience building?"


Yes, I keep a mailing list, and whenever something of mine appears in an
on-line journal, I send out a notice with a link.  

But the same people will have seen the poem before, since I also send
just-finished but not yet published poems to the same list--made up of
fellow-poets, friends, and family members.  That list serves as a sort of
final shot at workshopping plus a way of letting friends and family know
what I'm up to (saves writing letters).  It also gives me a sense of being
read by at least some few.  

So I guess the notice with a link to the URL might be audience-building for
the other poets in the on-line journal, but not for me.  

Bill Morgan




From anny.ballardini at tin.it  Thu Oct 11 16:11:59 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 11 Oct 2007 22:11:59 +0200
Subject: [New-Poetry] Online vs Print, again 
References: <470DAF50.9050100@opus40.org>
Message-ID: <008501c80c42$fb012430$3ea83452@ANNY>

you can skip this mail, it is just so depressing.

What a difficult question Mole, I am just so depressed. Already 10pm and I 
thought I was going to do I can't even remember what and now this difficult 
question, I am sure someone is persecuting me. That's what it is, 
persecution. And such a difficult question. In the middle of the week. Just 
so depressing.


From: "TheOldMole" <Opus40-01 at opus40.org>
Sent: Thursday, October 11, 2007 7:06 AM


> An exchange I recently had with George Simmers, editor of Snakeskin, a 
> British online journal that's published a few poems of mine:
>
> Mole:
> George -- I send out announcements of my online publications to a mailing 
> list of about 300 people, and apparently it reaches farther than that. I 
> ran into someone I knew from years ago at an art opening
> recently, and he told me someone had passed on the Snakeskin link to 
> him -- he'd checked it out, and read not only my poem but the rest of the 
> issue, and loved all of it.
>
> George:
> Thanks - that's good to know. Some months I wonder whether we're getting 
> through to anyone much, and then comes feedback like this to show that 
> it's all worth doing.
>
> It's always nice to have feedback to show that it's all worth doing. I 
> wish my life would have some. But any thoughts on this in the 
> print-vs.-online debate? My family doesn't even read the print journals 
> I'm in. But at least most of the people on my mailing list -- and some 
> that it gets passed along to -- read at least my poems in online journals, 
> and as we see here, at least sometimes they read more.
>
> This in itself doesn't usher in a new golden age of readers for poetry, 
> but it's a group of readers that almost certainly would not be there 
> otherwise.
>
> Does anyone else here send out similar announcements? Any feedback? Any 
> thoughts on the value of this sort of audience building?
>
>
>
> -- 
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
> 




From anny.ballardini at tin.it  Thu Oct 11 16:19:40 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 11 Oct 2007 22:19:40 +0200
Subject: [New-Poetry] Online vs Print, again 
References: <470DAF50.9050100@opus40.org> <008501c80c42$fb012430$3ea83452@ANNY>
Message-ID: <009801c80c44$0dc828b0$3ea83452@ANNY>

I am not depressed any more! 

I just received a mail from Karl Young to read his comment on 
http://womenoftheweb.blogspot.com/2007/09/anny-ballardini.html

to which I would like to add my deeply felt thanks to _my OldMole_, also to Frank Parker and Snezana who are not on this list.

You see Mole, someone sometimes reads something... :-)

From: "Anny Ballardini" <anny.ballardini at tin.it>
Sent: Thursday, October 11, 2007 10:11 PM


> you can skip this mail, it is just so depressing.
> 
> What a difficult question Mole, I am just so depressed. Already 10pm and I 
> thought I was going to do I can't even remember what and now this difficult 
> question, I am sure someone is persecuting me. That's what it is, 
> persecution. And such a difficult question. In the middle of the week. Just 
> so depressing.
> 
> 
> From: "TheOldMole" <Opus40-01 at opus40.org>
> Sent: Thursday, October 11, 2007 7:06 AM
> 
> 
>> An exchange I recently had with George Simmers, editor of Snakeskin, a 
>> British online journal that's published a few poems of mine:
>>
>> Mole:
>> George -- I send out announcements of my online publications to a mailing 
>> list of about 300 people, and apparently it reaches farther than that. I 
>> ran into someone I knew from years ago at an art opening
>> recently, and he told me someone had passed on the Snakeskin link to 
>> him -- he'd checked it out, and read not only my poem but the rest of the 
>> issue, and loved all of it.
>>
>> George:
>> Thanks - that's good to know. Some months I wonder whether we're getting 
>> through to anyone much, and then comes feedback like this to show that 
>> it's all worth doing.
>>
>> It's always nice to have feedback to show that it's all worth doing. I 
>> wish my life would have some. But any thoughts on this in the 
>> print-vs.-online debate? My family doesn't even read the print journals 
>> I'm in. But at least most of the people on my mailing list -- and some 
>> that it gets passed along to -- read at least my poems in online journals, 
>> and as we see here, at least sometimes they read more.
>>
>> This in itself doesn't usher in a new golden age of readers for poetry, 
>> but it's a group of readers that almost certainly would not be there 
>> otherwise.
>>
>> Does anyone else here send out similar announcements? Any feedback? Any 
>> thoughts on the value of this sort of audience building?
>>
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From anny.ballardini at tin.it  Thu Oct 11 17:08:09 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 11 Oct 2007 23:08:09 +0200
Subject: [New-Poetry] Fw: I WANT THIS BACK - IT WORKS
Message-ID: <00cc01c80c4a$d41e5510$3ea83452@ANNY>

I know it is not poetry, but you are so many I might really have wishes fulfilled this time 


    I HOPE THIS WORKS!! 
           




          Hope the Leprechaun dances his jig for you!

          I had to forward this, my mom swears it works. The day after she sent it, they got an offer on their land on the Swannee river, they have'nt even seen that land since 1987. It came out of the blue. So you know that I'm going to try it. 
          Love Kim

          Not sure i f this had anything to do with it but it was shortly after I sent this out - I got a call to say our bond was approved - against all odds. 

          I don't know if it works but i won a new fridge full of various cool drinks from Beyer And Beyer < /FONT> last week. 

          I do not kno w if it works, but I won a microwave yesterday Seems like it Hey !! 




           


          Good luck to everyone! And may all your dreams come true!! 
          --- This may sound nuts, but my hus band got this the other day and sent it off. About 10 minutes later a really good financial windfall happened for his son Sean who he had sent it too as well. One of the people he sent it to was responsible for the windfall. 

          AN IRISH FRIENDSHIP WISH 


          Good Luck!! 

          I hope it works...

          May there always be work for your hands to do; 

          May your purse always hold a coin  or two; 

          May the sun always shine on your windowpane;  

          May a rainbow be certain to follow each rain; 

          May the hand of a friend always be near you;  

          May God fill your heart with gladness to cheer you.  


          OK, this is what you have to do... 

          Send this to all of your friends!  But - you HAVE to send this within 1 hour  

          from when you open it! 

          Now................Make A wish!!!!!!  

          I hope you made your wish! Now then, if you send to:

          1 person --- your wish will be granted in 1 year

          3 people --- 6 months

          5 people --- 3 months 

          6 people --- 1 month

          7 people --- 2 weeks 

          8 people --- 1 week 

          9 people --- 5 days 

          10 people --- 3 days 

          12 ! people - -- 2 days 
          15 people --- 1 day 

          20 people --- 3 hours

          If you delete this after you read it . you will have 1 year of bad luck! But .. if you send it 2 

          of your friends you will automatically have 3 years of good luck!!! :-)

            ?

            ?

            ?

----------------------------------------------------------------------------

    Email and AIM finally together. You've gotta check out free AOL Mail!









--------------------------------------------------------------------------------
Email and AIM finally together. You've gotta check out free AOL Mail!
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From JforJames at aol.com  Fri Oct 12 11:40:43 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Fri, 12 Oct 2007 11:40:43 EDT
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
Message-ID: <c5e.1fb815fe.3440ef7b@aol.com>

_http://www.nationalbook.org/nba2007.html_ 
(http://www.nationalbook.org/nba2007.html) 
 
Linda Gregerson, Magnetic North (Houghton Mifflin Company)
Robert Hass,  Time and Materials (Ecco/HarperCollins)
David Kirby, The House on Boulevard  St. (Louisiana State University Press)
Stanley Plumly, Old Heart (W.W. Norton  & Company)
Ellen Bryant Voigt, Messenger: New and Selected Poems  1976-2006 
(W.W. Norton & Company)
 
Poetry Judges: Charles Simic (chair), Linda Bierds, David St. John,  
Vijay Seshadri, and Natasha Trethewey. 




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From grahamd at ripon.edu  Fri Oct 12 11:54:17 2007
From: grahamd at ripon.edu (David Graham)
Date: Fri, 12 Oct 2007 11:54:17 -0400
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <c5e.1fb815fe.3440ef7b@aol.com>
References: <c5e.1fb815fe.3440ef7b@aol.com>
Message-ID: <499E081D-A54B-4F12-9A7E-6876867A2096@ripon.edu>

Quite a worthy list of nominees, and I'm glad not to be judging.   
I've just been reading Hass's volume, and I agree with the reviewers  
who say it's the best, most varied collection he's put out in a long  
time.  Haven't seen Plumly's yet, but no doubt it's up to his usual  
standards.  It'd be nice to see Voigt get the recognition she's  
always deserved, too.

But my sentimental money is on David Kirby, whose book is the  
funniest, most charmingly readable thing I've seen in many years.   
He's put the ultra in ultra-talk for sure, and plenty of readers will  
think his stuff is just not poetry, which may be one mark of its  
distinction.


========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



On Oct 12, 2007, at 11:40 AM, JforJames at aol.com wrote:

> http://www.nationalbook.org/nba2007.html
>
> Linda Gregerson, Magnetic North (Houghton Mifflin Company)
> Robert Hass, Time and Materials (Ecco/HarperCollins)
> David Kirby, The House on Boulevard St. (Louisiana State University  
> Press)
> Stanley Plumly, Old Heart (W.W. Norton & Company)
> Ellen Bryant Voigt, Messenger: New and Selected Poems 1976-2006
> (W.W. Norton & Company)
>
> Poetry Judges: Charles Simic (chair), Linda Bierds, David St. John,
> Vijay Seshadri, and Natasha Trethewey.
>
>
>
> See what's new at AOL.com and Make AOL Your Homepage.
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry

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From JforJames at aol.com  Fri Oct 12 12:17:49 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Fri, 12 Oct 2007 12:17:49 EDT
Subject: [New-Poetry] =?iso-8859-1?q?Victor_Segalen=2C_St=E8les?=
Message-ID: <bce.203088b4.3440f82d@aol.com>

_http://www.sfbg.com/printable_entry.php?entry_id=4293_ 
(http://www.sfbg.com/printable_entry.php?entry_id=4293) 
 
Symbolist-modernist Victor Segalen's St?les explores empires of self and  
other
By Garrett Caples
 

O you, will you not translate yourselves?
-- Victor Segalen,  St?les
 

The short life of late symbolist and early modernist writer Victor  Segalen 
(1878-1919) was at least as extraordinary as the works he bequeathed to  
posterity.




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From r_loden at sbcglobal.net  Fri Oct 12 12:52:58 2007
From: r_loden at sbcglobal.net (Rachel Loden)
Date: Fri, 12 Oct 2007 09:52:58 -0700
Subject: [New-Poetry] longfellow of philosophy part two
In-Reply-To: <003901c80c17$f5edc280$220110ac@GLASSCASTLE>
Message-ID: <00a101c80cf0$586d6db0$220110ac@GLASSCASTLE>

Jim and anyone else interested,

The second part of my post is up now, with a possible answer to your
question, and I think (or at least hope) that it comes out in some
unexpected places:

"But it also makes one wonder, somewhat tantalizingly: which stylistic tics
(or other self-important bits of business) might be blinding poets to their
irrelevance or just-plain awfulness today? And which of their contemporaries
- poets, editors, critics - might be embracing them for exactly that shtick,
and those gimmicks?"

http://wordstrumpet.blogspot.com/

Rachel

> -----Original Message-----
> From: new-poetry-bounces at wiz.cath.vt.edu 
> [mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of Rachel Loden
> Sent: Thursday, October 11, 2007 8:04 AM
> To: 'NewPoetry: Contemporary Poetry News &amp;Views'
> Subject: RE: [New-Poetry] recently on wordstrumpet: the 
> longfellowofphilosophy &c.
> 
> <By 'Longfellow of Philosophy', do you think he means: 
> Well-regarded by the
> general reader, but less well thought of by other philosophers?>
> 
> Hi Jim,
> 
> That's probably pretty close to what he seems to have meant 
> -- but the essay
> I'll quote from tomorrow on wordstrumpet (written by his 
> close associate)
> throws a bit more light. No time to type it in today so hope 
> you can check
> back at the blog.
> 
> I was crazy about Tagore in my teens! Will check that site.
> 
> Rachel
> 
> http://wordstrumpet.blogspot.com/
> 
> 
> ________________________________
> 
> 	From: new-poetry-bounces at wiz.cath.vt.edu
> [mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of 
> jforjames at aol.com
> 	Sent: Wednesday, October 10, 2007 2:04 PM
> 	To: new-poetry at wiz.cath.vt.edu
> 	Subject: Re: [New-Poetry] recently on wordstrumpet: the 
> longfellow
> ofphilosophy &c.
> 	
> 	
> 	I not sure where I read it, but Wittgenstein was said to have
> enjoyed reading the poetry of Rabindranath Tagore...
> 	http://www.schoolofwisdom.com/tagore-bio.html
> 	By 'Longfellow of Philosophy', do you think he means: 
> Well-regarded
> by the general reader, but less well thought of by other philosophers?
> 	Finnegan
> 	
> 	-----Original Message-----
> 	From: Rachel Loden <r_loden at sbcglobal.net>
> 	Bcc: jforjames at aol.com
> 	Sent: Wed, 10 Oct 2007 8:29 am
> 	Subject: [New-Poetry] recently on wordstrumpet: the 
> longfellow of
> philosophy &c.
> 	
> 	
> 	
> 	http://wordstrumpet.blogspot.com/
> 	
> 	
> 	    * The Longfellow of Philosophy : the infamous Georg 
> Kreisel on
> 	Wittgenstein's anxieties
> 	
> 	    * In the Vale of Poem-Making : humiliations and discoveries
> 	
> 	    * 'Guillaume Apollinaire is Dead' : Jasper Johns and _The
> Sonnets_
> 	
> 	    * The Library of Missing Books : a secret Alexandria
> 	
> 	    * Poetic License and the Powers That Be : "Prizes 
> are for boys"
> (Charles
> 	Ives)
> 	
> 	
> 	
> ________________________________
> 
> 	Email and AIM finally together. You've gotta check out 
> free AOL Mail
> <http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/in
> dex.htm?ncid=A
> OLAOF00020000000970> !
> 	
> 
> 
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
> 



From Opus40-01 at opus40.org  Fri Oct 12 15:49:47 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Fri, 12 Oct 2007 15:49:47 -0400
Subject: [New-Poetry] Alice Notley
Message-ID: <470FCFDB.7060504@opus40.org>

reviewed in the NY Times.

http://www.nytimes.com/2007/10/14/books/review/Brouwer-t.html?_r=1&8bu&emc=bu&oref=slogin


-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From AlMaginnes at aol.com  Fri Oct 12 15:58:54 2007
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Fri, 12 Oct 2007 15:58:54 EDT
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
Message-ID: <be5.18839e6a.34412bfe@aol.com>

I say this every time it seems, but with most of the poetry in this country  
being published by small presses, why are the prizes always so loaded with New 
 York presses. I don't have a quibble about any of the nominees, although I 
think  Kirby is way overrated, but did Pittsburgh or Copper Canyon or Arkansas 
or any  of the many, many other small presses around the country not publish 
any books  worthy of being in the finalists. I'm just not ready to accept that 
New York has  cornered the quality in the poetry world.
 
 



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From bobgrumman at nut-n-but.net  Fri Oct 12 18:06:05 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Fri, 12 Oct 2007 17:06:05 -0500
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <c5e.1fb815fe.3440ef7b@aol.com>
References: <c5e.1fb815fe.3440ef7b@aol.com>
Message-ID: <470FEFCD.9090503@nut-n-but.net>

Makes me giddy with delight at the range of poets, publishers, poetry.

--Bob G.



From grahamd at ripon.edu  Fri Oct 12 17:13:53 2007
From: grahamd at ripon.edu (David Graham)
Date: Fri, 12 Oct 2007 17:13:53 -0400
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <be5.18839e6a.34412bfe@aol.com>
References: <be5.18839e6a.34412bfe@aol.com>
Message-ID: <1DF74B14-CB6E-489C-873B-4147CE42A588@ripon.edu>

I do love Kirby's poetry, and so I don't think he's overrated.  But I  
certainly agree that New York isn't the center of literary quality,  
and that the university presses and little presses elsewhere are  
publishing a lot of the most interesting work these days.  I think  
not only of Pittsburgh & LSU, but also Graywolf, Sarabande, Tupelo,  
Four Way, Backwaters, Steel Toe, Ghost Road, & many others.

But I'd love to hear specific names & titles, from Al & anyone else:   
what books of prize quality were published in 2007 but do not appear  
on the nominee list?


========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



On Oct 12, 2007, at 3:58 PM, AlMaginnes at aol.com wrote:

> I say this every time it seems, but with most of the poetry in this  
> country being published by small presses, why are the prizes always  
> so loaded with New York presses. I don't have a quibble about any  
> of the nominees, although I think Kirby is way overrated, but did  
> Pittsburgh or Copper Canyon or Arkansas or any of the many, many  
> other small presses around the country not publish any books worthy  
> of being in the finalists. I'm just not ready to accept that New  
> York has cornered the quality in the poetry world.
>
>
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From AlMaginnes at aol.com  Fri Oct 12 18:05:35 2007
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Fri, 12 Oct 2007 18:05:35 EDT
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
Message-ID: <bd0.1b2b7d97.344149af@aol.com>

Kirby's poems are, for me, highly entertaining the first time I read them,  
but don't give me much reason to come back for seconds. Kind of a less  
scholarly Goldbarth. 
 
Speaking of whom, I would certainly have been happy to see his new and  
selected THE KITCHEN SINK from Graywolf get a nod. Also, Leslie Adrienne  Miller's 
The Resurrection Trade, also from Graywolf. Philip Terman's Rabbis of  the Air 
from Autumn House is a delight and deserves more attention than  it's 
getting. Rebecca McClanahan's Deep Light: New and Selected from Iris Press  is 
wonderful. Give me an hour or two and I'll think of  others.



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From bobgrumman at nut-n-but.net  Fri Oct 12 19:58:16 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Fri, 12 Oct 2007 18:58:16 -0500
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <bd0.1b2b7d97.344149af@aol.com>
References: <bd0.1b2b7d97.344149af@aol.com>
Message-ID: <47100A18.9050401@nut-n-but.net>

Just to keep the whining going, Al, you should know that to me the 
presses publishing these books you like are what the publishers whose 
poets are up for the Nat. Book Awards are to you.

--Bob G.



From AlMaginnes at aol.com  Fri Oct 12 19:04:30 2007
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Fri, 12 Oct 2007 19:04:30 EDT
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
Message-ID: <cb4.1e8c78c9.3441577e@aol.com>

I know Bob, but, hell, I can't understand mathematical visual  poetry.



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From bobgrumman at nut-n-but.net  Sat Oct 13 07:22:57 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sat, 13 Oct 2007 06:22:57 -0500
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <cb4.1e8c78c9.3441577e@aol.com>
References: <cb4.1e8c78c9.3441577e@aol.com>
Message-ID: <4710AA91.5070502@nut-n-but.net>



AlMaginnes at aol.com wrote:
> I know Bob, but, hell, I can't understand mathematical visual poetry.

Well, the micropress publishes a lot more than that.  And even if you 
didn't understand anything it published, you should still be for its 
recognition, yes?

--Bob
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From grahamd at ripon.edu  Sat Oct 13 08:45:00 2007
From: grahamd at ripon.edu (David Graham)
Date: Sat, 13 Oct 2007 08:45:00 -0400
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <bd0.1b2b7d97.344149af@aol.com>
References: <bd0.1b2b7d97.344149af@aol.com>
Message-ID: <500CC238-4E10-4B56-A8D2-2C745B14AFFB@ripon.edu>

Al, et al.--


Goldbarth's new-and-selected would definitely be on my 2007 short  
list, as would Graywolf Press.

Other books that impressed me in 2007 (not sure they all have an 07  
pub date) would include Aaron Anstett's *Each Place the Body's*, from  
Ghost Road; Ander Monson's *Vacationland* (Tupelo); Matt Cook's *The  
Unreasonable Slug* (Manic D Press); Ashley Capps's *Mistaking the Sea  
for Green Fields* (U Akron); Paul Guest's *Notes for My Body Double*  
(U Nebraska); Martha Silano's *Blue Positive* (Steel Toe); and Dean  
Young's *Embryoyo* (McSweeney's).  I'm probably forgetting others,  
and as always I'm sure there were many dozens of good ones that  
slipped beneath my radar.

I haven't read it yet, but one of my very favorite poets also  
published a book in 07:  Brendan Galvin's *Ocean Effects* (LSU).  I'm  
giving the National Book Award to him just on general principle.

Also on my Recent Arrivals shelf is Elizabeth Hadaway's *Fire Baton*,  
one of those impulse purchases made after flipping it open & being  
knocked out by several poems.  Never even heard of her before.  Her  
book, like all the above, is not published by FSG or Norton (not that  
there's anything *wrong* with FSG or Norton)--hers arrives from U  
Arkansas, of course.

Haven't seen Rebecca McClanahan's new one yet, but based on past work  
I'm sure I'd like it.

Never heard of Philip Terman:  maybe post a favorite poem, Al?

========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



On Oct 12, 2007, at 6:05 PM, AlMaginnes at aol.com wrote:

> Kirby's poems are, for me, highly entertaining the first time I  
> read them, but don't give me much reason to come back for seconds.  
> Kind of a less scholarly Goldbarth.
>
> Speaking of whom, I would certainly have been happy to see his new  
> and selected THE KITCHEN SINK from Graywolf get a nod. Also, Leslie  
> Adrienne Miller's The Resurrection Trade, also from Graywolf.  
> Philip Terman's Rabbis of the Air from Autumn House is a delight  
> and deserves more attention than it's getting. Rebecca McClanahan's  
> Deep Light: New and Selected from Iris Press is wonderful. Give me  
> an hour or two and I'll think of others.
>
>

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From jeff.newberry at gmail.com  Sat Oct 13 11:08:24 2007
From: jeff.newberry at gmail.com (Jeff Newberry)
Date: Sat, 13 Oct 2007 11:08:24 -0400
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <500CC238-4E10-4B56-A8D2-2C745B14AFFB@ripon.edu>
References: <bd0.1b2b7d97.344149af@aol.com>
	<500CC238-4E10-4B56-A8D2-2C745B14AFFB@ripon.edu>
Message-ID: <731bb17a0710130808p626be56auea3858f4cc33d297@mail.gmail.com>

You know what we ought to do as a list?

Put together our own National Book Awards.  We'll need judges, of course, to
sift through the nominated books and put together a short list.  I nominated
David Graham, Bob Grumman, Jim Finnegan, and Anny Ballardrini as judges.

I haven't bought enough books of poetry this year to put together a good
list of nominees, but I'll throw out a couple names:  I second Ander
Monson's book.  He's always an interesting poet.  I'll also second Paul
Guest's book.  I'll also nominate Mary Biddinger's Prarie Fever.  I believe
that it came out this year.

Any takers?

Jeff



On 10/13/07, David Graham <grahamd at ripon.edu> wrote:
>
> Al, et al.--
>
> Goldbarth's new-and-selected would definitely be on my 2007 short list, as
> would Graywolf Press.
>
> Other books that impressed me in 2007 (not sure they all have an 07 pub
> date) would include Aaron Anstett's *Each Place the Body's*, from Ghost
> Road; Ander Monson's *Vacationland* (Tupelo); Matt Cook's *The Unreasonable
> Slug* (Manic D Press); Ashley Capps's *Mistaking the Sea for Green Fields*
> (U Akron); Paul Guest's *Notes for My Body Double* (U Nebraska); Martha
> Silano's *Blue Positive* (Steel Toe); and Dean Young's *Embryoyo*
> (McSweeney's).  I'm probably forgetting others, and as always I'm sure there
> were many dozens of good ones that slipped beneath my radar.
>
> I haven't read it yet, but one of my very favorite poets also published a
> book in 07:  Brendan Galvin's *Ocean Effects* (LSU).  I'm giving the
> National Book Award to him just on general principle.
>
> Also on my Recent Arrivals shelf is Elizabeth Hadaway's *Fire Baton*, one
> of those impulse purchases made after flipping it open & being knocked out
> by several poems.  Never even heard of her before.  Her book, like all the
> above, is not published by FSG or Norton (not that there's anything *wrong*
> with FSG or Norton)--hers arrives from U Arkansas, of course.
>
> Haven't seen Rebecca McClanahan's new one yet, but based on past work I'm
> sure I'd like it.
>
> Never heard of Philip Terman:  maybe post a favorite poem, Al?
>
> ========================================
> David Graham
> grahamd at ripon.edu
>
> Home Page:
> http://web.mac.com/drjazz/iWeb/Site/About%20Me.html
>
> Poetry Library:
> http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
> ==========================================
>
>
>
> On Oct 12, 2007, at 6:05 PM, AlMaginnes at aol.com wrote:
>
> Kirby's poems are, for me, highly entertaining the first time I read them,
> but don't give me much reason to come back for seconds. Kind of a less
> scholarly Goldbarth.
>
> Speaking of whom, I would certainly have been happy to see his new and
> selected THE KITCHEN SINK from Graywolf get a nod. Also, Leslie Adrienne
> Miller's The Resurrection Trade, also from Graywolf. Philip Terman's Rabbis
> of the Air from Autumn House is a delight and deserves more attention than
> it's getting. Rebecca McClanahan's Deep Light: New and Selected from Iris
> Press is wonderful. Give me an hour or two and I'll think of others.
>
>
>
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>


-- 
"Memory believes before knowing remembers.  Believes longer than recollects,
longer than knowing even wonders."
?William Faulkner, Light in August


http://museoffireblog.blogspot.com
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From bobgrumman at nut-n-but.net  Sat Oct 13 13:22:55 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sat, 13 Oct 2007 12:22:55 -0500
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
In-Reply-To: <731bb17a0710130808p626be56auea3858f4cc33d297@mail.gmail.com>
References: <bd0.1b2b7d97.344149af@aol.com><500CC238-4E10-4B56-A8D2-2C745B14AFFB@ripon.edu>
	<731bb17a0710130808p626be56auea3858f4cc33d297@mail.gmail.com>
Message-ID: <4710FEEF.9000600@nut-n-but.net>

Thanks for the nomination for poetry award judge, Jeff.  Thumbs down 
from me on everything David gives a thumbs up to.  Otherwise, I'll go 
with Anny.  Without reading anything, or referring to Jim's judgements, 
which might confuse me.

What I really think would be fun and useful would be some kind of award 
to best collection of poetry put out by a publisher whose titles have 
never won a BigName Award.  Which brings up the question of chapbooks.  
I know of a lot of chapbooks that I consider much more impressive than 
most full books.  One of the prejudices of the establishment is its 
apparent belief that only full-length books count.  I guess you can get 
away with paperback now, but for a long time you could not.

--Bob



From anny.ballardini at tin.it  Sat Oct 13 12:25:29 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sat, 13 Oct 2007 18:25:29 +0200
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
References: <bd0.1b2b7d97.344149af@aol.com><500CC238-4E10-4B56-A8D2-2C745B14AFFB@ripon.edu>
	<731bb17a0710130808p626be56auea3858f4cc33d297@mail.gmail.com>
Message-ID: <001601c80db5$aba4b900$91aa3252@ANNY>

Very flattered to be included in the Rose of Judges, thank you so much, Anny
  ----- Original Message ----- 
  From: Jeff Newberry 
  To: NewPoetry: Contemporary Poetry News &amp,Views 
  Sent: Saturday, October 13, 2007 5:08 PM
  Subject: Re: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry


  You know what we ought to do as a list?

  Put together our own National Book Awards.  We'll need judges, of course, to sift through the nominated books and put together a short list.  I nominated David Graham, Bob Grumman, Jim Finnegan, and Anny Ballardrini as judges. 

  I haven't bought enough books of poetry this year to put together a good list of nominees, but I'll throw out a couple names:  I second Ander Monson's book.  He's always an interesting poet.  I'll also second Paul Guest's book.  I'll also nominate Mary Biddinger's Prarie Fever.  I believe that it came out this year.

  Any takers?

  Jeff




  On 10/13/07, David Graham <grahamd at ripon.edu> wrote:
    Al, et al.--




    Goldbarth's new-and-selected would definitely be on my 2007 short list, as would Graywolf Press.  


    Other books that impressed me in 2007 (not sure they all have an 07 pub date) would include Aaron Anstett's *Each Place the Body's*, from Ghost Road; Ander Monson's *Vacationland* (Tupelo); Matt Cook's *The Unreasonable Slug* (Manic D Press); Ashley Capps's *Mistaking the Sea for Green Fields* (U Akron); Paul Guest's *Notes for My Body Double* (U Nebraska); Martha Silano's *Blue Positive* (Steel Toe); and Dean Young's *Embryoyo* (McSweeney's).  I'm probably forgetting others, and as always I'm sure there were many dozens of good ones that slipped beneath my radar. 


    I haven't read it yet, but one of my very favorite poets also published a book in 07:  Brendan Galvin's *Ocean Effects* (LSU).  I'm giving the National Book Award to him just on general principle. 


    Also on my Recent Arrivals shelf is Elizabeth Hadaway's *Fire Baton*, one of those impulse purchases made after flipping it open & being knocked out by several poems.  Never even heard of her before.  Her book, like all the above, is not published by FSG or Norton (not that there's anything *wrong* with FSG or Norton)--hers arrives from U Arkansas, of course.   


    Haven't seen Rebecca McClanahan's new one yet, but based on past work I'm sure I'd like it.  


    Never heard of Philip Terman:  maybe post a favorite poem, Al?



    ========================================
    David Graham
    grahamd at ripon.edu


    Home Page:
    http://web.mac.com/drjazz/iWeb/Site/About%20Me.html 


    Poetry Library:
    http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html 
    ==========================================






    On Oct 12, 2007, at 6:05 PM, AlMaginnes at aol.com wrote:


      Kirby's poems are, for me, highly entertaining the first time I read them, but don't give me much reason to come back for seconds. Kind of a less scholarly Goldbarth. 

      Speaking of whom, I would certainly have been happy to see his new and selected THE KITCHEN SINK from Graywolf get a nod. Also, Leslie Adrienne Miller's The Resurrection Trade, also from Graywolf. Philip Terman's Rabbis of the Air from Autumn House is a delight and deserves more attention than it's getting. Rebecca McClanahan's Deep Light: New and Selected from Iris Press is wonderful. Give me an hour or two and I'll think of others. 







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  "Memory believes before knowing remembers.  Believes longer than recollects, longer than knowing even wonders."
  ?William Faulkner, Light in August


  http://museoffireblog.blogspot.com 


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From anny.ballardini at tin.it  Sat Oct 13 12:26:52 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sat, 13 Oct 2007 18:26:52 +0200
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
References: <bd0.1b2b7d97.344149af@aol.com><500CC238-4E10-4B56-A8D2-2C745B14AFFB@ripon.edu><731bb17a0710130808p626be56auea3858f4cc33d297@mail.gmail.com>
	<4710FEEF.9000600@nut-n-but.net>
Message-ID: <002201c80db5$dd0f2ca0$91aa3252@ANNY>

This should be my lucky day, what number is it?

From: "Bob Grumman" <bobgrumman at nut-n-but.net>
Sent: Saturday, October 13, 2007 7:22 PM
Subject: Re: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry


> Thanks for the nomination for poetry award judge, Jeff.  Thumbs down 
> from me on everything David gives a thumbs up to.  Otherwise, I'll go 
> with Anny.  Without reading anything, or referring to Jim's judgements, 
> which might confuse me.
> 
> What I really think would be fun and useful would be some kind of award 
> to best collection of poetry put out by a publisher whose titles have 
> never won a BigName Award.  Which brings up the question of chapbooks.  
> I know of a lot of chapbooks that I consider much more impressive than 
> most full books.  One of the prejudices of the establishment is its 
> apparent belief that only full-length books count.  I guess you can get 
> away with paperback now, but for a long time you could not.
> 
> --Bob
> 




From AlMaginnes at aol.com  Sat Oct 13 12:28:52 2007
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Sat, 13 Oct 2007 12:28:52 EDT
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
Message-ID: <c54.1ae36497.34424c44@aol.com>

Absolutely. I was only funning. But the judges for these awards should  be 
looking at  micropresses, chapbooks and all hte rest. 



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From JforJames at aol.com  Sat Oct 13 12:37:25 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 13 Oct 2007 12:37:25 EDT
Subject: [New-Poetry] Selection Process, Nat'l Book Awards
Message-ID: <d66.16fa64b5.34424e45@aol.com>

Below is what National Book Award website says about the selection  process. 
Having previous winners nominate judges may make the process a little  bit 
ingrown.Of the five judges, the one whose work I don't know is Vijay  Seshadri. 
Also I wonder if the final make-up of the panel is guided by some  notion of 
aesthetic likemindedness? Or in some years do they really try to have  a mix of 
sensibilities and hope that judges can do their jobs without going at  each 
other hammer & tong? 
 
Wouldn't it be interesting to see into those deliberations: Who comes in  
with winner already in mind, who is comes in with open mind, how much effort is  
put in presenting one's case for a particular poet/book. 
5's a good number of course to break a deadlock if consensus is impossible  
and they must take a vote. There could be documentary, a poet's version of  
Twelve Angry Men (& Women) this time, where the Peter Fonda  character slowly but 
surely counters all the apathy and prejudice in  the room.
 
And, per Al's question, It would also be interesting to know how many of  the 
independent presses and university presses actually do nominate books each  
year. 
Finnegan
--
Eligibility
Judges consider only books written by American citizens and  published in the 
United States between December 1 of the previous year and  November 30 of the 
current year. Only publishers can nominate books for the  National Book 
Award, although panel chairs can request books publishers have not  nominated.
 
Categories
Fiction, Nonfiction, Poetry, and Young People?s  Literature
 
Judges
Each category has a panel of five judges who have written and  published 
works in that category. Judges are nominated by past National Book  Award Winners, 
Finalists, and Judges and then selected and recruited by the  Foundation?s 
Executive Director in consultation with the Board of Directors.  Jury members 
are chosen for their literary sensibilities and their expertise in  a particular 
genre. Each judge receives an honorarium of $2,500; panel chairs  receive 
$3,000.
 
The judging panels change every year. Juries develop their own criteria for  
awarding the National Book Award and discussions are held independent of the  
Foundation. The National Book Foundation Board and staff take no part in these 
 deliberations, except to help determine a submission?s eligibility in  
conjunction with the submission guidelines.
 
Selection of Finalists
In mid-October, the Foundation announces a list  of five Finalists, as 
selected by the appropriate judges, for each category. The  announcement is made 
publicly at a different literary site each year. Each  Finalist receives a prize 
of $1,000, a medal, and a citation from the panel  jury.
 
Selection of the National Book Award Winner
The jury meets on the day of  the National Book Awards Ceremony in November 
to select the Award Winner. The  announcement is made at the Awards Ceremony 
later that evening and winners are  kept confidential from the Foundation staff 
until then. National Book Award  Winners receive $10,000 and a bronze 
sculpture.




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From Rsgwynn1 at cs.com  Sat Oct 13 13:25:45 2007
From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com)
Date: Sat, 13 Oct 2007 13:25:45 EDT
Subject: [New-Poetry] Selection Process, Nat'l Book Awards
Message-ID: <bd6.1b54b5a3.34425999@cs.com>

In a message dated 10/13/2007 11:38:03 AM Central Daylight Time, 
JforJames at aol.com writes: 
> Wouldn't it be interesting to see into those deliberations: Who comes in 
> with winner already in mind, who is comes in with open mind, how much effort is 
> put in presenting one's case for a particular poet/book. 
> 5's a good number of course to break a deadlock if consensus is impossible 
> and they must take a vote. There could be documentary, a poet's version of 
> Twelve Angry Men (& Women) this time, where the Peter Fonda character slowly but 
> surely counters all the apathy and prejudice in the room.
> 
Henry, not Peter.  I was on the NBA judging panel once.  We came to NY with a 
short list.  At lunch, the chairman said, "I suggest we give the prize to X.  
Then we can enjoy our lunch."  We all agreed.  It was a good lunch.  I doubt 
that other panels have deliberated so undeliberately, though.   
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From anny.ballardini at tin.it  Sat Oct 13 14:12:20 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sat, 13 Oct 2007 20:12:20 +0200
Subject: [New-Poetry] THE EAST VILLAGE
Message-ID: <002101c80dc4$993445b0$91aa3252@ANNY>

http://www.theeastvillage.com/oa.htm



--------------------------------------------------------------------------------

Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From bobgrumman at nut-n-but.net  Sat Oct 13 15:54:44 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sat, 13 Oct 2007 14:54:44 -0500
Subject: [New-Poetry] Selection Process, Nat'l Book Awards
In-Reply-To: <d66.16fa64b5.34424e45@aol.com>
References: <d66.16fa64b5.34424e45@aol.com>
Message-ID: <47112284.1080603@nut-n-but.net>

How much do they charge a publisher per entry?  What publisher would 
bother entering such a contest except one publishing the kind of stuff 
that has consistently taken prizes for twenty or more years?  The NBCC 
lets all members make nominations, but it's a waste of time for those 
few of us nominating anything unorthodox, as I did one year.

I just don't see the point of these awards.  No fair way of finding the 
best books of the year, much less of finding the best single one.  No 
way to read enough, even for the group, all taken together.  So these 
awards end just encouraging those few who have won enough prizes already 
not to need encouragement and their imitators, and discouraging those 
going their own way, or imitating non-prize-winners.

--Bob



From JforJames at aol.com  Sat Oct 13 15:15:08 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 13 Oct 2007 15:15:08 EDT
Subject: [New-Poetry] Selection Process, Nat'l Book Awards
Message-ID: <c45.22e14f12.3442733c@aol.com>

 
In a message dated 10/13/2007 1:26:23 PM Eastern Daylight Time,  
Rsgwynn1 at cs.com writes:

Henry, not Peter.  I was on  the NBA judging panel once.  We came to NY with 
a short list.  At  lunch, the chairman said, "I suggest we give the prize to  
X.


Thanks for the correction, Sam. 
 
I hope Mr/Ms X was the prohibitive favorite. At least no one had stand  up 
and stick a knife into the table during your lunch. That would have  been rude.
Finnegan 



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From AlMaginnes at aol.com  Sat Oct 13 17:10:33 2007
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Sat, 13 Oct 2007 17:10:33 EDT
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
Message-ID: <d3a.15bef106.34428e49@aol.com>

Here is a poem of Phil Terman's from his new book Rabbis of the Air. It's a  
bit long but pays off. 
 
 


My Kafka   
 



A  cage went in search of a bird.       
1.  The Heron 
The commotion of sunlight,  rattling  
of clouds, the impossible crash 
of daybreak, how loud the grass, how noisy 
the gossamer wavering in the dust, how terrible 
the explosion of the human heart.  The silence 
you need cannot be found on this earth, 
the circular saw grinding across the road, 
the chattering teeth of mice in the floorboards. 
At least from food you can escape into air, 
like your hunger artist, you can dissolve 
into skin and bone, into straw in a cage, 
you can disappear into your own obscurity. 
Zaru, Schelesten, Meran,  Molinary? 
you tried sanitarium after sanitarium, 
Ottla?s retreat into the countryside, 
but sound materializes even in empty air. 
If only a composing hut like Mahler?s, deep 
in the woods, before dawn, after bathing 
for purity, breakfast prepared, trees surrounding 
in their host, where you can be unnoticed 
like an indistinct insect, protecting 
the writing from every disturbance, if only 
a burrow big enough for your thin frame, 
and a desk that keeps madness at bay, 
like the one I?m writing on now, old oak, 
in a cabin the other end of a hay field, 
facing a pond where I saw a blue heron, 
thin neck curving into a pencil-pointed beak, 
on the edge of the water, its image 
doubled back to the surface as the sun 
poured beyond the trees.  It paused, 
all attention, waiting, eyes fixed skyward, 
standing stock-still in a concentrated silence, 
waiting for something, a quality of light 
to emerge or a cry inaudible to human ears, 
and it happened, its wings outspread, 
gone.  I traced it long  as I could into its next life. 
2.  Jewish Middle-Class  Fathers 
Impossible to  take them seriously, these fathers of ours, 
these Jewish  middle-class fathers: in the synagogue, 
rising with the congregation, mumbling their  prayers, 
distracted, bored, half-asleep, asleep, snoring. 
On Sabbath and High Holy Days we could have loved  them. 
They might have taught us Torah and the Talmud, 
instructed us, as it is written, in the sacred  scriptures? 
they could have passed on the wisdom of their  ancestors, 
demonstrated how to remove the t?fillin from the velvet  cases 
and weave them around our arms, securing the small  black 
boxes, commandments scrolled inside, to our  foreheads, 
instructed us in the proper way to don a scull cap, with a pin, to  our hair, 
how to wrap around our shoulders the tallism, not stiff 
like a scarf, but tossed back like a cape, given us  lessons 
in the precise intonations of the chanting?not a  mumble, 
but in cadences that carry centuries, the sufferings, the  exhalations. 
And they should have modeled?rather than stumble and  stand 
in silence?the davin dance:  to sway, with one?s  whole body, 
to prostrate, not to meaningless words memorized 
through repetition, but to the poetry of the  prophets, 
the complaints of the kings, the assertions of the  righteous, 
the story of a people exiled, like us?what we had to  learn 
by ourselves, had to find our own way back to?beggars,  prodigals. 
Our fathers!  We were  nothing beside their enormous bulk, 
their mammoth frames covered head to foot with fur. 
They inhabited our entire houses.  As children scaling 
their chests we reached the highest summit,  standing 
beside them they were towering as skyscrapers? 
we couldn?t see the horizon beyond them, they stood between  us 
and the world.  We  couldn?t keep step or stand their silences. 
These Jewish middle-class fathers, full of conquest,  enterprise, 
these small business owners?work was their god, their  religion, 
their mantra, work was who they married, who they slept  with, 
the secret name they wanted us to inherit.  But we were putzes, 
meshuginahs, shmegegies,  shlemiels, shlemazels. 
We didn?t know what it meant to live what they lived  through, 
how they had to sleep all in one room, eating potatoes and  herring, 
how they had to work as young boys?always the  Depression, 
always the War, how with nothing they made their own  way. 
We had no business sense, distracted, reading  Dostoyevsky. 
And the dinner table!  Their chamber, the Holy of Holies? 
sucking their meat, slurping the gravy, cracking the  bones, 
cleaning their ears with toothpicks, filling the air with  crude 
humor at our expense:  Son, the best part of you went on the  ceiling. 
Oh, these fathers.  But  on Sundays they didn?t shave and pranced 
in underwear, sometimes nothing at all.  They burped and  farted, 
read the newspaper on the toilet till noon, their cigar  smoke 
circling through the house.  They?d play us a hand of cards, 
wanting to win, yes:  still, those moments, a soft word, some laughter. 
And our writings.  To our  fathers?nothing, they?d get us nowhere. 
But it was all about them, we dedicated it all to  them. 
They were offended, they bristled, they took it much too  personally. 
They wanted us to be lawyers or accountants.  They wanted us 
to take over the business, they wanted us to be what they  understood, 
wanted us to be themselves, perhaps a little better, but not too  much. 
These fathers.  These  Jewish middle-class fathers. 
3.  Son of K. 
?Few persons left behind so slender a trail as this child of  Kafka?s.? 
Max Brod 
Mazel tov.  I learned the news  from the chronology 
in the back of Schocken?s Complete Stories.  A son! 
Kayn  anyhora, may you avoid the evil  eye. 
My own child?s sleeping now, long day, the  playground, 
the sandbox, coloring, chasing me around the house? 
me, a father!  Not much  writing today, but when I toss her 
into the air, her hair splayed wild, her eyes wide, 
skin flushed, arms flapping like a bird?s, the air stills,  
it seems for those few moments time stops  completely. 
Too bad you weren?t informed.  Let me fill you in: 
born 1914 or 1915.  In  Munich.  His name? 
Characteristics?  How he  died?  Was he  frail? 
A little awkward?  Large-eared?  Lanky? 
Did he keep to his room? 
Did he have difficult eating habits? 
Obsessed with the slightest noises?  Give 
mama a hard time?  Harbor  resentments 
and imagine little ridiculous things about his  father? 
That would be you, of course, don?t feel guilty, 
it wasn?t your fault, you had no idea, nobody did, 
until twenty-five years later, except, of course, 
the Mutter who, on April  21, 1940, identified you 
in a letter?not, it?s true, by name, but what other 
famous man whose ?greatness is held to this day? 
died in Prague in 1924?  What about the  mother? 
Can you guess?  You were  delighted that she shares 
a name with your insect?s sister, yes:  Grete, 
your fianc?e Felice?s friend, her go-between 
when there was a pause in your correspondence, 
the one she trusted, an intermediary, the messenger you fell  for. 
Don?t deny it.  Re-read your letter dated May 2, 1914, 
the time, according to calculations, when little Franz  Jr. 
would have been born:  you cannot be fully aware, you  pined 
of what you mean to  me.  And  this from a writer whose reputation 
doesn?t rest on his superfluity:  Everything you do,  especially 
your gaze,  has its effect, Fraulein Grete, it has its effect. 
Canetti says that if one reads your letters to  Felice 
and to Grete, often written on the same day, side by  side, 
?One can have no doubt as to whom he loves.? 
And didn?t you want G to move in with you and F. 
after the wedding?  Can engaged couples do  that? 
And didn?t you tell G. that your relationship with  her 
holds  delightful and altogether indispensable possibilities? 
And didn?t you want G. to join you and F at Grund? 
And didn?t you write G. about your unmistakable longing? 
Max thinks the impact on you would have been  enormous, 
there was ?nothing he desired more fervently? than  children, 
you ?longed to be a father,? you ?would have taken loving  charge.? 
Perhaps, Max thought, it might even have ?saved? your  life. 
And didn?t you tell your own father, in that famous  letter, 
that To get married, to found  a family, to accept 
all the  children that arrive, to maintain them in this 
uncertain  world, even to lead them a little on their way 
is the  most a man may succeed in doing? 
Max again:  ?He longed to  sit beside a cradle of his own.? 
I?ve laid my pen down and sat beside a cradle 
of a child of my own and stared into all that mystery and  wondered 
what she was imagining on the other side of  language, 
shapes of water and the dark, patterns of the sky, 
what she made of this enormous shadow I cast over  her. 
She curled her tiny hand around my writing finger 
and held it tightly gripped all the way into her  sleep, 
like holding fast to a rope fastened to this world, 
floating in that great enigma that is her life, 
what I will never know, the way two people, no  matter 
how close, are lost to each other, the way nobody 
really knew you, not even Max, how you write 
to Felice:  I would never expose myself to the  risk 
of being a  father, because what you had to do 
was to become clear about the  ultimate things. 
So how could you be a father?  Arranging your life 
completely around your writing with a child in the  house 
when you could never be alone enough, there could  never 
be silence enough, sitting in your innermost room 
of the locked cellar, notebook on a table and a  lamp, 
someone placing food outside the entrance?  Last night, 
my daughter came into my study and yelled:  Papa! 
I turned from this page and lifted her on my  lap, 
I swirled away from my desk and twirled her around, 
she climbed onto my back and I crouched down like a  horse, 
she laughed hysterically, I stretched my back up and  neighed. 
No:  even the noise in  the next apartment congealed your blood. 
Better off you never knew about him, this Franz Jr. 
And besides, maybe you?ll be relieved, the whole shtick 
about the son, I discover, despite Schocken?s  chronology, 
despite Max?s certainty, is now in dispute. 
Scholars are saying the fellow didn?t even exit. 
Other than the woman?s claim, there?s no proof, 
none of her friends thought it possible, the  researchers 
don?t think anything intimate took place at all. 
In early spring, 1914, Grete showed no signs in the  stomach 
and, though in 1916, she complained of  ?sufferings,? 
the dates don?t work out.  The story, says the biographer 
Frederich Karl, falls too closely into the realm of a  fantasy 
of a woman spurned.  The  editors of the Letters to  Felice 
concur:  ?doubtful.?  ?Unlikely.?  On the other side,  Karl 
speculates there might have been a ?consummation, 
even without proof.?  Let?s allow Canetti the final word: 
?Whatever occurred between G. and K. remains  secret.? 
Such are the ambiguities of history.  Was there a son? 
Would you have wanted there to be?  How?Kafkaesque! 
Brod, we know, thought a son would have confirmed 
your worth from the ?highest court of appeals,? the  verdict 
pronounced:  not guilty,  the message finally arriving 
from the Castle.  But of  course nothing arrives from the Castle, 
nothing definite, what we can be sure of, lay our hands  on, 
all agree with, you taught us that, that was your  burden, 
oh great father of Modernism.  Was that spoken like a true son? 
That?s all from Gerte, no more words, only the  letter, 
April 21, 1940.  According to the Red Cross, 
She was arrested in Italy after Hitler?s  occupation. 
Max received reports that a soldier ?beat her 
to death with the butt of his gun.?  And so this son 
trails off, slender as you are, almost an airy  nothing, 
a small passage in an obscure letter, another soul 
who may or may not have existed, whose legacy 
is otherwise annihilated, one more mystery, a  perfection 
that you would have chosen for yourself. 
Every day you wished yourself off this earth, 
preferring, you told your father, the absolute  nothing 
over the alternatives:  marriage and fatherhood. 
You said you would mature from childhood into old  age 
and bypass manhood completely, another statement 
we?re forced to agree with:  at forty, near death, a wisp 
of gray in your hair, your expression almost  Chinese, 
a comparison the great Chinese scholar Arthur  Whaley 
wouldn?t argue against, he said you?re the ?only  writer 
in the western world who is essentially Chinese,? 
and you yourself wrote to Felice:  Indeed, I am Chinese. 
What a coincidence!  So?s  my daughter!  Adopted, 
there?s the wisdom of 5000 years in her expression, 
her ancestors surely worked on the Great Wall, 
her eyes remind me of Tu Fu?s, but that?s kvelling, 
everything she does is astonishing, she?s opening those eyes  now, 
she?s leaping across the room, she?s waving her arms:  Papa! 


4. Last  Jottings or Flowers for Franz  
On the  treatment of cut flowers.  
Aslant, so  they can drink more.  
Strip  their leaves.  
The peonies,  
they are  so fragile.  
Move the lilacs  
into the  sun.  
Do you  have a moment?  
Then  please lightly spray the peonies  
and please  see that they don?t touch  
the bottom  of the vase.  
That?s why  
they?re  kept in bowls.  
A bird was  in the room.  
I?ll hold  out for another week.  
Careful I  don?t cough in your face.  
How trying  I am.  
The  craving itself is some sort of satisfaction.  
See the  lilacs, fresher than morning.  
I am  already so poisoned that the body  
can hardly  understand the pure fruit.  
Cut  flowers should be treated differently.  
Show me  the columbine,  
too bright  to stand with the others.  
Scarlet  hawthorn is too hidden,  
too much  in the dark.  
Where is  the eternal spring?  
Greenish  translucent bowls.  
A late bee  drank the white lilac dry.  
Cut a deep  slant; then they can touch the floor.  
How  wonderful, the lilac, dying,  
it drinks,  goes on swilling.  
Every limb  as tired as a person.  
It was all  so boundless.  





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From Opus40-01 at opus40.org  Sun Oct 14 11:32:15 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sun, 14 Oct 2007 11:32:15 -0400
Subject: [New-Poetry] Situations
Message-ID: <4712367F.5010208@opus40.org>

In Episode 9 of *Situations*, things are heating up (perhaps too much) 
between Mary Jo and Stephen Hawking, Bob celebrates a quiet birthday, 
and /everyone /has suspicions about General Craig.

Find it all at:

http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=67

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From anny.ballardini at tin.it  Sun Oct 14 14:38:24 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 14 Oct 2007 20:38:24 +0200
Subject: [New-Poetry] Fw: [NarcissusWorks] Leevi Lehto
Message-ID: <002801c80e91$6741a020$db7c3652@ANNY>

here we go:

----- Original Message ----- 
From: Anny Ballardini 
To: anny.ballardini at tin.it 
Sent: Sunday, October 14, 2007 8:31 PM
Subject: [NarcissusWorks] Leevi Lehto


A superb reading by our Leevi Lehto, enjoy:

you can follow the words here :-)
http://www.leevilehto.net/default.asp?a=1&b=8&c=13&d=14

or directly to the reading:
http://www.leevilehto.net/voices/Audiatur_29.09.07_Panelsamtale_Leevi-Lehto_Norwegian-Ords.mp3 

--
Posted By Anny Ballardini to NarcissusWorks at 10/14/2007 08:25:00 PM 
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From JforJames at aol.com  Sun Oct 14 19:44:48 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 14 Oct 2007 19:44:48 EDT
Subject: [New-Poetry] Nat'l Book Award 2007 nominees, Poetry
Message-ID: <cca.1d378dd8.344403f0@aol.com>

 
In a message dated 10/12/2007 5:14:13 PM Eastern Daylight Time,  
grahamd at ripon.edu writes:



But I'd love to hear specific names & titles, from Al & anyone  else:  what 
books of prize quality were published in 2007 but do not  appear on the nominee 
list?  



--
There is no perfect way to run prizes such as this...I'm sure many  deserving 
poets/books miss even a nomination phase. A few titles I'd  add to the 
nominees would be...
 
Elaine Equi, Ripple Effect, New & Selected, Coffee House Press
She gives post-modernism a good name.
 
Martin Espada, The Republic of Poetry, Norton
A poetry of engagement, and no one has a better reading voice in the  
business.
 
Jane Hirshfield, After, Harper Perennial 
Not my favorite book by her, though formally more adventuresome. At this  
point in her career, I'd just keep naming her till she won...because she  
deserves it.
 
Rae Armantrout, Next Life, Wesleyan U. Press
With all the talk about 'aethetic diversity', I'm surprised she wasn't  named.
 
Hayden Carruth, Toward the Distant Islands: New & Selected Poems,  Copper 
Canyon
This one may be ineligible due to date of release. The Carruth  shall set you 
free.
 
Mairead Byrne, Talk Poetry, Miami U. Press
A long shot, but it's time someone paid attention.
 
Cathy Song, Cloud Moving Hand, Pittsburgh University Press
Another long shot.
 
Ishmael Reed, New and Collected Poems, 1964-2006, Thunder Mouth Press
Probably has rankled too many folks to win.
--

Finnegan
 
 



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From Edward.Byrne at valpo.edu  Mon Oct 15 02:55:05 2007
From: Edward.Byrne at valpo.edu (Edward Byrne)
Date: Mon, 15 Oct 2007 01:55:05 -0500
Subject: [New-Poetry] Valparaiso Poetry Review: Fall/Winter Issue
Message-ID: <4712C878.7112.006E.0@valpo.edu>

I am pleased to announce publication of the Fall/Winter 2007-2008 issue
(Volume IX, Number 1) of Valparaiso Poetry Review.  I invite you to
check it out at the following:

http://www.valpo.edu/english/vpr/coverv9n1.html


CONTENTS

Featured Poet: John Balaban  

Additional Poets: William Aarnes, Sheila Black, T. Alan Broughton,
Michael Catherwood, Nick Conrad, Barbara Crooker, Michael Dobberstein,
John Drexel, W.D. Ehrhart, Laura Davies Foley, Jeff Friedman, Andrew
Frisardi, Kate Gale, H. Palmer Hall, Penny Harter, Randall Horton,
Christa Mastrangelo, Kay Mullen,  Andr?s Rodriguez, Barry Spacks,
William H. Wandless, Lesley Wheeler

Interview: Evan Scott Bryson interviews John Balaban

Essays: W.D. Ehrhart and H. Palmer Hall on John Balaban

Poets Reviewed: John Balaban, Kathleen Flenniken, Jeff Friedman, Kay
Mullen

Cover Art Commentary: Gregg Hertzlieb on John Swanson



--------------------------------------------------

Edward Byrne
Department of English
322 Huegli Hall
Valparaiso University
Valparaiso, IN 46383-6493

E-mail: edward.byrne at valpo.edu
Home Page:
http://www.valpo.edu/home/faculty/ebyrne/homepage/
Blog:
http://edwardbyrne.blogspot.com/

Editor, Valparaiso Poetry Review
E-mail: vpr at valpo.edu
VPR Web Page: http://www.valpo.edu/english/vpr/
Office Phone: (219) 464-5278
Fax: (219) 464-5511

--------------------------------------------------


From amyhappens at yahoo.com  Mon Oct 15 13:44:43 2007
From: amyhappens at yahoo.com (amy king)
Date: Mon, 15 Oct 2007 10:44:43 -0700 (PDT)
Subject: [New-Poetry] New Work Up at MiPOesias
In-Reply-To: <657003.55959.qm@web83310.mail.sp1.yahoo.com>
Message-ID: <713144.45229.qm@web83311.mail.sp1.yahoo.com>

  MiPOesias presents 
   
  Kazim Ali
  http://www.mipoesias.com/2007/ali_kazim.htm  
   
  Bill Cassidy
  http://www.mipoesias.com/2007/cassidy_bill.htm    
   
  Maxine Chernoff
  http://www.mipoesias.com/2007/chernoff_maxine.htm  
   
  Paul Hoover
  http://www.mipoesias.com/2007/hoover_paul.htm  
   
  Jim Knowles
  http://www.mipoesias.com/2007/knowles_jim_review1.htm  
   
  Danielle Pafunda
  http://www.mipoesias.com/2007/pafunda_danielle.htm  
   
  Stephanie Strickland
  http://www.mipoesias.com/2007/strickland_stephanie.htm  
   
  Diane Wald
  http://www.mipoesias.com/2007/wald_diane.htm  
   
   
  Enjoy!
   
  Amy King
  Editor
  MiPOesias 
  http://www.mipoesias.com/  
   
  
       
---------------------------------
Boardwalk for $500? In 2007? Ha! 
Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
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From amyhappens at yahoo.com  Mon Oct 15 13:54:09 2007
From: amyhappens at yahoo.com (amy king)
Date: Mon, 15 Oct 2007 10:54:09 -0700 (PDT)
Subject: [New-Poetry] New Work Up at MiPOesias (with active links, I hope)
In-Reply-To: <713144.45229.qm@web83311.mail.sp1.yahoo.com>
Message-ID: <777884.35511.qm@web83302.mail.sp1.yahoo.com>

  MiPOesias presents 
   
  Kazim Ali
  http://www.mipoesias.com/2007/ali_kazim.htm
   
  Bill Cassidy
  http://www.mipoesias.com/2007/cassidy_bill.htm

   
  Maxine Chernoff
  http://www.mipoesias.com/2007/chernoff_maxine.htm
   
  Paul Hoover
  http://www.mipoesias.com/2007/hoover_paul.htm
   
  Jim Knowles
  http://www.mipoesias.com/2007/knowles_jim_review1.htm
   
  Danielle Pafunda
  http://www.mipoesias.com/2007/pafunda_danielle.htm
   
  Stephanie Strickland
  http://www.mipoesias.com/2007/strickland_stephanie.htm
   
  Diane Wald
  http://www.mipoesias.com/2007/wald_diane.htm
   
   
  Enjoy!
   
  Amy King
  Editor
  MiPOesias 
  http://www.mipoesias.com/


   
  
       
---------------------------------
 Check out  the hottest 2008 models today at Yahoo! Autos.
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From cvoisine at nmsu.edu  Mon Oct 15 14:41:10 2007
From: cvoisine at nmsu.edu (cvoisine at nmsu.edu)
Date: Mon, 15 Oct 2007 12:41:10 -0600 (MDT)
Subject: [New-Poetry] a plea
In-Reply-To: <9b1b9dab0707201050o74c545d6n39dcbd55fe606ee0@mail.gmail.com>
References: <bfe.1a9be1cf.33d1783d@aol.com>
	<9b1b9dab0707192347i1f8b8bafra1302fcca9d77ca5@mail.gmail.com>
	<9b1b9dab0707200822q4ecdf3b1t5e84f409996120bd@mail.gmail.com>
	<00bf01c7caf9$0321c240$44fad740@youro0kwkw9jwc>
	<9b1b9dab0707201050o74c545d6n39dcbd55fe606ee0@mail.gmail.com>
Message-ID: <50935.75.161.46.204.1192473670.squirrel@webmail.nmsu.edu>

please ignore if you are:

not in contact with young writers who are interested in mfa programs
not interested in mfa programs
are curmudgeonly (to save yourself some time).

thanks,

connie voisine



dear friends, literary workers and professors

this is a plea for your undergraduates. somewhat literally.

here goes (and i hope this isn't a misuse of this listserve): this past
application season, the poetry mfa at new mexico state university had a
very good applicant pool but one that was not very deep. meaning: not that
many people applied, but the ones who did were excellent). our pool
suffered usual attrition (people went onto great programs like Iowa and
University of Michigan, etc) and unusual attrition (two women got pregnant
and decided to postpone graduate school for a while). the end result was
that we had two (out of five) graduate assistantships with no one to fill
them and relinquished the ga?s to other programs. needless to say, that
seemed like a tragedy! i want to encourage you to have your promising
undergraduates check out our program, ask me any questions they might
have, and hopefully apply. funding is so hard to come by in mfa programs
and good writers should be able to get a grad degree without incurring
debt. that?s why i felt compelled to get the work out by writing you all.

ours is a three year program and students are funded all three years with
the ga?a generous one, $15,000 a year, healthcare, teaching only one class
per semester?and the third year is given mostly to thesis work and an
intensive thesis workshop. las cruces is an inexpensive place to live and
has an especially vibrant literary community. students in our mfa program
benefit from much formal and informal contact with their professors and
their equally accomplished and dedicated peers. it?s the kind of program
that i would have loved. we have an active reading series where we bring
10-12 poets and fiction writers a year. this year, for example, we?ll
readings by poets Tony Hoagland, Susan Briante, Sarah Vap, Ana Castillo, A
Van Jordan, etc. Each poet also delivers a craft lecture/workshop with the
grad students. with our third, thesis-focused year, students graduate with
strong, competitive manuscripts. Furthermore, while at nmsu, they can work
on our literary magazine, Puerto del Sol, which is about to undergo a
renovation. They can get paid to teach poetry in the schools, work on the
reading series, and learn other perhaps marketable skills through an
internship program with Noemi Press, Denise Chavez? Border Book Festival
and the poetry translation press, Zephyr Press.

our faculty is young and committed. i have been here 6 years (young more
in the poetry sense) and, since K West has retired, we have recently hired
Wompo Carmen Smith. Carmen not only brings to our graduates students her
interest in the avant garde but also her book arts experience, and her
chapbook series. Our visiting writer, whom we hope to be able to continue
to hire, is poet Sheila Black. i can supply bios and cvs to anyone who
would like to take a second look. also, we have an outstanding fiction
faculty with whom students are encouraged to study.

thanks for reading and please don?t hesitate to ask for more information.

Connie Voisine




From anny.ballardini at tin.it  Mon Oct 15 17:06:43 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 15 Oct 2007 23:06:43 +0200
Subject: [New-Poetry] atyp
Message-ID: <008001c80f6f$4a72c080$7b2ab750@ANNY>

http://www.atypi.org/

I found an interesting dictionary on this site..



Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From anny.ballardini at tin.it  Mon Oct 15 17:38:16 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 15 Oct 2007 23:38:16 +0200
Subject: [New-Poetry] =?iso-8859-1?q?Fw=3A_eps_116=3A_75_a=F1os_de_marco_?=
	=?iso-8859-1?q?antonio_montes_de_oca_=28II=29?=
Message-ID: <008901c80f73$b27a6300$7b2ab750@ANNY>

for those who speak Spanish (Hal, it's all yours, you can send us some feedback later... :-)


----- Original Message ----- 
From: elpoema seminal 

Sent: Monday, October 15, 2007 11:06 PM
Subject: eps 116: 75 a?os de marco antonio montes de oca (II)


      n116[30.09.07] elpoemaseminal 75 a?os de marco antonio montes de oca (II) 

 
atisbos
 
HACIA UNA PO?TICA DE MARCO ANTONIO MONTES DE OCA
Jan Lechner
 
      D 
ec?a Jakobson que "la filolog?a es... una ciencia de lectura lenta y reiterada".1 Cabe preguntarse si esta observaci?n, fundamental, ha sido tenida suficientemente en cuenta por los pocos estudiosos que se han ocupado de la obra de Montes de Oca. El poeta mexicano lleva publicando desde 1953, pero en los pasados tres decenios no se ha producido m?s que un solo libro, in?dito, por lo dem?s, dedicado a su poes?a: la tesis de la norteamericana C.E.R. Weller, que se present? en 1976 y estudia los a?os 1953-1971. En un trabajo de 1980 rese?amos los pocos art?culos que hasta aquel entonces se hab?an publicado sobre aspectos de la obra de este poeta.2 Quiz?s no sea de extra?ar esta situaci?n: no s?lo han podido desconcertar ciertos comentarios poco favorables acerca de parte de la producci?n del poeta hechos por ?l mismo y por algunos cr?ticos, sino tambi?n lo que pudiera llamarse el aspecto ?herm?tico? de sus textos y la aparente falta de una preocupaci?n central en ellos, si no es la de crear un universo de im?genes de una densidad y concatenaci?n tales que incluso el lector avezado corre el riesgo de perderse durante sus primeras lecturas de los mismos.
Las observaciones que siguen se basan en la sentencia de Jakobson, se refieren a la obra publicada de Montes de Oca hasta 1980 inclusive (cuando se public? Comparecencias) y proceden de un trabajo en curso. S?lo pretenden indicar unas constantes que quiz?s puedan servir para una comprensi?n mejor de esta poes?a que, no obstante las cr?ticas adversas que se le han hecho, se suele considerar como una de las m?s importantes que se ha venido escribiendo en M?xico.
La persona del poeta est? presente en la mayor parte de sus textos, dato que hasta ahora no ha sido mencionado por la cr?tica. Un c?mputo de las formas verbales, pronombres personales y posesivos de primera persona lleva a la conclusi?n de que en su obra predomina la primera persona singular sobre la primera del plural (m?ximo de un 93 por 100 en Vendimia del juglar y m?nimo de un 63 por 100 en Delante de la luz cantan los p?jaros). Esta primera persona singular est? presente en la mayor parte de los textos de todos sus libros (m?ximo de 94 por 100 en Pedir el fuego y m?nimo de 57 por 100 en Se llama como quieras, en su primera edici?n), rindiendo un promedio de un 75 por 100 en todos los libros. A estas cifras habr?a que a?adir los casos, bastante frecuentes, en que el yo po?tico viene representado por una construcci?n impersonal (?uno cierra los ojos?), infinitivos (?Abrazarte... cantarte?) o por una segunda persona singular (?t? piensas que?). La presencia del ?t?? para la misma categor?a de palabras resulta m?s complicada de calcular, ya que a menudo se trata, como hemos visto, de una primera persona singular camuflada, mientras que en otros muchos casos el ?t?? se refiere a la poes?a, al sol, a la vida, la luna, la luz, la palabra; otras muchas veces indica una relaci?n amorosa.
Comoquiera que sea, el ?t?? (y el ?vosotros?, que Montes de Oca emplea consecuentemente) no supera en ninguna parte al ?yo?. Es de notar el n?mero de poemas que empezando de una manera abstracta y sin referirse a una persona viva determinada desembocan en los ?ltimos versos en la primera persona singular. No extra?ar?, pues, que desde el comienzo de esta obra abunden los textos que proporcionan datos autobiogr?ficos acerca del yo po?tico. Estos datos se pueden dividir en dos categor?as. Primero, los que se refieren al estado de ?nimo de dicho yo y que a menudo manifiestan un profundo malestar, un no sentirse encajado en el mundo contempor?neo, al que rechazan y delatan un querer huir hacia otras regiones. Ejemplos de ello se encuentran desde los primeros versos de su primer libro, y a todo lo largo de ?ste, hasta los textos de Comparecencias inclusive:
 
[...]
Se va la vida
por una corriente
de venablos y vocablos
y los lugares, todos los lugares
que recordamos y que amamos,
son caricaturas del sue?o
del que fuimos arrojados
 esferas que se parten
en copas sin peso alguno,
pe?ascos de ceniza
en que se retuerce una p?gina futura
y ya quemada.3
 
Sin embargo, de la obra de Montes de Oca no surge la imagen de un ?poeta maldito?. Lo que evita precisamente que pueda producirse tal imagen es la abundancia de versos en que el yo po?tico manifiesta su euforia por el papel de descubridor de nuevas perspectivas que sabe que ?l tiene, explorador de nuevas dimensiones, nuevos universos, o para decirlo con un t?tulo significativo de uno de sus libros: de Constelaciones secretas, regiones donde s?lo ?l ha sabido penetrar. Si al principio de su obra dec?a ?He visto a la vida sentar en sus rodillas al jard?n y acariciarlo?, en 1979 escrib?a ?He visto/ en estado de cris?lida/ un oscuro signo que se hincha/ tras el punto final:/ apocalipsis desle?do,/ aleta de rel?mpago,/ miedo que no se mira venir?.4
Los datos autobiogr?ficos del yo po?tico manifiestan, pues, abiertamente una dualidad existencial: la congoja de no encajar en su tiempo a la vez que el j?bilo de saberse ?nico, vidente. Todos estos datos demuestran que los textos de Montes de Oca hacen plasmar un universo po?tico que est? expl?citamente vinculado a la existencia de la persona del poeta, lo que permite, efectivamente, contar a este poeta entre los de cu?o rom?ntico. El entorno del yo po?tico lo constituye, por un lado, el siglo que le toc? vivir, su tiempo concreto, que de vez en cuando se hace patente en una menci?n de o alusiones a personas concretas -unos antiguos amigos que ?Lo consumen todo y no regresan nada/ Son polvo enamorado/ Pero del polvo solamente?,5 las hijas, Che Guevara, Allende- o al objeto de su amor, uno de los temas constantes en su obra (?amor que es el centro del mundo? reza un verso.6 Por otro, el universo intangible, ideal que crea con sus im?genes (?Yo impongo al suceder/ otros sucesos:/?),7 mundo que estrena en cada nuevo poema, una ?tierra acabada de nacer?,8 cuyas caracter?sticas son, como hemos tratado de demostrar en otro lugar,9 la supresi?n de los l?mites temporales y espaciales que nos impone la vida diaria, caracter?stica que comparte su poes?a con todo el arte contempor?neo. El M?xico del siglo actual no plasma en sus textos y de los acontecimientos de 1968 no es f?cil indicar huellas en su obra.
A veces se ha referido la cr?tica a la influencia de la religi?n en esta poes?a; tambi?n lo hace Weller, en un pasaje algo confuso.10 Sin embargo, la presencia de conceptos y s?mbolos cristianos (Dios, Jes?s, cruz, hostia, G?lgota, Apocalipsis) es bastante escasa en el total de sus poemas y desaparece casi por completo despu?s de Pedir el fuego (1968). Antes de este libro hay un solo poema que puede calificarse de ?ntegramente ocupado con un tema religioso (el n?mero ?10? de Cantos al sol que no se alcanza). En todos los dem?s, se trata de una sola imagen, una sola alusi?n, o la mera palabra ?Dios? -empleada a veces a modo de interjecci?n (como en el apartado 12 de la versi?n original de ?El coraz?n de la flauta? tal como apareci? en Fundaci?n del entusiasm?)-, sin que la totalidad del poema se encuentre influida por ello. De ah? que disintamos de la opini?n de Weller cuando dice ?his symbolism and imagery often have Biblical parallels (light being probably the most obvious?. Sobre todo la luz ser?a dif?cil de relacionar con un contexto cristiano: precisamente el ?nico poema ?ntegramente religioso a que hemos aludido no contiene ninguna palabra referente a cualquier tipo d? luz. El conjunto de poemas que ha venido escribiendo Montes de Oca hasta el momento es decididamente agn?stico y unos pocos ejemplos de menci?n de conceptos o s?mbolos cristianos en la primera mitad de su obra son bien poca cosa como para poder hablar de una ?influencia?. En el ?pr?logo autobiogr?fico ? de Poes?a reunida Montes de Oca no deja lugar a dudas acerca del papel que desempe?? la religi?n en su vida y en su obra.
Otra influencia que se ha mencionado alguna vez, pero que no se ha estudiado, que sepamos, y que tampoco ha sido examinada por Weller, es la del pasado ind?gena. Los que, muy de pasada, se han referido al particular han sido Ram?n Xirau, Manuel Dur?n y Ricardo Ledesma.12 En el mencionado pr?logo autobiogr?fico, el propio poeta se refiere a su uso del colibr? como ?s?mbolo de Jesucristo?, dato curioso, ya que era precisamente esta avecilla la que desempe?aba un papel capital en la cultura azteca, siendo la forma en que volv?an a aparecer en la tierra las almas de los guerreros y de las mujeres muertas de sobreparto, despu?s de haber cumplido sus cuatro a?os de servicio en la Casa del Sol.13 Por lo dem?s, en dicho texto no menciona para nada su inter?s por o sus conocimientos acerca del pasado ind?gena, lo que s? ha hecho en una entrevista de 1979 publicada el a?o siguiente.14 En nuestro art?culo, redactado en 1979, mostr?bamos cierto excepticismo frente a las supuestas influencias del mundo precortesiano en esta poes?a. Esto se deb?a a que ?la explosi?n de im?genes? (Xirau) era un concepto demasiado general y vago para ayudar a detectar una influencia azteca, y porque ?un mundo hecho principalmente de brillos (diamantes, mariposas, vuelos, serpientes)? (Xirau) resultaba igualmente inservible como instrumento de an?lisis. Adem?s, los animales ?ntimamente relacionados con la cultura azteca -el ocelote o jaguar mexicano, el quetzal, la serpiente y el conejo- no figuran para nada en el libro que estudi?bamos (Delante de la luz cantan los p?jaros); Xirau se equivoca en lo de la serpiente. S? se?al?bamos entonces la presencia de la luz y la del sol, pero la relacion?bamos sobre todo con el af?n del poeta de escapar de un mundo decr?pito e inaceptable para ?l hacia regiones m?s puras (del mismo modo como los poetas franceses se inspiraron, en un momento determinado, en ?l'azur?. Despu?s, otras relecturas de la obra total han venido modificando, nuestras ideas.
En Delante de la luz cantan los p?jaros el sol aparece en 14 poemas (15 veces en forma de sustantivo, 3 veces como adjetivo: ?solar?) y ya desde el mismo comienzo (verso n?mero 9) de Ruina de la infame Babilonia, cuando el poeta, refiri?ndose al mundo que le agobia y que le parece estar en ruinas, habla de ?... la p?lida yema de mis a?os/... repartida y destazada/ como un amargo sol ca?do en el que medran los gusanos./? Si tenemos en cuenta que el sol ocupa el lugar central en el pensamiento de los aztecas -?pueblo del sol?- y que el dios m?s importante de su pante?n, Huitzilopochtli, era el sol que se encontraba en su cenit, el derrumbe del mundo personal del yo po?tico bien podr?a equipararse al derrumbe del dios central de la cultura azteca. M?s claros a?n parecen ser los indicios que ofrecen los versos en que el poeta escribe ?Dios que est?s en el sol ?nicamente? y dice c?mo su voz le recuerda que ?su crianza bulliciosa ? tuvo lugar ?en la redoma solar?, es decir c?mo debe su voz, su ser, al dios creador. Cuando se refiere a la creaci?n po?tica, tambi?n" busca el origen de la misma en el sol y escribe ?para ti, palabra ?nica, encarnaci?n solar de todos los milagros,/ estiro hasta el suelo las l?mpidas estalactitas de la poes?a/ y toco con extra?as r?fagas el coraz?n del hombre ?.15 Obs?rvese c?mo en dos de los ejemplos aducidos hay im?genes que sugieren sacrificios: la yema (: vida) que se destaza y reparte, y el poeta- oficiante que estira las puntiagudas estalactitas que parecen venir del cielo (porque las estira ?hasta el suelo?) y toca el coraz?n del hombre de modo violento. En el caso del subt?tulo ?El mu??n floreciente?, del libro Ofrendas y epitafios, nos hemos preguntado16 si ?mu??n?, que tambi?n aparece en otros poemas17 no viene sugerido por Coatlicue, la diosa que da la vida y trae la muerte y de cuyos mu?ones de brazos nacen cabezas de serpiente; su impresionante estatua la debe de haber visto el poeta en el Museo de Antropolog?a de la Ciudad de M?xico. No ser?a dif?cil relacionar el t?tulo del libro Pedir el fuego con el mito de Prometeo, pero tambi?n podr?a interpretarse de otro modo, guardando el t?tulo su simbolismo profundo.
Al comienzo de cada ciclo de 52 a?os, el sacerdote de Copolco taladraba el fuego nuevo en el Huixacht?petl, cerro situado cerca de Culhu?can, despu?s de lo cual se lo llevaba a todos los templos del imperio18. Esto permitir?a interpretar el t?tulo seg?n la tradici?n ind?gena: ir a buscar el fuego para iniciar un nuevo ciclo, del mismo modo como el poeta quiere ir a buscar nuevos materiales para iniciar una nueva era po?tica. Lugares donde el espacio cicatriza (1974) resulta ser un t?tulo problem?tico, ya que la imagen es dif?cil de interpretar. Sin embargo, si tenemos en cuenta que en la cultura azteca los grupos sociales estaban determinados espacialmente, el problema resulta quiz?s menos dif?cil de resolver. ?Espacio herido? se reconoce como concepto azteca: en los Anales de Colhu?can se lee c?mo Quetzalc?atl, desaparecido como estrella vespertina y renacido como estrella matutina, dispara sus flechas sobre ?diferentes clases de seres?, es decir, diferentes grupos sociales. Por lo tanto, la gente herida supon?a espacio herido; si el espacio se va cicatrizando, esto quiere decir que la gente (?el yo po?tico?) se va recobrando de sus tribulaciones.19
No se trata de forzar las cosas y por consiguiente no hay que querer encontrar huellas del pasado ind?genas contra viento y marea, pero cuando hay motivos para suponer que existen, conviene estudiarlas y ver si efectivamente se trata de un eco de tiempos pasados utilizado funcionalmente en los tiempos actuales. El nahuatlato Rudolf van Zantwijk (a cuya amistad debemos la dilucidaci?n del posible significado de este t?tulo) y este estudioso estamos trabajando en un rastreo met?dico de posibles resonancias del pasado ind?gena en los textos de Montes de Oca. Parece fuera de duda que en su obra hay realmente una veta precortesiana. En la entrevista de 1979, Montes de Oca ha dado algunas indicaciones acerca de su actitud en esta materia:
 
?Se conciben antepasados sin los descendientes? Un pueblo vencido arr?a banderas, cambia su concepci?n de la vida, pero aun educado en una lengua nueva, aquello que ha abandonado, los h?bitos y los juramentos, los conserva. No se lleva el viento nuestro ser hecho de palabras. Sobrevive como una feliz estructura, como un h?bito instintivo que hace tolerables o, en ?ltima instancia, legibles y tolerables otros h?bitos m?s externos y formales. As? el h?bito enumerativo, la ornamentaci?n ritual, lo que Miguel Le?n-Portilla transcribe como ?paralelismo?, se manifiesta en la producci?n artesanal de la Colonia y en el habla popular contempor?nea. Trescientos a?os de cambio dan la potestad de cubrir con una capa de lenguaje vivo, pasado y eterno, el lenguaje que estamos emitiendo, su realidad y sus alusiones, sus omisiones y sus sugerencias, su estar y no estar presentes en el cuerpo de lo que decimos.20
 
En cuanto al aspecto formal de esta poes?a, llama la atenci?n, efectivamente, el insistente paralelismo de todo tipo que presenta desde su principio, fen?meno que hasta ahora, que sepamos, no ha sido observado por la cr?tica. Si el propio poeta se refiere al t?rmino utilizado por Le?n Portilla, tambi?n cabe pensar en aquel otro, acu?ado por ?ngel Mar?a Garibay: ?difrasismo? que ?l mismo describ?a como "La expresi?n de un concepto mediante dos t?rminos m?s o menos sinon?micos. Frases similares a las nuestras ?sin ton ni son?, ?a tontas y locas?, son la normal expresi?n del lenguaje elevado en n?huatl, pero tienen sus plenos dominios en la producci?n po?tica".21
Por otra parte, no hay que caer en la trampa de considerar el paralelismo en la poes?a de Montes de Oca como un fen?meno privativo del pasado ind?gena, porque todo el mundo sabe hasta qu? punto se trata de un fen?meno universal. Dejando, pues, de lado la cuesti?n de si la cultura precortesiana tiene que ver con la presencia del fen?meno en este caso, hay que se?alar de todas formas la riqueza que presenta este recurso ret?rico en esta poes?a. A pesar del hecho de que el paralelismo ?can?nico? o ?consecuente ? -para emplear la terminolog?a de Jakobson del citado estudio- se hace detectar con relativa facilidad, el ?latente?, desempe?a un papel por lo menos igualmente importante en estos textos.
Otro fen?meno que llama la atenci?n es el de los ?prosismos sint?cticos ? y del lenguaje presuntamente coloquial (porque hasta ahora carecemos de un instrumento para determinar d?nde est?n los l?mites entre lenguaje ?coloquial? y aquel otro, ?literario?), presentes en su obra desde sus mismos comienzos y hasta en' Comparecencias. ?No importa, de veras no importa adivinar/ en este momento para qu? sirve la cabeza;/?, dice en Delante de la luz cantan los p?jaros y en el'?ltimo libro dice ?Cuando digo que estoy despabilado/ No quiero decir que estoy l?cido/ sino al rev?s/? y en Las fuentes legendarias, tal como aparece en su Poes?a reunida, hay un poema cuyo t?tulo reza ?El hecho es que t? no cambias ?.22 La aparici?n de este recurso suele interrumpir el fluir del lenguaje del que est?n forjados los poemas, porque no obstante el hecho de que este lenguaje consta, en la mayor?a de los casos, de un l?xico usual (aunque de vez en cuando este poeta emplea t?rminos cultos), no se puede decir que la poes?a de Montes de Oca tenga una ?ndole esencialmente coloquial.
El prosismo sint?ctico siempre constituye un cuerpo extra?o en el texto, un elemento contradictorio si se quiere, y manifiesta la existencia de cierta tensi?n u oposici?n entre los elementos de los que se compone el poema. En Montes d? Oca no siempre tiene una funci?n positiva, llamando la atenci?n hacia un punto crucial del texto, y m?s de una vez delata cierto malestar, interrumpiendo el poema sin mucho efecto (?Al diablo mis pupilas vivan las apariciones?23).
Resumiendo: La poes?a de Marco Antonio Montes de Oca no es religiosa, ni amorosa, ni comprometida; su trascendencia consiste en la creaci?n de un universo compuesto de im?genes que es de una extraordinaria riqueza. El yo po?tico domina este universo y manifiesta una dualidad existencial: congoja por inadaptaci?n, euforia gracias a sus dotes de vidente. Dualidad tambi?n en la riqueza del lenguaje po?tico y los rel?mpagos de prosismos sint?cticos y lenguaje coloquial que lo atraviesan. Es de un fundamental eclecticismo en la medida en que utiliza materiales procedentes de la tradici?n cultural occidental y otros, a?n insuficientemente estudiados, del legado cultural ind?gena, y en este sentido constituye un importante monumento de una cultura ?nica: la mexicana, mestiza.
 
Notas
1) Roman Jakobson, Ling??stica, po?tica, tiempo. Conversaciones con Krystina Pomorska, Barcelona, 1981, p. 113.
2) C.E.R. Weller, The poetry of Marco Antonio Montes de Oca, tesis presentada en la Universidad de Kansas, 1976; empleamos un ejemplar reproducido por University Microfilms, 1982; Jan Lechner, "Derrumbar el se?or?o del tiempo. Apuntes sobre la poes?a de Marco Antonio Montes de Oca", n?m. extraordinario, ?D?cada?, de los Cuadernos de Leiden, 1980, pp. 100-121.
3) Comparecencias, Barcelona, 1980, pp. 161-162.
4) Delante de la luz cantan los p?jaros, M?xico, 1959, p. 80 y Comparecencias, p. 163.
5) Comparecencias, p. 126.
6) Ibid., p. 180.
7) Ibid., p. 172.
8) Ibid., p. 133.
9) Art?culo citado, nota 2.
10) Op. cit., p. 131.
11) Ibid., p. 131.
12) Nuestro art?culo citado, nota 30.
13) Irene Nicholson, Mexican and Central American Mytbology, Londres, 1967, pp. 40-42.
14) Danubio Torres Fierro, ?Entrevista con Marco Antonio Montes de Oca?, Vuelta, M?xico, septiembre de 1980, pp. 22-28.
15) Delante de la luz cantan los p?jaros, ed, cit., pp. 82, 91 y 109.
16) En el art?culo ?Titels ais toegangsweg tot fien werk?? (T?tulos como v?a de acceso a una obra?), Latijns Amerika Studies in Leiden, 1982, bajo la redacci?n de Raymond Buve y Jan Lechner, Leiden, 1982.
17) As?, por ejemplo, en Delante de la luz cantan los p?jaros, ed. cit., p. 112; Cantos al sol que no se alcanza, M?xico, 1961, p. 7; Fundaci?n del entusiasmo, M?xico, 1963, p. 29.
18) Rudolf van Zantwijk, Handel en wandel van de Azteken, Assen/Amsterdam, 1977, pp. 123 y 199; se est? preparando una edici?n, ampliada, en ingl?s en la Universidad de Oklahoma Press.
19) Die Geschichte der K?nigereiche von Colhu?can und M?xico, ed. por Walter Lehmann, Stuttgart y Berl?n, 1938, pp. 92-93; agradecemos al colega Rudolf van Zantwijk su gentileza de llamar nuestra atenci?n a esta edici?n. 
20) p. 26.
21) Panorama literario de los pueblos nahuas, M?xico, 1963, pp. 35-36.
 
Esp?culo, Universidad Complutense de Madrid, n?m. 29, www.ucm.es/info/especulo/numero22/mdeoca.html
 
LA POES?A DE MARCO ANTONIO MONTES DE OCA ES VASTA COMO UN OC?ANO Y PRECISA COMO UNA ECUACI?N: GUILLERMO SHERIDAN
Enrique Morales
 
La poes?a de Marco Antonio Montes de Oca es resistente a cualquier descripci?n o cat?logo; es vasta como un oc?ano y precisa como una ecuaci?n, y es como el t?tulo de su reciente libro, afirm? el escritor Guillermo Sheridan.
Con motivo de la presentaci?n del libro Delante de la luz cantan los p?jaros (Poes?a 1953-2000) del poeta mexicano nacido en 1932, Sheridan dijo que Montes de Oca pertenece a la estirpe de poetas para quienes, como se?alaba Baudelaire, "la imaginaci?n es la reina de las facultades": Es uno de esos raros poetas en que la imaginaci?n vibra como un "asueto perfecto", el morador de su laboriosa imaginaci?n, agrega.
El pasado domingo, en la Sala Manuel M. Ponce del Palacio de Bellas Artes, el director de la Fundaci?n Octavio Paz se?al? que Montes de Oca vive ese asueto en casi 50 a?os de labor po?tica, la cual ahora se presenta "en un volumen nutrido y nutritivo" e inabarcable, que fue editado en la colecci?n Letras Mexicanas del Fondo de Cultura Econ?mica.
Antes de Sheridan tomaron la palabra Adolfo Casta??n ("los cinco sentidos naturales convergen en Montes de Oca en un sexto: lengua po?tica: el idioma elevado a la m?xima potencia") y el autor, quien ley? un poema largo ("...al?grate de tanta creatividad que se te sirve en bandeja, al?grate, poeta, en la mirada de tu visi?n...recuerda que en tu pensamiento de ni?o imaginabas a cada estrella como un agujero de tono celeste, semejante al de un circo...").
En esta actividad literaria organizada por el Centro Nacional de Informaci?n y Promoci?n de la Literatura (CNIPL) del Instituto Nacional de Bellas Artes (INBA), el cr?tico Evodio Escalante se?al? que la poes?a de Montes de Oca se pasea por las redes del inconsciente "como Juan por su para?so". Es una poes?a sin fundamento que nos ense?? el fundamento, sin bases que nos mostr? cu?l es la base de la realidad y por la que aprendimos, del modo m?s extra?o posible, los balbuceos de la libertad, afirm?.
Y va m?s all?: la suya no es una escritura autom?tica y sin embargo nadie entre nosotros ha estado m?s cerca de ella que Montes de Oca; "no es una retraducci?n de la poes?a de Huidobro, aunque es el Huidobro que a?or?bamos, sin darnos cuenta de que lo ten?amos en frente, estampado entre las narices".
Record? que Eduardo Lizalde, Enrique Gonz?lez Rojo, Arturo Gonz?lez Cos?o y Marco Antonio Montes de Oca "son los petarderos memorables que intentaron subir a G?ngora con Marx, a Breton con las obras completas de Lenin, en lugar de Elliot o Valery abrevaron en Huidobro y Vallejo, y "emblem?ticamente" con ellos se abre la segunda mitad del siglo XX.
Desde su primer libro -considera el cr?tico- Montes de Oca se defini? como un ser de excepci?n en la poes?a mexicana, ya que "abri? como nadie" las cataratas del Ni?gara de la met?fora, un R?o Bravo plet?rico de indocumentados que gritaban 'eureka', mientras otros mor?an en "dec?bito primaveral". "Nadie como Montes de Oca ha entendido que la poes?a es el arte de meterse entre las patas de una manada de elefantes y, citando sus hallazgos, el arte de escribir o ense?ar a escribir a los caballos", concluye.
Luego de los comentarios de Anamari Gom?s, directora del CNIPL del INBA, Ernesto Lumbreras y Julio Trujillo, se ofreci? un concierto musical con obras de Bach, Pachelbel y Vivaldi para dar paso a una lectura de poes?a a dos voces entre Marco Antonio Montes de Oca y Alejandro Aura.
www.cnca.gob.mx/cnca/nuevo/2001/diarias/dic00/051200/delanted.html
 
 
testimonios 
 

 
LUZ EN RISTRE
La creaci?n est? de pie,
su esp?ritu surge entre blancas dunas
y ba?a con hisopos inagotables,
los huertos oprimidos por la bota de pedernal
y la fr?a insolencia de la noche.
Los colores celestes, firmemente posados en los vitrales,
esponjan siluetas de santos;
un resorte de yeso alza sobre el piso miserable
sombras que bracean con angustioso denuedo.
Mientras el cuerno m?gico llama a las creaturas gastadas en el dolor,
para que el v?rtigo maravilloso instaure su hora de resarcimiento
y la ceniza despierte animada en grises borbotones.
La ?nica, espl?ndida, irresistible creaci?n
est? de pie como una osamenta enardecida
y sobrepasa todas las esclusas, toca en cada llama la puerta del incendio,
ensilla galaxias que un gran mago ha de montar,
cuando el esp?ritu patrulle por el alba
hasta encontrar los pilares del tiempo vivo.
 
R?O TAN LARGO DEL AMOR
R?o tan largo del amor, yo te reconozco, verde granizada,
hurac?n de esmeraldas sobre los vidrios pringosos.
Apareces cuando nada te presagia
y entonces ardes, te transfiguras, me dispersas
como una tempestad que apaga
los cirios consagrados al olvido.
 
R?o tan largo del amor, yo te reconozco
y te saludo con la risa que agrieta campanas
en este valle iluminado desde la mina hasta los cielos.
 
Oh esplendor que estallas a quemarropa:
los cuerpos se trenzan sin previo aviso
y tu delgada barrera de roc?o
impide apenas que se vuelvan uno solo.
 
Por esta vez al miedo de vivir
con la confianza respondemos.
Estamos de fiesta:
el horizonte nos venda la cabeza
y pasa de puntillas, despert?ndonos apenas, el r?o inmenso del amor.
 
SABER UNA COSA
Entre catacumbas tanteo
Si soy o me parezco
O si planto unidades milenarias
Lejanamente durmi?ndome
Con la cara hacia los huesos.
 
Tanteo este Globo
Cada vez m?s redondo
No por decantada pureza
Sino por simple erosi?n.
 
Entre tanto
El futuro va pasando
Fruto irascible
Madrugada amarilla
Que inm?viles pero a la deriva
Nos lleva del deleite al embeleso.
 
Al tanteo s? una cosa:
Amar es el colmo de estar vivo.
 
EL SONIDO Y LA FURIA
Blancura sobresaltada
La culata del tiempo
Golpea el hombro donde duermes.
 
Cuando voy por los rieles de tus muslos
El infierno se aplaca
Y ya no tengo tiempo de morir
 
-Desaparece el silencio
T? te levantas
El rojizo vello del d?a tambi?n se pone de pie:
Nadie sabe qui?n despierta a qui?n.
 
ODA POR LA MUERTE DEL CHE GUEVARA
El temporal termina cuando por cada gota de lluvia brota un p?jaro sediento,
Un nav?o de velas negras en que ventrudos fantasmas andan de puntillas
Para no despertarte demasiado pronto, querido comandante Guevara.
Tu muerte, distante y compartida, pasa por la garganta de los ni?os de Vietnam y de Harlem
Como un gran trago de viento blanco.
Hijo verdadero del fuego, te convertiste en llama:
Tu muerte le quita importancia a la nuestra, m?s presente que futura,
Y pesa en las balanzas como una pesta?a decisiva,
Pesa en la conciencia de quienes no te asesinamos
Y pesa en la cara oculta de la sangre como una gran h?lice de oro
Que un d?a no remoto levantar? en vilo al mundo.
 
Y en medio de la pena, c?mo da envidia
Tu manera de partir:
Igual a un pensamiento que hace a?icos a la estatua que lo piensa,
Oh pura explosi?n de la verdad
En ese pecho tuyo donde tantas estrellas retumban
Como cr?teres de plata, como abismos de cristal de roca
Donde el eco pule estalactitas g?ticas
Y blancos encajes de llorada sal.
 
Querido comandante Guevara:
Por primera vez me siento escaso de palabras,
Por primera vez me abstengo de elogiar la vida
Y me vuelvo ronco de tanto no abrir los labios.
 
Dios te cuide, comandante.
Que te cuide ahora que no necesitas cuidado alguno,
De modo tal que tu leyenda viva
Cabalgue a grupa de hurac?n
Y que otra vez sea posible verte
A la hora de la justicia en la tierra.
 
BREBAJE
M?s que amor,
resurrecci?n del pasado,
brebaje en que reposa
un polvo de perlas molidas,
la semilla de una l?mpara
tan grande como la gruta que ilumina.
 
Que nadie me explique la noche.
Puedo leerla en el atril de un sue?o inconcluso.
La siento bullir
al fondo de mi tisana envenenada,
al fondo de ese vaso en cuyo cristal aumenta
el oto?o de la infancia,
el haz interminable de ra?ces
con que el ant?poda
roza las plantas de mis pies.
 
Honda p?cima,
caliente r?o harinoso:
la l?nea del horizonte se expande y se encoge,
el futuro respira,
junta los labios del abismo
y nace una cicatriz, un camino,
un prodigio que coincide
con la regeneraci?n de mi sandalia.
 
Que nadie me explique la noche.
 
ENTREGA INMEDIATA
En carta lacrada
mando una brasa
partida en simientes:
no son de girasol,
verbena o crisantemo.
Brasa y penumbra son
estas migajas lucientes
que han de resucitar al jard?n entero.
A la fortaleza enemiga env?o
nombres para una aldea,
caligraf?a encrespada,
noticias y sollozos,
volantes enigmas
que arrancan fulgor ultramundano
al ojo desierto de la cerradura.
Alcanc?a de signos
estuche a?reo
en que las perlas de la virgen
brillan enlazadas,
mi carta vuela con su cargamento impalpable,
te inunda de antemano
sin que rasgues el sobre.
Y si lo abres en la blanca explanada,
hendir?s una colmena
repleta de jerogl?ficos col?ricos.
?O habr? parasol o trinchera,
suelo estrecho sobre la cornisa
que disipe en hormigueo reverberante,
el tropel alojado
en el caballo de Troya de mi carta?

 
zonas

 
 
 

 
NAZIM HIKMET (TURQU?A, 1902-1963)
EL BANQUETE DE LA MISERIA*
 
El viento baja y se va
Un mismo viento no agita
Dos veces la misma rama
Del cerezo
Los p?jaros cantan en el ?rbol
Alas que quieren volar
La puerta est? cerrada
Es preciso forzarla
Es preciso verte, amor m?o,
Tan bella como t?, la vida
Tan amiga y amada como t?
 
Se que a?n no ha terminado
El banquete de la miseria
Pero acabar?
(1947)
 
*T?tulo del traductor
Traducci?n de Sergio C?rdenas a  partir de la italiana desde el turco original por Joyce Lussu (Mil?n, Arnoldo Mondadori Editore, 2002)
? Sergio Ismael C?rdenas Tamez, 2007
 
LA ESCRITURA ABSOLUTA
ANTONIO ORTEGA
 
      S 
e edita por primera vez en Espa?a la obra completa de Gottfried Benn, uno de los autores fundamentales de la poes?a moderna. El escritor alem?n, que mantuvo una relaci?n cambiante con el r?gimen nazi, fue un m?dico esc?ptico y un creador apasionado por la forma.
La obra de Gottfried Benn (Mansfeld, 1886-Berl?n, 1956) es la m?s vigorosamente expresiva e influyente de la literatura alemana de la primera mitad del siglo XX. Reuni? en un cuerpo eficaz toda una variedad de tentativas (poes?a, prosa, novela, ensayo, escritos autobiogr?ficos, teatro, di?logos...) encaminadas a delimitar el territorio de una "escritura absoluta". Es en Doble vida, l?mpido y magistral relato autobiogr?fico, donde aclara qu? entiende por "prosa absoluta": "Encontr? las primeras huellas en Pascal, que habla de la creaci?n de la belleza por la distancia, el ritmo y la entonaci?n, 'por el retorno de vocal y consonante', 'el n?mero r?tmico de la belleza', dice, y 'perfecci?n por la ordenaci?n de las palabras". ?ste es el linaje de una obra que da forma a sentimientos e ideas que quiz?s otros construyeron, pero para Benn el arte es tan material y f?sico como las marcas de identidad de los cuerpos, m?s all? de condicionamientos pol?ticos, sociales o ideol?gicos, opuesto a una imagen determinista y cient?fica del mundo: "?Oh noche! Yo ya tom? coca?na, / la sangre se reparte en su proceso, / el pelo encanece, el tiempo declina, / tengo, tengo que florecer en exceso / otra vez antes del pasar que confina". Una obra que estableci?, con rigor anal?tico y precisi?n t?cnica admirables, nuevas pautas en el pensamiento est?tico de la modernidad, y como ejemplo, Problemas de la l?rica, un verdadero testamento reflexivo.
Parad?jicamente, no hace muchos a?os, y antes del "esc?ndalo" de sus recientes memorias, G?nter Grass se opon?a a la recuperaci?n de la figura de Benn, al que tildaba de colaboracionista con el r?gimen nazi. Cierto es que su radicalidad le hizo creer en la renovaci?n de las ideas nacionalsocialistas, y en apenas un a?o, antes de su definitivo alejamiento e inhabilitaci?n como escritor y m?dico por los nazis, public? una serie de escritos de apoyo al r?gimen, de los que Arte y poder quiz?s sea el m?s destacado. Finalmente, despreciado tambi?n por los aliados, busc? en el ej?rcito y la profesi?n m?dica "la forma aristocr?tica de la emigraci?n". Desde entonces y hasta su muerte, Benn experiment? esa "doble vida": m?dico esc?ptico y escritor apasionado; el mundo de la realidad cotidiana y los "mundos de expresi?n" de la escritura; la conciencia fragmentaria de lo real y las formas precisas del esp?ritu. As?, desde los primeros poemas furiosamente expresionistas de Morgue y Carne, minuciosas exploraciones de cuerpos enfermos, deformados y putrefactos, o desde los relatos de Cerebros, protagonizados por su ?lter ego el Dr. R?nne, fue capaz de exponer algunos claros ejemplos de la m?s potente, provocadora y ardua escritura de su tiempo: "El resto fragmentos, / sonidos a medias, / inicios de melod?as de casas vecinas, / esp?ritus negros / o avemar?as".
En la estela de Nietzsche y del nihilismo, en contra de la mediocridad burguesa, da voz a un sentimiento y un pensamiento tr?gicos, a un mundo sustentado en la biolog?a y la historia, un mundo entre naturaleza y cultura, entre desarrollo celular y civilizaci?n que halla un desarrollo posible en su Novela del fenotipo. Las caracter?sticas del hombre se revelan una obscena "flor del cr?neo", surgida de una aberrante hipertrofia cerebral, pues "el cerebro es nuestro destino, nuestra tarea y nuestra maldici?n": la esquizofrenia, las drogas, las alucinaciones, han hecho de la realidad y del yo (l?ase entre otros El yo moderno) una sucesi?n de fragmentos desarticulados, ca?ticos, privados de sentido. S?lo queda una opci?n: la regresi?n al "sue?o primigenio" de un sur let?rgico y narc?tico, o la definitiva e inflexible disciplina del arte y de la forma. Toda la obra de Benn da cuenta de esta aguda y cabal oscilaci?n. Si la escritura es fruto de los murmullos del infierno, resplandor de cenizas, "fragmentos, / heces del alma, / co?gulos de sangre del siglo veinte", cicatrices y heridas, altar del sacrificio y voluntad de decadencia; si la existencia es construir puentes sobre el vac?o; si todo acaba entregado al abismo, a un devorador infinito, al poeta entonces no le queda sino tejer sin trama: "un a?o en el escombro de la historia mundial, / escombro del cielo y escombro del poder, / y ahora la hora, la tuya: el soliloquio en tal / poema del sufrimiento y del anochecer".
Estas Obras completas reproducen todos los textos, comentarios y notas de la S?mtliche Werke, Stuttgarter Ausgabe, edici?n cr?tica que contiene los textos publicados en vida y los in?ditos, en su versi?n definitiva. Dado el inter?s que por la poes?a alemana existe en el ?mbito hisp?nico, y en concreto por la obra de Benn, esta edici?n de una de las voces fundamentales de la escritura moderna era, adem?s de necesaria, casi una obligaci?n. Toda traducci?n es discutible, y m?s si es del alem?n, una lengua dif?cil, plena de versiones y significados, pero Jos? Luis Reina Palaz?n ha asumido el reto y el esfuerzo con dedicaci?n y aplomo. Sus versiones, dejando de lado otras cuestiones, asumen con Benn que la "forma es el m?s alto contenido", por eso su declarado impulso por mantener ritmos y rimas, junto con una adecuaci?n terminol?gica y expresiva envidiable, dando luz all? donde era necesario. Como nos recuerda Valerio Magrelli, la obra benniana es capaz de unir felizmente lo m?s contradictorio: Broadway y azimut, barcarolas y porquer?as, trust y asf?delos, y como una especie de Ptolomeo moderno reclamar que, una vez muerto, la mitad de sus cenizas fueran dispersadas al viento de septiembre y el resto conservadas en una vieja caja de Nescaf?. Qu? mejor justificaci?n est?tica de la existencia.
 
Babelia, supl. de El Pa?s, 15 de septiembre de 2007
 
Re?nen en un libro toda la poes?a que el Che cargaba en la mochila
Arturo Garc?a Hern?ndez
 
 "La izquierda mexicana necesita una profunda educaci?n sentimental", asegura el escritor
Entre los objetos que hab?a en la mochila del Che Guevara al momento de ser detenido en Bolivia, en 1967, estaba el c?lebre diario -hoy mundialmente conocido- y un cuaderno verde con una serie de poemas que no despert? mayor inter?s en sus captores. Poco despu?s, el guerrillero fue asesinado en La Higuera y sus pertenencias ser?an depositadas en una caja de seguridad de la Inteligencia militar boliviana.
En la edici?n corregida y aumentada de su biograf?a del Che, Paco Ignacio Taibo II daba noticias de ese cuaderno, cuyo contenido exacto se desconoc?a.
Una ma?ana de 2002, Jes?s Anaya, editor y viejo amigo de Taibo II, mostr? al escritor un paquete de fotocopias con textos cuidadosamente escritos a mano.
-?Qu? es esto? ?De qui?n es? ?Puedes autentificar la letra? -pregunt? el librero.
Era, "evidentemente", la letra del Che Guevara. "El camino del cuaderno verde con letras ?rabes en la portada era un misterio. ?Conten?a poemas que el Che hab?a escrito a lo largo de la campa?a boliviana? ?Se trataba de poemas que el hab?a copiado en los ?ltimos dos a?os? ?Era una mezcla de ambos? ?Eran los poemas una especie de clave? El reto para m? era fascinante."
Taibo II se dio a la tarea de identificar los textos, que result? ser una selecci?n de poemas de C?sar Vallejo, Pablo Neruda, Nicol?s Guill?n y Le?n Felipe: "una antolog?a hecha por el Che, su antolog?a personal".
Los textos ahora han sido reunidos en un libro, El cuaderno verde del Che, publicado por Seix Barral, con pr?logo de Paco Ignacio Taibo II. Incluye, entre otros, Los heraldos negros, Idilio muerto, Agape, Los dados eternos, de C?sar Vallejo; Farewell, La canci?n desesperada, Juntos nosotros, de Pablo Neruda; Mulata, Canto negro, Ca?a, Sensemay?, de Nicol?s Guill?n, y Noche cerrada, Cristo y La tangente, de Le?n Felipe.
?Qu? te aport? en el cuaderno al conocimiento del Che?
Como cuento en el pr?logo, fue muy desconcertante la manera en que lleg? a mis manos. Pude haber buscado expertos para que identificaran los 65 poemas del cuaderno; conoc?a algunos, pero no todos. Dije: 'no, esta es mi bronca' y me encerr? con los tomos de las obras completas de los poetas a localizar. En principio pens? que hab?a m?s autores. Conforme avanzaba, me desconcert? no ver ah? los poemas favoritos del Che. Por ejemplo, no estaban los poemas de Machado o Stalingrado, de Pablo Neruda, que el Che se sab?a de memoria.
"Es una antolog?a muy singular, en la cual lo dominante son poemas intimistas, poemas de amor que desmuestran la doble pulsi?n que domin? al Che toda su vida: lo que percib?a como la necesidad de violencia y su car?cter rom?ntico, en el mejor sentido de la palabra, no s?lo rom?ntico amoroso, sino rom?ntico ideol?gico. En t?rminos generales, me pareci? que hizo la antolog?a para no traer la mochila repleta de libros, que de todos modos la tra?a repleta de libros."
 
Muchos Ch?s
?Es su biograf?a emocional?
No, forma parte del Che que hemos contado muchas veces, del personaje que tiene, como todos, varios rostros. El libro me interes? por dos cosas: porque completa una visi?n m?s del Che y porque es uno de esos t?tulos que son como puertas que se abren. Pienso en un adolescente guevarista de Iztapalapa que se encuentre con el Cuaderno verde... y vea que no es un ma-nual, sino un libro de poes?a, y ah? lo vas a tener leyendo a Le?n Felipe y a Vallejo.
"Creo que la izquierda necesita una profunda educaci?n sentimental; muchas veces es mejor un buen Vallejo que un mal Lenin o que un Lenin descontextuado. Tambi?n he percibido que la formaci?n m?s s?lida de lo mejor de la izquierda en el pa?s surgi? de la cultura y no del panfleto o de un discurso pol?tico.
?Tambi?n es una forma de decirle a la izquierda: 'hay que leer, hay que educarnos'?
Lo dices t?, pero lo afirm? yo. Una parte de los marxistas que leyeron El Capital en los a?os sesenta, marxistas de sal?n, estaba muy orgullosa de eso y termin? trabajando sin bronca en el Fondo Monetario Internacional, la gran m?quina de construir miserables en Am?rica Latina, y de fabricar ricos. Quienes le?mos Los tres mosqueteros seguimos en la oposici?n y no hay panista ni pri?sta que nos pueda comprar el alma. Somos gente de honor. La cultura crea una educaci?n de los sentimientos basada en la construcci?n de una ?tica y no en la de una visi?n pol?tica pragm?tica que cambia con los tiempos.
?Fue un poeta frustrado el Che Guevara?
Frustrado no, porque s? escribi? poes?a. Fue un mal poeta, y el se lo dijo a s? mismo. Y ah? est?n las an?cdotas de cuando le publicaron unos textos y dijo en broma a quien los public?: 'la pr?xima vez que lo hagas te fusilo'. No era un buen poeta, pero era un excelente cronista. Tiene una pluma privilegiada. La cr?nica era el g?nero literario que se le daba mejor, porque hab?a practicado con los diarios de viaje.
?Qu? tanto tuvo que ver la poes?a en lo que fue el Che?
Es un componente fundamental, pero es uno m?s. Estamos hablando de un personaje signado por varios rubros: por el romanticismo, la intransigencia contra la injusticia, la l?gica del vagabundo que quiere conocer tierras, la irreverencia y el igualitarismo. Pero en la formaci?n sentimental de un personaje as? la poes?a, sin duda, es fundamental. Construye una manera de percibir el mundo m?s rica, m?s sabrosa.
 
El cuaderno verde del Che se publica simult?neamente en toda Latinoam?rica; en M?xico, el tiraje es de 15 mil ejemplares, algo ins?lito, trat?ndose de un libro de poes?a. En este caso, la poes?a que lo acompa??.
 
La Jornada, 25 de agosto de 2007

 
____________________________________________
Comit? editorial
luis alberto alfaro (costa rica)/ cruz ben?tez/ fabienne bradu/ sergio c?rdenas/ luis cort?s bargall?/ miguel jorge castillo/ evodio escalante/ julio c?sar f?lix/ alfredo giles-d?az/ jes?s g?mez mor?n/ armando gonz?lez torres/ ricardo hern?ndez ech?varri (eu)/ sa?l ibargoyen/ jos? kozer (eu)/ eduardo langagne/ hern?n lav?n cerda/ luc?a de luna/ floriano martins (brasil)/ jos? manuel mateo/ santiago montobbio (espa?a)/ angelina mu?iz-huberman/ jorge ortega (espa?a)/ armando oviedo/ george reyes (ecuador)/ manuel silva acevedo (chile)/ felipe v?zquez/ ?scar wong/ elsa zeferino/ editor web: ignacio simal (espa?a)/ coordinador: leopoldo cervantes-ortiz
 
 
elpoemaseminal es un proyecto independiente de divulgaci?n sin afanes de lucro ni de promoci?n de una sola l?nea est?tica o cultural. no est? vinculado a ning?n grupo o instituci?n, por lo que abre sus puertas a todos los autores/as de M?xico y de cualquier parte del mundo. reconoce que los espacios para la poes?a, con todo y que ahora son muchos dentro y fuera de la red cibern?tica, siguen siendo reducidos. el criterio de selecci?n es ?nicamente la calidad po?tica, debido a lo cual se aceptan aportaciones en todos los sentidos. se citar? siempre la fuente original. invitamos a los lectores/as y amigos/as a compartir poemas, libros, presentaciones, novedades y todo lo relacionado con la poes?a, as? como nuevas direcciones.
 
www.elpoemaseminal.lupaprotestante.com, www.elpoemaseminal.blogspot.com
elpoemasem at yahoo.com.mx, elpoemaseminal2007 at yahoo.com.mx
correodepoesia at yahoo.com.mx



--------------------------------------------------------------------------------

?S? un mejor ambientalista!
Encuentra consejos para cuidar el lugar donde vivimos en:
http://mx.yahoo.com/promos/mejorambientalista.html
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From Opus40-01 at opus40.org  Tue Oct 16 22:27:38 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Tue, 16 Oct 2007 22:27:38 -0400
Subject: [New-Poetry] Marvin Bell on War Poetry
Message-ID: <4715731A.2070902@opus40.org>

http://desmoinesregister.com/apps/pbcs.dll/article?AID=/20071016/LIFE/710160370

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From amyhappens at yahoo.com  Wed Oct 17 11:57:54 2007
From: amyhappens at yahoo.com (amy king)
Date: Wed, 17 Oct 2007 08:57:54 -0700 (PDT)
Subject: [New-Poetry] Come to Baltimore this Thursday, plus ...
In-Reply-To: <4715731A.2070902@opus40.org>
Message-ID: <852563.82905.qm@web83302.mail.sp1.yahoo.com>

  Towson Arts Collective presents
  The Cruellest Month
  women / Editing / Women
   
  Thursday, October 18th @ 7 P.M.
   
  Towson Arts Collective
  410 York   Road (lower level)
  Towson,  MD 21204
  410 337-0211
   
  Reb Livingston is the author of Your Ten Favorite Words published by Coconut Books ( www.yourtenfavoritewords.com), editor of No Tell Motel (www.notellmotel.org ) and publisher of No Tell Books (www.notellbooks.org). With Molly Arden, she co-edits The Bedside Guide to No Tell Motel anthology series.
   
  Ana Bozicevic-Bowling is the author of two chapbooks: Morning News (Kitchen Press, 2006) and Document (Octopus Books, forthcoming). Find her recent poems in Octopus Magazine, The New York Quarterly, the Denver Quarterly, Absent, Saltgrass, In Posse, The Bedside Guide to No Tell Motel - Second Floor and the Outside Voices 2008 Anthology of Younger Poets. She coedits RealPoetik and works at PEN  American Center in New York City.
   
  Amy King is the author of I???m The Man Who Loves You (BlazeVOX Books, 2007), Antidotes for an Alibi (BlazeVOX Books, 2005), and The People Instruments (Pavement Saw Press, 2003). She teaches Creative Writing and English at SUNY  Nassau Community College, is the editor-in-chief for the literary arts journal MiPOesias, and is also a member of the Poetics List Editorial Board.  Please visit http://www.amyking.org for more.
   
  -----
   
  MiPOesias presents new work by 
   
  Kazim Ali
  http://www.mipoesias.com/2007/ali_kazim.htm  
   
  Bill Cassidy
  http://www.mipoesias.com/2007/cassidy_bill.htm    
   
  Maxine Chernoff
  http://www.mipoesias.com/2007/chernoff_maxine.htm  
   
  Paul Hoover
  http://www.mipoesias.com/2007/hoover_paul.htm  
   
  Jim Knowles
  http://www.mipoesias.com/2007/knowles_jim_review1.htm  
   
  Danielle Pafunda
  http://www.mipoesias.com/2007/pafunda_danielle.htm  
   
  Stephanie Strickland
  http://www.mipoesias.com/2007/strickland_stephanie.htm  
   
  Diane Wald
  http://www.mipoesias.com/2007/wald_diane.htm  
   
   
  Enjoy!
   
  Amy King
  Editor
  MiPOesias 
  http://www.mipoesias.com/  
   
  -----
   
  http://amyking.org/blog/
   
  -----

   
  
 __________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 
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From elemenope_productions at hotmail.com  Wed Oct 17 14:25:00 2007
From: elemenope_productions at hotmail.com (R Dillon)
Date: Wed, 17 Oct 2007 18:25:00 +0000
Subject: [New-Poetry] Bell: Ding Dong
In-Reply-To: <200710171600.l9HG04Ww024189@wiz.cath.vt.edu>
References: <200710171600.l9HG04Ww024189@wiz.cath.vt.edu>
Message-ID: <BLU103-W47EFCDE7E58D7E7E6B73E4909D0@phx.gbl>


This:
 
"Iraq War started on lies, sustained on lies." Plus,
everything else he has to say.
 
He wrote to lose Nam and teaches to lose today.
 
No.  He always was a wind up, party line doll. 
 
Ask his buddy, Ayman, if Arrowhead Ripper is a lie.----------------------------------------
 
RD
 
 
_________________________________________________________________
Climb to the top of the charts!? Play Star Shuffle:? the word scramble challenge with star power.
http://club.live.com/star_shuffle.aspx?icid=starshuffle_wlmailtextlink_oct
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From anny.ballardini at tin.it  Thu Oct 18 08:01:01 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 18 Oct 2007 14:01:01 +0200
Subject: [New-Poetry] Book Design
Message-ID: <002501c8117e$8da4d300$bbae3252@ANNY>

a graceful site:
http://www.bookdesignonline.com/history-of-editorial-design.htm



--------------------------------------------------------------------------------

Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From anny.ballardini at tin.it  Thu Oct 18 09:14:52 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 18 Oct 2007 15:14:52 +0200
Subject: [New-Poetry] Zimmermann's new chapbook
Message-ID: <003f01c81188$dec7f550$bbae3252@ANNY>

>From Daniel Zimmermann:


New Chapbook:
http://www.beardofbees.com/index.html



;-)


--------------------------------------------------------------------------------

Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From anny.ballardini at tin.it  Thu Oct 18 16:24:43 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 18 Oct 2007 22:24:43 +0200
Subject: [New-Poetry] calls for poetry papers
Message-ID: <006701c811c4$eb6583e0$87d83052@ANNY>

>From: Ramin Djahazi [mailto:r.djahazi at mx.uni-saarland.de] 
>Sent: Wednesday, September 26, 2007 12:03 PM



 

 

 

"States of the Art: Considering Poetry Today"
October 27-29, 2008
Department of North American Literature & Culture
Universit?t des Saarlandes, Germany
 
Conference Description
The current state of poetry, we believe, is well worth (re-)considering. 

In contemporary culture, poetry is both omnipresent and remote. While selected individual poets are able to boast widespread audience awareness and exceptional sales, poetry as a genre is frequently perceived as an elitist but also somehow anachronistic form of artistic expression. The poetic, aesthetic manipulation of language is prominent in popular culture in forms extending from advertisement to contemporary music, and yet poetry and easy familiarity with a range of poets and poems has receded from the cultural repertoire of most readers. Poetry seems to occupy a curiously ambivalent position in current society; poetry-we would suggest-seems to be at the cusp of an emergent stage of development. 

The focus of the conference is on issues related to the status and state(s) of poetry as a contemporary art form. We wish to investigate current developments in poetics which are on the order of the paradigmatic changes from Victorian modes of writing to modernist forms. At that time, a shift in formal and aesthetic conventions was accompanied by changes in patterns of readership. This shift to a modernist aesthetic, although it secured advances for poetry as an intellectual form, suffered a loss in broad audience acceptance. Changes to the accepted codes of composition implied changes to the codes of reception in both the popular and scholarly realms. 

Concentration will be on English language poetry, however, proposals treating related phenomena from other language traditions are welcome. There will also be readings by poets before, during, and after the conference at various prominent venues in the province. 

  

Fields of inquiry
What is the position of poetry within the language arts? What are the current audience(s) for poetry? Is there a distinction between high and low culture / popular and academic poetry? What makes poetry popular / academic? Is poetry a fixed entity in the repertoire of contemporary readers? -- If yes, in what ways / If not, why not? In what ways have subsidiary forms of communication (e.g. advertisements, popular music) adopted and adapted poetic conventions of expression? What were the ramifications of a shift to a modernist aesthetic for the (popular and/or scholarly) reception of poetry? What poets / poems have been instrumental in illustrating the vicissitudes of poetry in contemporary culture? 

 

 

Submission Deadline: April 15th 2008


 

Contact Information

 

Prof. Dr. Klaus Martens

North American Literature and Culture (NALK) & Centre for Canadian and American Cultures (CCAC)

FR 4.3 Anglistik Amerikanistik und Anglophone Kulturen

Im Stadtwald, Geb. C5 3

PF 151150

D-66041 Saarbr?cken

martens at mx.uni-saarland.de

 

www.kanadazentrum.uni-saarland.de

 

 

 

 

 

yours sincerly,

 

 

Ramin Djahazi, M.A.
wissenschaftlicher Mitarbeiter
Prof. Dr. Klaus Martens
Lehrstuhl f?r Nordamerikanische Literatur
und Kultur
FR 4.3 Anglistik, Amerikanistik und
Anglophone Kulturen
Universit?t des Saarlandes
Postfach 151150
D-66041 Saarbr?cken
Phone +49-681-302-3323
Email: r.djahazi at mx.uni-saarland.de
http://www.nalk.uni-saarland.de
http://www.kanadazentrum.uni-saarland.de/




--------------------------------------------------------------------------------


Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From anny.ballardini at tin.it  Thu Oct 18 16:28:27 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 18 Oct 2007 22:28:27 +0200
Subject: [New-Poetry] call for graduate and undergraduate students
Message-ID: <007001c811c5$70feb7b0$87d83052@ANNY>

>From: Maureen Mahoney [mailto:mmahone2 at connect.carleton.ca] 
>Sent: Sunday, October 14, 2007 5:49 PM


NeoAmericanist

NeoAmericanist, an online multi-disciplinary journal for the study of 
America, is issuing a CALL FOR PAPERS to interested Undergraduate and 
Graduate students. We are accepting any PAPERS as well as book, music, 
architecture, movie and multimedia REVIEWS from Bachelor, Master and 
Doctoral level students on the topic of the United States of America. 
NeoAmericanist's goal as a journal is to push the boundaries of 
scholarship and theory by blurring the lines of academic disciplines 
and popular culture through a top quality online community of students 
and professional scholars. We therefore invite students of history, 
theory and criticism, philosophy, political studies, economics, 
sociology, geography, first nations studies, anthropology, 
women's/gender studies, architecture and design, film studies, and 
others, to submit any works pertaining to the study of America. 

For more information on submission requirements or to submit a work for 
consideration, visit: www.neoamericanist.org. Questions and inquiries 
may be directed to NeoAmericanist Executive Editors at 
neoamericanist at uwo.ca The DEADLINE for submission for the 6th edition 
is  January 1st 2008 and all submissions from all levels of study are 
considered.

Also, if you are an Undergraduate or Graduate student interested in 
learning more about the journal in general and/or joining our growing 
team as a Campus Representative or Peer Reviewer, please email us or or 
visit our website for more information.

neoamericanist at uwo.ca / neoamericanist.org





_______________________________________________

Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From jorgensen_a at yahoo.com  Fri Oct 19 07:16:55 2007
From: jorgensen_a at yahoo.com (Alexander Jorgensen)
Date: Fri, 19 Oct 2007 04:16:55 -0700 (PDT)
Subject: [New-Poetry] Tibetan Writers' Collective at McLeod Ganj, India
Message-ID: <998368.66433.qm@web54602.mail.re2.yahoo.com>

Tibetan Writers' Collective at McLeod Ganj, India
(Opening February 2008)

-Your voice does not belong to another.

For a fraction of what each of us contribute to
"far-off wars," of what is spent in the evening on web
searches and e-mails, less than the cost of home
delivery and the gasoline that entails, and more
effective than most city-wide protest...

Who among my colleagues will stand-up and be called a
hero? Would be willing to risk life for the
opportunity to embolden a wave of dignified voices? 

If any of you would like to donate books, magazines
or any other reading material, please send to:

Alexander Jorgensen
c/o Santanu Bandyopadhyay
Central Govt. Quarters, Block D-1, Flat 109
16/7 Dover Lane, Kolkata 700029, India

Regards,
Alexander Jorgensen

--
Tennessee Williams: "A vacuum is a hell of a lot better than some of the stuff that nature replaces it with."


From JforJames at aol.com  Fri Oct 19 07:43:41 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Fri, 19 Oct 2007 07:43:41 EDT
Subject: [New-Poetry] Poet Anne Stevenson Wins $50,000 Neglected Master...
Message-ID: <cc6.1f55ef0f.3449f26d@aol.com>





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From: Anne Halsey <ahalsey at poetryfoundation.org>
Subject: For Immediate Release: Poet Anne Stevenson Wins $50,000 Neglected	Masters Award 
Date: Thu, 04 Oct 2007 15:41:40 -0500
Size: 24182
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From anny.ballardini at tin.it  Fri Oct 19 13:24:04 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 19 Oct 2007 19:24:04 +0200
Subject: [New-Poetry] =?iso-8859-1?q?Fw=3A_Tap_into_Minnesota=B9s_brewing?=
	=?iso-8859-1?q?_history?=
Message-ID: <002401c81274$d99b5080$46d63152@ANNY>

Tap into Minnesota's brewing history
----- Original Message ----- 
From: Stacy Lienemann 
To: University of Minnesota Press 
Sent: Friday, October 19, 2007 6:56 PM
Subject: Tap into Minnesota?s brewing history


Tap into Minnesota's brewing history

 

Enjoy a beer with Doug Hoverson, author of 
Land of Amber Waters:
The History of Brewing in Minnesota
7:00-9:00 pm
Thursday, October 25
http://www.landofamberwaters.com 




    Doug will be giving a short visual presentation on the history of Minnesota brewing, followed by a question and answer session and book signing. Come and enjoy a great book, great beer courtesy of Summit Brewing, and other festivities! Music will be provided by The New Nationals. 

Location: Summit Brewing Company
910 Montreal Circle
St. Paul, MN 55102

Please read responsibly.

You are signed up for University of Minnesota Press E-news. If you wish to be removed from this list, please email lieneman at umn.edu.



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From anny.ballardini at tin.it  Fri Oct 19 16:52:32 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 19 Oct 2007 22:52:32 +0200
Subject: [New-Poetry] Picabia
Message-ID: <001c01c81291$f907b950$55a83252@ANNY>

An excellent article by Barry Schwabsky on Picabia:

http://www.thenation.com/doc/20071105/schwabsky



Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From jforjames at aol.com  Fri Oct 19 18:48:14 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 19 Oct 2007 18:48:14 -0400
Subject: [New-Poetry] verse for sale
Message-ID: <8C9E0B944387130-624-B283@webmail-me05.sysops.aol.com>


http://canadianpress.google.com/article/ALeqM5hNU5no47_F4mkCTay63iSRdY7CXw
Vendor of verse: It's personal at NYC street 'poem shop'
2 hours ago

NEW YORK - He's an urban curiosity - a poet of passersby, a vendor of verse.


With his manual typewriter outside a downtown Manhattan supermarket, William Chrome forges poems on the spot from bystanders' requests, sentiments and dares. He does it for the creative challenge, plus the donations.


In his carbon-copied pages is a mental panorama of New York, or anywhere. Write me a poem to honour Jesus. Eulogize my dog. Celebrate my grandmother's birthday. Win back my girlfriend.


"So you just write poems?" says one of the people who circle like moths, peripheral and hesitant, and perhaps proffer a word or a theme for a poem on a balmy fall afternoon.


"Not just. It's very important work," Chrome says.


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From Opus40-01 at opus40.org  Fri Oct 19 22:22:11 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Fri, 19 Oct 2007 22:22:11 -0400
Subject: [New-Poetry] verse for sale
In-Reply-To: <8C9E0B944387130-624-B283@webmail-me05.sysops.aol.com>
References: <8C9E0B944387130-624-B283@webmail-me05.sysops.aol.com>
Message-ID: <47196653.90508@opus40.org>

An old college classmate of mine, David Frey, used to do much the same 
thing back in the 70s.

jforjames at aol.com wrote:
> http://canadianpress.google.com/article/ALeqM5hNU5no47_F4mkCTay63iSRdY7CXw
> Vendor of verse: It's personal at NYC street 'poem shop'
> 2 hours ago
> NEW YORK - He's an urban curiosity - a poet of passersby, a vendor of 
> verse.
>
> With his manual typewriter outside a downtown Manhattan supermarket, 
> William Chrome forges poems on the spot from bystanders' requests, 
> sentiments and dares. He does it for the creative challenge, plus the 
> donations.
>
> In his carbon-copied pages is a mental panorama of New York, or 
> anywhere. Write me a poem to honour Jesus. Eulogize my dog. Celebrate 
> my grandmother's birthday. Win back my girlfriend.
>
> "So you just write poems?" says one of the people who circle like 
> moths, peripheral and hesitant, and perhaps proffer a word or a theme 
> for a poem on a balmy fall afternoon.
>
> "Not just. It's very important work," Chrome says.
> ------------------------------------------------------------------------
> Email and AIM finally together. You've gotta check out free AOL Mail 
> <http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/index.htm?ncid=AOLAOF00020000000970>!
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From JforJames at aol.com  Sat Oct 20 15:30:14 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 20 Oct 2007 15:30:14 EDT
Subject: [New-Poetry] verse for sale
Message-ID: <c89.17731fad.344bb146@aol.com>

 
Selling poetry in the streets is OK with me as long as these poets don't  get 
as pushy as the squeegee guys. 
I can see them now, stopping cars coming into the city, sticking  their 
quickly scrawled poems through a crack in the driver's side window,  demanding a 
buck or two be passed back through as payment.
Finnegan
 
In a message dated 10/19/2007 10:22:43 PM Eastern Daylight Time,  
Opus40-01 at opus40.org writes:

An old  college classmate of mine, David Frey, used to do much the same 
thing back  in the 70s.

jforjames at aol.com wrote:
>  http://canadianpress.google.com/article/ALeqM5hNU5no47_F4mkCTay63iSRdY7CXw
>  Vendor of verse: It's personal at NYC street 'poem shop'
> 2 hours  ago
> NEW YORK - He's an urban curiosity - a poet of passersby, a vendor  of 
> verse.
>


 



************************************** See what's new at http://www.aol.com
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From JforJames at aol.com  Sat Oct 20 18:10:43 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 20 Oct 2007 18:10:43 EDT
Subject: [New-Poetry] Fwd: Poem of the Week- Sharon Olds
Message-ID: <c5f.1af1d6fe.344bd6e3@aol.com>





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From: "PoemoftheWeek.org" <andrewmcfadyenketchum at poemoftheweek.org>
Subject: Poem of the Week- Sharon Olds
Date: Sat, 20 Oct 2007 09:55:26 -0500
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From JforJames at aol.com  Sat Oct 20 18:29:07 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sat, 20 Oct 2007 18:29:07 EDT
Subject: [New-Poetry] our Nobel poetry drought 
Message-ID: <c19.237324d5.344bdb33@aol.com>

_http://nobelprize.org/nobel_prizes/literature/laureates/index.html_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/index.html) 
 
 2007 - _Doris  Lessing_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/2007/index.html)   2006 - _Orhan  Pamuk_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/2006/index.html)   2005 - _Harold  Pinter_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/2005/index.html)   2004 - 
_Elfriede  Jelinek_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/2004/index.html)   2003 - _J.  M. Coetzee_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/2003/index.html)   2002 - _Imre  Kert?sz_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/2002/index.html)   2001 - _V.  S. 
Naipaul_ (http://nobelprize.org/nobel_prizes/literature/laureates/2001/index.html)   
2000 - _Gao  Xingjian_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/2000/index.html)   1999 - _G?nter  Grass_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/1999/index.html)   1998 - _Jos?  Saramago_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/1998/index.html)   1997 - _Dario  
Fo_ (http://nobelprize.org/nobel_prizes/literature/laureates/1997/index.html) 
  1996 - _Wislawa  Szymborska_ 
(http://nobelprize.org/nobel_prizes/literature/laureates/1996/index.html)  
 
You have to look back to Szymborska over a decade ago to find a poet. Not  
that some on the list didn't dabble...but is this a sign of poetry's fading  
fortunes?
Finnegan



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From Opus40-01 at opus40.org  Sat Oct 20 19:51:48 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sat, 20 Oct 2007 19:51:48 -0400
Subject: [New-Poetry] Why You Should Read Poetry
Message-ID: <471A9494.7090803@opus40.org>

http://www.huffingtonpost.com/john-lundberg/why-you-should-read-poetr_b_69184.html

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From Opus40-01 at opus40.org  Sat Oct 20 19:57:16 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sat, 20 Oct 2007 19:57:16 -0400
Subject: [New-Poetry] our Nobel poetry drought
In-Reply-To: <c19.237324d5.344bdb33@aol.com>
References: <c19.237324d5.344bdb33@aol.com>
Message-ID: <471A95DC.3050509@opus40.org>

I don't think it's more faded than in 1996.

JforJames at aol.com wrote:
> http://nobelprize.org/nobel_prizes/literature/laureates/index.html
>  
> # 2007 - Doris Lessing 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2007/index.html>
> # 2006 - Orhan Pamuk 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2006/index.html>
> # 2005 - Harold Pinter 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2005/index.html>
> # 2004 - Elfriede Jelinek 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2004/index.html>
> # 2003 - J. M. Coetzee 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2003/index.html>
> # 2002 - Imre Kert?sz 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2002/index.html>
> # 2001 - V. S. Naipaul 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2001/index.html>
> # 2000 - Gao Xingjian 
> <http://nobelprize.org/nobel_prizes/literature/laureates/2000/index.html>
> # 1999 - G?nter Grass 
> <http://nobelprize.org/nobel_prizes/literature/laureates/1999/index.html>
> # 1998 - Jos? Saramago 
> <http://nobelprize.org/nobel_prizes/literature/laureates/1998/index.html>
> # 1997 - Dario Fo 
> <http://nobelprize.org/nobel_prizes/literature/laureates/1997/index.html>
> # 1996 - Wislawa Szymborska 
> <http://nobelprize.org/nobel_prizes/literature/laureates/1996/index.html>
>  
> You have to look back to Szymborska over a decade ago to find a poet. 
> Not that some on the list didn't dabble...but is this a sign of 
> poetry's fading fortunes?
> Finnegan
>
>
>
> ------------------------------------------------------------------------
> See what's new at AOL.com 
> <http://www.aol.com?NCID=AOLCMP00300000001170> and Make AOL Your 
> Homepage <http://www.aol.com/mksplash.adp?NCID=AOLCMP00300000001169>.
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From anny.ballardini at tin.it  Sun Oct 21 12:46:53 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 21 Oct 2007 18:46:53 +0200
Subject: [New-Poetry] our Nobel poetry drought
References: <c19.237324d5.344bdb33@aol.com> <471A95DC.3050509@opus40.org>
Message-ID: <003c01c81401$fc6e0290$76eb114f@ANNY>

There is an inborn idea that poetry is easiest. Much more compelling to 
write a book of say 3- 6- 900 pages with action and movement and characters 
that /hear hear/ can recognize one another... That poor nobel whatever did 
slope down quickly at my eyes.

From: "TheOldMole" <Opus40-01 at opus40.org>
Subject: Re: [New-Poetry] our Nobel poetry drought


>I don't think it's more faded than in 1996.
>
> JforJames at aol.com wrote:
>> http://nobelprize.org/nobel_prizes/literature/laureates/index.html
>>  # 2007 - Doris Lessing 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2007/index.html>
>> # 2006 - Orhan Pamuk 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2006/index.html>
>> # 2005 - Harold Pinter 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2005/index.html>
>> # 2004 - Elfriede Jelinek 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2004/index.html>
>> # 2003 - J. M. Coetzee 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2003/index.html>
>> # 2002 - Imre Kert?sz 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2002/index.html>
>> # 2001 - V. S. Naipaul 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2001/index.html>
>> # 2000 - Gao Xingjian 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/2000/index.html>
>> # 1999 - G?nter Grass 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/1999/index.html>
>> # 1998 - Jos? Saramago 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/1998/index.html>
>> # 1997 - Dario Fo 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/1997/index.html>
>> # 1996 - Wislawa Szymborska 
>> <http://nobelprize.org/nobel_prizes/literature/laureates/1996/index.html>
>>  You have to look back to Szymborska over a decade ago to find a poet. 
>> Not that some on the list didn't dabble...but is this a sign of poetry's 
>> fading fortunes?
>> Finnegan
>>
>>
 -- 
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/




From Opus40-01 at opus40.org  Sun Oct 21 13:13:27 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sun, 21 Oct 2007 13:13:27 -0400
Subject: [New-Poetry] our Nobel poetry drought
In-Reply-To: <003c01c81401$fc6e0290$76eb114f@ANNY>
References: <c19.237324d5.344bdb33@aol.com> <471A95DC.3050509@opus40.org>
	<003c01c81401$fc6e0290$76eb114f@ANNY>
Message-ID: <471B88B7.4020809@opus40.org>

If Bob Dylan wins the Nobel Prize, will we count him?

Anny Ballardini wrote:
> There is an inborn idea that poetry is easiest. Much more compelling 
> to write a book of say 3- 6- 900 pages with action and movement and 
> characters that /hear hear/ can recognize one another... That poor 
> nobel whatever did slope down quickly at my eyes.
>
> From: "TheOldMole" <Opus40-01 at opus40.org>
> Subject: Re: [New-Poetry] our Nobel poetry drought
>
>
>> I don't think it's more faded than in 1996.
>>
>> JforJames at aol.com wrote:
>>> http://nobelprize.org/nobel_prizes/literature/laureates/index.html
>>>  # 2007 - Doris Lessing 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2007/index.html> 
>>>
>>> # 2006 - Orhan Pamuk 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2006/index.html> 
>>>
>>> # 2005 - Harold Pinter 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2005/index.html> 
>>>
>>> # 2004 - Elfriede Jelinek 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2004/index.html> 
>>>
>>> # 2003 - J. M. Coetzee 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2003/index.html> 
>>>
>>> # 2002 - Imre Kert?sz 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2002/index.html> 
>>>
>>> # 2001 - V. S. Naipaul 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2001/index.html> 
>>>
>>> # 2000 - Gao Xingjian 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/2000/index.html> 
>>>
>>> # 1999 - G?nter Grass 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/1999/index.html> 
>>>
>>> # 1998 - Jos? Saramago 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/1998/index.html> 
>>>
>>> # 1997 - Dario Fo 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/1997/index.html> 
>>>
>>> # 1996 - Wislawa Szymborska 
>>> <http://nobelprize.org/nobel_prizes/literature/laureates/1996/index.html> 
>>>
>>>  You have to look back to Szymborska over a decade ago to find a 
>>> poet. Not that some on the list didn't dabble...but is this a sign 
>>> of poetry's fading fortunes?
>>> Finnegan
>>>
>>>

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From JforJames at aol.com  Sun Oct 21 17:05:03 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 21 Oct 2007 17:05:03 EDT
Subject: [New-Poetry] our Nobel poetry drought
Message-ID: <ce9.1ace8a30.344d18ff@aol.com>

 
In a message dated 10/21/2007 1:13:56 PM Eastern Daylight Time,  
Opus40-01 at opus40.org writes:

If Bob  Dylan wins the Nobel Prize, will we count him?


Definitely he'd count among the poets. Why isn't there a Nobel in music?  
Perhaps the invention of dynamite makes one deaf?
Finnegan



************************************** See what's new at http://www.aol.com
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From jforjames at aol.com  Sun Oct 21 18:08:51 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Sun, 21 Oct 2007 18:08:51 -0400
Subject: [New-Poetry] Hughes missives
Message-ID: <8C9E24618C881B1-7C8-D68@WEBMAIL-MA08.sysops.aol.com>


>From The Sunday TimesOctober 21, 2007

Letters of Ted Hughes edited by Christopher ReidReviewed by John Carey 

Ted Hughes generated more scandal than any English poet except Byron. But the power of these letters does not depend on their revelations about his private life. It issues from the radiant aliveness of his language and imagination. Mundane subjects whirl into comic fantasy ? the potatoes in his vegetable patch ?rumbling in the earth like contented elephant herds?, his peas ?wandering the neighbourhood and assaulting the local beauties?. Animals and birds are endlessly reinvented ? swifts zipping into their nests ?like bullets into earth?, a stray hedgehog ?snivelling and snuffling his heart out?, a cat washing itself ?until its wrists look sore?. Write in your own way, he told Sylvia Plath, ?and make it stand up off the page and jump about the room?. 


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From anny.ballardini at tin.it  Mon Oct 22 03:20:41 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 22 Oct 2007 09:20:41 +0200
Subject: [New-Poetry] Hughes missives
References: <8C9E24618C881B1-7C8-D68@WEBMAIL-MA08.sysops.aol.com>
Message-ID: <002201c8147c$0e23b320$f1ac3452@ANNY>

It is quite logical to pity Plath, but I probably pity Ted Hughes more. 
  ----- Original Message ----- 
  From: jforjames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Monday, October 22, 2007 12:08 AM
  Subject: [New-Poetry] Hughes missives


  From The Sunday TimesOctober 21, 2007
  Letters of Ted Hughes edited by Christopher ReidReviewed by John Carey 

  Ted Hughes generated more scandal than any English poet except Byron. But the power of these letters does not depend on their revelations about his private life. It issues from the radiant aliveness of his language and imagination. Mundane subjects whirl into comic fantasy ? the potatoes in his vegetable patch ?rumbling in the earth like contented elephant herds?, his peas ?wandering the neighbourhood and assaulting the local beauties?. Animals and birds are endlessly reinvented ? swifts zipping into their nests ?like bullets into earth?, a stray hedgehog ?snivelling and snuffling his heart out?, a cat washing itself ?until its wrists look sore?. Write in your own way, he told Sylvia Plath, ?and make it stand up off the page and jump about the room?. 
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From anny.ballardini at tin.it  Mon Oct 22 05:38:33 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 22 Oct 2007 11:38:33 +0200
Subject: [New-Poetry] Durga Pujo in Calcutta
Message-ID: <006d01c8148f$50887c60$f1ac3452@ANNY>

slides:
http://www.nytimes.com/slideshow/2007/10/22/world/20071022DURGA_index.html



Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From jfq at myuw.net  Mon Oct 22 06:46:36 2007
From: jfq at myuw.net (jfq at myuw.net)
Date: Mon, 22 Oct 2007 03:46:36 -0700 (PDT)
Subject: [New-Poetry] Durga Pujo in Calcutta
In-Reply-To: <006d01c8148f$50887c60$f1ac3452@ANNY>
Message-ID: <Pine.LNX.4.43.0710220346360.15781@hymn12.u.washington.edu>


I'm in Delhi right now for work, but we drove out to Agra on saturday to see the Taj Mahal. By the drive back, the festival preparations were in full swing and were amazing. We stopped in Vrindaban and wandered around the temple city. It was stunning being in the middle of it all. It's like Carnivale, only much more pious.

On Mon, 22 Oct 2007, Anny Ballardini wrote:

> slides:
> http://www.nytimes.com/slideshow/2007/10/22/world/20071022DURGA_index.html
>
>
>
> Anny Ballardini
> http://annyballardini.blogspot.com/
> http://www.fieralingue.it/modules.php?name=poetshome
> http://www.moriapoetry.com/ebooks.html
> I Tell You: One must still have chaos in one to give birth to a dancing star!
> Friedrich Nietzsche
>




From anny.ballardini at tin.it  Mon Oct 22 10:29:00 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 22 Oct 2007 16:29:00 +0200
Subject: [New-Poetry] Durga Pujo in Calcutta
References: <Pine.LNX.4.43.0710220346360.15781@hymn12.u.washington.edu>
Message-ID: <002001c814b7$e3efe6a0$f1ac3452@ANNY>

What a coincidence that I sent the slides in. Both colors and symbology are 
very interesting. Have a great stay,

From: <jfq at myuw.net>


>
> I'm in Delhi right now for work, but we drove out to Agra on saturday to 
> see the Taj Mahal. By the drive back, the festival preparations were in 
> full swing and were amazing. We stopped in Vrindaban and wandered around 
> the temple city. It was stunning being in the middle of it all. It's like 
> Carnivale, only much more pious.
>
> On Mon, 22 Oct 2007, Anny Ballardini wrote:
>
>> slides:
>> http://www.nytimes.com/slideshow/2007/10/22/world/20071022DURGA_index.html
>>
>>




From anny.ballardini at tin.it  Mon Oct 22 12:21:43 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 22 Oct 2007 18:21:43 +0200
Subject: [New-Poetry] Fw: Ten Days to Workshop Application Deadline
Message-ID: <004401c814c7$a2aea0e0$f1ac3452@ANNY>


----- Original Message ----- 
From: news at palmbeachpoetryfestival.org 
To: anny.ballardini at tin.it 
Sent: Monday, October 22, 2007 5:23 PM
Subject: Ten Days to Workshop Application Deadline


       
       Advanced Workshops:  
      Kim Addonizio, Claudia Emerson, 
      Thomas Lux, Campbell McGrath, 
      Sharon Olds, C.K. Williams
      Intermediate Workshops: 
      Major Jackson and 
      Malena M?rling   

      Fourth Annual Palm Beach Poetry Festival

           January 21-26, 2008 - Delray Beach, Florida

      Deadline to apply:  (only ten more days to October 31, 2007) 


      The Fourth Annual Festival takes place January 21-26, 2008, in Delray Beach, Florida. Workshops are offered with poets Kim Addonizio, Claudia Emerson, Major Jackson, Thomas Lux, Campbell Mcgrath, Malena Morling, Sharon Olds, and C.K. Williams. The deadline to apply for workshop participation is October 31, 2007. For more information and to apply, visit www.palmbeachpoetryfestival.org, today!

      The following links take you directly to workshop descriptions.

               ADVANCED WORKSHOPS

        a.. STEALING FIRE with Kim Addonizio
        b.. DELIGHT TO WISDOM with Claudia Emerson 
        c.. WORD BY WORD, LINE BY LINE with Thomas Lux
        d.. POETRY IN PROCESS with Campbell Mcgrath 
        e.. GENERATING NEW WORK with Sharon Olds 
        f.. RE-CONCEIVING POEMS with C.K. Williams 

        INTERMEDIATE WORKSHOPS 


        g.. MUSIC MAKES IT HAPPEN with Major Jackson
        h.. TRANSFORMING POEMS with Malena M?rling 
      We would love to welcome you in the warmth of Florida and the company of all the extraordinary poets who will be at the Fourth Annual Palm Beach Poetry Festival in January. To join us, apply on-line or by U.S. mail before the October 31, 2007 deadline.

      If you have questions, please don't hesitate to contact us. 

      with best regards,  

            Miles Coon
            Festival Founder & 
            Festival Director
           Susan R. Williamson
            Assistant Director
            Palm Beach Poetry Festival
           




























      We invite you to pass this message along to writers, colleagues, students, or friends you think may be interested in the festival events.

      The Fourth Annual Palm Beach Poetry Festival is presented by Palm Beach Poetry Festival, Inc. in partnership with Old School Square Cultural Arts Center. Palm Beach Poetry Festival, Inc. is a Florida nonprofit corporation, tax-exempt pursuant to Section 501(c)(3) of the Internal Revenue Code and is a member in good standing of the Palm Beach County Cultural Council and the Delray Beach Chamber of Commerce. All donations are tax-deductible to the full extent of the law. Palm Beach Poetry Festival, Inc., 3199 B-3 Lake Worth Road, Lake Worth, FL 33461 -- (561) 868-2063.

















     






We invite you to pass this message along writers, colleagues, students, or friends, you think may be interested in the festival. If you would like to change preferences or unsubscribe, you may click this link.



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From jforjames at aol.com  Mon Oct 22 14:57:30 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 22 Oct 2007 14:57:30 -0400
Subject: [New-Poetry] Iranian poet Forough Farrokhzad
Message-ID: <8C9E2F4881C1160-298-3D72@WEBMAIL-DC13.sysops.aol.com>


http://dailyheadlines.uark.edu/11614.htm
FOR RELEASE: Tuesday, October 16, 2007 
Three New Collections of Poetry Published by the University of Arkansas Press 

FAYETTEVILLE, Ark. - An Iranian woman poet, a southerner, and a midwestener are represented in three new poetry collections published by the University of Arkansas Press. 
?
For the first time, the work of Iranian poet Forough Farrokhzad is being brought to English-speaking readers through the perspective of a translator who is a poet in her own right, fluent in both Persian and English, and intimately familiar with each culture. Sin: Selected Poems of Forugh Farrokhzad, translated by Sholeh Wolpe (cloth, $22.95) includes the entirety of Farrokhzad's last book and selections from her earlier work.


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From bobgrumman at nut-n-but.net  Mon Oct 22 17:52:40 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Mon, 22 Oct 2007 16:52:40 -0500
Subject: [New-Poetry] our Nobel poetry drought
In-Reply-To: <c19.237324d5.344bdb33@aol.com>
References: <c19.237324d5.344bdb33@aol.com>
Message-ID: <471D1BA8.4050304@nut-n-but.net>

Poets have always been rare Nobelists.  Almost as rare as Literary Geniuses.

--Bob G.



From jforjames at aol.com  Mon Oct 22 19:27:39 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 22 Oct 2007 19:27:39 -0400
Subject: [New-Poetry] Housman letters
Message-ID: <8C9E31A45281E2E-8C8-288E@WEBMAIL-DC18.sysops.aol.com>

Paul Johnson
>From Bromsgrove to Trinity
The Letters of A E Housman
Edited by Archie Burnett (Oxford University Press 2 vols 960pp ?180)


Housman, one of the egregious eccentrics of English poetry, was the son of a busy solicitor who practised in Bromsgrove, Worcestershire. He had two sisters and four brothers, one of whom, Laurence, wrote a West End smash, Victoria Regina. He had a passion for Latin and Greek but not much interest in classical history and philosophy. Hence, at St John's, Oxford, he took a first in Mods but flopped in Greats and had to seek employment in the Patent Office (like Einstein). However, his powerful pieces on classical philology in learned journals eventually led to recognition as a scholar and in 1892, when he was thirty-three, he was appointed professor of Latin at University College, London. Nearly twenty years later, his career was crowned by his election, against a strong field, to the chair of Latin at Cambridge. Thus he exchanged a dim house in Pinner for a splendid set of rooms in Trinity, where he lived till his death in 1936. 

________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From jforjames at aol.com  Mon Oct 22 19:51:58 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Mon, 22 Oct 2007 19:51:58 -0400
Subject: [New-Poetry] Poe Mort
Message-ID: <8C9E31DAACC3C08-8C8-29BC@WEBMAIL-DC18.sysops.aol.com>


http://www.observer.com/2007/poe-s-mysterious-death-plot-thickens

Poe?s Mysterious Death: The Plot Thickens!
by Leon Neyfakh
?
Published: October 16, 2007
?
Tags: Media, Edgar Allan Poe
This article was published in the October 22, 2007, edition of The New York Observer.


Last year, the writer Matthew Pearl published a novel called The Poe Shadow, in which a young lawyer sets out to solve one of the great enduring mysteries of American literary history: What killed Edgar Allan Poe? Like his protagonist, Mr. Pearl was fascinated by the question, which has vexed scholars ever since the great man died in 1849 at the age of 40, in a Baltimore hospital after being discovered, distraught and incoherent, in a local tavern.

Mr. Pearl had wanted to write a novel exploring the mystery. But he never expected to uncover actual evidence that could help solve it.


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From Rsgwynn1 at cs.com  Mon Oct 22 21:48:31 2007
From: Rsgwynn1 at cs.com (Rsgwynn1 at cs.com)
Date: Mon, 22 Oct 2007 21:48:31 EDT
Subject: [New-Poetry] Poe Mort
Message-ID: <d32.176ea64f.344eacef@cs.com>

I've had at least one academic say that it's without doubt that it was 
hydrophobia.  Apparently Poe bit into a bat pie during his last days.  Right.   
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From anny.ballardini at tin.it  Tue Oct 23 04:10:09 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Tue, 23 Oct 2007 10:10:09 +0200
Subject: [New-Poetry] =?iso-8859-1?q?Fw=3A_=5BNarcissusWorks=5D_D=FCrer?=
	=?iso-8859-1?q?=2C_Albrecht?=
Message-ID: <004a01c8154c$216e8c90$b2ee064f@ANNY>


----- Original Message ----- 
From: Anny Ballardini 
To: anny.ballardini at tin.it 
Sent: Tuesday, October 23, 2007 9:53 AM
Subject: [NarcissusWorks] D?rer, Albrecht


Sent over by Peter Ciccariello:

Rare Book Room
http://www.rarebookroom.org/

Don't miss D?rer, Albrecht (author) - De Symmetria
http://www.rarebookroom.org/Control/duruwm/index.html
...and Underweysung der Messung - 1538 - Nuremberg - The Warnock Library 

--
Posted By Anny Ballardini to NarcissusWorks at 10/23/2007 09:50:00 AM
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From grahamd at ripon.edu  Tue Oct 23 09:49:15 2007
From: grahamd at ripon.edu (David Graham)
Date: Tue, 23 Oct 2007 08:49:15 -0500
Subject: [New-Poetry] Talk talk talk
Message-ID: <92848D22-7DD6-427F-8BF4-335AC36E1285@ripon.edu>

I'm most happy to report the appearance of Triquarterly 128, the  
ultra-talk issue, guest edited by David Kirby & Barbara Hamby.  As a  
fan of this phenomenon in contemporary poetry, I'm pleased not only  
to be included in the table of contents, but also to have such a  
generous gathering of example poems available between two covers.

Kirby & Hamby, who unfortunately don't include their own poems in the  
issue, do contribute a brief  introduction, which will be helpful to  
anyone interested, dismayed, or confused by what "ultra-talk" is &  
isn't.

Poets gathered include Denise Duhamel, Gerald Stern, Albert  
Goldbarth, Amy Gerstler, Tony Hoagland, Mark Halliday, Lucia Perillo,  
Kim Addonizio, Campbell McGrath, Wanda Coleman, Martha Silano, Dean  
Young, Bob Hicok, Sharon Olds, B. H. Fairchild, Stephen Dobyns, Billy  
Collins, Charles Harper Webb, Dorianne Laux, Andrew Hudgins, Carl  
Dennis, Steve Scafidi, and Cate Marvin.




========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



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From amyhappens at yahoo.com  Tue Oct 23 11:23:46 2007
From: amyhappens at yahoo.com (amy king)
Date: Tue, 23 Oct 2007 08:23:46 -0700 (PDT)
Subject: [New-Poetry] This Friday in Brooklyn 
In-Reply-To: <852563.82905.qm@web83302.mail.sp1.yahoo.com>
Message-ID: <31402.90910.qm@web83302.mail.sp1.yahoo.com>

MiPOesias presents
   
  ~~  CYNTHIA SAILERS, DANA WARD and  PETER DAVIS~~ 
   
   
  Friday, October 26th @ 7 P.M.
   
  ~~
   
  CYNTHIA SAILERS is currently writing a dissertation on Narcissism and
  Perversion in Pathological Group Organization. She is a board member
  of Small Press Traffic, and previously co-curated New Yipes Reading
  Series (formerly New Brutalism).
   
  DANA WARD is the author of New Couriers (Dusie 2006), I Didn't Build This Machine (Boog Literature, 2004) & The Imaginary Lives of My Neighbors (Duration, 2003). Recent poems have appeared in Mirage #4/Periodical, string of small machines, Small Town, & other places. He lives in Cincinnati & edits Cy Press.
   
  PETER DAVIS' book of poems is Hitler's Mustache. He edited Poet's Bookshelf: Contemporary Poets on Books That Shaped Their Art. His poems have appeared in journals like MiPOesias, Octopus, Court Green, Rattle, and McSweeney's. His music project, Shot Hand, is available through Collectible Escalators. He lives in Muncie , Indiana with his wife, son, and daughter and teaches at Ball State University .
  ~~~~~~~
   
  STAIN BAR
  766 Grand Street Brooklyn , NY 11211
  (L train to Grand Street Stop, walk 1 block west)
  718/387-7840
  http://www.stainbar.com/
   
  ~~~~~~~~
   
   
  Hope you'll stop by!
   
  Amy King
  Editor
  http://www.mipoesias.com   
    
   
  **please forward**
   **apologies for cross-posting**

 __________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 
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From amyhappens at yahoo.com  Wed Oct 24 09:50:39 2007
From: amyhappens at yahoo.com (amy king)
Date: Wed, 24 Oct 2007 06:50:39 -0700 (PDT)
Subject: [New-Poetry] Poetry Forum on Goodreads
In-Reply-To: <31402.90910.qm@web83302.mail.sp1.yahoo.com>
Message-ID: <600517.67091.qm@web83303.mail.sp1.yahoo.com>

Just a note to let you know I'm the moderator of a fairly active forum on Goodreads for those so willing:

http://www.goodreads.com/group/show/233._POETRY_

The members hail from many corners of the globe - Iran to Japan to Canada to Texas ...

Cheers!

Amy

http://amyking.org/blog/





 __________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 
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From jkotin at uchicago.edu  Wed Oct 24 10:40:03 2007
From: jkotin at uchicago.edu (Joshua Kotin)
Date: Wed, 24 Oct 2007 09:40:03 -0500
Subject: [New-Poetry] Chicago Review 53:2/3 Is Available
Message-ID: <576AC2BE-7E16-4A93-8A0A-7ADFD12BDA7E@uchicago.edu>

The autumn double issue of Chicago Review (53:2/3) is available for  
purchase via ---

	http://humanities.uchicago.edu/orgs/review/

Use code GROSSMAN for 10% off subscriptions and individual issues.

The issue ---

POEMS

Book V of Ronald Johnson?s Radi os (entitled ?The Book of Adam?);  
?Rising, Falling, Hovering,? the second half of C.D. Wright?s long  
poem surrounding the Iraq war (the first half was published in CR  
51:3); as well as work by Larissa Szporluk, William Fuller, Sarah  
Gridley, Roberto Harrison, Mark Tardi, John Peck, Er?n Moure, Oana  
Avasilichioaei, and Elisa Sampedr?n.

FICTION

Five short stories by Peter Markus and Jedediah Berry?s ?Minus, His  
Heart.?

ESSAYS

Georges Perec's ?For a Realist Literature? (translated and introduced  
by Rob Halpern) and Allen Grossman's essay on communicative  
difficulty and Hart Crane's ?The Broken Tower.?

The issue also includes ?Numbers Trouble,? an essay by Juliana Spahr  
and Stephanie Young on gender and contemporary poetry, plus a  
response by Jennifer Ashton.

REVIEWS

Robert P. Baird on Eliot Weinberger's An Elemental Thing
Michael Robbins on Frederick Seidel's Ooga-Booga
Catherine Wagner on Harryette Mullen's Recyclopedia
Chris Woods on Zak Smith?s Gravity?s Rainbow Illustrated
Diana George on Hermann Ungar's Boys & Murderers
Spencer Dew on Gabriel Pomerand's Saint Ghetto of the Loans
David J. Alworth on Daniel Kane's Don't Ever Get Famous
P. Genesius Durica on Laird Hunt's The Exquisite
Joshua Baldwin on Kevin Connolly's Drift

...and the next chapter of Kent Johnson?s critical novella, on J.H.  
Prynne?s To Pollen

[http://humanities.uchicago.edu/orgs/review/ features a few of these  
reviews as free pdfs]


IN ADDITION . . .

A long response by John Wilkinson to Peter Riley's letter in CR 53:1,  
postcards of Ronald Johnson's concrete poem Balloons for Moonless  
Nights, and a note on gender representation in literary magazines.

+ + + +

Please visit CR at --- and subscribe --- at http:// 
humanities.uchicago.edu/orgs/review/

+ + + +

Also this week: CR is having an open house.

Please visit Lillie House this Friday evening at 7:30 to celebrate  
the launch of Chicago Review 53:2/3.

Contributors Roberto Harrison and Kent Johnson --- all the way from  
Milwaukee and Freeport, respectively --- will read.

There will also be drink and good cheer --- and copies of the new  
issue . . .

Lillie House is located at 5801 South Kenwood Ave / 60637, just east  
of the University of Chicago quad in Hyde Park.

+ + + +

Next week: material from earlier issues that link with this one will  
be posted online (the first half of C.D. Wright's "Rising, Falling,  
Hovering," part one of Kent Johnson's critical novella on British  
poetry, and John Wilkinson's review of Simon Jarvis and Peter Riley's  
response).

+ + + +


|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |

Chicago Review
5801 South Kenwood Avenue
Chicago Illinois 60637

http://humanities.uchicago.edu/orgs/review/

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From anny.ballardini at tin.it  Wed Oct 24 13:35:37 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 24 Oct 2007 19:35:37 +0200
Subject: [New-Poetry] Kurt Schwitters
Message-ID: <006f01c81664$4aa1af70$48a83852@ANNY>

Kurt Schwitters in England:
http://www.littoral.org.uk/HTML01/pro_kurtschwitters.htm




--------------------------------------------------------------------------------

Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From editor at eratiopostmodernpoetry.com  Wed Oct 24 14:26:14 2007
From: editor at eratiopostmodernpoetry.com (editor at eratiopostmodernpoetry.com)
Date: Wed, 24 Oct 2007 14:26:14 -0400
Subject: [New-Poetry] See Hear Jake Berry
Message-ID: <200710241826.l9OIQEHi003490@mail21.atl.registeredsite.com>

Dear New-Poetry Listers,

See hear a Jake Berry music video:

A Thousand Years - Jake Berry, song and images

http://medialab.ifc.com/film_detail.jsp?film_id=5940

See hear a Jake Berry poetry film:

http://medialab.ifc.com/film_detail.jsp?film_id=5938


Know thyself.  Or else, short of that, know the American Underground.  


Posted by Gregory Vincent St. Thomasino


e?
 



From Opus40-01 at opus40.org  Wed Oct 24 18:31:28 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Wed, 24 Oct 2007 18:31:28 -0400
Subject: [New-Poetry] Hot Whiskey, Poets, and Revolution
Message-ID: <471FC7C0.7080208@opus40.org>

 From the Hot Whiskey Blog (http://hotwhiskeyblog.blogspot.com/:

I was just searching around in The New York Review of Books' archives 
and found this collaborative letter from 1968:

To the Editors:

We assembled poets respectable enough to travel across the planet to 
Stony Brook hereby announce to the public that we are all victims of 
closed vision, crippled mechanical consciousness, and bad poetry mouthed 
by all governments and propagandized thru controlled mass media.

That police state military tyranny, sexual repression and laws against 
expansion of consciousness by joyful music naked dance and high natural 
herbs threaten further evolution of the race. Joy to all poets' wives 
and lovers in every country (Herbert).

That no government except the invisible commune of poetry has become 
conscious that man's usurpation over all nature is an egotism that will 
destroy human as well as whale kingdoms thru ecological disruption of 
the planet surface.

That revolutions of consciousness manifested in human society by younger 
generations present should be protected from armed dinosaur repression 
and black magic violence perpetrated by the state; that everywhere Stony 
Brook to Vietnam the state is the cause and source of violence, state 
violence is preventing peaceful change. Student violence exacerbates 
some people (Cooperman). Poets fighting on suburban lawns drunk is also 
real. (Ginsberg).

That Black Power is the active American conscience, the African soul 
rising within our nation to force the European soul to love and the 
marriage of races in a new humanity. We must all work for the wedding of 
Asia and our continent. For Asia sulks in rejection and pride and only 
begins to roar in pain (Duncan)?that Black Power is an ideal vision of 
African Divinity resurrected to save the white rational races from 
suffocating the entire planet in dung colored gas?We ask return to true 
tribal structure in which men use society rather than be used. 
(Oppenheimer)?

That the U.S. utopian* war against attempted state* utopias in China and 
Cuba as well as Vietnam is a bring down for the entire human race?that 
good old Dr. Spock and friends have made pure poetic statement aiding 
and abetting younger bodies to avoid War Theater, that the assembled 
poets commit the same holy deed.?

That the new consciousness articulated by longhair revolutionary student 
generations Prague New York Paris Madrid Santiago everywhere on earth 
begins the fulfillment of human anarchy (withering away of state 
[Guellivic]) and communal utopia prophesized by poets for 
millenia?Academies should return to wisdom study in tree groves rather 
than robot study in plastic cells?Bless the Universe!

Robert Duncan

G. E. Kimball III

Stanley Cooperman

Holly Stevens

Donald Hall

Jerome Rothenberg

Ed Sanders

Joel Oppenheimer

Eduardo de Olivera

John Logan

Mackson MacLow

T. Weiss

Anthony Hecht

Denise Levertov

J.D. Reed

Donald Justice

Allen Ginsberg

Louis Simpson

Nicanor Parra

George Hitchcock

Robert Vas Dias

Tim Reynolds

*Zbigniew Herbert

*Czeslaw Milosz

Anselm Hollo

Clayton Eshleman

George Quasha

George A. Williams

Tom Gatten

Milton Kessler

Jim Harrison

Dan Rowe

Allen Planz

Ann London

A. J. M. Smith

Ron Loweinsohn


Is this possible? Would Don Justice have signed a letter like this? 
Would Ted Weiss? Anthony Hecht? It seems out of character. Anyway, it's 
quite a list (even if you include Mackson MacLow).

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From cervantes.james at gmail.com  Wed Oct 24 18:37:48 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Wed, 24 Oct 2007 15:37:48 -0700
Subject: [New-Poetry] Hot Whiskey, Poets, and Revolution
In-Reply-To: <471FC7C0.7080208@opus40.org>
References: <471FC7C0.7080208@opus40.org>
Message-ID: <648208b60710241537n48b8870dx23399e5be75eca2a@mail.gmail.com>

Collaborative maybe, but it sure has a generous helping of Ginsberg.
Sure, Donald Justice would have signed it in his old days.  Don't know
about Weiss and Hecht.

- Jim

On 10/24/07, TheOldMole <Opus40-01 at opus40.org> wrote:
>  From the Hot Whiskey Blog (http://hotwhiskeyblog.blogspot.com/:
>
> I was just searching around in The New York Review of Books' archives
> and found this collaborative letter from 1968:
>
> To the Editors:
>
> We assembled poets respectable enough to travel across the planet to
> Stony Brook hereby announce to the public that we are all victims of
> closed vision, crippled mechanical consciousness, and bad poetry mouthed
> by all governments and propagandized thru controlled mass media.
>
> That police state military tyranny, sexual repression and laws against
> expansion of consciousness by joyful music naked dance and high natural
> herbs threaten further evolution of the race. Joy to all poets' wives
> and lovers in every country (Herbert).
>
> That no government except the invisible commune of poetry has become
> conscious that man's usurpation over all nature is an egotism that will
> destroy human as well as whale kingdoms thru ecological disruption of
> the planet surface.
>
> That revolutions of consciousness manifested in human society by younger
> generations present should be protected from armed dinosaur repression
> and black magic violence perpetrated by the state; that everywhere Stony
> Brook to Vietnam the state is the cause and source of violence, state
> violence is preventing peaceful change. Student violence exacerbates
> some people (Cooperman). Poets fighting on suburban lawns drunk is also
> real. (Ginsberg).
>
> That Black Power is the active American conscience, the African soul
> rising within our nation to force the European soul to love and the
> marriage of races in a new humanity. We must all work for the wedding of
> Asia and our continent. For Asia sulks in rejection and pride and only
> begins to roar in pain (Duncan)?that Black Power is an ideal vision of
> African Divinity resurrected to save the white rational races from
> suffocating the entire planet in dung colored gas?We ask return to true
> tribal structure in which men use society rather than be used.
> (Oppenheimer)?
>
> That the U.S. utopian* war against attempted state* utopias in China and
> Cuba as well as Vietnam is a bring down for the entire human race?that
> good old Dr. Spock and friends have made pure poetic statement aiding
> and abetting younger bodies to avoid War Theater, that the assembled
> poets commit the same holy deed.?
>
> That the new consciousness articulated by longhair revolutionary student
> generations Prague New York Paris Madrid Santiago everywhere on earth
> begins the fulfillment of human anarchy (withering away of state
> [Guellivic]) and communal utopia prophesized by poets for
> millenia?Academies should return to wisdom study in tree groves rather
> than robot study in plastic cells?Bless the Universe!
>
> Robert Duncan
>
> G. E. Kimball III
>
> Stanley Cooperman
>
> Holly Stevens
>
> Donald Hall
>
> Jerome Rothenberg
>
> Ed Sanders
>
> Joel Oppenheimer
>
> Eduardo de Olivera
>
> John Logan
>
> Mackson MacLow
>
> T. Weiss
>
> Anthony Hecht
>
> Denise Levertov
>
> J.D. Reed
>
> Donald Justice
>
> Allen Ginsberg
>
> Louis Simpson
>
> Nicanor Parra
>
> George Hitchcock
>
> Robert Vas Dias
>
> Tim Reynolds
>
> *Zbigniew Herbert
>
> *Czeslaw Milosz
>
> Anselm Hollo
>
> Clayton Eshleman
>
> George Quasha
>
> George A. Williams
>
> Tom Gatten
>
> Milton Kessler
>
> Jim Harrison
>
> Dan Rowe
>
> Allen Planz
>
> Ann London
>
> A. J. M. Smith
>
> Ron Loweinsohn
>
>
> Is this possible? Would Don Justice have signed a letter like this?
> Would Ted Weiss? Anthony Hecht? It seems out of character. Anyway, it's
> quite a list (even if you include Mackson MacLow).
>
> --
> Tad Richards
> http://www.opus40.org/tadrichards/
> http://opusforty.blogspot.com/
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>


-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html
~ http://home.earthlink.net/~jvcervantes/
~ http://www.flickr.com/photos/12364573 at N08/



From GrahamD at ripon.edu  Thu Oct 25 11:33:17 2007
From: GrahamD at ripon.edu (David Graham)
Date: Thu, 25 Oct 2007 10:33:17 -0500
Subject: [New-Poetry] Simic essay
Message-ID: <F24D3506-D5BF-4B21-9A53-DCB0AC8B3CC4@ripon.edu>

Does anyone happen to have handy on your hard drive the Charles Simic  
review of Robert Creeley that was in New York Review of Books recently?

I'd be deliriously happy for a backchannel if you do.


========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



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From lattaj at umich.edu  Thu Oct 25 11:41:39 2007
From: lattaj at umich.edu (John Latta)
Date: Thu, 25 Oct 2007 11:41:39 -0400 (EDT)
Subject: [New-Poetry] Simic essay
In-Reply-To: <F24D3506-D5BF-4B21-9A53-DCB0AC8B3CC4@ripon.edu>
References: <F24D3506-D5BF-4B21-9A53-DCB0AC8B3CC4@ripon.edu>
Message-ID: <Pine.LNX.4.64.0710251139530.21092@rygar.gpcc.itd.umich.edu>

David,

The whole thing got posted to the Buffalo Poetics list, here:

http://listserv.acsu.buffalo.edu/cgi-bin/wa?A2=ind0710&L=poetics&D=1&O=A&P=26637

Lots of wild-eyed response there and elsewhere, too.

Best,
John

On Thu, 25 Oct 2007, David Graham wrote:

> Does anyone happen to have handy on your hard drive the Charles Simic review 
> of Robert Creeley that was in New York Review of Books recently?
>
> I'd be deliriously happy for a backchannel if you do.
>
>
> ========================================
> David Graham
> grahamd at ripon.edu
>
> Home Page:
> http://web.mac.com/drjazz/iWeb/Site/About%20Me.html
>
> Poetry Library:
> http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
> ==========================================
>
>
>


From spearlstein at comcast.net  Thu Oct 25 17:11:29 2007
From: spearlstein at comcast.net (Sarah Pearlstein)
Date: Thu, 25 Oct 2007 17:11:29 -0400
Subject: [New-Poetry] Hot Whiskey, Poets, and Revolution
In-Reply-To: <471FC7C0.7080208@opus40.org>
Message-ID: <200710252001.l9PK1WWu022521@wiz.cath.vt.edu>

Cool!   I sent this to my favorite local anti-war coalition's list-serv
(they are in Boston, based in Chinatown.  OT/ FYI their web address is:
www.stopthewars.org .)  we are having a week-end of events on the Boston
commons.    I thought it was an interesting note on the anti-academic,
intellectual left.... And all the poets involved in it at one point or
another.    I wonder about people, such as Sam Hamill (who I was lucky
enough to meet briefly this summer, at the William Joiner Center for the
Study of War and its' Consequences; a 2 week long writer's workshop...)
getting together this sort of thing, in proper manifesto form, perhaps?
Agit-prop, anyone?   Feelings about manifesto as an art form, etc?

Pax vobiscum,
          Sarah Pearlstein

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of TheOldMole
Sent: Wednesday, October 24, 2007 6:31 PM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: [New-Poetry] Hot Whiskey, Poets, and Revolution

 From the Hot Whiskey Blog (http://hotwhiskeyblog.blogspot.com/:

I was just searching around in The New York Review of Books' archives and
found this collaborative letter from 1968:

To the Editors:

We assembled poets respectable enough to travel across the planet to Stony
Brook hereby announce to the public that we are all victims of closed
vision, crippled mechanical consciousness, and bad poetry mouthed by all
governments and propagandized thru controlled mass media.

That police state military tyranny, sexual repression and laws against
expansion of consciousness by joyful music naked dance and high natural
herbs threaten further evolution of the race. Joy to all poets' wives and
lovers in every country (Herbert).

That no government except the invisible commune of poetry has become
conscious that man's usurpation over all nature is an egotism that will
destroy human as well as whale kingdoms thru ecological disruption of the
planet surface.

That revolutions of consciousness manifested in human society by younger
generations present should be protected from armed dinosaur repression and
black magic violence perpetrated by the state; that everywhere Stony Brook
to Vietnam the state is the cause and source of violence, state violence is
preventing peaceful change. Student violence exacerbates some people
(Cooperman). Poets fighting on suburban lawns drunk is also real.
(Ginsberg).

That Black Power is the active American conscience, the African soul rising
within our nation to force the European soul to love and the marriage of
races in a new humanity. We must all work for the wedding of Asia and our
continent. For Asia sulks in rejection and pride and only begins to roar in
pain (Duncan)-that Black Power is an ideal vision of African Divinity
resurrected to save the white rational races from suffocating the entire
planet in dung colored gas-We ask return to true tribal structure in which
men use society rather than be used. 
(Oppenheimer)-

That the U.S. utopian* war against attempted state* utopias in China and
Cuba as well as Vietnam is a bring down for the entire human race-that good
old Dr. Spock and friends have made pure poetic statement aiding and
abetting younger bodies to avoid War Theater, that the assembled poets
commit the same holy deed.-

That the new consciousness articulated by longhair revolutionary student
generations Prague New York Paris Madrid Santiago everywhere on earth begins
the fulfillment of human anarchy (withering away of state
[Guellivic]) and communal utopia prophesized by poets for millenia-Academies
should return to wisdom study in tree groves rather than robot study in
plastic cells-Bless the Universe!

Robert Duncan

G. E. Kimball III

Stanley Cooperman

Holly Stevens

Donald Hall

Jerome Rothenberg

Ed Sanders

Joel Oppenheimer

Eduardo de Olivera

John Logan

Mackson MacLow

T. Weiss

Anthony Hecht

Denise Levertov

J.D. Reed

Donald Justice

Allen Ginsberg

Louis Simpson

Nicanor Parra

George Hitchcock

Robert Vas Dias

Tim Reynolds

*Zbigniew Herbert

*Czeslaw Milosz

Anselm Hollo

Clayton Eshleman

George Quasha

George A. Williams

Tom Gatten

Milton Kessler

Jim Harrison

Dan Rowe

Allen Planz

Ann London

A. J. M. Smith

Ron Loweinsohn


Is this possible? Would Don Justice have signed a letter like this? 
Would Ted Weiss? Anthony Hecht? It seems out of character. Anyway, it's
quite a list (even if you include Mackson MacLow).

--
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/

_______________________________________________
New-Poetry mailing list
New-Poetry at wiz.cath.vt.edu
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry



From anny.ballardini at tin.it  Thu Oct 25 17:49:37 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Thu, 25 Oct 2007 23:49:37 +0200
Subject: [New-Poetry] Birgitta.Joy
Message-ID: <005701c81750$f08c7ae0$8d3e014f@ANNY>

Maybe because I have known Birgitta Jonsdottir for some time (your own children are the most beautiful...) I think this song and video are quite nice:

http://www.youtube.com/watch?v=UPz8JLvh79o&eurl=http://widget-cc.slide.com/widgets/sf.swf


Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From jforjames at aol.com  Thu Oct 25 22:15:55 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Thu, 25 Oct 2007 22:15:55 -0400
Subject: [New-Poetry] Wall Street Journal notices a Poet
Message-ID: <8C9E58D468C0BDE-EF4-22C9@webmail-mf12.sysops.aol.com>



http://online.wsj.com/article/SB119326704970370531.html?mod=googlenews_wsj
CULTURAL CONVERSATION? 
? 

The Immigrant 'Outsider' 
Is Now Poetry's Insider
By EMILY PARKER

October 25, 2007; Page D8

NEW YORK -- "The great thing about the United States is that you kind of start everything from scratch," says Charles Simic. The poet would know a thing or two about the American dream. Born in 1938 in Belgrade, Yugoslavia, Mr. Simic moved to America at age 16. He learned English as a teenager, started using it to write poetry a few years later, and this year was nominated by the Library of Congress to be U.S. poet laureate. "Being an immigrant you also feel a bit of an outsider anyway," Mr. Simic explains, "which is really good if you're going to be a writer."



________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From amyhappens at yahoo.com  Fri Oct 26 11:16:51 2007
From: amyhappens at yahoo.com (amy king)
Date: Fri, 26 Oct 2007 08:16:51 -0700 (PDT)
Subject: [New-Poetry] Tonight?
In-Reply-To: <200710252001.l9PK1WWu022521@wiz.cath.vt.edu>
Message-ID: <845694.74081.qm@web83308.mail.sp1.yahoo.com>

TONIGHT!
   
  MiPOesias presents
   
  ~~  CYNTHIA SAILERS, DANA WARD and  PETER DAVIS~~ 
   
   
  Friday, October 26th @ 7 P.M.
   
  ~~
   
  CYNTHIA SAILERS is currently writing a dissertation on Narcissism and
  Perversion in Pathological Group Organization. She is a board member
  of Small Press Traffic, and previously co-curated New Yipes Reading
  Series (formerly New Brutalism).
   
  DANA WARD is the author of New Couriers (Dusie 2006), I Didn't Build This Machine (Boog Literature, 2004) & The Imaginary Lives of My Neighbors (Duration, 2003). Recent poems have appeared in Mirage #4/Periodical, string of small machines, Small Town, & other places. He lives in Cincinnati & edits Cy Press.
   
  PETER DAVIS' book of poems is Hitler's Mustache. He edited Poet's Bookshelf: Contemporary Poets on Books That Shaped Their Art. His poems have appeared in journals like MiPOesias, Octopus, Court Green, Rattle, and McSweeney's. His music project, Shot Hand, is available through Collectible Escalators. He lives in Muncie , Indiana with his wife, son, and daughter and teaches at Ball State University .
  ~~~~~~~
   
  STAIN BAR
  766 Grand Street Brooklyn , NY 11211
  (L train to Grand Street Stop, walk 1 block west)
  718/387-7840
  http://www.stainbar.com/
   
  ~~~~~~~~
   
   
  Hope you'll stop by!
   
  Amy King
  Editor
  http://www.mipoesias.com   
    
   
  **please forward**
   **apologies for cross-posting**

 __________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 
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From anny.ballardini at tin.it  Fri Oct 26 13:48:20 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Fri, 26 Oct 2007 19:48:20 +0200
Subject: [New-Poetry] Wall Street Journal notices a Poet
References: <8C9E58D468C0BDE-EF4-22C9@webmail-mf12.sysops.aol.com>
Message-ID: <009e01c817f8$65ff5660$23a93852@ANNY>

Re.:
"Being an immigrant you also feel a bit of an outsider anyway," Mr. Simic explains, "which is really good if you're going to be a writer."

also Gertrude Stein said similar words. Anyhow after Waiting for Godot by Beckett, I would like to see who feels at home and where.
  From: jforjames at aol.com 
  Sent: Friday, October 26, 2007 4:15 AM



  http://online.wsj.com/article/SB119326704970370531.html?mod=googlenews_wsj
  CULTURAL CONVERSATION  
    
  The Immigrant 'Outsider' 
  Is Now Poetry's Insider
  By EMILY PARKER

  October 25, 2007; Page D8
  NEW YORK -- "The great thing about the United States is that you kind of start everything from scratch," says Charles Simic. The poet would know a thing or two about the American dream. Born in 1938 in Belgrade, Yugoslavia, Mr. Simic moved to America at age 16. He learned English as a teenager, started using it to write poetry a few years later, and this year was nominated by the Library of Congress to be U.S. poet laureate. "Being an immigrant you also feel a bit of an outsider anyway," Mr. Simic explains, "which is really good if you're going to be a writer."
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From skip at louisiana.edu  Fri Oct 26 14:43:40 2007
From: skip at louisiana.edu (Skip Fox)
Date: Fri, 26 Oct 2007 13:43:40 -0500
Subject: [New-Poetry] Wall Street Journal notices a Poet
In-Reply-To: <009e01c817f8$65ff5660$23a93852@ANNY>
Message-ID: <000501c81800$26cec1d0$f4954682@win.louisiana.edu>

I believe Carolyn Bergvall said she chose to write in English even though
she knew Finnish and French better. English is more difficult for her, I
think I remember her maintaining, making it the most interesting language (
or the most fit medium) to write (primarily) in.

 

Conrad and Nabokov are two others to consider.

 

I wonder how this might work for immigrant artists (Gorky, DeKooning, etc.)
in terms of an outsider status being beneficial, not just in terms of
language.

 

-----Original Message-----
From: new-poetry-bounces at wiz.cath.vt.edu
[mailto:new-poetry-bounces at wiz.cath.vt.edu] On Behalf Of Anny Ballardini
Sent: Friday, October 26, 2007 12:48 PM
To: NewPoetry: Contemporary Poetry News &amp;Views
Subject: Re: [New-Poetry] Wall Street Journal notices a Poet

 

Re.:

"Being an immigrant you also feel a bit of an outsider anyway," Mr. Simic
explains, "which is really good if you're going to be a writer."

 

also Gertrude Stein said similar words. Anyhow after Waiting for Godot by
Beckett, I would like to see who feels at home and where.

From: jforjames at aol.com 

Sent: Friday, October 26, 2007 4:15 AM

 


 
<http://online.wsj.com/article/SB119326704970370531.html?mod=googlenews_wsj>
http://online.wsj.com/article/SB119326704970370531.html?mod=googlenews_wsj
CULTURAL CONVERSATION  
  

The Immigrant 'Outsider' 
Is Now Poetry's Insider
By EMILY PARKER

October 25, 2007; Page D8

NEW YORK -- "The great thing about the United States is that you kind of
start everything from scratch," says Charles Simic. The poet would know a
thing or two about the American dream. Born in 1938 in Belgrade, Yugoslavia,
Mr. Simic moved to America at age 16. He learned English as a teenager,
started using it to write poetry a few years later, and this year was
nominated by the Library of Congress to be U.S. poet laureate. "Being an
immigrant you also feel a bit of an outsider anyway," Mr. Simic explains,
"which is really good if you're going to be a writer."

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From jforjames at aol.com  Fri Oct 26 17:26:58 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Fri, 26 Oct 2007 17:26:58 -0400
Subject: [New-Poetry] Simic essay
In-Reply-To: <Pine.LNX.4.64.0710251139530.21092@rygar.gpcc.itd.umich.edu>
References: <F24D3506-D5BF-4B21-9A53-DCB0AC8B3CC4@ripon.edu>
	<Pine.LNX.4.64.0710251139530.21092@rygar.gpcc.itd.umich.edu>
Message-ID: <8C9E62E1323001A-F90-CCE@FWM-D18.sysops.aol.com>

It doesn't seem that anything other than a?hagiographic review is possible?when it comes to Creeley. Perhaps because he was a teacher to so many, it's hard for many?to hear anything negative about the man. The Simic review is really quite tame. 

It does?seem like Simic is being a bit obtuse, perhaps purposefully, in his opening complaint about Collected Poems collections. I don't know who should have one if Creeley doesn't deserve such a complete collection? Poetry is the kind of art form that is going straight into scholarship. There really is no long and glorious life for poetry outside of the academy. It's reading for specialists. And?specialists & their?libraries are not going to be content with a Selected when they can have the Collected.?Anyway, it's not like there isn't a Selected available and you're force into swallowing the whole enchilada.
http://www.ucpress.edu/books/sale/pages/5481.html

And I think that Creeley is the kind of poet whose work must become known by reading almost all?the work. He's not going to be any?better in a Selected than in a Collected, and he may be worse. With some poets it's really all about the 'course of their writing' and not about 'significant nodes'.?Some of the oft anthologized pieces, like 'I Know A Man', are really anamolies in his oeuvre. It's those off the cuff jottings and casual?occasional poems that are the real body of?the Creeley?sensibility.??Strangely, I think of poem like 'I Know A Man' as being?more like a Simic poem with absurd and wry take on the minimally framed circumstance
of a rider and a driver (or driver and his alter ego)?in a vehicle.

The late poems being worse than the early work is common complaint. Is the artist really falling off that much, or are we (the readers)?becoming too familiar with the work? Sometimes my mind's ear?can hear the critics moaning about the later?Keats, how he lost the edge after the?tuberculosis got cured and he lived a long happy life among his admiring fellow poets and?what passes for fame in the poetry world.

Simic is right about the poetry by and large. It's simple and undynamic to a fault in many places. The word I'd use is 'thin'. It's not a poet's poetry. The vocabulary would score very well on a?Flesch readability?test. Then again, it's that kind of minimalism which leaves so much out, it open to conjecture in almost every direction. It's fault is also its great and inexhaustible?resource.

Finnegan



-----Original Message-----
From: John Latta <lattaj at umich.edu>
Bcc: jforjames at aol.com
Sent: Thu, 25 Oct 2007 11:41 am
Subject: Re: [New-Poetry] Simic essay


David,?
?
The whole thing got posted to the Buffalo Poetics list, here:?
?
http://listserv.acsu.buffalo.edu/cgi-bin/wa?A2=ind0710&L=poetics&D=1&O=A&P=26637?
?
Lots of wild-eyed response there and elsewhere, too.?
?
Best,?
John?
?
On Thu, 25 Oct 2007, David Graham wrote:?
?
> Does anyone happen to have handy on your hard drive the Charles Simic review > of Robert Creeley that was in New York Review of Books recently??
>?
> I'd be deliriously happy for a backchannel if you do.?
>?
>?
> ========================================?
> David Graham?
> grahamd at ripon.edu?
>?
> Home Page:?
> http://web.mac.com/drjazz/iWeb/Site/About%20Me.html?
>?
> Poetry Library:?
> http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html?
> ==========================================?
>?
>?
>?
_______________________________________________?
New-Poetry mailing list?
New-Poetry at wiz.cath.vt.edu?
http://wiz.cath.vt.edu/mailman/listinfo/new-poetry?


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From anny.ballardini at tin.it  Sat Oct 27 18:14:21 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 28 Oct 2007 00:14:21 +0200
Subject: [New-Poetry] right brain versus left brain
Message-ID: <001801c818e6$ba4c81e0$78a93452@ANNY>

test:
http://www.news.com.au:80/heraldsun/story/0,21985,22556281-661,00.html





Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From jfq at myuw.net  Sat Oct 27 19:07:08 2007
From: jfq at myuw.net (Jason Quackenbush)
Date: Sat, 27 Oct 2007 16:07:08 -0700
Subject: [New-Poetry] right brain versus left brain
In-Reply-To: <001801c818e6$ba4c81e0$78a93452@ANNY>
References: <001801c818e6$ba4c81e0$78a93452@ANNY>
Message-ID: <4723C49C.9040209@myuw.net>

This thing has been doing the rounds on livejournal and facebook lately. 
Personally, i think the whole right brain/left brain thing is a bunch of 
hooey, but it's a really cool optical illusion. Also, the easiest way to 
make her switch directions for me is to focus on the shadow of the foot 
she is standing on and see how it is turning in the other direction too.

Anny Ballardini wrote:
> test:
> http://www.news.com.au:80/heraldsun/story/0,21985,22556281-661,00.html
>  
>  
>  
>  
>  
> Anny Ballardini
> http://annyballardini.blogspot.com/
> http://www.fieralingue.it/modules.php?name=poetshome
> http://www.moriapoetry.com/ebooks.html
> I Tell You: One must still have chaos in one to give birth to a 
> dancing star!
> Friedrich Nietzsche
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   



From screwzbaran at gmail.com  Sat Oct 27 19:16:15 2007
From: screwzbaran at gmail.com (Suzanne Baran)
Date: Sat, 27 Oct 2007 16:16:15 -0700
Subject: [New-Poetry] right brain versus left brain
In-Reply-To: <4723C49C.9040209@myuw.net>
References: <001801c818e6$ba4c81e0$78a93452@ANNY> <4723C49C.9040209@myuw.net>
Message-ID: <2d5ffa0b0710271616s41b5a11blbca8626f54648cf1@mail.gmail.com>

Well said, Jason! Could not have said it better!

On 10/27/07, Jason Quackenbush <jfq at myuw.net> wrote:
>
> This thing has been doing the rounds on livejournal and facebook lately.
> Personally, i think the whole right brain/left brain thing is a bunch of
> hooey, but it's a really cool optical illusion. Also, the easiest way to
> make her switch directions for me is to focus on the shadow of the foot
> she is standing on and see how it is turning in the other direction too.
>
> Anny Ballardini wrote:
> > test:
> > http://www.news.com.au:80/heraldsun/story/0,21985,22556281-661,00.html
> >
> >
> >
> >
> >
> > Anny Ballardini
> > http://annyballardini.blogspot.com/
> > http://www.fieralingue.it/modules.php?name=poetshome
> > http://www.moriapoetry.com/ebooks.html
> > I Tell You: One must still have chaos in one to give birth to a
> > dancing star!
> > Friedrich Nietzsche
> > ------------------------------------------------------------------------
> >
> > _______________________________________________
> > 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
>



-- 
"Even in times of hardship, the important thing is for each of us to
determine that we are the star, the protagonist and hero of our life and to
keep moving forward.  Putting ourselves down and shrinking back from
obstacles looming
before us spell certain defeat. Through making ourselves strong and
developing our state of life, we can definitely find a way."
- Daisaku Ikeda
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From bobgrumman at nut-n-but.net  Sat Oct 27 21:59:03 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sat, 27 Oct 2007 20:59:03 -0500
Subject: [New-Poetry] right brain versus left brain
In-Reply-To: <2d5ffa0b0710271616s41b5a11blbca8626f54648cf1@mail.gmail.com>
References: <001801c818e6$ba4c81e0$78a93452@ANNY> <4723C49C.9040209@myuw.net>
	<2d5ffa0b0710271616s41b5a11blbca8626f54648cf1@mail.gmail.com>
Message-ID: <4723ECE7.1000901@nut-n-but.net>

Well, I never believed much in the left brain/ right brain theory, 
either--but the dancer was turning in both directions at once for me, in 
technicolor, so I guess I have to believe in it now.

--Bob G.

Suzanne Baran wrote:
> Well said, Jason! Could not have said it better!
>
> On 10/27/07, *Jason Quackenbush* <jfq at myuw.net <mailto:jfq at myuw.net>> 
> wrote:
>
>     This thing has been doing the rounds on livejournal and facebook
>     lately.
>     Personally, i think the whole right brain/left brain thing is a
>     bunch of
>     hooey, but it's a really cool optical illusion. Also, the easiest
>     way to
>     make her switch directions for me is to focus on the shadow of the
>     foot
>     she is standing on and see how it is turning in the other
>     direction too.
>
>     Anny Ballardini wrote:
>     > test:
>     >
>     http://www.news.com.au:80/heraldsun/story/0,21985,22556281-661,00.html
>     >
>     >
>     >
>     >
>     >
>     > Anny Ballardini
>     > http://annyballardini.blogspot.com/
>     <http://annyballardini.blogspot.com/>
>     > http://www.fieralingue.it/modules.php?name=poetshome
>     > http://www.moriapoetry.com/ebooks.html
>     <http://www.moriapoetry.com/ebooks.html>
>     > I Tell You: One must still have chaos in one to give birth to a
>     > dancing star!
>     > Friedrich Nietzsche
>     >
>     ------------------------------------------------------------------------
>     >
>     > _______________________________________________
>     > New-Poetry mailing list
>     > New-Poetry at wiz.cath.vt.edu <mailto:New-Poetry at wiz.cath.vt.edu>
>     > http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>     <http://wiz.cath.vt.edu/mailman/listinfo/new-poetry>
>     >
>
>     _______________________________________________
>     New-Poetry mailing list
>     New-Poetry at wiz.cath.vt.edu <mailto:New-Poetry at wiz.cath.vt.edu>
>     http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>
>
>
> -- 
> "Even in times of hardship, the important thing is for each of us to 
> determine that we are the star, the protagonist and hero of our life 
> and to keep moving forward.  Putting ourselves down and shrinking back 
> from obstacles looming
> before us spell certain defeat. Through making ourselves strong and 
> developing our state of life, we can definitely find a way."
> - Daisaku Ikeda
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   
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From chan_jt at hotmail.com  Sun Oct 28 03:00:11 2007
From: chan_jt at hotmail.com (JT Chan)
Date: Sun, 28 Oct 2007 07:00:11 +0000
Subject: [New-Poetry] Poetry Sz:demystifying mental illness new issue online
	now
Message-ID: <BLU115-F63F9679052E0D81A5C24F8A900@phx.gbl>

Hi,

Issue 24 of Poetry Sz:demystifying mental illness ( 
http://poetrysz.blogspot.com ) is now online.

It features work by:


Mark Lamoureux
Lois Marie Harrod
Sam Silva
Eve Rifkah
Christopher Barnes
Roger Singer
David McLean


Submissions now open for the next issue. Send 4-6 poems and a short bio to 
poetrysz at yahoo.com . Please read the submission guidelines before 
submitting.


Thank you.

regards

J Chan
editor

_________________________________________________________________
Live Search delivers results the way you like it. Try live.com now! 
http://www.live.com



From anny.ballardini at tin.it  Sun Oct 28 05:44:27 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 28 Oct 2007 10:44:27 +0100
Subject: [New-Poetry] right brain versus left brain
References: <001801c818e6$ba4c81e0$78a93452@ANNY> <4723C49C.9040209@myuw.net>
	<2d5ffa0b0710271616s41b5a11blbca8626f54648cf1@mail.gmail.com>
Message-ID: <005601c81947$21a14a50$97d93052@ANNY>

Yes, I also noticed that if you pivot on the foot it changes direction in your brain. Well, the brain is a muscle, and it has different areas that can perform distinct works. I suffer from localized migranes, and if I have time I try to speculate why. It can give interesting results, but then once again, who knows what? And I can't but agree with Jason.
  ----- Original Message ----- 
  From: Suzanne Baran 
  To: NewPoetry: Contemporary Poetry News &amp,Views 
  Sent: Sunday, October 28, 2007 12:16 AM
  Subject: Re: [New-Poetry] right brain versus left brain


  Well said, Jason! Could not have said it better!


  On 10/27/07, Jason Quackenbush <jfq at myuw.net> wrote:
    This thing has been doing the rounds on livejournal and facebook lately.
    Personally, i think the whole right brain/left brain thing is a bunch of
    hooey, but it's a really cool optical illusion. Also, the easiest way to 
    make her switch directions for me is to focus on the shadow of the foot
    she is standing on and see how it is turning in the other direction too.

    Anny Ballardini wrote:
    > test:
    > http://www.news.com.au:80/heraldsun/story/0,21985,22556281-661,00.html
    >
    >
    >
    >
    >
    > Anny Ballardini
    > http://annyballardini.blogspot.com/ 
    > http://www.fieralingue.it/modules.php?name=poetshome
    > http://www.moriapoetry.com/ebooks.html 
    > I Tell You: One must still have chaos in one to give birth to a
    > dancing star!
    > Friedrich Nietzsche
    > ------------------------------------------------------------------------
    >


    -- 
    "Even in times of hardship, the important thing is for each of us to determine that we are the star, the protagonist and hero of our life and to keep moving forward.  Putting ourselves down and shrinking back from obstacles looming 
    before us spell certain defeat. Through making ourselves strong and developing our state of life, we can definitely find a way."
    - Daisaku Ikeda 
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From suelin6787 at charter.net  Sun Oct 28 06:12:24 2007
From: suelin6787 at charter.net (Linda Sue Grimes)
Date: Sun, 28 Oct 2007 05:12:24 -0500
Subject: [New-Poetry] right brain versus left brain
References: <001801c818e6$ba4c81e0$78a93452@ANNY>
	<4723C49C.9040209@myuw.net><2d5ffa0b0710271616s41b5a11blbca8626f54648cf1@mail.gmail.com>
	<005601c81947$21a14a50$97d93052@ANNY>
Message-ID: <002601c8194b$09bd6d70$0201a8c0@LindaSue>

Actually, she goes one direction for a bit, then she goes in the other.  When she goes clockwise her right arm is elevated and she turns on her right leg.  When she goes counter-clockwise, (which they call anti-clockwise?), her left arm is elevated and she turns on her left foot.

lsg
  ----- Original Message ----- 
  From: Anny Ballardini 
  To: NewPoetry: Contemporary Poetry News &amp;Views 
  Sent: Sunday, October 28, 2007 4:44 AM
  Subject: Re: [New-Poetry] right brain versus left brain


  Yes, I also noticed that if you pivot on the foot it changes direction in your brain. Well, the brain is a muscle, and it has different areas that can perform distinct works. I suffer from localized migranes, and if I have time I try to speculate why. It can give interesting results, but then once again, who knows what? And I can't but agree with Jason.
    ----- Original Message ----- 
    From: Suzanne Baran 
    To: NewPoetry: Contemporary Poetry News &amp,Views 
    Sent: Sunday, October 28, 2007 12:16 AM
    Subject: Re: [New-Poetry] right brain versus left brain


    Well said, Jason! Could not have said it better!


    On 10/27/07, Jason Quackenbush <jfq at myuw.net> wrote: 
      This thing has been doing the rounds on livejournal and facebook lately.
      Personally, i think the whole right brain/left brain thing is a bunch of
      hooey, but it's a really cool optical illusion. Also, the easiest way to 
      make her switch directions for me is to focus on the shadow of the foot
      she is standing on and see how it is turning in the other direction too.

      Anny Ballardini wrote:
      > test:
      > http://www.news.com.au:80/heraldsun/story/0,21985,22556281-661,00.html
      >
      >
      >
      >
      >
      > Anny Ballardini
      > http://annyballardini.blogspot.com/ 
      > http://www.fieralingue.it/modules.php?name=poetshome
      > http://www.moriapoetry.com/ebooks.html 
      > I Tell You: One must still have chaos in one to give birth to a
      > dancing star!
      > Friedrich Nietzsche
      > ------------------------------------------------------------------------
      >


      -- 
      "Even in times of hardship, the important thing is for each of us to determine that we are the star, the protagonist and hero of our life and to keep moving forward.  Putting ourselves down and shrinking back from obstacles looming 
      before us spell certain defeat. Through making ourselves strong and developing our state of life, we can definitely find a way."
      - Daisaku Ikeda 



------------------------------------------------------------------------------


  _______________________________________________
  New-Poetry mailing list
  New-Poetry at wiz.cath.vt.edu
  http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
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From suelin6787 at charter.net  Sun Oct 28 06:23:27 2007
From: suelin6787 at charter.net (Linda Sue Grimes)
Date: Sun, 28 Oct 2007 05:23:27 -0500
Subject: [New-Poetry] right brain versus left brain
References: <001801c818e6$ba4c81e0$78a93452@ANNY>
	<4723C49C.9040209@myuw.net><2d5ffa0b0710271616s41b5a11blbca8626f54648cf1@mail.gmail.com>
	<005601c81947$21a14a50$97d93052@ANNY>
Message-ID: <003401c8194c$94740720$0201a8c0@LindaSue>

In my earlier message, I got it wrong.  When she turns on her right leg, her left arm is slightly elevated, and vise versa. In other words, when she spins clockwise both right arm and right leg are elevated, when she spins counter-clockwise both left arm and left leg are elevated.  Which makes sense:  clockwise and right, counter-clockwise and left.

I think the goal is become equally right and left brained.

lsg
  ----- Original Message ----- 
  From: Anny Ballardini 
  To: NewPoetry: Contemporary Poetry News &amp;Views 
  Sent: Sunday, October 28, 2007 4:44 AM
  Subject: Re: [New-Poetry] right brain versus left brain


  Yes, I also noticed that if you pivot on the foot it changes direction in your brain. Well, the brain is a muscle, and it has different areas that can perform distinct works. I suffer from localized migranes, and if I have time I try to speculate why. It can give interesting results, but then once again, who knows what? And I can't but agree with Jason.
    ----- Original Message ----- 
    From: Suzanne Baran 
    To: NewPoetry: Contemporary Poetry News &amp,Views 
    Sent: Sunday, October 28, 2007 12:16 AM
    Subject: Re: [New-Poetry] right brain versus left brain


    Well said, Jason! Could not have said it better!


    On 10/27/07, Jason Quackenbush <jfq at myuw.net> wrote: 
      This thing has been doing the rounds on livejournal and facebook lately.
      Personally, i think the whole right brain/left brain thing is a bunch of
      hooey, but it's a really cool optical illusion. Also, the easiest way to 
      make her switch directions for me is to focus on the shadow of the foot
      she is standing on and see how it is turning in the other direction too.

      Anny Ballardini wrote:
      > test:
      > http://www.news.com.au:80/heraldsun/story/0,21985,22556281-661,00.html
      >
      >
      >
      >
      >
      > Anny Ballardini
      > http://annyballardini.blogspot.com/ 
      > http://www.fieralingue.it/modules.php?name=poetshome
      > http://www.moriapoetry.com/ebooks.html 
      > I Tell You: One must still have chaos in one to give birth to a
      > dancing star!
      > Friedrich Nietzsche
      > ------------------------------------------------------------------------
      >


      -- 
      "Even in times of hardship, the important thing is for each of us to determine that we are the star, the protagonist and hero of our life and to keep moving forward.  Putting ourselves down and shrinking back from obstacles looming 
      before us spell certain defeat. Through making ourselves strong and developing our state of life, we can definitely find a way."
      - Daisaku Ikeda 



------------------------------------------------------------------------------


  _______________________________________________
  New-Poetry mailing list
  New-Poetry at wiz.cath.vt.edu
  http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
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From anny.ballardini at tin.it  Sun Oct 28 11:53:57 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 28 Oct 2007 16:53:57 +0100
Subject: [New-Poetry] Danil Kharms
Message-ID: <008c01c8197a$c04263a0$97d93052@ANNY>

>From Philip Nikolayev:

For all you lovers of DANIIL KHARMS who read him in English, here finally is the definitive book -- Today I wrote Nothing: The Selected Writings of Daniil Kharms, translated by Matvei Yankelevich (The Overlook Press, 2007). The principal translator (who incidentally is the grandson of Academician Andrei Sakharov, the famous Soviet dissident many of you may remember) is an important writer, poet and publisher based in New York City, and America's top authority of Kharms. He is perfectly bilingual, displays tremendous taste and sensitivity, and has spent a couple of decades working on this volume. This book is the shiznit: I honestly don't believe there has been or will ever be better Kharms in English.

http://www.overlookpress.com/book-detail.php?book_isbn=1-58567-743-4

(ALSO AVAILABLE ON THE VARIOUS AMAZONS.)


Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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From anny.ballardini at tin.it  Sun Oct 28 12:00:43 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 28 Oct 2007 17:00:43 +0100
Subject: [New-Poetry] Birgitta.Joy
References: <005701c81750$f08c7ae0$8d3e014f@ANNY>
Message-ID: <009f01c8197b$b1da88a0$97d93052@ANNY>

Now I know, Birgitta says:
It is my mother singing one of her songs... to a poem by Halldor Laxness...
  From: Anny Ballardini 

  Sent: Thursday, October 25, 2007 10:49 PM


  Maybe because I have known Birgitta Jonsdottir for some time (your own children are the most beautiful...) I think this song and video are quite nice:

  http://www.youtube.com/watch?v=UPz8JLvh79o&eurl=http://widget-cc.slide.com/widgets/sf.swf


  Anny Ballardini
  http://annyballardini.blogspot.com/
  http://www.fieralingue.it/modules.php?name=poetshome
  http://www.moriapoetry.com/ebooks.html
  I Tell You: One must still have chaos in one to give birth to a dancing star! 
  Friedrich Nietzsche 

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From ATambellini01 at aol.com  Sun Oct 28 12:42:23 2007
From: ATambellini01 at aol.com (ATambellini01 at aol.com)
Date: Sun, 28 Oct 2007 12:42:23 EDT
Subject: [New-Poetry] aldo tambellini
Message-ID: <cce.1c0e66b2.345615ef@aol.com>

Having just returned form a successful program at the Lucca Film Festival  
which included a retrospective of Aldo's film and video, a poetry reading, a  
large multi-media show which included some of his art work and several lectures  
at various schools, Aldo returned to be  featured in a new digital  project.  
Here is the link. clikc on photos to move through the  pages.
_http://i-italy.org/545/aldo-tambellinis-bio-and-photos_ 
(http://i-italy.org/545/aldo-tambellinis-bio-and-photos) 
Anna Salamone
 
 



************************************** See what's new at http://www.aol.com
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From JforJames at aol.com  Sun Oct 28 14:20:02 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 28 Oct 2007 14:20:02 EDT
Subject: [New-Poetry] =?utf-8?b?4oCcV2hhdCBpcyB5b3VyIHdvcmsgYWJvdXQ/4oCd?=
Message-ID: <c17.2243265b.34562cd2@aol.com>

 
_http://www.gtweekly.com/10-25-07-/something-like-a-poem-4_ 
(http://www.gtweekly.com/10-25-07-/something-like-a-poem-4) 
Something  Like a Poem  | Print |   E-mail  
Written by Dan  Gerber     
Wednesday, 24 October 2007   
The most common and certainly the most difficult question I might be asked by 
 a stranger on an airplane is, ?What is your work about?? It?s a conundrum 
for  any artist. And I suspect the one single quality that may peg one as an  
artist?as opposed to, say, a craftsman?may be the artist?s inability to form a 
 satisfactory answer.  
I could say it?s about the process of discovering what it?s about. And that  
would be honest. I could quote William Faulkner and say, ?it?s about the 
human  heart in conflict with itself.? And that would be honest too.  
What my poems are about is



************************************** See what's new at http://www.aol.com
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From anny.ballardini at tin.it  Sun Oct 28 14:55:12 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 28 Oct 2007 19:55:12 +0100
Subject: [New-Poetry] Fw: NEED YOUR POEMS FOR ANTHOLOGY 
Message-ID: <013701c81994$122be560$97d93052@ANNY>

sent by Helen Ruggieri:

 

 

ALLEGHENY RIVER ANTHOLOGY

 

FOOTHILLS PUBLISHING is planning an anthology of poems 

about the Allegheny River scheduled for publication in the fall of 

2008.  Visit our web page at www.foothillspublishing.com/awa/

for further guidelines.

 

 

Please send your poems and short prose pieces to us at: 

 

awa at foothillspublishing.com

 

 

 

DEADLINE:   JANUARY 31, 2008.  

Material received after this date cannot be considered. 

 

EDITORS: 

 

Linda Underhill grew up within sight of the Allegheny River in Pittsburgh, PA.  She has degrees in writing from the University of Pittsburgh and the University of Arizona.  Here collection of essays, "The Unequal Hours: Moments of Being in the Natural World," was published by University of Georgia Press. 

 

Helen Ruggieri lives two blocks from the Allegheny in Olean, NY (where the river first becomes navigable).  She has an MFA from Penn State.  Her book of poetry, "Glimmer Girls,"  was published by Mayapple Press. 

 

FOOTHILLS PUBLISHING has produced more than 120 books in 

the last ten years.  Poet-publisher is Michael Czarnecki
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From bobgrumman at nut-n-but.net  Sun Oct 28 18:17:48 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sun, 28 Oct 2007 17:17:48 -0500
Subject: [New-Poetry] =?UTF-8?B?4oCcV2hhdCBpcyB5b3VyIHdvcmsgYWJvdXQ/4oCd?=
In-Reply-To: <c17.2243265b.34562cd2@aol.com>
References: <c17.2243265b.34562cd2@aol.com>
Message-ID: <47250A8C.8090200@nut-n-but.net>



JforJames at aol.com wrote:
>
> http://www.gtweekly.com/10-25-07-/something-like-a-poem-4
> Something Like a Poem  | Print |   E-mail 
> Written by Dan Gerber    
> Wednesday, 24 October 2007 
>
> The most common and certainly the most difficult question I might be 
> asked by a stranger on an airplane is, ?What is your work about?? It?s 
> a conundrum for any artist. And I suspect the one single quality that 
> may peg one as an artist?as opposed to, say, a craftsman?may be the 
> artist?s inability to form a satisfactory answer.
>
> I could say it?s about the process of discovering what it?s about. And 
> that would be honest. I could quote William Faulkner and say, ?it?s 
> about the human heart in conflict with itself.? And that would be 
> honest too.
>
> What my poems are about is
>
I'd make that "What my poems are about is is."

To expand, here are my preliminary thoughts about Gerber's question:

What are my poems about?  I'd rather say what they are:

Voyages into the workings of the English Language, and--often--past it, 
into mathematics
and/or the explicitly visual..

Mines whose explosions are intended to multiply those stepping on them 
vividly and
pleasurably into Manywhere-at-Once.

Attempts intensely to capture the moods conveyed by land, sea, sky, and 
what humans
make of them.

Puzzles whose solutions will feel both right and deeply rewarding to 
their solvers.

What they are not:

Sermons laying out how governments should function, and individuals act.

Descriptions of the little things that happen in everybody's life 
intended to warm those
encountering them into friendship with the poems' so-wonderfully-human 
author.

--Bob G.
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From anny.ballardini at tin.it  Sun Oct 28 18:13:58 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Sun, 28 Oct 2007 23:13:58 +0100
Subject: =?utf-8?Q?Re:_=5BNew-Poetry=5D_=E2=80=9CWhat_is_your_w?=
	=?utf-8?Q?ork_about=3F=E2=80=9D?=
References: <c17.2243265b.34562cd2@aol.com> <47250A8C.8090200@nut-n-but.net>
Message-ID: <014d01c819af$d6ceafe0$97d93052@ANNY>

I'm a detached active agent as defined by Jean Baudrillard.

p.s.: that was a transatlantic flight Bob, wasn't it?
  ----- Original Message ----- 
  From: Bob Grumman 
  To: NewPoetry: Contemporary Poetry News &amp;Views 
  Sent: Sunday, October 28, 2007 11:17 PM
  Subject: Re: [New-Poetry] ?What is your work about??




  JforJames at aol.com wrote: 
    http://www.gtweekly.com/10-25-07-/something-like-a-poem-4
    Something Like a Poem  | Print |   E-mail  
    Written by Dan Gerber     
    Wednesday, 24 October 2007  

    The most common and certainly the most difficult question I might be asked by a stranger on an airplane is, ?What is your work about?? It?s a conundrum for any artist. And I suspect the one single quality that may peg one as an artist?as opposed to, say, a craftsman?may be the artist?s inability to form a satisfactory answer. 

    I could say it?s about the process of discovering what it?s about. And that would be honest. I could quote William Faulkner and say, ?it?s about the human heart in conflict with itself.? And that would be honest too. 

    What my poems are about is

  I'd make that "What my poems are about is is."

  To expand, here are my preliminary thoughts about Gerber's question:

  What are my poems about?  I'd rather say what they are:

  Voyages into the workings of the English Language, and--often--past it, into mathematics
  and/or the explicitly visual..

  Mines whose explosions are intended to multiply those stepping on them vividly and
  pleasurably into Manywhere-at-Once.

  Attempts intensely to capture the moods conveyed by land, sea, sky, and what humans
  make of them.

  Puzzles whose solutions will feel both right and deeply rewarding to their solvers.

  What they are not:

  Sermons laying out how governments should function, and individuals act.

  Descriptions of the little things that happen in everybody's life intended to warm those
  encountering them into friendship with the poems' so-wonderfully-human author.

  --Bob G.
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From JforJames at aol.com  Sun Oct 28 18:56:34 2007
From: JforJames at aol.com (JforJames at aol.com)
Date: Sun, 28 Oct 2007 18:56:34 EDT
Subject: =?UTF-8?Q?Re:=20[New-Poetry]=20=E2=80=9CWhat=20is=20your=20work=20?=
	=?UTF-8?Q?about=3F=E2=80=9D?=
Message-ID: <bca.166d31b7.34566da2@aol.com>

 
The makings of a manifesto, Bob. And aren't all manifestos poems?
 
But why can't poets try to be government's nag? Certainly they have
as much right as anyome and more insight than most.
Finnegan
 
In a message dated 10/28/2007 5:18:42 PM Eastern Daylight Time,  
bobgrumman at nut-n-but.net writes:


 
What my poems are about is

I'd make that "What  my poems are about is is."

To expand, here are my preliminary thoughts  about Gerber's question:

What are my poems about?  I'd rather say  what they are:

Voyages into the workings of the English Language,  and--often--past it, into 
mathematics
and/or the explicitly  visual..

Mines whose explosions are intended to multiply those stepping  on them 
vividly and
pleasurably into Manywhere-at-Once.

Attempts  intensely to capture the moods conveyed by land, sea, sky, and what 
 humans
make of them.

Puzzles whose solutions will feel both right  and deeply rewarding to their 
solvers.

What they are  not:

Sermons laying out how governments should function, and  individuals act.

Descriptions of the little things that happen in  everybody's life intended 
to warm those
encountering them into friendship  with the poems' so-wonderfully-human 
author.







************************************** See what's new at http://www.aol.com
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From jfq at myuw.net  Sun Oct 28 19:05:51 2007
From: jfq at myuw.net (Jason Quackenbush)
Date: Sun, 28 Oct 2007 16:05:51 -0700
Subject: [New-Poetry] =?UTF-8?B?4oCcV2hhdCBpcyB5b3VyIHdvcmsgYWJvdXQ/4oCd?=
In-Reply-To: <c17.2243265b.34562cd2@aol.com>
References: <c17.2243265b.34562cd2@aol.com>
Message-ID: <472515CF.2020000@myuw.net>

I don't find that question particularly difficult. Every poem i've ever 
written has some sort of subject, and that's what that poem is about. to 
ask what the body of my poetry is about, which i take it is the supposed 
conundrum is here, is a meaningless question. a body of work, at least 
my body of work, isn't the kind of object that can be sensibly 
predicated by the verb "to mean." Maybe somebody else's, like Henry 
Darger for example, or possibly Anais Nin, could be said to have a body 
that's about some particular thing, but i rather think that's a 
limitation or a flaw in their body of work, rather than an 
accomplishment of some sort.


JforJames at aol.com wrote:
>
> http://www.gtweekly.com/10-25-07-/something-like-a-poem-4
> Something Like a Poem  | Print |   E-mail 
> Written by Dan Gerber    
> Wednesday, 24 October 2007 
>
> The most common and certainly the most difficult question I might be 
> asked by a stranger on an airplane is, ?What is your work about?? It?s 
> a conundrum for any artist. And I suspect the one single quality that 
> may peg one as an artist?as opposed to, say, a craftsman?may be the 
> artist?s inability to form a satisfactory answer.
>
> I could say it?s about the process of discovering what it?s about. And 
> that would be honest. I could quote William Faulkner and say, ?it?s 
> about the human heart in conflict with itself.? And that would be 
> honest too.
>
> What my poems are about is
>
>
>
>
> ------------------------------------------------------------------------
> See what's new at AOL.com 
> <http://www.aol.com?NCID=AOLCMP00300000001170> and Make AOL Your 
> Homepage <http://www.aol.com/mksplash.adp?NCID=AOLCMP00300000001169>.
> ------------------------------------------------------------------------
>
> _______________________________________________
> 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  Sun Oct 28 20:25:43 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sun, 28 Oct 2007 19:25:43 -0500
Subject: [New-Poetry] =?windows-1252?Q?=93What_is_your_work_a?=
	=?windows-1252?Q?bout=3F=94?=
In-Reply-To: <bca.166d31b7.34566da2@aol.com>
References: <bca.166d31b7.34566da2@aol.com>
Message-ID: <47252887.1000205@nut-n-but.net>



JforJames at aol.com wrote:
> The makings of a manifesto, Bob. And aren't all manifestos poems?
Not according to my taxonomy.
>  
> But why can't poets try to be government's nag? Certainly they have
> as much right as anyone and more insight than most.
> Finnegan
Well, I don't know about how much insight they have, Jim, but--sure they 
can be nags; but not in poems, for the same reason dancers can't be nags 
in ballets.  Well, except for halfwits who take assertion of agreement 
or disagreement for insight.  Different form of expression.  
Utilitarianism versus art.  As I've stated before, I seem to recollect.

--Bob
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From bobgrumman at nut-n-but.net  Sun Oct 28 20:30:06 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sun, 28 Oct 2007 19:30:06 -0500
Subject: [New-Poetry] =?UTF-8?B?4oCcV2hhdCBpcyB5b3VyIHdvcmsgYWJvdXQ/4oCd?=
In-Reply-To: <014d01c819af$d6ceafe0$97d93052@ANNY>
References: <c17.2243265b.34562cd2@aol.com> <47250A8C.8090200@nut-n-but.net>
	<014d01c819af$d6ceafe0$97d93052@ANNY>
Message-ID: <4725298E.9070004@nut-n-but.net>



Anny Ballardini wrote:
> I'm a detached active agent as defined by Jean Baudrillard.
>  
> p.s.: that was a transatlantic flight Bob, wasn't it?
I dunno, Anny, but if you're referring to my speaking of the English 
language, remember that I'm roughing out what my poems are, not what 
poems should be.

--Roberto (to show you I'm not monolingual)
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From anny.ballardini at tin.it  Sun Oct 28 19:37:08 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Mon, 29 Oct 2007 00:37:08 +0100
Subject: =?utf-8?Q?Re:_=5BNew-Poetry=5D_=E2=80=9CWhat_is_your_w?=
	=?utf-8?Q?ork_about=3F=E2=80=9D?=
References: <c17.2243265b.34562cd2@aol.com>
	<47250A8C.8090200@nut-n-but.net><014d01c819af$d6ceafe0$97d93052@ANNY>
	<4725298E.9070004@nut-n-but.net>
Message-ID: <018f01c819bb$751b6ed0$97d93052@ANNY>

No, no, Roberto,
I was referring to James' initial post that started out like this:

"The most common and certainly the most difficult question I might be asked by a stranger on an airplane is..."

I am complying only because you showed you are not monolingual....!
  From: Bob Grumman 
  Sent: Monday, October 29, 2007 1:30 AM




  Anny Ballardini wrote: 
    I'm a detached active agent as defined by Jean Baudrillard.

    p.s.: that was a transatlantic flight Bob, wasn't it?
  I dunno, Anny, but if you're referring to my speaking of the English language, remember that I'm roughing out what my poems are, not what poems should be.

  --Roberto (to show you I'm not monolingual) 
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From bobgrumman at nut-n-but.net  Sun Oct 28 20:45:20 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Sun, 28 Oct 2007 19:45:20 -0500
Subject: [New-Poetry] =?UTF-8?B?4oCcV2hhdCBpcyB5b3VyIHdvcmsgYWJvdXQ/4oCd?=
In-Reply-To: <018f01c819bb$751b6ed0$97d93052@ANNY>
References: <c17.2243265b.34562cd2@aol.com><47250A8C.8090200@nut-n-but.net><014d01c819af$d6ceafe0$97d93052@ANNY><4725298E.9070004
	@nut-n-but.net> <018f01c819bb$751b6ed0$97d93052@ANNY>
Message-ID: <47252D20.9010501@nut-n-but.net>



Anny Ballardini wrote:
> No, no, Roberto,
> I was referring to James' initial post that started out like this:
>  
> "The most common and certainly the most difficult question I might be 
> asked by a stranger on an airplane is..."

I'll bet!!!  (You probably weren't aware of what the Transatlanteans 
have done to me, but we won't go into that.)

Roberto
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From Opus40-01 at opus40.org  Sun Oct 28 20:25:02 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Sun, 28 Oct 2007 20:25:02 -0400
Subject: [New-Poetry] =?UTF-8?B?4oCcV2hhdCBpcyB5b3VyIHdvcmsgYWJvdXQ/4oCd?=
In-Reply-To: <47252D20.9010501@nut-n-but.net>
References: <c17.2243265b.34562cd2@aol.com><47250A8C.8090200@nut-n-but.net><014d01c819af$d6ceafe0$97d93052@ANNY><4725298E.9070004	@nut-n-but.net>
	<018f01c819bb$751b6ed0$97d93052@ANNY>
	<47252D20.9010501@nut-n-but.net>
Message-ID: <4725285E.8010007@opus40.org>

I actually try to answer that question when I'm asked. Many people don't 
know how to talk about poetry, or what questions to ask, but they're 
trying, and that's not the worst thing in the world. I kind of agree 
with what Paul Krassner once said, that he believed in ethic that would 
tell Mr. Jones what was happening.

So, it's about intimacy and isolation, and it's generally got at least 
an undercurrent of menace. Does that say anything? Maybe not. But it may 
satisfy someone who didn't really want to know anyway, or it may start a 
conversation.

Bob Grumman wrote:
>
>
> Anny Ballardini wrote:
>> No, no, Roberto,
>> I was referring to James' initial post that started out like this:
>>  
>> "The most common and certainly the most difficult question I might be 
>> asked by a stranger on an airplane is..."
>
> I'll bet!!!  (You probably weren't aware of what the Transatlanteans 
> have done to me, but we won't go into that.)
>
> Roberto
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From cervantes.james at gmail.com  Mon Oct 29 10:10:21 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Mon, 29 Oct 2007 07:10:21 -0700
Subject: [New-Poetry] Toot: "Merge"
Message-ID: <648208b60710290710w43808a0fl2d761d8de90c586e@mail.gmail.com>

Three poems in the Fall 2007 issue of Merge:

http://www.mergepoetry.com/

Just click on "Contents" - I'm the first batter up.

-- Jim
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html
~ http://home.earthlink.net/~jvcervantes/
~ http://www.flickr.com/photos/12364573 at N08/


From grahamd at ripon.edu  Tue Oct 30 11:49:57 2007
From: grahamd at ripon.edu (David Graham)
Date: Tue, 30 Oct 2007 10:49:57 -0500
Subject: [New-Poetry] Prolific poetry
Message-ID: <C65A3C6B-3567-4944-AD81-B51E5C7A8DC1@ripon.edu>

"Stevens's poetry makes one understand how valuable it can be for a  
poet to write a great deal.  Not too much of that great deal, ever,  
is good poetry; but out of quantity can come practice, naturalness,  
accustomed mastery, adaptations and elaborations and reversals of old  
ways, new ways, even--so that the poet can put into the poems, at the  
end of a lifetime, what the end of a lifetime brings him."

--Randall Jarrell.  "The Collected Poems of Wallace Stevens."  The  
Third Book of Criticism.  Farrar, Straus & Giroux:  1965.
-------------------------------------

One of the many ways to cut the deck of poetry, I guess:  poets like  
Stevens or Williams on the one hand, and Eliot or Bishop on the  
other.  Prolific and restrained; or, if you're being partisan about  
it, generous versus stingy or sprawling vs. meticulous.

Of course, probably no one wishes that Ginsberg, say, had written  
*more* than he did, and many have wished that he had heeded Jarrell's  
admonition in the second sentence above.  After all, writing a lot  
doesn't require publishing all of it.  Still, I've often thought that  
Ginsberg and O'Hara and Ashbery and Goldbarth or whomever *at their  
best* have something that Bishop, for all her greatness, does not.  
This does not make Bishop a lesser poet in my eyes, I hasten to add.   
But I think a different sensibility is often at work between the two  
temperamental extremes.

I've always tended toward the prolific end of the spectrum, myself,  
in writing though not in publishing.  This year I've embarked on a  
project pushing further in that direction, aiming to write at least  
one poem a day for a year.  Inspired by David Lehman, Robert Bly &  
others who have done so recently, I'm interested to see if anything  
feels different at the end of my year--will there be any more  
"naturalness, accustomed mastery, adaptations and elaborations and  
reversals of old ways, new ways, even"?

I'm almost five months into the process now, but haven't come to any  
conclusions yet.

When discussing drafts this summer, some of my poetry pals and I were  
fond of paraphrasing James Wright's prose poem "Honey."  Describing  
the life of his father-in-law, he concludes, "I do not say a good  
life.   I say a life."  Well, with my daily poems, I do not say good  
poems.  I say poems.

Anyone else ever committed to such a daily-poem project?  I've  
noticed any number of bloggers who seem to be doing something very  
much like this.



========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



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From jforjames at aol.com  Tue Oct 30 17:10:48 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 30 Oct 2007 17:10:48 -0400
Subject: [New-Poetry] UA professor, poet Anderson, 67, dies 
Message-ID: <8C9E9507A9698F8-D6C-74B9@MBLK-M29.sysops.aol.com>


http://www.azstarnet.com/metro/208892

UA professor, poet Anderson, 67, dies 
By Tom Beal 
ARIZONA DAILY STAR 
Tucson, Arizona | Published: 10.30.2007

Jon Anderson, a celebrated lyric poet and longtime professor of English at the University of Arizona, died Saturday in Tucson. He was 67. 
Anderson published six critically acclaimed collections of poetry and won several national awards, including a Guggenheim Fellowship and the Shelley Memorial Award for Career Achievement from the Poetry Society of America. He had achieved most of his fame before he came to Tucson to teach at the university in 1977. 
He did not publish a book between 1982 and 2001. 
Anderson was tough on himself when he did write, said longtime friend, colleague and poet Steve Orlen. "He would closet himself in his office for three or four days without sleeping or eating until he finished a poem," Orlen said. 
"He was also the kind of poet who sits with a first line and doesn't go on to the second line until he had perfected, in his own way, the rhythm of that line, the music." 
The music of his poetry stood out, said poet Michael Collier, who called his former teacher "one of the most gifted poets of his generation." 


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From jforjames at aol.com  Tue Oct 30 18:03:40 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Tue, 30 Oct 2007 18:03:40 -0400
Subject: [New-Poetry] Prolific poetry
In-Reply-To: <C65A3C6B-3567-4944-AD81-B51E5C7A8DC1@ripon.edu>
References: <C65A3C6B-3567-4944-AD81-B51E5C7A8DC1@ripon.edu>
Message-ID: <8C9E957DD600D2F-D6C-7824@MBLK-M29.sysops.aol.com>

David, I admit to being a bit suspect of poem-a-day type projects. But it's probably not that much
different from a novelist?who tries to bang out a few pages each and every day. As long as it's about
the process and not the product, I can't say it's a bad thing. I think there are some benefits to keeping
the 'writing muscles' limber. And?I'm not in favor of waiting around for the Muse to call. 

I do sometimes think the mind is?writing every day without one having to commit print to paper. That is: 
it's mentally sketching out a few lines, forming protopoems,?and then discarding most of them on the fly.

The other question it brings up for me is whether?writing is?the best source of poetry? In the end of course it is...
the poem must be written. But Stevens, who your quote?brings up, was a famous walker and was said to 
compose poems as he walked to and from work most days. I know you read a lot and surely that's a 
important source of poetry as much as writing is for many of us. (And reading more than just poetry of course.) 
But other activities, too. Maybe it's having tutoring. Maybe it's camping. Gardening. Sex. Swimming. 
Folding laundry. Building a boat., etc. I?think poets will find?poems all around them and in all the things 
they do and prehaps the least likely starting point for?a poem?is sitting?in front of a keyboard and?screen. 
Though all it comes to that point eventually.

Then there is the tradition of the?'poetic journal'. http://bootstrapproductions-forthetimebeing.blogspot.com/
Being pretty much?just?a poet's journal. Writing out one's thoughts, maybe a quote here & there, recounting 
the day's experiences, etc., and voila!, like magic,?poems percolate now & again?up through that matrix of?text.
Maybe that as good as producing a single draft a day.
Finnegan

-----Original Message-----
From: David Graham <grahamd at ripon.edu>
To: NewPoetry &amp; Views <new-poetry at wiz.cath.vt.edu>
Sent: Tue, 30 Oct 2007 11:49 am
Subject: [New-Poetry] Prolific poetry



"Stevens's poetry makes one understand how valuable it can be for a poet to write a great deal.? Not too much of that great deal, ever, is good poetry; but out of quantity can come practice, naturalness, accustomed mastery, adaptations and elaborations and reversals of old ways, new ways, even--so that the poet can put into the poems, at the end of a lifetime, what the end of a lifetime brings him."

?

--Randall Jarrell.? "The Collected Poems of Wallace Stevens."? The Third Book of Criticism.? Farrar, Straus & Giroux:? 1965.??

-------------------------------------




One of the many ways to cut the deck of poetry, I guess:? poets like Stevens or Williams on the one hand, and Eliot or Bishop on the other.? Prolific and restrained; or, if you're being partisan about it, generous versus stingy or sprawling vs. meticulous.??




Of course, probably no one wishes that Ginsberg, say, had written *more* than he did, and many have wished that he had heeded Jarrell's admonition in the second sentence above.? After all, writing a lot doesn't require publishing all of it.? Still, I've often thought that Ginsberg and O'Hara and Ashbery and Goldbarth or whomever *at their best* have something that Bishop, for all her greatness, does not. This does not make Bishop a lesser poet in my eyes, I hasten to add.? But I think a different sensibility is often at work between the two temperamental extremes.




I've always tended toward the prolific end of the spectrum, myself, in writing though not in publishing.? This year I've embarked on a project pushing further in that direction, aiming to write at least one poem a day for a year.? Inspired by David Lehman, Robert Bly & others who have done so recently, I'm interested to see if anything feels different at the end of my year--will there be any more "naturalness,?accustomed mastery, adaptations and elaborations and reversals of old ways, new ways, even"???




I'm almost five months into the process now, but haven't come to any conclusions yet.? ?




When discussing drafts this summer, some of my poetry pals and I were fond of paraphrasing James Wright's prose poem "Honey."? Describing the life of his father-in-law, he concludes, "I do not say a good life.? ?I say a life."? Well, with my daily poems, I do not say good poems.? I say poems.




Anyone else ever committed to such a daily-poem project?? I've noticed any number of bloggers who seem to be doing something very much like this.??







========================================

David Graham

grahamd at ripon.edu




Home Page:

http://web.mac.com/drjazz/iWeb/Site/About%20Me.html




Poetry Library:

http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html

==========================================






= 


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From cervantes.james at gmail.com  Tue Oct 30 18:20:55 2007
From: cervantes.james at gmail.com (James Cervantes)
Date: Tue, 30 Oct 2007 15:20:55 -0700
Subject: [New-Poetry] Prolific poetry
In-Reply-To: <8C9E957DD600D2F-D6C-7824@MBLK-M29.sysops.aol.com>
References: <C65A3C6B-3567-4944-AD81-B51E5C7A8DC1@ripon.edu>
	<8C9E957DD600D2F-D6C-7824@MBLK-M29.sysops.aol.com>
Message-ID: <648208b60710301520p52bcadbbtd1d80af1cdcf28ea@mail.gmail.com>

"The other question it brings up for me is whether writing is the best
source of poetry? "
Almost a chicken and egg issue.  The poem is not something written
until it starts to be written down, and then I suspect instant
transformations begin.

As for me, many many poems exist long before I get to the writing down
part and the changes then are minimal, or do not occur for some time.
At the same time, I revise them when they exist only in the mental
state and the latest version is the only one that exists until the
writing down stage - memory limitations?

As for one-a-day, poems like pills happen rarely for me and have done
so only by accident, such as the dialogue of daily poems with Halvard
Johnson that became Changing The Subject.

- Jim

On 10/30/07, jforjames at aol.com <jforjames at aol.com> wrote:
> David, I admit to being a bit suspect of poem-a-day type projects. But it's
> probably not that much
>  different from a novelist who tries to bang out a few pages each and every
> day. As long as it's about
>  the process and not the product, I can't say it's a bad thing. I think
> there are some benefits to keeping
>  the 'writing muscles' limber. And I'm not in favor of waiting around for
> the Muse to call.
>
>  I do sometimes think the mind is writing every day without one having to
> commit print to paper. That is:
>  it's mentally sketching out a few lines, forming protopoems, and then
> discarding most of them on the fly.
>
>  The other question it brings up for me is whether writing is the best
> source of poetry? In the end of course it is...
>  the poem must be written. But Stevens, who your quote brings up, was a
> famous walker and was said to
>  compose poems as he walked to and from work most days. I know you read a
> lot and surely that's a
>  important source of poetry as much as writing is for many of us. (And
> reading more than just poetry of course.)
>  But other activities, too. Maybe it's having tutoring. Maybe it's camping.
> Gardening. Sex. Swimming.
>  Folding laundry. Building a boat., etc. I think poets will find poems all
> around them and in all the things
>  they do and prehaps the least likely starting point for a poem is sitting
> in front of a keyboard and screen.
>  Though all it comes to that point eventually.
>
>  Then there is the tradition of the 'poetic journal'.
> http://bootstrapproductions-forthetimebeing.blogspot.com/
>  Being pretty much just a poet's journal. Writing out one's thoughts, maybe
> a quote here & there, recounting
>  the day's experiences, etc., and voila!, like magic, poems percolate now &
> again up through that matrix of text.
>  Maybe that as good as producing a single draft a day.
>  Finnegan
>
>
>  -----Original Message-----
>  From: David Graham <grahamd at ripon.edu>
>  To: NewPoetry &amp; Views <new-poetry at wiz.cath.vt.edu>
>  Sent: Tue, 30 Oct 2007 11:49 am
>  Subject: [New-Poetry] Prolific poetry
>
>
>
> "Stevens's poetry makes one understand how valuable it can be for a poet to
> write a great deal.  Not too much of that great deal, ever, is good poetry;
> but out of quantity can come practice, naturalness, accustomed mastery,
> adaptations and elaborations and reversals of old ways, new ways, even--so
> that the poet can put into the poems, at the end of a lifetime, what the end
> of a lifetime brings him."
>
> --Randall Jarrell.  "The Collected Poems of Wallace Stevens."  The Third
> Book of Criticism.  Farrar, Straus & Giroux:  1965.
> -------------------------------------
>
>
> One of the many ways to cut the deck of poetry, I guess:  poets like Stevens
> or Williams on the one hand, and Eliot or Bishop on the other.  Prolific and
> restrained; or, if you're being partisan about it, generous versus stingy or
> sprawling vs. meticulous.
>
>
> Of course, probably no one wishes that Ginsberg, say, had written *more*
> than he did, and many have wished that he had heeded Jarrell's admonition in
> the second sentence above.  After all, writing a lot doesn't require
> publishing all of it.  Still, I've often thought that Ginsberg and O'Hara
> and Ashbery and Goldbarth or whomever *at their best* have something that
> Bishop, for all her greatness, does not. This does not make Bishop a lesser
> poet in my eyes, I hasten to add.  But I think a different sensibility is
> often at work between the two temperamental extremes.
>
>
> I've always tended toward the prolific end of the spectrum, myself, in
> writing though not in publishing.  This year I've embarked on a project
> pushing further in that direction, aiming to write at least one poem a day
> for a year.  Inspired by David Lehman, Robert Bly & others who have done so
> recently, I'm interested to see if anything feels different at the end of my
> year--will there be any more "naturalness, accustomed mastery, adaptations
> and elaborations and reversals of old ways, new ways, even"?
>
>
> I'm almost five months into the process now, but haven't come to any
> conclusions yet.
>
>
> When discussing drafts this summer, some of my poetry pals and I were fond
> of paraphrasing James Wright's prose poem "Honey."  Describing the life of
> his father-in-law, he concludes, "I do not say a good life.   I say a life."
>  Well, with my daily poems, I do not say good poems.  I say poems.
>
>
> Anyone else ever committed to such a daily-poem project?  I've noticed any
> number of bloggers who seem to be doing something very much like this.
>
>
>
>
>
> ========================================
> David Graham
> grahamd at ripon.edu
>
>
> Home Page:
> http://web.mac.com/drjazz/iWeb/Site/About%20Me.html
>
>
> Poetry Library:
> http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
> ==========================================
>
>
>
>  =
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>
> ________________________________
>  Email and AIM finally together. You've gotta check out free AOL Mail!
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>
>


-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ Salt River Review:  http://www.poetserv.org
~ http://www.hamiltonstone.org/catalog.html#temporarymeaning
~ http://www.fieralingue.it/documenti/mr_bondo.pdf
~ http://www.poetserv.org/jvc/home/index.html
~ http://home.earthlink.net/~jvcervantes/
~ http://www.flickr.com/photos/12364573 at N08/


From amyhappens at yahoo.com  Tue Oct 30 18:54:09 2007
From: amyhappens at yahoo.com (amy king)
Date: Tue, 30 Oct 2007 15:54:09 -0700 (PDT)
Subject: [New-Poetry] SATURDAY in BALTIMORE:  Conrad, King, and Covey
In-Reply-To: <8C9E957DD600D2F-D6C-7824@MBLK-M29.sysops.aol.com>
Message-ID: <840524.93735.qm@web83307.mail.sp1.yahoo.com>

C A   C O N R A  D       A M Y   K I N  G       B R U C E   C O V E  Y
  
  
 Saturday, November 3rd at 8 p.m. -
  
  
  
 i.e. reading series
  
  
 CARRIGE HOUSE
 2225 Hargrove Street
 Baltimore MD
 410-727-1953
  
 www.ieseries.wordpress.com

 __________________________________________________
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From bobgrumman at nut-n-but.net  Tue Oct 30 21:19:52 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Tue, 30 Oct 2007 20:19:52 -0500
Subject: [New-Poetry] Prolific poetry
In-Reply-To: <8C9E957DD600D2F-D6C-7824@MBLK-M29.sysops.aol.com>
References: <C65A3C6B-3567-4944-AD81-B51E5C7A8DC1@ripon.edu>
	<8C9E957DD600D2F-D6C-7824@MBLK-M29.sysops.aol.com>
Message-ID: <4727D838.4020705@nut-n-but.net>

A trivial remark: Stevens has never struck me as a prolific poet.  His 
collected is around 500 pages.  A good number of poems, sure, but I'd 
say about average.  My collected would be about a third of that but I'm 
sub-Eliot in quantity.  The Complete Cummings, on the other hand, is a 
little over a thousand pages.  And I don't think of him, either, as 
madly prolific. Wouldn't Wordsworth fill two thousand pages or more?  
And Byron would equal Stevens, I bet, in a much shorter life.But I don't 
really know.  Jarrell was extremely unprolific, so slanted, I would 
say.  But I've certainly  never researched any of this.  Just guessing.  
Out of curiosity.

--Bob G.

-- 



From AlMaginnes at aol.com  Tue Oct 30 20:43:01 2007
From: AlMaginnes at aol.com (AlMaginnes at aol.com)
Date: Tue, 30 Oct 2007 20:43:01 EDT
Subject: [New-Poetry] Prolific poetry
Message-ID: <c70.1db91575.34592995@aol.com>

Funny that this discussion comes up right after the obit of Jon Anderson, a  
poet who quit writing for almost twenty years is posted. For my own part, I've 
 always written a lot and published a fraction of that. I seem to be one of 
those  writers who has to write a lot of bad ones to get a few good ones. I've 
never  tried to write a poem a day or anything like that; I read some of 
Lehman's  output and it didn't strike me that he spent a significant portion of any 
given  day writing those poems. I do remember, some years back, reading an 
essay by  Robert or Ronald Wallace (I get them confused) about making himself 
write a  sonnet a day for a year. He had some hard and fast rules--he had to 
write one a  day even if he wrote two or four the day before. It had to be a 
sonnet, not just  fourteen lines of something. It seemed like there were a couple 
of other things  as well. As I recall he published a book with some of the 
best of these sonnets.  Write that many sonnets and you might end up thinking in 
sonnets. I will have to  see if I can find that book again. 



************************************** See what's new at http://www.aol.com
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From grahamd at ripon.edu  Wed Oct 31 12:17:10 2007
From: grahamd at ripon.edu (David Graham)
Date: Wed, 31 Oct 2007 11:17:10 -0500
Subject: [New-Poetry] Re: Prolific poetry
In-Reply-To: <c70.1db91575.34592995@aol.com>
References: <c70.1db91575.34592995@aol.com>
Message-ID: <D5161A44-0682-4CAF-9E64-F0116DD5CC20@ripon.edu>

I'd love to hear more on this thread, from more people.  A subject  
close to my heart at the moment.

The daily sonneteer is Ronald Wallace.  He's published a couple of  
books collecting them, if I recall rightly, one being *The Uses of  
Adversity* from Pittsburgh.  (Years ago he told me he was thinking of  
writing a book of 39 sestinas, a kind of super-sestina; but don't  
know what ever happened to that project.  He's certainly published  
some fine sestinas.)

Two things interest me about such daily practice, neither having to  
do with publishing or the problem of the obvious unevenness of  
quality that results.  My slogan has always been First Thought First  
Draft, and I see no conflict between the prolific & the well-crafted.

But as Jarrell suggested in his comment on Stevens, writing a lot,  
regularly, does seem to lubricate the gears.  I see a real difference  
between the best work of, say, Dylan Thomas, and the best of, say  
Roethke.  Perhaps I should say I hear a difference.  Neither could be  
accused of being a slacker, craftwise, but Thomas for all his  
brilliance lacks a certain fluency, to my ears.  His poems, even the  
best, are labored-over, stylized, and in sense static.  So too are  
Yeats's, so I'm not saything this is a flaw.  Roethke's way is much  
slipperier--not better, necessarily, but different.  I'm thinking of  
"The Lost Son" poems, mainly, and the "North American Sequence," less  
so his Yeatsean explorations.  It's not the only game in town, but I  
am interested that kind of fluency and even sprawl as one tool in the  
toolbox.

I am equally interested in another thing touched on by Jarrell.  Not  
only can prolific practice create fluency (what Jarrell calls  
"accustomed mastery"), but perhaps paradoxically it can do something  
entirely different, leading to what Jarrell calls "adaptations and  
elaborations and reversals of old ways, new ways, even."  In other  
words, it can lead *away* from "accustomed mastery" into wild  
experiment, shifts of stance, etc.

In my own practice, I find that, when writing a lot daily, the  
pressure on any single piece is greatly lessened.  Failure, which is  
always likely, is no big deal:  there's always tomorrow.  Or later  
today.  I feel much freer, accordingly, to try stupid things, give  
myself silly exercises, contradict myself, explore different tones  
and voices, and so forth.  Not worrying at all about finding or  
maintaining "my" voice, and not fretting at the moment of composition  
about whether my blurt will become a monument of unageing intellect-- 
well, this can be very liberating.  Or so it feels.


========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



On Oct 30, 2007, at 7:43 PM, AlMaginnes at aol.com wrote:

> Funny that this discussion comes up right after the obit of Jon  
> Anderson, a poet who quit writing for almost twenty years is  
> posted. For my own part, I've always written a lot and published a  
> fraction of that. I seem to be one of those writers who has to  
> write a lot of bad ones to get a few good ones. I've never tried to  
> write a poem a day or anything like that; I read some of Lehman's  
> output and it didn't strike me that he spent a significant portion  
> of any given day writing those poems. I do remember, some years  
> back, reading an essay by Robert or Ronald Wallace (I get them  
> confused) about making himself write a sonnet a day for a year. He  
> had some hard and fast rules--he had to write one a day even if he  
> wrote two or four the day before. It had to be a sonnet, not just  
> fourteen lines of something. It seemed like there were a couple of  
> other things as well. As I recall he published a book with some of  
> the best of these sonnets. Write that many sonnets and you might  
> end up thinking in sonnets. I will have to see if I can find that  
> book again.
>
>

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From jforjames at aol.com  Wed Oct 31 12:26:23 2007
From: jforjames at aol.com (jforjames at aol.com)
Date: Wed, 31 Oct 2007 12:26:23 -0400
Subject: [New-Poetry] Re: Prolific poetry
In-Reply-To: <D5161A44-0682-4CAF-9E64-F0116DD5CC20@ripon.edu>
References: <c70.1db91575.34592995@aol.com>
	<D5161A44-0682-4CAF-9E64-F0116DD5CC20@ripon.edu>
Message-ID: <8C9E9F1E9A126DC-D70-2357@webmail-mf12.sysops.aol.com>

I haven't seen him on the list in a while, but Mike Snider was doing the same thing, a sonnet a day,?at one point. 
Here's his blog...
http://www.mikesnider.org/formalblog/

Jim F


-----Original Message-----
From: David Graham <grahamd at ripon.edu>
Bcc: jforjames at aol.com
Sent: Wed, 31 Oct 2007 12:17 pm
Subject: [New-Poetry] Re: Prolific poetry


I'd love to hear more on this thread, from more people.? A subject close to my heart at the moment.



The daily sonneteer is Ronald Wallace.?


________________________________________________________________________
Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com
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From grahamd at ripon.edu  Wed Oct 31 12:55:26 2007
From: grahamd at ripon.edu (David Graham)
Date: Wed, 31 Oct 2007 11:55:26 -0500
Subject: [New-Poetry] Homage to Jon Anderson
Message-ID: <228010C7-D4EB-41F6-8F30-95E856BA0C05@ripon.edu>

Nice tribute to the late Jon Anderson over at Reginald Shepherd's blog:

http://reginaldshepherd.blogspot.com/




========================================
David Graham
grahamd at ripon.edu

Home Page:
http://web.mac.com/drjazz/iWeb/Site/About%20Me.html

Poetry Library:
http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
==========================================



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From anny.ballardini at tin.it  Wed Oct 31 14:40:43 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 31 Oct 2007 19:40:43 +0100
Subject: [New-Poetry] Prolific poetry
References: <C65A3C6B-3567-4944-AD81-B51E5C7A8DC1@ripon.edu>
	<8C9E957DD600D2F-D6C-7824@MBLK-M29.sysops.aol.com>
Message-ID: <001d01c81bed$8b7244e0$7eed104f@ANNY>

You remind me of Rollo May's The courage to create.
  ----- Original Message ----- 
  From: jforjames at aol.com 
  To: new-poetry at wiz.cath.vt.edu 
  Sent: Tuesday, October 30, 2007 11:03 PM
  Subject: Re: [New-Poetry] Prolific poetry


  David, I admit to being a bit suspect of poem-a-day type projects. But it's probably not that much
  different from a novelist who tries to bang out a few pages each and every day. As long as it's about
  the process and not the product, I can't say it's a bad thing. I think there are some benefits to keeping
  the 'writing muscles' limber. And I'm not in favor of waiting around for the Muse to call. 

  I do sometimes think the mind is writing every day without one having to commit print to paper. That is: 
  it's mentally sketching out a few lines, forming protopoems, and then discarding most of them on the fly.

  The other question it brings up for me is whether writing is the best source of poetry? In the end of course it is...
  the poem must be written. But Stevens, who your quote brings up, was a famous walker and was said to 
  compose poems as he walked to and from work most days. I know you read a lot and surely that's a 
  important source of poetry as much as writing is for many of us. (And reading more than just poetry of course.) 
  But other activities, too. Maybe it's having tutoring. Maybe it's camping. Gardening. Sex. Swimming. 
  Folding laundry. Building a boat., etc. I think poets will find poems all around them and in all the things 
  they do and prehaps the least likely starting point for a poem is sitting in front of a keyboard and screen. 
  Though all it comes to that point eventually.

  Then there is the tradition of the 'poetic journal'. http://bootstrapproductions-forthetimebeing.blogspot.com/
  Being pretty much just a poet's journal. Writing out one's thoughts, maybe a quote here & there, recounting 
  the day's experiences, etc., and voila!, like magic, poems percolate now & again up through that matrix of text.
  Maybe that as good as producing a single draft a day.
  Finnegan

  -----Original Message-----
  From: David Graham <grahamd at ripon.edu>
  To: NewPoetry &amp; Views <new-poetry at wiz.cath.vt.edu>
  Sent: Tue, 30 Oct 2007 11:49 am
  Subject: [New-Poetry] Prolific poetry


  "Stevens's poetry makes one understand how valuable it can be for a poet to write a great deal.  Not too much of that great deal, ever, is good poetry; but out of quantity can come practice, naturalness, accustomed mastery, adaptations and elaborations and reversals of old ways, new ways, even--so that the poet can put into the poems, at the end of a lifetime, what the end of a lifetime brings him."

  --Randall Jarrell.  "The Collected Poems of Wallace Stevens."  The Third Book of Criticism.  Farrar, Straus & Giroux:  1965.  
  -------------------------------------


  One of the many ways to cut the deck of poetry, I guess:  poets like Stevens or Williams on the one hand, and Eliot or Bishop on the other.  Prolific and restrained; or, if you're being partisan about it, generous versus stingy or sprawling vs. meticulous.  


  Of course, probably no one wishes that Ginsberg, say, had written *more* than he did, and many have wished that he had heeded Jarrell's admonition in the second sentence above.  After all, writing a lot doesn't require publishing all of it.  Still, I've often thought that Ginsberg and O'Hara and Ashbery and Goldbarth or whomever *at their best* have something that Bishop, for all her greatness, does not. This does not make Bishop a lesser poet in my eyes, I hasten to add.  But I think a different sensibility is often at work between the two temperamental extremes.


  I've always tended toward the prolific end of the spectrum, myself, in writing though not in publishing.  This year I've embarked on a project pushing further in that direction, aiming to write at least one poem a day for a year.  Inspired by David Lehman, Robert Bly & others who have done so recently, I'm interested to see if anything feels different at the end of my year--will there be any more "naturalness, accustomed mastery, adaptations and elaborations and reversals of old ways, new ways, even"?  


  I'm almost five months into the process now, but haven't come to any conclusions yet.   


  When discussing drafts this summer, some of my poetry pals and I were fond of paraphrasing James Wright's prose poem "Honey."  Describing the life of his father-in-law, he concludes, "I do not say a good life.   I say a life."  Well, with my daily poems, I do not say good poems.  I say poems.


  Anyone else ever committed to such a daily-poem project?  I've noticed any number of bloggers who seem to be doing something very much like this.  






  ========================================
  David Graham
  grahamd at ripon.edu


  Home Page:
  http://web.mac.com/drjazz/iWeb/Site/About%20Me.html


  Poetry Library:
  http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
  ==========================================





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From anny.ballardini at tin.it  Wed Oct 31 14:59:38 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 31 Oct 2007 19:59:38 +0100
Subject: [New-Poetry] Homage to Jon Anderson
References: <228010C7-D4EB-41F6-8F30-95E856BA0C05@ripon.edu>
Message-ID: <005701c81bf0$2fd8d6a0$7eed104f@ANNY>

I scrolled down to the following post:

I write because I would like to live forever. The fact of my future death offends me.
  ----- Original Message ----- 
  From: David Graham 
  To: NewPoetry &amp; Views 
  Sent: Wednesday, October 31, 2007 5:55 PM
  Subject: [New-Poetry] Homage to Jon Anderson


  Nice tribute to the late Jon Anderson over at Reginald Shepherd's blog:


  http://reginaldshepherd.blogspot.com/








  ========================================
  David Graham
  grahamd at ripon.edu


  Home Page:
  http://web.mac.com/drjazz/iWeb/Site/About%20Me.html


  Poetry Library:
  http://web.mac.com/drjazz/iWeb/Site/DGPoLibrary.html
  ==========================================

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From anny.ballardini at tin.it  Wed Oct 31 16:18:10 2007
From: anny.ballardini at tin.it (Anny Ballardini)
Date: Wed, 31 Oct 2007 21:18:10 +0100
Subject: [New-Poetry] Fw: Issue seven of Otoliths is now online
Message-ID: <007701c81bfb$28dfdc80$7eed104f@ANNY>

just out with some much better contributions than my fiction,

----- Original Message ----- 
From: Otoliths Editor 
Sent: Wednesday, October 31, 2007 3:03 PM
Subject: Issue seven of Otoliths is now online


Issue seven of Otoliths has just gone live. It's as eclectic as ever, but that means there's something there for everybody.  Lined up in this issue are Sheila E. Murphy, Nico Vassilakis, Anny Ballardini, Vernon Frazer, Matina L. Stamatakis, Geof Huth, Matt Hetherington, derek beaulieu, Andrew Taylor, Nigel Long,   Marko Niemi, Michael Steven, Anne Heide, Mark Prejsnar, M?rton Kopp?ny, Jim Leftwich, Catherine Daly, Bill Drennan, Julian Jason Haladyn, Alexander Jorgensen, Jeff Harrison, Paul Siegell, Robert Gauldie, Martin Edmond, Raymond Farr, John M. Bennett, John M. Bennett & Friends, Andrew Topel & John M. Bennett, Andrew Topel, Mark Cunningham, Jeff Crouch, Randall Brock, Eileen R. Tabios, Jordan Stempleman,   Daniel f. Bradley, Lars Palm, harry k stammer, Karri Kokko, Katrinka Moore, Tom Hibbard, dan raphael & David-Baptiste Chirot. It's what Hieronymous Bosch dreamt about, a Garden of Earthly Delights. 
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From jorgensen_a at yahoo.com  Wed Oct 31 18:20:17 2007
From: jorgensen_a at yahoo.com (Alexander Jorgensen)
Date: Wed, 31 Oct 2007 15:20:17 -0700 (PDT)
Subject: [New-Poetry] Toot-toot: "Vispo!" said the little engine that could.
In-Reply-To: <200710311700.l9VH06Ww019767@wiz.cath.vt.edu>
Message-ID: <5993.90685.qm@web54607.mail.re2.yahoo.com>

http://the-otolith.blogspot.com/2007/10/alexander-jorgensen-oh-you-need-to.html

Three vispo poems.
-- 
  Alexander Jorgensen

--
Tennessee Williams: "A vacuum is a hell of a lot better than some of the stuff that nature replaces it with."


From Opus40-01 at opus40.org  Wed Oct 31 20:05:27 2007
From: Opus40-01 at opus40.org (TheOldMole)
Date: Wed, 31 Oct 2007 20:05:27 -0400
Subject: [New-Poetry] Re: Prolific poetry
In-Reply-To: <8C9E9F1E9A126DC-D70-2357@webmail-mf12.sysops.aol.com>
References: <c70.1db91575.34592995@aol.com>	<D5161A44-0682-4CAF-9E64-F0116DD5CC20@ripon.edu>
	<8C9E9F1E9A126DC-D70-2357@webmail-mf12.sysops.aol.com>
Message-ID: <47291847.30308@opus40.org>

There's Lyn Lifshin. No one could be more prolific than she, and a lot 
of it is good.

jforjames at aol.com wrote:
> I haven't seen him on the list in a while, but Mike Snider was doing 
> the same thing, a sonnet a day, at one point.
> Here's his blog...
> http://www.mikesnider.org/formalblog/
>
> Jim F
>
>
> -----Original Message-----
> From: David Graham <grahamd at ripon.edu>
> Bcc: jforjames at aol.com
> Sent: Wed, 31 Oct 2007 12:17 pm
> Subject: [New-Poetry] Re: Prolific poetry
>
> I'd love to hear more on this thread, from more people.  A subject 
> close to my heart at the moment.
>
> The daily sonneteer is Ronald Wallace. 
> ------------------------------------------------------------------------
> Email and AIM finally together. You've gotta check out free AOL Mail 
> <http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/index.htm?ncid=AOLAOF00020000000970>!
> ------------------------------------------------------------------------
>
> _______________________________________________
> New-Poetry mailing list
> New-Poetry at wiz.cath.vt.edu
> http://wiz.cath.vt.edu/mailman/listinfo/new-poetry
>   

-- 
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/



From bobgrumman at nut-n-but.net  Wed Oct 31 22:14:21 2007
From: bobgrumman at nut-n-but.net (Bob Grumman)
Date: Wed, 31 Oct 2007 21:14:21 -0500
Subject: [New-Poetry] Re: Prolific poetry
In-Reply-To: <47291847.30308@opus40.org>
References: <c70.1db91575.34592995@aol.com>
	<D5161A44-0682-4CAF-9E64-F0116DD5CC20@ripon.edu><8C9E9F1E9A126DC-D70-2357@webmail-mf12.sysops.aol.com>
	<47291847.30308@opus40.org>
Message-ID: <4729367D.6010209@nut-n-but.net>



TheOldMole wrote:
> There's Lyn Lifshin. No one could be more prolific than she, and a lot 
> of it is good.
Some of it I think good, but it makes me wonder: I do a blog entry a 
day, and have done something like 1300 entries.  If I cut all the prose 
entries up into free verse, and diddled the wording a little bit here 
and there, and added the actual poems I've composed and posted to the 
blog, I'd be prolific, too, and I think most of the results would have 
something of interest in them, albeit not much poetry, by my standards.  
That's sort of the way I feel about Lifshin's work. 

--Bob